建筑与“羞耻”的关系是？

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Architecture of Shame

欧洲建筑 集体精神分析会议

《Architecture of Shame》以由下至上的角度研究了建筑与羞耻之间的关系，以此作为了解当代欧洲身份的工具。

Architecture of Shame investigatesrelationships between architecture and shame as a tool to understandcontemporary European identities from a bottom up perspective.

AoS利用“架构”和“羞耻”之间的关系来引发富有成效的对话，即关于我们的身份的哪一部分反映在已构建空间中以及我们如何看待它的方式。

AoS uses the relationship betweenArchitecture and Shame to trigger a productive dialogue about which part of ouridentities is reflected in the built space and in the way we look at it.

最初的文化过滤器是Matera（IT）的故事，1950年被称为意大利的耻辱，1993年被确认为世界遗产。

The starting cultural filter is the storyof Matera (IT) called Shame of Italy in 1950 and recognized a World Heritage in1993.

这种根本的变化是由于文化的发展而发生的。

This radical change occurred thanks to acultural evolution.

通过使用羞耻作为一种工具，我们想质疑一种“负面感觉”：我们应该为某些建筑，地点，城市感到羞愧还是应该重新考虑它们的品质？这些结构令人尴尬的建筑让我们感到羞耻吗？

By using shame as a tool we want toquestion a "negative feeling": should we be ashamed by somearchitectures, places, cities or should we re-consider their qualities? Are wefeeling ashamed enough by those architectures that shows embarrassing sides ofour culture?

在这些问题之间，我们可以研究建筑作为社会亲密感和公共价值的场所，我们可以使用建筑作为讨论我们的公共生活和公民参与未解决问题的方式。

In between of these questions we caninvestigate architecture as the place of social intimacy and public values, wecan use architectures as a way to talk about unresolved questions of our publiclife and civic engagement.

Exhibition for Matera 2019 ECoC: Archiveroom

Exhibition for Matera 2019 ECoC: Party room

Exhibition for Matera 2019 ECoC: Party roomdetail

Exhibition for Matera 2019 ECoC detail

Exhibition for Matera 2019 ECoC detail

创意者

Fabio Ciaravella, Cristina Amenta, MimìCoviello, Clara Cibrario Assereto

Architecture of Shame官网

https://www.architectureofshame.org/Map

AoS

“羞耻建筑”是一个研究小组，致力于研究欧洲建筑与羞耻之间的关系。出生于马泰拉，与2019年欧洲文化之都的申请程序对话，如今是马泰拉2019年文化计划的``耻辱的建筑  一章的项目负责人。

Architecture of Shame is a research group that investigates the relationship between architecture and shame in Europe. Born in Matera in dialogue with the application process of the European Capital of Culture 2019 and today is project Leader of the chapter ARCHITECTURE OF THE SHAME part of the cultural program of Matera 2019.

“羞耻建筑”通过寻找一种在羞耻感和建筑形式之间的特殊关系中谈论欧洲身份和当代文化的关键方式，正在构建“欧洲建筑的集体精神分析会议”。

Architecture of Shame is building a "collective psychoanalytic session for European architecture" by seeking a critical way to talk about European identities and contemporary culture in the special relationship between the feeling of shame and the forms of architecture.

羞耻建筑的中期目标是在马泰拉建立一个研究和文献中心，该中心将马泰拉及其历史作为文化颠覆和重新考虑我们所谓的“耻辱”的积极实例。

Architecture of Shame has the aim in the medium term to found in Matera a research and documentation center that places Matera and its history as a positive example of cultural overturning and reconsideration of what we consider "shame".

体现该项目的图像是由Calia Italia制造，由Saverio Calia设计的“ Mater Familias”沙发床，他想在项目中综合羞耻建筑和马泰拉市的价值。

The image that embodies the project is the "Mater Familias" daybed, manufactured by Calia Italia and designed by Saverio Calia who wanted to synthesize in a project the values of Architecture of shame and the city of Matera.

AoS研究方法

羞耻的架构基于三个步骤：研究，对话和行动。AoS将这种方法应用于个人主题和案例研究，而这些案例和案例研究与国家和国际专家和机构的合作均下降。研究是通过欧洲的正式和非正式档案进行的。对话涉及非常不同的人，例如学者，政治家，机构，文化经营者和公民，涉及的主题是。行动是公共空间中的艺术和建筑干预，旨在传播研究和对话的结果并启动过渡过程。每个主题或章节都扩大了与建筑有关的羞耻感，并在参与人员之间建立了一种“文化亲密感”。

Architecture of Shame is based in a three-step method: research, dialogues and actions. AoS applies this method to individual themes and case study that declines in collaboration with national and international experts and institutions. Researches are developed through formal and informal archives in Europe. Dialogues involve very different people such as scholars, politicians, institutions, cultural operators and citizens on the topics dealt with. Actions are art and architecture interventions in the public space that aim to disseminate the results of research and dialogues and start the rollover process. Each theme or chapter extend the idea of shame in relation to architecture and builds a sense of "cultural intimacy" (Hertzfeld) among people involved.

