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湖州曙光整形医院祛痘多少钱No longer content just to be making movies, a new generation of critically heralded female directors is rivaling the male establishment at the box office — and redefining what it means to be a woman in Hollywood.受到影评家赞扬的新一代女导演不再仅仅满足于拍电影,她们还在与男导演进行票房的较量——重新定义身为好莱坞女性的意义。SAM TAYLOR-JOHNSON萨姆·泰勒-约翰逊(Sam Taylor-Johnson)Dominance. Discipline. A riding crop. When it was announced that E. L. James#39;s sadomasochistic literary sensation, ;Fifty Shades of Grey,; would be adapted into a film, men like Joe Wright, Gus Van Sant and Bennett Miller were considered the front-runners to direct it. Instead, the project went to Sam Taylor-Johnson, a Turner Prize-nominated artist and mother of four with just one feature film — ;Nowhere Boy,; a meditative biopic about a young John Lennon — to her name. ;I tend to jump into big challenges as fearlessly as I possibly can, and this is definitely a big challenge,; admits the 47-year-old. ;But I didn#39;t feel like I was stepping into something outside my realm of thought or creativity. A lot of my work has dealt with sexuality and power shifts and identity.; Despite the potentially crippling pressure of directing a story that#39;s been eagerly devoured by millions of women — and just as eagerly derided by critics who have called it ;bad for you,; ;Samp;M for Dummies; and ;pornography,plain and simple; — the London native ran the set of ;Fifty Shades,; out early next year, like an indie film, ;so that it didn#39;t feel like we were doing something as massive as it potentially will be,; she says. ;I wanted to keep it quite close-knit so that everyone felt supported, especially because a lot of the material is sensitive.; When it came to that sensitive material and how to tackle it, Taylor-Johnson was reminded of one of the few quiet moments from Kathryn Bigelow#39;s sexy thriller ;Blue Steel,; in which Jamie Lee Curtis, as a rookie cop, slowly pulls on a black leather boot. ;It was just one shot,; she says, ;but I remember thinking, God, that is so powerful. And then I the credits and was really surprised that — wow — a woman made this film.;配。纪律。马鞭。当E·L·詹姆斯(E. L. James)引起轰动的施虐受虐癖小说《格雷的五十道阴影》(Fifty Shades of Grey)宣布将改编成电影后,乔·莱特(Joe Wright)、格斯·范·桑特(Gus Van Sant)和贝尼特·米勒(Bennett Miller)等男导演被认为是最有可能的人选。但是,最终执导该片的是曾获特纳奖提名的萨姆·泰勒-约翰逊。她是四个孩子的母亲,只拍过一部长片——《不知名的男孩》(Nowhere Boy)——它是关于年轻时的约翰·列侬(John Lennon)冥思式的传记片。“我喜欢尽可能无所畏惧地接受巨大挑战,这(执导《五十道阴影》)无疑就是,“47岁的泰勒-约翰逊说,“但是我并不觉得这跨出了我的思想或创造力领域。我的很多作品与性欲、力量转换和身份有关。”虽然拍摄这样一部被成百上千万的女人如饥似渴地阅读,同时也被批评家们以同样的热情嘲弄——称它“对你有害”,是给“傻瓜看的施虐受虐癖小说”,“是一本黄书,幼稚、简单”——的电影会面临巨大压力,但这位伦敦本地人还是把这部明年初就要上映的电影拍得像是一部独立制作,“这样就不用弄得气势恢宏,”她说,“我想让它尽量紧凑,让每个人都感觉被持,特别是考虑到很多素材很敏感。”当提到敏感素材以及如何处理时,泰勒-约翰逊想起了凯瑟琳·毕格罗(Kathryn Bigelow)的色情惊悚片《霹雳蓝天使》(Blue Steel)中的几个平静时刻之一——杰米·李·柯蒂斯(Jamie Lee Curtis)扮演的新警察慢慢穿上一个黑皮靴。“它只是一个镜头,”她说,“但是我记得当时我想,天哪,这太有冲击力了。然后我看了一下演职员表,非常惊讶地发现——哇唔——导演是个女的。”Taylor-Johnson#39;s Formative Films激励泰勒-约翰逊当导演的电影One of the films that made her want to direct was John Cassavetes#39;s ;A Woman Under the Influence,; starring Peter Falk and Gena Rowlands.激励她走上导演之路的电影中,有一部是约翰·卡萨维兹(John Cassavetes)的《受影响的女人》(A Woman Under the Influence),主演是彼得·福克(Peter Falk)和吉纳·罗兰兹(Gena Rowlands)。