攝影分享講座：遇見歐洲當代經典建築
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[2011-09-17] 攝影分享講座：遇見歐洲當代經典建築 @ 老樣咖啡館 [2011-09-17] Photography-Share Speaking : Modern Architectures @ Europe
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攝影分享講座：遇見歐洲當代經典建築
- 3. http://www.flickr.com/photos/yellowmo 搜尋： yellowmo http://www.facebook.com/YellowImagae 搜尋： 黃色快門
- 6. 我的旅行攝影
- 8. 重裝備？ 輕兵器？
- 13. 歐洲當代建築設計
- 14. 丹麥 皇家圖書館 Det Kongelige Bibliotek Schmidt Hammer Lassen Architects (1986 - )
- 21. 芬蘭 岩石教堂 Temppeliaukion Kirkko Timo Suomalainen and Tuomo Suomalainen
- 27. 德國 聯邦國會大廈圓頂 Reichstag Dome Norman Foster ( 1935 - )
- 34. 德國 柏林猶太博物館 Jüdisches Museum Berlin Daniel Libeskind ( 1946 - )
- 51. 法國 廊香教堂 Notre Dame du Haut Le Corbusier ( 1887 - 1965 )
- 59. 內部影片播放
- 60. 法國 阿拉伯文化中心 Institut du Monde Arabe Jean Nouvel ( 1945 - )
- 68. 比利時 原子模型 Atomium Andre Waterkeyn ( 1917 - 2005 )
- 76. 荷蘭 方塊屋集合住宅 Kubuswoning Piet Blom ( 1934 - 1999 )
- 86. END
- 87. 謝謝 。
Editor's Notes
- 小新在瓜地馬拉的經驗
- 閃光燈帶著備而不用 ( 絕大多數時間派不上用場 ) 腳架如要夜拍則可扛著走 ( 白天應用機會不高，在室內端看相關規定 ) CPL 會帶著，但裝上的機會也不高
- 偶爾丟掉地圖 迷點路走錯路並無妨 步行可以讓你發現更多
- Schmidt hammer lassen architects is an international architectural practice founded in 1986 in Aarhus , Denmark. It currently has four offices in Aarhus , Copenhagen , Oslo and London . The practice has a track record as designers of high-profile cultural buildings; art galleries, educational complexes and libraries. Projects underway include the Amazon Court office building in Prague , the City of Westminster College in London, the University of Aberdeen New Library [1] in Scotland and a number of construction projects and master plans in China, with a total of approximately one and a half million square metres currently under development.
- The Royal Library in Copenhagen ( Det Kongelige Bibliotek ) is the national library of Denmark and university library of University of Copenhagen . It is the largest library in the Nordic countries . [2] It contains numerous historical treasures; all works that have been printed in Denmark since the 17th century are deposited there. Thanks to extensive donations in the past the library holds nearly all known Danish printed works back to the first Danish book, printed in 1482. The library was founded 1648 by King Frederik III who seeded it with a comprehensive collection of European works. It was opened to the public in 1793. In 1989 it was merged with the prestigious University Library (founded 1482) (UB1) and in 2005 it was merged with the Danish National Library for Science and Medicine (UB2), now the Faculty Library of Natural and Health Sciences ). The official name of the organization as of 1 January 2006 is The Royal Library, the National Library of Denmark and Copenhagen University Library . In 2008 the Danish Folklore Archive was merged with The Royal Library. The old building of the Slotsholmen site was built in 1906 by Hans Jørgen Holm . The central hall is a copy of Charlemagne 's Palace chapel in the Aachen Cathedral . In 1999, a new building adjacent to the old one was opened at Slotsholmen, known as the Black Diamond . The Black Diamond building was designed by Danish architects schmidt hammer lassen . Named for its outside cover of black marble and glass, it houses a concert hall in addition to the library. (Location: 55°40′25.5″N 12°34′55″E .) This new building was opened 1999. It is formed by two black cubes that are slightly tilted over the street. In the middle of them there is an eight storey atrium whose walls are white and wave-shaped, with a couple of transversal corridors that link both sides, and balconies in every store. The atrium's exterior wall is made of glass, so you can see the sea and, in the other shore, Christianshavn's luxury buildings. Three bridges connect the Black Diamond with the old part of the Royal Library; those three bridges (two small ones for internal transport and a big one with the circulation desk) go over the road. In the ceilling of the big bridge there is a huge painting by Danish painter Per Kirkeby .
- 皇家圖書館由新舊兩館組成 , 新舊館間有一空橋連接 , 新館部分於 2000 年時落成 , 外表是黑色立方體造型 . 照理說它 " 應該 " 要是一棟 " 閃亮 " 的建築 , 不過白天時到訪 , 看起來卻顯得樸實無華 . 圖 書館是 7 層式的建築 , 一樓是挑高大廳 , 有 Information Center, 書店 , 咖啡廳 , 地下室則有不定期的展覽 ( 要收費 ). 二樓以上由兩座長長的手扶電梯連接挑高設計的一樓大廳及其以上的圖書館空間 . 二樓以上的 Reading Room 分為一般閱覽室 , 報章雜誌閱覽區 , 期刊研究區 , 音樂戲劇區 , 藝術區及地圖區等逐級而上 . 實際進入其中 , 發現雖然是傳統的文化典藏機構 , 新建館卻沒有那種歷史沈重包袱或極其古典風格的感覺 , 反而給人一種明亮寬敞的 Easy Feeling. 我想到這裡的人 , 應該是很輕鬆的沈浸在如此舒服的環境中吧 . 一樓的挑高大廳設計 , 加上手扶梯前的一大片全景玻璃帷幕 , 給人相當的明亮清爽感 . 二樓連間新舊館的空橋 , 這裡除了有 Hot Spot 熱點可無線上網外 , 也配置了三張大椅讓來圖書館的人可或作或躺的看書 / 上網 / 閒聊 / 做自己事 .
