具体描述
Shigeru Ban lives and works in Tokyo, where he teaches architecture at Keio University. The current scope of his practice - houses, museums, pavilions, and other public projects on several continents - belies a relatively quiet early career in Tokyo. Following studies at the Southern California Institute of Architecture (SCI-ARC) and graduation from The Cooper Union in New York, he established his own firm in Toyko in 1985. During next decade, Ban built a following in Japan by designing dozens of unique small houses, exhibitions, and other projects using alternative, environmentally friendly materials: paper, wood, bamboo, and prefabricated paper products. Following the 1995 earthquake in Kobe, Japan, Ban responded by designing emergency temporary housing he calls Paper Log Houses, made out of paper logs, waterproof sponge tape, and beer crates that could be assembled in a matter of hours by volunteers and provided shelter for hundreds of displaced residents. Following on the success of this project, from 1995 to 2000 Ban was a consultant to the United Nations High Commission for Refugees, advising on temporary housing for displaced populations in Rwanda, Turkey, and India. He established the Voluntary Architects' Network (VAN) in 1995, an organization that continues to promote such humanitarian assistance by architects. Ban has won several awards, including the Kansai Architect Grand Prize in 1996, and Best Young Architect of the Year from the Japan Institute of Architecture in 1997. Ban's notoriety began to spread rapidly beyond Japan when he was included in the Museum of Modern Art's "Un-Private House" exhibition in 1999 with his Curtain Wall House in Tokyo, a glass-and-steel house where privacy is controlled by means of monumental, two-story-high curtains along two glass facades that can be opened or closed. The following year Ban designed his first museum project in the United States, also at MoMA: "Paper Arch," an installation of cardboard tubes in a canopy over the museum's sculpture garden. Also in 2000, he collaborated with German architect Frei Otto to design the Japan Pavilion at Expo 2000 in Hannover, a recyclable, organic-shaped structure of paper stretched over a paper tube armature. The modest names Ban gives to his projects - Paper Church, Library of a Poet, Bamboo Furniture House, Naked House - express his lack of pretense and his focus on materials and structure rather than form for form's sake. This book features 32 of Ban's most exemplary projects of the past 10 years, divided into 5 sections based on the primary materials or construction principle used: Paper, Wood, Bamboo, Prefabrication, and Skin. Each project is documented with color photographs, plans, drawings, and