2013年6月8日 星期六

The Poem of the Right Angle (Le Poeme de l'Angle Droit) by Le Corbusier /'the acrobat'

Le Corbusier - quotations and other writings - Reocities

'the acrobat'

"the acrobat is no puppet,
he devotes his life to activities,
in which, in perpetual danger of death,
he performs extraordinary movements of infinite difficulty,
with disciplined exactitude and precision...
free to break his neck and bones be crushed.

nobody asks him to do this.
nobody owes him any thanks.
he lives in an extraordinary world,
of the acrobat.
result: most certainly!
he does things which others can not."

poem as dictated by Balkrishna Doshi (a+u)

Balkrishna Doshi(b. Poona, India 1927)
Balkrishna Vithaldas Doshi was born in Poona, India in 1927. After he completed his studies at J. J. School of Art, Bombay in 1950 he became a senior designer on Le Corbusier's projects in Ahmedabad and Chandigarh. In 1956 he established a private practice in Vastu-Shilpa, Ahmedabad and in 1962 he established the Vastu-Shilpa Foundation for Environmental Design. He also founded and designed the School of Architecture and Planning in Ahmedabad. Doshi has worked in partnership as Stein, Doshi & Bhalla since 1977.
Over the years Doshi has created architecture that relies on a sensitive adoption and refinement of modern architecture within an Indian context. The relevancy of his environmental and urban concerns make him unique as both a thinker and teacher. Architectural scale and massing, as well as a clear sense of space and community mark most of his work. Doshi's architecture provides one of the most important models for modern Indian architecture.
Dennis Sharp. The Illustrated Encyclopedia of Architects and Architecture. New York: Quatro Publishing, 1991. ISBN 0-8230-2539-X. NA40.I45. p45.
Resources Sources on Balkrishna DoshiWilliam J R Curtis, Balkrishna Doshi. Balkrishna Doshi : An Architecture for India. New York, Rizzoli, 1988. ISBN 0-8478-0937-4. — Out of print, but you can request an open search for this book at Amazon.com
James Steele. Rethin

我還只是入門.還有許多不懂的地方.譬如說本文談到Modulor的圖  似乎在基金會的圖找不到.....

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Cover of the original work
The Poem of the Right Angle (Le Poeme de l'Angle Droit) is a series of 19 paintings and corresponding writings composed by the influential Swiss architect Le Corbusier. Aside from his seminal manifesto Toward an Architecture, The Poem of the Right Angle is considered to be his most lucid synthesis of personal maxims.[1]



The Poem of the Right Angle was composed over a period of seven years, from 1947-1953. The paintings are arranged symmetrically in seven rows, or "zones" and read across, in order, 5, 3, 5, 1, 3, 1, 1 such that the entire composition appears top-heavy and cross-like. Corbusier referred to this organization as an iconostase, or iconostasis. Each zone, lettered A-G, is assigned a title and corresponding color. Le Corbusier was very interested in classic themes of alchemy, and each piece, as well as the significance of its placement in the color-coded sets, draws from and illuminates the dialectic of opposites inherent in alchemical processes.[2]

A. Milieu (Environment-Green)

Green is the alchemical symbol of the primal matter of the universe. Le Corbusier uses this zone as a taxonomy of natural cycles.
A.1. Representative of the cyclical nature of the sun
...the two rhythms
which regulate our destiny:
A sun rises
A sun sets
A sun rises again
A.2. Representative of the water cycle, an important part of alchemy and "a matrix for a dualistic universal confrontation."[3]
      The level establishes where
      stops the descent of the wates
      to the sea
      the sea daughter of droplets
      and mother of vapors. And
      the horizontal defines
      the liquid content.
A.3. Introduces earth symbol, cardinal symbols, and man as procreator. It also is the first passage that directly references the right angle, here as a symbol of life, living and "uprightness".
      Upright on the terrestrial plateau
      of things perceptible to you
      contract with nature a pact of solidarity: it is the right angle
              Upright in front of the sea vertical
      there you are on your legs.
A.4. Uses figure-ground and heavy contrast to remark on the role of chaos in the divide between the conscious and unconscious
      The law of the meander is
      active in the thoughts and
      enterprises of men forming their
      ever renewing avatars
             But the trajectory gushes out
      from the mind and is projected by
      the clairvoyants beyond
A.5. Very similar to the actual cover of the work, it is split down the middle and the clasped hands signal contradiction and reconciliation of opposites, which Corbusier stated were the only ways to ensure human survival. In a similar painting, the clasped hands symbolize the architect and the engineer working together.
      I have thoughts that two hands
      and their interlocking fingers
      express this right and
      this left unrelentingly
      unified and so necessary
      to reconciliation.
             The only possibility of survival
      offered to life

