架构师提供的文本描述。马拉喀什是一座城市，它提供了一种土生土长的、有创意的、生动的手工文化，在临时的媚俗和古老的崇高之间摇摆。很明显，这些技术是现成的，并可用于这一双年展的提案。我们的问题是：什么技术，哪种形式的知识，可以带到这种情况下，可以开始调解我们在现场发现和发现的问题？

Text description provided by the architects. 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?

 axonometric

通过考虑马拉喀什建筑中的几何形式，以及使用目前的算法软件编程(例如Grasshop，Rhino)，然后开始推测这些形式如何通过当地的工艺技术和材料来呈现(物理)，我们能产生什么样的效果？通过这种方式，工作反映了一些熟悉的地方和其他方面，可以理解为普遍的方面。这不是一个完全线性的过程，有很多来回，试验和测试不同的模型，但有一个相似的目标。

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.

 © Johannes Foerster

约翰·福斯特

其中一个引人注目的当地技术是在木框织机上传统的摩洛哥织布，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，通过织机编织和打结，以生产机织织物表面。织机的机架是一种刚性的结构框架，将纱线作为一系列平行线，形成表面，这是我们在建筑尺度上重新应用的技术，其目标不是生产二维表面，而是在一系列固定木架上展开三维体积。

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，库图比亚清真寺的废墟，通知和定位了拟议的项目，并为这项工作建立了一个规模。这样，工作就变成了特定于这个地方的地方，它的限制和机会。分离柱建立了一个5x5米的网格，通过将其减半到2.5x2.5米的网格来调整它，这在双曲线表面的逻辑中建立了一个2.5米的高度，与那些可以绕着它或穿过它的观众建立了一个2.5米的关系。废墟的重复柱状网格还建立了织机双曲线的反作用细胞网格，该网格被插入到一个开放的、略显凹陷的平台中，周围是三面的废墟网格。当然，除了由它形成的系列/细胞空间矩阵之外，它是否受到强烈的局部日光的影响，并且会在它周围的古老表面上投下阴影。

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 5x5 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.

 perspective

大约1到2厘米的纱线间距决定了18倍的双曲体积。间距是如此之大，它产生了足够的表面来定义这些形式，同时允许形式看起来透明、短暂和分层，当从不同的角度观察它们时，与周围不透明和美丽的砖石表面形成对比。

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.

我们选择了一个简单的局部结构，轻手剥离松杆连接在钢板和钢管(建立和固定几何)，然后拉纱在框架上交替在他们的位置，并把他们绑起来，就像他们被放置在一个巨大的织机，紧密地间隔在一起。不规则的稍微弯曲的木杆形状软化了我们的数字计算机绘图的硬几何。纱线的线条产生线状的“规则几何”，形成双曲线表面。

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.

 © Johannes Foerster

约翰·福斯特

安装可以从废墟上方观看，也可以被移动或通过，因为它是一个规模的一系列帐篷。该网站非常公开的性质，确保项目可以在白天或晚上看到，并将是熟悉和外国在这个美丽的地方。

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.

 © Johannes Foerster

约翰·福斯特