變形記。當(dāng)飛機(jī)起飛后，它在空中的密封狀態(tài)將因機(jī)身插入和穿透云層得到加強(qiáng)。正如藝術(shù)本身，這個(gè)為藝術(shù)而設(shè)計(jì)的空間既脫離于這個(gè)世界，又仍屬于這個(gè)世界；它自環(huán)境中飄然離去，又依舊占據(jù)著空間。利用疏離與顯現(xiàn)、接近與分離作為感知的理想視差，能讓人們理解空間。

形式由功能決定。通過使用一種空間的形式所獲得的感知不一定能反映其功能價(jià)值。在任何情況下，功能也同樣是形式，是一種由（社會(huì)的和文化的）氣候發(fā)展而來的功能模式。并且由此，在某種程度上，從內(nèi)容具有的形式中衍生出了它的實(shí)際效果。因此，從不同的角度看，建筑既是容器也是關(guān)系：它們不僅根據(jù)一種具體特征限定了一個(gè)內(nèi)部空間，且在另一方面，也限定了外部的空間。這意味著內(nèi)部與外部是具有不同“張力”的空間場(chǎng)域，它們被諸如墻體、屋頂、門窗等各種密度不同的邊界彼此分隔（或者說彼此聯(lián)系更好）。

“方盒子”的建筑類別被人們作為最基礎(chǔ)和最小化的空間限定形式而選用?！昂凶?容器”是一個(gè)抽象的符號(hào)化形式，象征著“被割離”的世界，象征著一個(gè)被容器內(nèi)的藝術(shù)品所限定、并作為外界參照的世界。□（徐知蘭 譯）

1 立面：道格拉斯·戈登/Facade: Douglas Gordon

2 立面：埃德·盧查/Facade: Ed Ruscha

3 立面：格哈德·里希特/Facade: Gerhard Richter

4 立面：沃爾特·奧布沃澤/Facade: Walter Obholzer（1－4 攝影/Photo: Margherita Spiluttini）

5 外景/Exterior view

6 外景/Exterior view

7 咖啡廳內(nèi)景/Café,interior view（5－7 攝影/Photo: Margherita Spiluttini）

8 剖面/Sections

9 剖面/Sections

10 內(nèi)景/Interior view（攝影/Photo: Margherita Spiluttini）

A Metamorphosis. Let the crate take off, its airborne closure is strengthened by the insertion and penetration of the tube. Like art itself this space for art is both removed from the world and yet part of it, floating away from its surroundings while still occupying space. The exploitation of distance and presence, of proximity and separation as idealised parallaxes of perception enable one to penetrate the space.

Form is defined by use. The perception derived from the use of a form does not necessarily reflect its functional value. Whatever the case, use is also form, a pattern of use which develops from climatic－both social and cultural－circumstances and thus derives its effect, to a certain extent, from the form of the content. Buildings are therefore both containers and relationships seen from different aspects: They not merely define an internal space in terms of a specific character but also external space as “the other side”. This means that inside and outside are differently “charged” fields of space which are separated (or perhaps better put, connected) by boundaries such as wall, roof,window or door that are of different densities.

The building type "box" was selected as the most radical and minimal form of spatial definition.The "box/container" is an abstract symbolic form of the“excised” world, of a world determined by art in a vessel that makes passing references to the outside. □

業(yè)主/Client: 維也納市/City of Vienna

使用者/Occupant: 維也納藝術(shù)館/Kunsthalle Wien

合作者/Collaborators: Stefan Rudolf, Wolfgang Tr?ger