独特的旧建筑的解冻重复使用已成为繁荣的城市的愉快普遍的事件 - 教会转变为别致的公寓,例如,作为办公空间或学校重新安排的工业建筑。

更多的烦恼是与历史视觉上罢工的特质幸存者有关的问题 - 视觉上罢工的非官方地标经常宣传的遗传,召唤出一种地方,而是混淆开发人员的电子表格。这种性质的建筑是Dan Barasch的眼球爆炸调查的主题66栋建筑,展示了想象力的设计师和奉献者可以实现的。失望?它可能是如此。

如果上述评论像略微击略的评论一样读出什么 - 如果,那么这种情绪适合在迪伦·瑟拉斯的迪伦·突厥·奥克拉的Cofounter中生动地捕获的主题。“Exploring abandoned buildings isn’t about reveling in their collapse at all,” he writes, recalling teenage years spent in the thrall of deserted or disused flour mills in Minneapolis—now partially restored structures—which he holds up as examples of “unscripted architecture” that “occupy a shadowy liminal space between self-destruction and the possibility of rebirth.”

这种无规格可能性的感觉是唐巴拉斯的珍宝遗失和销售的力量。It goes beyond the oft commemorated losses, such as Frank Lloyd Wright’s Larkin Building in Buffalo (1906, demolished in 1950) or Alison and Peter Smithson’s Robin Hood Gardens, London public housing completed in 1972 and felled in 2017, and such celebrated triumphs as the conversion by Herzog & de Meuron of London’s decrepit Bankside Power Station into the Tate Modern (2000). We’re presented with an array of such arresting but lesser-known visions of future-meets-past as MVRDV’s Gemini Residence—the conversion of two stocky concrete silos on a Copenhagen waterfront, their rounded forms now wrapped in eight stories of balconied housing like an interlocked set of silvery cocoons (2005). Or the coal crane in that same city turned into a spa-topped meeting facility by Arcgency (2017). Or the long-empty Classical Revival bank on Chicago’s South Side that Theaster Gates summoned back to life as the community-based Stony Island Arts Bank (2015).

包含这个最后一个项目是重要的 - 一个对手,植根于当地的激情,以至于当代建筑的滋绩行为越来越多地被全球财富的涟漪效应促进。It’s no surprise that the case studies on display include a slew of often privately conceived museums, including the ballyhooed Fondazione Prada, a gin distillery in Milan restored and updated by OMA in 2015. While it’s exciting to see great though troublesome buildings salvaged with an unexpected spark, such efforts can have a rarefied air, no matter how rough the architectural juxtapositions might be.

这个故事的这个方面并不是由Barasch探索的,这是一个长期的支持者在曼哈顿下东部的曼哈顿下游进入一个苍翠的“低线”。该文本将自己限制在直接的单一表明细节中,这是一种信息,而是一个让人的暴风觉,以及66个案例的令人震惊的图像和聪明的选择,包括在泰晤士河河口中的Limbo第二次世界大战中的闪闪发光的图标瞥见拯救 - 以及这种持续的原因是希望洛杉矶河作为城市绿地空间的回收。

尽管如此,给这本书的信贷:我们被激议超越了文本的约束,思考经济学和文化和胜利碎屑的分层交叉口。每个城市都拥有明显的可能性。挑战不是满足于规范的满足。