| ||||||||
外觀由建築師姚仁喜設計，以仿宋朝青瓷自然形成的「冰裂紋」為外觀，古意與時尚感交錯，比起故宮更像故宮。 這棟地上三層、地下兩層的建築物，內部由日本空間設計師橋本夕紀夫操刀，他擅長使用燈光來營造氣氛，包廂牆面有「蘭亭序」、「前赤壁賦」的燈影，地板更是變化多端，使用了仿古灰磚等十種材質，讓人猶如身處古畫中，享受杯觥交錯的樂趣。
【2008/05/09 聯合報】 |
2008年5月8日 星期四
店家傳奇》故宮晶華獨家曝光
2008年3月13日 星期四
當時尚遇上藝術：When Fashion encounters Art
【文／陳沛岑】
時尚產業與藝術的結盟從來就不是一件新鮮事，某些時尚工業在早期甚至是藝術的贊助者，例如香奈兒的創辦人嘉比愛．香奈兒（Gabrielle Chanel）生前即結交不少藝術圈好友，她曾贊助俄國芭蕾改革派大師迪亞吉雷夫（Serge Diaghilev）的《春之祭》（Le Sacre du Printemps）芭蕾舞劇製作費用（註1）；而於1948年以製造精品珠寶、鐘錶聞名的卡地亞（Cartier）在巴黎創辦「卡地亞當代藝術基金會」（Foundation Cartier pour l'art contemporain），其宗旨在於「鼓勵當代藝術的創造與藝術知識的流通」；而2003年路易．威登（Louis Vuitton）與日本當代藝術家村上隆（Takashi Murakami）合作的成果除了掀起了十足的話題性、為企業注入些年輕、普普可愛化的形象，更拉寬原本消費群的年齡層，帶來實質的營業額成長……在此，時尚以不同的方式介入藝術世界，扮演各不相同的角色；這些合作的目的也許是真心喜愛藝術，也許是為了回饋社會、或藉此重塑自我的品牌形象，再創商業新高點……背後的意圖其實是相當複雜的。
藝術與消費文化
然而在近幾年來，我們可以觀察到一個有趣的現象：在國際藝術雜誌《ArtReview》、《ArtForum》及《Frieze》裡，除了畫廊、美術館所刊登的展覽廣告外，我們亦不乏見到時尚品牌的新品廣告，而這些廣告與刊登在《Vogue》、《GQ》雜誌上的並沒有什麼不同；並且，從2007年下半年以來，《ArtReview》甚至在雜誌中另闢了一個名為「消費」（CONSUMED）的新單元，像評選當月最佳展覽般地選介該月份由商店、美術館、畫廊推出的藝術商品，例如在其中可見以攝影聞名的美國當代藝術家普林斯（Richard Prince）與設計師賈各柏（Marc Jacob）合作為LV設計的一春夏新款「笑話包」（Jokes），以及赫斯特（Damien Hirst）跨足為Levis設計的一款新型501丹寧牛仔褲，上頭有著他前一陣子引起軒然大波，號稱史上最貴的當代藝術作品《獻給上帝之愛》（For the Love of God）的經典骷髏頭圖案，只是在牛仔褲上的骷髏頭鑲嵌的不是鑽石，而是一顆顆的施華洛世奇（Swarovski）水晶，在這單元中，除了商品簡介外，產品的售價（就連是否含稅）、幣值、可查閱的延伸網站、藝術家的最新動態都標註於其上（註2）；這些現象傳遞的訊息是——藝術與時尚／商業的消費文化之間的藩籬已越趨模糊，在新時代中，兩者以更輕鬆的姿態貼近彼此，藝術在今日甚至可能已被某些人視為一種「時髦的新潮流」；而辯論這兩者之間產出的結果是high art或low art？或談論藝術與商業間的共謀彷彿顯得是那麼地天真，或許就如1966年沃荷（Andy Warhol）曾告訴我們的：「Art is commerce」，試問當代藝術家又有誰能向流行時尚產業的合作邀請說不？然而，將藝術與消費文化之間區隔開來的最後一道防線又會是什麼？
一場流行的神話
而在這一波時尚與藝術互相擁抱的趨勢中，最受人矚目的，要屬香奈兒在其創意總監拉格斐爾德（Karl Lagerfeld）的帶領下，宣布與藝術圈進行的合作案—— 一個富有野心與企圖心的大計畫「Mobile Art」（流動的藝術）。它產出的結果，不像是LV與村上隆的合作，只催生出幾款具甜美感的LV提包這般單純，而是一個「展覽」！
香奈兒聘請巴黎《Beaux Arts》藝術雜誌主編暨藝評家布思托（Fabrice Bousteau）擔任策展人，其邀請20位來自不同地域的藝術家以香奈兒經典的「2.55」菱格紋手袋為發想起點，各別創作一件作品。不少參與這項計畫的藝術家皆具高度的國際知名度，例如，有以魔幻動態建築風格著稱，曾於2004年獲得建築界最高榮譽「普立茲獎」（Pritzker Architecture Prize）的哈蒂（Zaha Hadid）、作品蘊含高度觀念性與社會批判性，甫於法國卡地亞當代藝術基金會舉辦個展的韓國藝術家李部（Lee Bul）、印度當代藝術紅星古普塔（Subodh Gupta）、在去年以作品《好好照顧自己》（Prenez soin de vous）代表法國館參加「威尼斯雙年展」（La Biennale di Venezia）的藝術家卡爾（Sophie Calle）、曾獲第47屆威尼斯雙年展金獅獎的法國藝術家貝赫（Fabrice Hyber）、日本當代攝影師荒木經惟（Nobuyoshi Araki）、小野洋子（Yoko Ono）、及以運用台灣傳統花布於創作，個人特色鮮明的林明弘、與作品屢現於國際大展的楊福東等人。
事實上，這個計畫十足地令人玩味，首先它要求藝術家創作的是一件「作品」，而非一件「商品」，據悉主辦單位強調，這是一個「純粹的藝術展覽，當中不會有任何的商業行為，香奈兒也將不會在那展示該品牌的包包或衣服，展館裡將只展示藝術家的作品」（註3）；第二，雖說「賦予藝術家高度的自主性」，但唯一的條件卻又須如香奈兒時尚總監帕洛夫斯基（Bruno Pavlovsky）所言：以香奈兒菱格紋手袋為題，「各自發揮創意，以不同的形式給予手袋新的生命——可以是詩意的、不拘小節的，又或是具啟發性的，呈現這手袋的傳奇面貌。」請注意，在這兒他用了「傳奇」兩個字，藝術家的作品在此除了擴充觀者對於香奈兒手提袋的想像與詮釋外，展覽還不著痕跡地為香奈兒打造新時代的傳奇與神話，把時尚自我與藝術連結起來，帶來一種具創造力、創意無限的表徵。法國文學家巴特（Roland Barthes）曾說：「神話是一種言談，一種傳播的體系，一種訊息。」（註4）而在此展中，香奈兒的包包雖是不現於展場內，但一件件的作品卻又不斷地回溯指向它，並使其鮮活化；就如拉格斐爾德所言：「我們可以用廣告淹沒這個世界，但是，這是更為高貴的做法。」試問，還有什麼能比藉著Mobile Art建構屬於它的神話的方式更技高一籌、更為「高貴」？但策展人在這計畫中所扮演的角色又是什麼？這或許是值得深思的。
移動的展覽館
過去都是我們去博物館看藝術，這一次，我們要讓博物館向我們走來。
——拉格斐爾德
Mobile Art將從2008年2月27日起，以香港為展覽的起跑點，在兩年的時間內，此展將陸續在東京、紐約、倫敦、莫斯科與巴黎巡迴展出；事實上，巡迴展的形式在藝術世界裡並不稀奇，但若整個展覽場是一個可以拆卸、摺疊、帶著走的移動空間，便十分地別出心裁！
這回在Mobile Art展前即吸引眾人目光的，便是由哈蒂運用數位成像軟體所設計面積達29×45平方公尺，高六公尺，充滿未來感的行動藝術館，哈蒂在論及其創作藍本時曾說：「我希望透過設計，讓人置身另一個世界，令人們躍動鼓舞，並對各種意念興奮不已。我們的建築非常富直覺感……著重帶來不同的體驗，提供一種既陌生又新鮮的感覺，彷彿來到新的國度。」在此處雖然無法辨認究竟香奈兒的菱格紋包給了她什麼樣的創作啟示？或許是精密細緻感也好、是未來感也罷，但就是這藝術家自主的轉化能力，以及在藝術家與香奈兒溝通的過程中，可能經過一連串的妥協或不能妥協後產生出的成果，它是使這個展覽之所以有趣的地方。
哈蒂設計的展館，強調流動與自然的建築風格，建築物的外型像是個浮出海面的白色鸚鵡螺，整棟建築似沒有尖銳的菱角，而由流線、飽滿的弧線雕塑而成一螺旋形結構的場館，此經精密的演算，每一個組構、銜接建築的結構元件都不超過2.25公尺，在展期結束後都可以拆卸下來，運輸到下一個城市再重組、裝嵌、重新開館；而其追求自然的建築風格除了展現在建物的外型上，也呈現在素材的挑選與設計上，例如中心展場的天花板上有八片像風扇般聚合在一起的玻璃纖維片，當中位在中央的那片設有一可自行調節開閤的機關，其目的除了能為展場引進自然的光線外，也可突破展館內外疆界的分野，並且，建築的外牆採反光物料，將能映射出周邊環境的風貌。
哈蒂把這棟建物稱為「容器」（container），此得以在其中容納其他參展藝術家的作品，在設計的過程中，她並未遵循一般的展場設計把空間區隔成一個個規矩的方塊體隔間，而是以流動的幾何定律，建構成流暢並充滿動力相連的空間，當中結合了不同的對比效果，如室外與室內、光與暗，以及自然與人為的景觀。展館內不同的力量為每個空間重新詮釋，同時帶領著參觀者的流向。（註5）
電影中說話的演員
Mobile Art的法籍策展人布斯托在記者會上說：這個展覽「是為Chanel而開拍的影片，藝術協辦人（策展人）是導演，參與的藝術家是編劇，參展的作品則充當演員」，其以電影的概念來看待這場展覽，而參與的觀者則訴諸大眾，因此，為了要讓這部電影容易被閱讀與理解，他特別找來紐約「Soundwalk」團隊（註6）來與參展藝術家合作，根據展出的作品，共同構思與作品搭配的音樂、聲音、音響效果、以及導覽的內容（可選擇不同語言的作品介紹、導讀），觀展者只要在展覽入口領取一mp3，即可隨著樂音的帶領，開放自己的知覺、視覺與聽覺感官，融入這場電影之中。
此展將於2月27日於香港中環舊天星停車場開幕，而就真宛如電影工業的操作一般，香奈兒對於作品在上映前十分保密，除哈蒂的巨型展館外，其他參展藝術家將進行的計畫（也就是電影中演員們的實際演出情節）公開的甚少，但目前確知的是：日本攝影師荒木經惟延續他以拍攝女人、花朵而聞名的主題，在其中探討人生，特別是生與死的內容，將帶來《Kaori與花》（Kaori and Flowers），在花朵交疊的影像中，呈現一身上被Chanel手提包的金屬鍊綑綁下赤裸的年輕女子，與她正躍動、掙脫的景象；李部將為此展創作《Light Years》，此為一件具有象徵意義的多媒材裝置作品，據悉藝術家將於作品上鑲嵌數百片的皮袋與鏈帶碎片，而在主體的內部裝有一閃光燈，藉此「向創造了 2.55包的Chanel女士致敬」；小野洋子則帶來一件祈願的互動裝置，她將在展覽現場邀請每位蒞臨展場的觀者以米紙寫下自己的願望後，把紙卡懸掛於樹枝上。
而當中有數位藝術家的作品則對消費性的香奈兒精品手袋提出反思，例如在印度藝術家古普塔展出的《所有東西都在裡面》（All the things are inside）錄像裝置裡，他回溯手袋對印度文化的意念，現場並列放映兩部電影，一為一位印度男人收拾行囊，離開家鄉到杜拜工作的過程；另一則為其剪輯印度寶萊塢電影中關於手袋的精華片段；此作品表達藝術家對全球化時代下，印度整體在追求現代化過程中，社會型態改變的關注，例如，對外移的勞工來說，香奈兒的手袋是派不上用場，或是他們所無法負擔的，他們需要的，只是一個可以把將到外地去工作所使用的日常用品全收納進去的大塑膠布袋，而綑綁這行囊的是簡易、唾手可得的塑膠繩，兩則電影顯示出強烈的反差，像是呈現兩個不同的對比世界。而俄羅斯當代藝術雙人組合「Blue Noses」則以作品《西元50年之後／手提包的反叛》（Fifty Years After Our Common Era or Handbags’ Revolt）用歡樂可愛的塗鴉，提出對香奈兒手提包的嘲諷與脫序的有趣想像；而這些多元的反向思考豐富了展覽的可觀性，並表現了藝術的獨立自主。（註7）
註1：迪亞吉雷夫（Serge Diaghilev）生於1872年，其於1908年創立俄國芭
蕾舞團（Ballet Russes），致力於「以芭蕾為全世界再創一個屬於俄國
的傳說」，香奈兒與他為摯友，在其劇團經濟困難時曾贊助他30萬法郎
使《春之祭》順利演出。參考《可可香奈兒：時尚就是我》（Le style
c’est moi-Coco Chanel），卡塔莉娜．茲爾可夫斯基（Katharina
Zilkowski）著，張育如譯，高寶國際，2001，頁110-119。
註2：參見2008年1月號《ArtReview》，頁32-33。
註3：香奈兒發布資料。
註4：《神話學》，羅蘭．巴特（Roland Barthes）著，許薔薔、許綺玲譯，
1997，桂冠圖書，頁169。
註5：參考香奈兒發佈資料。
註6：「Soundwalk」為一成立於紐約的公司，從事製作與設計規畫錄音導
覽內容來提供觀者／聽者在徒步之中，邊走、邊看、邊聽來認識一新文
化、新事物；該公司曾廣泛的與產業界如Adidas、Sony合作，並曾為法
國羅浮宮規畫錄音導覽。參見◎www.soundwalk.com。
註7：更多資訊請見◎www.chanel-mobileart.com
時尚產業與藝術的結盟從來就不是一件新鮮事，某些時尚工業在早期甚至是藝術的贊助者，例如香奈兒的創辦人嘉比愛．香奈兒（Gabrielle Chanel）生前即結交不少藝術圈好友，她曾贊助俄國芭蕾改革派大師迪亞吉雷夫（Serge Diaghilev）的《春之祭》（Le Sacre du Printemps）芭蕾舞劇製作費用（註1）；而於1948年以製造精品珠寶、鐘錶聞名的卡地亞（Cartier）在巴黎創辦「卡地亞當代藝術基金會」（Foundation Cartier pour l'art contemporain），其宗旨在於「鼓勵當代藝術的創造與藝術知識的流通」；而2003年路易．威登（Louis Vuitton）與日本當代藝術家村上隆（Takashi Murakami）合作的成果除了掀起了十足的話題性、為企業注入些年輕、普普可愛化的形象，更拉寬原本消費群的年齡層，帶來實質的營業額成長……在此，時尚以不同的方式介入藝術世界，扮演各不相同的角色；這些合作的目的也許是真心喜愛藝術，也許是為了回饋社會、或藉此重塑自我的品牌形象，再創商業新高點……背後的意圖其實是相當複雜的。
藝術與消費文化
然而在近幾年來，我們可以觀察到一個有趣的現象：在國際藝術雜誌《ArtReview》、《ArtForum》及《Frieze》裡，除了畫廊、美術館所刊登的展覽廣告外，我們亦不乏見到時尚品牌的新品廣告，而這些廣告與刊登在《Vogue》、《GQ》雜誌上的並沒有什麼不同；並且，從2007年下半年以來，《ArtReview》甚至在雜誌中另闢了一個名為「消費」（CONSUMED）的新單元，像評選當月最佳展覽般地選介該月份由商店、美術館、畫廊推出的藝術商品，例如在其中可見以攝影聞名的美國當代藝術家普林斯（Richard Prince）與設計師賈各柏（Marc Jacob）合作為LV設計的一春夏新款「笑話包」（Jokes），以及赫斯特（Damien Hirst）跨足為Levis設計的一款新型501丹寧牛仔褲，上頭有著他前一陣子引起軒然大波，號稱史上最貴的當代藝術作品《獻給上帝之愛》（For the Love of God）的經典骷髏頭圖案，只是在牛仔褲上的骷髏頭鑲嵌的不是鑽石，而是一顆顆的施華洛世奇（Swarovski）水晶，在這單元中，除了商品簡介外，產品的售價（就連是否含稅）、幣值、可查閱的延伸網站、藝術家的最新動態都標註於其上（註2）；這些現象傳遞的訊息是——藝術與時尚／商業的消費文化之間的藩籬已越趨模糊，在新時代中，兩者以更輕鬆的姿態貼近彼此，藝術在今日甚至可能已被某些人視為一種「時髦的新潮流」；而辯論這兩者之間產出的結果是high art或low art？或談論藝術與商業間的共謀彷彿顯得是那麼地天真，或許就如1966年沃荷（Andy Warhol）曾告訴我們的：「Art is commerce」，試問當代藝術家又有誰能向流行時尚產業的合作邀請說不？然而，將藝術與消費文化之間區隔開來的最後一道防線又會是什麼？
一場流行的神話