JENNIFER YUH NELSON詹妮弗·余·尼尔森(Jennifer Yuh Nelson)Raking in over half a billion dollars worldwide in 2011, the Academy Award-nominated ;Kung Fu Panda 2″ turned Jennifer Yuh Nelson into the highest-grossing female director of all time (that title now belongs to Jennifer Lee, the co-director of last year#39;s ;Frozen;). It makes sense, then, that the DreamWorks Animation C.E.O. Jeffrey Katzenberg hired her back for ;Kung Fu Panda 3,; which she is currently working on with a team of about 350 people. From concept to completion, the ;Panda; films each take three to four years to make, but Nelson#39;s philosophy is that the appeal of animation is timeless, so it#39;s crucial to create something that will endure — ;a film you watch, think about and grow up with.; Nelson#39;s success is unexpected given that her biggest job prior to the ;Kung Fu Panda; series was as a story artist on the 2005 film ;Madagascar,; but perhaps it has to do with how she approaches the genre: ;I only think in live action,; says the 42-year-old, who personally sketches the scenesof her films, along with a team of artists. Born in South Korea and raised in Lakewood, Calif., with two older sisters who are also storyboard artists, she studied illustration at California State University, Long Beach. Given her passion for animation, the film she loved most growing up comes as a bit of a surprise: ; ‘Terminator,#39; ; she says, laughing. ;I memorized every line.;获得奥斯卡提名的《功夫熊猫2》(Kung Fu Panda 2)2011年在全球赚了5亿多美元,它使詹妮弗·余·尼尔森成为当时票房记录最高的女导演(如今这一殊荣属于去年《冰雪奇缘》[Frozen]的联合导演詹妮弗·李[Jennifer Lee])。所以,梦工厂动画公司的首席执行官杰弗瑞·卡森伯格(Jeffrey Katzenberg)又请她执导《功夫熊猫3》(Kung Fu Panda 3)也在情理之中,目前她正在和一个约350人的团队制作该片。每部《功夫熊猫》从概念到完成都要花三四年时间制作,但尼尔森相信,动画片的吸引力是永恒的,所以重要的是创作出具有持久魅力的东西——“一部你观看、思考并与之一起成长的电影”。尼尔森的成功出人意料,因为她在执导《功夫熊猫》系列之前最重要的工作是在2005年的电影《马达加斯加》(Madagascar)中担任画故事板的美工,不过她处理这个体裁的方式也许与此有关:“我是从实景拍摄的角度思考,”42岁的尼尔森说道。她亲自和一个美工团队设计电影的场景草图。尼尔森出生于韩国,在加利福尼亚州莱克伍德市长大,她的两个也是故事板美工,她在加州州立大学长滩分校学过插画。鉴于她对动画片的热情,她成长过程中最喜欢的电影有点出人意料:“《终结者》(Terminator),”她大笑着说,“我能背出里面的每一句台词。”Nelson#39;s Formative Films激励尼尔森当导演的电影One of the films that made her want to direct was the 1989 martial-arts sci-fi film ;Cyborg.;激励她走上导演之路的电影中,有一部是1989年的武打科幻电影《机械超人》(Cyborg)。AVA DuVERNAY阿娃·迪韦奈(Ava DuVernay)In Robert Altman#39;s Hollywood-lampooning film ;The Player,; an oily studio executive says, ;I was just thinking what an interesting concept it is to eliminate the writer from the artistic process. If we could just get rid of these actors and directors, maybe we#39;ve got something here.; Ava DuVernay had another idea. ;I financed and made my own films from the start,; says the 42-year-old director, writer, producer, distributor and onetime publicist. ;My path has been autonomous and independent, so I don#39;t have any horror stories about glass ceilings and expectations and tense studio meetings.; DuVernay, who became the first black woman to win a best director prize at the Sundance Film Festival, for her 2012 film ;Middle of Nowhere,; established her own production company, Forward Movement, in 2008. Although taking control of her business means she never has to ask permission to make a film, DuVernay still faces obstacles when it comes to the actual filming. ;For female directors, there#39;s a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman,; she says. ;Crew members, too. The way that you would deal with a black woman on the street is not the way you#39;re going to deal with this black woman on the set, and there have been a couple of times where that negotiation has been a little iffy.; For her fourth feature film, DuVernay will direct ;Selma,; a movie about the 1965 voting rights campaign led by Martin Luther King Jr. that is being co-produced by Oprah Winfrey and Brad Pitt.在罗伯特·奥尔特曼(Robert Altman)讽刺好莱坞的电影《玩家》(The Player)中,一个油腔滑调的电影公司主管说,“我在想,把编剧从艺术创作过程中清除出去该多有趣啊。如果我们能甩掉这些演员和导演,也许我们能在这里干一番事业。”阿娃·迪韦奈的想法则相反。“我从一开始就自己出钱拍自己的电影,”这位42岁的导演、编剧、制片人、发行人和宣传(一度兼职)说,“我的路一直是独立自主的,所以我没有遭遇女性晋升的玻璃天花板、种种期望、紧张的电影公司会议这样的恐怖经历。”迪韦奈2008年创立自己的电影公司向前运动(Forward Movement),2012年凭借电影《无人知晓》(Middle of Nowhere)成为首位获得圣丹斯电影节最佳导演奖的黑人女性。虽然掌控自己的公司意味着她从来不必获得别人许可才能拍电影,但是在实际拍摄过程中迪韦奈仍遇到了一些障碍。“女性导演必须考虑另一套完全不同的东西,特别是在选男演员时,因为有些男演员从未拍过女人导演的电影,”她说,“选择剧组人员也是如此。你在街上跟一个黑人女性打交道的方式与你在片场跟这个黑人女性打交道的方式将是不同的,有好几次协商进行得不太好。”迪韦奈的第四部长片是《塞尔玛》(Selma),它讲述的是1965年小马丁·路德·金(Martin Luther King Jr.)