世界上十大因不切實(shí)際而無法建成的建筑奇作(下)

5.迪拜的動(dòng)態(tài)大廈

In 2008, Italian architect David Fisher unveiledplans for the most ambitious construction projecton Earth. Known as the Dynamic Tower, this 80-storybehemoth would cost $700 million and generate itsown power using 79 wind turbines. Every single floorwould rotate independently of the others, so thetower never stayed in a single shape.

2008年，意大利建筑師大衛(wèi)·費(fèi)舍爾推出了世界上最雄心勃勃的建設(shè)項(xiàng)目，即著名的動(dòng)態(tài)大廈。這個(gè)80層的龐然大物預(yù)計(jì)花費(fèi)7億美元，需要79臺(tái)風(fēng)力發(fā)電機(jī)為它提供電能。每一樓層都可獨(dú)立于其他樓層單獨(dú)旋轉(zhuǎn)，所以大樓的外形會(huì)隨時(shí)變換。

The idea was to use prefab constructions hugging tight to a central concrete core, sort of likehaving 80 separate bungalows stacked on top of one another. The 79 turbines would then sendjuice flowing through each floor, allowing them to rotate slowly at slightly different speeds.To someone who had never heard of the concept before, it would seem like the Dynamic Towerwas constantly shape-shifting. With such an inspired design, you might be wondering whathappened. Officially, nothing. Fisher insists his tower is still going ahead. However, it wasoriginally meant to be finished in 2010, and so far—in mid-2015—not a single brick has beenlaid or a meter of land purchased. Perhaps it doesn't help that Fisher's proposed site was Dubai:a city whose construction industry hasn't fully recovered from the 2008 banking crash.

這個(gè)設(shè)計(jì)計(jì)劃采用預(yù)制結(jié)構(gòu)緊緊圍繞混凝土中軸，就像將80間獨(dú)立的平房堆疊在一起。79個(gè)風(fēng)力發(fā)電機(jī)為每一層樓提供電力，讓它們以不同的速度緩慢旋轉(zhuǎn)。之前沒有聽過動(dòng)態(tài)大廈這個(gè)理念的人會(huì)認(rèn)為動(dòng)態(tài)大廈好像在不停地變形。你一定想知道這樣一個(gè)富有靈感的設(shè)計(jì)進(jìn)展如何。官方?jīng)]有透露任何相關(guān)消息。但費(fèi)舍爾堅(jiān)稱他的大廈仍會(huì)繼續(xù)建設(shè)。然而，原定于2010年建成的大廈，如今到了2015年中葉，一塊磚也沒砌，一米地也沒買?；蛟S費(fèi)舍爾的大廈選錯(cuò)了地方：自2008年銀行破產(chǎn)以來，迪拜的建筑業(yè)仍未完全恢復(fù)。

4.Konstantin Melnikov's Monument To Columbus

4.康斯坦丁·梅爾尼科夫設(shè)計(jì)的哥倫布紀(jì)念塔

Eight decades before David Fisher came up with his rotating tower, Konstantin Melnikov wasworking on a dynamic, moving monument. Unlike Fisher, Melnikov wasn't content with simplycreating some building that shifted meaninglessly. He wanted to create one capable of playingits own musical compositions.

在大衛(wèi)·費(fèi)舍爾提出動(dòng)態(tài)大廈設(shè)想的80年前，康斯坦丁·梅爾尼科夫就在埋頭設(shè)計(jì)一個(gè)動(dòng)態(tài)紀(jì)念塔。不同于費(fèi)舍爾，梅爾尼科夫不滿足于建造僅會(huì)毫無意義轉(zhuǎn)換方向的大樓。他要構(gòu)建一棟會(huì)演奏樂章的建筑。

One of the Soviet Union's 23 official entries to the Pan-American competition to design amonument to Christopher Columbus, Melnikov's lighthouse was the definition of ambitious.Its gigantic upper cone was hollowed out to collect rainwater that would power a smallturbine, generating electricity. More impressively, the huge wings on the side of the buildingwere designed to sway in the wind. As they swung back and forth, they would strike one ofseven rings, producing a distinct musical note that could be heard for miles. On blustery days,the lighthouse would be capable of playing intricate musical scores. The Columbus statueitself was equally impressive. As the lighthouse's two cones turned, they would brieflyintersect, causing the statue to temporarily rise up into view. Too bad the committeeultimately ditched Melnikov's vision in favor of a big, boring block.

