架构师提供的文本描述。去年年初，Technische Werke Kaiserslautern开始为供水网络进行新的铺设，以连接Vogelweh队在美国的住房区。两个新的配送节点之一将结束在西部城市入口，在Vogelweh路交叉口。所需数量是由技术安装、储存和后备系统决定的.事实证明，这卷书相当可观，对于Vogelweh-Kleeblatt上有限的空间来说，几乎太大了。凯泽尔斯劳滕市和TWK都很清楚，在这个突出的位置上，就在这个城市的入口和世界著名的Vogelweh队的门口，一座建筑将会受到很大的关注。因此，TWK坚持认为，这个项目不应该看起来像一个庞大的，单一的单位。如果可能的话，这座建筑应该低估它的大小；也许看起来就像一群小型建筑。此外，该建筑物应公正的位置，它应该以一种相关的，有意义的和有趣的方式在视觉上呈现。当然，费用应尽可能低。这些相互冲突的参数决定了建筑项目-简略。

Text description provided by the architects. Early last year the Technische Werke Kaiserslautern started work on the new lay-out for the water distribution network in order to hook up the US-housing area of Team Vogelweh. One of the two new distribution nodes was going to end up at the western city entrance, at the Vogelweh road intersection. The required volume was determined by the technical installations, storage and back-up systems. As it turned out, this volume was fairly substantial, almost too large for the limited space available on the Vogelweh-Kleeblatt. The City of Kaiserslautern and the TWK were well aware that a building, on this prominent location, the very city entrance and the doorstep of the world renowned Team Vogelweh, was going to receive a lot of attention. Therefore the TWK insisted that the project should not look like a bulky, singular unit. If possible, the building should underplay its size; perhaps look like an ensemble of small buildings. Furthermore, the building should do justice to the location and it should be visually present in a relevant, meaningful and interesting way. Naturally the costs should be kept as low as would be realistically possible. These conflicting parameters determined the architectural project-brief.

 © Michael Heinrich

迈克尔·海因里希

设计方法的第一条线索是场地本身：大楼位于克莱布拉特、三叶草、没有左转的十字路口。也就是说，从移动的角度来看，这座建筑大部分都是从汽车移动的角度来看的。但是网站上有比眼前更多的东西。除了就在美国住宅区旁边，十字路口的另一边被欧宝汽车厂占据。自1945年以来，美国陆军和空军一直在凯泽斯劳滕，而欧宝工厂自1966年以来就一直存在。它们一起为该市大部分人口提供就业机会，因此，凯泽尔斯劳滕的两个决定性因素也出现在该地点。其中心思想是把这座建筑打造成一座雕塑，以纪念凯泽斯劳滕的入口处。作为一座雕塑，这座建筑将能够低估其真正的大小和目的。如果一个人真的想要隐藏一座建筑，我们最好看看伪装技术。

The first clue to a design approach turned out to be the site itself: the building was to be located at a Kleeblatt, a cloverleaf, a road intersection without left turns. That is to say, the building will mostly be seen from moving cars, from a moving point of view. But there was more to the site than immediately meets the eye. Apart from being right next to the US housing area, the other side of the intersection is occupied by the Opel car factory. The American Army and Air Force have been a continuous presence in Kaiserslautern since 1945, and the Opel factory since 1966. Together they provide employment for a large part of the population of the city, and thus, by extension, two determining factors of Kaiserslautern are present at the site. The central idea was to make the building a sculpture to mark the entrance to Kaiserslautern. As a sculpture the building would be able to underplay its true size and purpose. If one seriously intends to hide a building, one is well advised to look at camouflage techniques.