- Temppeliaukio Church ( Finnish : Temppeliaukion kirkko , Swedish : Tempelplatsens kyrka ) is a Lutheran church in the Töölö neighborhood of Helsinki . The church was designed by architects and brothers Timo and Tuomo Suomalainen and opened in 1969. The Temppeliaukio/Tempelplatsen (Temple square) was selected as a location for a church in the 1930s, but the plan by J. S. Siren , the winner of the second competition to design the architecture of the church, was interrupted in its early stages when World War II began in 1939. After the war, there was another architectural competition, which was won by Timo Suomalainen and Tuomo Suomalainen in 1961. For economic reasons, the suggested plan was scaled back and the interior space of the church reduced by about one-quarter from the original plan. Construction finally began in February 1968, and the rock-temple was completed for consecration in September 1969. The interior was excavated and built into the rock but is bathed in natural light entering through the glazed dome. The church is used frequently as a concert venue due to its excellent acoustics . The acoustic quality is ensured by the rough, virtually unworked rock surfaces. Leaving the interior surfaces of the church exposed was not something that was in the original plans for the church. Conductor Paavo Berglund told the brothers of his experiences in the best music halls, and the acoustical engineer Mauri Parjo set out requirements for the wall surfaces. The architect brothers discovered that they could fulfill all the requirements by realising their own idea of leaving the rock walls exposed in the Church Hall. This idea the brothers already had when planning the competition entry, but they had been afraid to present it thinking it too radical for the competition jury. The Temppeliaukio church is one of the most popular tourist attractions in the city; half a million people visit it annually. The stone-hewn church is located in the heart of Helsinki. Maintaining the original character of the square is the fundamental concept behind the building. The idiosyncratic choice of form has made it a favorite with professionals and aficionados of architecture. The church furnishings were designed by the architects. Organ builder Veikko Virtanen manufactured the church organ , which has 43 stops . There are no bells at the church; a recording of bells composed by Taneli Kuusisto is played via loudspeakers on the exterior wall.
- 外觀看太不出是教堂的教堂 , 當初建立時是直接在一座岩石小山內開鑿內部空間 . 一開始我先爬上小山坡看看外觀如何 , 不過看起來真的沒有什麼特別 , 就是一堆岩石 . 但進入內部才發現這個教堂的設計真是精彩：牆壁保留原始的自然岩壁風貌 , 特別的是棚頂部分 . 棚頂採用了一百多片的銅板隔成一格一格的長條形天窗 , 光線可以從整個圓形棚頂 180 度的空間任何一個地方灑入 , 一條一條的光線透射而下時相當漂亮 . 且這個岩石教堂像是個自然的音樂會場所 , 音響效果相當好 . 我參觀的時候剛好有一個搖滾風的福音歌曲團體在練習 . 看著他們從每一項樂器開始一個個試音、調音 , 到正式開始排演 . 待在這個教堂內我大概也聽著他們的音樂有將近一個小時了 .
- The Reichstag building is a historical edifice in Berlin , Germany, constructed to house the Reichstag , parliament of the German Empire . It was opened in 1894 and housed the Reichstag until 1933, when it was severely damaged in a fire set by Dutch communist Marinus van der Lubbe , who was posthumously pardoned in 2008. [1] During the Nazi era, the few meetings of members of the Reichstag as a group were held in the Kroll Opera House . After the Second World War the Reichstag building fell into disuse as the parliament of the German Democratic Republic met in the Palace of the Republic in East Berlin and the parliament of the Federal Republic of Germany met in the Bundeshaus in Bonn . The building was made safe against the elements and partially refurbished in the 1960s, but no attempt at full restoration was made until after the reunification of Germany on October 3, 1990, when it underwent reconstruction led by internationally renowned architect Norman Foster . After its completion in 1999, it became the meeting place of the modern German parliament, the Bundestag . The term Reichstag , when used to connote a parliament , dates back to the Holy Roman Empire . The parliamentary body meeting in this building, the Reichstag or Imperial Diet -- first of the North German Confederation , then of the German Empire , afterwards the Weimar Republic ; and, finally, Nazi Germany -- ceased to act as a true parliamentary assembly in the years of the Nazi regime (1933–1945). In today's usage, the German term Reichstag or Reichstagsgebäude (Reichstag building) refers to the building, while the term Bundestag refers to the institution.
- The Reichstag dome is the large glass dome at the very top of the building. The dome has a 360-degree view of the surrounding Berlin cityscape. The main hall of the parliament below can also be seen from the cupola, and natural light from above radiates down to the parliament floor. A large sun shield tracks the movement of the sun electronically and blocks direct sunlight which might bedazzle those below. Construction work was finished in 1999 and the seat of parliament was transferred to the Bundestag in April of that year. The dome is no longer open to anyone without prior registration. Norman Robert Foster, Baron Foster of Thames Bank , OM (born 1 June 1935) is a British architect whose company maintains an international design practice. He is Britain's most prolific builder of landmark office buildings. [1] In 2009 Foster was awarded the Prince of Asturias Award in the Arts category.
- The Reichstag dome is a large glass dome with a 360 degree view of the surrounding Berlin cityscape. The debating chamber of the Bundestag , the German parliament , can be seen down below. A mirrored cone in the center of the dome directs sunlight into the building, and so that visitors can see the working of the chamber. [1] The dome is open to the public and can be reached by climbing two steel, spiraling ramps that are reminiscent of a double-helix . [2] The Dome symbolizes that the people are above the government, as was not the case during national socialism. The glass dome was also designed by Foster to be environmentally friendly . Energy efficient features involving the use of the daylight shining through the mirrored cone were applied, effectively decreasing the carbon emissions of the building. [3] The futuristic and transparent design of the Reichstag dome makes it a unique landmark, and symbolizes Berlin's attempt to move away from a past of Nazism and and instead towards a future with a heavier emphasis on a united, democratic Germany. [4] With the reunification of Germany and the decision to move the capital from Bonn back to Berlin , it was also decided that the original Reichstag building be rebuilt along with a new dome that emphasized a unified Germany. Architect Norman Foster won a commission to design and rebuild the dome in 1993. Foster originally didn't want a dome at all, but his original design of a parasol -esque building was rejected, partly due to the unrealistic costs. [2] The design of the dome was at first controversial [5] , but has become accepted as one of Berlin's most important landmarks. It derives from a design by Gottfried Böhm , who had previously suggested a cupola of glass with visitors walking on spiral ways to the top in 1988. His design was added to the information of the competition in 1992, which was won by Foster. Later the Bundestag decided that a cupola had to be built and Foster consequently gave up his resistance against it. Foster re-used the idea of a spiral walkway within a conical structure for his design for City Hall in London some years later. The dome was constructed by Waagner-Biro .
