A8图书馆 | 设计师为A8推荐的8本书VOL35—白洋
A8 Library | 8 Books Recommended for A8 VOL 35: Bai Yang
Head of Baiyang Design Studio
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.
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.
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.
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.
Axel Vervoordt: Wabi Inspirations
Axel Vervoordt / Tatsuro Miki / Michael Paul
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.
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.
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.
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.
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.
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.
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.
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.
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.
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?