AOS主题

耻辱的建筑分为8个主题。

选择这些章节是为了与马泰拉（Matera）的历史保持一致，对国际辩论产生兴趣，与在能够产生问题并影响建筑在我们生活中的作用的地方与人们合作的兴趣。

Architecture of Shame starts with 8 themes.

The chapters have been chosen for consistency with the history of Matera, for interest in the international debate, for interest in working with people on places able to produce questions as well as influence the role of architecture in our lives.

Flipping Shame 轻浮的耻辱

本章讨论了推翻城市中心，城市及其社区发展中心的退化地方的可能性。郊区，无论这些地方离市中心很远，还是仅仅是边缘化的地方，通常都是城市的耻辱之地，这些城市的过失造成普遍的尴尬境地，使那些生活和感觉属于他们的人蒙上了一层阴影。长期以来，由于遇到困难，城市设法在郊区看到一种资源，而当这种情况发生时，它们遵循了建筑投机和高档化的指示。但是，有时候，人们和思想颠覆了这种普遍看法，并表明郊区存在着物质，社会和文化资源，这些资源对于城市的未来至关重要。

The chapter deals with the possibility of overturning degraded places in urban centralities, centers for the evolution of cities and their communities. The suburbs, whether these places are far from the centers, or simply marginalized places, are often places of shame for the cities whose faults create generalized embarrassment conditions that stick to the skin of those who live and feel they belong. With difficulty for a long time, cities have managed to see a resource in the suburbs, and when this happened, they followed the directions of building speculation and gentrification. However, it happens sometimes that men and ideas overturn this common perception and show that in the suburbs there are material, social and cultural resources that are fundamental for the future of cities. This happened in Favara (Sicily) with FARM CULTURAL PARK as well a Nothingam in the United Kingdom with the New Art Exchange project.

Pop Housing 流行房屋

受欢迎的房屋总是位于民间社会最伟大的成就之一与社会和美学衰败场所之间的中间，通常被标记为耻辱。无论是成功还是失败，都可以看出建筑在定义生活质量，政治意愿和无能的能力，历史进程和日常生活变化之间的复杂性。观察公共住房的干预有助于了解世界真相的一部分，有时是征服文明，有时则是可耻的失败。但是，今天，鉴于当前的经济和社会困难，其含义变得更加强烈，有必要重新考虑在整个欧洲发挥了重要作用的社会状态的这一部分。该项目的这一部分阐明了一种读取公共住房的方法。该方法分为三个阶段：研究，对话和行动。它与费德卡萨（Federcasa），威尼斯ATER威尼斯（ATER Venezia）和阿特拉马泰拉（ATER Matera）等著名房屋的机构紧密相连，它提供了威尼斯和马泰拉与其他地方的比较经验，从而改善了居民的生活质量。公共空间及其加强是讨论的中心。

Popular houses, always halfway between one of the greatest achievements of civil society and places of social and aesthetic decay, are often labeled as shame. In their success or failures, it is visible the complexity between the power of architecture in defining the social quality of living, political wills and incapacities, the course of history and the changes in everyday life. Observing an intervention of public housing is useful to see a part of the truth of the world, sometimes conquest of civilization, other time a shameful failure. However, today, in the light of the current economic and social difficulties, their meaning becomes stronger and it is necessary to reconsider this part of the social state that has played a formative role in the whole of Europe. This section of the project clarifies a method to read public housing. The method is divided into three phases: research, dialogues and actions. It is born in close relation to the institutions of the popular houses such as Federcasa, ATER Venezia and ATER Matera and it offers the experience that arises from the comparison between Venice and Matera to other places to improve the quality of life of its inhabitants. The public space and its strengthening are at the center of the discussion.

