2008年7月30日 星期三

John Lautner

John Lautner


American architect, a pupil of Frank Lloyd Wright (1933–9). He established his own practice in Los Angeles, designing some remarkably original private houses, including the Arango House, Acapulco, Mexico, of 1973 (where terraces exploit the views over the bay below), and the Sheats Goldstein House, Beverley Hills, CA, of 1960–3 (which seems to grow out of the rocks and is covered with a massive folded concrete roof). Perhaps his best-known buildings are the Malin House, or 'Chemosphere', Torreyson Drive, Los Angeles (1960), with the entire structure carried on one pier, and the Elrod House, Palm Springs (1968), with a concrete wheel-like roof of massive 'spokes' framing wedge-shaped windows. Esther McCoy called him a 'lyrical technologist'.


  • Emanuel (1994)
  • Escher (1994)
  • Gössel (ed.) (1999, 2002)
  • Hess (2000)

Bonding Humanity and Landscape in a Perfect Circle

Sara Sackner

John Lautner's Mar Brisas House (1973), in Acapulco, Mexico, has a pool that echoes the shape of the beach below it, as if they were created by the same hand. More Photos >

Published: July 31, 2008

LOS ANGELES — For those who find consolation in visionary architecture, this city has always been a powerful antidepressant. Its wealth of 20th-century treasures, mostly private homes, reminds us that it is possible to find quiet corners of enlightenment in dystopian times.

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Joshua White/Hammer Museum

The 1960 Chemosphere House, perched in the Hollywood Hills, designed by the architect John Lautner. More Photos »

The John Lautner Foundation/The Getty Research Institute

Drawing of the Chemosphere House, 1960, graphite on arch vellum. More Photos >

"Between Earth and Heaven: The Architecture of John Lautner," an exhibition at the Hammer Museum here, makes a strong case that Lautner's role in forging that architectural legacy has been curiously underestimated. Organized by Frank Escher and Nicholas Olsberg, it presents about 120 plans, sections and renderings that counter his longstanding image as an architect who succumbed to Hollywood gaudiness and glamour. What we glean instead is a keen structural knowledge wedded to an environmental sensitivity — a seamless bond of nature, space and humankind.

Sadly, in their earnest effort to rehabilitate Lautner's reputation, the curators have toned down the fantasy and sensuality that make his houses so intoxicating. The play of light, air, water and materials that is intrinsic to his best work is often lost amid an abundance of coolly abstract technical drawings. An impressive work of scholarship, this is nonetheless an oddly dry show that may bore the average viewer.

Like other great Los Angeles architects before him, Lautner, who died in 1994, was a dreamer in a land that inspired outlandish fantasies. The Michigan-born son of an artist and a professor, he worked as an apprentice to Frank Lloyd Wright in the 1930s, when Wright was entering his most radical Modernist phase.

Attached to the woodlands and lakes of his birthplace, Lautner hated Los Angeles, which he viewed as a cultural wasteland obsessed with money and devoid of beauty. Yet few serious architects are as closely associated with the city's blend of pop culture and nature, rugged individuality and lush hedonism. Like the work of the great Brazilian architect Oscar Niemeyer, his buildings take their cues from their natural settings to such an extent that they are unimaginable elsewhere.

The show opens with a series of renderings of his earliest houses, mounted on the wall or on drab beige fiberboard stands. These look a bit like conventional real estate ads and lack the otherworldliness of, say, Wright's drawings. Yet all of Lautner's major themes are already here.

A drawing in graphite on paper depicts his low-slung Carling House (1947), embedded in the side of a hill. A triangular pattern of trusses supports the living-room roof from above, attesting to his early fascination with complex structural systems. In a precursor to the elaborate machinery incorporated into his later works, a mechanical wall swivels to open the interior to a stunning view of the city.

The show picks up steam with a design for the 1948 Sheats Apartments, Lautner's first built foray into what would become an obsession with circular structures. A tentative early sketch shows three cylindrical forms on a steep hillside site, the relation between them still crude and unresolved. In a later version the forms have gained in complexity, and the social relationships have become more nuanced. A narrow entry path leads to a small irregular courtyard that binds the structures into a coherent assembly; the upper-level residence has become a partial hexagon.

Viewed one after another, the drawings are a powerful expression of a creative mind at work, and of Lautner's struggle to strike a balance between individual and community, privacy and companionship.

That tension crystallizes in the 1960 Chemosphere, one of his most celebrated works. An octagon perched on a steep site in the Hollywood Hills, it is supported by a single wood mast, like the trunk of a tree; its low, round roof provides shade and a bit of privacy.

The design harks back to the mushroomlike columns of Wright's 1939 Johnson Wax headquarters in Wisconsin or Buckminster Fuller's 1927 design for the Dymaxion House. Lautner imagined dozens of his octagonal houses scattered across the Santa Monica Mountains, each in its own self-contained world enveloped in glass. The disclike form, hovering above the landscape, conjures both an oversize birdhouse and a flying saucer, embodying the technological bravura of the space age.

It also brings to mind the social fragmentation of the cold war years in Los Angeles and the culture of the suburban subdivision. Yet most of all it underscores Lautner's stubborn faith in the house as an expression of American individualism. Unlike Rudolph Schindler, whose Los Angeles houses were radical experiments in communal living, Lautner was less interested in exploring the reconfigured social relationships of the modern world than bonding the home dweller with the surrounding landscape and the universe beyond.

Sometimes Lautner risks slipping into a kind of literal-mindedness. His 1962 Garcia House on Mulholland Drive is an eye-shaped form clad in glass on either side. A deck hovers in the center of the eye, offering a sweeping view of the twinkling city lights.

