2012年2月22日 星期三

澄懐堂美術館

清代女詩人與柳如是 ──介紹日本澄懷美術館藏《顧媚畫柳如是書合璧冊》, 大木康,


澄懐堂美術館
澄懐堂美術館は、平成6年に設立された全国でも数少ない中国書画専門の美術館です。 山本悌二郎氏の側近であった猪熊信行氏(1906-1991)は、 悌二郎氏より譲り受けたコレクションを太平洋戦争の戦火にさらされる直前、 郷里三重県四日市に疎開させ、数十年に亘り丁重に保管していました。 その後広く一般に公開し、散逸することなく後世に伝えるため、昭和38年澄懐堂文庫を建設、 昭和61年には財団法人澄懐堂を設立し、初代理事長となってこのコレクション及び施設・ 基金を寄贈しました。「澄懐」とは、悌二郎氏が自らの書斎に名付けた堂号で、 心を静かに澄ませて胸中の山水を楽しむことを意味します。アール状に建設された展示室は、 どの場所にあっても見渡す限り名品に囲まれゆっくり鑑賞できるよう、 まさに「澄懐」の景を実現させた空間となっています。 毎年春季と秋季に特別展を企画し、収蔵品に関する講演会及び友の会主催による見学会、講座などを催しています。

2012年2月15日 星期三

Steles(Keith Wilson)

倫敦奧運園第一件藝術品完工

更新時間 2012年 2月 15日, 星期三 - 格林尼治標準時間10:54

五彩圖騰柱

倫敦奧運公園的彩筆圖騰將來可用作船隻泊位標記。

東倫敦奧運公園發現園內第一件藝術作品已經完成。

那是由35根巨型蠟筆狀彩柱組成的裝置,在公園內的運河河道一字排開。

柱子分別塗上奧運五環的顏色,高度在3-5米之間。

這件題為「圖騰柱」(Steles)的裝置作品出自東倫敦藝術家奇斯·威爾森(Keith Wilson)之手。

雖然叫圖騰柱,這些巨型「蠟筆」的材料跟水上導航浮標的材料是一樣的,輕巧而耐久。

所以,在今年倫敦奧運會結束後,這些「圖騰柱」便成為東倫敦運河整體設施的一部分,可以用作船隻泊位標記。

威爾森解釋說,這些五彩圖騰柱將以全新的方式發揮古老的用途,並成為倫敦這個最新銳公園的特色的一部分。

倫敦奧運公園的正式名稱是「伊麗莎白女王奧運公園」(Queen Elizabeth Olympic Park),今年夏季奧運期間又叫「南園」(South Park)。

2012年2月6日 星期一

Building hope



用大楼治癌?
Building hope




Can architecture cure cancer? Can buildings make you better? Can space heal? Nah, ’course not. No matter what claims are made for the trade, architecture is only ever the background, the setting for moments in life which may be joyous, momentous, traumatic or tragic. But the idea that architecture can make a difference is as old as civilisation and the newest incarnation of that conception of the power of place and its role in therapy is the remarkable Maggie’s Cancer Caring Centres.

建筑能够医治癌症吗?它能让人身体好转吗?空间能有疗效吗?不能,当然不能。不管把这个行当吹 得有多神,建筑永远只是作陪衬之用,只是记录生活中欢乐、伟大、创伤以及悲情瞬间的场所。但建筑能起到重要作用的理念自文明以来就已有之。建筑有神奇的作 用与疗效,体现这一理念的最新标志就是雄伟壮观的马吉癌症康复中心(Maggie’s Cancer Caring Centres)。

Three new Maggie’s centres, radically different and strikingly conceived, have just opened, and others are on site. One, at Glasgow’s Gartnavel Hospital, is the work of one of architecture’s last remaining intellectuals, Rem Koolhaas and his firm OMA, and looks like a shattered version of a modernist dream of transparency and regularity. The second, in Nottingham, is by the English eccentric Piers Gough, with an interior by Sir Paul Smith, and resembles a novelty teapot. The third, designed by the late Japanese architect Kisho Kurokawa, opened in Swansea this week and evokes the swirling forms of a cosmos in formation. Each centre is extraordinary, charming and challenging and they ask difficult questions.

