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外文标题：

Experiencein-betweenarchitectureandcontext:

theNewAcropolisMuseum,Athens

外文作者：

AnnetteSvaneklinkJakobsen

文献出处:

JournalofAESTHETICS&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。

）

Experiencein-betweenarchitectureandcontext:

theNew

AcropolisMuseum,Athens

Abstract:

Thisarticleisanintroductiontohowarchitecture’scontextandconditionscanbeunderstoodassignaleticwithreferencetoGillesDeleuze’sconceptofthesignaleticmaterial.Theunderstandingofarchitecture’ssignaleticmaterialaddressestheprocessofbecomingthroughthepotentialsofcontextandtherequeststowardsfunctionandprogramme,aswellasthroughthemethodsforcreatingarchitectureallseenasconditionalcomponentsofaspecificworkofarchitectureand,consequently,aspartofthesignaleticmaterial.AvisittotheNewAcropolisMuseumisanalysedtodiscusshowthepotentialofthein-betweenencountersofarchitecture,contextandtheexperiencingsubjectcanbepartofthesignaleticmaterialandtheprocessofbecoming.Thispotentialisactualised,forinstance,inrelationtothemovementthroughthemuseum.Themuseumarchitectureaffordsexperiencesonpotentiallyseverallevelsspanningfromthemostpragmaticandfunctionaluseofthebuildingasexhibitionspace,restaurant,bookshop,etc.totheawarenessofbeingpartofanarchitecturalintentionalityasamovingbody,acontemplatingviewerandasaperceiverofrelationsbetweenthemuseumbuildinganditshistoricalandgeographicalcontext.Inthearticletheterm‘‘visitor’’isusedtoemphasisethiscomplexityofexperientialpotentialthatismadeaccessiblebythemuseum’sarchitecturaldesign.

Keywords:

signaletic;museum;movement;context;GillesDeleuze;BernardTschumi

Architecturecreatesandiscreatedwithin,spatialcontextsthatallowforactionstotakeplace.Inadditiontothis,architecturecreates,andiscreatedwithin,experiential

contexts.Therelationalitybetweenarchitectureandcontextissubsequentlyoneofcorrelates.Ononehanditconcernsarelationalprocessofrespondingtoconditionsandcircumstancesthatarealreadypresent,and,ontheotherhand,itconcernstheprocessofcausingnewconditionsandcircumstancestoemergeandtoberespondedto.Thiscorrelationwherespacesareoutlinedandoutliningandwhereexperiencebecomesinseparablefromthebuildinginvolvesthepresenceofanexperiencingsubjectintermsofaparticipatingandsensinguser.

Inthisview,architectureworksthroughanin-betweenbuilding-creationinvolvingbothcontextanduser,andthroughanimmanentopennesstowardsarelationalexchangebetweentheexperiencinguserandthearchitecture.Relatedtothisarethepresenceandthepotentialmovementsoftheuser’sbody,withoutwhichthewholeexperientialpotentialofarchitecturecouldnotbecomeunfolded.Theseaspectsofarchitecturearepartofthearchitecturaldesignandpartofthearchitects’conditioningoftheexperientialpotential;howthispotentialisactualisedwilldependontheindividualuser.

Themultiplicitythatbelongstothesefactors,theconditioningcontextofarchitectureandtheconditionsandpotentialsthatarchitecturecreatesforexperience,iswhatthisarticleoutlinesasanarchitecturalsignaleticmaterial.Itregardsarchitectureasaprocessofbecomingthroughthepotentialofcontext,conditionsandcircumstances,suchasrequeststowardsfunctionandprogramme,thespatiallayout,andtheprocessesandmethodsforcreatingarchitecture.Allarecomponentsofaspecificworkofarchitecture’ssignaleticmaterial.

THESIGNALETICMATERIALASPROCESS

GillesDeleuzedefinestheconceptofasignaleticmaterialinrelationtothemovement-imageincinema.Thesignaleticmaterialconsistsoftwoprocessesthatareinterdependent:

differentiationandspecification.Differentiationreferstotheprocessualreconfiguringofthewholethroughitsobjectsandparts,whichmeansthatthewholechangeswiththeobjectsandpartsitcombinesandthroughwhichitpasses.Theobjectsandpartsthatarecombined,however,aredifferentinkindandpossessspecificfunctionsandrolesinordertoconstitutethewholeanddrivethemovement-image’ssensory-motoricprogression.Accordingly,inDeleuze’sworkoncinematheimagesaredifferentinkind:

theperception-image,theaction-imageand,intheintervalbetweenthem,theaffection-image.Theybelongtotheprocessofspecification.Together,thecomponentsofthetwoprocessesconstituteasignaleticmaterialwhichisacondition;itisapotentialforconditioningbutnotyetconditioningany-thingspecific.Itisavirtualutterable,butnotanactualisedutterance.

