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2019年11月18日 17:15:59来源:美资讯

  • An old railway station which turned into a public library in Rumia, northern Poland, has just won the Single Space Design category of the 2016 Library Interior Design Awards. It is the only project from Europe which has been recognized in this year#39;s awards.日前,波兰北部鲁米亚的一座古老火车站改造成了一个公共图书馆,并获得了2016年图书馆室内设计奖的“单体空间奖”。它是今年全欧洲仅有的一个入围此奖项的建筑。The library beat out projects in the ed States, Canada and many other countries and regions.之后,该图书馆从与来自美国、加拿大以及其他国家和地区的建筑的竞争中脱颖而出。In September 2014, a deteriorating building of Rumia train station was reopened as Stacja Kultura (Culture Station), which combines the functions of a railway station, a public library and a cultural center.2014年9月,鲁米亚火车站一座破旧的大楼被作为文化火车站重新开放,它融合了火车站、公共图书馆和文化中心的功能。The revitalized train station is now the main office of Rumia Public Library, which serves both the local community and tourists traveling to the Polish seaside. The whole project cost 5 million zlotys (1.28 million U.S. dollars).这座复兴的火车站现在是鲁米亚图书馆的主要办公场所,该图书馆不仅为当地的居民务,也为到这个波兰海边城镇来度假的游务。据悉,整个工程造价约为500万兹罗提(折合128万美元)。Rumia#39;s modern library design of black and red details refer to old railway infrastructure: stations and locomotives. The bookshelves resemble railroad tracks.鲁米亚图书馆黑红相间的时尚细节设计是参照火车站的传统建筑--车站和火车头的风格。而书架设计的看起来就像铁路轨道。The prestigious Library Interior Design Awards is organized every two years by the American Library Association together with International Interior Design Association. Its mission is to honor international excellence in library interior design.久负盛名的图书馆室内设计奖是由美国图书馆协会与国际室内设计协会联合组织举办的,每两年一次。其宗旨是表彰全球优秀的图书馆室内设计作品。 /201605/441856。
  • A few years ago, after Eddie Huang submitted the manuscript of his memoir “Fresh Off the Boat,” which made ample use of footnotes, his editor, Chris Jackson, asked him if he’d fellow footnoter Junot Díaz. He had not.几年前,黄颐铭(Eddie Huang)交出了自己的回忆录《初来乍到》(Fresh Off the Boat)的草稿,里面有大量脚注,他的编辑克里斯·杰克逊(Chris Jackson)问他是不是读过另一位爱加脚注的作家朱诺·迪亚斯(Junot Díaz)的书,黄颐铭说没有。“I have real gaps in my literary history,” Mr. Huang said recently, with his signature blend of self-deprecation and upstart bravado. “Number 1, I’m Chinese, and Number 2, I’m from Orlando. So help me, fam!”“我的阅读史中确实有很多空白,”黄颐铭在不久前说道,这种自我贬低加自命不凡的逞强是他的标志,“首先,我是华裔;其次,我来自奥兰多。所以拜托了,朋友!”He began Mr. Díaz’s “The Brief Wondrous Life of Oscar Wao,” but stopped after 100 pages, wowed and flummoxed: “I didn’t want to steal his moves.” He didn’t return to it until he had completed the first draft of his new memoir, “Double Cup Love: On the Trail of Family, Food, and Broken Hearts in China” (Spiegel amp; Grau), which will be released on Tuesday.于是他读了迪亚斯的《奥斯卡·瓦奥奇妙而短暂的一生》(The Brief Wondrous Life of Oscar Wao),但是看了100页就不敢往下看了,他感到惊叹、困惑:“我根本没想过偷他的点子。”后来他没有再看这本书,直到写完最新回忆录《双杯的爱:追溯家庭、食物与中国的伤心事(Double Cup Love: On the Trail of Family, Food, and Broken Hearts in China,Spiegel amp; Grau出版社)的初稿,这本书将于周二出版发行。