The trail-blazing architect Rem Koolhaas mulls the empty spaces in a suddenly frozen world
世界突然凍結(jié)暇藏，公共空間空置蝗茁，當(dāng)代建筑之父雷姆·庫哈斯有話說
trail-blazing 開拓者
architect 建筑師
mull 思索，深思熟慮
By Belinda Luscombe
Rem Koolhaas, the Pritzker Prize–winning Dutch architect, author and academic, has long had a beef with airports.
荷蘭籍建筑師两踏、作家兼學(xué)者敦冬，普利茲克建筑獎(jiǎng)獲得者雷姆·庫哈斯對機(jī)場（的設(shè)計(jì)）歷來就頗有不滿庶喜。
the Pritzker Prize普利茲克建筑獎(jiǎng)
have a beef with 對...有意見
Rem Koolhaas.png
It's not the same beef that everyone else has with airports—the Cinnabon smell, the brusqueness of security, the $7 snack.
普通人對機(jī)場的不滿大多是濃濃的肉桂卷味道、保安的粗暴無禮和七美元的昂貴小吃揍庄。但庫哈斯不一樣咆蒿。
brusqueness 無禮
security 保安，安全
Koolhaas' beef with airports is that they've lost their sense of purpose.
他對機(jī)場的不滿是它們喪失了自己的使命感蚂子。
"Airports used to be highly rationalized spaces that simply served to take you efficiently from one place to the plane," Koolhaas says on a landline from his office in Rotterdam.
“過去的機(jī)場是單純?yōu)楦咝У貙⒛銖囊粋€(gè)地方輸送到飛機(jī)上的這么一個(gè)高度合理的空間沃测，”庫哈斯在他位于鹿特丹的辦公室接受電話采訪時(shí)說道。
rationalized 合理化的
The process, in his mind, used to be very logical.
在他看來食茎，過去的登機(jī)路線十分合乎邏輯蒂破。
"Arrivals, luggage, customs, blah blah blah."
“到達(dá)機(jī)場，托運(yùn)行李别渔，走海關(guān)等等附迷。”
But airports now are made up of what he has named junk space.
現(xiàn)在的機(jī)場卻是由他所謂的“垃圾空間”組成的哎媚。
"You are basically almost forced to enter the bowels of a mostly financial configuration in order to be exposed to the maximum amount of shopping," he says.
“大家基本上是被強(qiáng)行放到了一個(gè)配置以金融為主喇伯，為的就是最大限度地將你暴露在一個(gè)購物環(huán)境里這么一個(gè)空間內(nèi)，”他說拨与。
configuration 配置
The serpentine layout that herds passengers through a mazelike mall creates almost a "permanent sense of crowding," he notes, "with much less freedom to make our own choices and to maintain our own distances."
引導(dǎo)乘客穿過迷宮般的購物通道的蛇形布局會(huì)營造出一種“永遠(yuǎn)都很擠”的感覺稻据，”他指出，“而我們自己做選擇或是保持距離的自由是非常有限的买喧∧砻酰”
serpentine 蜿蜒曲折的
mazelike 迷宮般的
Airports are just one among the many, many public spaces that may have to be rethought, reorganized and redesigned in the era of pandemics, and Koolhaas believes it is way overdue.
在疫情蔓延的當(dāng)下匆赃，不少公共空間都暴露出了需要重新加以審視、安排或設(shè)計(jì)的必要性今缚，機(jī)場只不過是其中之一算柳，庫哈斯卻認(rèn)為早就應(yīng)該如此了。
overdue 過期的
Also on his back-to-the-drawing-board list: cities, especially those that have no purpose but to attract people.
同樣位于他那張應(yīng)當(dāng)重新設(shè)計(jì)的名單上的還有：城市荚斯，尤其是那些旅游導(dǎo)向型城市埠居。
"The problem is that in the last 20 or 30 years, cities have become gathering spaces for relatively affluent people and for tourists," he says.
“問題是，最近二三十年事期，城市已經(jīng)變成了相對富裕的人以及游客聚集的地方，”他說纸颜。
affluent 富裕的
"There has been a kind of really drastic transformation of the point of cities, that we didn't really pay enough attention to."
“城市的意義已經(jīng)發(fā)生了劇烈的轉(zhuǎn)變兽泣，我們卻沒有對此給予足夠的重視⌒菜铮”
The architect who rose to fame largely for a book, Delirious New York, that celebrated New York City for its density and crowdedness has now turned his attention to less inhabited spaces, especially the countryside.
這位很大程度上因?yàn)橐槐举澝兰~約的密度和擁擠度的著作——《瘋狂的紐約》而一舉成名的建筑師現(xiàn)在則將他的注意力轉(zhuǎn)向了人煙稀少的地方唠倦，尤其是農(nóng)村。
delirious 瘋狂的
To him, the gathering of more than 50% of the world's population into metropoles that occupy just 2% of the world's land mass was a problem long before anybody knew what the phrase social distancing meant.
在他看來涮较，一半以上的世界人口都在朝僅占世界陸地面積2%的大都市聚集稠鼻，而且，早在有人知道“居家隔離”一詞的含義之前狂票，這個(gè)問題就已經(jīng)存在了候齿。
metropoles 大都會(huì)
It was one of the themes of his recent exhibition at the Guggenheim, "Countryside," which looked at the curious disregard and abandonment of the more rural parts of the planet.
最近，他在古根海姆博物館舉辦了一個(gè)名為“鄉(xiāng)村”的個(gè)人展闺属，上述問題就是展覽選用的主題之一慌盯。總體而言掂器，展覽審視了一個(gè)頗為耐人尋味的現(xiàn)象：地球上較為偏遠(yuǎn)的農(nóng)村地區(qū)往往難逃被忽視亚皂，被遺棄的命運(yùn)。
curious 耐人尋味
disregard 忽視
abandonment 拋棄