In the Sheats-Goldstein House, completed in 1963, the sweeping concrete forms, vast expanses of glass and low built-in furniture border on over-the-top '60s cliché. Windows in the bedroom look into the depths of a swimming pool, transforming subtle transparency into voyeuristic fantasy.

Yet the level of innovation here cannot be denied. Lautner's undulating, curved shapes echo the curves of the surrounding landscape so that the two begin to bleed together into a whole. The houses' wildly cantilevered concrete roofs guide the eye to the distant horizon while resting on rough-hewn walls that root the dwellings in the landscape. In a masterwork built in Acapulco, Mexico, the 1973 Mar Brisas House, a swimming pool mirrors the arc of the beach below, as if the two were shaped by the same hand.

For me the great discovery in the show is the 1969 Walstrom House, in the Santa Monica Mountains. Built for an aeronautics engineer and his wife, it is a deceptively simple three-story wood box with a strikingly sloped roof. Lautner set the house into the side of a steep hill along a path that the couple used to hike up into the mountains. He even integrated the path into his composition, threading it through the rear section of the dwelling.

Entering the house, you can either turn and step up into the two-story living room or proceed out to the top of the hill. A balcony is perched in the upper corner of the living room, like a bird's nest; you feel as though you are wandering through the trees.

With its asymmetrical forms and intentionally rough wood construction, the house anticipates the iconoclastic work of later architects like Frank Gehry. And it teases out the mythic themes of Los Angeles architecture: freedom from convention, stunning surroundings, the fleeting nature of man's imprint on the landscape.

It also underscores Lautner's intellectual breadth. His work is never a mere sculptural exercise; it always starts with an intimate understanding of the site, which prevents him from slipping into self-indulgence. That spirit of empathy, of context, unites all great architecture. Whatever the show's flaws, this revelation alone is worth the price of admission.

"Between Earth and Heaven: The Architecture of John Lautner" runs through Oct. 12 at the Hammer Museum, 10899 Wilshire Boulevard, Los Angeles; hammer.ucla.edu; (310) 443-7000.

2008年7月28日 星期一













2008年7月24日 星期四


Kyoto Prize,The Japan Prize (日本国際賞) , Praemium_Imperiale

我知道日本起碼有三大獎 國際馳名


2008年7月22日 星期二

My Pantheon




這次先談羅馬萬神殿(The Pantheon)的品質。羅馬帝國不是一天造成的,它的馬路、給水、都市計劃、建造等,質量俱佳,背後有很強的標準化合理思想。萬神殿(廟)也是當時人們追求人與自然、人與"眾神"之力量相結合的"地方'。



它是極重要,極有影響力的建築。可惜,不知怎的,名著《An Outline Of European Architecture》中未載。羅馬導遊書都會說:「它是最莊重的,也是古羅馬文明保存最好的紀念性建築。」

它為一了不起的建築物,技術高超,人們也驚嘆它實現了以「一枚岩來當天蓋」的大膽假設。建築物的後部為圓形設置,而前部為由16柱紅灰色的巨大一體花崗研圓柱所做的神殿。內部設計為圓周形,球形天井的「鏡版」之韻律,由中央開的天窗下降之光,極壯麗,與建物之質量極調和。周圍又有七個凹所(禮拜堂),其上又有八小禮拜堂交錯。(最左凹所有主要祭壇,內有羅馬時代復仇者像……,神殿的磚上有印,使人了解建造於西元118-125 。它的圓頂直徑43.50米,直到1958年才為巴黎的CNIT所超越)。在這大工程背後,營建工人的管理、和協調很重要(The Building Yard),各種標準化(含量測、材料、工法等等)都要健全。

The Pantheon-Design, Meaning, and Progeny一書以米開蘭基羅的話Disegno angelico e non umano(有人知道此句請賜知)結束。

。除了 Juran主編的《品質史》外,主要參考

W. L. Macdonald(1976)"The Pantheon-Design, Meaning, and Progeny" Harvard University Press

M. Colledge(1978)"How to Recognize Roman Art" Penguin Books及


薩莫森著(J. Summerson,1980)《建築的古典語言》中國藝術學院(1994),


---上文以雜談《品質史》(四)-希臘羅馬品質成就 上網(1999/09)


requests for help

# Date: Wed, 03 Jan 2001 08:37:37 +0800

Dear Denizens,
The internet is rewarding in certain way. I put one sentence by
Michealangelo in my website  on Sep. 1999, to ask who know 'Disegno
angelico e non umano' meant. This week I got the answer.
I like to ask the knowledge base here for some help. One of our research
agenda this year is to elaborate the last sentences of OOTC about
malpractices and other issues in our medical systems. This idea was
reinforced by reading the following two books,
W. G. Manning et al 'The Costs of Poor Health Habits' ,Harvard Univ.
Press, 1991
Geoffrey Rose 'The Strategy of Preventive Medicine' ,Oxford University
Press 1992
Since I am quite a naive student in this domain, I like to invite your
suggestions and advices for this project. We'll base on our study to
have a course about the 'healthy individuals and organizations' in one
of our local schools.