“I was chasing him through the last eight revisions, asking myself, ‘Does this give you feelings on that level that “Oscar Wao” gave you?’” Mr. Huang said. “I got as close as I could.”“在最后的八次修改过程中,我一直都在追赶他的脚步,我问自己:‘这一段能让你产生像读《奥斯卡·瓦奥》时同样的感觉吗’?”黄颐铭说。“我已经尽可能地去贴近了。”It was coming up on midnight in Chelsea when he said this, and he was wearing a jubilantly loud J. W. Anderson coat with fat horizontal stripes in varying shades of brown. It was cold out, and a few feet away was the Gilded Lily, the club where he was about to host a party with the fashion designer Maxwell Osborne, of the au courant duo Public School.他在切尔西说这番话的时候,时间已经将近午夜,他穿着一件鲜艳喜庆的J·W·安德森(J. W. Anderson)牌外套,宽宽的棕色横条纹呈现深浅不一的色调。外面的天气很冷,几英尺外便是“镀金百合”(Gilded Lily),他即将在这家夜店和“公立学校”(Public School)品牌目前的双人设计师之一——马克斯韦尔·奥斯本(Maxwell Osborne)合作主持派对。But before that, one last point. “People always want to compare me to Tony,” Mr. Huang added, referring to Anthony Bourdain, the modern prototype of chef turned acidic social commentator. “But I never ‘Kitchen Confidential.’ I ‘Oscar Wao.’”但在此之前还有最后一件事。“人们都想拿我和托尼相比,”黄颐铭说,他指的是安东尼·波登(Anthony Bourdain),后者是从厨师转型为辛辣社评家的现代原型。“但是我从来没读过他的《厨房秘辛》(Kitchen Confidential),我读的是《奥斯卡·瓦奥》。”Food is, as ever, a Trojan horse for Mr. Huang, who in the past five years has parlayed fame (and a little bit of infamy) as a chef into a career of pining, bomb-tossing and taunting — sometimes good-naturedly, sometimes bad-naturedly, sometimes both.美食对于黄颐铭来说犹如特洛伊木马,过去五年来,身为厨师的他开始打入界,对他人冷嘲热讽、猛烈抨击和奚落,有时候是善意的,有时是恶意的,有时二者兼有,从而渐渐为自己赢得了名声(以及一点恶名)。In addition to his two memoirs (his first was turned into an A sitcom), he’s given a memorable TED talk (then had his TED fellowship rescinded over disagreements with the foundation); written the occasional scathing takedown article; been featured in a Sprite commercial; and hosted an Internet show about global food culture, which has morphed into the television show “Huang’s World,” on Viceland.除了两本回忆录(他的第一部回忆录被A台拍成了情景喜剧),他还做过两次令人难忘的TED演讲(然后他因为与TED基金会不合,被取消了TED伙伴资格);写过那篇夹杂着尖刻抨击的文章;拍过雪碧广告;主持过一次全球美食文化网络秀,之后这个节目被搬上电视,变成了Viceland台的节目《黄的世界》(Huang’s World)。Throughout, hip-hop has been his framework and organizing narrative. On the difference between his first memoir and the new one: “‘Fresh Off the Boat’ is a mixtape — the Cam’ron mixtape before ‘Purple Haze’; ‘Double Cup Love’ is the album. I smoothed things out, I mixed it, I was surgical about it.”总的来说,嘻哈乐是他的整体构架,以及组织叙事的方式。他谈起自己两本回忆录之间的不同:“上一本《初来乍到》犹如混录磁带——录的都是Cam’ron在推出《紫雾》(Purple Haze)之前唱的歌;而《双杯的爱》则已成为一张正式专辑。我把事情整理好,混在一起,再给它来个手术。”On the bridge-burning article he wrote for New York Magazine about how A’s “Fresh Off the Boat” sanitized his childhood: “That’s Kendrick, ‘Control.’ Me just beefing.”在他给《纽约杂志》(New York Magazine)写的那篇关于A台的电视剧《初来乍到》的里,他毫不留情面地批评这部剧美化了自己的童年:“就像是肯德里克(Kendrick)的《控制》(Control),我只是在抱怨。”And on the relatively fallow period between his two books and his public falling out with A: “I feel like Future right now after ‘Pluto’ — people definitely left me for dead.”他如此形容这两本书之间相对的蛰伏期,以及他与A台公开闹翻:“我觉得自己就像推出《普鲁托》(Pluto)这张专辑之后的歌手Future——人们肯定只等着我死。”