而在這一波時尚與藝術互相擁抱的趨勢中，最受人矚目的，要屬香奈兒在其創意總監拉格斐爾德（Karl Lagerfeld）的帶領下，宣布與藝術圈進行的合作案—— 一個富有野心與企圖心的大計畫「Mobile Art」（流動的藝術）。它產出的結果，不像是LV與村上隆的合作，只催生出幾款具甜美感的LV提包這般單純，而是一個「展覽」！
香奈兒聘請巴黎《Beaux Arts》藝術雜誌主編暨藝評家布思托（Fabrice Bousteau）擔任策展人，其邀請20位來自不同地域的藝術家以香奈兒經典的「2.55」菱格紋手袋為發想起點，各別創作一件作品。不少參與這項計畫的藝術家皆具高度的國際知名度，例如，有以魔幻動態建築風格著稱，曾於2004年獲得建築界最高榮譽「普立茲獎」（Pritzker Architecture Prize）的哈蒂（Zaha Hadid）、作品蘊含高度觀念性與社會批判性，甫於法國卡地亞當代藝術基金會舉辦個展的韓國藝術家李部（Lee Bul）、印度當代藝術紅星古普塔（Subodh Gupta）、在去年以作品《好好照顧自己》（Prenez soin de vous）代表法國館參加「威尼斯雙年展」（La Biennale di Venezia）的藝術家卡爾（Sophie Calle）、曾獲第47屆威尼斯雙年展金獅獎的法國藝術家貝赫（Fabrice Hyber）、日本當代攝影師荒木經惟（Nobuyoshi Araki）、小野洋子（Yoko Ono）、及以運用台灣傳統花布於創作，個人特色鮮明的林明弘、與作品屢現於國際大展的楊福東等人。
事實上，這個計畫十足地令人玩味，首先它要求藝術家創作的是一件「作品」，而非一件「商品」，據悉主辦單位強調，這是一個「純粹的藝術展覽，當中不會有任何的商業行為，香奈兒也將不會在那展示該品牌的包包或衣服，展館裡將只展示藝術家的作品」（註3）；第二，雖說「賦予藝術家高度的自主性」，但唯一的條件卻又須如香奈兒時尚總監帕洛夫斯基（Bruno Pavlovsky）所言：以香奈兒菱格紋手袋為題，「各自發揮創意，以不同的形式給予手袋新的生命——可以是詩意的、不拘小節的，又或是具啟發性的，呈現這手袋的傳奇面貌。」請注意，在這兒他用了「傳奇」兩個字，藝術家的作品在此除了擴充觀者對於香奈兒手提袋的想像與詮釋外，展覽還不著痕跡地為香奈兒打造新時代的傳奇與神話，把時尚自我與藝術連結起來，帶來一種具創造力、創意無限的表徵。法國文學家巴特（Roland Barthes）曾說：「神話是一種言談，一種傳播的體系，一種訊息。」（註4）而在此展中，香奈兒的包包雖是不現於展場內，但一件件的作品卻又不斷地回溯指向它，並使其鮮活化；就如拉格斐爾德所言：「我們可以用廣告淹沒這個世界，但是，這是更為高貴的做法。」試問，還有什麼能比藉著Mobile Art建構屬於它的神話的方式更技高一籌、更為「高貴」？但策展人在這計畫中所扮演的角色又是什麼？這或許是值得深思的。
移動的展覽館
過去都是我們去博物館看藝術，這一次，我們要讓博物館向我們走來。
——拉格斐爾德
Mobile Art將從2008年2月27日起，以香港為展覽的起跑點，在兩年的時間內，此展將陸續在東京、紐約、倫敦、莫斯科與巴黎巡迴展出；事實上，巡迴展的形式在藝術世界裡並不稀奇，但若整個展覽場是一個可以拆卸、摺疊、帶著走的移動空間，便十分地別出心裁！
這回在Mobile Art展前即吸引眾人目光的，便是由哈蒂運用數位成像軟體所設計面積達29×45平方公尺，高六公尺，充滿未來感的行動藝術館，哈蒂在論及其創作藍本時曾說：「我希望透過設計，讓人置身另一個世界，令人們躍動鼓舞，並對各種意念興奮不已。我們的建築非常富直覺感……著重帶來不同的體驗，提供一種既陌生又新鮮的感覺，彷彿來到新的國度。」在此處雖然無法辨認究竟香奈兒的菱格紋包給了她什麼樣的創作啟示？或許是精密細緻感也好、是未來感也罷，但就是這藝術家自主的轉化能力，以及在藝術家與香奈兒溝通的過程中，可能經過一連串的妥協或不能妥協後產生出的成果，它是使這個展覽之所以有趣的地方。
哈蒂設計的展館，強調流動與自然的建築風格，建築物的外型像是個浮出海面的白色鸚鵡螺，整棟建築似沒有尖銳的菱角，而由流線、飽滿的弧線雕塑而成一螺旋形結構的場館，此經精密的演算，每一個組構、銜接建築的結構元件都不超過2.25公尺，在展期結束後都可以拆卸下來，運輸到下一個城市再重組、裝嵌、重新開館；而其追求自然的建築風格除了展現在建物的外型上，也呈現在素材的挑選與設計上，例如中心展場的天花板上有八片像風扇般聚合在一起的玻璃纖維片，當中位在中央的那片設有一可自行調節開閤的機關，其目的除了能為展場引進自然的光線外，也可突破展館內外疆界的分野，並且，建築的外牆採反光物料，將能映射出周邊環境的風貌。
哈蒂把這棟建物稱為「容器」（container），此得以在其中容納其他參展藝術家的作品，在設計的過程中，她並未遵循一般的展場設計把空間區隔成一個個規矩的方塊體隔間，而是以流動的幾何定律，建構成流暢並充滿動力相連的空間，當中結合了不同的對比效果，如室外與室內、光與暗，以及自然與人為的景觀。展館內不同的力量為每個空間重新詮釋，同時帶領著參觀者的流向。（註5）
電影中說話的演員
Mobile Art的法籍策展人布斯托在記者會上說：這個展覽「是為Chanel而開拍的影片，藝術協辦人（策展人）是導演，參與的藝術家是編劇，參展的作品則充當演員」，其以電影的概念來看待這場展覽，而參與的觀者則訴諸大眾，因此，為了要讓這部電影容易被閱讀與理解，他特別找來紐約「Soundwalk」團隊（註6）來與參展藝術家合作，根據展出的作品，共同構思與作品搭配的音樂、聲音、音響效果、以及導覽的內容（可選擇不同語言的作品介紹、導讀），觀展者只要在展覽入口領取一mp3，即可隨著樂音的帶領，開放自己的知覺、視覺與聽覺感官，融入這場電影之中。
此展將於2月27日於香港中環舊天星停車場開幕，而就真宛如電影工業的操作一般，香奈兒對於作品在上映前十分保密，除哈蒂的巨型展館外，其他參展藝術家將進行的計畫（也就是電影中演員們的實際演出情節）公開的甚少，但目前確知的是：日本攝影師荒木經惟延續他以拍攝女人、花朵而聞名的主題，在其中探討人生，特別是生與死的內容，將帶來《Kaori與花》（Kaori and Flowers），在花朵交疊的影像中，呈現一身上被Chanel手提包的金屬鍊綑綁下赤裸的年輕女子，與她正躍動、掙脫的景象；李部將為此展創作《Light Years》，此為一件具有象徵意義的多媒材裝置作品，據悉藝術家將於作品上鑲嵌數百片的皮袋與鏈帶碎片，而在主體的內部裝有一閃光燈，藉此「向創造了 2.55包的Chanel女士致敬」；小野洋子則帶來一件祈願的互動裝置，她將在展覽現場邀請每位蒞臨展場的觀者以米紙寫下自己的願望後，把紙卡懸掛於樹枝上。
而當中有數位藝術家的作品則對消費性的香奈兒精品手袋提出反思，例如在印度藝術家古普塔展出的《所有東西都在裡面》（All the things are inside）錄像裝置裡，他回溯手袋對印度文化的意念，現場並列放映兩部電影，一為一位印度男人收拾行囊，離開家鄉到杜拜工作的過程；另一則為其剪輯印度寶萊塢電影中關於手袋的精華片段；此作品表達藝術家對全球化時代下，印度整體在追求現代化過程中，社會型態改變的關注，例如，對外移的勞工來說，香奈兒的手袋是派不上用場，或是他們所無法負擔的，他們需要的，只是一個可以把將到外地去工作所使用的日常用品全收納進去的大塑膠布袋，而綑綁這行囊的是簡易、唾手可得的塑膠繩，兩則電影顯示出強烈的反差，像是呈現兩個不同的對比世界。而俄羅斯當代藝術雙人組合「Blue Noses」則以作品《西元50年之後／手提包的反叛》（Fifty Years After Our Common Era or Handbags’ Revolt）用歡樂可愛的塗鴉，提出對香奈兒手提包的嘲諷與脫序的有趣想像；而這些多元的反向思考豐富了展覽的可觀性，並表現了藝術的獨立自主。（註7）
註1：迪亞吉雷夫（Serge Diaghilev）生於1872年，其於1908年創立俄國芭
蕾舞團（Ballet Russes），致力於「以芭蕾為全世界再創一個屬於俄國
的傳說」，香奈兒與他為摯友，在其劇團經濟困難時曾贊助他30萬法郎
使《春之祭》順利演出。參考《可可香奈兒：時尚就是我》（Le style
c’est moi-Coco Chanel），卡塔莉娜．茲爾可夫斯基（Katharina
Zilkowski）著，張育如譯，高寶國際，2001，頁110-119。
註2：參見2008年1月號《ArtReview》，頁32-33。
註3：香奈兒發布資料。
註4：《神話學》，羅蘭．巴特（Roland Barthes）著，許薔薔、許綺玲譯，
1997，桂冠圖書，頁169。
註5：參考香奈兒發佈資料。
註6：「Soundwalk」為一成立於紐約的公司，從事製作與設計規畫錄音導
覽內容來提供觀者／聽者在徒步之中，邊走、邊看、邊聽來認識一新文
化、新事物；該公司曾廣泛的與產業界如Adidas、Sony合作，並曾為法
國羅浮宮規畫錄音導覽。參見◎www.soundwalk.com。
註7：更多資訊請見◎www.chanel-mobileart.com
2008年2月29日 星期五
Guggenheim's master of the art of global branding steps down as museum director
Ed Pilkington in New York
Friday February 29, 2008
The Guardian
Thomas Krens, the man who helped turn the Guggenheim into a globally renowned art brand and expanded its reach through audacious projects around the world, is to step down from one of the top jobs in museum direction after almost 20 years.
His stepping aside brings to an end an era in the history of the Guggenheim and could have a big impact on both its future and that of art museum direction in general. He is seen as a pioneer of the model of global branding that has been echoed by other big institutions.
But Krens has also been a figure of controversy, with his reputation for an abrasive management style and for the priorities he brought to the Guggenheim.
A graduate of the Yale school of management, he was a representative of a new breed of museum directors whose expertise lies in business organisation rather than in traditional academic scholarship.
His term in office saw the Guggenheim expand, both in terms of its endowment, which increased six times to $118m (£52m), and in its global stretch. His flagship project was the Bilbao Guggenheim, the instantly recognisable titanium-clad building designed by Frank Gehry that has proven to be a huge success, attracting 1m visitors a year.
Under Krens' leadership, a new Guggenheim museum, again designed by Gehry, is to be completed in Abu Dhabi in 2012 which will embody his global ambitions by exhibiting art from all over the world.
But the worldwide empire-building also brought Krens criticism that he was failing to nurture the jewel in the Guggenheim crown - the Frank Lloyd Wright building in New York's upper east side.
Three years ago he was involved in a bruising struggle with the largest donor to the Solomon R Guggenheim foundation, Peter Lewis, who resigned after he accused Krens of losing sight of the main focus of the organisation - its New York flagship.
Many of Krens' most ambitious overseas projects failed to get off the ground, and though the model of branding and expansion has been mirrored by institutions such as the Tate in the UK and the Louvre in Paris, they have tended to be more modest in scale or have been achieved, as in the case of the Louvre, with government support.
Krens was also the subject of the mumblings of art critics who said his choice of shows on occasions fell short in terms of scholarship.
He staged a show of Armani suits sponsored by Armani itself, while The Art of the Motorcycle was in part paid for by BMW.
Under the terms of his change in job title, Krens will remain in charge of the Abu Dhabi project, which he said was "truly spectacular" in its scope and scale. "Our objective is to make something completely new, the best museum of modern and contemporary art in the world."