- 在「 Brandenburger Tor 」附近不遠處 , 正有著此次德國行見證美好設計的其中一站 --- 「 Reichstag 」聯邦國會大廈 . 在東西德統一後 , 柏林正發生著劇烈的變化 , 就像是宣示著要將冷戰期間所落後的步調趕上似的 , 這裡儼然變成一座城市大工地 --- 就算是現在 , 也常在街上看見各種大型的建築器具在動工著 . 全世界各地知名的建築家都被邀請前來一展身手各施本事 . 在德國統一後 , 1991 年時決定聘請英國建築師「 Norman Foster 」為因火災被燒毀的國會大廈進行重建工程 ; Norman 的設計特點就在於應用新的科技素材打造建築 . 而這棟國會大樓重建案也就變成現在知名的景點 --- 我也正是其中甘願排隊慢慢等著進場的一員呢 . 這棟巧妙融合新舊建築的建案 , 從外邊其實看不太出來什麼端倪 , 在某個角度還看到的中間有個半圓形的玻璃球狀建物 , 但仍然無法完全一窺全貌 . 隨著通過安全檢查後 ( 畢竟是國會大樓 ), 搭乘電梯登上 Norman 設計的建物後 , 馬上有種掩不住的驚奇 ... 透過透明玻璃的設計 , 除了外觀非常引人目光外 , 內部設計也巧妙地應用空氣力學原理 , 中間的類似龍捲風的管狀設計 , 除了可以讓內部空氣對流 , 減少像是冷氣等的電力使用外 ; 也讓參觀者可透過中間管狀透明玻璃的設計 , 若是有議會活動時 , 可以看到底下議會運作的狀況 , What Amazing! What Wonderful! 沿著螺旋狀的走道由下由上 , 再由上到下 , 這樣的經驗是美妙的 . 透過繞行過程中看著這棟令人驚喜的設計 , 確實 , 心中感受到無比的喜悅 . 新與舊、歷史與現代、議會與人民 ; 在這棟建物中得到美好的詮釋 .
- The Jewish Museum Berlin ( Jüdisches Museum Berlin ), in Berlin , Germany , covers two millennia of German Jewish history. It consists of two buildings. One is the old Kollegienhaus , a former courthouse, built in the 18th century. The other, a new addition specifically built for the museum, designed by world-renowned architect Daniel Libeskind . This was one of the first buildings in Berlin designed after German reunification . The museum opened to the public in 2001. Princeton professor W. Michael Blumenthal , who was born near Berlin and was later President Jimmy Carter ’s Secretary of the Treasury , has been the director of the museum since December 1997. [1] The museum adjoins the old Berlin Museum and sits on land that was West Berlin before the Berlin Wall fell. [5] The Museum itself, consisting of about 161,000 square feet (15,000 square meters), is a twisted zig-zag and is accessible only via an underground passage from the Berlin Museum's baroque wing. Its shape is reminiscent of a warped Star of David . [6] A "Void," an empty space about 66 feet (20 m) tall, slices linearly through the entire building. Menashe Kadishman 's Shalechet ( Fallen leaves ) installation fills the void with 10,000 coarse iron faces. An irregular matrix of windows cuts in all orientations across the building's facade. A thin layer of zinc coats the building's exterior, which will oxidize and turn bluish as it weathers. A second underground tunnel connects the Museum proper to the E.T.A. Hoffmann Garden, or The Garden of Exile, whose foundation is tilted. The Garden's oleaster grows out of reach, atop 49 tall pillars. The final underground tunnel leads from the Museum to the Holocaust Tower, a 79 foot (24 m) tall empty silo. The bare concrete Tower is neither heated nor cooled, and its only light comes from a small slit in its roof. Similar to Libeskind’s first building, the Felix Nussbaum Haus , the museum consists of three spaces. All three of the underground tunnels, or "axes," intersect and may represent the connection between the three realities of Jewish life in Germany, as symbolized by each of the three spaces: Continuity with German history, Emigration from Germany, and the Holocaust. [7] The Jewish Museum Berlin was Daniel Libeskind’s first major international success. In his research for the project, Libeskind read the Gedenkbuch , or Memorial Book , which lists all the Jews murdered in the Holocaust. The report which he filed in the original design competition borrowed the form of the Gedenkbuch . Libeskind, a musician himself, took inspiration from music and considered the museum the final act of Arnold Schoenberg 's unfinished opera, Moses und Aron . Walter Benjamin 's One Way Street' s 60 sections determined the number of sections that comprise the museum's zigzag section.
- Daniel Libeskind , (born May 12, 1946) is an American architect , artist , and set designer of Polish-Jewish descent. Libeskind founded Studio Daniel Libeskind in 1989 with his wife, Nina, and is its principal design architect. [1] His buildings include the Jewish Museum in Berlin, Germany, the extension to the Denver Art Museum in the United States, the Grand Canal Theatre in Dublin , the Imperial War Museum North in Salford Quays , England, the Michael Lee-Chin Crystal at the Royal Ontario Museum in Toronto , Canada, the Felix Nussbaum Haus in Osnabrück , Germany, the Danish Jewish Museum in Copenhagen , Denmark, and the Wohl Centre at the Bar-Ilan University in Ramat-Gan , Israel . [2] His portfolio also includes several residential projects. Libeskind's work has been exhibited in major museums and galleries around the world, including the Museum of Modern Art , the Bauhaus Archives , the Art Institute of Chicago , and the Centre Pompidou . [3] On February 27, 2003, Libeskind won the competition to be the master plan architect for the reconstruction of the World Trade Center site in Lower Manhattan . [4]
- 如果要對你所曾經犯下的滔天罪行 , 作一個對當事人的補償 , 除了道歉、認錯外 , 還有什麼可以作的 ? 我想不外乎就是立個紀念碑或是博物館了吧 . 二 次大戰期間 , 希特勒納粹政府屠殺了近二十萬的猶太人 . 這樣的原罪 , 德國人一直揹到現在恐怕也還有很長一段路才能讓記憶慢慢地淡去 . 雖然這一代的年輕人早已遠離 , 不過看來德國政府還是挺負責任的 , 不僅大方承認犯下的罪行外 , 也在 Berlin 蓋了一間猶太博物館以作為對二次大戰間的些許補償 . 而且更有意義的是 , 這個 2001 年落成的博物館 , 建築師正是當時嶄露頭角的猶太裔建築師「 Daniel Libeskind 」 , 這位擅長解構主義的專家 , 果然一出手就轟動全場啊 . 其實我對猶太的歷史沒有太高興趣 , 也對二次大戰那段歷史沒有太多的感傷 , 純粹是衝著這棟空間設計非常特別的建築去的 . Daniel Libeskind 用了很特別的手法來表現這座屬於猶太人歷史的博物館 --- 尤其是那不規則的金屬展館外觀 , 加上一道又一道特殊的窗戶開口設計 ; 就像是控訴著二次大戰間猶太人所遭受到的迫害 , 也一刀一痕似地刻畫在這建築物上 . 博物館本身由一棟很正常的古典式樣的房子作為入口與購票處 , 透過內部通道的設計 , 展館主體就在這個很特殊的建築物中 . 在博物館外還有一個 Libeskind 稱之為「流亡花園」水泥柱叢林 .
- 進 入 Jewish Museum 後 , 首先就是先往地下一樓走去 , 而這樓的平面從平面圖上來看 , 也是一個特殊形狀的展示館 , 一條主要的通道 , 可以選擇直接走到底而通過另一段長階梯往上到展覽館的 2F, 而由 2F 開始一層一層往下走再回到這個 B1F 的長走道 . 走道上則有兩條岔路 , 一條通往「 Holocaust Tower 大屠殺之塔」 , 另一條通往「 Garden of Exile 流亡花園」 . 而這個位於 B1F 的長型走道展館中 , 展示著猶太人的流亡生活及一些歷史文物 .