In “Double Cup Love,” Mr. Huang, 34, who was born in Falls Church, Va., near Washington, to Taiwanese immigrants, and raised in Orlando, Fla., details his parallel quests for acceptance: by China, and by a woman he fell for and eventually proposed to. “I don’t think I was ever able to be as close with someone as I was with her, and I don’t think I was ever as able to be comfortable with being Chinese as I was with Chengdu,” he said.黄颐铭现年34岁,出生于华盛顿附近弗吉尼亚州福尔斯彻奇(Falls Church)的一个台湾移民家庭,在佛罗里达州的奥兰多长大;在《双杯的爱》中,他详尽地叙述了自己寻求接受的两条平行线索:期望被中国认同的过程,以及期待心爱的女人接受自己的过程,最后他向她求婚了。“我觉得同她在一起比同任何人在一起都亲密;我也觉得自己只有在成都才能轻松自在地当个中国人,”他说。Exclusion is a continuing theme of Mr. Huang’s work, and he often finds himself at odds, he said, with Asian-Americans who feel his story isn’t appropriately representative. “A lot of people are trying to actively contain my voice, like, ‘He doesn’t speak for us,’ and I’m like, ‘I won’t argue with you.’” Often, he said, he speaks at colleges where the main question he’s asked is, in essence, “How did you learn to love yourself?”“排斥”是黄颐铭书中一直延续的主题,他说,他经常觉得自己和他人格格不入,亚裔美国人觉得他的故事不具有代表性。“很多人努力试图遏制我的声音,比如,‘他没有为我们说话’,我说,‘我才不跟你们吵呢。’”他说,他在大学里演讲时,最常被问到的问题本质上其实就是,“你是怎么学会爱你自己的?”Mr. Huang’s writing is wry and zippy; he regards the world with an understanding of its absurdities and injustices and with a willingness to be surprised. The dark edge of “Fresh Off the Boat” is mostly gone in the new book, replaced with an acceptance of calm in his life.黄颐铭的文风热情而充满讽刺;他了解这个世界的荒诞与不公,同时又愿意得到惊喜。《初来乍到》中阴暗的锋芒在新书中几乎消失了,代之以对平静人生的接受。“Double Cup Love” was originally proposed as a book in which Mr. Huang would travel to China to try cooking for locals, but it turned into a memoir about love. Neither of his books is really about food — “it’s all window dressing,” he said.《双杯的爱》原本的计划是让黄颐铭去中国旅行,写一写为当地人烹饪的故事,结果却成了一本关于爱的回忆录。他的两本书其实全都不是关于美食的——“那只是橱窗的装饰物而已,”他说。He added: “When you live in a place where you are not the dominant culture, you have to play fools against themselves. You’re going to assume I can kung fu, you’re going to assume I can cook food, and I’m going to play this against you.”他补充说:“如果在你生活的地方里,你自己的文化并不是配文化,你就得靠装傻来对抗他们。你得假装自己会功夫,你得假装自己能烹饪美食,我就靠这个来对抗你们。”Still, even if food is only the costume, it occupies a central role in Mr. Huang’s life. Before the party at the Gilded Lily, Mr. Huang had begun his evening cooking a private dinner for a music lawyer and some associates, including Florence Welch (of Florence and the Machine) and the songwriter-producer Emile Haynie. After that, it was on to Sushi Yasuda in Midtown, for a seat at the counter and some fawning over the omakase, with running commentary after he popped each piece into his mouth with his hands.然而,就算美食只是一种道具,它仍然在黄颐铭的生活里扮演了核心角色。在“镀金百合”的派对之前,黄颐铭还在一家私厨烹制晚餐,出席的是一位音乐界的律师和他的若干朋友,包括“佛罗伦斯与机器”(Florence and the Machine)乐队的佛罗伦斯·韦尔奇(Florence Welch),以及作曲家兼制作人艾米丽·海尼(Emile Haynie)。后来,在中城的安田寿司(Sushi Yasuda),他坐在柜台前的座位上,奉承了几句面前的主厨定制菜,用手把一样样事物塞进嘴里,就开始滔滔不绝地高谈阔论起来。