RURAL GHETTOS 农村贫民窟

本章讨论了欧洲乡村的贫民窟，那里的非正规移民在收货时会短暂停留，然后在其他季节转移到其他贫民窟和其他工作。农村的犹太人聚居区远离城市的视线，但与日常的民居生活非常接近，是值得非正式城市复杂化的城市主体，但对我们所提供的精确形式的景观体验却完全不为人所知。它们之所以成为羞耻之地，是因为它们完全存在于我们所谓的文明之外：出于服务，出于人类的互助意识，出于人权而常常出于出于同情心给予他人的关注。Osservatorio Migranti Basilicata，苏黎世大学和许多其他参与这条道路的人解释了这些现实，并以一种精确的方式描述了它们，以接近我们这个时代的超现实和不可思议的现象。欧洲人的描述扩大了这种现象，并将其与欧洲的非正常移民联系在一起。本章将农村贫民窟的建筑作为讨论人权主题和人道主义援助真正含义的工作的基础。然而，这种观点具有积极的见解，因为农村的贫民窟居民经常坚持居住在荒废的地区，而较小的城市核则因移民而减少。可以将这两种清空和临时填充现象与欧洲的农业财富联系在一起的方向是在一个问题中看到资源的可能性。

The chapter talks about the rural ghettos in the European countryside, where irregular migrants stop for short periods at the time of collecting goods and then move to other ghettos and other jobs for the other seasons. Far from the eyes of the cities, but very close to everyday civil life, rural ghettos are urban bodies worthy of the complexity of informal cities, but totally hidden from our experience of the landscape to which they give a precise form. They are places of shame because they exist completely outside of what we call civilization: out of service, out of the sense of mutual help of humanity, out of human rights often, out of the attention we give to others with a spirit of compassion. The Osservatorio Migranti Basilicata, the University of Zurich and many others involved in this path explain these realities and describe them in a precise way, approaching a surreal and inconceivable phenomenon of our time. A European description that broadens this phenomenon, linking it with the irregular immigration in Europe. The chapter places the architecture of rural ghettos as the basis for a discussion on the theme of human rights and on the work of the real meaning of humanitarian assistance. The perspective, however, has positive visions as the rural ghettos often insist on abandoned areas, smaller urban nucleuses depopulated by emigration. The association of these two phenomena of emptying and temporary filling in association with the agricultural wealth of Europe are the directions are able to see in a problem the possibility of a resource.

STAND BY SHAME 支持羞耻

本章探讨了欧洲未完成作品的身份，从这种现象的形式中寻找使将来有可能推翻历史平台中重大错误的杠杆。未完成的作品是当代建筑中最具生产力的形式之一。未完成工作的原因和状态的背后隐藏着特定时期以及特定社区的文化，社会，经济和政治的深层次结局。由于没有完成，未完成的作品常常带有民族，社区，国家的耻辱，因为它们无法被删除，也无法按照原始意图恢复。那该怎么办呢？怎么看他们？本章向所有人开放，由该领域的两组专家共同开发：意大利项目Incompiuto Siciliano和荷兰研究组Failed Architecture。他们将与``羞耻建筑  一起遵循研究道路和经验，将在2019年将未完成的欧洲作品带回马泰拉，将这些错误与线索联系起来，谈论未完成的欧洲和未来的欧洲。

The chapter deals with the identity of the unfinished works in Europe, looking among the forms of this phenomenon, the levers that make it possible to overturn the great mistakes of history in platforms for the future. Unfinished works are one of the most productive forms of contemporary architecture. Behind the reasons and the state of an unfinished work are hidden the deep knots of culture, society, economy and politics of a specific period of time as well as a specific community. With their presence, the unfinished works often embody a shame of a people, a community, a state because they cannot be erased, nor recovered according to the original intentions. What to do then? How to see them? The chapter is open to contributions of everyone and it is developed with the collaboration of two groups of experts in the field: the Italian project Incompiuto Siciliano and the Dutch research group Failed Architecture. Together with Architecture of Shame, they will follow a research path and experience that will bring back to Matera in 2019 a vision of the unfinished European works, linking these mistakes with a thread, talking about an unfinished Europe and a future one.

TOTALITARIAN ARCHITECTURE 极权主义建筑

欧洲过去不愉快的政治过去的迹象仍然吸引着大片城市和城市景观。 担任什么职位？ 在过去的100年中，欧洲对代表被推翻的政治机构的架构有何反应？ 当代民主国家如何共存或决定不忍受痛苦的过去的痕迹？ 这些痕迹如何在一个民主的欧洲被代谢？ 主题讨论纪念物和纪念物方面的当代尴尬。 这些标志在某些情况下已被放弃，在另一些情况下已被移除，而另一些则留给了聋人。 有时它们是城市基础设施，可以根据其他用途或其他形式的工作进行重复使用和重新评估。 本章由AoS通过国际合作，对该主题的简短访谈以及其他有用的资料进行编辑，从而为明天的欧洲设定了更广泛，更具建设性的辩论的主题。

The signs of an uncomfortable political past in Europe still draw large pieces of cities and the urban landscape. What position to take? What are the reactions of Europe to the architecture that represent the overturned political institutions over the last 100 years? How do contemporary democratic countries coexist or decide not to live with these traces of a painful past? How were these traces metabolized in a democratic Europe? The theme talks about monuments and contemporary embarrassment on the monumental dimension. These signs have been abandoned in some cases, in others removed, in others left to a deaf present. Sometime they are city infrastructures, which can be reused and re-evaluated according to other uses or to other forms of work. The chapter is edited by AoS through international collaborations, short interviews on the subject and other useful sources to set the theme for a broader and more constructive debate for the Europe of tomorrow.