在泛美聯(lián)盟組織的克里斯多弗·哥倫布紀(jì)念塔設(shè)計(jì)大賽中，有23個(gè)來自蘇聯(lián)的參賽作品，其中梅爾尼科夫的燈塔是雄心壯志的最佳寫照。該燈塔上部有個(gè)巨大的圓錐體，椎體內(nèi)部被挖空用于收集雨水，這些雨水能帶動(dòng)一個(gè)小型渦輪機(jī)發(fā)電。更令人印象深刻的是，建筑兩側(cè)的巨型翅膀能在風(fēng)中擺動(dòng)。隨著翅膀前后擺動(dòng)，會(huì)撞擊七個(gè)圓環(huán)之一，發(fā)出能傳至幾英里之外的響聲。狂風(fēng)大作的時(shí)候，燈塔還將會(huì)演奏出錯(cuò)綜復(fù)雜的曲調(diào)。哥倫布塑像的設(shè)計(jì)也相當(dāng)引人矚目。燈塔的兩個(gè)圓錐體轉(zhuǎn)動(dòng)時(shí)會(huì)有短暫的交叉，使塑像暫時(shí)升起呈現(xiàn)在人們的視野之內(nèi)。不幸的是，委員會(huì)最終否定了梅爾尼科夫的設(shè)計(jì)，其支持建成的紀(jì)念塔就像個(gè)毫無觀賞性的巨型磚塊。

3.Gerard K. O'Neill's Space Cylinders

3.杰拉德·K·奧尼爾的太空?qǐng)A柱體

In 1974, Princeton physicist Gerard K. O'Neill wrote a paper that would inspire plans for yearsto come. Interested in bringing humanity off Earth to inhabit the universe, O'Neill set out hisdesigns for a vast outer space colony living in gigantic cylinders. Known as O'Neill Cylinders,his designs were the pinnacle of futuristic thinking.

1974年，普林斯頓的物理學(xué)家杰拉德·K·奧尼爾撰寫了一篇論文，這篇論文會(huì)啟發(fā)未來數(shù)年的多項(xiàng)計(jì)劃。奧尼爾專注于將人類文明帶出地球，落戶宇宙。他計(jì)劃建造大型外太空殖民地，讓人們生活在一個(gè)巨大的圓柱體中，即奧尼爾圓柱體。他的設(shè)計(jì)堪稱未來主義思想的巔峰之作。

Giant glass tubes 30 kilometers (20 mi) long, each O'Neill Cylinder would hang at the L5 pointin the Moon's orbit—a place the Guardian described as "like a gravitational eddy where thingsstay put by themselves." Each would provide gravity by rotating, and strips of land wouldalternate with long sheets of glass to let sunlight in. In effect, this meant that people on onestrip of land would always have another directly above their heads. It would be possible to lookup in the mornings and see the roof of your neighbor's house, many thousands of feet above.Even more impressively, each Cylinder would come complete with its own weather system thatcould be manipulated to create the sensation of passing seasons. O'Neill's ultimate plan wasto have hundreds of these cylinders connected by a web of cables, connecting four billion humancolonists in the empty wastes of space. Sadly for sci-fi lovers, his plans were hundreds of yearsahead of their time. Even now, 40 years later, building an O'Neill cylinder would requiretechnology we simply don't have. Once again, you failed us, future.

奧尼爾圓柱體是一種巨型玻璃管道，長達(dá)30千米(20英里)，每一個(gè)都將懸浮在月球軌道的第5拉格朗日點(diǎn)(L5)上，英國衛(wèi)報(bào)稱其"就像一個(gè)重力漩渦，其內(nèi)所有物體都保持靜止。"每個(gè)圓柱體都將旋轉(zhuǎn)產(chǎn)生引力，且陸地與玻璃交替分布，使陽光能照射進(jìn)來。事實(shí)上這意味著每塊陸地的正上方都有另一塊陸地。很可能每天早上起床后，一抬頭就會(huì)看到鄰居家的屋頂正在距離你頭頂?shù)纳锨в⒊咛?。更令人印象深刻的是，每個(gè)圓柱體都有自己的天氣調(diào)節(jié)系統(tǒng)，可以經(jīng)由人工控制營造出四季更替的感覺。奧尼爾的終極計(jì)劃是建造百余個(gè)圓柱體，由縱橫交錯(cuò)的電纜連接為一個(gè)整體，也連接著在這個(gè)空空如也的太空殖民居住的40億人類。不幸的是，對(duì)于科幻小說愛好者來說，奧尼爾的計(jì)劃超前了幾個(gè)世紀(jì)，即便在40多年后的現(xiàn)在，我們也沒有如此發(fā)達(dá)的科技建造奧尼爾圓柱體。未來又一次辜負(fù)了我們。

2.Giovanni Battista's Imaginary Prisons

2.喬瓦尼·巴蒂斯塔"想象的監(jiān)獄"

Unlike most of the people on our list, Giovanni Battista Piranesi never intended for his designsto be built. And that's a good thing because living in Piranesi's drawings would've been hell onEarth. An Italian etcher and architect (among other things) from the 18th century, Piranesispent his time drawing impossible prisons so horrifying that they seem ripped straight fromH.P. Lovecraft's nightmares.