But his departure allows the Guggenheim to bring the New York flagship back under the same management umbrella as the foundation's other possessions: Bilbao, the Peggy Guggenheim Collection in Venice, the Deutsche Guggenheim in Berlin and the Guggenheim Hermitage in Las Vegas. It also opens the door to applications from top museum professionals who had been known to be hesitant to work beneath the dominant figure of Krens.
"We expect interest will be high and the candidates will be top tier," the foundation's chairman, William Mack, said.
Robin Cembalest, executive editor of ARTnews, said that by vacating the post, Krens had "opened the door to curators and directors from major institutions applying for the top job. Who the board picks will give a clear sign of where they want the Guggenheim to go."
Friday February 29, 2008
The Guardian
Thomas Krens, the man who helped turn the Guggenheim into a globally renowned art brand and expanded its reach through audacious projects around the world, is to step down from one of the top jobs in museum direction after almost 20 years.
His stepping aside brings to an end an era in the history of the Guggenheim and could have a big impact on both its future and that of art museum direction in general. He is seen as a pioneer of the model of global branding that has been echoed by other big institutions.
But Krens has also been a figure of controversy, with his reputation for an abrasive management style and for the priorities he brought to the Guggenheim.
A graduate of the Yale school of management, he was a representative of a new breed of museum directors whose expertise lies in business organisation rather than in traditional academic scholarship.
His term in office saw the Guggenheim expand, both in terms of its endowment, which increased six times to $118m (£52m), and in its global stretch. His flagship project was the Bilbao Guggenheim, the instantly recognisable titanium-clad building designed by Frank Gehry that has proven to be a huge success, attracting 1m visitors a year.
Under Krens' leadership, a new Guggenheim museum, again designed by Gehry, is to be completed in Abu Dhabi in 2012 which will embody his global ambitions by exhibiting art from all over the world.
But the worldwide empire-building also brought Krens criticism that he was failing to nurture the jewel in the Guggenheim crown - the Frank Lloyd Wright building in New York's upper east side.
Three years ago he was involved in a bruising struggle with the largest donor to the Solomon R Guggenheim foundation, Peter Lewis, who resigned after he accused Krens of losing sight of the main focus of the organisation - its New York flagship.
Many of Krens' most ambitious overseas projects failed to get off the ground, and though the model of branding and expansion has been mirrored by institutions such as the Tate in the UK and the Louvre in Paris, they have tended to be more modest in scale or have been achieved, as in the case of the Louvre, with government support.
Krens was also the subject of the mumblings of art critics who said his choice of shows on occasions fell short in terms of scholarship.
He staged a show of Armani suits sponsored by Armani itself, while The Art of the Motorcycle was in part paid for by BMW.
Under the terms of his change in job title, Krens will remain in charge of the Abu Dhabi project, which he said was "truly spectacular" in its scope and scale. "Our objective is to make something completely new, the best museum of modern and contemporary art in the world."
But his departure allows the Guggenheim to bring the New York flagship back under the same management umbrella as the foundation's other possessions: Bilbao, the Peggy Guggenheim Collection in Venice, the Deutsche Guggenheim in Berlin and the Guggenheim Hermitage in Las Vegas. It also opens the door to applications from top museum professionals who had been known to be hesitant to work beneath the dominant figure of Krens.
"We expect interest will be high and the candidates will be top tier," the foundation's chairman, William Mack, said.
Robin Cembalest, executive editor of ARTnews, said that by vacating the post, Krens had "opened the door to curators and directors from major institutions applying for the top job. Who the board picks will give a clear sign of where they want the Guggenheim to go."
CHANEL Mobile Art 香奈兒工藝大展
自由時報╱自由時報 2008-02-29 06:03
時尚龍頭藝術新境
走進Chanel香港太子店對面、通往中環舊天星碼頭停車場的地下道，沿著高掛的「Mobile Art」海報指引，登上舊天星碼頭停車場天台，宛如星際太空降下的一「坨」白色大物「攤」在眼前。
記者方惠宗／香港報導
攝影／記者黃世澤
感覺就像慢慢地從車水馬龍的喧囂，走入一處令人瞠目結舌的景象。這座宛如「幽浮」的Chanel「Mobile Art」展場，設計者是04年獲建築界最高榮譽的普立茲克建築獎的薩哈．哈蒂（Zaha Hadid）。她是有史以來第一位女性、最年輕、完成最少作品的獲獎建築師。
時尚結合建築大師
又一樁
Zaha Hadid獲獎那年，台中古根漢美術館推動計畫，原本預定請她執掌設計大事，但可惜的是計畫後來胎死腹中。台灣當年無緣擁有前衛之作，Zaha Hadid現在為Chanel「Mobile Art」設計這座預製件組裝（Prefabricated）的建築物，猶如倫敦在1851年首屆世界工業博覽會所蓋的展場「水晶宮」（水晶宮是世上第一座預製件組裝建築物），讓它無論在技術上或概念上，都在建築史上留下非同小可的註腳。
「Mobile Art」展場為方便在不同城市間的大量搬運過程，由300片玻璃纖維及750組鋼樑、連串延伸式的弧度組件構成。每塊砌版最寬2.25公尺，可利於拆裝與組合。這座將在全球七個大城市（香港－東京－倫敦－紐約－洛杉磯－莫斯科－巴黎）巡迴兩年的「流動藝術品」，本週在香港開幕，也是Chanel 「Mobile Art」第一站。
展演場域
震撼感官
Chanel設計總監Karl Lagerfeld認為，當今唯一能打造如此創意建築的人，非Zaha Hadid莫屬。而Zaha Hadid也曾透露，希望能在生涯中，打造一棟「流動式」的作品。一拍即合之下，他們還延請法國知名藝術及文化月刊《Beaux Arts Magzine》的總編輯Fabrice Bouste作為此次藝術展策辦人，邀請各國共20位藝術家，以Chanel的菱格紋包包為主題，以不拘形式的創作，裝置在展覽館內。
對與該展，Chanel時尚活動執行長Bruno Pavlovsky表示，Chanel創造了時尚奢華的夢想世界，Karl Lagerfeld總都有全新方式演繹Chanel風格，為觀眾帶來感官震撼。例如他每次都會揀選奇偉堂皇或教人意想不到的表演場地作秀，巴黎大皇宮穹頂、蒙地卡羅歌劇院、紐約中央火車站，或是聖塔莫尼卡機場……都曾化身Chanel秀場。
現在，CHANEL決定以品牌的其中一項經典創作：菱格紋手袋，成為Mobile Art大型國際藝術展覽的主角。
聽覺導向的前衛表演
Mobile Art正式在Zaha Hadid充滿未來主意的展覽館內登場。策展人Fabrice Bouste說：「這是一個流動的展覽，儼如一齣立體電影。而Mobile Art的創作意念，可說是過去兩年來，藝術家們從事各種視藝實驗的成果。」
這次受邀展出的藝術家，例如台灣「花布妙手」林明弘、日本「情慾大師」荒木經維（Nobuyoshi Araki）、南韓未來主義女性藝術家Lee Bul，與 俄羅斯超現實主義派藝術家Blue Noses…，與這座建築一樣，用前衛意念傳達感官震撼。
進入Mobile Art的參觀者必須帶上MP3。耳機傳來精心編寫的音效與口白，有別於視覺導向的展覽。我認為這個展覽反而是個聽覺導向的表演。當對白引領的步伐，準確無誤數著階梯，或要我向左看、向右看…。視、聽強佔的過程，讓人忽視周圍與作品無關的一切（包括其他參觀者），只剩自己、跟耳機裡的「她」，一起在悠遊在這座幻想國度…。
時尚龍頭藝術新境
走進Chanel香港太子店對面、通往中環舊天星碼頭停車場的地下道，沿著高掛的「Mobile Art」海報指引，登上舊天星碼頭停車場天台，宛如星際太空降下的一「坨」白色大物「攤」在眼前。
記者方惠宗／香港報導
攝影／記者黃世澤
感覺就像慢慢地從車水馬龍的喧囂，走入一處令人瞠目結舌的景象。這座宛如「幽浮」的Chanel「Mobile Art」展場，設計者是04年獲建築界最高榮譽的普立茲克建築獎的薩哈．哈蒂（Zaha Hadid）。她是有史以來第一位女性、最年輕、完成最少作品的獲獎建築師。
時尚結合建築大師
又一樁
Zaha Hadid獲獎那年，台中古根漢美術館推動計畫，原本預定請她執掌設計大事，但可惜的是計畫後來胎死腹中。台灣當年無緣擁有前衛之作，Zaha Hadid現在為Chanel「Mobile Art」設計這座預製件組裝（Prefabricated）的建築物，猶如倫敦在1851年首屆世界工業博覽會所蓋的展場「水晶宮」（水晶宮是世上第一座預製件組裝建築物），讓它無論在技術上或概念上，都在建築史上留下非同小可的註腳。
「Mobile Art」展場為方便在不同城市間的大量搬運過程，由300片玻璃纖維及750組鋼樑、連串延伸式的弧度組件構成。每塊砌版最寬2.25公尺，可利於拆裝與組合。這座將在全球七個大城市（香港－東京－倫敦－紐約－洛杉磯－莫斯科－巴黎）巡迴兩年的「流動藝術品」，本週在香港開幕，也是Chanel 「Mobile Art」第一站。
展演場域
震撼感官
Chanel設計總監Karl Lagerfeld認為，當今唯一能打造如此創意建築的人，非Zaha Hadid莫屬。而Zaha Hadid也曾透露，希望能在生涯中，打造一棟「流動式」的作品。一拍即合之下，他們還延請法國知名藝術及文化月刊《Beaux Arts Magzine》的總編輯Fabrice Bouste作為此次藝術展策辦人，邀請各國共20位藝術家，以Chanel的菱格紋包包為主題，以不拘形式的創作，裝置在展覽館內。
對與該展，Chanel時尚活動執行長Bruno Pavlovsky表示，Chanel創造了時尚奢華的夢想世界，Karl Lagerfeld總都有全新方式演繹Chanel風格，為觀眾帶來感官震撼。例如他每次都會揀選奇偉堂皇或教人意想不到的表演場地作秀，巴黎大皇宮穹頂、蒙地卡羅歌劇院、紐約中央火車站，或是聖塔莫尼卡機場……都曾化身Chanel秀場。
現在，CHANEL決定以品牌的其中一項經典創作：菱格紋手袋，成為Mobile Art大型國際藝術展覽的主角。
聽覺導向的前衛表演
Mobile Art正式在Zaha Hadid充滿未來主意的展覽館內登場。策展人Fabrice Bouste說：「這是一個流動的展覽，儼如一齣立體電影。而Mobile Art的創作意念，可說是過去兩年來，藝術家們從事各種視藝實驗的成果。」
這次受邀展出的藝術家，例如台灣「花布妙手」林明弘、日本「情慾大師」荒木經維（Nobuyoshi Araki）、南韓未來主義女性藝術家Lee Bul，與 俄羅斯超現實主義派藝術家Blue Noses…，與這座建築一樣，用前衛意念傳達感官震撼。
進入Mobile Art的參觀者必須帶上MP3。耳機傳來精心編寫的音效與口白，有別於視覺導向的展覽。我認為這個展覽反而是個聽覺導向的表演。當對白引領的步伐，準確無誤數著階梯，或要我向左看、向右看…。視、聽強佔的過程，讓人忽視周圍與作品無關的一切（包括其他參觀者），只剩自己、跟耳機裡的「她」，一起在悠遊在這座幻想國度…。
2008年2月17日 星期日
伊東豐雄開講 談大都會歌劇院設計理念
【中央社╱台中市十六日電】
2008.02.17 02:48 am
以「壺中居」為主題、「美聲涵洞」為發想概念，設計建造台中大都會歌劇院的日籍建築師伊東豐雄，16日晚在東海大學與三千名熱愛建築美學人士分享設計歷程；透過影片介紹及伊東豐雄解說，讓現場觀眾一窺「美聲涵洞」奧秘。
台中市長胡志強、副市長蕭家旗、彰化縣長卓伯源，及台中市建築開發商業同業公會理事長賴源釗、學學文創志董事長徐莉玲等建築、藝文界人士共襄盛舉，分享伊東豐雄對現代建築美學獨特見解與心得。
胡志強表示，他心中一直有個遺憾，就是古根漢美術館未能在中市落腳，還好中市不久將擁有台中大都會歌劇院。
他覺得，能跟伊東大師合作相當開心，伊東豐雄也將全部心力放在大都會歌劇院，要讓劇院順利興建啟用。
台中大都會歌劇院於九十四年完成國際競圖，伊東豐雄的設計圖獲選首獎；伊東豐雄以「美聲涵洞」為設計主軸，充滿現代前衛感的劇院模型，令人驚豔。
對於自己設計的大都會歌劇院，伊東豐雄認為，台中大都會歌劇院與其說是建築，不如說是柔軟、謎樣的生物活動狀態。
「美聲涵洞」的展現不僅只呈現於室內，同時與戶外環境做整體連繫，用以表示聽取都市的聲音，容納市民生活，使建築物與藝術、音樂、表演、都市及生活相融合，成為劇場藝術表現。
被伊東豐雄暱稱為「壺中居」的台中大都會歌劇院，建物的流暢性，使室外也能聽到室內傳來悠揚樂聲，這座充滿穿透感的建築物，除將帶給市民活力的空間，也是座可以容納多樣性文化活動的最佳藝文場所。
2008.02.17 02:48 am
以「壺中居」為主題、「美聲涵洞」為發想概念，設計建造台中大都會歌劇院的日籍建築師伊東豐雄，16日晚在東海大學與三千名熱愛建築美學人士分享設計歷程；透過影片介紹及伊東豐雄解說，讓現場觀眾一窺「美聲涵洞」奧秘。
台中市長胡志強、副市長蕭家旗、彰化縣長卓伯源，及台中市建築開發商業同業公會理事長賴源釗、學學文創志董事長徐莉玲等建築、藝文界人士共襄盛舉，分享伊東豐雄對現代建築美學獨特見解與心得。
胡志強表示，他心中一直有個遺憾，就是古根漢美術館未能在中市落腳，還好中市不久將擁有台中大都會歌劇院。
他覺得，能跟伊東大師合作相當開心，伊東豐雄也將全部心力放在大都會歌劇院，要讓劇院順利興建啟用。
台中大都會歌劇院於九十四年完成國際競圖，伊東豐雄的設計圖獲選首獎；伊東豐雄以「美聲涵洞」為設計主軸，充滿現代前衛感的劇院模型，令人驚豔。
對於自己設計的大都會歌劇院，伊東豐雄認為，台中大都會歌劇院與其說是建築，不如說是柔軟、謎樣的生物活動狀態。
「美聲涵洞」的展現不僅只呈現於室內，同時與戶外環境做整體連繫，用以表示聽取都市的聲音，容納市民生活，使建築物與藝術、音樂、表演、都市及生活相融合，成為劇場藝術表現。
被伊東豐雄暱稱為「壺中居」的台中大都會歌劇院，建物的流暢性，使室外也能聽到室內傳來悠揚樂聲，這座充滿穿透感的建築物，除將帶給市民活力的空間，也是座可以容納多樣性文化活動的最佳藝文場所。
A cathedral for the god of motors
It's a meeting of architecture and automobile on the grandest scale, in which customers can pick up their new car and worship at the shrine of Germany's most powerful brand. Welcome to the phenomenon that is BMW World
Stephen Bayley
Sunday February 17, 2008
The Observer
'Die Welt ist alles', according to Wittgenstein. In saying the world is everything, the philosopher affirmed the significance of life in the face of the nullity of death. 'Is a little bit crazy, no, like a hurricane?' is what they say of BMW Welt. Here in BMW's World is its own affirmation of life. They used to say BMW stood for 'Baader Meinhof Wagen', the favoured wheels of last year's model terrorists. Now BMW represents the apogee of consumer desire.
