白洋

Bai Yang

白洋设计工作室负责人

华中理工大学建筑学学士

清华大学建筑学硕士

从学建筑开始，我就发现建筑研究者在提出“建筑是什么”、“什么是建筑”之类问题时，提问者和听众好像在此刻超越时空限制地汇聚一处，共同陷入一场庄严的沉思中。一定会有著名的结论在历史上留存下来，但我都没记住，我只是觉得这只是一种让建筑学者们共同相信建筑学是门深奥学问的仪式。建筑学除了有这个“前菜”带来的神秘感外，其实再也没有太多深奥的东西了，所谓的让学习者有深奥感受的那些名词（请大家自行领悟、回味）在我看来不过是建筑师们共通的语言迟钝和心照不宣的制造学术玄妙的技巧罢了。我在年少无知那会儿确实被海量的学术文章里不断重复、不断解释的那些“有意蕴的”词汇绕腾过很多精力，待熬尽这些精力后我看到了虚无。在我如今的认知中，“建筑”就是很普通的名词，一点儿都没比“房子”高级，和“蔬菜”“热狗”一样普通，然而这并不是对它认知的全部：不寻常的是我们将以什么样的目光来看它，确切地说是我们以什么样的目光来观看这个世界。当我们以最平常（我们忘记我们是建筑师，我们只是一个在生活的人）、最沉静（不要试图评价或者找寻“美”的态度）的状态观看时，建筑将不再独立（或者说“独立”是种偶然），它可能局部自成一体，或者局部与其它事物融为一体，或者眼前的事物就是若即若离的变化，又或者它就是外部奇观实则虚无的存在。您有这样的目光吗？我觉得我从小就有（也许每个人小时候都有），从记事起，我的内心就已经能够分辨人性的细微之处、能够看到事物的底色，我想这就是能看穿“皇帝新衣”的目光吧。然而这样的发源于内心的目光在一天的生活中不常有，手机、琐事都可能会让这样的目光退隐，让我们象泡沫一样浮于浑浑噩噩的生活浑水之上假装思索。书是我们的时空之门，只要一本书在开启它的瞬间发出一束光照了我一下，我就认为这是本好书。我目前推荐的书都属于这种能“照我一下”的，它们都属于图片集性质的，因为图片来得快啊，而且今天所有给大家推荐的书我都没有仔细看过，因为仔细看过的画面就再也不神奇了。你们可以自行脑补我每次是怎么看的，这是多么奇葩的场景和说法啊，虽然这些都是事实。

——白洋

Head of Baiyang Design Studio

Bachelor of Architecture, 

Huazhong University of Science and Technology

Master of Architecture, Tsinghua University

From the beginning of studying architecture, I have found that when architectural researchers like to ask questions such as "what is architecture" and "what is architecture", the questioner and the audience seem to be gathering together beyond the limits of time and space at this moment, and they are falling into a solemn situation together. There will certainly be famous conclusions left in history, but I have not remembered them. I think this is just a ritual for architects to believe that architecture is profound knowledge. In addition to the mystery brought by this "appetizer" in architecture, there are actually not too many esoteric things anymore. The so-called terms that make learners feel esoteric (please comprehend and aftertaste) are in my opinion. It is the dull language and tacitly crafting academic mystery skills common to architects. When I was young and ignorant, those "meaningful" words that were repeated and explained constantly in a large number of academic articles circumvented a lot of energy. After exhausting this energy, I saw nothing. In my current understanding, "architecture" is a very common term, no higher than "house" at all, and as common as "vegetables" and "hot dogs", but this is not all I know about it:  What is unusual is the look we will look at, or to be precise, the view will we be looking at the world. When we look at it in the most ordinary (we forget that we are architects, we are just a living person) and the quietest (don’t try to evaluate or find a "beauty" attitude), the architecture will no longer be independent (or "Independence" is a kind of accident), it may be partly self-contained, or partly merged with other things, or the things in front of you are changes that are detached, or it is an external spectacle that exists in reality and nothingness. Do you have such a look? I think I have been there since I was a child (perhaps everyone has it when I was young). From the time I remember, I can distinguish the subtleties of human nature and see the background of things. I think this is to be able to see through the "Emperor's New Clothes". "Look at it. However, this kind of gaze that originates from the heart is not often seen in a day’s life. Mobile phones and trivial matters may make such gazes recede and let us float on the muddy water of life like a bubble and pretend to think. Book is our door to time and space. As long as a book shines on me when it is opened, I think it is a good book. The books I currently recommend all belong to this kind of illumination. They are all the collection of pictures, because it is quick to read, and I have not read all the books recommended carefully, because once you read them，the picture is no longer magical. You can make up your own minds about what I think every time, what a Weird scene and statement, even though these are facts.

