思考 再織城市

出版者:牛津大學出版社

作者:王維仁

页数:312

出版时间:2012-1

价格:$ 83.62

装帧:平装

isbn号码:9780193963085

具体描述

This publication is at once a record of and a reflection on the Biennale. The book consists of four main parts. The first part Forum features interviews with Ralph Lerner, Chang Yung-ho, Rocco Yim and Wang Weijen, as well as Leo Lee's interpretation, Zhu Tao's and Ruan Ching-Yue's critiques, Liu Jiakun's and Huang Sheng Yuan's reflections on the Biennale. We also invited twenty participants of the Biennale for their feedbacks, and the first members of the Steering Committee to share with us the origins of the Biennale. These various texts, by commenting on common issues such as the uniqueness of Hong Kong's urban spaces vs. the ordinariness of her architecture, the role and future of the Hong Kong-Shenzhen Biennale, historical buildings and the meaning of public space, provide us valuable references for strategizing on the future of our architecture and city. The second part Exhibition, which makes up the main content of this book, presents our visual record of all exhibits. The third part Venue and Event documents our understanding of the Central Police Station, the design and implementation, as well as the curatorial planning and program. The fourth part is Lecture and Dialogue, which includes five main lectures and six dialogue events covering important topics related to the Biennale theme: refabrication and regeneration, memory and future, the global and the local, Hong Kong and Shenzhen, urbanism and landscape. In the course of editing this book, the 2009 Biennale has already launched in West Kowloon, and the direction of Central Police Station Compound and West Kowloon Planning has also became clearer. At the same time, citizen protests on the development of high-speed railway start to grip the attention of the Hong Kong media. This reminds us of the situation on the eve of the Biennale opening two years ago, when conservation activists and the media questioned the usage of historical buildings as the venue for an architecture biennale. In dealing with this crisis, we came to realize that what we were faced with were our frustrated citizens, who suffered chronically under the hegemony of procedural rationality, and who just had the urban memory of Star Ferry and Queen's Pier wiped out. We requested our exhibiters to amend their exhibit design in the last minute to leave intact any of the internal furnishings, not because we shared the nostalgic attitude of treating historical architecture as untouchable antiques, but because we believed this Biennale also took part in the urban process of shaping our public space: it was an urban process of consensus-building and negotiation for a shared urban value. If every biennale could become an urban process of what Michel de Certeau theorized as the "practice of everyday life", it could certainly in many ways inspire our cultural imagination on space. Through the exhibits' interpretation and appropriation of a walled colonial prison compound, and the visitors' occupation of prison cells and courtyards, the 2007 Biennale engendered a double reading between architectural display and urban history. By setting up temporary exhibition structures and landscape in West Kowloon, the 2009 Biennale, opened up the public's experience, reflection and projection of this future cultural space. By bringing our citizens into the exhibition venue, it is hoped that the Biennales will lead them to look into the spatial possibilities of the architecture: In what form should the public space take? What kind of cultural forum should it provide? What sort of strategy on public space will the government's new proposals offer? Whether it is the Biennale at Central Police Station or at the West Kowloon, through an urban processes of exploration in public space and participation in cultural forums, would our citizens be able to generate discourses to counter or negotiate with the procedural rationality, therefore be ready to state clearly what is needed for our city is more than an iconic landmark, but a public realm that allows everyone to interchange on all levels?

读后感

后一百亿时代，每个地产动作对深圳这个城市的影响一定是更加深远了。 本书是在10年出版的关于第一届（07）香港深圳双城双年展的记录，个人感觉比09年这趟更加契合设计专业些。如果你觉得平时在专业上找不到方向，可能就是这本书了。 共分四篇，第一篇论坛，有张永和、严迅奇...

后一百亿时代，每个地产动作对深圳这个城市的影响一定是更加深远了。 本书是在10年出版的关于第一届（07）香港深圳双城双年展的记录，个人感觉比09年这趟更加契合设计专业些。如果你觉得平时在专业上找不到方向，可能就是这本书了。 共分四篇，第一篇论坛，有张永和、严迅奇...

后一百亿时代，每个地产动作对深圳这个城市的影响一定是更加深远了。 本书是在10年出版的关于第一届（07）香港深圳双城双年展的记录，个人感觉比09年这趟更加契合设计专业些。如果你觉得平时在专业上找不到方向，可能就是这本书了。 共分四篇，第一篇论坛，有张永和、严迅奇...

后一百亿时代，每个地产动作对深圳这个城市的影响一定是更加深远了。 本书是在10年出版的关于第一届（07）香港深圳双城双年展的记录，个人感觉比09年这趟更加契合设计专业些。如果你觉得平时在专业上找不到方向，可能就是这本书了。 共分四篇，第一篇论坛，有张永和、严迅奇...

后一百亿时代，每个地产动作对深圳这个城市的影响一定是更加深远了。 本书是在10年出版的关于第一届（07）香港深圳双城双年展的记录，个人感觉比09年这趟更加契合设计专业些。如果你觉得平时在专业上找不到方向，可能就是这本书了。 共分四篇，第一篇论坛，有张永和、严迅奇...

