马拉喀什是一个提供本土的、具有疯狂创造力的、生动的手工艺文化的城市，在临时性的媚俗和古老的崇高之间摇摆不定。很明显，这些技术是现成的，可以被用于本次双年展的提案中。我们的问题是：什么样的技术，什么样的知识形式，可以被带到这种情况下，开始调解我们在现场和发现的东西？

Marrakech is a city that offers an indigenous, a madly inventive, and vivid hand- craft culture oscillating between ad-hoc kitsch and the archaic sublime. It is apparent that these techniques are readily available and could be appropriated for a proposal for this Biennale. The question for us became: what techniques, which form of knowledge, can be brought to this situation that could start to mediate tho- se that we find on-site and as-found?

通过考虑在马拉喀什建筑中发现的几何形状和使用当前算法软件编程（例如Grasshopper、Rhino）构建的几何形状，我们可以产生什么效果，然后开始推测这些形式如何被当地的工艺技术和材料呈现（变成实物）？通过这种方式，作品反映了一些方面，这些方面将被视为当地人所熟悉，而其他方面则可以被理解为普遍性。这不是一个完全线性的过程，有很多的来回、试验和错误，以及对不同模式的测试，但都有一个类似的目标。

What effects can we produce by considering geometrical form as found in the architecture of Marrakech and as constructed by using current algorithm software programming (Grasshopper, Rhino for example) and then begin to speculate how these forms might be rendered (made physical) by local craft techniques and materials? In this way the work reflects aspects, which will be familiar as local and other aspects, which can be understood as universal. This is not a totally lineal process and there is a lot of back and forth, trial and error, and testing of different models but with a similar goal.

变得引人注目的当地技术之一是摩洛哥传统的木制框架织机上的编织，这种工艺涉及将羊毛或棉纱组织成一系列（通常是彩色的）线状线，通过织机编织和捆绑，以产生一个编织的织物表面。织布机的框架是一个刚性的结构框架，它将纱线固定在一系列的平行线上，形成表面，我们在建筑规模上重新应用这种技术，目的不是生产2-dimentional表面，而是在一系列固定的木制框架上伸展的3-dimensional体积。

One of the local techniques that became compelling is traditional Moroccan weaving on a wood frame loom a craft which involves organizing wool or cotton yarn into an array of (typically colored) lineal lines of yarn warped through a loom weaving and tying in order to produce a woven fabric surface. The frame of the loom is a rigid structural frame which holds yarn in place as a series of parallel lines forming surfaces a technique we reapplied at an architectural scale with the ambition of producing not 2-dimentional surfaces but rather 3-dimensional volumes stretched over a series of fixed wooden frames.

我们工作的最终地点，Koutoubia清真寺的废墟，为拟议的项目提供了信息和定位，并为工作建立了一个规模。这样一来，作品就成了这个地方的特定场所，它的限制和机会。断裂的柱子建立了一个5×5米的网格，装置通过将其减半调整为2.5 x 2.5米的网格，这在双曲表面的逻辑中建立了一个2.5的高度，观众可以在它周围行走或穿过它。废墟上重复的柱状网格也建立了双曲面织机的重复细胞网格，它被插入一个开放的、略微凹陷的平台，三面被废墟的网格包围。当然，在它所形成的序列/细胞空间矩阵之外，它受到当地强烈的日光影响，会在周围的古老表面上投下自己的影子。

The ultimate site for our work, the ruin at the Mosque Koutoubia, informs and locates the proposed project and establishes a scale for the work. In this way the work becomes site-specific to this places and it’s restraints and opportunities. The broken-off columns establish a grid of 5×5 meters that the installation is adjusted to by halving it to a 2.5 x 2.5 meter grid, which in the logic of a hyperbolic surface established a 2.5 height in relationship to viewers who can walk around it or through it. The repetitive column grid of the ruin also establishes the repe- titive cellular grid of the loom-hyperbolic which is inserted into an open, slightly depressed, platform surrounded by the grid of the ruin on three sides. Beyond the serial/ cellular spatial matrix formed by it, of course, is it affected by the strong local daylight and will cast shadows of itself on the ancient surfaces around it.

纱线的大致1到2厘米的间距定义了18次双曲体。这种间距使它产生足够的表面来定义这些形式，同时使这些形式在从不同角度观看时显得透明、短暂和有层次，与周围不透明的美丽砖石表面形成对比。

The roughly 1 to 2 cm spacing of the yarn defines hyperbolic volumes 18 times. The spacing is such that it generates enough surface to define these forms while allowing the forms to appear transparent, ephemeral, and layered when viewing them from different angles in contrast to the opaque and beautiful masonry sur- faces around it.

我们选择了一种简单的当地结构，将手剥的松木杆连接到钢板和钢管上（建立和固定几何形状），然后将纱线拉到位置交替的框架上，并将它们绑在一起，就像它们被铺在一个巨大的织布机上一样，紧密地排列着。木杆的不规则略微弯曲的形式软化了我们的数字计算机图纸的硬的几何形状。纱线的线条产生了一个线状的 “规则几何”，形成了双曲的表面。

We chose a simple local construction of light hand-peeled pine poles attached to steel plates and tubes (which establish and fix the geometry) then pull yarn over the frames which alternate in their positions and tie them off as if they were laid over a giant loom spaced closely together. The irregular slightly bent forms of the wood poles softens the hard geometry of our digital computer drawings sympa- thetically. The lines of the yarn generate a lineal “ruled-geometry” which forms the hyperbolic surfaces.

这个装置可以从废墟上方观看，也可以在周围移动或直接通过，因为它是一系列帐篷的规模。场地的公共性质保证了该项目在白天或晚上都可以看到，并且在这个美丽的地方既熟悉又陌生。

The installation can be viewed from above the ruin or can be moved around or through directly as it is at the scale of a series of tents. The very public nature of the site insures that the project can be seen by day or night and will be both familiar and foreign in this beautiful place.

Architects: Barkow Leibinger
Year: 2012
Photographs: Johannes Foerster
City：MARRAKECH
Country：Morocco