 © Michael Heinrich

迈克尔·海因里希

1909年，著名的美国博物学家和画家阿伯特·汉德森·塞耶和他的儿子出版了一本名为“在动物王国隐藏色彩”的书。这是第一个科学清单的伪装性质和即时畅销书。从那以后，军方(出于显而易见的原因)和艺术家们对伪装产生了浓厚的兴趣，并一直在向大自然和彼此学习。从早期的未来主义者和理性主义者一直到今天，建筑师和艺术家都采用了伪装模式。一种特殊的伪装技术一直受到人们的关注。它可以追溯到第一次世界大战，在雷达发明之前的时候，测距和瞄准仍然是完全视觉化的。在最极端的形式下，这种伪装是在海上使用的，在海上是不可能隐藏的(对于船只，不是显然是潜水艇)。这是隐形的第二件最好的事。这种技术旨在隐藏一艘船的矢量，它的准确速度和方向，通过打破剪影和形成通过使用高对比度的颜色和图案。简而言之，它是为移动物体而设计的伪装。这种伪装已成为众所周知的眼花缭乱的油漆。

In 1909 the famous American naturalist and painter Abbott Handerson Thayer published, together with his son, a book called “Concealing Coloration in the Animal Kingdom”. It was the first scientific inventory of camouflage in nature and an instant bestseller. Since then the military (for obvious reasons) and artists share a keen interest in camouflage, and have been learning from nature and each other. From the early Futurists and Rationalists right up until the present day, architects and artists have applied camouflage patterns. One particular technique of camouflage has always received attention. It goes back to the First World War, to the time before the invention of radar, when range finding and aiming were still done completely visually. In its most extreme forms this type of camouflage was used at sea where it is impossible to hide (for ships, not submarines obviously). It was the next best thing to being invisible. This technique intended to hide the vector of a ship, its exact speed and direction, by breaking up silhouette and form through the use of high contrast colors and patterns. In short, it was camouflage intended for moving objects. This type of camouflage has since become known as dazzle-paint.

 © Molter-Linnemann

(莫尔特-林尼曼)

事实上，汽车业也采用了这种技术。它是用于道路测试新车模型。事实上，欧宝在凯泽斯劳滕工厂生产了他们的道路试验原型。为了不立即将最新的设计进展透露给竞争对手，对样机进行了精心的伪装。在德国，围绕这一现象形成了一种完整的汽车杂志文化。这些杂志投入了大量的精力，成为第一个展示最新视觉照片的人。这些原型车被称为埃尔金，在德语“Erlk nige”，一个奇怪的名字，有一个有趣的背景。最初，埃尔金是一个神话般的精灵从一个古老的北欧寓言，歌德写了一首相当令人毛骨悚然的诗。这首诗告诉我们，厄尔金是邪恶的力量，捕食我们新出生的孩子。不知怎么的，在一种奇怪的意思倒置中，“Erlk nig”这个词现在已经演变成某种珍贵的东西，必须保护它不被眼睛捕食和偷窃，因此应该被隐藏在视线之外。Erlk nige，原型测试车，运动高度对比条纹和形状，以隐藏在平淡无奇的视线：伪装的本质。在移动的观众的漩涡中，将这些炫目的油漆图案应用于不可移动的物体，隐藏形状和大小，但吸引人们注意它的存在似乎是合适的，而在公共空间中，它可以被认为是一种额外的安全形式。

As a matter of fact, the car industry has also adopted this technique. It is used when road-testing new car models. Indeed Opel partly produces their road test prototypes in the Kaiserslautern plant. In order not to immediately give away the latest design developments to the competition, the prototypes are carefully camouflaged. In Germany a whole culture of car magazines has developed around this phenomenon. The magazines put a tremendous amount of effort into being the first to present pictures of the latest sighting. These prototype cars are called Erlkings, in German “Erlkönige”, a strange name with an interesting background. Originally the Erlking was a mythical sprite from an ancient Nordic fable, around which Goethe composed a rather chilling poem. This poem tells us that the Erlking is force of evil, preying on our newly-borne and children. Somehow, in a strange inversion of meaning, the word Erlkönig nowadays has evolved to indicate something precious that must be protected from preying eyes and theft, and therefore should be hidden from sight. Erlkönige, the prototype test cars, sport high contrasts stripes and shapes in order to hide in plain sight: the essence of camouflage. It seemed somehow fitting to apply these dazzle-paint patterns to an unmovable object in a vortex of moving spectators, hiding shape and size but drawing attention to its presence, which in a public space can be considered an additional form of security.