- 首先我到了大屠殺之塔 . 這座塔 , 推開大門後 , 進入的是一個完全黑暗的世界 , 這裡沒有空調 , 沒有燈光 , 唯一的光線就是位於高塔上的那個三角形開口 --- 透射進來薄弱的外界光線 . 九 月初的柏林 , 已經開始有些涼意 , 在這座塔中我並不感到悶熱 ; 反而有種異樣的空間孤寂所帶來的自然涼意 . 在這裡 , 彷彿連自己的呼吸聲都可以隱約聽到 . 我倚在三角形高塔一側的牆上 , 慢慢地蹲坐了下來 , 時而閉上眼睛、時而看著那看似遙不可及的唯一自然之口 . 似乎真可以有那一些感同身受到建築師要帶給參觀的人 , 感受那猶太人曾經的渴望 . 偶爾有人推了大門進入 , 在這裡 , 大家的行動一致 , 安靜地 , 抬頭望著那個三角開口 . 我不知道待了幾輪 ( 人進人出 ), 緩緩地起身 , 推開大門 ...
- 十二度傾斜 上頭有著橄欖樹，代表著希望。
- 在猶太歷史博物館 , 內部的空間設計並不遜色於外觀 . 在這裡我注意力幾乎都放在這些設計上呢 . 在 2F 一開始的入口 , 有著猶太人新年時通常會掛上願望的樹 , 樹枝上已經有不少的 Greeting Card, 我從旁邊拿了紙筆 , 寫下了一些祝福 , 登上個小階梯後同樣將我的卡片掛上了樹枝
- Notre Dame du Haut is one of the more famous buildings of Le Corbusier 's career Notre Dame du Haut Basic information Location Ronchamp , Haute-Saône , France Geographic coordinates 47°42′14″N 6°37′16″E Affiliation Roman Catholic Ecclesiastical or organizational status Pilgrimage Chapel Architectural description Architect (s) Le Corbusier Architectural type Chapel Completed 1954 Specifications Materials Concrete Informally known as "Ronchamp", the chapel of Notre Dame du Haut in Ronchamp ( French : Chapelle Notre-Dame-du-Haut de Ronchamp ), completed in 1955, is one of the finest examples of the architecture of Franco-Swiss architect Le Corbusier and one of the most important examples of twentieth-century religious architecture. Notre Dame du Haut was thought of as a more extreme design of Le Corbusier’s late style. The chapel is a simple design with two entrances, a main altar, and three chapels beneath towers. Although the building is small, it is powerful and complex. The chapel is the latest of chapels at the site. The previous chapel was completely destroyed there during World War II. The previous building was a 4th century Christian chapel. But, at the time the new building was being constructed, Corbusier wasn’t exactly interested in “Machine Age” architecture. He felt his style was more primitive and sculptural, so he decided to build something more interesting. The structure is made mostly of concrete and is comparatively small, enclosed by thick walls, with the upturned roof supported on columns embedded within the walls, like a sail billowing in the windy currents on the hill top. The Christian Church sees itself as the ship of God, bringing safety and salvation to followers. In the interior, the spaces left between the walls and roof and filled with clerestory windows, as well as the asymmetric light from the wall openings, serve to further reinforce the sacred nature of the space and reinforce the relationship of the building with its surroundings. The lighting in the interior is soft and indirect, from the clerestory windows and reflecting off the whitewashed walls of the chapels with projecting towers. The structure is built mostly of concrete and stone , which was a remnant of the original chapel built on the hilltop site destroyed during World War II . Some have described Ronchamp as the first Post-Modern building. It was constructed in the early 1950s. The main part of the structure consists of two concrete membranes separated by a space of 6'11", forming a shell which constitutes the roof of the building. This roof, both insulating and watertight, is supported by short struts , which form part of a vertical surface of concrete covered with " gunite " and which, in addition, brace the walls of old Vosges stone provided by the former chapel which was destroyed by the bombings. These walls which are without buttresses follow, in plan, the curvilinear forms calculated to provide stability to this rough masonry . A space of several centimeters between the shell of the roof and the vertical envelope of the walls furnishes a significant entry for daylight . The floor of the chapel follows the natural slope of the hill down towards the altar . Certain parts, in particular those upon which the interior and exterior altars rest, are of beautiful white stone from Bourgogne , as are the altars themselves. The towers are constructed of stone masonry and are capped by cement domes . The vertical elements of the chapel are surfaced with mortar sprayed on with a cement gun and then white-washed - both on the interior and exterior. The concrete shell of the roof is left rough, just as it comes from the formwork. Watertightness is effected by a built-up roofing with an exterior cladding of aluminium . The interior walls are white; the ceiling grey; the bench of African wood created by Savina; the communion bench is of cast iron made by the foundries of the Lure. The South wall of Ronchamp is a creature of its own. Rather than designing a straight, 50 cm thick concrete piece, Le Corbusier spent months trying to perfect the outside partition. What he came up with is a wall that starts out as a point on the east end, and expands to up to 10 feet thick its west side. As it moves from east to west, it curves towards the south. To further expand his design's complexity, Le Corbusier decided to make the windows of the wall extraordinary. The openings slant towards their centers at varying degrees, thus letting in light at different angles. Furthermore, the glass that closes them off is set at alternating depths. This glass is sometimes clear, but is often decorated with small pieces of stained glass in typical Corbusier colors: red, green, and yellow. These stained pieces radiate like rubies, emeralds, and amethysts, and act as the jewels of the already complex wall. After this extensive design, Le Corbusier decided not to make the southern partition a bearing wall. Instead, the building's roof is supported by concrete columns that make it appear to float above the rest of the space. In a final move of symbolism, Le Corbusier filled the inside of the wall with the rubble from the previous chapel that stood at the location. Thus the old church, and all of its history, would remain in the site. Small pieces of stained glass are set deep within the walls, which are sometimes ten feet thick. The glass glows likes deep-set rubies and emeralds and amethysts and jewels of all colors. Because it is a pilgrimage chapel, there are few people worshipping at most times. But on special feast days, large crowds of thousands will attend. To accommodate them, Le Corbusier also built an outside altar and pulpit, so the large crowds can sit or stand on a vast field on the top of the hill. A famous statue of the Virgin, rescued from the ruins of the chapel destroyed during WWII is encased in a special glass case in the wall, and it can be turned to face inward when the congregation is inside, or to face outward toward the huge crowds. Much like the church at the monastery at La Tourette, the roof of Notre Dame du Haute appears to float above the walls. This is possible, because it is supported by concrete columns, not the walls themselves. The effect produced allows a strip of light to enter the building, thus lighting the space further, and making the church feel more open. This billowing concrete roof was planned to slope toward the back, where a fountain of abstract forms is placed on the ground. When it rains, the water comes pouring off the roof and down onto the raised, slanted concrete structures, creating a dramatic natural fountain.