a brief, straightforward project description. In addition, the book contains four sections of "experimental data," or technical information, printed in red and black on gray tinted paper. These sections gather diagrams, tables, sketches, and explanatory text to document the numerous tests that Ban's office has made over the years to study the strength, performance, and structural potential of his materials. A foreword by the distinguished German architect Frei Otto, with whom Ban has collaborated for several years, introduces the book. Also included is an essay by Shigeru Ban about his work with Otto on the Japan Pavilion.
作者简介
目录信息
读后感
用户评价
这本书的装帧设计简直是一场视觉的盛宴，纸张的选择触感温润，与其中呈现的那些临时性建筑的粗粝感形成了奇妙的张力。当我翻开扉页时，首先映入眼帘的是一组极其精细的建筑草图，那种手绘的痕迹，仿佛能让我感受到设计者在构思空间时的每一次犹豫与果决。它不仅仅是记录了一系列工程案例，更像是一本关于材料哲学与空间诗学的随笔集。尤其是关于如何利用回收的纸管构建出既坚固又富有呼吸感的结构，那部分的文字描述，细腻到仿佛能闻到木浆和阳光混合的气味。作者对光影的捕捉尤为独到，照片的选取大多是在非正午时段，光线被柔和地引入室内，那些临时避难所里的彩色玻璃纸片，在平凡的材料上创造出了教堂般的圣洁感。整体来看，这本书传递出一种强烈的信念：伟大的建筑不一定需要昂贵的永恒材料，而在于其对人类需求的深刻回应和对环境的谦卑态度。阅读它，就像完成了一次对当代建筑伦理的深度朝圣之旅，让人忍不住想立刻拿起工具，去尝试用最简单的材料搭建一个庇护所。
评分这本书的阅读体验是极其矛盾而又引人入胜的。一方面，它记录的工作往往是与时间赛跑的紧急干预，文字充满了紧迫感和现场的混乱；另一方面，最终呈现出来的成品却又是如此的宁静、有序，带着一种近乎冥想的简约。我特别喜欢作者在描述那些搭建过程中的小插曲，比如某个志愿者团队的争执，或者某个搭建环节的意外突破，这些细节让冰冷的建筑实践充满了人情味。它没有美化灾难，而是将建筑师的角色置于一个更为谦卑的“服务者”和“协调者”的位置上。与其他建筑大师的自传不同，这本书几乎没有提到个人抱负或艺术追求，所有的焦点都集中在“需求”和“解决方案”上。这种极度的聚焦，反而让读者的注意力更纯粹地集中在建筑行为本身的力量上。读完后，我感觉自己对“实用性”这个词的理解深度提升了好几个层次，它不再仅仅是满足基本功能，更关乎尊严和心理的抚慰。
评分这本书的排版和字体选择有一种非常强烈的复古气息，仿佛是早期科学考察报告的影印版，这与其中探讨的前沿、创新的建筑技术形成了有趣的对比。最让我感到震撼的是那些关于声音和空气流动的描述。作者没有仅仅满足于视觉记录，而是花费大量笔墨去描绘这些临时结构内部的声学环境——纸管的吸音特性如何有效地将外部的嘈杂隔绝，使得居住者能够在混乱的环境中获得片刻的安宁。在讨论到某个为艺术家建立的工作室时，描述了自然光线如何被导向画布，那种对光线质量的精确控制，简直让人叹为观止，丝毫看不出这是用最基础的材料搭建的。这本书成功地将“可持续性”从一个环境口号，提升为一种深刻的美学追求和技术挑战。它展现了建筑师如何通过对基本物理规律的精确掌控，在最受限的条件下，创造出超越材料本身的、具有精神价值的空间。阅读它，就像是上了一堂关于如何在“少”中实现“多”的哲学课。
评分从学术角度深挖，这本书简直是为研究生设计理论课程准备的绝佳案例教材。它挑战了西方现代主义建筑中对“永恒性”和“纪念碑性”的执念，提出了一个极具颠覆性的“易逝性美学”。作者在分析具体项目时，大量引入了日本传统美学中的“侘寂”观念，将材料的自然磨损和最终的回归大地视为设计过程的有机组成部分，而非失败的标志。书中有一章专门探讨了如何利用当地的废弃物作为模具，这种对“零浪费”理念的实践，远比当代许多空谈环保口号的建筑师要来得彻底和真诚。文中的图示分析非常专业，不仅有结构受力图，还配有热工学模拟的简图，说明了这些“临时”结构在气候适应性上的优越性。对我来说，这本书最大的启发在于，它提供了一个完整的理论框架，用以论证“临时性”本身也可以成为一种高级的设计策略，而非权宜之计。这彻底颠覆了我对结构稳定性和建筑意义的传统认知。
评分这本书的叙事节奏把握得相当高明，它没有采用时间线或地域性的刻板分类，而是以“危机”和“重建”这两条看不见的暗线贯穿始终。开篇的几页，我差点以为自己在读一本关于灾难社会学的报告，文字冷静、克制，但字里行间蕴含着对生命力的巨大敬畏。特别令我印象深刻的是，作者对每一次选址和材料获取过程的描述，简直就是一场精彩的资源博弈论。他如何与当地的社区领袖沟通，如何说服固执的承包商接受非传统的结构，这些幕后的“软工程”比最终的建筑本身更引人入胜。在讲述某个地震后的安置点时，作者引用了当地一位老奶奶的话——“这房子虽然是纸做的，但心里感觉踏实”，寥寥数语，却比任何结构分析图都更有力量。这本书的价值不在于展示了多少宏伟的竣工图，而在于它细致入微地解剖了“在极端条件下，建筑师的责任边界在哪里”。我合上书本后，脑海中回荡的不是钢筋混凝土的冰冷，而是那些由纸板和织物构成的、充满人性温度的临时庇护所的剪影。
评分这本书里有对于房屋结构等方面的测评，比较有意思
评分这本书里有对于房屋结构等方面的测评，比较有意思
评分这本书里有对于房屋结构等方面的测评，比较有意思
评分这本书里有对于房屋结构等方面的测评，比较有意思
评分这本书里有对于房屋结构等方面的测评，比较有意思
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