世界上十大因不切實際而無法建成的建築奇作(下)

Dynamic Tower

5.迪拜的動態大廈

In 2008, Italian architect David Fisher unveiled plans for the most ambitious construction project on Earth. Known as the Dynamic Tower, this 80-story behemoth would cost $700 million and generate its own power using 79 wind turbines. Every single floor would rotate independently of the others, so the tower never stayed in a single shape.

2008年，意大利建築師大衛·費舍爾推出了世界上最雄心勃勃的建設項目，即著名的動態大廈。這個80層的龐然大物預計花費7億美元，需要79颱風力發電機爲它提供電能。每一樓層都可獨立於其他樓層單獨旋轉，所以大樓的外形會隨時變換。

The idea was to use prefab constructions hugging tight to a central concrete core, sort of like having 80 separate bungalows stacked on top of one another. The 79 turbines would then send juice 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 Tower was constantly shape-shifting. With such an inspired design, you might be wondering what happened. Officially, nothing. Fisher insists his tower is still going ahead. However, it was originally meant to be finished in 2010, and so far—in mid-2015—not a single brick has been laid 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.

這個設計計劃採用預製結構緊緊圍繞混凝土中軸，就像將80間獨立的平房堆疊在一起。79個風力發電機爲每一層樓提供電力，讓它們以不同的速度緩慢旋轉。之前沒有聽過動態大廈這個理念的人會認爲動態大廈好像在不停地變形。你一定想知道這樣一個富有靈感的設計進展如何。官方沒有透露任何相關消息。但費舍爾堅稱他的大廈仍會繼續建設。然而，原定於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。或許費舍爾的大廈選錯了地方：自2008年銀行破產以來，迪拜的建築業仍未完全恢復。

tantin Melnikov's Monument To Columbus

4.康斯坦丁·梅爾尼科夫設計的哥倫布紀念塔

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

在大衛·費舍爾提出動態大廈設想的80年前，康斯坦丁·梅爾尼科夫就在埋頭設計一個動態紀念塔。不同於費舍爾，梅爾尼科夫不滿足於建造僅會毫無意義轉換方向的大樓。他要構建一棟會演奏樂章的建築。

One of the Soviet Union's 23 official entries to the Pan-American competition to design a monument 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 small turbine, generating electricity. More impressively, the huge wings on the side of the building were designed to sway in the wind. As they swung back and forth, they would strike one of seven 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 statue itself was equally impressive. As the lighthouse's two cones turned, they would briefly intersect, causing the statue to temporarily rise up into view. Too bad the committee ultimately ditched Melnikov's vision in favor of a big, boring block.

在泛美聯盟組織的克里斯多弗·哥倫布紀念塔設計大賽中，有23個來自蘇聯的參賽作品，其中梅爾尼科夫的燈塔是雄心壯志的最佳寫照。該燈塔上部有個巨大的圓錐體，椎體內部被挖空用於收集雨水，這些雨水能帶動一個小型渦輪機發電。更令人印象深刻的是，建築兩側的巨型翅膀能在風中擺動。隨着翅膀前後擺動，會撞擊七個圓環之一，發出能傳至幾英里之外的響聲。狂風大作的時候，燈塔還將會演奏出錯綜複雜的曲調。哥倫布塑像的設計也相當引人矚目。燈塔的兩個圓錐體轉動時會有短暫的交叉，使塑像暫時升起呈現在人們的視野之內。不幸的是，委員會最終否定了梅爾尼科夫的設計，其支持建成的紀念塔就像個毫無觀賞性的巨型磚塊。

rd K. O'Neill's Space Cylinders

3.傑拉德·K·奧尼爾的太空圓柱體

In 1974, Princeton physicist Gerard K. O'Neill wrote a paper that would inspire plans for years to come. Interested in bringing humanity off Earth to inhabit the universe, O'Neill set out his designs 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，普林斯頓的物理學家傑拉德·K·奧尼爾撰寫了一篇論文，這篇論文會啓發未來數年的多項計劃。奧尼爾專注於將人類文明帶出地球，落戶宇宙。他計劃建造大型外太空殖民地，讓人們生活在一個巨大的圓柱體中，即奧尼爾圓柱體。他的設計堪稱未來主義思想的巔峯之作。