- Charles-Édouard Jeanneret , better known as Le Corbusier (French pronunciation: [lə kɔʁbyzje] ; October 6, 1887 – August 27, 1965), was a Swiss-born French architect , designer , urbanist , writer and painter , famous for being one of the pioneers of what now is called modern architecture . He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, with his buildings constructed throughout central Europe, India, Russia, one in North and several in South America. He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities. Le Corbusier adopted his pseudonym in the 1920s, allegedly deriving it in part from the name of a distant ancestor, "Lecorbésier." However, it appears to have been an earlier (and somewhat unkind) nickname, which he simply decided to keep. He was awarded the Frank P. Brown Medal in 1961.
- 科比意出生於瑞士西北方、距離法國邊界僅有五公里距離的小城鎮 . 科比意從小就被視覺藝術所吸引 , 於是選擇就讀當地的一間藝術學校 . 畢業以後 , 科比意便經常旅行於歐洲各地以獲取更多的視野 . 1907 年 , 科比意來到了巴黎 . 在巴黎 , 科比意找到了一份工作：視事於法國應用鋼筋混凝土的先驅者 Auguste Perret 底下 . 1910 - 1911 年間 , 科比意為德國著名建築師 Peter Behrens 工作 . 而在柏林 , 科比意同時也遇見了創立現代設計發源地的包浩斯前後任校長兼設計前輩大師 Walter Groupis 及 Ludwig Mies van der Rohe. 在巴黎及柏林大師底下工作的經驗深深影響了科比意後來的專業生涯 . 第一次世界大戰發生時 , 科比意回到了家鄉的學校教書 , 直到了大戰結束後才又返回巴黎 . 回到故鄉瑞士教書的這四年內 , 科比意開始專研於建築理論與現代建築技術的應用 . 而 1914 - 1915 年的「 Dom-ino House 」建案便是他所致力研究的建築理論的第一塊試金石 . 在這之後的十多年間 , 這套建築設計應用方法便出現在他所經手的建案中 . 1918 年時 , 科比意遇見了藝術家 Amedee Ozenfant. 兩人一拍即合 , 很快地成為合作伙伴 . 之後 , 兩人發起一個新的藝術運動 , 稱為「純粹主義 (Purism, 可將其類比對應到現在室內設計裝潢時會弄成沒有多餘裝飾 , 號稱極簡風的風格 ) 」並發行了一本關於純粹主義運動的期刊 . 而「科比意」這個名字由來便源自於這本闡揚純粹主義的期刊 . 1920 年當第一本期刊發行時 , 科比意用了「 Le Corbusier 」這個筆名發表文章 ( 此筆名來自於紀念他的外祖父 ) --- 不過當時也開始流行起藝術家用筆名或假名來從事活動 ( 就像現在藝人幾乎都是用藝名意思相同 ). 科比意看到了工業革命後急速都市化發展帶來的潛在危機 . 為了處理城市快速成長後帶來的人口與居住場所問題 , 科比意提出了他自己的現代都市規劃理論 . 首先 , 在處理中低階層者的居住問題方面 , 科比意提出了類似現在公寓架構的概念：由一個個包含完整起居室、客廳、廚房甚至小花園等設施的獨立居住單元堆疊而成的集合式住宅 . 至於格局更大的城市規劃方面 , 科比意提出了一個他稱為「現代都市 (Contemporary City) 」的可容納數百萬居民的想像：以龐大數量的一棟棟六十層鋼骨結構的摩天大樓所組成的建築群配合大樓間的交通網道路所構成 . 而當城市中心的居民打算搬移時 , 在中心以外的區域也有較低樓層的大樓建築群可供選擇 . 在科比意的這個現代都市的理論中他同時還倡導了人車道路分離及以私人汽車為主的交通網路 ( 不過當年的這個提倡現在是我們的一大問題 ). 都市規劃的理論一直盤踞在科比意的心中 . 甚至在 1925 年一場展覽中 , 他更強力訴求應該剷平整個巴黎市區所有老舊建築 , 建立他心目那個理想的現代都市建築群 . 不過 , 這樣的訴求並不太受政治家與實業家的支持 , 批評聲遠大於讚許 ( 幸好並不是所有人都那麼瘋狂 ). 不過雖然沒有多少人真正鳥科比意的想法 , 在二次世界大戰結束後的 1950 年代 , 科比意還是受邀在馬賽實作了一個尺度小了許多的集合住宅建案 ; 還有印度人邀請其去發揮他對於都市規劃的理想 .
- 這座廊香村外山丘頂上 , 完成於 1954 年的「廊香教堂 (Norte Dame du Haut, 實際上原文是指聖母教堂 ) 」或許也等同於代表這座小村莊了 . 這座廊香教堂是二十世紀建築大師「科比意 (Le Corbusier) 」生平最具代表性的作品之一 ; 同時也是被公認二十世紀最好的宗教建築之一 . 廊香村外這個山頂上的原址原本就有一座獻給聖母瑪莉亞的老教堂存在 , 不過歷經天災、也重建了幾次 . 在第二次世界大戰時 , 此教堂又遭到摧毀 . 而大戰結束後 , 村子裡的人決定在原址繼續重建教堂 --- 不過這次他們打算不只是重建一座一模一樣或傳統式的教堂而以 , 而是希望注入現代化的思想 . 如何作呢？ 若要在這座打算重建的教堂中注入新意 , 那就是得大方擁抱現代藝術的表現手法在其中 , 而最好、最直接的表達方式就是建築本身 ; 於是重建委員會找上了當時已經是大師級人物的科比意 . 這座教堂是科比意建築作品中的一個異數 --- 脫離了老科一貫的全然理性、注重如數學方程式般的直線造型 , 而是給予了一個完全不同於老科原本建築風格但卻能適切表達這座教堂意義的建築形式 . 這座教堂也巧妙地與周圍地勢及自然景觀構成完美結合 . 雖然這座教堂位於廊香村子外的山頂上 , 但在村子裡 , 甚至走上往教堂的上山道路 , 卻無法窺得教堂 ( 也就是你在山下是看不到山丘上的教堂芳跡 ). 往教堂的途中 , 一路上陪伴著的 , 只有寧靜的廊香山區景致 --- 直到登上了頂 , 驟然 , 這座白色教堂便出現眼前 ; 而當立於山丘頂端時 , 卻又可以毫無阻礙的從任何一個角度欣賞到這座教堂 . 昨夜在山頂上留下了許多白雪 , 已有超過五十年歲數的雪白教堂並不比地面上的這些 白雪來得遜色 . 映入眼簾的首先是由好幾片刷白的厚重水泥牆所包圍組成的教堂外觀 , 教堂上頭是個往上翹的屋頂 --- 這片屋頂並非與底下的水泥牆完全密合 , 而是牆與屋頂之間利用一根根的小樑柱作為支撐點 , 這樣的用意除了屋頂本身即可以發揮防水功能外 , 還能透過屋頂與牆之間的空隙為教堂內部注入來自外界的自然光線 . 這片往上翹的屋頂造型如同一艘座落在教堂上的船身 , 其寓意也就是代表神旨意的方舟 , 為世人帶來救贖 ; 在狂風暴雨的俗世海洋中航行 . 值得一提的是 , 廊香教堂用來建造的石塊等原料 , 有大部分來自於大戰期間被摧毀的老教堂所留下的石塊殘骸 . 所以廊香外牆實為以外層水泥包裹著原來老教堂的石材 , 更別具了傳承的意義 . 