B. Esprit (Spirit-Blue)

This zone represents the links between nature, architecture and the cosmos.
B.2. "Le Modulor" - Corbusier's Modular Man, an iconic illustration of proportion, is juxtaposed with a shell, which Corbusier regarded as an archetypal female form. The shell form also embodies the same proportional values as the Modulor, based on the Golden section.
      Its value is in
      this: the human body
      chosen as admissible
      support of numbers...
      .....Here is proportion!
B.3. This is an overty architectural frame. Floorplates and a foundation are clearly depicted, and an owl, a classic symbol of wisdom, is clearly visible in the foundation.
      Cleared of obstacles better
      that before the house of
      men mistress of his form
      takes up her abode in nature
             Complete in herself
      making her case on all grounds
      open to the four horizons
B.4. Another architectural frame which illuminates the concept of the brise soleil through the sun above and the "secret world" below.
      The clock and the solar
      calendar brought to
      architecture the "brise-soleil"
      installed in front of the windows of
      modern buildings

C. Chair (Flesh-Violet)

Corbusier's tribute to the flesh consists of more complicated figures representing the animal world and all of its creative capacities.
      Some oxen of burden pass
      every day in front of my window.
      Because of being designed and redesigned
      the ox - of pebble and of root
      becomes bull.
      They are innumerable who
      sleep but others know
      to open the eye.
             Because the profound refuge is
      in the great cavern of
      sleep that other side of
      life in the night.
C.3. This is the centerpiece of the iconostase, which Corbusier dedicated to his wife.
      Shell the Sea has not ceased
      to throw us the wreckage of
      smiling harmony on the shores.
             Hand kneads hand caresses
      hand glides. The hand and the
      sea love one another.
C.4. The center line is quite overt, which may indicate that the image can also be undestood when turned 90°, a practice Le Corbusier was fond of.
      They are but
      half, giving to
      life only one half
             And the second part comes
      to them and fuses
      And good or bad comes to them
      the two
             who met!
C.5. The image of a woman's body with a unicorn's head is a motif that is also seen in the mural of Le Corbusier's Swiss Pavilion at the Paris University Campus (C.I.U.P.), as are 3 other plates from the Poeme.
      The galley sails
      The voices singing on board
      As all becomes strange
      and is transposed
      is transported high
      and is reflected on
      the plan of happiness

D. Fusion (Red)

      Do not overwhelm then he
      who wants to take his part of the
      risks of life - Let
      the metals fuse
      tolerate the alchemists who
      besides leave you outside
      the cause

E. Caractère (Character-Clear)

The ascription of the "clear" color frames this zone, which represents light and will reborn in man.
E.2. The complex image of many women and a horse is achieved through phenomenal transparency and separation of color from line.
      The amazons are ready
      to leave to go to come back and
             to leave again and
      to fight combat always
      The amazons are young
      they do not grow old.
E.3. This is the most reproduced image from the series. The motif of the clasped hands seen in A.5. is repeated, along with a crescent face, indicative of the moon.
      right angle of the character
      of the spirit of the heart.
      I mirrored myself in this character
        and found myself
          found at home
      Horizontal vision in front.
E.4. This image recalls some of Le Corbusier's paintings from the 1930s. It is orthogonal, architectural and labyrinthine.
      Will appear I sense it
      the splendor of brut concrete
      and the grandeur which it will
      have had to think the marriage
      of lines
             to weight the forms
             To weight...