——Bai Yang

01

日本木造遗产

藤森照信

简介 

Description

关于日本23处木结构建筑遗产的图文（日文）介绍集。长年探访古往今来东西方建筑的藤森照信，得到了一个简单的结论：“石造建筑选意大利，木造建筑看日本就好”。这样的说法并非基于建筑思想或美学的分析，而是将客观的特色指出而已。这两个国家的建筑，都具备有两项相同的特色，那就是“材料的种类丰富”和“材料的加工精度高”。因此才造就出世界屈指的意大利石造建筑＆日本的木造建筑。在这一册里，作者以建筑眼光的精美摄影、加上专业的文字解说、以及拍摄记录的摄影心得，来带大家认识、鉴赏这些了不起的木造遗产。

A collection of pictures and texts (Japanese) about the 23 wooden architectural heritages in Japan. For many years, Fujimori Terunobu, who has been visiting Eastern and Western buildings from ancient times to the present, came to a simple conclusion: "It is better to choose Italy for stone buildings, and Japan is better for wooden buildings." Such a statement is not based on the analysis of architectural ideas or aesthetics but merely points out objective characteristics. The buildings of these two countries have two characteristics in common, that is, "rich types of materials" and "high processing precision of materials". Therefore, the world's best stone buildings in Italy and wooden buildings in Japan were created. In this book, the author uses exquisite photography with architectural vision, professional text commentary, and photography experience from shooting records to show everyone to understand and appreciate this marvellous wooden heritage.

推荐理由

Reason for Recommendation 

前面已经说过了，我是看图的，因此这书的全日文说明也不影响我的欣赏。我是通过寻找日本会津螺旋堂的资料找到这本书的，结果发现书里大部分建筑从未见过，而且其中有几栋建筑超出了我对日本木构建筑的想象，对我个人来说算是惊喜吧。书里照片的品质让人赞叹，环境气息浓郁，具有很强的代入感。好的摄影师确实也是氛围大师，因此翻阅整本书好像在观看同一组建筑。

As mentioned earlier, I read the pictures mainly, so the full Japanese description of this book does not affect my appreciation. I found this book by searching for information on Aizu Helix Hall in Japan and found that most of the buildings in the book I have never seen before, and some of them are beyond my imagination of Japanese wooden architecture, for me personally it's a surprise. The quality of the photos in the book is amazing, the environment is abundant, and it has a strong sense of substitution. Good photographers are indeed masters of atmosphere, so reading the entire book seems to be looking at the same group of buildings.

02

The Architectural Heritage of Sri Lanka

Davis Robson / C. Anjalendran / Dominic Sansoni

简介 

Description

本书是关于斯里兰卡建筑遗产的绘本。

建筑师 C. Anjalendran 在一群助手和学生的帮助下，已经记录了斯里兰卡的建筑遗产近 30 年。结果是一系列精美的测量图纸，全部用墨水和铅笔在描图纸上绘制——记录了斯里兰卡许多有趣但经常被忽视的建筑物。本书以这些以及照片和富有洞察力的文字为特色，突出了许多不同类型和不同时期的建筑的广泛横截面——从古代古典时代的阿努拉德普勒和波隆纳鲁沃，从中世纪时期，从殖民时期到斯里兰卡于 1948 年恢复独立后的几年。

A picture book about Sri Lanka's architectural heritage. 

Architect C. Anjalendran, aided by an army of assistants and students, has been recording Sri Lanka's architectural heritage for almost 30 years. The result is a collection of exquisite measured drawings, all made with ink and pencil on tracing paper – documenting many interesting and often neglected buildings in Sri Lanka. This book features these, along with photographs and insightful text, to highlight a broad cross-section of buildings of many different types and from many periods – from the ancient classical era of Anuradhapura and Polonnaruwa, from medieval times, from the colonial period and from the years after Sri Lanka regained its Independence in 1948.

推荐理由

Reason for Recommendation

这本书太美了，线条勾勒的现实更能把观者带到更远的他乡，其实他乡就是天堂的一种啦。

This book is so beautiful, and the reality outlined by the lines can take the viewer farther away. In fact, a foreign country is a kind of paradise.

