关于博物馆建筑设计改造规划有关 的外文文献翻译成品：体验建筑和环境之间的关系：雅典新卫城博物馆（中英文双语对照）.docx

1、此文档是毕业设计外文翻译成品（ 含英文原文+中文翻译），无需调整复杂的格式！下载之后直接可用，方便快捷！本文价格不贵,也就几十块钱！一辈子也就一次的事！外 文 标 题 ：Experience in-between architecture and context: the New Acropolis Museum , Athens外文作者：Annette Svaneklink Jakobsen文献出处: Journal of AESTHETICS & CULTURE, Vol. 4, 2018(如觉得年份太老，可改为近 2 年，毕竟很多毕业生都这样做)英文 3682 单词，22939 字符(字

2、符就是印刷符)，中文 5765 汉字。（如果字数多了，可自行删减，大多数学校都是要求选取外文的一部分内容进行翻译的。）Experience in-between architecture and context: the NewAcropolis Museum , AthensAbstract: This article is an introduction to how architectures context and conditions can be understood as signaletic with reference to Gilles Deleuzes concept o

3、f the signaletic material. The understanding of architectures signaletic material addresses the process of becoming through the potentials of context and the requests towards function and programme, as well as through the methods for creating architecture all seen as conditional components of a spec

4、ific work of architecture and, consequently, as part of the signaletic material. A visit to the New Acropolis Museum is analysed to discuss how the potential of the in-between encounters of architecture, context and the experiencing subject can be part of the signaletic material and the process of b

5、ecoming. T his potential is actualised, for instance, in relation to the movement through the museum. T he museum architecture affords experiences on potentially several levels spanning from the most pragmatic and functional use of the building as exhibition space, restaurant, book shop, etc. to the

6、 awareness of being part of an architectural intentionality as a moving body, a contemplating viewer and as a perceiver of relations between the museum building and its historical and geographical context. In the article the term visitor is used to emphasise this complexity of experiential potential

7、 that is made accessible by the museums architectural design.Keywords: signaletic; museum; movement; context; Gilles Deleuze; Bernard TschumiArchitecture creates and is created within, spatial contexts that allow for actions to take place. In addition to this, architecture creates, and is created wi

8、thin, experientialcontexts. The relationality between architecture and context is subsequently one of correlates. On one hand it concerns a relational process of responding to conditions and circumstances that are already present, and, on the other hand, it concerns the process of causing new condit

9、ions and circumstances to emerge and to be responded to. T his correlation where spaces are outlined and outlining and where experience becomes inseparable from the building involves the presence of an experiencing subject in terms of a participating and sensing user.In this view, architecture works

10、 through an in-between building-creation involving both context and user, and through an immanent openness towards a relational exchange between the experiencing user and the architecture. Related to this are the presence and the potential movements of the users body, without which the whole experie

11、ntial potential of architecture could not become unfolded. These aspects of architecture are part of the architectural design and part of the architects conditioning of the experiential potential; how this potential is actualised will depend on the individual user.The multiplicity that belongs to th

12、ese factors, the conditioning context of architecture and the conditions and potentials that architecture creates for experience, is what this article outlines as an architectural signaletic material. It regards architecture as a process of becoming through the potential of context, conditions and c

13、ircumstances, such as requests towards function and programme, the spatial layout, and the processes and methods for creating architecture. All are components of a specific work of architectures signaletic material.THE SIGNALETIC MATERIAL ASPROCE SSGilles Deleuze defines the concept of a signaletic

14、material in relation to the movement-image in cinema. The signaletic material consists of two processes that are interdependent: differentiation and specification. Differentiation refers to the processual reconfiguring of the whole through its objects and parts, which means that the whole changes wi

15、th the objects and parts it combines and through which it passes. T he objects and parts that are combined, however, are different in kind and possess specific functions and roles in order to constitute the whole and drive the movement- images sensory-motoric progression. Accordingly, in Deleuzes wo

16、rk on cinema the images are different in kind: the perception-image, the action-image and, in the interval between them, the affection-image. T hey belong to the process of specification. Together, the components of the two processes constitute a signaletic material which is a condition; it is a potential for conditioning but not yet conditioning any- thing specific. It is a virtual utterable, but not an actualised utterance.Subsequent