英语翻译Tangible TraceThe walls are white,the tables are white,t

英语翻译
Tangible Trace
The walls are white,the tables are white,the chairs are white--bare white and thereby stripped of any reference,as if the space has no present or past and is ready to receive the future,what is new.And that is exactly what happens in the exhibition Tangible Trace,which began in 2007 as the Dutch contribution to the 7th Sao Paulo International Architecture Biennial and,after having traveled to Austria,Hong Kong and Indonesia,is being presented in the Netherlands in 2009.Work by one of the participants has been positioned in front of each of the five walls,The Cinema for two persons by spatial designer Frank Havermans,the Polder Sofa by the industrial designer Hella Jongerius,a felt fabric by textile designer Claudy Jongstra,scale models by the architecture office Onix,and clothing ensembles by the fashion designer Alexander van Slobbe thus literally confer form and colour on the empty space,leaving tangible traces behind.
Various interventions have been effected to make the world behind the result visible too.Each wall contains a life-sized black-and-white drawing of the studio of the designer in question.This glance behind the scenes radiates a level of abstraction and bareness that are in sharp contrast with the reality and aesthetics of the objects on show.Behind each wall there is also a small table with a specially produced book on the work of the designer concerned.It provides insight into the process which underlies the creation of these objects.The background information has therefore become part of the exhibition itself.
Industrial designer Jrgen Bey has based the structure and context of his exhibition design on Modernism.Tangible Traces make use of Modernist features such as the colour white and the idea of the space as a tabula rasa to provide a commentary.After all,the designers presented here do not regard everlasting innovation,the trademark of Modernism,as the highest good.They do not want to start with an empty page.They find tradition and context important and incorporate trace of it in their work.
Hella Jongerius is a perfect example of this.Almost all her designs are characterized by a reinterpretation of existing forms and patterns.For instance,in several commissions by Koninklijke Tichelaar Makkum,the oldest ceramics factory in the Netherlands,she gave her own twist to the traditional Delft Blue decorations.She also made classical-looking vases from rubber,an unusual,soft material.Moreover,she created a history in her own oeuvre with different editions of these Soft Urns (the colour of medieval glass in 1994,pink in 1999).
请不要用翻译软件，用软件翻译的词不达意。

帮助我很大地改进步法过去月的几点(这些是没有坚硬和快速的规则, 而是他们将帮助您注意区别在各种各样的样式出现上):
1. 保留您臀部在您的重心之下(即您的腹部按钮) .这意味着您将必须保留一只脚在您之下在多数次由交替)
2. 如果您的臀部轻微地被举起(以您的重心仍然在您的脚), 您的运动将是更加快速的这意味, 您应该设法支持您的自已在您的棕榈的上部部份(您的callouses 是) 的地方, 或在您的指尖(小心您的拇指) .您能艰苦开发好步法在平的棕榈, 但it's .
3. 您支持的脚(在您的臀部之下) 应该, 为所有实用目的, 几乎从未是在它的脚跟逗留在脚的球
4. 当心过份胳膊flailing 除非它的您的样式的部份
5. 尝试保留一张轻松面孔(前: 容易的roc).this 是个人的宠物peeve, 但它可能产生变化.
6. don't 去为速度变动拍子, 并且don't 忘记it's 可能简要地返回到toprock 和然后再进入步法.
7. 当you're 学会, 力量你自己结冰在您的六步好结冰的每三次(之后或什么) 革命是经常什么分离真正的破碎机从复制的wanna-bes 您和并且授予您时刻认为您的接下来的步骤.
希望这帮助, 并且工作样式.确信, 您的"Bboying" doesn't 轮入一位体操运动员没有节奏能仿效那里是的惯例, 当然, 一些好体操运动员以节奏, 因此最后观看侮辱, 作为必需象执行学会爱实践.打破是爱好, 和确定您的动机匹配那个思路.