03

Axel Vervoordt: Wabi Inspirations

Axel Vervoordt / Tatsuro Miki / Michael Paul

简介 

Description

本书是关于Axel Vervoordt 与建筑师Tatsuro Miki共同的设计作品。

Axel Vervoordt 强烈的好奇心激发了他作为室内设计师的工作，激励他从全球文化中探索和汲取灵感。多年前他第一次接触东方艺术和哲学，但今天它已成为他工作的指导原则，尤其是侘寂的概念。Wabi 发展于 12 世纪，崇尚简单和谦逊，拒绝一切多余的或人为的。如今，Vervoordt 与日本建筑师三木达郎 (Tatsuro Miki) 一起将侘寂的原则带入了他非凡的室内设计中。Vervoordt 展示了他如何将基本东方风格融入他当前的创作中，室内设计爱好者将从这种对设计师最新家居灵感来源的致敬中获得新的见解。

This book is about the design work of Axel Vervoordt and architect Tatsuro Miki.

Axel Vervoordt’s intense curiosity has fueled his work as an interior designer, spurring him to explore and draw inspiration from cultures around the globe. He was first exposed to Eastern art and philosophy years ago, but today it has become the guiding principle in his work, particularly the concept of Wabi. Developed in the twelfth century, Wabi advocates simplicity and humility, the rejection of all that is superfluous or artificial. Today, together with the Japanese architect Tatsuro Miki, Vervoordt carries the principles of Wabi into his remarkable interiors. As Vervoordt reveals how he infuses his current creations with a fundamentally oriental approach, interiors devotees will gain new insight from this tribute to the designer’s latest sources of inspiration for the home.

推荐理由

Reason for Recommendation 

我是大概在11年前买到这本书的，那时候国内可能还不知道Axel Vervoordt这个人。现在，这个人太火了（他自己可能都想象不到他在中国有这么火），这本书可能成了很多室内设计公司必备的参考书了吧。可我还是觉得有推荐这本书的必要，因为这本书实质上拓宽了我对建筑的认知，它是在作品层面回应了我多年积累的某些审美倾向。这本书里的图片整体上是我见过的最细致、浓郁、有活力的室内摄影，充分展现了这位古董商人和收藏家的艺术天分。也许他的作品在建筑师们看来会不以为然，大家会觉得他根本就没设计什么（没设计何谈创作），但我觉得他准确地控制了很多细节，以完成最重要的事——氛围，所以他也是氛围大师。以前老看到有名的建筑师们谈论自己的兴趣，感觉最高级的就是电影了。谈到后来也还是与设计逻辑能套上的电影某些技术手段这个老思路了。我觉得建筑、电影、小说等与环境紧密关联的艺术形式最基本的控制就是氛围，有了这个其它才是真实可信的，才谈得上创造性的意义。这可能也是我对很多“特有创意的”建筑不感兴趣的根本原因。

I bought this book about 11 years ago. At that time, Axel Vervoordt might not be known in China. Now, this person is too popular (he may not have imagined that he is so popular in China), this book may become a must-have reference book for many interior design companies. But I still think it is necessary to recommend this book, because this book essentially broadens my understanding of architecture. It responds to certain aesthetic tendencies that I have accumulated over the years at the work level. The pictures in this book are, on the whole, the most detailed, full-bodied, and energetic indoor photography I have ever seen, fully demonstrating the artistic talent of this antique dealer and collector. Perhaps his works would be disapproving in the eyes of architects. Everyone would think that he did not design anything at all (how to talk about creation without design), but I think he accurately controlled a lot of details in order to accomplish the most important thing-atmosphere, So he is also a master of atmosphere. I used to see famous architects talking about their interests, and I felt that the most advanced is the movie. When it comes to the old idea of certain technical methods of the movie that can be applied to the design logic later, it is an old idea. I think that the most basic control of art forms that are closely related to the environment, such as architecture, movies, and novels, is the atmosphere. Only with this other can it be true and credible, and only then can it be creative. This may also be the root reason why I am not interested in many "unique creative" buildings.

