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所谓“翻译”，并不局限于把一种语言转换成另一种语言，而是一种将某一实体在不同媒介之间传播扩散的手段，它依赖于有序的综合信息和概念在模糊但有界限的层次之间的传递。建筑师的工作，就类似于翻译，将空间的概念以图纸的方式呈现出来。然而，将二维表达转换为三维空间不可避免地会产生错译，而这些错误，无论作者是否认识到，都将逐渐累积起来的，形成一定的表达。

Translation, by definition, is not limited to the conversion of one language into another. It is the diffusion of an entity between disparate mediums, dependent on a hierarchical synthesis and transmission of concepts between ambiguous yet demarcated layers. Architects, similar to translators, interpret concepts and drawings to make buildings. Converting two-dimensional representation into three-dimensional space inevitably produces errors in translation which cumulate regardless of an author’s cognizance.

▼展览空间外观，exterior view of the exhibition space ©Hiroki Nakadoi

展览的旅程是语言之间的穿越，也是对其内容的意识形态翻译的隐喻。在整个展览中，通过一系列半透明的纺织品将画廊内部分隔开来，对展览中展出的作品进行了不完美的诠释。这些纺织品将观众与展品分开，同时作为同一元素，贯穿整个空间走廊。

▼轴测图，axonometric drawing ©Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris

The exhibition’s journey is a traversal between languages and serves as a metaphor for the ideological translation of its contents. Throughout the exhibit, imperfect interpretations of the work occur through a series of translucent yet opaque textiles that divide the gallery interior. These textiles separate the viewer from the exhibited material and concurrently serve as corridors through the space.

▼展览空间现场，exhibition space ©Satoru Moriwaki

▼朦胧的展场环境，hazy exhibition environment ©Satoru Moriwaki

▼展出的建筑模型，architectural model in the exhibition space ©Satoru Moriwaki

织物材质形成了缥缈的、纤细的投影，超出了感知的掌握。通过有选择地隐藏建筑模型，暗示了在设计过程中概念与实现的差别。模糊的、不明确的边缘，在被转化为现实之前，一直存在于意识领域。隐藏的建筑模型所投下的阴影在展厅中潜伏摇摆，就像飘散在建筑师脑海中的设计概念一样，呈现在参观者的眼前。

▼概念图，conceptual diagram ©Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris

The fabric’s optical quality forms ethereal, wispy projections that lie just beyond the grasp of perception. By selectively concealing architectural models, allusions are made to the discovery and realization of an idea during the design process. Ideas with hazy, undefined edges that reside within the realm of consciousness until they are translated into reality. Shadows cast by the concealed models lurk and sway in the exhibition room, like scattered concepts, observed by the visitor as they enter the designer’s mind.

▼织物分隔了展览空间，the fabric divides the exhibition space ©Yosuke Ohtake

▼织物形成了朦胧的光影，
the fabric created a hazy light and shadow ©Yosuke Ohtake

▼细部，details ©Yosuke Ohtake

▼幕布与投影，curtains and projections ©Yosuke Ohtake

画廊中展示了由展览建筑师共同创作的模型。模型作为建筑的媒介，由于其固有的物质性，是一种易于理解的对象。即使在它的不完美之处—— 缕缕的胶水，残留的指纹—— 模型也揭示了在图纸和效果图中无法感知的东西。虽然“错译”解释了一种固有的消极性，但它提供了一个利用过程中意想不到的“错误”来创造新表达的机会。本次展览就旨在探索将这种错译作为一种改进建筑设计的新方法。

▼分析图，analysis diagram ©Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris

Throughout the gallery are models coauthored by the exhibition’s architects. As a medium of architecture, the model is an object that is easy to understand because of its inherent physicality. Even in its imperfections – strands of glue, remnants of fingerprints – the model reveals what cannot be perceived in drawings and renderings. Although “mistranslation” construes an innate negativity, it provides a generative opportunity to utilize the unexpected remnants of process to create development. We are in interested embracing mistranslations as a method of refining architectural design.

▼建筑模型，architectural model ©Masashi Sugita

▼建筑模型，architectural model ©Masashi Sugita

▼细部，details©Masashi Sugita

▼平面图，plan ©Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris

▼剖面图，section ©Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris

Project Name: MISTRANSLATIONS
Designers: Alexandre Vicente (AVS – Alexandre Vicente Studio) + Ken Farris
Collaborators:
Steel work & assemblage: Guido Saldana
fabric & textiles: Tomoco Tagawa
woodwork: Hideo Wada
graphic design advisor: Andrew Chee
music design: Sugami
physical model assistance: Tadashi Miyake, Fumiya Hitomi

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Mistranslations – An architectural exhibition by Alexandre Vicente studio + Ken Farris