瑪格麗特 尤瑟娜(Marguerite Yourcenar, 1903-1987

「她最廣為人知的巨作《哈德里安回憶錄》(Mémoires d'Hadrien (1951 ) 《哈德良回憶錄》 Memoirs of Hadrian),1951年出版),就是以西元二世紀的羅馬皇帝Hadrian為主角,用書信的方式交錯想像與真實。」

學建築藝術者,多半知道他最著名的遺澤:羅馬萬神殿。許多年前看W. L. MacDonald著的The Pantheon,以前沒有仔細讀它,成為藏書。後來又看到日本名建築師說每到羅馬,必謁它。


看了談這「廟」的天光等等,才再努力將The Pantheon好好讀一次。書中引Memoirs of Hadrian 自述(「黃金時代」(saeculum aureum )章,緬懷永恆………


On the same day, with graver solemnity, as if muted, a dedicatory ceremony took place inside the Pantheon. I myself had revised the architectural plans, drawn with too little daring by Apollodorus: utilizing the arts of Greece only ...structure to primitive, fabled times of Rome, to the round temples of ancient Etruria. My intention had been that this sanctuary of All Gods should reproduce the likeness of the terrestrial globe and of the stellar sphere, that globe wherein are enclosed the seeds of eternal fire, and that hollow sphere containing all.

Hanching Chung

2004/12/14 我報導:


『針對1999/09The Pantheon》以米開蘭基羅的話Disegno angelico e non umano(有人知道此句請賜知)這句話,我在另一網站有看到其解釋,「這是天使建造的」,特提出以提供參考。from:小葉的窩』

2004/12/13 我再訪http://www.taconet.com.tw/bogod 的「古老的傳說」。知道它是葉高雄先生的網址。【萬神殿是古羅馬建築中,品質最佳、保存得最完整的建築物。這是為了祭祀萬神,於西元前27年,由阿格利帕興建的。其後於119-128年,哈德連皇帝將之修改為現今的模樣。據傳,當米開朗基羅見到這座教堂時,不禁發出「這是天使建造的」的感言。走進萬神殿,每個人的目光都會被圓頂的大洞所吸引。此洞稱為「眼」,直徑9公尺,是由外部取光,殿內唯一的窗戶。大圓頂的直徑43.3公尺,比聖彼得大教堂42公尺的圓頂略勝一籌。義大利統一後,萬神殿成為國王的陵墓所在,除此,還埋葬一些偉大的義大利的藝術家,其中以拉斐爾最著名。】

1999年,我可能還不懂得google(可能也不會中文打字),所以不會上網查The Pantheon



RL's inputs:

re: Disegno angelico e non umano

disegno = drawing ; outline, design, scheme

angelico angèlico = cherubic

e = and, plus

non = no, not

umano = human; humanely

2008年七月- Google Books Result 有資料

A Journey Into Michelangelo's Rome

by Angela K. Nickerson - 2008 - Travel - 180 pages

Michelangelo, an ardent admirer of the Pantheon, attributed its power to disegno angelico e non umano (angelic and not human design). ...

A Journey Into Michelangelo's Rome - Google Books Result







2008 或許我在1992年曾到長野的東山魁夷美術館參拜 我的一位日本朋友說他有東山魁夷先生旅行中國之書...

東山魁夷(1908-1999)(ひがしやま かいい Kaii Higashiyama)
日本風景畫家、散文家。曾留學德國,旅行北歐,多次訪問中國。其風景畫以西方寫實的眼光捕捉日本情調之美,善於表現未經現代文明污染的純潔的大自然。他的 作品在保持平面性的同時增強空間感,在裝飾性中抒情寓意,格調高雅蘊藉,充滿詩情哲理,透著淡淡的傷感。他對藝術理論、音樂有一定造詣,擅長散文。主要作 品有散文集《聽泉》《和風景的對話》《探求日本的美》等。著有《東山魁夷》11卷。《一片樹葉》(節選)被選入蘇教版初中教材。


serpentine 等,想起倫敦海德公園的湖;Henry Moore 在Serpentine
Gallery戶外的展覽。(倫 敦海德公園文華東方酒店全新露天餐 廳The Park Terrace現正隆重揭幕。 乘蔭於酒店北門的The Park Terrace餐廳,能遠眺在九曲湖(Serpentine Lake)之下海德公園南方的青翠草地,加上觸手柔軟的裝 飾布料和柚木家具,與周遭的波特蘭石礦工藝和盛放鮮花 配合得絲絲入扣,...)

2002年數次再到香港的作品敬禮 (1990年起多次...)




9月底, 聯副有人寫《張大千在印度》,讀後益覺得大千是位重情義的典型中國人。大千的藝術是生活的藝術, 不見得全在其作品,起碼我認為他生活得很有靈氣, 其作品是否是「五百年第一」,則是見人見智。

我一直以為大千是少數,難得能在當時遊遍世界的中國畫大家, 然而, 正因為「東方是東方, 西方是西方」,其實大千身在異國, 心在華夏的, 所以他未能走入西方藝術世界, 何其可惜。

我想起大千的一則軼事, 最能說明我的想法。多年前讀羅光先生傳記, 記得提過大千路過羅馬, 並不要求看畫廊, 教堂等, 「反正也是看不懂。」他很誠實,他要的是去些 或可遊走走( 他的畢生所建的名園, 不知能否與義大利的庭園會通? )畫室對畢卡索的重要性,比園重要的多。



張 大千會畢加索,也許是歷史的“誤會”,因為張、畢兩人幾乎是極端的對立。據我所知,畢的創造幾乎完全與東方 沒交會。可惜,那時,馬蒂斯已逝。他畫室內掛著的一橫匾額,以及馬蒂斯用“書法”寫法國詩人馬拉美的詩,最重要的,馬蒂斯有一時期,畫風頗受中國“書 法”、“墨色”所影響──這是我個人的見解,尚未看過有人探討此主題,真是奇怪。我之所以從張與“畢”的“會”,談到“馬蒂斯”,因為“畢加索”的妻子 F. 紀絡曾與過一本好書《畢加索與馬蒂斯》,他們可以作某種程度競技和學習,而張與畢,大概在畫上交流。不過畢說得似乎很有理,為何中國人到巴黎學畫,這點問 問為何畢也根流法國。



