具体描述
This text is in German & English. The architect is at all times also an artist. How otherwise would he be able to tame the three-dimensionality of space and subdue the urges of physics and structural mechanics with the creations of his fantasy? This creativity is however mostly restricted purely to its own field. In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work. Fine art could stand in dialogue with architecture and it is Krier's ambition to have iconographic themes brought into the latter, so that they might speak equally to both the occupants of a building and to bystanders and move them to thoughtful reflection. In the works of Mies van der Rohe it is not rare that one finds naturalistic figures from, for example, Aristide Maillol or Wilhelm Lehmbruck - as an anthropomorphic contrast to the strict geometry of the architecture, notes Rob Krier in the comments on his journal. If one is already aware of the realisation of his masterful architectural accomplishments through projects such as Potsdam-Kirchsteigfeld (1991 to 1997), De Resident in The Hague (1993-2001), Noorderhof in Amsterdam (1994-99), Veste Brandevoort near Helmond (since 1995), Citadel Broekpolder near Beverwijk (2000-04), or the Cite Judiciaire in Luxembourg (1992-2008) - be assured, Krier's artistic skills are in no way inferior to his architectural work. Quite the contrary: as a sculptor and illustrator, too, Rob Krier brings together extraordinarily musical qualities and incorporates them into his work: his bronze "The Jumper" was erected in Montpellier in 2004, the "Cowering Woman" ten years earlier on Berlin's Friedrichstrasse, the four metre-high duo "Bosch i Alsina" and "Papasseit on Moll de la Fusta" in Barcelona in 1992.
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对于我这种业余爱好者来说，这本书的价值不仅仅在于欣赏成品，更在于它展示了一种对待创作的“态度”。里面的很多设计草图，看得出是经过反复打磨和自我批判的，那种对待每一个细节的偏执，着实令人敬佩。我喜欢它没有刻意去美化那些未完成的稿子，而是坦诚地展示了思考的痕迹——那些被涂改、被擦除的笔触，反而成了最宝贵的“脚注”。这让人感到非常真实，不再觉得大师的作品是遥不可及的“神迹”，而是由无数次尝试和失败堆砌而成的。尤其是看到几组关于公共空间再设计的案例时，我能明显感受到作者对“尺度感”的执着追求，如何通过微妙的体量变化，影响人们的行走、停留和交流的欲望。这本书的装帧设计本身也很有讲究，那些留白的艺术，让视觉有喘息的空间，使得严肃的内容不至于让人感到压抑。它是一面镜子，映照出我对设计热情中最本质的那一部分。
评分如果说当代设计常常充斥着哗众取宠的造型和新奇的材料，那么这本书则像一股清流，强调的是永恒的价值——结构、比例与光线。我特别欣赏其中对经典元素的回归和再诠释，它没有盲目追逐潮流，而是深入挖掘了建筑形式背后的文化根源和功能本质。阅读过程中，我不断地将书中的理念与我平日观察到的城市景观进行对比，每一次对比都加深了我对“好设计”与“平庸设计”之间鸿沟的理解。比如，书中对某种特定立面处理的分析，简洁到极致，却蕴含着对当地气候和日照角度的深刻理解，这种内敛的智慧，远比花哨的装饰更打动人。这本书不是那种适合在咖啡馆里快速翻阅的消遣品，它更像是一本需要放在书房里，时常翻阅、随时可以查阅的工具书和灵感库。它传递出的信息是：真正的创新，往往来自于对基础的深刻掌握，而非浮于表面的技巧展示。
评分这部厚重的画册，光是捧在手里就能感受到它沉甸甸的分量，仿佛凝聚了艺术家无数个日夜的思考与汗水。内页的纸张质感极佳，那种微微哑光的触感，让每一幅素描和设计稿都显得格外清晰有力。我尤其欣赏其中对于“空间”的解构方式，它不是那种冷冰冰的、纯粹的几何堆砌，而是充满了对人与环境之间微妙互动的关怀。每一条线条的粗细、每一个阴影的深浅，似乎都在无声地诉说着建筑的哲学。我花了整整一个下午，沉浸在那些看似随意的草图中，却能从中窥见惊人的秩序感和结构逻辑。特别是关于光影在不同材质表面反射的描绘，那简直是教科书级别的示范，让人不得不惊叹于作者敏锐的观察力和扎实的基本功。这本书，与其说是一本作品集，不如说是一本关于“观看”世界的训练手册，它教会你如何去阅读一个场所的语言，如何从最基础的元素中提炼出设计的精髓。那些黑白灰的画面里，蕴含着比彩色照片更丰富的情感和信息量，每一次翻阅都有新的发现，感觉像是和一位沉默但极其睿智的导师面对面交流。
评分坦白说，初次接触这类偏向理论和手稿的作品集时，我总是担心会陷入晦涩难懂的术语泥潭，但这本书的编排方式却出乎意料地具有引导性。它不像有些建筑书籍那样故作高深，而是用一种近乎“白描”的方式，将复杂的概念层层剥开，直抵核心。那些平面图和剖面图，虽然简洁，但信息密度极高，需要读者带着思考去“解码”。我特别留意了其中对城市肌理演变的一些思考片段，它们不是直接给出现成的答案，而是抛出问题，引导我们去思考现代城市化进程中那些被忽略的“尺度”和“人性化”的关联。这种克制而深刻的表达，让这本书的阅读体验非常独特，它需要你投入时间去咀嚼，去回味。我发现自己经常在一张图前停留很久，试图理解设计师是如何在有限的边界内，创造出无限的可能性。这本册子带来的，是一种缓慢而扎实的知识积累，它更像是心灵的“建筑工地”，在安静的阅读中悄然搭建起新的认知框架。
评分这本册子给我最大的震撼，在于它所展现出的那种跨越不同地域和时代的设计语汇的兼容性。它似乎在证明，优秀的设计原则是具有普适性的，能够巧妙地融汇地方特色与现代思潮，形成一种既独特又和谐的视觉语言。我尤其对其中关于“物质性”的探讨感到着迷，设计师如何通过对混凝土、木材或石材的独特处理，赋予建筑以生命和触感。那些细节照片，即便是小小的门把手或者窗框的处理，都透露出一种不容妥协的工匠精神。这本书的排版布局非常成熟，图文的穿插处理得恰到好处，文字部分简明扼要，不多余的抒情，全是精炼的论述，这使得读者的注意力始终集中在视觉信息本身。对于任何一位严肃对待建筑或空间设计的人来说，这本书提供的不仅仅是视觉享受，更是一次深度的精神洗礼，它挑战你对既有美学的认知，并引导你探索更深层次的结构美和功能美。它是一份沉甸甸的礼物，值得反复品味。
评分In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work。
评分In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work。
评分In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work。
评分In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work。
评分In this respect, Rob Krier, born in 1938 in Grevenmacher, Luxembourg, is indeed the proverbial exception that proves the rule. Besides his actual profession, which demands his daily attention, Krier has for years also made a vocation of his love of art, one which he nurtures parallel to his work。
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