观念的意义——里伯斯金在匡溪的几个教学案例

The meaning of concept three works of Libeskind

观念和建筑实践之间含混暧昧的关系一直以来都 未得以澄清。行动、手段、材料、概念等等不停的为实 践者编织着一张张无形之网。在今天,作为实践者的主 体以何种方式投入其中,这已是个无可回避的问题。里 伯斯金在匡溪的8年中,以其特有的方式,将概念的运 用置于建筑实践的首要位置,为对建筑学的深层思考带 来新的可能性。与此同时,建筑作为知识活动、意识活 动、精神活动,其界限和范围与人文思想的诸般成果紧 密的联系在一起。不同领域之间的人为设定的阻隔和障 碍被一再打破,从中所呈现出的东西虽非能够为人所立 即清晰认知,但其无疑尖锐的挑战了每一个试图理解其 所作所为者的智力。这已在最广泛的意义上证明了里伯 斯金工作的创造性价值。同样,里伯斯金近年来工作的 辉煌耀目,也从另一个角度要求我们再度检验这一无名 时期的工作被我们忽视和遗忘的方方面面的细节,以及 其中隐而不显的意义。

The ambiguous relationship between architectural idea and practice hasn＇t been clarified for a long time. Actions, instruments, materials, and notions intertwine, always weaving the formless webs for performer. The fact that in what way does the subject as performer plunge into practice is now inevitable. In his extraordinary ways, Libeskind set the use of concept in the first place of architectural practice during his eight years in Cranbrook, bringing the new possibilities for profound meditation. And the limit of architecture, which are as a kind of intellectual action, conscious action, and mental action, closely connected with the achievement of humanism thoughts. The obstacle made by the people of different fields has been broken again and again. Although we cannot recognize the meaning immediately, undoubtedly, this process continually challenge the intellectuality of everyone who attempts to understand his work acutely. Therefore, the creative value of the work of Libeskind has been showed in the most comprehensive meanings. The prominence of Libeskind＇s recent work also renders us to reexamine his work of unremarkable time by another angle. There indeed exist so many underlying meanings and details we have overlooked in this unremarkable time.