至於白色外牆上一個大小不一、錯落像是沒有規則性排列的小開口 , 卻是為教堂內部帶入了驚人的效果 . 支撐船型方舟屋頂的另一側外牆 , 科比意設計了一個戶外型禮拜堂 . 雖然廊香教堂大部分時間並不會有很多人參與 , 但在某些特別的日子裡 , 可能會有數以千計的民眾來此朝聖或參加大型集會 . 為了容納湧入大量參與者時的考量 , 科比意在廊香教堂的這一側設計了戶外的祭壇與講道台 , 而群眾則可以或作或站於教堂周圍廣大的草地上 . 而更進一步的設計：在大戰期間被搶救出來幸而沒有與教堂一起被炸毀的聖母瑪莉亞雕 像 , 則是被安置於一個特別製作的玻璃盒內 . 妙用即在於此：玻璃盒內的雕像可依情況轉動方向面對教堂內部或是面對戶外 --- 也就是說不論是在教堂內或是於戶外舉辦講道會 , 這尊代表教堂象徵意義的雕像都可以方便的調整方位以面對眾人 . 而算是不直接面對從入口進入的民眾的另兩面外牆 , 則是可見已經轉化為現代感設計的教堂高塔、教堂大門入口以及有抽象藝術表現的噴水池 --- 科比意並設計了有著傾斜角度的屋頂 , 以讓此噴水池也肩負銜接教堂因落雨或積雪融化後順勢流下的積水 .
- 現在世界三大建築師之一、同時也是台灣人所熟知的日本建築師「安藤忠雄」 , 就曾說過當年他旅行時在廊香教堂被深深的震撼及感動 , 進而啟發了他的建築理念 . 是什麼東西這麼神奇？ 是光的魔力 ... 從大門進入後 , 當我看到那面光之牆時 , 終於也瞭解為什麼安藤忠雄當年看到同樣一面牆時會如此感動了 . 還記得前面提到科比意在教堂外的一面牆上開了大小不一、錯列排列的開孔嗎？ 這下謎題解開了：牆上一格格的小開窗就是科比意改良自傳統教堂彩繪玻璃窗格的設計 ; 這一格格的開孔引入教堂外頭的自然光到內部 , 形成了難以言喻的神聖性 . 不僅僅是開個孔而以 , 科比意還在這一格格開窗上加了一小片的彩色玻璃 --- 紅色、綠色、金色等等 . 這一道道既是分離但在意義上又具有共同象徵性的光線 , 夾帶著不同的色彩引入了教堂內部 , 這是無可言喻的震撼 . 更者 , 這些光線是流動的生命體 , 隨著教堂外部太陽的移動而教堂內部這一道道光束的位置也跟著變化 , 如時間流 . 教堂內部有三座祭壇高塔 ( 其實也不算高 ), 科比意應用類似的方法 , 從高塔頂端做了開口藉以引入外部光線 , 再藉由白色噴砂厚牆的反射作用將光線帶到了高塔底部的祭壇座 . 我站在光之牆射入的某一道光束照亮的那塊地面 , 光線環繞著浮塵粒子 , 閉上雙眼 , 嘗試更深層地捕捉這份感動 --- 屬於光的魔力 ......
- The Institut du Monde Arabe (IMA) or Arab World Institute (AWI), in English, was established in 1980 in Paris , when 18 Arab countries concluded an agreement with France to establish the Institute to disseminate information about the Arab world and set in motion detailed research to cover Arabic and the Arab world's cultural and spiritual values. The Institute also aims at promoting cooperation and cultural exchanges between France and the Arab world, particularly in the areas of science and technology , thus contributing to development of relations between the Arab world and Europe . Libya joined the agreement in 1984. The AWI is located in the building also known as Institut du Monde Arabe , on Rue des Fossés Saint Bernard in Paris, France, constructed from 1981 to 1987 with a floor space of 181,850 square feet (16,894 m 2 ). Jean Nouvel , together with Architecture-Studio , won the 1981 design competition with a project that proposed risk-taking solutions that, over the course of the years, have proven themselves. The building acts as a buffer zone between the Jussieu Campus , in large rationalist blocks, and the Seine . The river facade follows the curve of the waterway and helps reduce the hardness of a rectangular block, adapting itself to the view from the Sully Bridge. At the same time the building also appears to fold itself back in the direction of the Saint-Germain-des-Prés district. In contrast, the opposite facade is uncompromisingly rectangular. Facing it is a large square public space that opens out toward the Île de la Cité and Notre Dame . Above the glass-clad storefront, a metallic screen unfolds with moving geometric motifs. The motifs are actually 240 motor-controlled apertures, which open and close every hour. They act as brise soleil to control the light entering the building. The mechanism creates interior spaces with filtered light — an effect often used in Islamic architecture with its climate-oriented strategies. This building catapulted Nouvel to fame and is one of the cultural reference points of Paris. It is also noted for receiving the Aga Khan Award for Architecture . The building houses a museum, library, auditorium, restaurant, and offices.