你的成敗,你的情史或虐婦史等等,多成了史。有本小書把你一生的足跡連結起來,就成了那人頭牛身的 minotaur。你就是它。看你 和 Jean Cocteau (1905-63)看鬥牛的神情多傳神




一 般人都記得摩爾是雕塑家,其實他的繪畫也很精彩,特別是二戰時為以倫敦地鐵為避難所的眾生畫相為然。他喜歡 他的雕塑被陳放在公園等開放空地,起碼是戶外。台灣的中國信託總部有一座小小的摩爾的雕作,被警衛保護著(公開陳列,我以前偶而會去敦化北路向它說 hello。)私人如誠品書店的創始人,應也有其作品。香港由於英國關係,不只辦過展,在渡輪車站附近有其作品孤立,往來行人很少投目。大陸大概沒他的作 品,不過譯書較精。台灣藝術家出版社有“胡說八道”的所謂“享利摩爾全集”,顯示編輯的無知及不敬業。



摩爾的作品,不禁讓我想起J. Milton在Paradize Regained的名句:

Aim therefore at no less than all the world,

Aim at the Highest



《觀念、靈感,生活──享利摩爾自傳》曹源譯 人民美術

Philip James (editor) Henry Moore on Sculpture DA CAPO Press

2008年7月21日 星期一

Battcock, Gregory (edited), Minimal Art: A Critical Anthology

Minimal Art: A Critical Anthology

Minimal Art: A Critical Anthology
Gregory Battcock (編集)
Battcock, Gregory (edited), Minimal Art: A Critical Anthology, New York: Dutton, 1968
  • 出版社: Univ of California Pr; Reprint版 (1995/05)
  • 言語 英語,
  • 発売日: 1995/05
Book Description
Here with a new introduction and updated bibliography, is the definitive collection of writings by and about the work of the 1960s minimalists, generously illustrated with photographs of paintings, sculpture, and performance.

From the Back Cover
"So perspicuous was Battcock's choice of articles in Minimal Art that his book has proved to be an exceptionally telling index of the critical discourse of its time. This is the key primary source book (for that matter it remains the key book (on the subject of Minimal Art, a movement that has lately, newly become a topic of consuming interest to many modern art historians, critics, curators and artists." (Anna C. Chave, author of Mark Rothko: Subjects in Abstraction)

2008年7月20日 星期日

Take a seat ( Jelte van Geest)


Subject: 在荷蘭借書不怕 腳 酸 酸


荷蘭的設計師 Jelte van Geest 所設計的"選張椅子" (Take a seat)



2008年7月19日 星期六

The Divine Michelangelo BBC

The Divine Michelangelo
Five hundred years ago, Michelangelo created three of the art world's greatest icons: the statue of David, the painted ceiling of the Sistine Chapel in the Vatican and the dome of St. Peter's in Rome.
July 2008. Times TBC.

This two-part documentary traces Michelangelo's development from angry young man to pride of Rome. His prodigious talent has led people to describe him as more divine than human. His personal life is also examined. Was art's first superstar the poverty-stricken, tortured, lonely outsider that many of us believe? Or was he a cunning spin-doctor who skilfully moulded his own image?

Programme 1

Michelangelo's path to success was plagued with difficulties. This programme traces the troubled origins of his genius, from boyhood beatings from his father, to fights with fellow artists. His father's feeling that his obsession with art would bring disgrace to the family failed to deter the young, determined Michelangelo. Inspiration to become a sculptor came early, when his father sent him to a wet-nurse whose husband was a stonemason. By the time he reached his teens he showed precocious talent and at the age of 25 he was a rising star. The tempestuous young Michelangelo made a name for himself as an art faker and his first major commission was rejected by his patron. One night, gripped by rage and driven by a determination to ensure the world knew who he was, he carved his name across the breast of his first masterpiece, the Pietà. Then, aged 26, he took on the seemingly impossible challenge of sculpting a colossal statue of the biblical hero, David, from one piece of flawed marble. The towering nude, over five metres tall, took more than two years to complete but established Michelangelo as the greatest sculptor alive, immortalising him forever. The programme shows sculptor Romolo Burati as he re-creates key features of the David's face, conveying the sheer skill and craft embodied in Michelangelo's exquisite work.

Having created this great masterpiece, Michelangelo's next challenge was to design a structure to transport the sculpture, which weighed several tons, across the uneven roads without the giant crashing to the ground. It was no mean feat even by today's standards.

To illustrate the technical skills that Michelangelo displayed, the programme enlists engineer Nick McLean to follow in Michelangelo's footsteps. Using illustrations and a diary entry from an eye witness, he develops a structure to shift the replica David through the cobbled Italian streets. It becomes clear that Michelangelo's commission to carve the David proved him to be not only a master sculptor, but also a thoroughly able engineer.

