0317 2013 日 幸福建築 Kawase 先生來訪，主要是問『舊香居』對某些手裝書的估價。“Toyo Ito is a creator of timeless buildings, who at the same time boldly charts new paths,”

昨晚公視似有紅樓夢. 看劉姥姥逛大觀園  接下來就是焦四的老太太死了.二公子發瘋了....

KJ說他的祖厝案子就叫『松影竹聲 (古厝心/新)』

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HC: 禮拜天: 決定去找《出口》的入口。我住在文教區-- 聯經書房說他們沒進釀出版出版社的書。誠品的櫃台很忙碌。政大書城說沒《出口》，不過可以代訂。就這樣啦! …..張女士如果在台北可以一聚--那我叫"鍾十本"--通常跟作者買10本--在新生南路3段88號2樓與校友們一聚.

張: 很謝謝您 費時找《出口》的入口 目前博客來正好七折優惠中 四月一日止 您也許可以參考 我因為人不在台北 否則會很樂意與校友相聚 期待聆聽指教 http://www.books.com.tw/exep/prod/booksfile.php?item=0010559487

HC: 可以進去讀一下張女士的一些身世。潭子加工區，我也可以寫些故事……

Kawase 先生來訪，主要是問『舊香居』對某些手裝書的估價。在那兒翻一本1961年野風出版社的許達然《含淚的微笑》，當時定價10元，現在定價1800元。我看他當時寫路易十四的末日遭法國人唾棄。寫美國Grant將軍/總統生命的最後一年寫其《回憶錄》。年青的許先生說那一年比餘生都精采。

我因此有機會與他談西川滿先生的故事，譬如說他生前將2萬多本台灣相關的書捐真理大學。我們現在讀的注解本『華麗島顯風錄』，寫其小傳的陳藻香老師的博士論文就是研究西川滿先生的。

Hanching Chung 禮 拜天: 決定去找《出口》的入口。我住在文教區-- 聯經書房說他們沒進釀出版出版社的書。誠品的櫃台很忙碌。政大書城說沒《出口》不過可以代訂。就這樣啦! *張女士如果在台北可以一聚--那我叫"鍾十本"--通常跟作者買10本--在新生南路3段88號2樓與校友們一聚.

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Are there any architects that you think are also particularly good writers? What are your favorite books on architecture?

Le Corbusier is an outstanding writer. His ideas achieved their impact in large measure because he could write so convincingly. His style is utterly clear, brusque, funny and polemical in the best way. His books are beautifully laid out with captions and images. I recommend “Towards a New Architecture.” It’s a deep pity that while Le Corbusier’s style has been much copied by architects, very few have drawn the right lessons from him about literature and prose style.

 
 幸福建築 台北:先覺2007/2013.1 7刷

每一種建築樣式，都是一種對幸福的理解
除了幫我們遮風擋雨，
建築也邀請我們成為獨特的自己。
透過建築，我們看到理想的人生。
我們所欣賞的建築，用各種方式展現我們所重視的人生價值。
建築物以及我們在房屋內陳設的物品，對我們的影響其實超乎想像。
我們希望建築能平撫我們的心緒，或激發我們的活力；
發揮隔離的效果，或塑造和樂的氛圍。
我們也期待建築能保存歷史與記憶，甚至象徵未來。
對建築美感的需求，就是對美好人生的認知。
從生活中最細微的物事，到世界最偉大的建築，
狄波頓在這一場穿越建築哲學與心理學的迷人旅程中，
帶領我們探索建築與人之間密不可分的關係，
以及什麼樣的設計能讓我們獲得幸福的人生。
讀過本書，你將會以全新的眼光看待住家、街道，
以及你自己。
作者簡介
艾倫．狄波頓（Alain de Botton）
　　1969年生於瑞士蘇黎世，在瑞士和英國兩地受教育。會說法文、德文及英文。現居於倫敦。
　 　狄波頓才氣橫溢，文章智趣兼備，使他不僅風靡英倫，外國出版社也爭相出版他的作品，目前已有二十多國語言的譯本。書評人康納立（Cressida Connolly）讚嘆狄波頓是「英國文壇的奇葩」；另一位書評人葛雷茲布魯克（Philip Glazebrook）認為：「這種奇才作家，恐怕連掃帚的傳記都寫得出來，而且這柄掃帚在他筆下絕對是活靈活現的。」
　　著有：《哲學的慰藉》（究竟出版）《我談的那場戀愛》《愛上浪漫》《吻了再說》《擁抱似水年華》《旅行的藝術》以及《我愛身分地位》（以上皆由先覺出版）。
　　個人網頁：www.alaindebotton.com