三座新近落成的形态各异、设计新颖的马吉癌症康复中心最近刚刚对外开放,其它的康复中心仍在 建。其中一座位于格拉斯哥的加特纳维尔医疗中心(Glasgow’s Gartnavel Hospital),是由建筑界现存的几位大师之一的雷姆•库哈斯(Rem Koolhaas)以及其旗下大都会建筑事务所(OMA)设计,碎片式的外形酷似由透明及规则构筑的现代主义梦境。第二座马吉癌症康复中心位于诺丁汉 (Nottingham),由英国设计怪才皮尔•斯高夫(Piers Gough)设计,外形酷似一把别致的茶壶,室内则由保罗•史密斯爵士(Sir Paul Smith)设计。第三座马吉癌症康复中心由已故日本建筑师黑川纪章(Kisho Kurokawa)设计,本周刚在斯旺西(Swansea)对外开放,其外表让人浮想联翩旋涡状的宇宙。每座康复中心气度不凡、魅力十足、让人过目不忘, 它们提出了很难回答的问题。

The architecture of healing was once placed firmly at the heart of the city. The Greeks established a magical city of culture and cure at Epidaurus, a site that set theatre, dream cures and sports against a dramatic coastal landscape. Medieval builders created monastery complexes that embraced vineyards, almshouses, hostels and hospitals (hostel, hospital and hotel share the same etymological root), including the Hospices de Beaune in Burgundy, from where some of the finest wine still flows (then, as now, red wine was regarded as healthy stuff). The Enlightenment produced its own monumental hospitals, such as Les Invalides in Paris and Christopher Wren’s Royal Hospitals in Chelsea and Greenwich.

过去的康复中心一直牢牢占据城市中心。希腊人在厄庇道鲁斯(Epidaurus)建起了一座集 文化与治病于一体的瑰丽城市,背靠着迷人海滩,他们建起了剧院、理想的疗所以及运动场所。中世纪的建筑师则围着葡萄园、养老院、客栈以及医院(客栈、医院 以及旅馆的词根相同)修建了修道院群,包括法国勃艮第的伯恩济贫院(Hospices de Beaune in Burgundy),此处酿出的极品葡萄酒至今飘香(与如今一样,红酒当时也被认为是有益于身体健康)。启蒙时代(The Enlightenment)也修建了不朽的标志性医院,如巴黎荣军院(Les Invalides)以及由克里斯托弗•雷恩爵士(Christopher Wren)所建、位于伦敦切尔西(Chelsea)与格林尼治(Greenwich)的皇家老残军人疗养院(Royal Hospitals)。

But something went wrong. Hospitals got more grim and bleak, conflated with workhouses and prisons. In the 20th century, the sanatorium emerged as an archetype of modernity, from Thomas Mann’s The Magic Mountain to Alvar Aalto’s Paimio Sanatorium. It became the symbol of the purging of an old world via the fresh, cool air and light of a crystalline contemporaneity. The magic mountain quickly descended into the medical machine, the hospital as a massive, inhuman mechanism, a place to process patients. And that is what Maggie’s were reacting to. The hospital is a vast ecosystem of technologies and processes. But as a charity concerned with the well-being of cancer patients and their families – as opposed to medical processes – they can afford to think about architecture and atmosphere.

但经似乎有点念歪了,集救济所及监狱于一身的医院越发变得阴森与凄凉。20世纪,从托马斯•曼 (Thomas Mann)的《魔山》(The Magic Mountain)到阿尔瓦•阿尔托(Alvar Aalto)的拜米欧疗养院(Paimio Sanatorium),作为现代社会标志的疗养院横空出世。疗养院充斥着新鲜清凉的空气以及属于那个时代的明媚阳光,成为了彻底告别旧世界的标志。但魔 山很快异化为纯粹的治病机器,一座规模宏大、没有人情味的机构,一个按部就班给病人治病的地方。这也正是马吉癌症康复中心缘何运运而生的原因。康复中心就 象一座大型生态系统,集各种科技与治疗于一身。但作为关注癌症病人以及病人家人福祉的慈善机构——与按部就班给病人治病截然不同——马吉癌症康复中心有足 够的底气去思索建筑及其所营造的氛围对治疗的效果。

The centres were instigated by Maggie Jencks and have been built into an architectural and medical exemplar by her widower, the architectural writer Charles Jencks. The aim has been to challenge a kind of architecture of inoffensiveness, which has defined the construction of buildings for traumatic situations for decades. Whether it’s a care home or a crematorium, a hospital or a hospice, the default architecture throughout the western world has been an anodyne vernacular moderne. These are then placed in suburban landscapes of golfing aesthetics – neutered nature.