领导的争取投票权的运动。奥普拉·温弗瑞(Oprah Winfrey)和布拉德·皮特(Brad Pitt)是该片的联合制片人。DuVernay#39;s Formative Films激励迪韦奈当导演的影片One of the films that made her want to direct was Spike Lee#39;s ;Mo#39; Better Blues.;激励她走上导演之路的电影中,有一部是斯派克·李(Spike Lee)的《爵士风情》(Mo#39; Better Blues)。SARAH POLLEY萨拉·波利(Sarah Polley)For someone who first drew mainstream attention in an Ecstasy-fueled rave odyssey called ;Go,; Sarah Polley likes to stay put. ;I have this theory that filmmakers, if they were in another time before the film medium, would have been divided into two categories: writers and explorers,; says the 35-year-old actor, writer and director who has chosen to remain in her native Canada rather than make the typical pilgrimage to Hollywood. ;The explorers would have gone off and found unseen lands. I definitely would have fallen into the writer category.; Although Polley identifies mostly as a screenwriter, she has directed three features, including ;Away From Her,; a romantic drama that earned her a best adapted screenplay Oscar nomination in 2008, and last year#39;s critically acclaimed autobiographical documentary ;Stories We Tell,; in which she unearthed her own family#39;s secrets in the wake of her mother#39;s death. ;It#39;s easy for me to imagine writing a script for someone else to direct, but hard for me toimagine directing a script someone else has written,; she says. An industry veteran — she landed her first role at the age of 4, and has acted for other female auteurs like Kathryn Bigelow and Isabel Coixet — Polley understands all too well the challenges women face trying to balance their domestic and occupational lives. ;I think there#39;s got to be a culture in which women are permitted to have time with their families and also have a great work ethic and make movies,; she says. ;Right now, that doesn#39;t exist.; And yet, Polley makes it work. She is currently adapting Margaret Atwood#39;s historical novel ;Alias Grace; into a six-part mini-series in Toronto, where she lives with her husband and two daughters.萨拉·波利首次引起主流注意是通过一部充满摇头丸的狂欢历险电影——《前进》(Go),但是她喜欢留在原地。“我有这样一个理论:电影制作人们在电影媒体出现前的时代会分为两类:作家和探险家,”这位35岁的演员、编剧和导演说。她选择留在祖国加拿大,而不是进行典型的好莱坞朝圣。“探险家会离开去寻找未见过的土地。我肯定属于作家那一类。”虽然波利主要是电影编剧,但她也导演过三部长片,包括爱情片《柳暗花明》(Away From Her)和去年上映的自传体纪录片《我们讲述的故事》(Stories We Tell)——前者为她赢得了2008年奥斯卡最佳改编剧本奖提名;后者获得了影评家的好评,讲述的是母亲去世后她发现了自己家族的秘密。“我更容易想像自己写了一个剧本让别人去导演,但是很难想像让我去导演别人写的一个剧本,”她说。波利是电影圈的老将,四岁就得到第一个角色,曾参演凯瑟琳·毕格罗(Kathryn Bigelow)和伊莎贝尔·科塞特(Isabel Coixet)等其他女导演的影片,所以她十分了解女人想在家庭和事业之间保持平衡时面临的挑战。“我想,应该有一种文化,让女人既有时间陪家人,还能保持很好的职业道德去拍电影,”她说,“现在这种文化不存在。”但是,波利还是做到了。目前她正在多伦多——她和丈夫以及两个女儿住在这里——把玛格丽特·阿特伍德(Margaret Atwood)的历史小说《别名格雷斯》(Alias Grace)改编成六集迷你剧。Polley#39;s Formative Films激励波利当导演的影片One of the films that made her want to direct was Terrence Malick#39;s World War II epic ;The Thin Red Line.;激励她走上导演之路的电影中,有一部是泰伦斯·马利克(Terrence Malick)的“二战”史诗影片《细细的红线》(The Thin Red Line)。LISA CHOLODENKO莉莎·绍洛坚科(Lisa Cholodenko)Early on in Lisa Cholodenko#39;s Oscar-nominated film, ;The Kids Are All Right,; a lesbian couple, played by Annette Bening and Julianne Moore, engages in foreplay while watching a of two men having sex in the back of a Ford Ranchero. Under different direction, the scene could have easily felt smutty, but Cholodenko#39;s humor and heart turn it into something that ends up bordering on wholesome. Naturalizing same-sex relationships has been at the core of the 50-year-old filmmaker#39;s creative process since she wrote and directed her debut feature, ;High Art,; in 1997 while in grad school at Columbia University. ;When I started making films, there was no gay marriage, and these issues weren#39;t front and center at all, so I feel like the global landscape has probably changed quite a lot in that time,; says Cholodenko, who