目錄

推薦序
壹、建築的重要性
貳、我們該採取何種建築樣式？
參、會說話的建築
肆、理想的家
伍、建築的美感要素
陸、一片原野所蘊含的未來希望
附錄

中午等沒人.又是誤會一場.一起去羅斯福路師大路   北京飯館.  一家縱深長的雞肉飯等等 回來走市場 舊香居泰順. 看到附近有一家已被住戶逼退. ---談對面PICNIC的油煙


 這篇我讀了數遍. 依我的習慣 一定寫幾句感想. 不過我很難下筆. 先去查思高本的"馬太福音":歸向天主的純潔之心　

你們不要在地上為自己積蓄財寶，因為在地上有蟲蛀，有銹蝕，在地上也有賊挖洞偷竊；
但該在天上為自己積蓄財寶，因為那裏沒有蟲蛀，沒有銹蝕，那裏也沒有賊挖洞偷竊。
因為你的財寶在那裏，你的心也必在那裏。---我又過去妳的Facebook的一些文章. 更"了解"妳. 甚至我可能看見過妳. 這篇的優點我就不用說了. 編輯用了此稿. 不過我知所以遲遲無法下筆的原因之一是我認為妳可能"誤解"房東. 或太主觀了些. 可能的缺點之一是因為它牽涉到妳人生的"大哉問"或"悟" 所以思緒是跳躍的. 它之所以從12萬字之中選來給東海的朋友看看. 必然是"份量"很重的一篇. 我想這篇的確是不錯的...."說話吧! 東海的讀者".....




沈 哥的火氣有點大啦. 如果董事會和學校是"東海募捐委員會"的主幹. 也是有道理的. 我希望"校友總會"的朋友有機會讀讀H. Hesse 的"東方之旅"談的servant leadership (校友總會的角色)......或許陳義過高. 不過我希望 (自勉)行文"客氣"點.

我 們聽一面/片面之詞 很難判斷我的兩位好朋友的"是非" 幾年錢我深入研究美國大學的募款. 主角都以"校長"為主. 不過那些最有錢/學問的私立大學. 莫不與校友會處(談判)得不錯 由於我們校友會有有沈哥和鄧學長長任 (兩位也都很有個性) 問題可能稍複雜點. 近日常聽校友說"合作"之重要 我希望大家"謙虛"點 (這也是當年陳其寬老師對台灣建築界的看法)

這是我給蔡副的文...副校長：很抱歉，我會先取下貼文，至於真相如何，待我弄清楚，因我也被問及。今天論壇很熱絡，建言極為正面積極，閒言是會後閒聊提及的。我是覺得很難置信，至於情急冒犯之處，請海涵！

看來沈兄誤會

Architectural Iconoclast Wins the Pritzker Prize

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  Tomio Ohashi

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  Fu Tsu Construction Co., Ltd.

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  Daici Ano

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  Daici Ano

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  Nacasa & Partners Inc.

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The Sendai Mediatheque library, completed in Sendai, Japan, in 2001.

By ROBIN POGREBIN

Published: March 17, 2013

Toyo Ito, a Japanese architect who broke from Modernism and designed a library that survived his country’s catastrophic 2011 earthquake, was awarded his profession’s top honor, the Pritzker Architecture Prize, on Sunday.

Enlarge This Image

Toyo Ito

“Toyo Ito is a creator of timeless buildings, who at the same time boldly charts new paths,” the Pritzker jury said in its citation. “His architecture projects an air of optimism, lightness and joy and is infused with both a sense of uniqueness and universality.”

In a telephone interview Mr. Ito, 71, said he was gratified by the honor, especially because it represents an acceptance of his position as an iconoclast who has challenged the past 100 years of Modernism.