- Jean Nouvel (French pronunciation: [ʒɑ̃ nu.vɛl] ) (born August 12, 1945) is a French architect . Nouvel studied at the École des Beaux-Arts in Paris and was a founding member of Mars 1976 and Syndicat de l'Architecture . He has obtained a number of prestigious distinctions over the course of his career, including the Aga Khan Award for Architecture (technically, the prize was awarded for the Institut du Monde Arabe which Nouvel designed), the Wolf Prize in Arts in 2005 and the Pritzker Prize in 2008. [1] [2] [3] [4] A number of museums and architectural centres have presented retrospectives of his work. [5] [6]
- 進入阿拉伯文化中心也需要經過一道安全檢查程序 , 或許會想這又是什麼了不起的博物館或美術館了？ 阿拉伯文化中心裡頭是有座博物館定期展示關於中東世界的文化 , 不過卻不是什麼世界級的規模 . 主要的原因我猜測還是在於「阿拉伯」這個關鍵字 . 為了避免激進份子對於這座阿拉伯文化交流的機構意圖不軌 , 於是乎便有這道手續 . 而我是為了看展覽來的嗎？ 也不是 , 而是為了這座建築本身而來的 . 回到 1980 年代 , 十八個阿拉伯世界的國家與法國政府簽訂了協議 , 打算在巴黎蓋一座展示伊斯蘭文化以及加強中東世界與法國之間關於科學與技術交流的文化中心 . 而法國建築師 Jean Nouvel 在 1981 年的競賽中勝出取得這個標案 , 1987 年阿拉伯文化中心宣告落成 . 這座建築本身的造型並沒有太過特別之處 , 基本上就是前方的一座長方形量體加上後方的曲線量體的組合 . 這座建築特別的地方在於前方大樓外牆的窗戶 . 這些開窗乃是由奇特的一個個圓形開孔所組成 , 這些開孔可不是好看的裝飾罷了 , 而是提供了類似百葉窗的功能 . 這些一片片的窗戶上的開孔有著類似相機光圈葉片的機構設計 , 由機械自動控制縮放 , 每個小時會自動的開啟與關閉 , 提供建築物內部光線的自然調節 ( 不過年代也久了 , 所以部分機械式圓孔也已故障 ). 這樣的設計同時也呼應了阿拉伯文化的藝術中幾何圖形的概念 . 本以為外面這樣就已經夠特殊了 , 沒想到進到了內部 , 這些圓形開孔提供了更華麗的震撼 . 光線經過了這些機械葉片後 , 在地板上形成了一幅幅美麗的光之幾何圖形 . 我忍不住在這座阿拉伯文化中心內多待了一會 , 就是為了多看幾眼設計帶來的美麗場景 . 我想 , 那些坐在地上畫著這些窗戶的學生們應該也是因為這個原因而來的吧 . 其實一開始進入阿拉伯文化中心後 , 就在到底需不需要買票的猶豫中擺盪不已 ( 主要也是看板並沒有夠足夠的資訊可以瞭解 ). 售票處就在眼前 , 但是看到很多老外也就直接坐上了電梯上樓 , 於是也就跟著上去 ... 原來 , 除非是要參觀這裡的博物館內的展覽 , 否則瀏覽這棟建築是不需要付費的呢 . 頂樓有間餐廳 , 也可在頂樓遠眺西提島上的聖母院 , 不少老外都是在頂樓上架起來猛拍啊 .
- The Atomium is a monument in Brussels , originally built for Expo '58 , the 1958 Brussels World's Fair . Designed by André Waterkeyn , it stands 102 meters (335 ft) tall. It has nine steel spheres connected so that the whole forms the shape of a unit cell of an iron crystal magnified 165 billion times. Tubes connect the spheres along the 12 edges of the cube and all eight vertices to the center. They enclose escalators connecting the spheres containing exhibit halls and other public spaces. The top sphere provides a panoramic view of Brussels. Each sphere is 18 metres in diameter. Three spheres are currently (2008) closed to visitors, others can be reached easily by escalators. The vertical vertex contains a lift which was very fast and advanced at the time of building (the speed is 5 m/s). [1] One of the original ideas for Expo '58 was to build an upside-down version of the Eiffel Tower ; however, Waterkeyn felt that an atomic structure would be more symbolic of the era. [2] The monument was originally planned to stand there for six months. However, it became a symbol not only of the World's Fair but also of modern architecture and the city of Brussels and of Belgium. [ citation needed ] It received monument status and stayed on the former exhibition grounds for over 50 years. It is now one of Brussels' main attractions. Renovation on the Atomium began in March 2004; it was closed to the public in October, and remained closed until 18 February 2006. The renovations included replacing the faded aluminum sheets on the spheres with stainless steel. To help pay for renovations, the old aluminum was sold to the public as souvenirs. A triangular piece about 2 m long sold for €1,000, [ citation needed ] The renovation includes revamped exhibition spaces, a restaurant, and a dormitory for visiting schoolchildren called "Kids Sphere Hotel" which features suspended plastic sphere towers. A €2 commemorative coin depicting the sculpture was issued in March 2006 to celebrate the renovation. The Atomium is one of the most visited attractions in Brussels today. In 2008, the Atomium celebrated its 50th anniversary, with activities planned all year, including free admission for those turning 50 between April and October. [3] Three of the four uppermost spheres lack vertical support and hence are not open to the public for safety reasons, although the sphere at the pinnacle is open to the public. The original design called for no supports; the structure was simply to rest on the spheres. Wind tunnel tests proved that the structure would have toppled in an 80 km/h wind (140 km/h winds have been recorded in Belgium). Support columns were added to achieve enough resistance against overturning. [1]
- André Waterkeyn (23 August 1917 – 4 October 2005) was a Belgian engineer, born in Wimbledon , best known for creating the Atomium . Waterkeyn was the economic director of Fabrimetal, a federation of metallurgical companies when in 1954 he was asked to design a building for the 1958 World Expo that would symbolize Belgian engineering skills. Waterkeyn owned the copyrights of all reproductions of the Atomium until he passed it over to the organisation owning the original building around the years 2000. He was chairman of the board of the Atomium until 2002, when his son took over. He died in Brussels in 2005. After his death, the top sphere and the square where the Atomium is located was named after him.