F. Offre (Offering-Yellow)

F.3. The symbol of the open hand appears as an "offering", and the interior lines and contours reveal traits and hidden characteristics.
      It is open since
      all is present available
      Open to receive
      Open also in order that each
      comes there to take

G. Outil (Tool-Purple)

E.3. The presentation of a "tool" is an analogy to the Philosopher's stone, both the solution and the question, thus establishing the cyclical nature of the work.
      one has
      with a piece of coal
      traced the right angle
             the sign
      It is the response and the guide
             the fact
             a response
             a choice

External links


  1. ^ Le Poeme de l'Angle Droit. Le Corbusier. Tokyo: GA Gallery, c1984.
  2. ^ Moore, Richard A. Alchemical and Mythical Themes in the Poem of the Right Angle. Oppositions (Winter 1980): 110-141. Cambridge : MIT Press for The Institute for Architecture and Urban Studies, 1980.
  3. ^ Moore 117

2013年6月5日 星期三

參觀旅行的教育--以建築師的成長經歷個案為主:Journey to the East by Le Corbusier等等。,《‧》:


 2013年5月受到 賴怡成Ih-Cheng Lai 相簿「 Great Buildings and I 」的提士。我寫兩則補充**


我問YY留學日本 的"見學記" : 桂離宮等是自己申請 ,匆忙從東京趕去京都 (須預約。通常外國人才較可能參訪)。
C. Alexander 的盈進學園則是老師帶去的。

各種Grand Tour
哥德的 義大利遊記

  周遊列國: 皮相 vs. 胸襟恢廓

下午   往聽一人演說: 此人自言曾周遊列國. 其言亞洲日本中國印度三國風俗 毫無真知灼見.徒皮相耳.
與菲島友人Locsin往訪此間最大寫真館主人Robinson君. 其人曾旅行歐洲 胸襟極恢廓 藹然可親 坐甚久始歸.


讀日記: 譬如說 Paul Klee的.很難從他的日記看出為來的作品.
19世紀最偉大的日記 AMIEL'S JOURNAL.

GENEVA, April 20, 1849.—It is six years [Footnote: Amiel left Geneva for Paris and Berlin in April, 1848, the preceding year, 1841-42, having been spent in Italy and Sicily.] to-day since I last left Geneva. How many journeys, how many impressions, observations, thoughts, how many forms of men and things have since then passed before me and in me! The last seven years have been the most important of my life: they have been the novitiate of my intelligence, the initiation of my being into being.


 趙辰《"立面"的誤會:建築‧理論‧歷史》北京:三聯,2007,頁62-3 ,出自《中國建築學術的先行者林徽因》,頁46-83

.......在她的 《昆明即景‧小樓》中,有這樣的文字
夕陽染紅它 ,如寫下古遠的夢。
 ......這段的前一句原來為:"那上七下八臨街的矮樓",而這正是昆明當地沿街常有的矮樓民居,底層高八尺,二樓高七尺。筆者每每在昆明老街巷裡見到這類典型民居矮樓就會聯想到林的詩句,並為之感悟"民居"在''人'的尺度上對這位前輩的觸動,應該是意義十分深刻的。就如當年柯布西埃 (Le Corbusier 1887-1965)在他的"東方之旅"中從希臘土耳其民居中 得到對現代建築模度(Module)的靈感,實在是十分類似的。......

