该项目的未实现可能是它最持久的遗产，但设计在其他方面有所突破。当利贝斯金德的提议在公众面前大张旗鼓地发布时，它正处于转向查尔斯·詹克斯所称的“非线性建筑”的前沿，这是一种“新的共同表达语言”.与过去僵化的建筑相比，Jencks更符合一个正在展开、跳跃的宇宙。“[1]Jencks对利贝斯金德的计划很感兴趣，并把它作为”起伏运动的美学“的一个例子，他正确地预测，这将在新的千年中消耗全球建筑。“螺旋”也与利贝斯金的明星身份的崛起(部分触发)相吻合。它的破坏稳定的大胆行为在激起人们强烈抗议的同时，也给建筑机构带来了冲击波，吸引了大量的客户追求者，从而确保了这位建筑师未来的成功。

The project's nonfulfillment is perhaps its most enduring legacy, but the design broke ground in other ways. When Libeskind's proposal was released amid great fanfare to the public, it was on the leading edge of a turn toward what Charles Jencks refers to as "Nonlinear Architecture," a "new shared language of expression ... more in tune with an unfolding, jumping cosmos than the rigid architectures of the past." [1] Jencks was fascinated by Libeskind's project and held it up as an example of the "aesthetic of undulating movement" that he correctly predicted would consume global architecture in the new millennium. The Spiral also coincided with (and partly triggered) the rise of Libeskind's stardom. While prompting the very outcry that felled its realization, its destabilizing audacity sent shock waves through the architecture establishment and attracted a bevy of client-suitors that ensured the architect's future success.

 Courtesy of Balmond Studio & Studio Libeskind

巴蒙德工作室提供

 Courtesy of Balmond Studio & Studio Libeskind

巴蒙德工作室提供

该项目一开始是一条由六层螺旋向上折叠而成的单一构造带。虽然螺旋的散乱的几何图形看上去不受控制和解构，但它们完全相反，这是由一个有组织的过程控制的创作机构造成的。当不规则的梯形和菱形墙序列加速上升时，飞机相互碰撞，形成了一系列类似盒子的形状，这些形状相互渗透，似乎压碎了下面的空洞。锯齿状的地板被插入封闭的体积，稳定的存在一个强大的垂直核心，锚定周围的湍流能量旋涡。由此产生的结构是无标度的，不是由它与人类居住者的关系所决定的，而是由它产生的数学原理所支配的；如果没有它的背景，它的智力可能会大三倍，或者一个优雅的镇纸的大小。

The project begins as a single tectonic strip folded into itself in an upward spiral six layers high. Although the disheveled geometries of the Spiral appear uncontrolled and deconstructed, they are quite the opposite, resulting from a single creative apparatus whose movements are governed by an organized process. As the irregular sequence of trapezoidal and rhomboid walls accelerates upward, the planes collide into each other, creating a series of box-like shapes that interpenetrate and seem to crush the hollows below. Jagged floorplates are inserted into the enclosed volume, stabilized by the presence of a strong vertical core that anchors the turbulent energy swirling around it. The resulting structure is scaleless, governed not by its relationship to the human occupant but by the mathematical principles behind its generation; devoid of its context, it could just as intelligibly be three times larger or the size of an elegant paperweight.

 The unfurled sequence of walls that constitute the structure of the proposed building. Image Courtesy of Balmond Studio & Studio Libeskind

构成拟议建筑结构的一系列展开的墙。巴尔蒙德工作室的形象礼貌

看看这里壮观的动画设计过程。

Check out a spectacular animation of the design process here.

 Courtesy of Balmond Studio & Studio Libeskind

巴蒙德工作室提供

虽然折叠的墙壁起着强大的正式作用，但它们也是结构性的。使用先进的数字计算模型计算，力通过陡峭的角度墙，允许内部画廊空间保持开放和无柱。这项工程的壮举是由塞西尔·巴蒙德(Cecil Balmond)这个广受赞誉的工作室领导的。考虑到该设计的特殊构造条件，它更加引人注目：没有支撑的飞机在空间中斜行，与它们的邻居不一致，随心所欲地悬臂着。

While the folded walls play a powerful formal role, they are also structural. Calculated using advanced digital computational models, forces are channeled through the precipitously angled walls, allowing the interior gallery spaces to remain open and column-free. This feat of engineering, spearheaded by the acclaimed studio of Cecil Balmond, is all the more remarkable given the design's unusual tectonic conditions: unsupported planes running diagonally through space, misaligned with their neighbors, cantilevered at will.

