住在末世的机器-圓堂政彦│Art
悬浮映画按：Raimund Abraham认为建筑的表达不仅仅在于现实物质世界的支撑，认为图像上的设计与现实建筑一样具有合理性和存在性，而且更能够反映特定的含义。“居于建筑首位的应该是理念，然后才是怎么样实现它，表现建筑的理念语言有很多，其中之一是绘图。”相较于对现实实体的工具性阐述，图像更偏向与表述建筑和周围环境的理想社会关系或是以建筑作为载体进行学科批评。
这些停留在图像媒介中的建筑可能是对于建筑纯粹理念的多度追求而丧失了建造的实际操作可能性；也可能是自身表达了两面的对立观点，充满矛盾且不可实现的空间；同样也可能是超越技术的华丽想象而只能止步于图像领域。不论是出于何种原因，建筑师在图纸上表达同样进入并完善了建筑史的批判性构建。正如罗伯特·休斯所说，二十世纪最有影响的建筑在很多方面上都是纸上的建筑，从未从绘图板上拿下来
Mas Yendo也是一名在建筑图纸上表现自己想法的日本建筑师，他利用逼真赤裸的和暗黑化的超现实建筑图纸，描绘出生态灾难、且充满敌意的现代生活、异化与消费主义。-Machines for Living in The End of Times-
住在末世的机器
Mas Yendo
Project/项目介绍
“What I speculate in my work is that new technologies will play an important part in how architects embrace new ideas. The advancement of seemingly unrelated sciences such as biochemical engineering, coupled with the growing consciousness of environmental issues, furthered by the development of mechanical design, must serve to inspire creativity”
我在工作中推测，新型技术将在建筑师该如何接受新思潮方面发挥重要作用，这似乎不相关科学的进步，如生物化学工程、’环境问题日益增强的意识，再加上机械设计的发展，这确实有助于激发创造力。
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
Masahiko (Mas) Yendo’s work draws heavily from the perverse fascination with worn out machinery: industrial hardware, in Yendo’s world can be reused, reconfigured, converted into machines for individual inhabitation. Science fiction, space travel, and apocalyptic dystopia provide an inspiring imaginary for the japanese architect and theorist.
Masahiko（Mas）Yendo的工作似乎非常吸引人，因为工业的零部件在Yendo的世界可以被重复使用，重新配置，转换成个人居住的机器又或者是科幻小说，太空旅行和世界末日反乌托邦，为日本建筑师和理论家提供了一个个灵感来源。
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
“Under the sway of abstract scientific theories, architecture has lost its connection to the concrete experience of space. Theoretical models derived from the natural sciences tend to overlook significant characteristics of the physical environment and their effects on human occupants. Often, technologies are imagined to fulfill human needs that remain, in fact, completely unsatisfied.”
“We must therefore think of a place as a qualitative, total, existential phenomenon. Existential space: this is the basic relationship between man and his environment.”
在概念（abstract ）的科学理论的影响下，建筑已经逐渐失去了与空间的具体体验的联系。来自自然科学的理论模型往往忽略了物理环境的显著特征及其对人类居住者的影响。通常，技术被想象来满足人类的需要，而事实上，这些需求仍然不完全满足的。
因此，我们必须把一个地方看成是一个定性的、全面的存在的现象。一个生存空间:确立人与环境的基本关系。
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
Much of Yendo’s vision is gritty and dark. It is that of the ecological disaster, of an hostile modern life, of alienation and consumerism.
圓堂政彦的大部分愿景都是逼真的和暗黑化的。这例如描写生态灾难、且充满敌意的现代生活、异化与消费主义。
“In metropolitan experience, this anxiety is intensified still further by the de-individualizing pressures of mass culture.
UL-9205 is a compact and autonomous Urban Survival Apparatus that shelters its occupant and provides him or her with physical and spiritual respite from the modern world. It is a Zero Anxiety space. UL-9205 harbors experiences that are intended to restore the occupant’s own individuality.”
在大都市圈中，大众文化的“去个性化”（de-individualizing ）的压力进一步加剧了这种焦虑。
UL-9205是一种紧凑而自治的城市生存装置，它为居住者提供庇护，并为他或她提供现代世界的物质和精神上的喘息的机会。这是一个没有焦虑的空间。UL-9205以避难所的手法旨在为恢复居住者自己的个性。
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
Yet, human nature has allowed us to pull through in extreme times, thanks to a reserve of resourcefulness and inventiveness. Even Yendo’s individual living units harbor a sense of community, a hope for civilization longed for in a post-apocalyptic agenda.
然而，即使人类的本性使我们在极端的时候能够渡过难关，仍要感谢一种机智和创造性的设备。像是圓堂政彦设计的避难所一样，这同样是一种文明的希望。
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
（© Mas Yendo.experimental project）
Mas Yendo Speaking of Himself
/政彦说
“By definition, the Greek term Utopia is literally a non-place. Commonly, it is used to describe an ideal society, respectively a perfect community, which does not (yet) exist. By definition, an architect is a person trained in the planning, design, and oversight of the construction of buildings. Masahiko Yendo’s approach reaches far beyond this simple term, as his “take on experimental architecture is non-built.” So join his “process of discovering,” and find out who really builds the buildings in our latest Gestalten.tv interview, which took place at Mas’s studio in New York’s Hamptons.”
“从定义上看，希腊的“乌托邦”实际上是一个“非地方”。通常，它被用来描述一个理想的社会，一个完美的社区，它还不存在。根据定义，建筑师是在规划、设计和监督建筑施工方面受过训练的人。他的方法远不止于这个简单的术语，因为他的“实验建筑是不建造的”。所以加入他的“发现的过程””
https://v.qq.com/txp/iframe/player.html?vid=v13361n78hl&width=500&height=375&auto=0
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