has explored sexuality and its impact on the human condition in each of her four feature films. For ;The Kids Are All Right,; she took a more lighthearted approach, in an attempt, shesays, to ;scratch outside of the art-house sensibility, and see if I could connect with a wider audience.; Cholodenko most recently turned her lens on yet another complicated family, this time in coastal Maine, with her four-part HBO mini-series ;Olive Kitteridge,; an adaptation of Elizabeth Strout#39;s Pulitzer Prize-winning novel, which will air this fall. For that project, she was attracted to the script almost immediately: ;Here were these fully realized, complicated, ironic characters that I loved in all their dark and light complexity.;在莉莎·绍洛坚科获得奥斯卡提名的影片《孩子们都很好》(The Kids Are All Right)的开头,安妮特· 贝宁(Annette Bening)和朱利安·尔(Julianne Moore)扮演的同性恋情侣一边观看两个男人在一辆福特Ranchero皮卡的后座上做爱的视频,一边进行前戏。如果用另一种导演方法,这场戏很容易让人觉得下流,但是绍洛坚科的幽默和感情把它变成了一种近乎于健康的东西。从她1997年在哥伦比亚大学读研期间编写、导演处女电影《高雅艺术》(High Art)时起,把同性恋关系自然化一直是这位50岁的电影制作人创作过程的核心。“我开始拍电影时还没有同性婚姻,这些在当时并不是中心议题,所以我感觉全球的情况可能已经发生了很大的改变,”绍洛坚科说。她的四部电影长片都探索了性欲以及它对人类境况的影响。在《孩子们都很好》中,她采取了一种更轻松的方式,她说自己目的是“做一些实验性影片之外的尝试,看看我能否与范围更为广泛的观众取得联系”。绍洛坚科最近把她的注意力转移到了另一个更复杂的家庭上,这一次是在沿海的缅因州,她导演的是HBO频道的四集迷你剧《奥利弗·基特里奇》(Olive Kitteridge),该剧改编自伊丽莎白·斯特劳特(Elizabeth Strout)获得普利策奖的小说,将于今年秋季播出。对这个本子,她几乎是一见钟情:“里面的人物真实、复杂、很有讽刺感,我喜欢他们黑暗又轻松的复杂性。”Cholodenko#39;s Formative Films激励绍洛坚科当导演的影片One of the films that made her want to direct was Robert Redford#39;s directorial debut, the family drama ;Ordinary People.;激励她走上导演之路的电影中,有一部是罗伯特·雷德福(Robert Redford)的导演处女作、家庭剧《普通人》(Ordinary People)。LANA WACHOWSKI拉娜·沃卓斯基(Lana Wachowski);It#39;s insane how few female directors there are,; says Lana Wachowski, 49, who, with her brother, Andy, has written, directed and produced big-screen spectacles so bombastic that they#39;d seem overblown if they weren#39;t so well made. ;In terms of the skill set directing requires — working with a large art community and trying to get the best out of all of these artists and trying to make all of that gel, all of these egos being in balance and harmony — those are things that women are socialized to do more than men.; Two years ago, the notoriously private co-creator of ;The Matrix; trilogy, ;V for Vendetta; and ;Cloud Atlas; received the Human Rights Campaign#39;s Visibility Award, shortly after coming out publicly as transgender — thus becoming the first transgender woman to wield serious Hollywood clout. In her acceptance speech, she described how it felt growing up in a world that refused to see her for who she was. ;I began to believe voices in my head,; Wachowski said. ;That I was a freak, that I am broken, that there is something wrong with me, that I will never be lovable.; It brought the room to tears and was met with the equivalent of a standing ovation on the Internet. A stronger Lana has since emerged. ;Only when you begin to interrogate why our society makes gender the fundament of our identity and why that distinction is so important to us — whether someone is a boy or a girl — then you begin to understand why there are so few female directors and politicians,; she says. In part to make sure prejudice doesn#39;t enter their place of work, the Wachowskis employ the same basic crew from film to film. ;It#39;s like family,; she says. ;Everyone is very respectful of each other.; The Wachowskis#39; upcoming sci-fi projects include the film ;Jupiter Ascending,; starring Mila Kunis and Channing Tatum, and a foray into television with a top-secret Netflix series, ;Sense8,; which is currently being shot in nine cities around the world.“女导演这么少真是太不可思议了,”49岁的拉娜·沃卓斯基说。她和弟弟安迪(Andy)编写、导演和制作的银幕大片如此浮夸,要不是因为确实拍得好,它们会显得有点做过了头。“从片场导演所需的技巧角度讲——与一个庞大的艺术团队合作,努力让所有艺术家都表现出最好的一面,努力让所有的人配合融洽,让所有人的自尊心保持平衡、和谐——女人比男人更适合做这些事。”