Second Programme

Imagine the torture of painting an area the size of a football pitch, 20 metres off the ground. From 1508 to 1512, this is exactly what Michelangelo was forced to do by Pope Julius II, who commissioned him to paint the ceiling of the Sistine Chapel. Michelangelo viewed it as a trap set by his enemies in the Vatican and was horrified that he would have to stoop to what he considered the lowly and inferior craft of painting. What he really wanted to do was carve the Pope's tomb – a saga in itself, which would haunt him for years to come. As Michelangelo confronted the huge expanse of the ceiling, he quickly ran into huge difficulties and ended up destroying his own work. This programme explores some of the main challenges he faced by recruiting two modern fresco artists - Fleur Kelly and Leo Stevenson - to produce at a church in Leyton, east London, their own version of the iconic scene where God creates Adam. After four years of struggle and disappointment, the Sistine Chapel ceiling was complete. But the Pope was dissatisfied with the heavenly creation and demanded changes, such as the addition of more gold and blue, as he felt it looked too poor. Michelangelo, made ill by his trials, was not amused. But 25 years later, he did return to the Sistine Chapel to paint the fresco of The Last Judgement on the altar wall.

Having established his genius as a sculptor and painter, Michelangelo went on to completely change the Roman skyline with his architectural designs. He broke many of the accepted rules of architecture, creating terrifically original and beautiful work, culminating in the dome of St Peter's. He was obsessed by this final project for the rest of his life. He saw it as a deeply spiritual task that would assure him a place in history and in heaven. In his later years, Michelangelo's poetry also blossomed.

Struck by true love for a young Roman nobleman named Cavalieri, he was inspired to write some of his most moving verses. When Michelangelo died at the age of 88 he left a fortune, including 8,000 gold coins in a walnut chest by his bed and numerous farms in Tuscany. He lived a simple, frugal existence but was also the richest, and most famous, artist ever to have lived.

2008年7月13日 星期日

Nike, Inc.

中國運動服裝行業競爭正日趨白熱化。在全球霸主耐克與阿迪達斯在中國不斷擴張的同時﹐一些本土公司也不甘落後。” wsj

「耐克」很可能是將錯就錯的翻譯:原來她是希臘勝利女神:Ni·ke (nī'kē) pronunciation

n. Greek Mythology.

The goddess of victory.

為什麼運動商品廠商選她當公司名,音樂她也是希臘運動人員的神:The goddess of victory in ancient Greece. She was honoured by Zeus because she fought on the side of the gods against the Titans. So the Athenians dedicated her statue in Delphi after the naval victory over the Persians at Salamis (480 BC). However, athletes and charioteers also paid her honour for their successes in the games. For the Romans Nike became a symbol of victory over death, their own Victoria ensuring earthly conquests. Victoria's most important altar was placed in the senate house by Augustus in 29 BC.


(established 1972)

This highly successful sports goods and accessories company had its origins in the 1950s with two friends at the University of Oregon in the USA, Bowerman and Knight, the former developing athletic shoe design and the latter going on to study for an MBA at Stanford University. Knight pursued the idea that attractively priced, well-designed, and efficiently marketed Japanese shoes could make inroads into the German domination of the US market.

As a result a partnership was established with the Japanese athletic shoe manufacturer Onitsuka Tiger and, in 1962, Bowerman and Knight's company Blue Ribbon Sports (BRS) was established as the sole distributor of Tiger shoes. Following a period of real growth BRS began manufacturing its own shoes in 1971 and opened its first retail outlet in Santa Monica, California. BRS broke with Onitsuka Tiger in 1972, renaming itself Nike (after the Greek goddess of Victory).

The new company was launched at the US trials for the 1972 Olympic Games and by 1980 the company went public having captured 50 per cent of the US athletic shoe market. In the 1980s Nike International was formed to cater for a growing overseas market that by 2001 covered more than 100 countries.

Underpinning the company's success were a number of innovative business strategies as well as technological innovations such as the introduction of Nike-Air cushioning. In the 1990s the company continued to expand, developing its clothing and accessory lines and purchasing Canstar Sports Inc. the world's largest manufacturer of hockey equipment. In 2001 the company launched the first of its women only, NIKEgoddess stores in Los Angeles. These stores were planned as interactive with female consumers providing feedback on the style, design, and performance of Nike products.

Wikipedia article "Nike, Inc.".

2008年7月11日 星期五



作者: [法]德拉克洛瓦
出版社: 上海人民出版社

   本書收錄了20篇文章,主要是德拉克洛瓦對若干藝術家的評論,以及德拉克洛瓦關於藝術與美學的論述。這些文章既是研究許多藝術家的重要資料,也是瞭解德 拉克洛瓦本人的藝術傾向的重要資料。本書中評論一些藝術家的觀點雖有失公允,卻也不乏片面的深刻,一些觀點甚至帶有某種顛覆性,對啟發不同藝術思想的爭鳴 很有意義。


這「法院」,是「皇宮」(Hampton Court Palace
Hampton Court ハンプトン・コート ((ロンドン西郊の Thames 河畔にある旧王宮)).
不過它的注提供些現存於V&A Museum之資料。

這種藝術史方面的知識,多少可以幫助讀者了解『康州美國佬在亞瑟王朝』(A CONNECTICUT YANKEE IN KING


作  者: 香港设计中心,艺术与设计出版联盟 编
出 版 社: 辽宁科学技术出版社

因为有了香港设计营商周亚洲论坛 这一平台,我们得以有机会请到来自全世界各领域的顶尖设计师与我们面对面地分享他们的故事和观念。设计的各种领域在21世纪越来越交汇融台,设计的思想与 精神却贯穿着这些纷繁的领域。讲故事是人类传承历史的一种充满乐趣的方式,因为有乐趣,也使故事中的砚念和精神更容易被大家接受和传承。于是我们选择了本 书里来自这些设计师演讲中的故事片段,并记录了编者与他们的对话,以期听故事的人能选择自己喜爱的观念,领悟设计的精神。




