For more than twenty years Daniel Libeskind has been regarded as one of the world's leading architectural theoreticians and educators. Since 1973, he has taught at more than forty institutions, maintaining such distinguished positions as head of the Cranbrook Academy of Art's School of Architecture in Bloomfield, Michigan, founder and director of Architecture Intermundium in Milan, Italy, the Sir Bannister Fletcher Architecture Professor at the University of London in London, England, professor at the University of California, Los Angeles' School of Architecture and Urban Planning in Los Angeles, California, and the First Louis Kahn Professorship at Yale University. Throughout Libeskind's career, his approach to the profession of architecture and the development of the world's built environment has defied convention. He is one of the last heroes of the architecture world's avant-garde. And while he is the recipient of numerous awards and citations for his designs, Libeskind's architectural output has largely consisted of models, drawings, poetry, and ephemera. For years, Studio Libeskind sustained itself as a laboratory for the testing of his boundary-breaking ideas. In 1989 Libeskind competed for the commission to design what would become the Jewish Museum Berlin. He won. Since then, he relocated his office from Milan to Berlin, was nominated for the Pritzker prize for Architecture, and was commissioned to design the Felix Nussbaum Haus, a museum for the city of Osnabruck, Germany, which opened to critical acclaim in 1998. In 1999, he was awarded the Deutsche Architektur Preis (German Architecture Prize) for his Jewish Museum Berlin, a structure that received over 250,000visitors before it contained even a single work of art. Now, because he has been commissioned to design the extension to the Victoria and Albert Museum in London, England, the Imperial War Museum in Manchester, England, the Jewish Museum in San Francisco, California, the JVC University in Guadalajara, Mexico, and, most recently, the extension to the Denver Art Museum in Denved, Colorado, the world is encountering in built form the riveting design concepts of Daniel Libeskind. the first book to get inside Libeskind's extraordinary world, "The Space of Encounter" eschews the traditional monograph format as it tracks the architect's life's work, pulling the reader back to the 1980s and guiding him through an often mesmerizing array of ideas and projects extending into the year 2005. By revealing for the first time in book form his project proposal texts, excerpts from lauded speeches and lectures, interviews conducted with international newspapers and periodicals, in addition to his poems and correspondence, this book captures Libeskind at a major turning point in his career. Here, we learn of Libeskind's experience of being a radical educator to becoming a high profile, convincing and inspiring architect. Complementing his brilliantly insightful textual material are his forceful drawings and full-color images of his project models, finished projects, and projects in progress.