根據1980版的The Modulor 1 and 2 ,土耳其之旅的簡單介紹,在Modulor 1 的頁197-99。實際上作者說他的1911?年的量測不夠細心。

Modulor Le Corbusier的造字,融合法文寸法/模組”(Module)和黃金分割(Section d'or)兩字而成


Le Corbusier, Le Modulor, essai sur une mesure harmonique à l'échelle humaine applicable universellement à l'Architecture et à la mécanique, Éditions de l'Architecture d'Aujourd'hui, coll. Ascoral, 1949, rééd. 1983 (ISBN 978-2-90483301-4)
Le Corbusier published Le Modulor in 1948, followed by Modulor 2 in 1955. These works were first published in English as The Modulor in 1954 and Modulor 2 (Let the User Speak Next) in 1958.
ル・コルビュジエ 『モデュロール (1.2)』 吉阪隆正訳、SD選書鹿島出版会、初版1978
1980年哈佛大學出版社出版兩本書之合訂本 (580) : The Modulor 1 and 2
The 2004 reprinted box set including both books was printed in a square format using the Modulor with the series twenty seven to one hundred and forty reduced in size to one tenth.[16]

*****Later in 1911, he journeyed to the Balkans and visited Bulgaria, Greece, and Turkey, filling nearly 80 sketchbooks with renderings of what he saw—including many sketches of the Parthenon, whose forms he would later praise in his work Vers une architecture (1923) ("Towards an Architecture", but usually translated into English as "Towards a New Architecture").

1966: Le Voyage d'Orient (Journey to the East /The Voyage to the East)

勒•柯布西耶(1887-1965年),20世紀最杰出的建築大師,同時也是優秀的畫家、城市 規劃專家和作家。他豐富多變的建築作品和激情睿智的建築哲學深刻地影響了現代城市的面貌和人們的生活方式。代表作有︰薩伏伊別墅(1928-1930 年)、馬賽公寓(1946-1952年)和朗香教堂(1950-1953年)等。集中體現他的建築思想的著作是《走向新建築》(1923年)。"

《東方游記》 [法] 勒•柯布西耶 著 管筱明 譯 上海世紀出版集團2007年1月出版 定價20.00元

這是柯布西耶的第一本書 ,也是他逝世前要求再版的最後一本書(錯誤--- 本書死後才初版)。柯布西耶偉大的藝術征程就從這里開始。體現在他建築設計中的東方元素,對人與自然和諧關系的強調,以及對建築象征性的理解,都可以從本書找到最初的原點。

Swiss-born architect, urban planner, sculptor, painter, and writer Le Corbusier (1887-1965), 原名Charles-Édouard Jeanneret 生前2月將他24歲的關鍵半年之旅遊筆記等交印。1987年美國學者編注翻譯出版,被譽為是Le Corbusier(這是他1920年採取的筆名)百年慶最有洞識力之作品:內容遠比法文本豐富得多: Journey to the East by Le Corbusier, Edited by Iv...
2年前中國出版從法文本翻譯之中文本。不料,出版單位可能完全不知道有好一級的翻譯本(圖數量可能是兩倍;最重要的是校與注),所以錯誤不少(譬如說重要的「聖山」一章:把登山關卡地翻譯成「鎮」 (設鎮應是數十年之後);無法確實指作者引Pisa某修道院的諾亞醉酒之璧畫…….)。
a letter to friends 近結尾;「….記得在伊斯法罕城見過一幅大壁畫,那是以前從盧浮宮學來的玩藝。畫面上,一些嬌小的女人穿著藍底黃點…….你知道這幅壁畫讓我多興奮呀!……
hc評:作者沒去過伊朗的Isfahan,他指的是他在巴黎臨摹 Mural panel: relaxation in a garden 的記憶 ….mural
*再一"極可能的"錯誤例:在The Danube 一章談到作者對於現代技術的辯護(中文pp. 34-5)。我們拜internet之幫忙,可以一睹Eiffel Bridge(Eiffel Bridge Wikipedia, the Free Encyclopedia) bouquet, girder

*紀念:Le Corbusier and the Tragic View of Architecture。(王錦堂譯)。台北:臺隆書店。

Journey to the East

Le Corbusier
Edited by Ivan Zaknic
Translated by Ivan Zaknic
Preface by Ivan Zaknic

This is the legendary travel diary that the twenty-four-year-old Charles-Édouard Jeanneret (Le Corbusier) kept during his formative journey through Southern, Central, and Eastern Europe in 1911. In a flood of highly personal impressions and visual notations, it records his first contact with the vernacular architecture that would preoccupy him for the rest of his life and his first sight of the monuments he most admired: the mosque complexes, the Acropolis, and the Parthenon. Le Corbusier himself suppressed publication of this book during his lifetime; after his death, the text was released as "an unprefaced last confession."