與大多數(shù)人不同，喬瓦尼·巴蒂斯塔·皮拉內(nèi)西從未打算將他的設(shè)計(jì)建造出來。這是一件好事,因?yàn)樯钤谄だ瓋?nèi)西的設(shè)計(jì)里就像生活在人間地獄。作為一名18世紀(jì)的意大利雕刻家與建筑師，皮拉內(nèi)西創(chuàng)作出如此不可思議且令人驚駭?shù)谋O(jiān)獄畫，它們就像從恐怖大師洛夫克拉夫特的夢魘里跑出來的一般。

Featuring bizarre angles, staircases that lead nowhere, and rumbling machines that resembletorture devices, Piranesi's etchings come from the Venetian tradition of imaginary subjects. Inthis case, there's a good argument to be made that his subject was hell. The endless corridors,slumped figures, and chains all seem to point toward people trapped in eternal torment. Thatdidn't stop his admirers from seeing more earthly possibilities in them. According to art criticJonathan Jones, Piranesi's prisons directly inspired the movie architecture for Metropolis andBlade Runner and even influenced London's real-life Tate Modern and Jubilee Line.

皮拉內(nèi)西的蝕刻版畫源自威尼斯傳統(tǒng)的虛幻主題，有千奇百怪的角度,無路可去的樓梯和貌似刑具的隆隆作響的機(jī)器。因此,說他的主題就是地獄也不為過。沒有盡頭的走廊、垂頭彎腰的人影和枷鎖似乎都暗示著人們被困于無盡的折磨之中。但這并沒有妨礙他的崇拜者認(rèn)識(shí)到這些版畫在現(xiàn)實(shí)世界中的潛在價(jià)值。據(jù)藝術(shù)評(píng)論家喬納森·瓊斯介紹，電影《大都會(huì)》和《銀翼殺手》的布景都受到皮拉內(nèi)西的監(jiān)獄的啟發(fā)，它甚至影響了現(xiàn)實(shí)世界中倫敦的泰特現(xiàn)代美術(shù)館和朱比里線的設(shè)計(jì)。

1.The Utter Insanity Of Hermann Finsterlin

1.赫爾曼·芬斯特林徹底的瘋狂

Hermann Finsterlin has an unusual claim to fame. Despite being a visionary architect whosework inspired many, he never saw a single building he designed actually built. There's a goodreason for this. Finsterlin's designs were bonkers.

赫爾曼·芬斯特林有一個(gè)不尋常的成就。盡管他是一位空想建筑師，其作品啟發(fā)了許多人，可他的所有建筑設(shè)計(jì)都沒能實(shí)現(xiàn)。對(duì)此合理的解釋就是，芬斯特林的設(shè)計(jì)都是瘋狂的。

We don't mean they were unusual or overambitious or simply too expensive to make. We meanthey were the work of a man who'd clearly parted company with rationality many moons ago.Finsterlin's whole approach was to make inhabitants of his buildings feel like they were inside aliving creature. He took inspiration from mammals' limbs, the human thorax, the alimentarycanal, and dinosaurs. In one book, he claimed he wanted his rooms to feel like separateorgans, with inhabitants enjoying "the giving and receiving symbiosis of a giant fossil womb." Atleast one of his designs featured what looks uncannily like a gigantic, erect penis. His 3-Dmodels were no less absurd. One currently housed in New York's MOMA collection resemblesnothing so much as a five-year-old's overexcited experiments with modeling clay. The moreabstract ones don't even seem to fit together. Yet had Finsterlin been allowed to build hisdesigns, there's no doubt our world would be a much more interesting place to live in—and onea good deal more nightmarish, too.

這并不是說這些設(shè)計(jì)非比尋?；蛞靶奶螅只騼H僅是建筑成本過高。而是這些設(shè)計(jì)的作者顯然早已脫離了理性。芬斯特林的最終目的是使他的建筑里的居民感覺像是生活在一個(gè)生物體內(nèi)。他的靈感來自哺乳動(dòng)物的四肢、人類的胸腔、消化道和恐龍。在一本書中，他聲稱希望自己的房間像不同的器官，讓居民體驗(yàn)"一個(gè)巨型化石子宮內(nèi)的授受共生"。至少他有一個(gè)設(shè)計(jì)看上去的確像極了一個(gè)巨大的勃起的陰莖。他的3D模型同樣荒誕不經(jīng)。目前存放于紐約現(xiàn)代藝術(shù)博物館的一個(gè)收藏品就像五歲小孩兒因過于興奮捏出的粘土模型。一些更抽象的作品甚至好像無法組裝在一起。然而，如果芬斯特林獲準(zhǔn)建造他的設(shè)計(jì),毫無疑問，我們的世界將會(huì)成為一個(gè)更有趣的生存之地——同時(shí)也是一個(gè)更加荒誕離奇的地方。