The swaggering, vitreous, filigreed, technophiliac grandiosity of this megastructure - near Munich's spectacular 1972 Olympic Stadium, not far from Dachau, 20 minutes from the airport - is astonishing. Especially in a week when General Motors reported a $37 billion loss and the Mayor of London continued his vengeful assault on the private car with a muddled, technologically illiterate and socially divisive tax. BMW Welt has just celebrated 100 days of activity. It presents, as an architectural phantasmagoria, an entire world organised and designed to BMW's meticulous engineering standards. Scary or magnificent, depending on your perspective. At five minutes to midnight for the automobile, what does it mean?
To call BMW Welt a showroom is to betray a conceptual poverty and further to betray the poverty of language that is its handmaiden. But, in all essentials, that is what it is. German car manufacturers have a tradition of allowing customers, usually from abroad, to take delivery of their precious new vehicle at the factory. In other countries, this might be a desultory experience, but not so in Bavaria. A certain formality and pomp attends the handover ceremony because this is Germany and they take things in general, and cars in particular, very seriously.
This is what happens. A broker from New York, for example, will order his new BMW and jet to Germany to pick it up. But this is not a banal transaction. At BMW Welt he is confirmed in his good taste as a consumer by not only an architectural spectacle of the very highest quality, but also by technology exhibitions, shops, bars and restaurants. At the most exclusive of the latter he can lunch at altitude, a lead-crystal glass of high-specification Van Volxem Riesling to hand, while gazing through thrilling space at shiny new motors respectfully arranged for veneration as if religious artefacts. With BMW thoroughness, not to say mania, there is BMW-baked bread on the table and four varieties of salt on offer (with scrupulous descriptive notes: I especially enjoyed the Australian Murray River Pink Salt Flakes, rich in algae).
After lunch, and a period of smug self-congratulation, our New York broker enjoys the rehearsed ritual of the hand-over, gets into his Monaco Blue BMW 530i and vrooms off on a 14-day tour of Europe, with an itinerary (Grossglockner, Lake Garda) helpfully provided by BMW as part of its commitment to providing him with a memorable experience, from soup to lock-nuts. On his return, the car is put in a container and reverentially shipped across the Atlantic where it will be unpacked by a Jersey longshoreman probably unfamiliar with the coruscating values and unhesitating perfectionism of BMW's World.
Necessarily, a great deal of infrastructural sophistication is required to support the flawless dreamworld. So what we see above ground level is only about 40 per cent of the whole because, while there is heaven, there is an underworld too. To facilitate the handover ceremony, cars arrive the day before. As they have full tanks of petrol, regulations require that they are stored in an oxygen-reduced environment to obviate flammable risk. Underground, 285 brand new BMWs, like souls waiting to be released from Purgatory, are silently shuffled around on robotised pallets in an environment pressurised to the equivalent of 4,000m above sea level.
BMW Welt is the result of an architectural competition won in 2001 by the Austrian firm, Coop Himmelb(l)au. This name is revealing since it plays on notions of collaboration, blue-sky thinking and divine aspiration. It is one of those firms which emerged in the Eighties, put the Satan of frivolous postmodernism behind it, and reinvented modernism, making it more conceptually liberal, less tight-arsed and altogether more inventive in terms of spatial and formal invention. You could say much the same of Zaha Hadid, a runner-up in this competition. Significantly, at just the moment Coop Himmelb(l)au (which is an incongruous functional nightmare to type) was going techno-organic bonkers with this amazing building, so Chris Bangle, the American designer, was redrafting the signature look of BMW's cars, replacing visual decorum and rationality with complex curves and strange, agitated surfaces. Never forget, these are the people who gave us the word 'Zeitgeist'.
The building technology is appropriately grand. BMW Welt is supported by 775 concrete piles, each of them penetrating the earth's surface to a depth of 17 metres. The structure above ground is a geometrically boggling double cone, a design which would have been impossible to manage before computers with sophisticated three-dimensional modelling became available. There is 14,500 square metres of glass and the roof - a 'cloud hovering in space' according to Coop Himmelb(l)au's Wolf Prix - is covered with photovoltaic cells. As an architectural visitor, the experience is very nearly sublime. The enormous captive volume - exciting rather than daunting - is punctuated by aerial ramps. Prix, continuing his engagement with metaphors of height and air, said 'I want to fly', and this is what the visitor feels, transiting through this BMW-branded world, led by continuously shifting vistas. Subtle angles ease the process, and all the time, a sense of controlling intelligence coupled with superb detailing, worthy of a 7-series' cutlines, make a concept that was perhaps a little bit crazy entirely acceptable to the sober-suited board of the mighty BMW AG.
Impressive as it is architecturally, BMW Welt is even more interesting for its symbolic meaning and its significance as evidence of the status of the brand in modern thought. BMW has always been a company keenly aware of its image. It has also had associations with art that go back to its origins as a machine shop run by Karl Rapp in the days when Wassily Kandinsky was Munich's leading artistic figure, busy with the philosphical basis of abstract painting. Originally a manufacturer of aero-engines, in 1923 Rapp Motorenwerke's Max Friz produced the BMW R32 motorbike: a design of Bauhaus purity. In 1938, BMW created a department of Künstlerische Gestaltung (artistic development), the first of its type in Europe.
As a result of absolute consistency in technology, design and advertising (a commitment aided by being a family-owned business with no need to pander to short-termist investors) BMW built not just an industrial empire, but the most titanium-hard set of brand values on the planet. Its 'Neue Klasse' saloon of 1961 defined the achievements of the Wirtschaftswunder and became a symbol of the New Germany. Nine years later, BMW began work on its new HQ in Oberwiesenfeld in Milbertshofen, site of its first factory. This has become known as the Four Cylinder Building since its tectonic inspiration was a car engine. Designer of the Four Cylinder Building was Karl Schwanzer, teacher of Coop Himmelb(l)au's Wolf Prix.
Nowadays, big companies are aware of architecture's role in building their brand. A building is like an advertisement, only it lasts longer. Equally, the big international architectural practices are, themselves, becoming brands. So there is something interestingly symbiotic in BMW Welt: a joint-venture by BMW and Coop Himmelb(l)au in the creation of valuable image capital. It is said that the corporate ego of BMW met its match in the architectural ego of Professor Prix. Additionally, this emphatically industrial monument is a ravishingly conceived, spectacularly hard-edged and crisply detailed reminder that, so far as corporate architecture is concerned, the information age has produced little of interest. Google's HQ looks like a double-glazing depot. Cars may be facing extinction, but they are more gorgeous than intangible gigabytes.
So there is something triumphant and perhaps a little elegiac about BMW Welt. Maybe even Weltschmerz, that untranslatable German word for 'the sadness of things'. With their national economic commitment to the car, the Germans are perhaps a little behind the rest of us in revisionist transport policies. BMW is not alone. The Welt is just the latest in a series of vanity projects throughout Germany. Volkswagen has built Autostadt in Wolfsburg and its Glass Factory in Dresden, where car assembly is turned into a sort of industrial opera. BMW had Zaha Hadid build a factory in Leipzig. Audi has turned the centre of Ingolstadt into a celebration of itself. Both Porsche and Mercedes-Benz are building ambitious new museums. Next stage in BMW's own programme of dramatic self-mythologising is reconstructing its own museum, just opposite the Welt. It will be fully five times bigger than its predecessor.
Would we really like the rest of the world to be as well-designed as BMW Welt? There is something in the English love of amateurism that rejects its daunting perfectionism, something in English understatement uncomfortable with its bossy bravura. But then, again, you look at a superb magnesium casting on display and only a very dull person would not be moved to tears by its beauty. It was a Frenchman who said 'cars are our cathedrals', but it is BMW that has built the most exquisite shrine to the automobile.
The best of BMW: Four landmark designs
A revolution on two wheels
The BMW R32 of 1923 established the 'architecture' of BMW motorbikes for the next 70 years. Designed by Max Friz, in between aero engine projects, it was a beautifully conceived engineering diagram, a graphic of dynamic forces. A cross-section of the R32's famous twin cylinder 'boxer' engine resembles contemporary abstract pictures produced at the Bauhaus.
If it's good enough for 007...
The BMW Z3 driven by James Bond in GoldenEye looked both forward and back. It was one of the first BMWs to be designed by Chris Bangle who, over the past few years, has overseen a complete transformation in design policy. He has moved away from austere Bauhaus principles, although his inspiration was the Nazi-era BMW 328. One version of the car was copied by Jaguar to create the famous XK120.
In the 'Knick' of time
The 'Neue Klasse' saloon appeared at the Paris Salon de l'Automobile in 1961. It was BMW's first wholly modern car, a confident expression of what had been achieved in the Wirtschaftswunder. There is a purity to the details, a hierarchy in the effects that is pure Bauhaus. Designer Wilhelm Hofmeister was the author of the signature features seen here: the prominent beltline, airy glass house and the 'Hofmeisterknick', the reverse bend on the rear pillar.
We are the Welt
The X6 is BMW's latest car. It retains established BMW styling cues, as well as familiar BMW competence, but recognises new market conditions. It occupies an indefinable category between 4x4, sports coupe and saloon. In terms of vehicle architecture, it exploits the technical limits of shape-making as surely as BMW Welt itself. If the old BMW was the rectinlinear Bauhaus, the new BMW is the morphologically complex Welt.
Stephen Bayley
Sunday February 17, 2008
The Observer
'Die Welt ist alles', according to Wittgenstein. In saying the world is everything, the philosopher affirmed the significance of life in the face of the nullity of death. 'Is a little bit crazy, no, like a hurricane?' is what they say of BMW Welt. Here in BMW's World is its own affirmation of life. They used to say BMW stood for 'Baader Meinhof Wagen', the favoured wheels of last year's model terrorists. Now BMW represents the apogee of consumer desire.
The swaggering, vitreous, filigreed, technophiliac grandiosity of this megastructure - near Munich's spectacular 1972 Olympic Stadium, not far from Dachau, 20 minutes from the airport - is astonishing. Especially in a week when General Motors reported a $37 billion loss and the Mayor of London continued his vengeful assault on the private car with a muddled, technologically illiterate and socially divisive tax. BMW Welt has just celebrated 100 days of activity. It presents, as an architectural phantasmagoria, an entire world organised and designed to BMW's meticulous engineering standards. Scary or magnificent, depending on your perspective. At five minutes to midnight for the automobile, what does it mean?
To call BMW Welt a showroom is to betray a conceptual poverty and further to betray the poverty of language that is its handmaiden. But, in all essentials, that is what it is. German car manufacturers have a tradition of allowing customers, usually from abroad, to take delivery of their precious new vehicle at the factory. In other countries, this might be a desultory experience, but not so in Bavaria. A certain formality and pomp attends the handover ceremony because this is Germany and they take things in general, and cars in particular, very seriously.
This is what happens. A broker from New York, for example, will order his new BMW and jet to Germany to pick it up. But this is not a banal transaction. At BMW Welt he is confirmed in his good taste as a consumer by not only an architectural spectacle of the very highest quality, but also by technology exhibitions, shops, bars and restaurants. At the most exclusive of the latter he can lunch at altitude, a lead-crystal glass of high-specification Van Volxem Riesling to hand, while gazing through thrilling space at shiny new motors respectfully arranged for veneration as if religious artefacts. With BMW thoroughness, not to say mania, there is BMW-baked bread on the table and four varieties of salt on offer (with scrupulous descriptive notes: I especially enjoyed the Australian Murray River Pink Salt Flakes, rich in algae).
After lunch, and a period of smug self-congratulation, our New York broker enjoys the rehearsed ritual of the hand-over, gets into his Monaco Blue BMW 530i and vrooms off on a 14-day tour of Europe, with an itinerary (Grossglockner, Lake Garda) helpfully provided by BMW as part of its commitment to providing him with a memorable experience, from soup to lock-nuts. On his return, the car is put in a container and reverentially shipped across the Atlantic where it will be unpacked by a Jersey longshoreman probably unfamiliar with the coruscating values and unhesitating perfectionism of BMW's World.
Necessarily, a great deal of infrastructural sophistication is required to support the flawless dreamworld. So what we see above ground level is only about 40 per cent of the whole because, while there is heaven, there is an underworld too. To facilitate the handover ceremony, cars arrive the day before. As they have full tanks of petrol, regulations require that they are stored in an oxygen-reduced environment to obviate flammable risk. Underground, 285 brand new BMWs, like souls waiting to be released from Purgatory, are silently shuffled around on robotised pallets in an environment pressurised to the equivalent of 4,000m above sea level.
BMW Welt is the result of an architectural competition won in 2001 by the Austrian firm, Coop Himmelb(l)au. This name is revealing since it plays on notions of collaboration, blue-sky thinking and divine aspiration. It is one of those firms which emerged in the Eighties, put the Satan of frivolous postmodernism behind it, and reinvented modernism, making it more conceptually liberal, less tight-arsed and altogether more inventive in terms of spatial and formal invention. You could say much the same of Zaha Hadid, a runner-up in this competition. Significantly, at just the moment Coop Himmelb(l)au (which is an incongruous functional nightmare to type) was going techno-organic bonkers with this amazing building, so Chris Bangle, the American designer, was redrafting the signature look of BMW's cars, replacing visual decorum and rationality with complex curves and strange, agitated surfaces. Never forget, these are the people who gave us the word 'Zeitgeist'.
The building technology is appropriately grand. BMW Welt is supported by 775 concrete piles, each of them penetrating the earth's surface to a depth of 17 metres. The structure above ground is a geometrically boggling double cone, a design which would have been impossible to manage before computers with sophisticated three-dimensional modelling became available. There is 14,500 square metres of glass and the roof - a 'cloud hovering in space' according to Coop Himmelb(l)au's Wolf Prix - is covered with photovoltaic cells. As an architectural visitor, the experience is very nearly sublime. The enormous captive volume - exciting rather than daunting - is punctuated by aerial ramps. Prix, continuing his engagement with metaphors of height and air, said 'I want to fly', and this is what the visitor feels, transiting through this BMW-branded world, led by continuously shifting vistas. Subtle angles ease the process, and all the time, a sense of controlling intelligence coupled with superb detailing, worthy of a 7-series' cutlines, make a concept that was perhaps a little bit crazy entirely acceptable to the sober-suited board of the mighty BMW AG.