马吉癌症康复中心由马吉•詹克斯(Maggie Jencks)发起成立,并由其鳏夫、建筑师查尔斯•詹克斯(Charles Jencks)把它建成建筑学与医疗机构的典范,旨在挑战医疗机构那种不事张扬的建筑风格,而这种建筑风格几十年来成了建造医疗机构的固定模式。不管是康 复中心、火葬场、医院还是收容所,这些不事张扬的建筑一直就是现代西方各国解除病人痛苦的场所,因而它们都是建在市郊,自然环境可以与高尔夫球场的风景相 提并论。

The Maggie’s centres bring architecture back into the foreground; strident, stylised mini-cultural buildings that respond not to anaesthetised modernity but to the explosion of expressive postmodernity. Some of architecture’s most sculptural protagonists have built centres; Frank Gehry in Dundee; Zaha Hadid in Fife; Lord Richard Rogers in London; Sir Richard MacCormac in Cheltenham.

马吉康复中心使建筑重新成为主角;这些时尚张扬的微型文化建筑对应的不是麻木不仁的现代社会, 而是后现代社会个性张扬的集中爆发。一些建筑界最富才华的雕塑大师(如弗兰克•盖里(Frank Gehry)在邓迪(Dundee)、扎哈•哈迪德(Zaha Hadid)在法夫(Fife)、理查德•罗杰斯勋爵(Lord Richard Rogers)在伦敦以及理查德•麦克科马克(Richard MacCormac)在切尔腾纳姆(Cheltenham))设计建造了很多类似的康复中心。

Jencks has a compelling metaphor for the success of the centres. He dismisses any idea of an architecture of healing but he does introduce the intriguing analogy of the placebo. These buildings and gardens might, he suggests, exert some effect not clinically but psychologically, and the placebo effect is measurably real. A 2006 study by the Lighthouse Architecture Centre of patients at Frank Gehry’s Maggie’s centre in Dundee found that the longer patients had spent in the centre, the more positively they viewed their quality of life. It was found that their ability to make small changes in their environment – moving furniture around, opening a window – had a disproportionate impact. It was that control they had been stripped of in the institution.

对于这类康复中心的成功,詹克斯自有颇为形象的比喻。他对建筑有疗效的观点嗤之以鼻,但的确提 出了建筑就是慰藉剂的形象类比。他暗示,这些建筑与花园或许有一定疗效,但并非是临床作用,而是心理慰藉,而且据测,这种慰藉效果是真实存在的。2006 年,在弗兰克•盖里设计的邓迪市马吉康复中心,Lighthouse Architecture Centre进行的研究发现:病人在康复中心呆的时间越久,就越能积极看待自己的生活质量。研究还表明他们对居住环境的微小改动——挪动家具、打开窗户 ——都会有着超乎寻常的效果。而在一般医疗机构中,病人对居住环境的控制权却被剥夺了。

Indeed, beyond the dramatic architecture the most interesting thing about the centres is this domesticity, an idea of being at home. Each centre is built around a kitchen table, the informal forum for conversation, encouraging patients to make a cup of tea for themselves – the wider philosophy is one of helping yourself within a framework of support. The rooms are familiar in scale, the furniture is comfortable rather than the kind of theatrical stuff architects favour. There are no corridors or flickering fluorescent strip lights. Some spaces encourage chat, others allow patients to withdraw with a book, there are nooks, corners and, always, views out to the gardens.