 The structural walls allow for a column-free open floor plan. Image Courtesy of Balmond Studio & Studio Libeskind

结构墙允许无柱开放式平面图.巴尔蒙德工作室的形象礼貌

巴尔蒙德对这个项目的另一个主要贡献是他在外观皮肤上的工作。镶嵌瓷砖的一种联锁图案，每个图案都是由一个被操纵的金色长方形制成的，覆盖着外部的表面。根据StudioBalmond的网站，这个“数学马赛克.说明了建筑螺旋形态的顺序性”。在折叠的墙壁上舞蹈，像素化的静态，这些瓷砖是由同样的混乱和控制的辩证法贯穿整个项目。在分形几何的启发下，他们试图引导一种宇宙和无限的能量。

Balmond's other major contribution to the project was his work on the exterior skin. An interlocking pattern of tessellated tiles, each derived from a manipulated golden rectangle, sheathes the exterior surfaces. According to Studio Balmond's website, this "mathematical mosaic... illustrates the sequential nature of the building's spiral form." Dancing across the folded walls like pixelated static, these tiles are animated by the same dialectic of chaos and control that pervades the project's entirety. Inspired by the geometry of fractals, they attempt to channel an energy that is cosmic and infinite.

 The proportions of the fractile are derived from the proportions of the golden rectangle. Image Courtesy of Balmond Studio & Studio Libeskind

分馏的比例是从黄金矩形的比例推导出来的。巴尔蒙德工作室的形象礼貌

 Courtesy of Balmond Studio & Studio Libeskind

巴蒙德工作室提供

螺旋的语言和标量与周围的紧张关系构成了它的概念优势和政治弱点的根源。V的维多利亚式和爱德华式建筑

The Spiral’s linguistic and scalar tensions with its surroundings constitute the source of both its conceptual strength and its political weakness. The Victorian and Edwardian architecture of the V&A’s accretions, historicist and eclectic, engages and activates Libeskind's creation. But for the proposal's detractors, this dialogue came at too heavy a cost to the existing landscape, overshadowing if not defacing the older structures. One apoplectic critic famously predicted that the Spiral's confrontational incongruence would leave the museum "visually raped." [2]

 Courtesy of Balmond Studio & Studio Libeskind

巴蒙德工作室提供

尽管从私人捐助者那里获得了其预计1.6亿美元费用的很大一部分，但这项有争议的提议一再遭到公共资金的拒绝。2004年，当它第三次被拒绝购买彩票基金时，利贝斯金德的设计最终被取消了。[3]这位灰心丧气的建筑师后来通过柏林和纽约的主要委员会开始了自己的职业生涯，此后不久便与博物馆分道扬镳。[4]虽然他从来没能看到他的愿景完全实现，但他去年能够将它们重新配置成一个更小的规模，用于阿尔梅里亚的一座雕塑。在这种被破坏的，较小的迭代，在它的田园孤独无能，它变得很明显的城市环境是多么的关键在激活螺旋的修辞辩论和揭示它的宇宙愿望的效力。

Despite securing a significant portion of its projected $160 million cost from private donors, the controversial proposal was repeatedly denied public funding. When it was rejected for lottery funds for a third time in 2004, Libeskind's design was finally scrapped. [3] The frustrated architect, whose career had since taken off through major commissions in Berlin and New York, parted ways with the museum shortly thereafter. [4] While he was never able to see his visions fully realized, he was able to reconfigure them last year on a smaller scale for a sculpture in Almeria. In this defanged, lesser iteration, impotent in its pastoral solitude, it becomes clear how critical the urban context was in activating the Spiral's rhetorical polemic and revealing the potency of its cosmic aspirations.

 The spiral culminates in a top-floor observation deck. Image Courtesy of Balmond Studio & Studio Libeskind

螺旋在顶层的观察甲板上达到顶点.巴尔蒙德工作室的形象礼貌

[1]Jencks，Charles。跳跃宇宙的建筑。学院版：大不列颠，1997年。

[1] Jencks, Charles. The Architecture of the Jumping Universe. Academy Editions: Great Britain, 1997.

[2]Glancey，Jonathan。“新的震撼”守护者。2000年7月26日。最后一次访问时间是2015年6月14日，网址是：http：/www.theGuardian.com/culc/2000/Jul/27/ArtsFeatureres1。

[2] Glancey, Jonathan. “Shock of the New.” The Guardian. 26 July 2000. Last accessed 14 June 2015 at http://www.theguardian.com/culture/2000/jul/27/artsfeatures1.

[3]骑马，艾伦。“对伦敦利贝斯金公司的螺旋公司来说，这可能是致命的一击。”“纽约时报”。2004年7月29日。最后一次访问是2015年6月14日，网址是：http：/www.nytimes.com/2004/07/29/Art/a-Blow-可能是致命的利贝斯金-s-螺旋-in-London.html。

[3] Riding, Alan. “A Blow, Perhaps Fatal, for Libeskind’s Spiral in London.” The New York Times. 29 July 2004. Last accessed 14 June 2015 at http://www.nytimes.com/2004/07/29/arts/a-blow-perhaps-fatal-for-libeskind-s-spiral-in-london.html.

[4]Glancey，Jonathan。“V

[4] Glancey, Jonathan. “The V&A goes underground with shortlisted designs for new gallery.” The Guardian. 3 March 2011. Last accessed 14 June 2015 at http://www.theguardian.com/artanddesign/2011/mar/03/v-and-a-spiral-seven-designs-gallery.

建筑师丹尼尔利贝斯金德位于克伦威尔路，SW7 2RL类博物馆计划年1996

Architects Daniel Libeskind Location Cromwell Road, SW7 2RL Category Museum Project Year 1996