——绿茶 新京报


“香港设计营商周”的国际研讨会邀请的嘉宾都是国际最好的讲者,连续几年都是如此。有很多人做这件事情,也有很多观众参与。邀请的嘉1宾都能准时参与,这 本身就说明了品牌有很大的效应。“为亚洲设计” (Design for Asia)大奖邀请了很多名人作为评委。过去几年大家都看到评委、看到得奖的名单和报道,明白这个评奖和其他评奖是有所区别的,我们从纯粹的设计师角度去 评一个奖,也希望设计师在思维和商业上的功能、他对亚洲生活的影响这个角度出发可以和其他评奖形成明显的差别。这些让外界知道我们在做其他人没有做过的事 情。有了这两点作支撑,“香港设计营商周”的品牌效应就开始慢慢扩大了。
我想说明的一点是, “营商周”的奖项从本质上来说不是颁给设计师的,而是颁给品牌的。设计师当然也会得到奖励,但差别在于本质上。


2008年7月9日 星期三

Norman Rockwell

Columbia Encyclopedia: Rockwell, Norman,
1894–1978, American illustrator, b. New York City. An enormously popular illustrator, Rockwell specialized in warm and humorous scenes of everyday small-town life. Best known for his magazine covers, notably for the Saturday Evening Post, he developed a style of finely drawn realism with a wealth of anecdotal detail. Rockwell's poster series on the Four Freedoms was widely circulated during World War II. The artist lived the last 25 years of his life in Stockbridge, Mass., where a large museum devoted to his work opened in 1993.


See his autobiography (1960); biographical study by T. S. Buechner (1970); biography by L. Claridge (2001).

  • Norman Rockwell's "Freedom From Want," 1943.

    Damien Cave writes:

    It is Sunday afternoon at the Aventura Mall in South Florida, and I’ve come to gauge the impact of a handful of images displayed in 14-foot-high posters near Nordstrom. Culled from a surprising new exhibition at the Wolfsonian museum at Florida International University titled “Thoughts on Democracy,” they are all artists’ responses to Rockwell’s wartime “Four Freedoms” series.

Rockwell Re-enlisted for a Nation’s Darker Mood

A new exhibition in Florida features 60 artists’ responses to Norman Rockwell’s wartime “Four Freedoms” series.

Wikipedia article "Norman Rockwell".

2008年7月8日 星期二

Birmingham Museum of Art, Julio De Diego

Birmingham, Alabama

He went on to become a respected painter whose work was hung in top U.S. museums. Last week De Diego won new honor and some more welcome cash: first prize ($2,000) in the "Steel, Iron and Men" exhibition at Alabama's Birmingham Museum of Art. Explains able Museum Director Richard F. Howard: "All that we asked was that [the artists] think about steel and iron . . . and of the men of many races, giants in body or mind, who dig the ores or make the metals . . ." De Diego's prizewinner (one of 500 entries) was a brilliantly colored fantasy called Activity Across the River, which showed a group of unworldly creatures working on a great mass of red and blue machinery along a riverbank. De Diego got the idea watching the Staten Island shipyards from a ferry.

-From the Woolworth Tower

Julio De Diego (美籍西班牙裔 1900-79)
幾幅畫Julio De Diego American artist The Caldwell Gallery
Julio De Diego Heroic Figures and Visitor

Birmingham Alabama 工業礦場城
Wikipedia article "Birmingham, Alabama"

Birmingham Museum of Art
Birmingham Museum of Art website
亞 洲藝術品 The Museum’s Asian art collection started with a gift of Chinese textiles in 1951 and today, with more than 4,000 objects, is the largest and most comprehensive in the Southeast.

Unveiled: bequest to the public of 18 masterpieces

Unveiled: bequest to the public of 18 masterpieces

£100m gift includes work by Monet, Degas, Freud and Gainsborough

Charlotte Higgins, ats correspondent
Tuesday July 8, 2008
The Guardian

After the Bath, est. 1896 by Edgar Degas, one of the paintings due to be exhibited at the Tate Britain, London
After the Bath, est. 1896 by Edgar Degas, one of the paintings due to be exhibited at the Tate Britain, London. Photograph: National Gallery/PA

One of the most sensational bequests of great paintings to the British people since the foundation of the national museums is now on public view at Tate Britain, London.

Eighteen masterpieces - many of them barely, or never, seen in public over the past 50 years - have been left to the National Gallery and the Tate by Simon Sainsbury, great-grandson of the founder of J Sainsbury grocers.

The works range from a Zoffany and an early Gainsborough to three works by Lucian Freud - by way of two knockout Monets, a Gauguin and a Degas.

Sainsbury, who with his brothers John and Timothy was the driving force behind the National Gallery's Sainsbury wing, died in 2006. He was, said Sir Nicholas Serota, director of the Tate, one of the "few people in this country who had a really great collection", also amassing antique clocks, superb English Delft, furniture and antiquities. The two galleries will use Sainsbury's donations to complement or fill certain gaps in their present collections, "allowing us to round out the way we tell the stories of these artists," according to Serota.

For instance, the number of Balthuses in the Tate will rise from one to four, transforming the way the artist - famous for his troubling, erotic and almost theatrical scenes - is represented.

The Gainsborough will become the earliest work by the artist in Tate Britain. Its subjects - a rather peppery looking Mrs Carter and her corpulent husband - are believed to be the parents of Frances Andrews, depicted in Gainsborough's famous portrait, Mr and Mrs Andrews, already hanging in the gallery.

The National Gallery will double its Gauguin holdings with Bowl of Fruit and Tankard before a Window. This experimental still-life sees Gauguin paying conscious tribute to Cézanne, and "collapsing" a landscape scene into the background of his still-life of pears, peaches and apples. Degas's After the Bath will also hang in the National Gallery, near his famous pastel After the Bath, Woman Drying Herself.