 © Michael Heinrich

迈克尔·海因里希

在过去的几十年里，世界各地雄心勃勃的城市都把建筑和艺术作为营销和品牌的工具，有时甚至成功，而其他时候则不那么成功。通过建筑创造身份和意义总是很困难的。这听起来很少是真的。如果一个项目不成为当地文化的一部分，成为日常生活的一部分，那么即使是最好的营销和品牌宣传活动也会失败。那么，人们可能会认为，最好的策略是不要大声宣称某物是艺术或建筑。正如法国艺术家吉恩·杜巴菲特所说：“艺术不会睡在床上，特别是为它准备的床上。”它宁愿消失，然后被展示出来：它喜欢的是隐姓埋名，它最好的时刻发生在艺术忘记它是关于什么的时候。“但有趣的是，这位艺术家制作了有趣的黑白雕塑，有时像这座建筑的大小，有时甚至更大，但总是很响亮，非常直观。就像生活中一样，行动起来，开始一些新的事情，总比不采取行动要好。为此，你不需要最先进的，昂贵的建筑技术或独家材料。有了现成的工业产品，一些优秀的工匠和一点创造力，我们就有可能创造出一座充满乐趣和活力的建筑，同时也能以一种有意义的方式代表它周围的环境和环境。

Over the last decades ambitious cities all over the world have used architecture and art as instruments for marketing and branding, sometimes successfully, at other times less so. The creation of identity and meaning through architecture is always difficult. It rarely rings true. If a project does not become a part of the local culture, a part of everyday life, then even the best marketing and branding campaign will simply fail. One might think then that the best strategy is to not loudly state that something is art or architecture. As the French artist Jean Dubuffet said (somewhat freely translated): “art does not sleep in beds especially made for it. It would rather disappear then be put on display: what it does like is to be incognito, its best moments occur when art forgets what it is about.” But funny enough this very artist produced intriguing, playful black and white sculptures, sometimes the size of this building, sometimes even bigger, but always loud, very much visually present. As always in life, it is better to act, to initiate something new than not to act. For this you do not need state-of-the-art expensive building techniques or exclusive materials. With an off-the-shelf industrial product, a few good craftsmen and a bit of creativity it is possible to create a building that hopefully communicates fun and vitality but also represents, in a meaningful way, its surroundings and context.

 © Michael Heinrich

迈克尔·海因里希

当代德国最大的文化争论之一(当然也包括建筑)围绕着真实性的概念展开。这并不奇怪：在德国，大约50%的建筑必须在二战后重建。在大城市，这一比例要高得多。在战后不久的时期，大量的建筑在很短的时间内被建造起来，其中大部分建筑建造得很便宜，而且是以一种枯燥、重复的现代主义风格建造的(当然，它们不会经受住美丽的例外)。总之，这导致了一种潜在的厌恶任何看起来现代，甚至不同的东西。可以肯定的是，围绕这一项目将展开一场热烈的辩论。它将有冠军和对手。但如果发生这种情况，这座建筑将以一种非常自然的方式发现它在凯泽斯劳滕人民生活中的地位和认同感，希望它能让他们想起构成这座城市的东西。作为一个里程碑，它将发展自己的真实性，它也将反映和代表凯泽斯劳顿市与其美国合作伙伴之间紧密的联系。

One of the big cultural debates in contemporary Germany (which of course also includes architecture) revolves around the notion of authenticity. This is not surprising: in Germany approximately 50 percent of all buildings had to be rebuilt after WWII. In the big cities this percentage was considerably higher. In the immediate post-war period an incredible amount of buildings were erected in a very short time, most of them built cheaply and in a boring, repetitive modernist style (not withstanding beautiful exceptions of course). All in all this has resulted in a latent aversion for anything looking modern, or even different. Surely, it is to be expected that a lively debate will develop around this project. It will have champions and opponents. But if this happens, this building will find in a very natural way its place and acceptance in the life of the people living in Kaiserslautern and hopefully it will remind them of the things that make up this city. As a landmark it will then develop its own authenticity and it also will come to reflect and represent the tight knit bond between the City of Kaiserslautern and its US-partners.