Journey to the East can be read as a bildungsroman by a young author who would go on to become one of the greatest architects of the twentieth century. It is very much a story of awakening and a voyage of discoveries, recording a seven-month journey that took Le Corbusier from Berlin through Vienna, Budapest, Bucharest, Istanbul, Athos, Athens, Naples, and Rome, among other places. Le Corbusier considered this journey the most significant of his life; the compulsion he felt to record images and impressions established a practice he would continue for the rest of his career. For the next five decades, he would fill notebooks with ideas and sketches; he never stopped deriving inspiration from the memories of his first contact with the East, making this volume as much a historical document as a personal confession and diary. Ivan Zaknic's highly regarded translation was first published by The MIT Press in 1987 but has been unavailable for many years.
Journey to the East by Le Corbusier, Edited by Iv...

Journey to the East by Le Corbusier, Edited by Ivan Zaknic《東方游記》

Le Corbusier 1911年只帶本旅遊手冊和照相機(他認為只是參考用的.遠不如素描和量測重要. 
Planning your summer travels? Explore these destinations before you go! (OUP)

A Cultural History

The Danube
A Cultural History


The Poem of the Right Angle (Le Poeme de l'Angle Droit) by Le Corbusier The Poem of the Right Angle (Le Poeme de l'Angle D...

這本詩集及連結圖片很值得我們"參"讀。 我還只是入門,還有許多不懂的地方。譬如說,本文談到Modulor的圖,似乎在基金會的圖找不到.....


Herbert Simon的遊法以及他的建築/都市計畫學習


朱子論禪家的方法 (胡適 1952 未完稿 ? )
…… 聖賢說話,許多道理平鋪在那裡,且要闊著心胸,平去看,通透後自能應變。不是硬捉定一物,便要討常,便要討變。

今也有如僧家行腳,接四方之賢士,察四方之事情,覽山川之形勢,觀古今之興亡、治亂、得失之跡,這道理方見得周 “士而懷居,不足以為士矣。”不是塊然守定這物事,在一室關門獨坐便了,便可以為聖賢。自古無不曉事情底聖賢,亦無不通變底聖賢,亦無關門獨坐底聖賢。 ……
   …… 下學只是放闊去做。局促在一隅,便窄狹了。須出四方遊學一遍,這朋友處相聚三兩月日看如何,又那朋友處相聚三兩月日看如何。

安卿,須是友天下之善士為未足,又尚論古之人,須是開闊,方始展拓。 ……


先生餞席,酒五行,中筵親酌一杯勸李丈(堯卿李唐咨)云,相聚不過如此,退去反而求之。次一杯與,曰,安卿更須出來行一遭。村里坐不覺壞了人。昔陳了翁說,一人棋甚高,或邀之入京參國手。日久在側,並無所教,但使之隨行攜棋局而已。或人詰其故。國手曰,彼棋已精,其高著已盡識之矣。但低著未曾識。教之隨行,亦要都經歷一過。 (以上摘抄陳淳錄,己未,1199,冬,在考亭問病時所記,《語類》百十七,一七——二八)



禪宗在中國:它的歷史和方法 (胡適 1953):

那 些說禪的方法是非理性的,是神秘的,因此也是“絕對超越吾人理解限域”的指評者,對於此一行腳階段——從這一山到那一山、從這一派到那一派、從這一師到那 一師,到處訪師參學的重大教育價值,都未能夠得到適當的了解。許多著名的禪師,都曾化過十年、二十年、及至三十年的時光,行腳到許多大師的會下參學請益 過。