Impressive as it is architecturally, BMW Welt is even more interesting for its symbolic meaning and its significance as evidence of the status of the brand in modern thought. BMW has always been a company keenly aware of its image. It has also had associations with art that go back to its origins as a machine shop run by Karl Rapp in the days when Wassily Kandinsky was Munich's leading artistic figure, busy with the philosphical basis of abstract painting. Originally a manufacturer of aero-engines, in 1923 Rapp Motorenwerke's Max Friz produced the BMW R32 motorbike: a design of Bauhaus purity. In 1938, BMW created a department of Künstlerische Gestaltung (artistic development), the first of its type in Europe.
As a result of absolute consistency in technology, design and advertising (a commitment aided by being a family-owned business with no need to pander to short-termist investors) BMW built not just an industrial empire, but the most titanium-hard set of brand values on the planet. Its 'Neue Klasse' saloon of 1961 defined the achievements of the Wirtschaftswunder and became a symbol of the New Germany. Nine years later, BMW began work on its new HQ in Oberwiesenfeld in Milbertshofen, site of its first factory. This has become known as the Four Cylinder Building since its tectonic inspiration was a car engine. Designer of the Four Cylinder Building was Karl Schwanzer, teacher of Coop Himmelb(l)au's Wolf Prix.
Nowadays, big companies are aware of architecture's role in building their brand. A building is like an advertisement, only it lasts longer. Equally, the big international architectural practices are, themselves, becoming brands. So there is something interestingly symbiotic in BMW Welt: a joint-venture by BMW and Coop Himmelb(l)au in the creation of valuable image capital. It is said that the corporate ego of BMW met its match in the architectural ego of Professor Prix. Additionally, this emphatically industrial monument is a ravishingly conceived, spectacularly hard-edged and crisply detailed reminder that, so far as corporate architecture is concerned, the information age has produced little of interest. Google's HQ looks like a double-glazing depot. Cars may be facing extinction, but they are more gorgeous than intangible gigabytes.
So there is something triumphant and perhaps a little elegiac about BMW Welt. Maybe even Weltschmerz, that untranslatable German word for 'the sadness of things'. With their national economic commitment to the car, the Germans are perhaps a little behind the rest of us in revisionist transport policies. BMW is not alone. The Welt is just the latest in a series of vanity projects throughout Germany. Volkswagen has built Autostadt in Wolfsburg and its Glass Factory in Dresden, where car assembly is turned into a sort of industrial opera. BMW had Zaha Hadid build a factory in Leipzig. Audi has turned the centre of Ingolstadt into a celebration of itself. Both Porsche and Mercedes-Benz are building ambitious new museums. Next stage in BMW's own programme of dramatic self-mythologising is reconstructing its own museum, just opposite the Welt. It will be fully five times bigger than its predecessor.
Would we really like the rest of the world to be as well-designed as BMW Welt? There is something in the English love of amateurism that rejects its daunting perfectionism, something in English understatement uncomfortable with its bossy bravura. But then, again, you look at a superb magnesium casting on display and only a very dull person would not be moved to tears by its beauty. It was a Frenchman who said 'cars are our cathedrals', but it is BMW that has built the most exquisite shrine to the automobile.
The best of BMW: Four landmark designs
A revolution on two wheels
The BMW R32 of 1923 established the 'architecture' of BMW motorbikes for the next 70 years. Designed by Max Friz, in between aero engine projects, it was a beautifully conceived engineering diagram, a graphic of dynamic forces. A cross-section of the R32's famous twin cylinder 'boxer' engine resembles contemporary abstract pictures produced at the Bauhaus.
If it's good enough for 007...
The BMW Z3 driven by James Bond in GoldenEye looked both forward and back. It was one of the first BMWs to be designed by Chris Bangle who, over the past few years, has overseen a complete transformation in design policy. He has moved away from austere Bauhaus principles, although his inspiration was the Nazi-era BMW 328. One version of the car was copied by Jaguar to create the famous XK120.
In the 'Knick' of time
The 'Neue Klasse' saloon appeared at the Paris Salon de l'Automobile in 1961. It was BMW's first wholly modern car, a confident expression of what had been achieved in the Wirtschaftswunder. There is a purity to the details, a hierarchy in the effects that is pure Bauhaus. Designer Wilhelm Hofmeister was the author of the signature features seen here: the prominent beltline, airy glass house and the 'Hofmeisterknick', the reverse bend on the rear pillar.
We are the Welt
The X6 is BMW's latest car. It retains established BMW styling cues, as well as familiar BMW competence, but recognises new market conditions. It occupies an indefinable category between 4x4, sports coupe and saloon. In terms of vehicle architecture, it exploits the technical limits of shape-making as surely as BMW Welt itself. If the old BMW was the rectinlinear Bauhaus, the new BMW is the morphologically complex Welt.
2008年1月27日 星期日
薩哈哈蒂 奪家飾展大會獎
【聯合報╱記者陶福媛／台北報導】
2008.01.27 03:52 am
每年，巴黎家飾展都會把大會獎頒給一位當代最具代表性的設計師，今年「巴黎家飾展大會獎」頒給了薩哈哈蒂 (Zaha Hadid)，另有兩項大獎「生活設計獎」、「最佳室內設計師獎」則分別頒給了派翠西亞奧克拉 (Patricia URQUIOLA)和凱莉霍普 (Kelly Hoppen)，女性設計師終於能在設計界揚眉吐氣了。
當代建築和室內設計多半是男性設計師的天下，女性設計師很難出頭。不過本屆巴黎家飾展把多項大獎頒給女性設計師，無疑提升了當代女性設計師的地位。
薩哈哈蒂作品風格前衛、充滿未來感，曾榮獲建築界最高榮譽的「Pritzker建築獎」，作品包括紐約古根漢美術館和倫敦設計博物館等。近期她為香奈兒設計的大型建築物──行動美術館 (Mobile Art)，即將在香港展出，免費開放參觀。
年輕又美麗的派翠西亞奧克拉也是建築師，她曾為Alessi、B&B 、Flos、Kartell等知名家飾品牌設計作品，並有多項作品榮獲紐約當代美術館收藏。凱莉霍普也是世界大獎的常勝軍，其中最知名的作品是為英國航空設計機艙內裝。
2008.01.27 03:52 am
每年，巴黎家飾展都會把大會獎頒給一位當代最具代表性的設計師，今年「巴黎家飾展大會獎」頒給了薩哈哈蒂 (Zaha Hadid)，另有兩項大獎「生活設計獎」、「最佳室內設計師獎」則分別頒給了派翠西亞奧克拉 (Patricia URQUIOLA)和凱莉霍普 (Kelly Hoppen)，女性設計師終於能在設計界揚眉吐氣了。
當代建築和室內設計多半是男性設計師的天下，女性設計師很難出頭。不過本屆巴黎家飾展把多項大獎頒給女性設計師，無疑提升了當代女性設計師的地位。
薩哈哈蒂作品風格前衛、充滿未來感，曾榮獲建築界最高榮譽的「Pritzker建築獎」，作品包括紐約古根漢美術館和倫敦設計博物館等。近期她為香奈兒設計的大型建築物──行動美術館 (Mobile Art)，即將在香港展出，免費開放參觀。
年輕又美麗的派翠西亞奧克拉也是建築師，她曾為Alessi、B&B 、Flos、Kartell等知名家飾品牌設計作品，並有多項作品榮獲紐約當代美術館收藏。凱莉霍普也是世界大獎的常勝軍，其中最知名的作品是為英國航空設計機艙內裝。
2008年1月11日 星期五
Great trawl of China
By Peter Aspden
Published: January 11 2008 17:52 | Last updated: January 11 2008 17:52
The nascent economic giant that is China is nudging its way ever more insistently into western consciousness but does it have a distinctive voice? No one would argue against the spectacular growth projections and the sheer weight of numbers that testify to China’s growing importance in the world. That is a closed argument by now.
But we seem to want something more. It is a truism that economic prosperity is accompanied by cultural prowess. We are conditioned to think that the world’s new economic powerhouse should also be its artistic trailblazer – think of Renaissance Florence, or New York at the beginning of the last century.
Western art, fraying a little round the edges, flirting ever more dangerously with decadence, is glancing eastwards with a heady combination of excitement and anxiety. What will be our new cultural landmarks? And what, if anything, can they teach us about ourselves?
British observers are about to get a crash course in the subject with the launch next month of “China Now”. More than 800 events, encompassing art, design, cuisine, science, technology and sport, constitute Britain’s largest ever festival of Chinese culture.
The festival is a business initiative, chaired by Stephen Green, group chairman of HSBC, the bank that was founded by a group of traders in China in the mid-19th century. It is little surprise that he sees a direct link between the burgeoning spirit of entrepreneurship in the country these days, and the flourishing of a new creative spirit.
We talk in his office at HSBC’s headquarters in London, where he is freshly returned from breakfast with the Chinese ambassador. She has reaffirmed her belief to him, he says, that “China Now” will be an event of “profound importance” in transforming British attitudes towards China.
Green says he hopes the British public will be surprised by what they see. “Of course people admire things like the calligraphy or the terracotta warriors. But what they may not appreciate is the effervescence and liveliness of what is happening in China today.”
Much of that effervescence is associated with new Chinese wealth. The contemporary art market, as elsewhere in the world, is booming, with the scene’s most famous names beginning to attract serious money: the record £2.9m paid for Yue Minjun’s “Execution” in Sotheby’s London last October was instantly trumped by the £4.6m raised by Cai Guo-Qiang’s series of gunpowder paintings the following month at Christie’s Hong Kong.
Beijing’s 798 district, a giant Bauhaus former munitions factory turned into a collective of small art galleries, already has the feel of a shopping mall rather than a radical cultural experiment, with its own hip sense of self-conscious wit: one of the restaurants in the complex is adorned with large black and white pictures of east German communist dignitaries visiting the site in its former incarnation, a gentle ironic reminder of times past. But the predictable symbiosis between a new affluent class and young, fashionable artists is one thing – to wonder whether there is anything fresh, distinctive or radical in what Chinese culture has to offer is quite another.
One of the centrepieces of London’s Chinese festival is ‘China Design Now’, an exhibition at the Victoria and Albert museum opening in March that examines the cutting edge of a range of activities, from fashion and lifestyle to grand architectural projects. It will be as good an indicator as any of the extent and worth of Chinese cultural innovation.
Design, like its close cousin contemporary art, is a globalised phenomenon in which distinct national traditions increasingly struggle to be noticed. Can China buck the trend?
The show will be split into three locations and their associated themes: the “dream city” of Shanghai; the “future city” of Beijing and the “frontier city” of Shenzhen. It will bring together the work of young designers, some of them not yet born when the slow cultural and political thaw of the 1980s began to take effect.
One of them is China’s architectural superstar Ma Yansong, the first Chinese architect to win an important foreign commission, with his twisted “Absolute Towers” project for Mississauga in Canada. Speaking in his Beijing studio on the day after his 32nd birthday, he is the epitome of Chinese cool, laconic and understated in his assessment of the city’s cultural scene.
He says there are two distinctively Chinese features to his architectural designs: an emphasis on nature, and an instability of form. Both come to the fore in his playful reinterpretation of Mies van der Rohe’s famous Farnsworth House, the undulating forms of which make it look like it is melting.
A project for the Venice Biennale saw him cover Tiananmen Square with a landscaped forest. “We know that people like trees,” he says simply. “The intention was to make something more free, more public.” There is only the merest hint of the acute symbolism with which such a notorious venue inevitably resounds. He says he has a slogan – “Be political or be polite” – and gives every impression that he is performing a highly skilled balancing act between the two.
He is relatively impolite about Beijing’s most prestigious current project, Rem Koolhaas and Ole Scheeren’s large and ostentatious headquarters for CCTV, China’s national broadcaster. “It gives another feeling to the city. It is like when you have a nice family dinner, and a stranger suddenly comes in.”
In spite of his tender years, Ma does not lack confidence. He trained with Zaha Hadid and says the most important thing she taught him was the way in which “she focused on her personal interests. She doesn’t care.”
If Beijing, with its inevitable emphasis on grand Olympic-scaled projects, is a relative newcomer to the western concept of modern cultural regeneration, Shanghai, with its worldly cosmopolitan background, is more organic in its cultural infrastructure. My search for a distinctively Chinese approach to design took me here to the studios of fashion designer Lu Kun, an up-and-coming figure, just 26 years old, who will also be featured in the V&A show.
The focus of his work is the city in which he works, rather than his country. The Shanghainese woman, he says, is not like any other Chinese woman, having absorbed British and French influences, and having learnt the delicate arts of assertion over their menfolk. “They don’t subdue themselves. They are quite bitchy,” he says with relish.
He shows me a dress that he deconstructs for me: it is a traditional Chinese qipao, which has been made transparent to show off the corset (a European influence) inside it. The fabric is rough, he says (“women need to be rough”) and the length is adjustable, from short and practical to long and diva-like. “It is a dress with several layers of meaning. It is for the multi-dimensional woman.”
I ask him if the wife of a communist party official would wear a dress like that. “If she did, the police would be round the next morning,” he jokes quick as a flash.
Among the several designers I met in both Beijing and Shanghai, the issue of government liberalisation is scarcely referred to, although widely taken for granted. Ma Yansong says he has a good relationship with the authorities – “If they trust you, they believe anything can happen”.
Truth is, such is the powerful nexus between new money and the fleets of young, talented designers busy working for the emergent urban middle classes, that there is no need for any kind of government intervention. The idea that art might act as some kind of subversive or shadowy force in what is still, after all, a country with dubious democratic credentials, does not seem to arise. A new economy means new lifestyles, and new lifestyles demand new products, and new innovators. It is win-win.
It may be the cleverest feat yet of China’s leaders, to allow economic and cultural liberalisation to flourish hand-in-hand while keeping a brake on the more challenging issue of political reform.
That flies in the face of the widely held western belief, that art can and should be an important instrument of social change. It is no accident that one of the most widely recognised Chinese artists is Wang Guangyi, whose prop art posters ironically mix cultural revolution iconography with western brand names such as Chanel, Rolex and Coca-Cola. Wang is a one-trick pony – but it is a trick that reveals a deeper truth about the evolution of Chinese culture.
In the meantime, perhaps we should have more modest ambitions for “China Now” than to expect a definitive state-of-the-art announcement on a country that is multifarious and complex. I ask Peter Wong, HSBC’s executive director for Hong Kong and China, what message he thinks the festival could impart, and his reply is simple.
“What I hope people will understand is that China is changing, and changing for the better,” he says.
“And that China has a very welcoming attitude to culture. And that it is a basically polite and friendly society that treats people with respect and good manners.”
‘China Now’ runs from February to July. ‘China Design Now’, sponsored by HSBC, opens at the Victoria and Albert Museum on March 15
Copyright The Financial Times Limited 2008
Published: January 11 2008 17:52 | Last updated: January 11 2008 17:52
The nascent economic giant that is China is nudging its way ever more insistently into western consciousness but does it have a distinctive voice? No one would argue against the spectacular growth projections and the sheer weight of numbers that testify to China’s growing importance in the world. That is a closed argument by now.