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如果说大部分关于建筑师的著作都是在努力“解释”和“证明”自己的理论的正确性,那么这本书则更像是一种“宣告”和“挑战”。它完全拒绝了迎合读者的姿态。其中关于城市肌理和历史层次的论述,尤其令我印象深刻。作者似乎坚信,真正的城市不是由砖块构成的,而是由遗忘、创伤和未愈合的裂缝共同铸就的。书中对“废墟”和“转化”的反复提及,揭示了一种深刻的悲观主义,但这种悲观并非导向绝望,而更像是一种催化剂,激发人们去创造那些能够承载未来冲突和不确定性的形态。我发现自己不得不频繁地查阅背景资料,因为作者引用的历史事件和艺术运动的关联是如此紧密,如果稍有疏忽,就可能错失掉一整段深入的论证。这本书的语言风格有时会变得异常“强硬”,比如在批判某些主流建筑思潮时,措辞毫不留情,充满了战斗性。这使得整本书读起来充满了戏剧张力,仿佛每一次落笔都是一次对既有秩序的结构性攻击。它不是一本让你感到舒适的书,但绝对是一本能让你大脑“发热”的书。
评分说实话,这本书的阅读体验,更像是参加了一场长达数周的、关于“形而上学”的密集研讨会,而不是轻松地翻阅一本咖啡桌读物。我必须提醒潜在的读者,如果你期待的是一本图文并茂、解释清晰的“如何建造”的手册,你可能会大失所望。这本书的重点,完全不在于告诉你螺栓该拧在哪里,或者混凝土应该如何配比。它的核心脉络,似乎聚焦于“冲突”与“张力”的哲学基础。作者对现有规范和既定美学的挑战,贯穿了全书的始终,而且这种挑战并非停留在口头上,而是通过对历史语境的深度挖掘,构建出一种“必然的颠覆”。书中大量引用了各种看似不相关的文化典故,从宗教符号到音乐理论,再到文学中的非理性叙事,这种跨学科的引用密度高得惊人。每次我以为自己抓住了某个设计主旨时,作者立刻抛出一个新的视角,将之前的理解打碎重组。这使得读者必须全程保持高度的认知警觉。我尤其欣赏其中对于“破碎”和“不完整”美学的探讨,这与我们当下追求完美、无缝衔接的社会思潮形成了强烈的反差。这本书不是在提供答案,而是在不断地提出更深刻、更令人不安的问题,迫使你反思你所理解的“结构”究竟意味着什么。
评分这本书最让我着迷的地方,是它对“时间性”的处理。它不把建筑视为一个静止的物体,而是将其视为一个持续进行中的“事件”。书中有大量篇幅探讨了材料如何随时间衰败、光线如何在不同季节投射出不同的叙事,以及空间如何被使用者长期的活动所“雕刻”。这种动态的视角彻底颠覆了我过去对建筑摄影的依赖。作者似乎在抗拒将自己的作品“定格”在最完美的瞬间。相反,他邀请读者去想象几十年后,当材料磨损、当环境改变时,空间将如何演变成另一种生命体。这种对未来的“不确定性”的拥抱,是整本书中最具前瞻性的部分。阅读过程中,我不断地被提醒,我们所处的“现在”是多么短暂,而真正的建筑生命力,恰恰存在于它与“过去”和“未来”的对话之中。书中对声音和环境互动的描述,也达到了近乎音乐的境界,让人在阅读时甚至能“听见”建筑的呼吸。这是一部需要反复咀嚼的作品,每次重读,都会因为自身经历的累积,而在那些看似晦涩的段落中发现新的、更深层的含义。
评分这本书,天哪,我简直不敢相信我竟然花了这么多时间才翻开它!我得承认,最初被吸引是出于一种纯粹的好奇心,毕竟名字本身就带着一种强烈的、不容置疑的个人印记。然而,当我真正沉浸其中时,才发现这远非一本简单的传记或作品集可以概括。它更像是一次精心编排的、带着强烈个人色彩的“感官漫游”。作者似乎摒弃了传统的线性叙事结构,转而采用了一种近乎意识流的方式来组织材料。你常常会在一个章节中被突然拉入到一个具体的建筑现场的声响和光影之中,下一秒又被抛回到一个关于哲学思辨的抽象讨论里。这种跳跃性,起初让人有些手足无措,仿佛置身于一个大师未完成的草稿堆中,充满了未被完全驯服的能量。但一旦适应了这种节奏,你会发现其中蕴含的巨大张力。书中的语言风格极其多变,时而尖锐如手术刀般精准地剖析设计理念的根源,时而又变得诗意而晦涩,充满了象征主义的隐喻。我特别喜欢其中穿插的一些手写笔记的扫描件,那些粗粝的线条和潦草的批注,比任何华丽的排版都更真实地展现了创作过程中的挣扎与突破。阅读体验是沉浸式的,它迫使你像一个建筑师的学徒那样,去感知材料、光线、空间与记忆之间的复杂关联,而非仅仅是欣赏最终的成品照片。这本书的价值在于它揭示了“创作”本身的行为,而非仅仅是“作品”的结果。
评分这本书的装帧设计本身就构成了一种微妙的讽刺和呼应。内页的纸张选择、留白的运用,甚至是字体字号的微小变化,都像是在模仿某些后现代主义文本的碎片化特征。我花了很长时间才注意到,某些章节的页码是故意错乱的,这显然不是印刷错误,而是一种刻意的引导,暗示我们不要被线性的时间概念所束缚。内容上,它对“记忆”在空间塑造中的作用进行了令人震撼的阐述。作者似乎在说,我们建造的不仅仅是房子,而是凝固下来的、可以被反复解读的集体潜意识。书中有许多关于个人经历的片段,它们被精心编织到对特定建筑项目的分析中,那些关于童年、流亡、以及对“家园”概念的模糊感知,为那些宏大而尖锐的几何形体提供了必要的、充满人性的温度。但请注意,这种温度是隐藏在厚厚的理论之下的,需要耐心去挖掘。那些讲述具体项目的故事,与其说是描述,不如说是充满象征意义的“寓言”。这本书需要你带着一种近乎朝圣般的心态去阅读,因为它要求你付出相应的智力劳动,去解开那些层层叠叠的象征意义的密码。读完之后,你会感觉对建筑的理解被拉伸到了一个全新的维度,不再满足于单纯的功能性或视觉愉悦。
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