Ornament: The Politics of Architecture and Subjectivity
暫譯: 裝飾：建築與主體性的政治

Picon, Antoine

Ornament: The Politics of Architecture and Subjectivity
  • 出版商: Wiley
  • 出版日期: 2013-05-06
  • 售價: $1,640
  • 貴賓價: 9.5 折 $1,558
  • 語言: 英文
  • 頁數: 168
  • 裝訂: Quality Paper - also called trade paper
  • ISBN: 1119965950
  • ISBN-13: 9781119965954

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商品描述

Once condemned by Modernism and compared to a 'crime' by Adolf Loos, ornament has made a spectacular return in contemporary architecture. This is typified by the works of well-known architects such as Herzog & de Meuron, Sauerbruch Hutton, Farshid Moussavi Architecture and OMA. There is no doubt that these new ornamental tendencies are inseparable from innovations in computer technology. The proliferation of developments in design software has enabled architects to experiment afresh with texture, colour, pattern and topology.

Though inextricably linked with digital tools and culture, Antoine Picon argues that some significant traits in ornament persist from earlier Western architectural traditions. These he defines as the 'subjective' - the human interaction that ornament requires in both its production and its reception - and the political. Contrary to the message conveyed by the founding fathers of modern architecture, traditional ornament was not meant only for pleasure. It conveyed vital information about the designation of buildings as well as about the rank of their owners. As such, it participated in the expression of social values, hierarchies and order. By bringing previous traditions in ornament under scrutiny, Picon makes us question the political issues at stake in today's ornamental revival. What does it tell us about present-day culture? Why are we presently so fearful of meaning in architecture? Could it be that by steering so vehemently away from symbolism, contemporary architecture is evading any explicit contribution to collective values?

商品描述(中文翻譯)

一旦被現代主義譴責並被阿道夫·盧斯（Adolf Loos）比喻為「罪行」，裝飾在當代建築中驚人地回歸。這一現象以赫爾佐格與德梅隆（Herzog & de Meuron）、索爾布魯赫·哈頓（Sauerbruch Hutton）、法希德·穆薩維建築（Farshid Moussavi Architecture）和OMA等知名建築師的作品為典範。毫無疑問，這些新的裝飾趨勢與計算機技術的創新密不可分。設計軟體的迅速發展使建築師能夠重新嘗試質感、顏色、圖案和拓撲。

雖然與數位工具和文化密切相關，安托萬·皮孔（Antoine Picon）認為某些重要的裝飾特徵仍然源自早期西方建築傳統。他將這些特徵定義為「主觀的」——裝飾在其生產和接收中所需的人類互動——以及政治的。與現代建築創始人所傳達的訊息相反，傳統裝飾並不僅僅是為了愉悅。它傳達了有關建築用途以及其擁有者地位的重要信息。因此，它參與了社會價值、階層和秩序的表達。通過對以往裝飾傳統的深入檢視，皮孔使我們質疑當今裝飾復興中所涉及的政治議題。這告訴我們當代文化什麼？為什麼我們現在如此害怕建築中的意義？是否因為當代建築如此強烈地遠離象徵主義，以至於逃避對集體價值的任何明確貢獻？

作者簡介

Antoine Picon is the G Ware Travelstead Professor of the History of Architecture and Technology and Co-Director of Doctoral Programs at Harvard Graduate School of Design (GSD). He is also Director of Research at Ecole Nationale des Ponts et Chaussées, Paris. He has published numerous books and articles mostly dealing with the complementary histories of architecture, science and technology, among which are: French Architects and Engineers in the Age of Enlightenment (Cambridge University Press, 1992 and 2009), Claude Perrault (1613-1688) ou la curiosité d'un classique (Picard, 1988), L'Invention de l'Ingénieur Moderne, L'Ecole des Ponts et Chaussées 1747-1851 (Presses de l'Ecole Nationale des Ponts et Chaussées, 1992), La Ville Territoire des Cyborgs (L'Imprimeur, 1998), Les Saint-Simoniens: Raison, Imaginaire, et Utopie (Belin, 2002), and Digital Culture in Architecture: An Introduction for the Design Professions (Birkhäuser, 2010).

作者簡介(中文翻譯)

安托萬·皮孔是哈佛大學設計研究生院（GSD）建築與技術歷史的G Ware Travelstead教授及博士課程的共同主任。他同時也是巴黎國立橋樑與道路學院的研究主任。他出版了許多書籍和文章，主要探討建築、科學和技術的互補歷史，其中包括：啟蒙時代的法國建築師與工程師（劍橋大學出版社，1992年和2009年）、克勞德·佩羅 (1613-1688) 或一位古典主義者的好奇心（Picard，1988年）、現代工程師的發明，橋樑與道路學院1747-1851（國立橋樑與道路學院出版社，1992年）、賽博格的城市領域（L'Imprimeur，1998年）、聖西門派：理性、想像與烏托邦（Belin，2002年）以及建築中的數位文化：設計專業的入門（Birkhäuser，2010年）。

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