Subsequently,themovement-imagenotonlycreatesnarration,moreimportantly,itdoessoonthebasisofitsownprocessofcreatingpotentialforconditionsandutterance.Byunderstandingcinema’snarrationasactualisingthetwointerdependentprocesses,differentiationandspecification,Deleuzepointstowardsacontinuousbecomingof‘‘thesignaleticmaterial.’’

Experiencesandeventsarepartofarchitecture’ssignaleticmaterialastheyarepotentiallyconditionedby,aswellaspotentialconditionsof,architecture.Inarchitecture’sadaptationofeventasconcept,theunpredictabilityofwhathappensandwhatisexperiencedisrelatedtotemporalityandprocessualbecoming.ThesignificanceoftemporalityandprocessisforinstanceapparentintheworksofSwiss-AmericanarchitectBernardTschumi.Theconceptofeventplaysakeyroleintheearlyproject‘‘TheManhattanTranscripts,’’aworkthatconsistsofdrawings,photographs,andtext.4Here,theevent,andamethodologicalapproachtoworkingwiththeunpredictabilityofwhathappens,isaprogrammaticelementandconditionoftheworkthatcombinedwithmovementandspacecreatesanarchitecturalnarrativeinwhichmethodandprocessareessential.Thisworkefficientlypointstoexperienceandeventascentraltoarchitecture,notonlyasaphenomenologicalexperienceafterwardswhenencounteringarchitectureinamoretraditionalsenseasaspecificbuilding,butalsoaspartoftheactualprocessofcreationaconditionandaparameter.Experienceandeventarepartsofaprogrammaticpotentialaswellasformgeneratingfactorsthatintroduceanunderstandingofarchitecturalspaceasbecoming;asprocessandmethod,andopposedtoamoregeneralconceptionofspaceasathree-dimensionalcontinuumorcontainer.

OneofTschumi’smostrecentworks,theNewAcropolisMuseuminAthens（Figure1）,clarifiestherelevanceofregardingtheconditionsofexperienceandeventsaspartofasignaleticmaterialthatworksthroughprocessesofdifferentiationandspecification.6Themuseumarchitectureproposeshowcontextualfactorscanbeunderstoodasaconditioningofarchitecture.

Furthermore,itpresentsanexampleofhowthiscanbedoneinawaythatintegratescontextbeyondtherepresentational.Thearchitecturalapproachforintegratingcontextinthedesignanddesignprocessofanybuildingisalwayscomplexandraisesalotofquestionswithregardtohowitispossibletodesignwithawarenessofthecontextualconditions,andhowtoselectwhichconditionstoemphasizeorignore.InTschumi’swords:

‘‘Contextisnotafact;itisalwaysamatterofinterpretation.’’7Itisintheprocessofselectionandinterpretationthatarchitecturehasoftenfounditselfasthecreatorofasign（asbuilding）thatrepresentscertaindelimitedcharacteristicsoftheconstraintsthatlieoutsideofthearchitectureitself:

linesanddirectionsthatrepresentsomespecificcontentormeaning.Ormoreliterally,communicatingsignsasintheworksofAmericanarchitectsRobertVenturiandDeniseScottBrownwhohaveadaptedthevernacularofAmericansocietyintermsofcommercialsignsandbill-boardsintheirwork.Theystatethat:

‘‘Theessentialelementofarchitectureforourtimeisnolongerspace,it’snolongerabstractforminindustrialdrag:

theessentialarchitecturalelementisiconography.’’Thisapproachbelongstooneendofthescaletoarchitecturalrepresentationofcontext,wherethesignisradicallypositionedtoarchitectureascommunication.Ontheotherendofthescale,architecturewillhavetodiscusswaysofbeingandbecomingwithcontextualconditionsinamannerthattranscendsthemimeticandrepresentationalsothatthepresenceoftheuserorvisitorisactualizednotasasubjectforreceivingcommunicationbutasasubjectthatperformswitharchitectureonarelationallevel.

TheNewAcropolisMuseuminvolvesthevisitorrelationallyinitsbecoming.Itstrikesthevisitor（i.e.thiswriter）asbeingatraditionalworkofarchitectureinmanyrespects:

ithasaspecificfunction（museum）,itisabuilding（constructedofconcrete,marble,steelandglass）,anditfulfilsspecificprogrammaticneedsasaplaceforex-hibitingthearchaeologicalfindingsoftheAcropolisslopeandhill.Thephysicalandhistoricalcontextofthisworkofarchitectureandthewaysrelationsbetweenarchitectureandcontextper-formarehoweverquitesignificantasasignaleticprocessthatbuildsonanexperienceofcontinuousdifferentiationandspecificationinaccordancewiththevisitor’smovementthroughthemuseum.Theexperiencedrelationsbetweenmuseumbuildinganditscontextchange;thevisitor’smovingbodyisclearlythoughtofasapotentiallyintegratedpartofthearchitecture’swholeand,therefore,itselfatooltomakechangesoccur.

Thevisitorfollowsaprescribedroutethatlea