“…… 今 也須如僧家行腳,接天下之賢士,察四方之事情,覽山州之形勢,觀古今興亡、治亂、得失之跡,這道理方見得周遍。士而懷居,不足以為士矣;不是塊然守定這物 事,在一室閉門猛坐便了,便可以為聖為賢。自古無不曉事的聖賢,亦無不通變的聖賢,亦無關門獨坐的聖賢。聖賢無所不通,無所不能,那個事理會不得?……”

他 見到了世面,遇到了各種各樣的人。他在當代許多偉人門下參叩,學習發問,發生大疑。他與同學討論問題,交換意見。就這們,他的經驗日見廣闊,理解日見加 深。然後,某天,當他偶然聽一個女工的閒聊,或聽到一個舞女的艷歌,或聞到一朵無名小花幽香時——是時,他便恍然大悟了!多麼真實! “佛真像一個矢橛!” “佛就是麻三斤!”現在一切瞭如指掌了。 “桶底已經脫落”,奇蹟終於發生了!


**Ih-Cheng Lai 新增 8 張相片到相簿「 Great Buildings and I 」。

Outer Peristyle, The J. Paul Getty Museum at the Getty Villa 等處我還沒去過. 漢寶德先生寫過. 他們對該區的建設出版過書:Making Architecture: The Getty Center http://hccart.blogspot.tw/2013/03/making-architecture-getty-center.html

2013年6月1日 星期六

Serpentine Gallery, London/Serpentine Gallery Pavilion (Toyo Ito in 2002)

Serpentine Gallery Pavilion (Toyo Ito in 2002) 參考

英國倫敦肯辛頓公園Serpentine Gallery內的涼亭Serpentine Gallery Pavilion就獨樹一格,在涼亭設計上搞搞新意思。


Serpentine Gallery Pavilion既是涼亭,更是一件藝術品。每年夏天,Serpentine Gallery也會搭建臨時建築Serpentine Gallery Pavilion,作為派對、展覽或演講等活動的場地。歷屆作品均出自建築名師之手,包括曾奪得建築界榮譽普立茲克獎(Pritzker Architecture Prize)的Frank Gehry、Zaha Hadid、Oscar Niemeyer及Rem Koolhaas。


2009 年則由日本建築師妹島和世(Kazuyo Sejima)與西澤立衛(Ryue Nishizawa)設計,以鏡面拋光的鋁片製成天花。設計不設牆壁,只以條條細長不鏽鋼柱撐起整座涼亭,使環境顯得開揚。從高處看,涼亭像倒瀉的一攤 ,又或是灰銀色的雲層,穿插於周邊的樹林間。亭內天花如鏡,能反射地面景致,給予觀眾視覺新鮮感。Pavilion將於3個月後拆卸,要一睹大師作品, 就要在10月中前往倫敦了。

■Serpentine Gallery Pavilion

地址﹕Serpentine Gallery, Kensington Gardens, London W2 3XA

電話﹕+44(0)20 7402 6075


Rosemarie Trockel: A Cosmos
13 February - 7 April 2013

Rosemarie Trockel: A Cosmos 13 February - 7 April 2013 Rosemarie Trockel (born in 1952 in Schwerte, Germany) has long been admired for her highly independent and influential practice. In A Cosmos she places her work in the company of others to explore varying disciplines. Central to the exhibition are a number of core works, including new works never seen before in the UK, by Trockel, and arranged around these in a constellation according to type and theme are artefacts, both natural and human.

18-21 April 2013

Ultra-red RE:ASSEMBLY 18-21 April 2013 The Serpentine Gallery's Edgware Road Project presents RE:ASSEMBLY, an exhibition by sound art collective Ultra-red with students and teachers from St Marylebone Church of England School in London.