04

Jungjin Lee: Echo

Lena Fritsch / Liz Wells / Hester Keijser / Jungjin Lee

简介 

Description

本书是韩国摄影艺术家Jungjin Lee的作品集。

在 1990 年代初期，各种旅行将作者带入一望无际的美国，在那里她捕捉到了沙漠、岩石、灌木丛和仙人掌的古老原始图像。凭借她的韩国传统，Lee开发了一种非常独特的绘画语言，如海洋、路上、宝塔、事物和风，在诗意的共鸣空间中表达了她对自然和文化的根本兴趣。在她的作品中, Lee 挖掘了她对材料、质地和工艺的深刻理解。 

This book is a collection of works by Korean photography artist Jungjin Lee.

In the early 1990s, various trips took Jungjin Lee into the endless expanse of America, where she captured archaic, primal images of deserts, rocks, undergrowth, and cactuses. Drawing on her South Korean heritage, the artist developed a highly unique pictorial language in series such as Ocean, On Road, Pagodas, Things, and Wind, in which her fundamental interest in nature and culture is expressed in a space of poetic resonance. In her work, Jungjin Lee taps her profound understanding of materiality, texture, and craftsmanship. 

推荐理由 

Reason for Recommendation

我想我完全理解她，她想要表达的事物和我前面谈到的“目光”是一致的。把图像模糊化、黑白处理、叠影等就如同我说的让一个人变“平常”和“沉静”，这些都不是忽悠人的装饰，而是看到事物本质的途径。

I think I can fully understand her, and what she wants to express is consistent with the "look" I mentioned earlier. Blurring the image, processing black and white, and overlapping shadows are just like what I said to make a person "normal" and "quiet". These are not decorations that deceive people, but a way to see the essence of things.

05

The Soul of a Tree

George Nakashima

简介

Description

一个木家具大师的思考。

这位杰出的日裔美国工匠和哲学家以他对发现木材内在美的奉献精神给我们留下了深刻的印象，从而使高贵的树木可以作为家具获得第二次生命。这本冥想书的第一部分揭示了作者作为精神艺术家的发展以及 1930 年代印度修行所生活的影响。第二部分揭示了他工作的不同树木的内在真相和本质，而第三部分则探索了木材重生为家具的技巧。

This book is the thinking of a master of wooden furniture.

This remarkable Japanese American craftsman and philosopher impresses us with his devotion to discovering the inherent beauty of wood so that noble trees might have a second life as furniture. The first part of this meditative book reveals the development of Nakashima as a spiritual artist and the influence of life in an Indian ashram in the 1930s. The second reveals the inner truth and nature of the different trees with which he works, while the third explores the skills by which the wood is reborn as furniture.

推荐理由 

Reason for Recommendation 

George Nakashima（中岛乔治）和Isamu Noguchi（野口勇）是我最喜欢的两位日裔美国艺术家。中岛的书相对于野口来说太少了，我就推荐中岛这本吧。没有更多的推荐理由，我觉得他就是对人生豁达、富有情感、专注而有才华的人，想让人靠近。

George Nakajima and Isamu Noguchi are two of my favorite Japanese-American artists. Nakajima's books are too few compared to Noguchi, so I recommend Nakajima's book. There is no more reason to recommend, I think he is an open-minded, emotional, focused and talented person who wants to get close.

06

Dark Heavens: Shamans & Hunters of Mongolia

Hamid Sardar

简介

Description 

这是一本关于蒙古萨满、猎人的画册。

从 2000 年开始，哈米德·萨达尔 (Hamid Sardar) 沉浸在游牧部落这个迷人的人们的生活方式中，在他们的日常仪式、狩猎探险和精神实践中跟随他们，以捕捉他们数百年的习俗。Sardar 的处女作采用令人惊叹的彩色和黑白图像混合，是一次凄美的视觉之旅，展示了蒙古最后的旅行萨满和猎人。Sardar 特别着迷于他们与土地和动物的精神关系，精美地记录了一系列个人的智慧、习俗和举止，从养马者和鹰大师到传统治疗师。伴随着内容丰富的文本，这个标题是任何对人类学、摄影和冒险感兴趣的人的必备品。

This is a picture book about Mongolian shamans and hunters.

Beginning in 2000, Hamid Sardar immersed himself in nomadic tribes'fascinating people's way of life, following them throughout their daily rituals, hunting expeditions, and spiritual practices to capture their centuries-old practices. With a breathtaking mix of color and black-and-white images, Sardar's debut book is a poignant visual journey showcasing Mongolia's last traveling shamans and hunters. Especially fascinated by their spiritual relationship with land and animals, Sardar beautifully documents the wisdom, customs, and manners of an array of individuals, from horse-breeders and eagle masters to traditional healers. Accompanied by an informative text, this title is a must-have for anyone interested in anthropology, photography, and adventure.