没错,除了宏伟壮观的建筑外,康复中心最吸引人的正是它的家庭式生活,即居家生活的理念。每座 中心都围着餐桌而建,此处是非正式谈话的场所,鼓励病人自己动手泡茶——更深的寓意是在总体受助的框架内,让病人尽可能自立。房间的大小合适,放置家具给 人以温馨感,而非建筑师喜欢的那种剧院风格。康复中心没有走廊,也没有声控式条状荧光照明灯,有些区域鼓励病人闲聊天,有些区域允许病人带着书到隐秘及偏 僻的地方去看,但病人至始至终能看到花园。

Jencks, a landscape designer whose works include the extraordinary gardens at Jupiter Artland near Edinburgh and his extensive grounds at Portrack House in Holywood, imbues the gardens with a sense of cosmic order, of the curious correlations between cosmos, creation and cancer.

詹克斯是位园林设计师,作品包括位于爱丁堡附近Jupiter Artland美伦美奂的花园,以及位于霍利伍德(Holywood)Portrack House的规模宏大的庭院,他赋予花园某种宇宙秩序的理念,使宇宙、万物生灵以及癌症之间存在着某种奇怪的关联。

The landscape at Gartnavel was designed with Maggie by his daughter Lily Jencks, who created a courtyard garden of elegant beauty amid the harsh landscape of the hospital. A centre under construction at Oxford by architect Chris Wilkinson is a tree house, elevated on stilts so that it sits in the wood at the level of the leaves. The centre in Nottingham looks oddly like a face, its four green-tile-clad oval planes presenting a friendly if eccentric façade. Paul Smith’s interior brings his quirky version of Englishness, with floral-clad chairs, vintage lights and specially designed mugs.

加特纳维尔医疗中心的马吉癌症康复中心由马吉与女儿莉莉•詹克斯(Lily Jencks)联袂设计,在缺乏人情味的医院环境中,他们营造了一座别致的庭院式花园。在建的牛津康复中心由建筑师克里斯•维尔金森(Chris Wilkinson)设计,这是一座树屋,坐落于丛林树巅的高脚屋中。诺丁汉康复中心则形似一张怪异的脸谱,四面贴着绿瓦的椭圆形平面呈现的是一副友善的 面孔(有人说它怪异)。保罗•史密斯的内部设计(鲜花装点的椅子,古式灯饰以及专门设计的马克杯)呈现的则是诡诈版的英国人性格。

These elements create a sense of place. It is this establishment of the Maggie’s centres as particular places, not placeless institutions, that makes them such a critical intervention into the bland lands of PFI-era hospital architecture. These are spaces that make people feel better – which is not the same thing as making them better. They also have a huge impact on the staff who work amid astonishing architecture, feeling they are part of something that is valued, and they communicate that optimism to patients. There is a lesson here for all workplaces.

这些元素营造出某种方位感,正是把马吉康复中心营造成有特殊方位感的地方(而不是没有方位 感),才使得它们成为摆脱“民间主动融资”(PFI)时代医院建筑单调乏味氛围的革命性力量。困在这些地方会让病人感觉更棒(这与让病人病情更好不是一回 事),而且它们也会对在这种标新立异建筑中工作的员工产生巨大影响,他们觉得自己是崇高事业的一分子,而且能把这种乐观情绪传递给病人,希望所有的医疗机 构都可以从中借鉴一二。

Maggie’s has also reintroduced an idea of a correspondence between health and the city. With a tendency to displace hospitals from the city and marginalise them, illness becomes symbolically forgotten, exiled. Yet, as we live longer lives, more of us will live with cancer and it will become a chronic condition rather than the death sentence it can still be perceived as.

马吉康复中心还引进了健康与城市关联的理念。随着现代社会越来越多地把医院从城市挪走、并使之边缘化,疾病象征性地被遗忘、被放逐。然而,随着人类的寿命越活越长,更多的人会患上癌症,它会成为一种长期疾病,而不是象现代人认为的是被判了死刑。

These are striking buildings that provoke reactions in their reflections on the cosmos, the house of healing and the city. The house used to be the place where we were born, where we fell sick and where we died. Now those momentous events have been institutionalised and the house has become a more neutral container, an asset. The Maggie’s centres offer a chance to re-evaluate the role that architecture can play in the everyday and the extraordinary. It would be as radical a change as they are sparking in healthcare.