以低调出名的她,是《黑客帝国》(The Matrix)三部曲、《V字仇杀队》(V for Vendetta)和《云图》(Cloud Atlas)的秘密联合制作者。两年前,在她以变性人身份公开露面后不久——因此成为第一位具有好莱坞重要影响力的女变性人——获得了人权战线(Human Rights Campaign)的能见度奖(Visibility Award)。在获奖感言中,她描述了在一个拒绝正视她真正自我的世界里长大是什么感觉。“我开始相信自己头脑中的声音,”沃卓斯基说,“那个声音说我是怪人,我有问题,我有毛病,我永远不会讨人喜欢。”她的话让在场的人热泪盈眶,在网上引起的反响也如同长时间的起立鼓掌。一个更强大的拉娜从此诞生了。“只有当你开始质问为什么我们的社会把性别当做身份的基础,为什么那种差别对我们如此重要——不管是男孩还是女孩——你就能开始理解为什么女导演和女政治家这么少,”她说。在某种程度上为了确保他们的工作场所没有偏见,沃卓斯基弟每部电影都雇佣同样一批核心剧组成员。“就像是一家人,”她说,“大家彼此尊重。”弟俩即将出品的科幻电影包括《木星上行》(Jupiter Ascending),主演是米拉·库尼斯(Mila Kunis)和查宁·塔图姆(Channing Tatum)。他们还涉足电视剧,正在为Netflix公司制作高度保密的电视剧——《第八感》(Sense8),目前该剧正在全球九个城市拍摄。Lana Wachowski#39;s Formative Films激励拉娜·沃卓斯基当导演的影片One of the films that made her want to direct was Stanley Kubrick#39;s iconic ;2001: A Space Odyssey.;激励她走上导演之路的电影中,有一部是斯坦利·库布里克(Stanley Kubrick)的代表作《2001太空漫游》(2001: A Space Odyssey)。 /201408/323515湖州福音医院治疗痘痘多少钱 It#39;s freezing out and we wish our homes could be a little warmer. And while we all know the standard practices from adjusting the thermostat to making sure our windows are sealed and lighting a fire, there are definitely some tricks we#39;re missing.外面天寒地冻,我们真希望屋里能暖和点。我们熟知的保暖标准方法无外乎调高空调的温度,把窗户关严实,壁炉里生起火。还有些保暖小绝招是你不知道的哟。1. Close off unused rooms.不使用的房间就关上房门。Keeping doors closed won#39;t just prevent cold air from moving into the rest of the house -- it will help contain the heat you#39;ve generated.保持房门关闭不仅可以防止冷空气进入其他房间,还可以保存已经产生的暖气。 /201402/276749湖州德清县做处女膜修复多少钱

德清县自体脂肪隆鼻价格On the snow-covered, bitterly cold museum construction site here, word went out to the assembled crowd: The helicopter had landed.在白雪覆盖、冷得让人难受的物馆施工地点,消息在聚集的人群中传开:直升机已经降落了。The Japanese architect Tadao Ando was making one of his twice-yearly, 7,000-mile trips from Osaka to New York to the Berkshires for a project that had gone on longer than anyone, including Mr. Ando, had expected at the outset: the dozen-year, 5 million expansion of the Sterling and Francine Clark Art Institute, which is finally scheduled to open in July.日本建筑师安藤忠雄当时正在进行自己一年两次、长达7000英里的旅行,从大阪飞到纽约,到伯克夏郡指导一个耗时超过所有人(包括他本人)最初预期的项目:斯特林和弗兰锡恩·克拉克艺术物馆(Sterling and Francine Clark Art Institute)的扩建工程,它耗时12年,耗资1.45亿美元,终于定于今年7月开幕。Mr. Ando does not like to leave Japan for very long, and, initially, he didn#39;t know where Williamstown was. He signed on because of the natural beauty of the site and what he called the masterpieces in the Clark#39;s collection.安藤忠雄不喜欢离开日本太久,起初他并不知道威廉斯敦在哪里。他签约是因为那个地方的天然美景以及克拉克物馆收藏的杰作。The Clark, which opened in 1955, founded by an heir to the Singer sewing fortune, is a revered jewel-box museum with a stellar group of European and American works by masters like Degas, Sargent and Monet. The original neo-Classical-style white marble building was joined by a 1970s Brutalist structure, the Manton Research Center. The New York architect Annabelle Selldorf is renovating both of the existing older structures, and the landscape firm Reed Hilderbrand is reconfiguring the grounds.克拉克物馆1955年开放,由辛格缝纫财团的一位继承人创立,它是一个令人敬畏的、充满宝物的物馆,收藏有欧洲和美国的很多大师的杰作,包括德加斯(Degas)、萨金特(Sargent)和莫奈(Monet)。最早的建筑是新古典主义风格的白色大理石建筑,20世纪70年代加入了一个野兽派建筑——曼顿研究中心(Manton Research Center)。纽约建筑师安娜贝勒·塞尔道夫(Annabelle Selldorf)正在整修这两个现存的较老的建筑,景观设计公司里德·希尔德布兰德(Reed Hilderbrand)正在重新布置庭院。The many-faceted master plan also called for a new visitor, exhibition and conference center designed by Mr. Ando, who has built very rarely in the ed States, notably the Modern Art Museum of Fort Worth and the Pulitzer Foundation for the Arts in St. Louis.这个多元化的总体规划还包括一个新的游客、展览和会议中心,设计师是安藤忠雄,他在美国的设计作品很少,其中比较著名的有沃斯堡现代艺术物馆(Modern Art Museum of Fort Worth)和圣路易斯的普利策艺术基金会(Pulitzer Foundation for the Arts in St. Louis)。