推荐理由

Reason for Recommendation 

我觉得我的前世（如果有的话）一定是蒙古族或者类似鄂伦春族的北方少数民族，所以当我看到这些人的生活、还有那些苍鹰荒谷会如此激动，好像也只有“前世”这种想法能解释。所以说，书也可以招魂。

I think my previous life (if any) must be Mongolian or northern ethnic minorities similar to the Oroqen, so when I see the lives of these people and those goshawk barren valleys, I will be so excited, it seems that there is only "past life". This idea can explain. So books can also call upon souls.

07

Before They Pass Away

Jimmy Nelson

简介 

Description

一位英国摄影师记录的濒临消失的原始部落影集。

这本具有历史意义的书展示了世界各地的部落文化。随着全球化，这些社会因其独特的生活方式、艺术和传统而受到珍视。它们与自然和谐相处，现在在我们的现代时代已经很少见了。吉米·纳尔逊 ( Jimmy Nelson ) 不仅向我们展示了令人惊叹的风俗和文物图像，而且还提供了富有洞察力的人的肖像，他们是一种文化的守护者，他们——以及我们——希望将其全部辉煌传给后代。

This is a photo album of primitive tribes on the brink of disappearance recorded by a British photographer.

This historic volume showcases tribal cultures around the world. With globalization, these societies are to be prized for their distinctive lifestyles, art, and traditions. They live in close harmony with nature, now a rarity in our modern era. Jimmy Nelson not only presents us with stunning images of customs and artefacts but also offers insightful portraits of people who are the guardians of a culture that they--and we--hope will be passed on to future generations in all its glory. 

推荐理由

Reason for Recommendation 

记得有一年去巴黎参观，头一天在卢浮宫跑了半天（相当于今天的“打卡”行为），第二天去了努维尔设计的人类学博物馆。结果我一下子被里面的展品吸引住了（尤其非洲展区的展品）。和卢浮宫里的藏品相比，人类学博物馆展出的是更原始的人类用品。这里的“原始”并非指年代，而是由一个物件显示的人类文明状态。如果卢浮宫里的展品显示的人类文明是细腻、精致、高级的对应物，那么人类学博物馆里的展品显示的人类文明则是神秘到让人恐惧，绚丽到血淋林的生命图腾。在后者的展品面前，我没感到前者文明高级化带来的荣耀，反而让人觉得丧失野性的人类心灵不配欣赏那些原始纪念物。显然这些纪念物是强悍自然的一份子，是狮虎猛兽和斑斓禽鸟的舞伴。也许那些原始人没有像样的工具，但他们制作一个物品的精致度已达到了材料性质的巅峰。我记得当时看到一件用不同鸟的羽毛编织的斗篷，我想各种时装大牌的秀品是根本无法与之相比的，我说的还不是成本，而是对艺术的认知（原始人不知“艺术”不意味着他们不懂）。在这种刺激下，我会剧烈的反思，那些已经成为人类共识的文化艺术真的是至高无上的吗？为什么我在卢浮宫没有这样的感受，而看到原始人的这些东西则会替我们的“文明世界”汗颜呢？不能去人类学博物馆受“刺激”的朋友可以看看我推荐的这本书。不过能像我一样感受到这么夸张刺激的人应该是很少的，因为我们和那些原始人早就不是同样的生命了。

I remember visiting Paris one year, I ran for half a day at the Louvre on the first day and went to the Anthropology Museum designed by Nouvel the next day. As a result, I was immediately attracted by the exhibits inside (especially the exhibits in the Africa Pavilion). Compared with the collections in the Louvre, the Museum of Anthropology exhibits more primitive human objects. The "primitive" here does not refer to the age, but the state of human civilization shown by an object. If the human civilization displayed by the exhibits in the Louvre is a delicate, exquisite, and advanced counterpart, then the human civilization displayed by the exhibits in the Museum of Anthropology is a totem of life that is mysterious and terrifying, and beautiful to the bloody forest. In front of the latter exhibits, I did not feel the glory brought by the advanced civilization of the former. On the contrary, it made people feel that the human mind lost its wildness was not worthy of admiring the original monuments. Obviously, these memorials are part of the mighty nature, the dancing partners of ligers, beasts, and colourful birds. Maybe those primitive people don't have decent tools, but their exquisiteness in making an object has reached the pinnacle of material properties. I remember seeing a cloak woven with different bird feathers. I think the shows of various fashion brands cannot be compared with it. What I am talking about is not the cost, but the cognition of art (original People do not know "art" does not mean they do not understand). Under this stimulus, I will reflect violently, is the culture and art that have become the consensus of mankind really supreme? Why did I not feel this way in the Louvre, but seeing these primitives would shame our "civilized world"? Friends who can't go to the Museum of Anthropology to be "stimulated" can read this book I recommend. However, there are very few people who can feel such exaggerated stimulation like me, because we are not the same as those primitive people.