Walls！Walls？Walls. 墙！墙？墙。

本章将新墙视为羞耻建筑的一种形式，这种建筑否认了欧洲文化中我们这个时代的人的自由的价值。AoS通过在欧洲的多次合作直接编辑本章的内容，这是对新墙形状的视觉处理以及在这一点上的经验和想法的清晰表达。什么是当代墙？这是为了什么 什么定义什么在划分？谁在里面，谁在外面？墙壁是我们生活时间的象征，既是国家间或民族之间的长城，又是我们在太空中竖立的小而无形的城墙，用以分隔某些东西，以区别和认同。但是墙也是过渡空间，可能会遇到分歧，触及分歧并暴露虚伪以及我们价值观的局限性。在墙壁上，您可以清晰地阅读，理解并采取立场。

The chapter deals with the new walls as a form of architecture of shame that denies the value of the freedom of the man of our time in the European culture. A visual treatment of the shapes of the new walls and an articulation of the experiences and ideas on this point are the directions of this chapter edited directly by AoS through multiple collaborations in Europe. What is a contemporary wall? What is it for? What defines and what is dividing? Who is inside and who is outside? The walls are symbols of the time we live, both the great walls between nations or peoples, and the small and invisible walls that we erect through space to separate something, to mark differences and identity. But walls are also transitional spaces where is possible to meet divisions, where differences are touched and hypocrisies as well as limits of our values are revealed. The walls are places where you can clearly read the contemporary culture, understand it and take a position.

Shame and Cultural Heritage 羞耻与文化遗产

正如在马泰拉（Matera）发生的那样，对具有历史遗产的地方的重估与他们的集体认可和文化进步息息相关。在此之前，历史的地方是未被充分利用的空间，过去和现在之间的过渡区域，通常是无法解决的。实际上，在被重新估价之前，历史中心常常是令人羞愧的地方，相反的感觉被集中在这里。这种观点扭曲的过程是本章的中心，这是由于与已经重新开发的地方和尚未得到确认的区域进行了比较，因此将列举一些实例，这些实例说明了建筑价值与历史和文化的相对性以及对建筑的重要性的需求，展望周围的事物。

As it happened in Matera, the revaluation of places with an historical heritage is linked to their collective recognition and a cultural progress. Until then, the places of history are underused spaces, areas of transition between the past and the present, often unresolved. In fact, the historical centers, before being revaluatesìd, are often places of shame where contrasting feelings are concentrated. The processes underlying the distortion of this perspective is at the center of the chapter that thanks to the comparison with already redeveloped places and areas not yet recognized will list examples that demonstrate the historical and cultural relativity of the value of architecture and the need for a critical look towards what surrounds us.

Post War Spaces 战后空间

本章讨论战争留在太空中的迹象，象征着一个社区处于弱势时刻和其再生的迹象。冲突结束后的很长一段时间里，战争的武器和暴力标志着城市，它们成为了在重建中挣扎的社区日常景观的一部分。由于常态的发展，其中一些标志被取消了，但是城市的其他地方仍然标志着人民的脆弱，他们自己的伤口或失败，直到更多的官方姿态不干预拆除瓦砾或重建 基础设施，如桥梁，道路。这些步骤和这些城市的形象令人感到尴尬，在本章中将与巴尔干战争事件有关的孟斯塔（Monstar）地区进行讨论，这些事件仍然存在于那些曾经居住过的地方的建筑中 在战争中。

The chapter deals with the signs that war leaves in space as symbols of a moment of weakness for a community and its regrowth. The weapons and violence of the war mark the cities for a long time after the conflicts end and they become part of the daily landscape of the communities struggling with the reconstruction. Some of these signs are canceled thanks to the evolution of normality, but other parts of the city remain to mark a fragility of peoples, their own wounds or defeat, until more official gestures do not intervene in the removal of the rubble or in the reconstruction of infrastructures like bridges, roads. These steps and the image of these cities causes a sense of embarrassment that in this chapter will be discussed in the area of Monstar in connection with the war events of the Balkans, still present in the architecture of those who live places that have been at war.

AOS官方网站：

https://www.architectureofshame.org/

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