On the occasion of the 55th Anniversary of our Frank Lloyd Wright-designed building, a group of Instagramers explored the Guggenheim Museum before public hours at our first Instagram meetup#EmptyGuggenheim. Thanks to everyone who celebrated with us!http://gu.gg/D7Mjm
Frank Lloyd Wright knew his design for the Guggenheim was pushing architectural boundaries. Through his letters, we can follow his passionate argument for his genre-bending creation. On our blog, learn about Wright's thoughts on designing—and naming—the Guggenheim Museum: http://gu.gg/D70wf
建築之夢—Frank Lloyd Wright賴特著述精選
這本書交待了原文的主要出處， 不過不願意說明：根據那本書編輯而成。
很少附原文，句意不容易抓住。
 |
| ||||||||||||||||||||||||||||||||||||
| ■作者/譯者/編者．簡介： |
| 弗蘭克‧勞埃德‧賴特（Frank Lloyd Wright，1867—1959），舉世公認的20世紀偉大的建築師、藝術家和思想家，現代建築的 創始人，和勒‧柯布西耶、密斯‧凡‧德‧羅、格羅皮烏斯並列為世界四大建築師，被譽為是當代建築界的先驅之一。 可以毫不誇張地說，在他之後，美國還沒有別的建築師可以與他相比。路易士‧康、埃羅‧沙裏寧、凱文‧羅歇、貝聿銘、菲利 浦‧詹森都不能與他相比，即使上述這些人加在一起，他們在建築藝術上所具有的影響，也比不過賴特不尋常的七十二個年頭的建 築職業生涯所造成的巨大影響。 |
| ■內容簡介： |
| 建築之夢：弗蘭克‧勞埃德‧賴特著述精選》由弗蘭克‧勞埃德‧賴特編著。 有關弗蘭克‧勞埃德‧賴特的書籍浩如煙海，其中很多都是他所做文章和演講稿的選本——從作品全集，到有關某些主題的文集 和選集，前者讓人望而卻步，後者則關注範圍較窄，或者選材較泛。《建築之夢：弗蘭克‧勞埃德‧賴特著述精選》所選十五篇文章 來自賴特最有影響力、最發人深省、最具持久魅力——更不必說具有可讀性了——的著作，它們是賴特於1900年至20世紀30年代所寫 的文章，就像他當時的建築作品一樣，在歐洲和美國產生了巨大的反響，影響了現代運動的發展歷程。 賴特是20世紀建築界的浪漫主義者和田園詩人。他的草原風格成為20世紀美國住宅建築設計的基礎。他設計的作品以對本質的深 刻理解和以形式與細節的相互烘托為主旨。他看到自然界的結構存在著類似的關係，而將他的作品稱為“有機建築”。 他不同於歐洲的那三位建築大師——他們忽略空間的中心作用和人的參與欲望，而賴特則在空間中充分考慮到人的存在，考慮建 築與環境的有機結合。他提倡建築形式多樣化，較早地否定了風行世界的國際式方盒子建築形式，給後來的美國建築思潮和世界各國 的建築發展以深刻的藝術上的啟發。 目錄： 導言 一 為了建築 二 為了建築（二） 三 為了建築：東京新帝國飯店 四 機器的藝術和工藝 五 拉金公司行政新大樓 六 研究與已完成的建築 七 日本木刻版畫：一種詮釋 八 裝飾的道德標準 九 廣畝城市：一種新的社區規劃 十 美國住宅建築物體系 十一 美國風住宅 十二 國際風格 十三 路易士·沙利文 十四 建築師 十五 受獎演說 ***** Architecture & Design 1942 1960 It’s hardly surprising, of course, that six decades after his death, Wright (1867 – 1959) remains America’s, and perhaps the world’s, most recognizable architect. Aside from the unassailable brilliance of his creations (the breathtaking Fallingwater and the Guggenheim Museum alone would have assured his legend) and the almost unimaginably scandalous life he led (open infidelity; abandonment of his wife and six children; outrageous cost overruns on projects; public conflicts with his patrons),Wright himself was, physically and stylistically, a memorable man. With his white mane of hair and his consciously striking sartorial flair, he hardly sought to avoid attention. Wright was a genius, and like most geniuses, he wanted the world to notice him and his works. Here, on the anniversary of his landmark Guggenheim Museum in New York opening to the public for the very first time (Oct. 21, 1959), LIFE.com does just that — we pay attention to the man and celebrate some of his signature creations. For its part, LIFE magazine paid tribute to Wright and to his eye-popping 5th Avenue museum this way, in its Nov. 2, 1959, issue: Last week, six months after he died, the spirit of Frank Lloyd Wright came triumphantly to life again in New York City. The revolutionary art museum he designed for Solomon R. Guggenheim was finally opened to the public. While it was under construction, the museum was the constant butt of jokes. Its cylindrical exterior was likened to everything from a washing machine to a marshmallow. The inside of the new Guggenheim Museum proved to be far more sensational than the outside. To the visitors who streamed through, it seemed like the inside of a giant snail shell … The museum was greeted with a barrage of praise and protest. Architects hailed the “fantastic structure,” museum directors complained of the slanting floors and walls. An art critic called it “America’s most beautiful building,” a newspaper labeled it a ‘joyous monstrosity.” Everyone agreed on one thing — the building was definitely dizzying. This physical reaction would have pleased Wright who predicted, “When it is finished and you go into it, you will feel the building. You will feel it as a curving wave that never breaks.”A curving wave that never breaks. Coming from a man who was inspired by the myriad forms and shapes found in nature for much of his protean career, that simple statement is perfectly apt — and still, all these years later, somehow comfortingly true.
|