08

The vintage showroom / Vintage menswear

Douglas Gunn / Roy Luckett 

简介 

Description

The vintage showroom是英国伦敦的一家二手服装店，两位合伙人把店里的藏品集结成两本图册。

被 Karl Lagerfeld 誉为“灵感之地”，Vintage Showroom 是一个独特的男士复古服装系列，受到收藏家、时装设计师和造型师的推崇，他们出租其独特的单品作为新设计的来源。分为航空和赛车运动的四个章节。

“Vintage Showroom”由复古服装鉴赏家精心策划，收藏了大量 20 世纪的稀有作品，时装设计师和造型师会花钱观看，将单件服装的剪裁和细节作为自己作品的灵感来源。“The Vintage Showroom Menswear”提供独一无二的资源。本书收录了 130 件 20 世纪及更早欧洲、美国和亚洲实用剪裁和设计最具影响力的例子，分为运动服、军装和工作服三个部分，涵盖了从 1940 年代的飞行夹克和极地探险服到复古法国牛仔布。

The vintage showroom is a second-hand clothing store in London. Two partners assembled the collections in the store into two catalogs.

Praised by Karl Lagerfeld as "the place for inspiration", The Vintage Showroom is a unique collection of men's vintage clothing, revered by collectors, fashion designers, and stylists, who rent out its unique pieces as a source for new designs. split into four chapters of Aviation & Motorsports. Tailoring and Dress Uniforms, Utility & Denim, Sportswear & Weatherwear, The Vintage Showroom provides a unique overview of the best pieces from the collection. 

Curated by connoisseurs of vintage clothing, the "Vintage Showroom" is a vast collection of rare 20th-century pieces that fashion designers and stylists pay to view, using the cut and detailing of individual garments as inspiration for their own work. Offering one-of-a-kind access, "The Vintage Showroom Menswear" now makes this unique resource available in book form. Featuring 130 of the most influential examples of 20th-century and earlier European, American, and Asian utilitarian tailoring and design, the book is divided into three sections of sportswear, militaria, and workwear, covering everything from the 1940s flying jackets and polar exploration suits to vintage French denim.

推荐理由

Reason for Recommendation 

我前面说过，建筑师喜欢拿专业和自己的兴趣作比较，比如电影。我的观点是，它们首要的任务都是控制环境的氛围。现在我再作一种比较——建筑和服装。这里的服装并不是泛指的我们日常的衣着，而是特指的历史上因为特殊原因而产生的特别服装（比如军服）。它们往往异常结实、形态特殊，并且很稀有，留存下来不多，属于收藏品。我本人也是特殊历史服装的收藏者。这两本书基本上属于服装藏家们的指导手册，大家可以在里面浏览到大部分经典。衣服和建筑一样，无非是一堆材料的组合。都要考虑连接结实，并且要耐用、符合人体工学。很多藏品服装所使用的棉布密度比常规品高数倍，所以与这样的布料相连的其它材料、构件都和常规品有巨大的差异。这样的衣服褪色了、破个洞都会很生动，怎么能让建筑师不联想到建筑呢。

As I said earlier, architects like to compare their profession with their own interests, such as movies. My view is that their first task is to control the atmosphere of the environment. Now I will make another comparison-architecture and clothing. The clothing here does not refer to our daily clothes in general but refers to special clothing (such as military uniforms) produced for special reasons in history. They are often unusually strong, special in shape, and very rare. They are not much preserved and belong to collectables. I am also a collector of special historical costumes. These two books are basically instruction manuals for clothing collectors, and you can browse most of the classics in them. Clothes, like buildings, are nothing more than a combination of materials. The connection must be strong, durable, and ergonomic. The density of cotton used in many collections of clothing is several times higher than that of conventional products, so other materials and components connected to such fabrics are very different from conventional products. Such clothes will be very vivid if the colour is faded or a hole is broken. How can architects not think of architecture?