- 這座前衛的原子模型 , 不說 , 可能不知道 , 已經有五十歲的年紀啦～ 本來經歷風霜雪月的摧殘後 , 已經是垂垂老態的模樣 , 不過 2004 年到 2006 年間為這座原始模型重新整修後 , 原本是鋁材的外殼 , 通通換成不鏽鋼材質 . 於是 , 這座原子模型又再度閃亮亮地呈現在我們眼前 . 誰又能想到 , 當初這座原子模型其實只是打算待上六個月就要拆毀 , 結果 , 這麼一站著也就半百歲月了 . 1958 年布魯塞爾舉辦世界博覽會 , 原本是打算蓋一座像是顛倒版本的艾菲爾鐵塔彰顯國力 , 不過設計師覺得原子模型的結構更能表示新世紀來臨的象徵意義 . 這座原子模型建成後 , 不只是作為博覽會的精神標誌 , 更成為世界知名的布魯塞爾經典現代建築 . 高 102 公尺、九個球體、十二個連接管的原子模型 , 每個球體是十八公尺直徑的圓形 . 最上頭、位於最頂點的球體可以全景式地瀏覽布魯塞爾的城市風景 , 不過可惜的是我們去的時候是不開放的 . 其餘的球體也並非每一個都可供遊客參觀 ( 結構有額外支撐的才會常態開放 ), 開放參觀的幾個球體可利用連接管內的手扶梯移動 . 球體內展示有關於當年原子模型的建造歷史以及一些定期替換的展覽 ; 另外還有一個球體經過 2004 - 2006 年的整修後已經變身為可以歇息的小咖啡廳 . 搭乘、走在連接各球體間的手扶梯時 , 很具有科幻感 . 順著窄小半圓形的天花板前進 , 心理會有種期待感不知道又會進入到怎樣的奇幻空間 . 一開始想上去？ 大部分人都是選擇搭乘位於原子模型中心點正下方的電梯 . 不過這一天實在太多人了 , 很不巧地排在前面的又是人數眾多的對岸同胞觀光團 . 電梯的胃容量不多、每一來回等待時間略長 . 實在等不太下去了 , 加上也不是很想一直排在同胞們的後面 . 跟著一個像是地頭蛇的年輕人離開了排隊線 , 原來在電梯的另一側還是有自己可以走上去的樓梯 ( 就算搭電梯上去 , 最後下來也是得走樓梯 ). 最誇張的是 , 當我們照著參觀路線晃了一圈下來後 , 還看到那群同胞們依然排隊在等電梯 , 當然 , 隊伍是前進了不少沒錯 ...... 另外 , 關於結構的有趣話題 . 因為原子模型建造時實是沒有打算久持 , 所以當初結構上的支撐設計顯得比較簡單 . 2004 - 2006 年的整修將位於較底部的幾個球體加上了支撐柱 . 不過根據風洞實驗 , 這座原子模型若遇上超過時速八十公里的風 ( 大概是介於熱帶性低氣壓到輕度颱風之間的風速 ) 就有整個被吹倒之虞 --- 而布魯塞爾的歷史紀錄上曾吹過時速 140 公里的強風 .
- Kubuswoningen, or cube houses, are a set of innovative houses built in Rotterdam and Helmond in The Netherlands , designed by architect Piet Blom and based on the concept of "living as an urban roof": high density housing with sufficient space on the ground level. Blom tilted the cube of a conventional house 45 degrees, and rested it upon a hexagon -shaped pylon . His design represents a village within a city, where each house represents a tree, and all the houses together, a forest. [1] Three test versions were first constructed in 1974, and in 1977 18 houses were constructed in Helmond. [2] The many houses required for a "woonwoud" (English: living woods ) were never realized. The houses in Rotterdam were designed in 1977 in a plan of 55, of which 39 were built. [3] he houses in Rotterdam are located on Overblaak Street, and beside the Blaak Subway Station . There are 38 small cubes and two so called 'super-cubes', all attached to each other. As residents are disturbed so often by curious passers-by, one owner decided to open a "show cube", which is furnished as a normal house, and is making a living out of offering tours to visitors. The houses contain three floors: ground floor entrance first floor with living room and open kitchen second floor with two bedrooms and bathroom top floor which is sometimes used as a small garden The walls and windows are angled at 54.7 degrees. The total area of the apartment is around 100 square meters, but around a quarter of the space is unusable because of the walls that are under the angled ceilings. In 2009, the larger cubes were converted into a hostel run by Dutch hostel chain Stayokay . [4]
- Piet Blom (February 8, 1934, Amsterdam – June 8, 1999, Denmark ) was a Dutch architect best known for his 'Kubuswoningen' ( Cube houses ) built in Helmond in the mid-1970s and in Rotterdam in the early 1980s. He studied at the Amsterdam Academy of Building-Arts as a student of Aldo van Eyck . Piet Blom, Aldo van Eyck, Herman Hertzberger a.o. are representatives of the movement Structuralism .
- 位在鹿特丹陣容超龐大、攤販超多的 Binnenrotte 市集街附近的立體方塊屋 , 應該是到鹿特丹旅遊的人曾看過或進去參觀的奇妙建築體 . 鹿特丹因為二次大戰期間遭德軍轟炸 , 整個市區幾乎被炸得夷為平地 , 於是戰後重建的鹿特丹市區風貌 , 具有歷史價值的古蹟幾乎消失殆盡了 , 取而代之的是各式各樣的現代建築、高樓等 . 在這個可說是荷蘭建築試驗場的城市中 , 1980 年代興建的方塊屋 , 到了現在都還算是夠前衛的實驗型住宅型態 . 鹿特丹並不是建築師 Piet Blom 的第一個試驗場所 , 首發團的方塊屋在 1970 年代中期於 Helmond 興建 ; 而後 1980 年代初期 , 才有了第二發的鹿特丹方塊屋 . 在那個年代 , 正是荷蘭現代建築風格蓬勃發展的時期 , 很多前衛的、富有實驗性質的、建築師自己想亂搞的 ( 未來 ) 建築型態通通出爐 . 方塊屋就是當年潮流下的產品之一 . 本來方塊屋的計畫是興建 74 個群聚在一起的社區結構 , 最後定案完成的則是 38 個居住單元、地面商業空間、一間學校還有一個社區住戶休閒娛樂中心 . 厲害的是 , 這 38 間住宅在當時還沒蓋好前就已經全部售鑿 , 不過現在是不是每一戶都還是有住戶就不得而知了 . 地面層的透明玻璃屋形式的商業空間也算是挺有趣的設計 , 面積不大 , 大概拿來作小型工作室還挺適合的 . 也正因為這個建築實在太特別了 , 總是會引來不經意路過的、特別來參觀的觀光客的打擾 , 雖然整個方塊屋社區的中庭是能夠自然進出 , 不過想也知道 , 更多的人想要知道住在裡面的滋味到底是如何 ... 於是 , 有一戶人家就決定開放為可參觀的空間 Show Room --- 不過當然是要付門票錢的 . 沒想到吧？ 這樣外觀看起來好像沒很大且又長得有點奇怪的方塊屋規 , 屋內規劃可是有著完整的住家功能：起居室、廚房、客廳、書房、浴室、還有頂樓小花園 , 可說是麻雀雖小、五臟俱全 ; 況且還區分成三個樓層呢 . 方塊屋大約是 10 x 10( 公尺 ) 的面積 . 為了配合被旋轉了約 45 度角的正立方體住宅 , 家具的設計與空間的利用都變成是必須特製化的設計以配合室內邊緣角落切 45 度角的尖端格局 . 實際參觀內部後 , 生活空間還是在一個熟悉的水平面地板上行走 , 只不過靠近角落時要特別注意一下頭部 , 可別敲到天花板了 ...... 窗戶其實也能夠拿來擺擺小東西或是小盆栽之類的物品 , 只是要小心開窗子時要注意別讓放在窗邊的東西就這樣掉下去了 ...... 其實方塊屋的生活居住機能恐怕不能說是相當符合人性 , 空間格局上也讓人住久了會有壓迫感 ( 不過幸好大面積開窗又讓這種壓迫性降低了些 ). 不過 , 在各式各樣的新奇概念的驅使下 , 天下的新鮮事也總有新鮮人會去嘗試啊～