And his arrivals are hotly anticipated. A winner of the Pritzker Prize, he is renowned for instilling a thoughtful air of calm in his simply arranged structures of thick-walled concrete and is treated with great reverence at the Clark, especially since he completed the widely acclaimed Stone Hill Center on a wooded hillside here in 2008. It houses two art galleries and a series of conservation labs with magnificent views of the Taconic Range and the Green Mountains.人们热切期待他的到来。他是普利兹克建筑奖获得者,以在构造简单的厚壁混凝土建筑中注入一丝深思的平静而闻名,他在克拉克物馆受到了十分尊敬的对待,特别是2008年他在纽约林木繁茂的山坡上完成广受赞誉的石山中心(Stone Hill Center)之后。石山中心有两个画廊和一系列保护实验室,能看到塔科尼克山和绿山的优美景色。Trailed by a dozen workers and museum staff members, Mr. Ando immediately made the rounds to inspect the progress on his latest Clark building, a low-slung visitor center set on a three-tiered reflecting pool that provides a focal point for the whole campus. After approving various details — in particular the lack of porousness in the concrete — he pronounced the progress a success.安藤忠雄很快开始四处走动,察看克拉克物馆最新建筑的进展,后面跟着十几个工人和物馆员工。这个低矮的游客中心建在一个三层倒影池上,是整个庭院的焦点。在肯定了各方面的细节——特别是混凝土不漏水——之后,他宣布进展顺利。Then came the banter. He and Michael Conforti, the Clark#39;s director, have been involved in an odd-couple relationship since 2001, when, after a long selection process and a long courtship, Mr. Conforti persuaded him to take on the project. In an era when huge new museum projects are par for the course, the interplay at the Clark demonstrates how the give and take between designer and client turns divergent ideas into a synthesis of bricks and mortar — or in this case, concrete and granite.接下来是谈笑时间。他和克拉克物馆的馆长迈克尔·孔福尔蒂(Michael Conforti)从2001年开始了一段古怪的搭档关系,当时在长时间的挑选和恳求之后,孔福尔蒂说他接下了这个项目。那个年代,兴建大型新物馆是常事,这个项目表明设计师和客户之间的互动能把不同意见变成砖与泥的混合物——在这里也许应该说成混凝土与花岗岩的混合物。;He#39;s a visionary,; Mr. Conforti said of Mr. Ando. ;We needed an architectural vocabulary that could unify the campus without copying the two styles of building we aly have.;“他是个有预见力的人,”孔福尔蒂这样评价安藤忠雄,“我们需要一个能把这个庭院统一起来的建筑词汇,而不只是模仿两个已有建筑的风格。”But no one ever said hiring a starchitect would make life easy.但是没人说雇佣一位明星建筑师会让事情变得轻松。;The director is very critical,; Mr. Ando burst out at one point, through a translator who shadowed him on his visit. He had a large smile on his face as he continued: ;He is a strong man. He has an opinion, and he sticks to it.;“馆长非常挑剔,”安藤忠雄一度大笑着说。全程陪伴他的翻译替他翻译。他脸上充满笑意地继续说道:“他是个很强势的人。有自己的主见,而且很执着。”Mr. Conforti followed up by saying, ;It#39;s been an energetic relationship.;孔福尔蒂跟着说道,“我们的关系很积极。”The back and forth between the proudly self-taught Mr. Ando — who was once a boxer — and Mr. Conforti, a Harvard Ph.D. who has been running the Clark for 20 years, has pushed the project to be more ambitious than it might otherwise have been.骄傲的自学成才的建筑师安藤忠雄(他曾是个拳击运动员)和哈佛大学哲学士孔福尔蒂(他担任克拉克物馆馆长达20年)之间的互动把这个项目变得比最初的设想更有野心。The telling details are two walls of red granite at the entrance, as well as the tiered reflecting pools in back. The first was Mr. Conforti#39;s idea and the second, Mr. Ando#39;s. Neither of them was thrilled with the other#39;s suggestion at first, but they learned to embrace both elements in the process of working together.其中最显眼的两个细节是入口处的两堵红色花岗岩墙壁和后面的分层倒影池。第一个是孔福尔蒂的主意,第二个是安藤忠雄的想法。一开始他们都没有为对方的建议感到兴奋,但是他们在合作过程中学会了接受这两个元素。Mr. Ando#39;s close friend Kazuhito Yoshii, a New York art dealer, was trailing along during Mr. Ando#39;s recent Clark visit and has witnessed the interplay many times.纽约艺术商吉井和弘是安藤忠雄的密友。在他最近访问克拉克物馆期间,吉井一直陪着他。吉井多次见了他们的互动。;It#39;s a long-term relationship. It#39;s like a marriage,; Mr. Yoshii said.“他们之间是一个长期的关系,就像婚姻,”吉井和弘说。Since completing the Stone Hill Center, Mr. Ando has focused on creating a visitor center that can accommodate modern museum necessities like a gift shop and cafe, as well as the large temporary exhibition spaces the Clark has always lacked. It is scheduled to open on July 4 with ;Make It New,; a show of abstract paintings from the National Gallery of Art.