Giant glass tubes 30 kilometers (20 mi) long, each O'Neill Cylinder would hang at the L5 point in the Moon's orbit—a place the Guardian described as "like a gravitational eddy where things stay put by themselves." Each would provide gravity by rotating, and strips of land would alternate with long sheets of glass to let sunlight in. In effect, this meant that people on one strip of land would always have another directly above their heads. It would be possible to look up 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 that could be manipulated to create the sensation of passing seasons. O'Neill's ultimate plan was to have hundreds of these cylinders connected by a web of cables, connecting four billion human colonists in the empty wastes of space. Sadly for sci-fi lovers, his plans were hundreds of years ahead of their time. Even now, 40 years later, building an O'Neill cylinder would require technology 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30千米（20英里），每一個都將懸浮在月球軌道的第5拉格朗日點（L5）上，英國衛報稱其"就像一個重力漩渦，其內所有物體都保持靜止。"每個圓柱體都將旋轉產生引力，且陸地與玻璃交替分佈，使陽光能照射進來。事實上這意味着每塊陸地的正上方都有另一塊陸地。很可能每天早上起牀後，一擡頭就會看到鄰居家的屋頂正在距離你頭頂的上千英尺處。更令人印象深刻的是，每個圓柱體都有自己的天氣調節系統，可以經由人工控制營造出四季更替的感覺。奧尼爾的終極計劃是建造百餘個圓柱體，由縱橫交錯的電纜連接爲一個整體，也連接着在這個空空如也的太空殖民居住的40億人類。不幸的是，對於科幻小說愛好者來說，奧尼爾的計劃超前了幾個世紀，即便在40多年後的現在，我們也沒有如此發達的科技建造奧尼爾圓柱體。未來又一次辜負了我們。

anni Battista's Imaginary Prisons

2.喬瓦尼·巴蒂斯塔"想象的監獄"

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

與大多數人不同，喬瓦尼·巴蒂斯塔·皮拉內西從未打算將他的設計建造出來。這是一件好事,因爲生活在皮拉內西的設計裏就像生活在人間地獄。作爲一名18世紀的意大利雕刻家與建築師，皮拉內西創作出如此不可思議且令人驚駭的監獄畫，它們就像從恐怖大師洛夫克拉夫特的夢魘裏跑出來的一般。

Featuring bizarre angles, staircases that lead nowhere, and rumbling machines that resemble torture devices, Piranesi's etchings come from the Venetian tradition of imaginary subjects. In this 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. That didn't stop his admirers from seeing more earthly possibilities in them. According to art critic Jonathan Jones, Piranesi's prisons directly inspired the movie architecture for Metropolis and Blade Runner and even influenced London's real-life Tate Modern and Jubilee Line.

皮拉內西的蝕刻版畫源自威尼斯傳統的虛幻主題，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器。因此,說他的主題就是地獄也不爲過。沒有盡頭的走廊、垂頭彎腰的人影和枷鎖似乎都暗示着人們被困於無盡的折磨之中。但這並沒有妨礙他的崇拜者認識到這些版畫在現實世界中的潛在價值。據藝術評論家喬納森·瓊斯介紹，電影《大都會》和《銀翼殺手》的佈景都受到皮拉內西的監獄的啓發，它甚至影響了現實世界中倫敦的泰特現代美術館和朱比裏線的設計。

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 whose work inspired many, he never saw a single building he designed actually built. There's a good reason for this. Finsterlin's designs were bonkers.

赫爾曼·芬斯特林有一個不尋常的成就。儘管他是一位空想建築師，其作品啓發了許多人，可他的所有建築設計都沒能實現。對此合理的解釋就是，芬斯特林的設計都是瘋狂的。

We don't mean they were unusual or overambitious or simply too expensive to make. We mean they 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 a living creature. He took inspiration from mammals' limbs, the human thorax, the alimentary canal, and dinosaurs. In one book, he claimed he wanted his rooms to feel like separate organs, with inhabitants enjoying "the giving and receiving symbiosis of a giant fossil womb." At least one of his designs featured what looks uncannily like a gigantic, erect penis. His 3-D models were no less absurd. One currently housed in New York's MOMA collection resembles nothing so much as a five-year-old's overexcited experiments with modeling clay. The more abstract ones don't even seem to fit together. Yet had Finsterlin been allowed to build his designs, there's no doubt our world would be a much more interesting place to live in—and one a good deal more nightmarish, too.

這並不是說這些設計非比尋常或野心太大，抑或僅僅是建築成本過高。而是這些設計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築裏的居民感覺像是生活在一個生物體內。他的靈感來自哺乳動物的四肢、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"一個巨型化石子宮內的授受共生"。至少他有一個設計看上去的確像極了一個巨大的勃起的陰莖。他的3D模型同樣荒誕不經。目前存放於紐約現代藝術博物館的一個收藏品就像五歲小孩兒因過於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，如果芬斯特林獲准建造他的設計,毫無疑問，我們的世界將會成爲一個更有趣的生存之地——同時也是一個更加荒誕離奇的地方。

審校：趙倩 來源：前十網