The addition of Monet's Water-lilies, Setting Sun will "ensure that the National Gallery offers the finest survey of the artist's achievement in the UK," curator Chris Riopelle said.

The paintings' collective value has been conservatively estimated at £100m, but Serota said: "The real value of these works is what they will bring to the visitors." There are also plans for individual works to be loaned to museums elsewhere in the UK.

Both Serota and Riopelle said they would like the bequest to stand as an example to potential donors to public institutions.

The 18 paintings are on display at Tate Britain until October 5, before they enter the permanent displays there and in the National Gallery.

On show

Works donated to the National Gallery and on display include:

Snow Scene at Argenteuil 1875 by Claude Monet (1840-1926)

Portrait of Joseph Brummer 1909 by Henri Rousseau (1844-1910)

Nude in the Bath 1925 by Pierre Bonnard (1867-1947)

Girl with a Kitten 1947, Boy Smoking 1950-1 and The Painter's Mother 1972 by Lucian Freud (born 1922)

2008年7月7日 星期一

廖德政 Liao Te-Cheng

Contemporary Chinese Literature from Taiwan
The Chinese Pen, Spring 2002
Liao Te-Cheng Pastorale of the Season


廖德政 Liao Te-Cheng 圖示

廖德政,一九二○年出生於台中廳葫蘆墩(豐原)...... 廖德政的作品,特別能表現出台灣風土意境的美,尤其對台灣風景中常見的綠色與黃色,更是細心經營。為了掌握台灣四季綠意與潮溼空氣的特質,畫家採取層層疊 色的效果,使作品推升至全新的境界;除此,廖德政拿手的還有桌上靜物的描繪,從幾個果子,即能見到畫家在平凡中見不凡的功夫。

2008年7月6日 星期日

Oiva Toikka芬蘭品牌 iittala

Oiva Toikka)為芬蘭品牌iittala

陳煌  (20080706)


有一年冬天,雪下到超過小腿高度的哈爾濱縣城通河農村,我一早起床就在一排白樺樹附近院子雪地上發現一隻凍僵的貓頭鷹。這是我觀察鳥類活動多年以來初次 發現貓頭鷹的屍體。我蹲下撿起來端詳,只有兩個拳頭長度大小,安祥地閉著眼,身子有點瘦弱,似乎是因為飢餓而亡。村裡人鐵口直斷地研判,好幾年沒見過貓頭 鷹了,因為食物少了。但他們對見到貓頭鷹屍體有點忌諱,因為那表示會引來不好的運氣。

 在過去多年的觀鳥運氣中,我曾僅有少數幾次遇見神祕的貓頭鷹;牠並沒有給我太多觀察的時間,總是匆匆而過。根據村人的說法,村子裡在過去的七○年代之前 每當黑夜來臨後,院子前的白樺林上總會出現咕咕叫的貓頭鷹,如今已極少見。不過我還是每天到雪夜裡的白樺樹林下悄悄搜尋。  但是,這種我眼中的神秘之鳥,在1996年就出現,被具有有127年歷史的芬蘭玻璃品牌iittala所推出,由設計大師奧瓦·托伊卡(Oiva Toikka)精心打造設計出的貓頭鷹,卻以造型用色皆大膽、簡潔、現代的創意表現在國際玻 璃藝術界大出風頭。這位1931年出生於芬蘭,朋友們都認為他極具風趣幽默的玻璃大師,在他的玻璃作品中卻處處顯露出嚴謹、敏感、情緒豐富的性情,由於他 的用驚人想像力與創造力顛覆了北歐設計的主流美學,也讓包括有設計界諾貝爾獎之稱的Lunning Award、Kaj Franck Award以及象徵最高榮譽的芬蘭獎章(Pro Finlandia Medal)都授予他最高的殊榮。  

設計大師奧瓦·托伊卡 (Oiva Toikka)為芬蘭品牌iittala精心打造的玻璃鳥系列,將自己觀察了鳥類的形態與神情,再融合玻璃製作的獨特技法,創造出包括貓頭鷹等多種系列的 作品,而且每只玻璃鳥都擁有這位大師的親筆簽名,現已成為其個人的代表作也是玻璃創意設計藝術的典範,因此也被譽為「iittala是芬蘭的,玻璃鳥是世界的」。  

他所設計推出的貓頭鷹系列,也有別於其他玻璃鳥系列作品。如此迷人的貓頭鷹玻璃鳥呈子彈造型,完全俐落有趣地呈現胖胖貓頭鷹的神態;它塑成約一個壺身大 小,高難度的彩璃螺紋由上而下,混合了橄欖、鵝黃與天藍釉色,給原來暗栗色為主的貓頭鷹體態披上了一件摩登時髦的外衣,再配合那對橘色的無邪大眼睛,小小 的貓頭鷹玻璃鳥瞬間就蹦出宛若超現實派達利大師的韻味,叫人愛不釋手。  

這令我想起,用硬性的玻璃材質,胖胖圓嘟嘟趣味化來創造神秘之鳥的神韻,與我在雪地裡發現的那貓頭鷹乾瘦屍體相比,奧瓦·托伊卡(Oiva Toikka)的創意設計似乎多了一些可愛、抽象的現實。

2008年7月4日 星期五

Journey from Lascaux

As a child, I had a wretched time understanding Dana and Camus, which my father required me to read daily. When I explained my dilemma to my father, he said that what was important was not the extent to which I understood, but the extent to which I was trying to understand.