用户评价

这本书带给我的最持久的影响，是一种情绪上的回响和持续的自我审视。它并不是那种读完就束之高阁的书籍，而是像一颗种子，在你内心深处悄悄生根发芽。它所探讨的主题，虽然宏大，但最终都指向了作为个体的“我”如何与周围的世界建立真实的关系。在阅读的过程中，我时常会感到一种强烈的“被理解”的错觉，仿佛作者洞悉了我在日常生活中那些难以言喻的困惑和挣扎。这种情感上的共振，使得阅读不再是知识的获取，而更像是一场深刻的、甚至有些疼痛的自我对话。直到合上书本很久以后，我依然会在处理日常事务时，不自觉地回想起书中的某个论点，用那种新的框架去审视眼前的处境。这本书，成功地在我与外部世界的界限上，留下了一道持久而深刻的印记，它真正地改变了我观察和体验生活的方式。

从内容架构上看，这本书的野心之大令人侧目，它似乎试图构建一个跨越多个学科领域的宏大对话场域。书中引用的材料之广博，让人不得不惊叹作者的知识储备和跨界整合能力。你会发现，作者能毫不费力地在古代哲学家的论述和最新的科学发现之间建立起微妙的联系，中间没有任何生硬的转场，一切都显得水到渠成。这种融会贯通的能力，让这本书超越了任何单一学科的范畴，提供了一种看待世界的全新“复合视角”。阅读过程中，我的思维不断地在不同领域间跳跃，每一次连接都带来“原来如此”的顿悟时刻。它没有提供标准答案，而是提供了一套强有力的思维工具箱，让你能够自行去拆解和重构你所面对的任何复杂问题。这种全局性的视角，是这本书最宝贵的馈赠，它彻底颠覆了我过去那种碎片化的认知习惯。

这本书的装帧设计简直是一场视觉盛宴，那种带着粗粝质感的封面，仿佛能触摸到历史的肌理。初次翻开时，我被其排版布局深深吸引，文字与留白的交织处理得极为精妙，既保证了阅读的舒适度，又营造出一种沉静而富有思辨性的氛围。每一页的切口都处理得恰到好处，翻页时发出的细微声响，都像是某种仪式感的序曲。我尤其欣赏作者在章节标题上的用心，那些短小却寓意深远的词句，总能在不经意间勾起你对某个宏大概念的联想。通读下来，这本书的物理存在感极强，它不仅仅是知识的载体，更像是一件精心打磨的艺术品。我甚至愿意花更多时间去摩挲它的封面，去感受纸张本身的温度，这在如今这个充斥着冰冷电子屏幕的时代，显得尤为珍贵和难得。这本书的制作工艺，无疑是将阅读体验提升到了一个新的层次，让人忍不住想把它摆在最显眼的位置，时不时地拿起来欣赏一番。

我必须提及作者在语言运用上的那种近乎偏执的精确性。每一个词汇的选择都仿佛经过千锤百炼，没有一个多余的形容词，也没有一句为了凑字数而存在的赘述。他的句子结构常常充满了古典的韵律感，读起来有一种庄重的美感，但同时又紧密贴合现代思维的锐利。尤其是在描述那些抽象的概念时，作者展现了惊人的转化能力，他能用最简洁的白话，勾勒出最深邃的理论框架，使得原本高不可攀的议题变得触手可及。这种语言的力量，让我深刻体会到，文字不仅仅是交流的工具，更是一种重塑现实的魔法。我甚至会反复咀嚼某些段落，尝试模仿那种语气和节奏，感受文字在舌尖上跳跃的质感。对于那些追求语言艺术的读者来说，这本书无疑是一场盛宴，它教会我们如何用最少的笔墨，表达最丰富、最复杂的内涵。

这本书的叙事节奏处理得相当老道，它并非那种一泻千里、直奔主题的线性叙事，而是更偏向于一种螺旋上升的结构。作者似乎非常懂得如何掌握“张弛有度”的艺术，总是在关键的转折点上设置一个看似无关紧要的小插曲或者一个哲学的旁白，让你在放松警惕时，突然被抛入一个更深层次的思考迷宫。我发现自己常常需要停下来，合上书本，在脑海中把前面铺垫的那些看似零散的线索重新串联起来。这种阅读过程，与其说是被动地接受信息，不如说是一种主动的“共谋”过程，你必须全身心地投入去理解作者的布局。这种曲折和反复，使得整本书的阅读体验充满了探索的乐趣，像是在解开一个复杂的密码锁，每当你以为触及核心时，它又巧妙地为你打开了另一扇通往新维度的门。这种不急不躁、层层递进的写作手法，极大地考验读者的耐心，但也正因如此，当最终的结构显现时，那种豁然开朗的震撼感才更加强烈和令人难忘。

搬家處理舊書，180元順風到付。需要請豆郵。

香港的“再织”主题确实很棒。

香港的“再织”主题确实很棒。

搬家處理舊書，180元順風到付。需要請豆郵。

搬家處理舊書，180元順風到付。需要請豆郵。