在完成石山中心的项目后,安藤忠雄把注意力放到设计这个游客中心上来,它需要既能容纳现代物馆的基本需求,比如礼品店和咖啡店,也能容纳克拉克物馆一直缺乏的大型临时展览空间。它计划7月4日和“让它变新”(Make It New)展览同时开幕,这个展览是国家美术馆的抽象画展览。To emphasize the natural beauty of the Clark#39;s 140-acre setting and to defer to the original white marble building, beloved among the Clark#39;s patrons, both Mr. Ando and Mr. Conforti were keen on putting much of the center#39;s mass underground, while avoiding gloom.为了凸显克拉克物馆140英亩的环境的天然美景,而且与深受克拉克物馆的出资人们喜爱的最初的白色大理石建筑相呼应,安藤忠雄和孔福尔蒂都渴望把游客中心的大部分人群转移到地下,同时不能太阴暗。Mr. Ando has shown an ability to suffuse rooms with light in surprising ways. One of his most famous projects is the Ibaraki Kasugaoka Church in Ibaraki, Japan, which is known as the Church of the Light because of the cruciform-shaped opening in the concrete wall behind the altar.安藤忠雄已经表现出用令人意外的方式让房间充满阳光的能力。他最著名的一个项目是日本茨城县的光之教堂,因神坛后面混凝土墙上的十字形裂缝而得名。Bold, simplified gestures like that are his stock in trade. ;I pursued simplicity to an extreme,; Mr. Ando said of his visitor#39;s center design, which is essentially two concrete and glass pavilions connected by a long gallery. ;It#39;s like a swan with its wings sp.;那种大胆、简洁的手法是他的惯用手段。“我追求简单到了极致,”安藤忠雄谈起游客中心的设计时说,“它像一个展翅的天鹅。”这个游客中心本质上就是由一个长廊连接起两个混凝土玻璃展馆。Mr. Ando#39;s devotion to concrete is part of his architectural signature. ;Using a material that is ubiquitous, that is everywhere, but still creating something that nobody else can — that#39;s my motto,; Mr. Ando said.安藤忠雄对混凝土的钟爱是他的建筑标志之一。“用随处可见的材料创造出别人创造不出来的东西——这是我的座右铭,”安藤忠雄说。But Mr. Conforti was also keen to have Minnesota red granite as an integrating element, because it is aly featured on the campus, notably the cladding of the Manton building. He recalls the architect resisting for a time (though Mr. Ando now remembers otherwise). In any case, Mr. Ando agreed to use the granite for the first time in his career, for two red walls that serve as the focal point of the entrance. Visitors will walk through the point where the two walls almost meet. They also create an outdoor courtyard and help hide the building#39;s mass upon approach.但是孔福尔蒂也渴望把明尼苏达州的红色花岗岩作为一个组成要素,因为它已经是这个庭院的特色了,尤其是曼顿中心的外墙。他回忆说这位建筑师抵制了一段时间(不过安藤忠雄的回忆不是这样的)。不管怎样,安藤忠雄在事业中首次同意使用花岗岩,用在两堵红墙上,作为入口的焦点。游客们将走过两堵墙几乎相交的地方。这两堵墙还创造了一个室外庭院,帮助隐藏刚到达这个地方的游客。From the beginning, Mr. Ando felt strongly that a water feature would unify the campus. ;I use water quite often in my work,; he said. Mr. Conforti acknowledged that he hadn#39;t jumped at the idea of the tiered pools at first, nor had his trustees.从一开始,安藤忠雄就强烈感觉一个水景将把这个庭院统一起来。“我经常在作品中用水,”他说。孔福尔蒂承认自己一开始并没有欣然接受分层水池的想法,董事会的人也没有欣然接受。He said: ;I think some of the practical people on the board thought, ‘Why build a water feature if it#39;s nonfunctional?#39; It#39;s not a very New England thing to do.; Mr. Conforti decided that humor was the best strategy when it came to convincing others. ;When I first introduced the concept to the community in a slide show back in 2003, my first image of it had a Zamboni,; he said. ;I wanted people to think of it as a fun place to be, not as an architectural affectation.;他说:“我想董事会里的一些注重实用性的人当时在想,‘为什么要建一个没有实用功能的水景?#39; 它不是一个非常符合新英格兰作风的做法。”孔福尔蒂认为,在说别人的时候,幽默是最好的策略。“2003年我第一次用幻灯片把这个设计介绍给董事会的时候,我的第一张图是赞尼磨冰机,”他说,“我想让人们把它当成一个好玩的地方,而不是建筑虚饰。”Mr. Ando, 72, does not strike most who meet him as affected. Given the severity and serenity of his work, his personality takes some people by surprise: a cross between a Japanese philosopher king and an impish uncle, cracking jokes at news conferences and at forums for Clark patrons.72岁的安藤忠雄给大多数见过他的人留下的印象都不是矫揉造作。鉴于他的作品庄重、宁静,他的个性让有些人感到意外:他是日本哲人和顽皮大叔的结合体,他在新闻发布会上以及为克拉克物馆的赞助人们举办的论坛上开玩笑。