In between the kinmedai and the cherrystone clam, he remembered how Dena, the woman at the center of his new book, comforted him early in their relationship during a bumpy time in the bedroom. “I was soft as a piece of kinmedai,” he said. “She was like: ‘It’s all right. We’re going to fix you,’ and my heart literally dropped.”在鲷鱼和小圆蛤蜊这两道菜之间,他回忆新书中的女主角蒂娜(Dena)在两人之间的关系刚开始进入困难期的时候,在卧室里安慰他。“我就像鲷鱼片一样软塌塌的,”他说。“她说:‘没问题,我们能治好你,’我的心一下就放下来了。”But the relationship ended after Mr. Huang wrote the first draft, giving the book an uncomfortable coda — an elaborate story of love and self-discovery that ends with the cruel realization that love isn’t always eternal.但是黄颐铭写完初稿之后,两人的关系告终了,也为这本书画上了一个令人不快的句号,一个关于爱与自我发现的精巧故事,却以一个残酷的认识告终:并非所有爱情都能永恒。Mr. Huang began writing during high school as a reaction to hearing other students disparage hip-hop. It was “a call to arms,” he said. “I decided I’ll write about anything unfair.” Righting injustices remains a crux of his work: He devoted much of a recent “Huang’s World” episode about Jamaica to the “new colonialism” caused by that nation’s crippling debt, and said that he hoped to go to Kenya to learn more about one organization’s attempt to support a universal baseline income — a policy he described as “reparations for those who don’t fit in.”黄颐铭从上高中就开始写作,是因为听到其他同学贬低嘻哈乐,他想对此作出回应。那是“战斗的呼唤,”他说。“我决定写下一切不公平的事情。”对不公的矫正成了他作品的核心:在《黄的世界》最近一集里,他用大部分篇幅谈及牙买加由严重债务导致的“新殖民主义”,还说自己希望到肯尼亚去,研究某个组织为帮助最低收入人群所做的工作,他说那是一种“对无法适应的人所做的赔偿”。Even though Mr. Huang has rabbis who’ve smoothed his path toward the mainstream — his editor, Mr. Jackson; Shane Smith of Vice; Michael Lombardo, HBO’s president of programming, who is stepping down — the defining throughline of his public life has, until now, been a tug of war with authority.在进军主流世界的道路上,黄颐铭有不少导师——他的编辑杰克逊、Vice的沙恩·史密斯(Shane Smith),以及HBO退休的节目总监迈克尔·隆巴尔多(Michael Lombardo),但是,迄今为止,他的公众生活的主线仍然是与权威进行斗争。But lately he’s been wondering if his bomb-throwing days are coming to an end. “I’m not as much of an outsider now,” he conceded. “People can make money off of me — I’m a proven commodity.”但是后来他也在思考,自己猛烈抨击他人的日子是不是已经走到尽头了呢。“我现在已经不完全是一个局外人了,”他同意。“人们可以靠我赚钱了——我已经成了一件得到认的商品。”He’s also putting less of himself on the line, beginning to trade ax-grinding and self-revealing memoir for fiction and screenplays.与此同时,他不再让自己去冒更多风险,不再去写锋芒毕露、袒露自我的回忆录,而是创作小说和剧本。A seat at the table has its costs, though, and Mr. Huang is trying to remain awake to them, remaining vigilant about falling “in love with the seat and not what you’re saying.”但是,要在任何领域内占据一席之地都是需要代价的,黄颐铭尽量对此保持清醒,警惕不要“爱上那个位置本身,而不在乎你在说什么”。For now, though, he’s open to the options being thrown his way. “I’m able to say, ‘This is what I want, this is what it’s worth to me, how much is it worth to you?’ If the value ever doesn’t match, I’m back to selling things off the truck, and I’m O.K. with that.”不过,他还是对任何可能发生的事情保持开放心态。“我还可以对自己说,‘这是我想要的,这对我来说是值得的,这对你来说值得吗?’如果价值观对不上,就算让我回去开卡车卖东西也没问题。” /201606/446878。
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