But we seem to want something more. It is a truism that economic prosperity is accompanied by cultural prowess. We are conditioned to think that the world’s new economic powerhouse should also be its artistic trailblazer – think of Renaissance Florence, or New York at the beginning of the last century.
Western art, fraying a little round the edges, flirting ever more dangerously with decadence, is glancing eastwards with a heady combination of excitement and anxiety. What will be our new cultural landmarks? And what, if anything, can they teach us about ourselves?
British observers are about to get a crash course in the subject with the launch next month of “China Now”. More than 800 events, encompassing art, design, cuisine, science, technology and sport, constitute Britain’s largest ever festival of Chinese culture.
The festival is a business initiative, chaired by Stephen Green, group chairman of HSBC, the bank that was founded by a group of traders in China in the mid-19th century. It is little surprise that he sees a direct link between the burgeoning spirit of entrepreneurship in the country these days, and the flourishing of a new creative spirit.
We talk in his office at HSBC’s headquarters in London, where he is freshly returned from breakfast with the Chinese ambassador. She has reaffirmed her belief to him, he says, that “China Now” will be an event of “profound importance” in transforming British attitudes towards China.
Green says he hopes the British public will be surprised by what they see. “Of course people admire things like the calligraphy or the terracotta warriors. But what they may not appreciate is the effervescence and liveliness of what is happening in China today.”
Much of that effervescence is associated with new Chinese wealth. The contemporary art market, as elsewhere in the world, is booming, with the scene’s most famous names beginning to attract serious money: the record £2.9m paid for Yue Minjun’s “Execution” in Sotheby’s London last October was instantly trumped by the £4.6m raised by Cai Guo-Qiang’s series of gunpowder paintings the following month at Christie’s Hong Kong.
Beijing’s 798 district, a giant Bauhaus former munitions factory turned into a collective of small art galleries, already has the feel of a shopping mall rather than a radical cultural experiment, with its own hip sense of self-conscious wit: one of the restaurants in the complex is adorned with large black and white pictures of east German communist dignitaries visiting the site in its former incarnation, a gentle ironic reminder of times past. But the predictable symbiosis between a new affluent class and young, fashionable artists is one thing – to wonder whether there is anything fresh, distinctive or radical in what Chinese culture has to offer is quite another.
One of the centrepieces of London’s Chinese festival is ‘China Design Now’, an exhibition at the Victoria and Albert museum opening in March that examines the cutting edge of a range of activities, from fashion and lifestyle to grand architectural projects. It will be as good an indicator as any of the extent and worth of Chinese cultural innovation.
Design, like its close cousin contemporary art, is a globalised phenomenon in which distinct national traditions increasingly struggle to be noticed. Can China buck the trend?
The show will be split into three locations and their associated themes: the “dream city” of Shanghai; the “future city” of Beijing and the “frontier city” of Shenzhen. It will bring together the work of young designers, some of them not yet born when the slow cultural and political thaw of the 1980s began to take effect.
One of them is China’s architectural superstar Ma Yansong, the first Chinese architect to win an important foreign commission, with his twisted “Absolute Towers” project for Mississauga in Canada. Speaking in his Beijing studio on the day after his 32nd birthday, he is the epitome of Chinese cool, laconic and understated in his assessment of the city’s cultural scene.
He says there are two distinctively Chinese features to his architectural designs: an emphasis on nature, and an instability of form. Both come to the fore in his playful reinterpretation of Mies van der Rohe’s famous Farnsworth House, the undulating forms of which make it look like it is melting.
A project for the Venice Biennale saw him cover Tiananmen Square with a landscaped forest. “We know that people like trees,” he says simply. “The intention was to make something more free, more public.” There is only the merest hint of the acute symbolism with which such a notorious venue inevitably resounds. He says he has a slogan – “Be political or be polite” – and gives every impression that he is performing a highly skilled balancing act between the two.
He is relatively impolite about Beijing’s most prestigious current project, Rem Koolhaas and Ole Scheeren’s large and ostentatious headquarters for CCTV, China’s national broadcaster. “It gives another feeling to the city. It is like when you have a nice family dinner, and a stranger suddenly comes in.”
In spite of his tender years, Ma does not lack confidence. He trained with Zaha Hadid and says the most important thing she taught him was the way in which “she focused on her personal interests. She doesn’t care.”
If Beijing, with its inevitable emphasis on grand Olympic-scaled projects, is a relative newcomer to the western concept of modern cultural regeneration, Shanghai, with its worldly cosmopolitan background, is more organic in its cultural infrastructure. My search for a distinctively Chinese approach to design took me here to the studios of fashion designer Lu Kun, an up-and-coming figure, just 26 years old, who will also be featured in the V&A show.
The focus of his work is the city in which he works, rather than his country. The Shanghainese woman, he says, is not like any other Chinese woman, having absorbed British and French influences, and having learnt the delicate arts of assertion over their menfolk. “They don’t subdue themselves. They are quite bitchy,” he says with relish.
He shows me a dress that he deconstructs for me: it is a traditional Chinese qipao, which has been made transparent to show off the corset (a European influence) inside it. The fabric is rough, he says (“women need to be rough”) and the length is adjustable, from short and practical to long and diva-like. “It is a dress with several layers of meaning. It is for the multi-dimensional woman.”
I ask him if the wife of a communist party official would wear a dress like that. “If she did, the police would be round the next morning,” he jokes quick as a flash.
Among the several designers I met in both Beijing and Shanghai, the issue of government liberalisation is scarcely referred to, although widely taken for granted. Ma Yansong says he has a good relationship with the authorities – “If they trust you, they believe anything can happen”.
Truth is, such is the powerful nexus between new money and the fleets of young, talented designers busy working for the emergent urban middle classes, that there is no need for any kind of government intervention. The idea that art might act as some kind of subversive or shadowy force in what is still, after all, a country with dubious democratic credentials, does not seem to arise. A new economy means new lifestyles, and new lifestyles demand new products, and new innovators. It is win-win.