Sound Series
Dominic Eichler
An introduction to the exhibition Rosemarie Trockel: A Cosmos

Sound Series Dominic Eichler An introduction to the exhibition Rosemarie Trockel: A Cosmos Berlin-based writer and musician Dominic Eichler has written a free, downloadable, audio introduction for Rosemarie Trockel: A Cosmos. Recorded in the style of a radio play for four female voices, this audio work reflects upon the exhibition in the context of Trockel's wider oeuvre, while also discussing several of the objects and artworks in the Serpentine Gallery show. This audio introduction is designed to be enjoyed on visitors' own mobile devices whilst in the Gallery or at home.

Future Plans

The Serpentine Sackler Gallery:
A New Cultural Destination for London

Magazine_press_page _image_175.jpg In 2013, the Serpentine Gallery will open its new space, the Serpentine Sackler Gallery. Commissioning new works, public engagement and cultural learning will be at the heart of its programmes, which will include an annual large-scale light installation inside the building and an outdoor Playscape for children and adults of all ages. Like the Serpentine Gallery, it will be free of charge and accessible to all.

Outdoor Commission

Rock on Top of Another Rock
8 March 2013 - 6 March 2014

Fischli.jpg The Serpentine Gallery, in collaboration with The Royal Parks and Modus Operandi, is proud to present Rock on Top of Another Rock (2010/13) by Swiss artists Fischli/Weiss. The first public sculpture by the artists to be commissioned in the UK, the work, situated near the entrance to the Serpentine Gallery, comprises two large granite boulders seemingly balanced one on top of the other

Talks and events

Rock on Top of Another Rock: An Evening with Peter Fischli
Tuesday 2 April 2013

Rock on Top of Another Rock: An Evening with Peter Fischli Tuesday 2 April 2013 The Serpentine Gallery presents a talk dedicated to the Fischli/Weiss installation in Kensington Gardens, Rock on Top of Another Rock. This event, programmed in consultation with Peter Fischli, will explore the fascinating history of stones and rocks in art. Precariousness, stability and a sense of the absurd, evoked by Fishli/Weiss's monumental sculpture at the Serpentine Gallery, will be discussed, offering a unique insight into the project and the artists' wider practice.


Sou Fujimoto to design Serpentine Gallery Pavilion 2013

Sou Fujimoto to design Serpentine Gallery Pavilion 2013 The Serpentine Gallery Pavilion 2013 will be designed by multi awardwinning Japanese architect Sou Fujimoto. Occupying some 350 square-metres of lawn in front of the Serpentine Gallery, Sou Fujimoto's delicate, latticed structure of 20mm steel poles will have a lightweight and semi-transparent appearance that will allow it to blend, cloud-like, into the landscape and against the classical backdrop of the Gallery's colonnaded East wing.

Limited Editions

Limited Editions by Rosemarie Trockel

Limited Editions by Rosemarie Trockel Rosemarie Trockel (b.1952, Germany) has long been admired for her highly independent and influential practice. In A Cosmos she places her work in the company of others to explore varying disciplines. For over thirty years, Trockel has resisted any identifiable stylistic signature. Installations involving animals, wool paintings, films, videos, ceramics, drawings and collages, plus a panoply of sculptures in myriad materials, are among the extraordinarily varied forms that comprise her work.


Watch the Memory Marathon on The Space

memory_marathon_the_space-175.jpg This October, internationally renowned artists, writers, historians, musicians, film-makers, neuroscientists and a scent expert came together for the Serpentine Gallery Memory Marathon, the seventh annual festival of ideas inspired by the annual Pavilion commission. On Saturday, eleven hours of performances, discussions and presentations were streamed live on The Space, and selected highlights are now available to watch on demand, including David Lynch, John Berger, Michael Stipe and Douglas Coupland.



ser • pen • tine
sə'ːrpəntìːn | -tàin
1 (形・動きなどが)蛇の(ような).
2 曲がりくねった, 蛇行(だこう)した
a serpentine road
serpentine handwriting
3 陰険な, 狡猾(こうかつ)な.
1 [U]蛇紋(じゃもん)石.
2 ((the S-))サーペンタイン池:LondonのHyde ParkとKensington Gardensにまたがる.
3 (スケートで)S字曲線.
━━[動](自)うねうね曲がる, くねくね動く, 蛇行する.