“I’ve been thinking that Modernism has already reached to the limit or a dead end,” Mr. Ito said through an interpreter. “I didn’t expect this surprising news, and I’m very happy about it.”

Nicolai Ouroussoff, then the architecture critic of The New York Times, remarked in 2009 that Mr. Ito had repeatedly been passed over for the Pritzker “in favor of designers with much thinner résumés.”

Mr. Ito will receive the award at the John F. Kennedy Presidential Library and Museum in Boston on May 29.

Looking back over his career Mr. Ito said he is particularly proud of the Sendai Mediatheque, his library completed in Sendai, Japan, in 2001. The building’s design is dominated by structural tubes that support the floor plates and provide circulation, pathways that the Pritzker jury said “permitted new interior spatial qualities.”

But Mr. Ito is also proud of the building’s significance as a project that was meant to withstand an earthquake. (It won a Golden Lion Award at the 2012 Venice Architecture Biennale.) A video of the inside of the building taken by someone under a table during the earthquake in 2011 went viral.

“The building shook and swayed violently; everything cascaded from shelves and desks onto the floor,” the architecture critic Ada Louise Huxtable wrote in The Wall Street Journal. “Ceiling panels appeared to swing drunkenly overhead. But the Mediatheque did not collapse. It stood firm against the massive seismic forces that were tearing other buildings apart; the basic structure did not fail.”

Mr. Ito has been active in the recovery effort. He recruited three young architects to help him develop the concept of Home-for-All, communal space for survivors. In his book “Toyo Ito: Forces of Nature,” edited by Jesse Turnbull and published last year by Princeton Architectural Press, Mr. Ito writes, “An architect is someone who can make such places for meager meals show a little more humanity, make them a little more beautiful, a little more comfortable.”

The citation said Mr. Ito consistently couples his personal creative agenda with a sense of public responsibility. “It is far more complex and riskier to innovate while working on buildings where the public is concerned,” the jury said, “but this has not deterred him.”

Though perhaps not as well known as architects like Rem Koolhaas or Frank Gehry, Mr. Ito rose to prominence with the completion of his stadium in Kaohsiung, Taiwan, built for the World Games in 2009.

And he has received his share of awards, including, in 2010, the Praemium Imperiale, which recognizes lifetime achievement in areas of the arts not covered by the Nobel Prizes.

But Mr. Ito said he doesn’t worry about status or architecture competitions. “We cannot predict what we will win or we won’t win,” he said.

He said he just needs to be able to do the work he wants to do. These days that includes flatware, called Mu, introduced in Paris by the Italian company Alessi. Mu means hexagon in Japanese and refers to the six-sided shape of the handles, which resemble chopsticks. The pattern complements Ku, the porcelain service Mr. Ito created for Alessi in 2006.

He has also been drawn to practical retail projects like a building for Tod’s, the Italian shoe and handbag company, and the facade of the Mikimoto Ginza 2 flagship store — both in Tokyo. And he continues to design ambitious public projects like the Taichung opera house, whose porous exterior has been likened to a gigantic sponge, and the Tama Art University Library, an irregular grid of concrete arches.

Born to Japanese parents in Keijo — now Seoul — in 1941, Mr. Ito moved to Tokyo in junior high school and then attended the University of Tokyo, where architecture became his main interest. He went on to graduate in 1965 and began working at the firm of Kiyonori Kikutake & Associates. In 1971 he left to start his own studio, calling it Urban Robot (Urbot), which in 1979 became Toyo Ito & Associates, Architects.

Many of his early works were residences — including one in a Tokyo suburb called “Aluminum House,” which consisted of a wooden frame completely covered in aluminum, and a home for his sister called “White U,” which generated considerable interest in his work.

Throughout his career, Mr. Ito said, he has tried to establish a connection between inside and the outside conditions, an effort evident in his lightweight structures that use materials like mesh, perforated aluminum and permeable fabrics.

That fluidity pervades projects like his World Games stadium, critics said, which do not conform to conventional definitions of modern architecture.

“It reflects his longstanding belief that architecture, to be human, must somehow embrace seemingly contradictory values,” Mr. Ouroussoff wrote in his review of the building. “Instead of a self-contained utopia, he offers us multiple worlds, drifting in and out of focus like a dream.”