这些别致的康复中心引发了人们对宇宙,治疗机构以及城市本身的反思。房子过去是人类生老病死的 场所。如今,这些人生大事都俨然由各种机构代劳了,房子则成为更为中性化的载体,变成了有价资产。马吉康复中心提供了这样的机会:重新评估建筑在日常生活 以及非常情形中的作用。正如它催生了康复观念的根本变化,这个变化本身也是革命性的。

www.maggiescentres.org

详情请浏览以下网址:www.maggiescentres.org

Edwin Heathcote is the FT’s architecture critic

埃德温•希思科特为《金融时报》建筑方面的评论员


译者:常和


2012年2月2日 星期四

英美義繪畫與雕塑

美國繪畫與雕塑 Modern American Painting and Sculpture


達文西倫敦世紀展 粉絲搶朝聖


22:13:04

(中央社記者黃貞貞倫敦2日專電)義大利藝術大師達文西一生據說只創作9幅畫作,倫敦國家藝廊傾力全球借展,安排其中7幅展出,這個被喻為「一生僅有一次」的特展引發轟動,各地愛好藝術民眾搶票進場朝聖。

達文西(Leonardo da Vinci)特展側重在1480及1490年代、達文西在佛羅倫斯的創作,是全球第1個以達文西畫作為主題的特展,並安排數十幅他的素描作品,讓參觀者了解大師創作鉅作前紮實不苟的準備功夫。

特展中最具震撼力的是創作於1483年和1491年、分別借自巴黎羅浮宮與倫敦國家藝廊(National Gallery)的2公尺高油畫「岩窟中的聖母」(The Virgin of the Rocks),相對展列在展覽室的各一邊。

策展者賽森(Luke Syson)表示,這是史上首次2幅鉅作同時在1個展場展示,也是羅浮宮破天荒將鎮館之寶外借,「我相信達文西本人有生之年也從未同時看到自己這2幅創作」。

國家藝廊珍藏的版本是達文西約於1491年著手創作、晚於羅浮宮的收藏版,圖中的人物與構圖也有些許變化。賽森說,這是愛好藝術者獨一無二可以近距離觀畫,並作比較的機會。

另 1幅首次在英國展出的是波蘭查托里斯基博物館(Czartoryski Museum)珍藏,1488到1490年創作的「抱著白貂的女子」(The Lady with an Ermine),畫中16歲的模特兒加勒蘭妮(Cecilia Gallerani)是達文西當時的雇主--米蘭公爵的情婦,更是1位傾城美女。

賽森說,達文西在「抱著白貂的女子」畫中,安排加勒蘭妮抱著代表純潔與尊榮的白貂,臉部朝左,優雅出眾的姣好面容及豐富的內在美,盡在畫中展現,被視為達文西傑出的人物像畫作,並被喻為現代肖像畫的濫觴。

達文西一生據說只畫了4幅女性肖像,最知名的是羅浮宮收藏的「蒙娜麗莎的微笑」。賽森表示,許多參觀者沒有注意到羅浮宮內達文西的另1幅仕女肖像油畫,1493年所畫的「女肖像圖」(Portrait of a Woman),也首次在英國亮相。

至於達文西唯一創作的男性肖像畫「音樂家」,是達文西以音樂家身份和其他同業一起工作、設計樂器及安排演出時,於1486年的創作。

而最近在美國被發現、達文西所畫持水晶球的耶穌,也都是特展裡不可錯過的作品。

國家藝廊主管告訴中央社記者,達文西的油畫作品有500多年歷史,十分脆弱不宜經常搬運,收藏者或單位也多為保存理由不願外借,因此國家藝廊花了5年時間才促成這項空前的展覽,極為不易。

特展每天約只出售500張門票,預售票早在去年11月就銷售一空,許多粉絲為免向隅,清晨5時不到就頂著寒風開始排隊,有人甚至專程搭歐洲之星火車從歐陸到倫敦,門票很快被搶光。

為遵守公共場所安全的規定,並讓參觀者能好好欣賞作品,展場內進行人數管控,每半小時最多只能有180人看展。

首相卡麥隆(David Cameron)日前低調由學習藝術的妻子莎曼珊擔任解說員,在非開放時間觀賞一生難得一見的達文西畫作。特展將於2月5日結束。(本文附有照片)1010202