He takes his work seriously, but not solemnly. He once named his dog Le Corbusier, after his architectural idol, and kept him around the office. ;He could tell the good clients from the bad clients,; Mr. Ando said. ;He would have been quite alerted when he saw Michael.;他认真看待自己的作品,但并不郑重其事。他曾经用自己的建筑学偶像勒·柯布西耶(Le Corbusier)的名字给自己的命名,并让待在办公室里。“他能判断客户的好坏,”安藤忠雄说,“他要是看到迈克尔,一定很警惕。”The legacy of Mr. Conforti will surely rest on the expansion plan#39;s success, and on compromises made over the decade.孔福尔蒂的遗产无疑将是扩展计划的成功以及这十年做出的折中方案。He#39;s thousands of miles away, Mr. Conforti said, ;and he#39;s an architect who is special because of his sculptural, light-filled spaces and not necessarily his devotion to museum programming.;孔福尔蒂说,他在几千英里之外,“作为建筑师,他的特别之处在于雕塑般的、充满阳光的空间,而不必是对物馆规划的投入。”;The respect we had for each other#39;s point of view evolved over time,; he added.“我们对彼此观点的尊重随着时间在增长,”他补充说。As he wrapped up his visit, Mr. Ando seemed pleased. ;Ultimately, we got what we wanted,; he said. ;When the common goal is to have good architecture, usually the fight doesn#39;t end as a fight. It ends as a collaboration.;在结束旅行的时候,安藤忠雄似乎很高兴。“最终,我们得到了我们想要的,”他说,“如果共同目标是设计一个好建筑,那通常争论就不会以争论结束。而是以合作结束。” /201409/328955 South Africa#39;s government will distribute coloured and flavoured condoms among students to end ;condom fatigue;, the health minister has said.据英国广播公司(B)4月3日报道,南非卫生部长亚伦·莫特索亚雷迪(Aaron Motsoaledi)日前表示政府将给学生发放具有颜色和香味的避套,以解决“避套疲劳”的问题。Aaron Motsoaledi#39;s comments came after a survey showed that condom usage had fallen in South Africa.此前一项调查显示,避套在南非的使用率正在下降。这可能是因为“普通避套不够酷”,他补充说。The decline in usage may be because ;the standard-issued choice condoms just aren#39;t cool enough;, he added.南非有640万HIV病毒检测呈阳性的携带者,居世界首位。South Africa has some 6.4 million HIV-positive people - more than any other country.南非人文科学研究理事会(HSRC)调查显示,南非HIV病毒携带者的比例已经从2008年的10.6%上升至2012年的12.2%。The survey, by South Africa#39;s Human Sciences Research Council (HSRC), showed the rate of people with HIV had risen from 10.6% in 2008 to 12.2% in 2012.该调查报告指出,这不仅是因为有新感染的人群,还因为抗病毒治疗(ART)成功得到广泛应用。This was because of the combined effects of ;new infections and a successfully expanded antiretroviral treatment [ART] programme;, the report said.很多HIV病毒携带者现在能活得更久,是因为他们接受了ART治疗,而前政府曾一度禁止国营诊所使用这种治疗方法。Many of those infected with HIV are living longer because they are being given treatment which a previous government refused to make available in state clinics.据路透社报道,大约200万人正在参与ART项目治疗,但慈善团体也提醒地方诊所正在面临药物短缺问题。Some two million people are now on the ART programme, however charities have warned that local clinics are running short of the drugs, Reuters news agency reports.The latest study shows that condom use had declined, especially in the 15 to 24 age group.最新调查显示,避套在南非的使用率正在降低,尤其在15到24岁的人群中间更是如此。The 2008 survey showed that 85% of males used them and 66% of females, but this had dropped to 67% and 50% respectively in 2012.2008年调查显示,有85%的男性和66%的女性会使用避套,但在2012年这两个数字已分别跌至67%和50%。;The increases in some risky sexual behaviours are disappointing, as this partly accounts for why there are so many new infections still occurring,; said Leickness Simbayi, an investigator on the study.“这表明了危险性行为的比率在上升,很令人失望。这也解释了为什么现在仍不断出现大量新感染的患者。”该研究的调查员莱克尼斯·西姆贝(Leickness Simbayi)说。Some three-quarters of those surveyed said they had a low risk of contracting HIV, even though 10% were aly infected.75%的受访者表示他们感染艾滋病的风险很低,但实际上10%已经被感染。In his response to the report, Mr Motsoaledi said: ;We need to inject enthusiasm into the condom campaign, and we are about to start rolling out new types of free, coloured condoms which are also flavoured.;莫特索亚雷迪对此回应道:“我们需要让人们积极关注避套运动,同时我们正计划免费发放新型色香味避套。”The condoms will be distributed for free at South Africa#39;s universities and colleges, he added.这些避套将在南非各高校免费发放。 /201404/285960湖州曙光医院毛发移植多少钱湖州治疗腋臭的医院

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