今年二月回台北, 刻意回聯合報後面的家
電梯的按鈕好像從來沒換過, 6樓的按鈕上的奇異刮痕還在
電梯老, 得發出沉重嘆息才上的了樓
我的戀物癖不會輸給班雅明, 這些都市的細節, 光線, 節奏, 聲音都是我的本身
回來看它們的儀式, 把自己的一部分留在那裡,
屬於我的旅行.
2011年7月29日 星期五
2011年7月27日 星期三
彼得祖母特 氛圍
建築師雜誌八月號會有我的文章. 講彼得祖母特的蛇型藝廊夏季展舘. 為了採訪看了他著名的倆本小書. 其中 Atmosphere 非常好讀. 英文好懂又很流暢.
以下是讀書筆記:
Quality in architecture does not - not to me anyway - mean inclusion in architectural guides or histories of architecture or getting my work into this or that publication. Quality architecture to me is when a building manages to move me.
One word for it is atmosphere. This is something we all know about.
We are capable of immediate appreciation, of a spontaneous emotional response, of rejecting things in a flash. That is very different from linear thought, which we are equally capable of, and which I love, too: thinking our way through things from A to B in a mentally organised fashion.
"Radical diatonism, forceful and distinctive rhythmical pronunciation, melodic clarity, harmonies plain and severe, a piercing radiance of tone colour, and finally, the simplicity and transparency of his musical fabric the stability of his formal structures" (Andre Boucourechliev on 'The Truly Russian Spirit of Igor Strawinsky's musical grammar'). That is now up on the wall in our office for everyone to read.
最令人興奮的就是最後這段祖母特引用文字, 是 Andre Boucourechliev評論20世紀最重要的作曲者之一的史特拉汶斯基(Igor Stravinsky), 此人正是Coco Chanel 的烈火情人. 這段文字被祖姆特貼在辦公室的牆上. 應該是勉勵大家能夠在做建築的時候也思考到人所有的感知. Igor的音樂充滿力量, 顏色, 形狀還有無以明狀的感官片段. 音符切分破碎的方式, 空白的, 寧靜的甜美還有樂章內堅硬的結構.
我想不出有什麼建築可以和Igor的境界相比. 我可以想像包浩斯建築是巴哈G弦之歌; 也可以想像歌德教堂是蕭邦的波蘭舞曲; 或是高帝的奎爾公園正如莫札特的小星星變奏曲. 至於史特拉汶斯基, 我想不出來有那位建築師能以他的"火鳥"氛圍蓋出建築.
阿. 或許香奈兒可以.
影片為Igor本人在1965年於倫敦Royal Festival Hall 親自指揮火鳥的演出.
以下是讀書筆記:
Quality in architecture does not - not to me anyway - mean inclusion in architectural guides or histories of architecture or getting my work into this or that publication. Quality architecture to me is when a building manages to move me.
One word for it is atmosphere. This is something we all know about.
We are capable of immediate appreciation, of a spontaneous emotional response, of rejecting things in a flash. That is very different from linear thought, which we are equally capable of, and which I love, too: thinking our way through things from A to B in a mentally organised fashion.
"Radical diatonism, forceful and distinctive rhythmical pronunciation, melodic clarity, harmonies plain and severe, a piercing radiance of tone colour, and finally, the simplicity and transparency of his musical fabric the stability of his formal structures" (Andre Boucourechliev on 'The Truly Russian Spirit of Igor Strawinsky's musical grammar'). That is now up on the wall in our office for everyone to read.
最令人興奮的就是最後這段祖母特引用文字, 是 Andre Boucourechliev評論20世紀最重要的作曲者之一的史特拉汶斯基(Igor Stravinsky), 此人正是Coco Chanel 的烈火情人. 這段文字被祖姆特貼在辦公室的牆上. 應該是勉勵大家能夠在做建築的時候也思考到人所有的感知. Igor的音樂充滿力量, 顏色, 形狀還有無以明狀的感官片段. 音符切分破碎的方式, 空白的, 寧靜的甜美還有樂章內堅硬的結構.
我想不出有什麼建築可以和Igor的境界相比. 我可以想像包浩斯建築是巴哈G弦之歌; 也可以想像歌德教堂是蕭邦的波蘭舞曲; 或是高帝的奎爾公園正如莫札特的小星星變奏曲. 至於史特拉汶斯基, 我想不出來有那位建築師能以他的"火鳥"氛圍蓋出建築.
阿. 或許香奈兒可以.
影片為Igor本人在1965年於倫敦Royal Festival Hall 親自指揮火鳥的演出.
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