In the 21st part of his Photography and beyond series, Heinz Emigholz projects as usual a series of structures into our brains and from there on to the screen: Airports,[ZiYuantun.Com] motorways and bus stops; department stores, market halls and warehouses; churches, cathedrals, sculptures and monuments. And a prison, a stadium, an embassy, a semi-detached house. These far-flung architectural works generate a frame story: The ephemeral, capitalistic, religiously melancholy and moralising world gets caught up in its own sense of purpose with far reaching consequences. Even after the atom bomb is dropped, as narrated by a vaguely familiar voice, the viewer waits for the documentary framing of an architectural design. Yet this frame does not exist, perhaps it never even did. What we have before us is a flat screen, with the illustrations from advertising circulars floating across the image as proof. Front and back merge to form the actual spatial and temporal construction, whose architect is none other than the viewers themselves. As the final part of the series, Airstrip offers no big finale of architectural film history, but rather a brilliant desert landscape full of unexpected new beginnings. (Berlinale 2014) 译文(3): 在《摄影与超越》系列的第21部分中，海因兹·埃米格尔兹一如既往地将一系列结构投射到我们的大脑中，并从那里投射到屏幕上：机场、高速公路和公共汽车站；百货公司、市场大厅和仓库；教堂、大教堂、雕塑和纪念{资源屯-ziyuantun.com}。还有一座监狱，一座体育场，一座大使馆，一座半独立的房子。这些遥远的建筑作品产生了一个框架故事：短暂的、资本主义的、宗教般的忧郁和道德化的世界陷入了自己的目的感，产生了深远的后果。即使在原子弹投下后，观众仍在等待建筑设计的纪录片框架。然而，这个框架并不存在，也许它从未存在过。摆在我们面前的是一个平面屏幕，广告通告中的插图漂浮在图像上作为证据。前后融合形成了实际的空间和时间结构，其建筑师正是观众自己。作为该系列的最后一部分，《空中旅行》没有提供建筑电影历史的大结局，而是一个充满意想不到的新开端的灿烂沙漠景观。（柏林，2014年）