It may be the cleverest feat yet of China’s leaders, to allow economic and cultural liberalisation to flourish hand-in-hand while keeping a brake on the more challenging issue of political reform.
That flies in the face of the widely held western belief, that art can and should be an important instrument of social change. It is no accident that one of the most widely recognised Chinese artists is Wang Guangyi, whose prop art posters ironically mix cultural revolution iconography with western brand names such as Chanel, Rolex and Coca-Cola. Wang is a one-trick pony – but it is a trick that reveals a deeper truth about the evolution of Chinese culture.
In the meantime, perhaps we should have more modest ambitions for “China Now” than to expect a definitive state-of-the-art announcement on a country that is multifarious and complex. I ask Peter Wong, HSBC’s executive director for Hong Kong and China, what message he thinks the festival could impart, and his reply is simple.
“What I hope people will understand is that China is changing, and changing for the better,” he says.
“And that China has a very welcoming attitude to culture. And that it is a basically polite and friendly society that treats people with respect and good manners.”
‘China Now’ runs from February to July. ‘China Design Now’, sponsored by HSBC, opens at the Victoria and Albert Museum on March 15
Copyright The Financial Times Limited 2008
2008年1月10日 星期四
安藤打造 亞大藝術館像積木
聯合 更新日期:2008/01/10 07:30 記者周美惠／台北報導
日本建築師安藤忠雄設計、一棟擁有不規則三角形、如積木般錯落堆積而成的藝術館，可
望於兩年後在台中縣霧峰的亞洲大學揭幕。
這是安藤繼為交大設計美術館後，再度為台灣的大學設計建築。經由亞洲大學創辦人蔡長
海邀請、亞洲大學副校長劉育東居中牽線，安藤將為該校設計藝術館，並由國家文藝獎得
主、姚仁喜擔任在地執行建築師，總工程造價約二點一億台幣，預計二○一○年一月底完
工。
劉育東說，安藤平均每三天接獲一個國際建築案邀約，但其中只有百分之三獲安藤青睞、
設計建造。
安藤說，亞洲大學藝術館的基地擁有很大的廣場，他決定採舉世少見的三角形設計，他認
為三角形較正方形更有發揮空間，但他坦承這樣「工程執行單位會很辛苦」。
亞大藝術館分三層樓、共一○三○坪，依安藤的設計，將正三角形的平面分割成三層，再
錯落堆疊成不規則的無數個三角形。藉由平面分割而成的立體戶外平台，將變身為露天咖
啡座、雕刻台、展望台等。顛覆一般直立式的柱子，館內的柱子全是「歪」的，由Ｖ形鋼
架構造而成的空間及玻璃窗也都呈現三角形。Ｖ形鋼架支撐突出的懸臂下部空間，則形成
如騎樓般可庇蔭的空間，此處並是入口通道及面臨廣場前的休憩園地。
螺旋狀重疊的三角形迴廊，或隱密或開放，讓人、藝術與大自然在此相遇、對話。
將與安藤合作打造藝術館的姚仁喜昨天笑說，這回他的角色如同「副導演」。他說此一建
築最大的挑戰就是「它很簡單」，而看似簡單的建築其實最困難。
日本建築師安藤忠雄設計、一棟擁有不規則三角形、如積木般錯落堆積而成的藝術館，可
望於兩年後在台中縣霧峰的亞洲大學揭幕。
這是安藤繼為交大設計美術館後，再度為台灣的大學設計建築。經由亞洲大學創辦人蔡長
海邀請、亞洲大學副校長劉育東居中牽線，安藤將為該校設計藝術館，並由國家文藝獎得
主、姚仁喜擔任在地執行建築師，總工程造價約二點一億台幣，預計二○一○年一月底完
工。
劉育東說，安藤平均每三天接獲一個國際建築案邀約，但其中只有百分之三獲安藤青睞、
設計建造。
安藤說，亞洲大學藝術館的基地擁有很大的廣場，他決定採舉世少見的三角形設計，他認
為三角形較正方形更有發揮空間，但他坦承這樣「工程執行單位會很辛苦」。
亞大藝術館分三層樓、共一○三○坪，依安藤的設計，將正三角形的平面分割成三層，再
錯落堆疊成不規則的無數個三角形。藉由平面分割而成的立體戶外平台，將變身為露天咖
啡座、雕刻台、展望台等。顛覆一般直立式的柱子，館內的柱子全是「歪」的，由Ｖ形鋼
架構造而成的空間及玻璃窗也都呈現三角形。Ｖ形鋼架支撐突出的懸臂下部空間，則形成
如騎樓般可庇蔭的空間，此處並是入口通道及面臨廣場前的休憩園地。
螺旋狀重疊的三角形迴廊，或隱密或開放，讓人、藝術與大自然在此相遇、對話。
將與安藤合作打造藝術館的姚仁喜昨天笑說，這回他的角色如同「副導演」。他說此一建
築最大的挑戰就是「它很簡單」，而看似簡單的建築其實最困難。
2007年12月17日 星期一
年輸出創意產值130億美元 新日不落 英國如何輸出創意
【作者／王念綺】
英國秉著語言和占時區之便的優勢，向全球輸出創意產值130億美元，居全球之冠。
在橫掃歐洲市場後，目標轉向亞洲，鎖定中、印兩大市場，期盼真正再造創意日不落國神話。
「好，把老闆的辦公桌改到後面，保住財位，」英國建築師班哲明．華納（Benjamin Warner），身高將近兩公尺，他對著風水師點頭，願意遵循東方習俗，改變高雄市慶富集團的大樓設計。
他還依照風水師建議，改了大樓裡的廁所、電梯位置。
華納的來頭不小。他和獲得2007年建築業界最高榮譽普利茲克獎（Pritzker Prize）的英國建築師理查．羅傑斯（Richard Rogers）合作20年，在東京開設cdi建築公司。
羅傑斯原本不贊成華納到高雄接案子，直到華納說服他來台勘查，以及品嚐芒果冰後，才改變想法。
經常往返台灣、東京的華納，憑著精湛的技術，參與高雄捷運出口站的設計，即使還沒有通車，流線造型的車站，已經矗立高雄街頭，令民眾忍不住多看兩眼。談吐風趣的他，在台灣也廣結善緣，還成為義守集團董事長林義守的座上賓，替他設計學校圖書館。
像華納這樣從事創意產業，向海外擴展的創意人，在英國算是相當普遍。
曾經接下台中古根漢博物館規劃案、也是普利茲克獎得主的英國建築師查哈．哈蒂，在世界各地就有多項作品；貌似影星妮可基嫚的建築師阿曼達．樂維特，率領著30人團隊，從歐洲到亞洲、從地鐵站到百貨公司，都有她的設計。
大舉輸出：57％往國外發展
根據聯合國教科文組織統計，2002年，英國創意產業出口值居全球之冠，為85億美元（約2780億台幣）。
英國貿易投資總署最新統計，2004年英國創意產業輸出更達130億美元（約4250億台幣），占全國出口值的4.3％。
以英國擅長的設計業為例，海外收益在2005到2006年驟增到8億3100萬英鎊（約553億台幣），較前年增加19％。有57％的業者向國外發展，其中，高達七成在歐洲建立市場，北美地區則居次（見頁134表3）。
21世紀的英國人靠著腦力和創意，再次居全球領導地位，從家庭生活到公共場所，世界各地都能看到英國人的作品。
回溯17世紀，英國曾經以船隻槍砲，向外擴張勢力，在美洲、亞洲、非洲占領殖民地，創造「日不落帝國」的神話。
如今，創意產業征服全球市場，英國「日不落帝國」的神話會不會再起？
「創意產業是我們的利器，外國人看到這一點，才找我們參與，」一頭金髮的英國貿易總署資深顧問羅思嘉（Christine Losecaat）笑著說，創意產業讓英國成為「旭日東升的國度」。
先天優勢：語言和時區之便
英國能成為創意產業的輸出強國，不是沒有道理，先天的英語優勢就讓他們占盡便宜。
羅思嘉認為，英語是國際商用語言，和歐洲、美洲地區做生意，溝通沒有障礙。
而英語能成為世界語言，和過去的帝國歷史有很大關聯。在大英帝國全盛期，他們還以倫敦為世界中心，訂定標準時區，這讓今天的英國人做起國際生意來，又占了一項便宜。
「倫敦24小時都能跟國外做生意！」羅思嘉解釋，倫敦的早上是亞洲、澳洲的下午，可以觀察日經、恒生指數，到了下午，華爾街股市開盤，美洲公司開始營業，世界沒有一個地方，像倫敦這麼方便。
從事產品設計的Alloy設計公司業務總監傑夫．麥可米說，他的西雅圖客戶無法全天候和東京的供應商聯絡，可是，倫敦就能，挾著這項地理優勢，有助英國輸出創意產業。
【本文摘自遠見雜誌12月號】
英國秉著語言和占時區之便的優勢，向全球輸出創意產值130億美元，居全球之冠。
在橫掃歐洲市場後，目標轉向亞洲，鎖定中、印兩大市場，期盼真正再造創意日不落國神話。
「好，把老闆的辦公桌改到後面，保住財位，」英國建築師班哲明．華納（Benjamin Warner），身高將近兩公尺，他對著風水師點頭，願意遵循東方習俗，改變高雄市慶富集團的大樓設計。
他還依照風水師建議，改了大樓裡的廁所、電梯位置。
華納的來頭不小。他和獲得2007年建築業界最高榮譽普利茲克獎（Pritzker Prize）的英國建築師理查．羅傑斯（Richard Rogers）合作20年，在東京開設cdi建築公司。
羅傑斯原本不贊成華納到高雄接案子，直到華納說服他來台勘查，以及品嚐芒果冰後，才改變想法。
經常往返台灣、東京的華納，憑著精湛的技術，參與高雄捷運出口站的設計，即使還沒有通車，流線造型的車站，已經矗立高雄街頭，令民眾忍不住多看兩眼。談吐風趣的他，在台灣也廣結善緣，還成為義守集團董事長林義守的座上賓，替他設計學校圖書館。
像華納這樣從事創意產業，向海外擴展的創意人，在英國算是相當普遍。
曾經接下台中古根漢博物館規劃案、也是普利茲克獎得主的英國建築師查哈．哈蒂，在世界各地就有多項作品；貌似影星妮可基嫚的建築師阿曼達．樂維特，率領著30人團隊，從歐洲到亞洲、從地鐵站到百貨公司，都有她的設計。
大舉輸出：57％往國外發展
根據聯合國教科文組織統計，2002年，英國創意產業出口值居全球之冠，為85億美元（約2780億台幣）。
英國貿易投資總署最新統計，2004年英國創意產業輸出更達130億美元（約4250億台幣），占全國出口值的4.3％。
以英國擅長的設計業為例，海外收益在2005到2006年驟增到8億3100萬英鎊（約553億台幣），較前年增加19％。有57％的業者向國外發展，其中，高達七成在歐洲建立市場，北美地區則居次（見頁134表3）。
21世紀的英國人靠著腦力和創意，再次居全球領導地位，從家庭生活到公共場所，世界各地都能看到英國人的作品。
回溯17世紀，英國曾經以船隻槍砲，向外擴張勢力，在美洲、亞洲、非洲占領殖民地，創造「日不落帝國」的神話。
如今，創意產業征服全球市場，英國「日不落帝國」的神話會不會再起？
「創意產業是我們的利器，外國人看到這一點，才找我們參與，」一頭金髮的英國貿易總署資深顧問羅思嘉（Christine Losecaat）笑著說，創意產業讓英國成為「旭日東升的國度」。
先天優勢：語言和時區之便
英國能成為創意產業的輸出強國，不是沒有道理，先天的英語優勢就讓他們占盡便宜。
羅思嘉認為，英語是國際商用語言，和歐洲、美洲地區做生意，溝通沒有障礙。
而英語能成為世界語言，和過去的帝國歷史有很大關聯。在大英帝國全盛期，他們還以倫敦為世界中心，訂定標準時區，這讓今天的英國人做起國際生意來，又占了一項便宜。
「倫敦24小時都能跟國外做生意！」羅思嘉解釋，倫敦的早上是亞洲、澳洲的下午，可以觀察日經、恒生指數，到了下午，華爾街股市開盤，美洲公司開始營業，世界沒有一個地方，像倫敦這麼方便。
從事產品設計的Alloy設計公司業務總監傑夫．麥可米說，他的西雅圖客戶無法全天候和東京的供應商聯絡，可是，倫敦就能，挾著這項地理優勢，有助英國輸出創意產業。
【本文摘自遠見雜誌12月號】
2007年6月21日 星期四
安藤忠雄：要有挑戰 才會感動不斷 吸引一萬兩千聽眾的傳奇建築師
一個木匠之子為了圓建築夢，每天少吃一餐，存錢買書；數十年如一日的鬥志，讓他成為
榮獲國際四大建築獎第一人。他為什麼在台灣與國際都擁有高人氣？他有什麼執著？
文／鄭呈皇 口述／李清志 整理／鄭呈皇
「安藤、安藤、安藤！」六月九日晚上六點，台北小巨蛋人聲鼎沸，擠進一萬兩千人。在
電影洛基（Rocky）的背景音樂下，出現的不是當紅偶像藝人，更不是選舉造勢的政治人
物，而是全球知名的日本建築大師——安藤忠雄。
今年六十六歲的安藤忠雄，是建築界傳奇人物。二十歲立志當建築師，經由自學而無師自
通，為此還做過拳擊手和卡車司機。「他的人生，跟電影一樣精彩。」交通大學建築研究
所教授劉育東說。
多數人只看到安藤的成功，卻不知道他成功的背後，是四十六年如一日的「戰鬥」和屢敗
屢戰的毅力。
「建築就是戰鬥。」「只要我活著一天，我就像十八歲剛開始的時候一樣，每天認真的工
作。」安藤忠雄自認不同於其他認真的建築師：「我是不間斷的努力，跟自己戰鬥！」
每天都與第一天相同、不打折的奮鬥，使沒錢、沒背景的他，在講究正統流派的國際建築
界中，依舊出類拔萃，衝出一片天。
對抗家世：買書自學 為出國看建築，當拳擊手而最初的戰鬥，是跟自己家世對戰。
安藤出生於大阪市，小時候跟著當木工的父親到處做工，耳濡目染下使他立志成為建築師
。因為家中經濟因素，他高職畢業就無法繼續升學，必須到傢俱店做學徒。
然而，建築大夢始終盤繞。一有時間，他就搭公車到東京、大阪看房子，整天去傢俱行打
零工，卻仍無法得到建築的正統知識。有一天，他心情沮喪得跑去大阪海邊看海，回來正
好遇到祖母，祖母看他一臉愁容，拉著他的手說：「不要輕易放棄自己的理想，只要努力
就會成功。」這句話，他在演講會上說了兩次「永遠記在心中」。
因此只要有空，他就會跑到附近的書局去看書直到晚上。怕尚未看完的建築書被買走，他
會偷偷將書放在其他書底下，不讓別人輕易發現，下次來就能繼續看。
他還規定自己每天少吃一餐，存錢買書，「我對書可是從來沒有吝嗇花錢！」安藤為了學
「正統」建築知識，趕上東京大學建築系的四年課程，買了許多建築書，「每天早上八點
起床唸書，不眠不休到凌晨三點才休息。」劉育東說，就這樣念了一年，追上別人四年課
程。
「我一定要對自己非常嚴格，才能保有戰鬥力。」安藤說。
但他又發現，每天畫圖、看書，還是無法更上層樓，除非和西方建築師一樣透過旅行去觀
察其他文化的建築，才能進步、開眼界。
不過，他沒錢可出國。一次，當拳擊手的弟弟告訴他，只要拳擊打得好就能出國比賽，安
藤當下就決定跟隨弟弟去打拳擊，而且立志要打成冠軍，如此一來有錢，二來又能名正言
順藉機出國。
一九六一年，安藤開始拳擊生涯。
為了出國看建築，他反而必須將建築的書全收起來，房間除了拳擊手套外，空無一物。一
起床就做兩百個伏地挺身與重量訓練，完畢再到住家附近跑步，開始一天的訓練，絲毫不
分心。
一年後，他不過二十歲出頭，已成為職業拳擊手並出國比賽，往往，他一比完脫下拳擊手
套，立刻換上衣服，拿起筆到附近的景點去欣賞建築，隔天再繼續比賽。
一九六九年，他終於如願在家裡開建築事務所，但一切陽春。「十坪大，一個人，而且沒
有空調。」他在書上形容。
從拳擊手變成事務所建築師，安藤進入第二場戰鬥，與工法技藝作戰。
安藤沒名氣又非正統，當時他拿著建議的設計圖到處找生意，都被「你又不是大學畢業的
建築師」為由拒絕。
但他卻不放棄：「我開始一人的奮鬥。」他不斷假設自己要蓋不同房子，這時如何設計？
然後畫出設計圖，做出模型後，再自己評價，並開始參加競圖比賽。然而競圖失敗率達一
○○％，全石沉大海。
開張一年多後，門可羅雀，京都一位朋友才請他幫忙蓋一間三個人住的小房子。
對抗主流：鑽研基本功 完美清水混凝土，闖出名號 安藤思索，在預算不高的狀況下，
如何蓋出好房子？這時最省錢、基本的「清水混凝土」（無表面裝飾的混凝土）躍進腦中
。
當時清水混凝土在日本已經相當普遍，實踐大學建築設計系副教授李清志說，一般建築師
都認為這只是最基本的「入門」技藝，如何以混凝土做好外牆，再點綴磚瓦、油漆或其他
輔助材質，才是建築師顯示「品味」的重點。
但安藤卻執意鑽研這項技能，原因是他在歐洲旅行時看到瑞士建築大師科比意（Le
Corbusier）的廊香教堂，就是清水混凝土，因此他決定要走和主流不同的路，往「基本
功」鑽研。
實際上，清水混凝土並不好做。劉育東舉例，因為清水混凝土只要有一點點瑕疵，外觀就