130201exterior--FINAL press page 365.jpg
Serpentine Gallery Pavilion 2013
Designed by Sou Fujimoto
Indicative CGI
© Sou Fujimoto Architects

130204_interior--FINAL press page 365.jpg

Serpentine Gallery Pavilion 2013
Designed by Sou Fujimoto
Indicative CGI
© Sou Fujimoto Architects

33 Tokyo Apt Fujimoto 4034 press page 365.jpg

'Tokyo Apartment'
Designed by Sou Fujimoto Architects
© Iwan Baan

Sou Fujimoto to design Serpentine Gallery Pavilion 2013

The Serpentine Gallery Pavilion 2013 will be designed by multi award-winning Japanese architect Sou Fujimoto.

He is the thirteenth and, at 41, youngest architect to accept the invitation to design a temporary structure for the Serpentine Gallery. The most ambitious architectural programme of its kind worldwide, the Serpentine's annual Pavilion commission is one of the most anticipated announcements on the cultural calendar. Past Pavilions have included designs by Herzog & de Meuron and Ai Weiwei (2012), Frank Gehry (2008), the late Oscar Niemeyer (2003) and Zaha Hadid, who designed the inaugural structure in 2000.

Widely acknowledged as one of the most important architects coming to prominence worldwide, Sou Fujimoto is the leading light of an exciting generation of artists who are re-inventing our relationship with the built environment. Inspired by organic structures, such as the forest, the nest and the cave, Fujimoto's signature buildings inhabit a space between nature and artificiality. Fujimoto has completed the majority of his buildings in Japan, with commissions ranging from the domestic, such as Final Wooden House, T House and House N, to the institutional, such as the Musashino Art Museum and Library at Musashino Art University.

Occupying some 350 square-metres of lawn in front of the Serpentine Gallery, Sou Fujimoto's delicate, latticed structure of 20mm steel poles will have a lightweight and semi-transparent appearance that will allow it to blend, cloud-like, into the landscape and against the classical backdrop of the Gallery's colonnaded East wing. Designed as a flexible, multi-purpose social space - with a café sited inside - visitors will be encouraged to enter and interact with the Pavilion in different ways throughout its four-month tenure in London's Kensington Gardens.

Julia Peyton-Jones, Director, and Hans Ulrich Obrist, Co-Director, Serpentine Gallery, said:

"We are thrilled to be working with one of the most fascinating architects in the world today. A visionary, who has conceived an extraordinary response to our invitation to design the Serpentine Gallery Pavilion, Sou Fujimoto has designed a structure that will enthral everyone that encounters it throughout the summer."

Describing his design concept, Sou Fujimoto said:

"For the 2013 Pavilion I propose an architectural landscape: a transparent terrain that encourages people to interact with and explore the site in diverse ways. Within the pastoral context of Kensington Gardens, I envisage the vivid greenery of the surrounding plant life woven together with a constructed geometry. A new form of environment will be created, where the natural and the man-made merge; not solely architectural nor solely natural, but a unique meeting of the two.

The Pavilion will be a delicate, three-dimensional structure, each unit of which will be composed of fine steel bars. It will form a semi-transparent, irregular ring, simultaneously protecting visitors from the elements while allowing them to remain part of the landscape. The overall footprint will be 350 square-metres and the Pavilion will have two entrances. A series of stepped terraces will provide seating areas that will allow the Pavilion to be used as a flexible, multi-purpose social space.

The delicate quality of the structure, enhanced by its semi-transparency, will create a geometric, cloud-like form, as if it were mist rising from the undulations of the park. From certain vantage points, the Pavilion will appear to merge with the classical structure of the Serpentine Gallery, with visitors suspended in space."

Fujimoto is the third Japanese architect to accept the invitation to design the Serpentine Gallery Pavilion, following Toyo Ito in 2002 and Kazuyo Sejima & Ryue Nishizawa of SANAA in 2009