Paul McCoy
Waco, Texas

Journey from Lascaux
16 x 26.3 x 13.5 cm



保羅.麥考伊(Paul McCoy)在他的作品「自拉斯科啟程」……說明文字,倒讓我印象深刻,…:「在我兒童時期,我很難了解妲娜(Dana)和卡繆,我父親每天要我閱讀他們的書籍;當我向父親解釋我的矛盾時,他說,重要的不是我了解這些書的程度,而是我嘗試去了解他們的程度……」(王岫《畫中的小乳豬》 2004-08-09 http://www.cdnreading.com.tw/)

Journey from Lascaux
Ceramic 16 x 26.3 x 13.5 cm 2002

As a child, I had a wretched time understanding Dana and Camus, which my father required me to read daily. When I explained my dilemma to my father, he said that what was important was not the extent to which I understood, but the extent to which I was trying to understand.

http://www.hawaii.edu/artgallery/shoebox/artists/pages/McCoy.html 此改過

hc:「請教:Lascaux 和Dana,參考Journey from Lascaux」
rl 留言:「re: Journey from Lascaux

hc:「Lascaux正是我中學讀介紹它的文章。該塑像卻有自己的闡釋。我對於Paul 父親的要求,很感興趣,有意思(譬如說,究竟讀Camus的什麼東西)。」

保羅.麥考伊(Paul McCoy)在他的作品「自拉斯科啟程」……說明文字,倒讓我印象深刻,…:「在我兒童時期,我很難了解妲娜(Dana)和卡繆,…

文中卡繆指的當然是Albert Camus,應該沒錯。
找到原文: As a child, I had a wretched time understanding Dana and Camus, ...

根據Dana and Camus的結構來看,Dana 應該是姓氏而非女性化的名。用Google查Dana的結果,實在有點大海撈針的感覺。所以我查Merriam Webster's : Encyclopedian of Literature,得到的資料(該百科全書只有一筆)是
Dana, Richard Henry (b. Aug. 1, 1815, Cambridge, Mass., U.S. - d. Jan. 6, 1882, Rome, Italy). American lawyer and author of the popular autobiographical narrative Two Years Before the Mast.....
我不能確定原作者的真正意思,但是Dana指Richard Henry Dana的可能性應該很高。

進一步資料,請用Google查Richard Henry Dana,或參考我為大家提供的Homepage欄連結資料(這不代表最齊全的內容,只是Google來的第一筆網頁罷了)那麼,Dana的譯法最好(如果確定的話)把全名連年籍一併譯出。」

HC: 謝謝rl 。原句在網路上為單例。查Oxford Companion to LITERATURE的 DANA項,有五人:Charles Andersom (1819-97)/ James Dwight (1813-93)/ John Cotton (1856-1929)/ Richard Henry (1787-1879)/ Richard Henry,Jr. (1815-82)—該書中他最有「份量」,不過這或與本題無關…..

n. - Celtic goddess

2008年7月1日 星期二

Jean Gobelin


祇園祭在每年的七月十七日舉行。祭典上高大的人拉彩車,稱為「鉾」。好幾座「鉾」,就載著以笛、太鼓、鉦為樂器的男性樂隊,一路橫越京都的中心部。鴨川 (註二)東岸有八坂神社(註三)的祭典,而「鉾」則繞鴨川以西的地帶遊行。期間,市內電車停止營運。「鉾」、祇園祭上敲鑼打鼓的熱鬧伴奏聲以及群眾,皆徜 徉於夏日的陽光之下。

用來裝飾「鉾」的紡織製品中,還有訴說東方的博士去探訪耶穌誕生之故事的高布林織品(註四)。據說,那些都是信長(註五)從南蠻寺(註六)的牆壁上剝下, 送給京都市民的。想進一步比較這樣的日本祭典和中國祭典的人,可讀清代戚學標(1742-1823)(註七)的《鶴泉文鈔》。

註四:(譯注)高布林織品,為法國巴黎國立高布林織品工廠製造的壁飾用織品。高布林之名,源自十五世紀時,研發者珍‧高布林(Jean Gobelin)的名字。高布林織品使用各種色線,精緻且巧妙地表現出人物、風景等圖樣,用以裝飾牆壁。現在一般稱與之相同模樣、產自歐洲的紡織品為高布 林織品。"【玉海拾譯】吉川幸次郎〈祇園祭〉 - 從江戶到東京- PChome新聞台Blog

Jean Gobelin 圖示

Wikipedia article "Gobelin".

Columbia Encyclopedia: Manufacture nationale des Gobelins
(mänüfäktür' näsēônäl' dā gôblăN') , state-controlled tapestry manufactory in Paris. It was founded as a dye works in the mid-15th cent. by Jean Gobelin. A tapestry works started by two Flemish weavers, Marc de Comans and François de la Planche, called to France by Henri IV in 1601, was later added. In 1662, Louis XIV purchased the Gobelins manufactory and there Colbert united all the royal artisans, creating a royal tapestry and furniture works. Charles Le Brun was director and chief designer from 1663 to 1690. The Gobelins was temporarily closed from 1694 to 1697, after which the works specialized in tapestry. Both low- and high-warp weaving were done until about 1825, when the low-warp power frames were moved to the manufactory of Beauvais; they were returned to Gobelins after World War II. The Gobelins factory has always been noted for excellence of materials, dyes, and workmanship; it originated the exquisite Gobelins blue. Famous tapestries from its looms include a set based on copies of Raphael's frescoes in the Vatican and 14 great pieces commemorating the achievements of Louis XIV.