非常明顯。接縫沒接好、水與石頭的比例不對、灌漿的力道沒掌握，都會使模板出現變形
，外面甚至會有裂縫。而即便這些做好，多數人也沒辦法做到一拆開模板，牆壁沒有一丁
點氣泡空隙、不粗糙。「這難度更高，但安藤忠雄就能夠做到如此境界。」
而做到超越極致的努力，可是花了安藤超過二十年的光陰研究。曾在安藤忠雄事務所工作
的十月設計事務所負責人陳瑞憲說：「他是那種願意以一生來煮出一道完美的湯的專注工
作態度。」回憶那時在安藤事務所裡工作時，剛開始幾個月，安藤都會要他一早來先花幾
個小時徒手畫直線，安藤重視基本功的程度可見一斑。
安藤會獨自去日本找最好的建築石頭，而且不斷研究水與石頭的比例。再者，他還會考慮
氣候不同下，要用不同比例去調配。對細節的重視，甚至連一根攪拌的竹竿都要研究。李
清志說安藤捨棄一般常用的金屬攪拌器，採用竹竿，原因是金屬攪拌水泥會產生離子，但
竹竿不會。
在事務所開張七年後，安藤終於以清水混凝土的「住吉的長屋」初試啼聲，獲得日本建築
學會獎。但得獎還是無法獲得日本建築界認同，甚至遭排擠，認為他「血統不純正」。
這時，他不理會外界雜音，一方面繼續競圖，退件率卻還是達九五％。但他不氣餒，反而
針對每次退件作品，重新思考究竟哪裡能更好，再花時間重做一個，「我們事務所的人都
會說：『受不了，安藤又要競圖了！』」安藤打趣的表示。
他永不放棄，從他花二十年勸說大阪市政府改善環境，可看出他的堅持。
三十歲出頭時，還沒名氣，但他覺得大阪市缺少綠樹，因此擬了一個綠化大阪的計畫給市
政府，卻遲遲未獲回應，他不死心，每年都呈上新計畫。十年過去，市政府總以「無法令
依據」拒絕他。
安藤還不死心，認為既然綠化不行，那在建築物頂端蓋博物館、美術館總可以吧？因此又
擬計畫給市政府，十年過去，五十歲的安藤已在建築界闖出名氣，但依舊被市政府拒絕。
「最後他們受不了就跟我講，以後都不要再去市政府。」安藤笑著說。
憑著屢敗屢戰的精神，安藤終於在一九九五年獲得國際肯定，拿到建築界的諾貝爾獎「普
立茲克獎」（Pritzker）。這年他五十四歲。
對抗名利：保有單純衝勁 成名後做更慢，更要求突破
大受歡迎後，隨之而來的名與利並未讓安藤沖昏了頭。至今，他還是與第一天開事務所一
樣，保有單純的衝勁。
許多人攀上頂峰後就找不到挑戰而開始下坡，但安藤卻始終保有戰鬥意志。這時的他必須
與成功的自己作戰。這是他能至今不墜的關鍵。
縱使聲名大譟，安藤至今依舊不用電腦、沒有助理、沒有電子郵件、沒電視，更不穿名牌
。李清志說，建築師成名後，多會到處接案子、快速致富；但安藤卻相反，反而做更慢、
更要求突破。
這兩年，除了混凝土外，他開始嘗試不同建築素材，例如金屬鋼板與玻璃素材。對此，他
的好友、京都工藝纖維大學教授古山正雄就說：「安藤這個人認為，人要有挑戰才會感動
不斷。」六十六歲，開始跨入新的建築風格，安藤像個鬥士，不滿足現有成功。
「每個人的一生，都要有一段渾然忘我的時間……這樣才能全力衝刺完成任何事情，所以
六十歲的我，還是認為自己可以全力以赴。」安藤說。
二十歲，可以精力充沛，擁有華麗夢想；但四十歲、五十歲還能保有夢想與體力者，寥寥
可數。安藤忠雄六十六歲，爬上世界的頂峰，但他依舊充滿戰鬥意志。他說：「我，身心
頑強！」
李清志看安藤》影響力不止於建築界
安藤忠雄來台掀起超人氣，《商業週刊》邀請本刊「發現酷建築」專欄作家李清志，解讀
緣由，以下為其觀點：
台灣的建築可以說是亂七八糟，在這樣的情況下，一看到安藤的清水混凝土，那種簡單又
安靜的空間，一看就能讓心靈沉澱下來，與台灣的建築有很大的反差，這是他受歡迎最主
要因素。
但安藤忠雄的超人氣，在於他不只是一個建築師。
他近幾年積極參與環境保護，甚至成立基金會鼓勵人們種樹。這樣對環境保護的觀點，超
乎了建築師本身。而這些理念透過他的書籍大量在台灣上市，也引起共鳴。
他對於環境保護、文化、政策，都能夠侃侃而談，所以他的影響力不止於建築界，更包含
社會大眾。而他具有傳奇性的非科班背景、經過不斷努力而成功的故事，更使一般年輕人
有傚法的對象。
聽他的演講就知道，他不像一般建築師一味講解建築理論，而是去省視建築與人的關係，
加上他幽默的個性，都可以讓他更加親民、更有群眾魅力。
榮獲國際四大建築獎第一人。他為什麼在台灣與國際都擁有高人氣？他有什麼執著？
文／鄭呈皇 口述／李清志 整理／鄭呈皇
「安藤、安藤、安藤！」六月九日晚上六點，台北小巨蛋人聲鼎沸，擠進一萬兩千人。在
電影洛基（Rocky）的背景音樂下，出現的不是當紅偶像藝人，更不是選舉造勢的政治人
物，而是全球知名的日本建築大師——安藤忠雄。
今年六十六歲的安藤忠雄，是建築界傳奇人物。二十歲立志當建築師，經由自學而無師自
通，為此還做過拳擊手和卡車司機。「他的人生，跟電影一樣精彩。」交通大學建築研究
所教授劉育東說。
多數人只看到安藤的成功，卻不知道他成功的背後，是四十六年如一日的「戰鬥」和屢敗
屢戰的毅力。
「建築就是戰鬥。」「只要我活著一天，我就像十八歲剛開始的時候一樣，每天認真的工
作。」安藤忠雄自認不同於其他認真的建築師：「我是不間斷的努力，跟自己戰鬥！」
每天都與第一天相同、不打折的奮鬥，使沒錢、沒背景的他，在講究正統流派的國際建築
界中，依舊出類拔萃，衝出一片天。
對抗家世：買書自學 為出國看建築，當拳擊手而最初的戰鬥，是跟自己家世對戰。
安藤出生於大阪市，小時候跟著當木工的父親到處做工，耳濡目染下使他立志成為建築師
。因為家中經濟因素，他高職畢業就無法繼續升學，必須到傢俱店做學徒。
然而，建築大夢始終盤繞。一有時間，他就搭公車到東京、大阪看房子，整天去傢俱行打
零工，卻仍無法得到建築的正統知識。有一天，他心情沮喪得跑去大阪海邊看海，回來正
好遇到祖母，祖母看他一臉愁容，拉著他的手說：「不要輕易放棄自己的理想，只要努力
就會成功。」這句話，他在演講會上說了兩次「永遠記在心中」。
因此只要有空，他就會跑到附近的書局去看書直到晚上。怕尚未看完的建築書被買走，他
會偷偷將書放在其他書底下，不讓別人輕易發現，下次來就能繼續看。
他還規定自己每天少吃一餐，存錢買書，「我對書可是從來沒有吝嗇花錢！」安藤為了學
「正統」建築知識，趕上東京大學建築系的四年課程，買了許多建築書，「每天早上八點
起床唸書，不眠不休到凌晨三點才休息。」劉育東說，就這樣念了一年，追上別人四年課
程。
「我一定要對自己非常嚴格，才能保有戰鬥力。」安藤說。
但他又發現，每天畫圖、看書，還是無法更上層樓，除非和西方建築師一樣透過旅行去觀
察其他文化的建築，才能進步、開眼界。
不過，他沒錢可出國。一次，當拳擊手的弟弟告訴他，只要拳擊打得好就能出國比賽，安
藤當下就決定跟隨弟弟去打拳擊，而且立志要打成冠軍，如此一來有錢，二來又能名正言
順藉機出國。
一九六一年，安藤開始拳擊生涯。
為了出國看建築，他反而必須將建築的書全收起來，房間除了拳擊手套外，空無一物。一
起床就做兩百個伏地挺身與重量訓練，完畢再到住家附近跑步，開始一天的訓練，絲毫不
分心。
一年後，他不過二十歲出頭，已成為職業拳擊手並出國比賽，往往，他一比完脫下拳擊手
套，立刻換上衣服，拿起筆到附近的景點去欣賞建築，隔天再繼續比賽。
一九六九年，他終於如願在家裡開建築事務所，但一切陽春。「十坪大，一個人，而且沒
有空調。」他在書上形容。
從拳擊手變成事務所建築師，安藤進入第二場戰鬥，與工法技藝作戰。
安藤沒名氣又非正統，當時他拿著建議的設計圖到處找生意，都被「你又不是大學畢業的
建築師」為由拒絕。
但他卻不放棄：「我開始一人的奮鬥。」他不斷假設自己要蓋不同房子，這時如何設計？
然後畫出設計圖，做出模型後，再自己評價，並開始參加競圖比賽。然而競圖失敗率達一
○○％，全石沉大海。
開張一年多後，門可羅雀，京都一位朋友才請他幫忙蓋一間三個人住的小房子。
對抗主流：鑽研基本功 完美清水混凝土，闖出名號 安藤思索，在預算不高的狀況下，
如何蓋出好房子？這時最省錢、基本的「清水混凝土」（無表面裝飾的混凝土）躍進腦中
。
當時清水混凝土在日本已經相當普遍，實踐大學建築設計系副教授李清志說，一般建築師
都認為這只是最基本的「入門」技藝，如何以混凝土做好外牆，再點綴磚瓦、油漆或其他
輔助材質，才是建築師顯示「品味」的重點。
但安藤卻執意鑽研這項技能，原因是他在歐洲旅行時看到瑞士建築大師科比意（Le
Corbusier）的廊香教堂，就是清水混凝土，因此他決定要走和主流不同的路，往「基本
功」鑽研。
實際上，清水混凝土並不好做。劉育東舉例，因為清水混凝土只要有一點點瑕疵，外觀就
非常明顯。接縫沒接好、水與石頭的比例不對、灌漿的力道沒掌握，都會使模板出現變形
，外面甚至會有裂縫。而即便這些做好，多數人也沒辦法做到一拆開模板，牆壁沒有一丁
點氣泡空隙、不粗糙。「這難度更高，但安藤忠雄就能夠做到如此境界。」
而做到超越極致的努力，可是花了安藤超過二十年的光陰研究。曾在安藤忠雄事務所工作
的十月設計事務所負責人陳瑞憲說：「他是那種願意以一生來煮出一道完美的湯的專注工
作態度。」回憶那時在安藤事務所裡工作時，剛開始幾個月，安藤都會要他一早來先花幾
個小時徒手畫直線，安藤重視基本功的程度可見一斑。
安藤會獨自去日本找最好的建築石頭，而且不斷研究水與石頭的比例。再者，他還會考慮
氣候不同下，要用不同比例去調配。對細節的重視，甚至連一根攪拌的竹竿都要研究。李
清志說安藤捨棄一般常用的金屬攪拌器，採用竹竿，原因是金屬攪拌水泥會產生離子，但
竹竿不會。
在事務所開張七年後，安藤終於以清水混凝土的「住吉的長屋」初試啼聲，獲得日本建築
學會獎。但得獎還是無法獲得日本建築界認同，甚至遭排擠，認為他「血統不純正」。
這時，他不理會外界雜音，一方面繼續競圖，退件率卻還是達九五％。但他不氣餒，反而
針對每次退件作品，重新思考究竟哪裡能更好，再花時間重做一個，「我們事務所的人都
會說：『受不了，安藤又要競圖了！』」安藤打趣的表示。
他永不放棄，從他花二十年勸說大阪市政府改善環境，可看出他的堅持。
三十歲出頭時，還沒名氣，但他覺得大阪市缺少綠樹，因此擬了一個綠化大阪的計畫給市
政府，卻遲遲未獲回應，他不死心，每年都呈上新計畫。十年過去，市政府總以「無法令
依據」拒絕他。
安藤還不死心，認為既然綠化不行，那在建築物頂端蓋博物館、美術館總可以吧？因此又
擬計畫給市政府，十年過去，五十歲的安藤已在建築界闖出名氣，但依舊被市政府拒絕。
「最後他們受不了就跟我講，以後都不要再去市政府。」安藤笑著說。
憑著屢敗屢戰的精神，安藤終於在一九九五年獲得國際肯定，拿到建築界的諾貝爾獎「普
立茲克獎」（Pritzker）。這年他五十四歲。
對抗名利：保有單純衝勁 成名後做更慢，更要求突破
大受歡迎後，隨之而來的名與利並未讓安藤沖昏了頭。至今，他還是與第一天開事務所一
樣，保有單純的衝勁。
許多人攀上頂峰後就找不到挑戰而開始下坡，但安藤卻始終保有戰鬥意志。這時的他必須
與成功的自己作戰。這是他能至今不墜的關鍵。
縱使聲名大譟，安藤至今依舊不用電腦、沒有助理、沒有電子郵件、沒電視，更不穿名牌
。李清志說，建築師成名後，多會到處接案子、快速致富；但安藤卻相反，反而做更慢、
更要求突破。
這兩年，除了混凝土外，他開始嘗試不同建築素材，例如金屬鋼板與玻璃素材。對此，他
的好友、京都工藝纖維大學教授古山正雄就說：「安藤這個人認為，人要有挑戰才會感動
不斷。」六十六歲，開始跨入新的建築風格，安藤像個鬥士，不滿足現有成功。
「每個人的一生，都要有一段渾然忘我的時間……這樣才能全力衝刺完成任何事情，所以
六十歲的我，還是認為自己可以全力以赴。」安藤說。
二十歲，可以精力充沛，擁有華麗夢想；但四十歲、五十歲還能保有夢想與體力者，寥寥
可數。安藤忠雄六十六歲，爬上世界的頂峰，但他依舊充滿戰鬥意志。他說：「我，身心
頑強！」
李清志看安藤》影響力不止於建築界
安藤忠雄來台掀起超人氣，《商業週刊》邀請本刊「發現酷建築」專欄作家李清志，解讀
緣由，以下為其觀點：
台灣的建築可以說是亂七八糟，在這樣的情況下，一看到安藤的清水混凝土，那種簡單又
安靜的空間，一看就能讓心靈沉澱下來，與台灣的建築有很大的反差，這是他受歡迎最主
要因素。
但安藤忠雄的超人氣，在於他不只是一個建築師。
他近幾年積極參與環境保護，甚至成立基金會鼓勵人們種樹。這樣對環境保護的觀點，超
乎了建築師本身。而這些理念透過他的書籍大量在台灣上市，也引起共鳴。
他對於環境保護、文化、政策，都能夠侃侃而談，所以他的影響力不止於建築界，更包含
社會大眾。而他具有傳奇性的非科班背景、經過不斷努力而成功的故事，更使一般年輕人
有傚法的對象。
聽他的演講就知道，他不像一般建築師一味講解建築理論，而是去省視建築與人的關係，
加上他幽默的個性，都可以讓他更加親民、更有群眾魅力。
2007年3月15日 星期四
樣品屋 變身美術館
地產界最近興起與藝術結合的風潮，在建築師與藝術家的打造下，不少樣品屋變身美術館、藝文中心，或充滿想像力的創意建築。
師大隱 帶動藝術節慶
當代藝術進駐樣品屋，2000年的「師大隱」建案算是先例。當時甲桂林廣告公司董事長張裕能，以「師大隱」樣品屋為基地，舉辦「永康街藝術節」，邀請林秀偉、羅曼菲、溫慶珠等人，舉辦一系列表演、座談會、展覽，內容橫跨舞蹈、音樂、空間設計、繪畫。
忠泰華漾 展當代藝術
「永康街藝術節」場場座無虛席，展期從一個月延長成兩個月，炒熱藝文話題也帶動買氣，讓「師大隱」賣得嚇嚇叫。可惜當時房地產陷入低迷，「樣品屋變身藝廊」的神話也只能曇花一現。張裕能仍看好「樣品屋」的藝術潛力，這兩年他又找來建築師龔書章，以迥異主流的建築美學打造近20棟樣品屋，讓樣品屋憑創意造型引爆話題。
去年，日本建築師青木淳來台設計「忠泰華漾」精品豪宅。忠泰建設找來藝術策展人胡朝聖，邀請藝術家游文富、陳俊豪與莊普，在「忠泰華漾」樣品屋展出作品。三位各以擅長的羽毛、圖釘和刻印創作，和青木淳主打的建築主題「馬賽克」形成對話。竟把沒想到外界視為「曲高和寡」的當代藝術，卻為忠泰創造銷售佳績。
藝術策略奏效，忠泰建設乾脆在今年初正式成立「忠泰建築文化藝術基金會」，請胡朝盛擔任董事。忠泰在台北市民大道擁有一塊地，年底才會動工，土地上還有一間廢棄的修車廠。胡朝盛靈機一動，將修車廠改成「明日博物館」，在它「閒置」的一年期間展出五、六檔藝術展。
明日博物館 日夜開放
胡朝聖認為，閒置地反正也是「閒」著，何不以「藝術養地」？以明日博物館為例，它不收費、24小時不打烊，以嶄新的美術館型態闖出名號，也讓這塊土地累積知名度。他透露，明日博物館的下一個基地，應是忠泰在大直一塊3700坪「閒置地」，他打算請藝術家，將這片荒地上創作地景藝術。「明日」未來也將進駐一個個樣品屋。
藝術與房地產結合，會不會變質為「商品」？胡朝聖說，是有地產商找他合作，但他拒絕了大部分的機會，「因為我知道我要什麼。」他認為，只要藝術家夠自覺、把握原則，樣品屋反而可以成為正式美術館、藝廊外的新舞台，為他們開發新的鑑賞者。
而對房地產商來說，藝術是個催化劑，讓顧客產生認同。做房屋代銷10幾年的張裕能，如今台灣人的品味已提升到一個層次，以藝術來感動、說服他們，可能比售屋人員的舌粲蓮花更有效果；而觀眾也可能因「看藝術」而萌生買屋的念頭。藝術走入樣品屋，都為對方創造了新的顧客／鑑賞者。
2007/03/15 聯合報
師大隱 帶動藝術節慶
當代藝術進駐樣品屋，2000年的「師大隱」建案算是先例。當時甲桂林廣告公司董事長張裕能，以「師大隱」樣品屋為基地，舉辦「永康街藝術節」，邀請林秀偉、羅曼菲、溫慶珠等人，舉辦一系列表演、座談會、展覽，內容橫跨舞蹈、音樂、空間設計、繪畫。
忠泰華漾 展當代藝術
「永康街藝術節」場場座無虛席，展期從一個月延長成兩個月，炒熱藝文話題也帶動買氣，讓「師大隱」賣得嚇嚇叫。可惜當時房地產陷入低迷，「樣品屋變身藝廊」的神話也只能曇花一現。張裕能仍看好「樣品屋」的藝術潛力，這兩年他又找來建築師龔書章，以迥異主流的建築美學打造近20棟樣品屋，讓樣品屋憑創意造型引爆話題。
去年，日本建築師青木淳來台設計「忠泰華漾」精品豪宅。忠泰建設找來藝術策展人胡朝聖，邀請藝術家游文富、陳俊豪與莊普，在「忠泰華漾」樣品屋展出作品。三位各以擅長的羽毛、圖釘和刻印創作，和青木淳主打的建築主題「馬賽克」形成對話。竟把沒想到外界視為「曲高和寡」的當代藝術，卻為忠泰創造銷售佳績。
藝術策略奏效，忠泰建設乾脆在今年初正式成立「忠泰建築文化藝術基金會」，請胡朝盛擔任董事。忠泰在台北市民大道擁有一塊地，年底才會動工，土地上還有一間廢棄的修車廠。胡朝盛靈機一動，將修車廠改成「明日博物館」，在它「閒置」的一年期間展出五、六檔藝術展。
明日博物館 日夜開放
胡朝聖認為，閒置地反正也是「閒」著，何不以「藝術養地」？以明日博物館為例，它不收費、24小時不打烊，以嶄新的美術館型態闖出名號，也讓這塊土地累積知名度。他透露，明日博物館的下一個基地，應是忠泰在大直一塊3700坪「閒置地」，他打算請藝術家，將這片荒地上創作地景藝術。「明日」未來也將進駐一個個樣品屋。
藝術與房地產結合，會不會變質為「商品」？胡朝聖說，是有地產商找他合作，但他拒絕了大部分的機會，「因為我知道我要什麼。」他認為，只要藝術家夠自覺、把握原則，樣品屋反而可以成為正式美術館、藝廊外的新舞台，為他們開發新的鑑賞者。
而對房地產商來說，藝術是個催化劑，讓顧客產生認同。做房屋代銷10幾年的張裕能，如今台灣人的品味已提升到一個層次，以藝術來感動、說服他們，可能比售屋人員的舌粲蓮花更有效果；而觀眾也可能因「看藝術」而萌生買屋的念頭。藝術走入樣品屋，都為對方創造了新的顧客／鑑賞者。
2007/03/15 聯合報
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