描述
开 本: 16开纸 张: 铜版纸包 装: 精装是否套装: 否国际标准书号ISBN: 9787549579891
美国建筑设计师帕特里克·泰伊是一位异常有天分的建筑师。他是美国建筑师学会“院士团”的一员，并获得多项建筑奖项。正如帕特里克•泰伊自己所说的那样——“我们分析事物的内部矛盾，并从这里开始我们的设计。”他们的设计理念源自对建筑物本身的多元分析，并采用跨学科研究的科学方法论。他们在建筑物中寻找对立的两方面，并把这种冲突视为朋友而非敌人，他们强化由冲突带来的紧张感，使用*恰当的工艺、材料、方法，创造更加有活力的建筑。
《多元当代建筑：帕特里克·泰伊事务所的设计实践》中收录了大量帕特里克·泰伊事务所的作品，深入介绍了他的设计理念和方法，及其在每个作品中的运用，不容错过。
006
建筑两分法——序言 帕特里克·泰伊
018
在途中 汤姆·梅恩
020
谜：使熟悉的事物陌生化 史蒂芬·菲利普斯
026
柯林斯美术馆
040
雅各布斯地下美术馆
046
阿什克罗夫特作家工作室
052
利夫奥克工作室
062
雷东多海滩住宅
070
海滨大道住宅
078
虎尾住宅
090
黑箱住宅
096
特拉罕牧场住宅
104
米尔伍德住宅
114
海洋公园临时雕塑
118
玛尔·维斯塔住宅
126
日落聚会户外公共空间
130
阁楼展览馆
140
诺达尔住宅
144
伦敦动画公司办公空间
154
爱尔兰西科克艺术中心
162
塞拉·博妮塔多功能经济适用房
174
约书亚树国家公园沙漠度假地
180
索契奥林匹克展览馆
186
格兰德大道大厦
194
台中美术馆图书馆
202
忘却美术馆
218
重庆康德中心
226
北京金海拉克莲花别墅
234
洛杉矶劳德米尔克大楼
238
埃姆斯椅子
242
奥多比公司照明系统
248
双子别墅
258
扎耶德·本·苏尔坦·阿勒纳哈扬别墅
264
马里布梦缇· 卡普阳光住宅
282
伦敦瑞克·欧文斯商店
292
好莱坞伍德罗·威尔逊住宅
298
拉布雷亚公寓
316
赫尔辛基古根汉姆博物馆
326
致谢
327
合作者
328
获奖与出版
ENIGMA: DEFAMILIARIZING THE FAMILIAR
In his 1965 untitled work, sculptor and theorist Robert
Morris presents a simple series of four three-foot by 3-foot by 2-foot cubes
made of fiberglass. Perfectly situated equally and evenly on the floor of a New
York gallery, these cubes are seen as four primitives simply set beside one another
and appear quite familiar. Morris refers to it as a Gestalt—each single cube
appearing part of the whole.
What appears unfamiliar is the forced, distorted,
if unreal, perspective of each of the cubes individually and in unity. The familiar
object, the primitive, has been defamiliarized through a careful distortion
that challenges the viewer to reassess not only the cubic form but the way in
which we see in perspective. It is an enigma.
Morris refers to this enigma as a “visual frustration”
that challenges our expectations. post-minimalist art of the 1960s aimed to
rethink paradigms of minimalist art, pushing toward new ideas in perception,
abstraction, figuration, and representation through careful disfiguration of part-to-whole
relationships.
Whereas Morris’ postmodern work turned towards the
post-minimal, Patrick Tighe’s contemporary work moves towards the post-digital.
Digital architecture of the 1990s to 2000s focused on generating innovative
continuous complex-curvilinear forms of tessellated multiplicity through primitive
geometries. It posed very disciplinespecific, inner-referential,
object-oriented designs of pure abstraction. Post-digital architecture,
however, has brought a return to the real in an attempt to rethink the language
and practice of architecture. It is not a move away from the digital but a hyperdetailed
analytical investigation of digital forms and their practices.
Tighe’s Tigertail house, for example, rethinks folded
topological geometries. Employed ad infinitum since the 1990s by
late-deconstructivist architects, folded geometric planes move from ground, to
wall, to roof unifying buildings in holistic continuity. For Tighe, the
familiar here becomes defamiliar in the over-exaggerated cantilevered roof form
that draws our attention toward these folded planes of the house. The hyper-cantilevered roof separates from
the overall design, proving an enigma. It is a gesture that challenges our
perceptions, creating a looming presence that brings into question the concept
of a folded plane. Yet it draws our attention to the site conditions and circulation
of the house from the entry, toward the courtyard, and to the centralized pool
at the back. For Tighe, the ground becomes a wall, then a roof that gestures toward
the sky. The exaggerated roof plane becomes the telltale figure of the
Tigertail house, visually legible and rhetorically meaningful. Defamiliarization
here reveals the concept/idea of the design. It poses the place where one is to
look to understand Tighe’s architecture.
We see this same form of disfiguration in Tighe’s Jacobs
Subterranean house design, where the “up and down” staircase performs a
similarly familiar postmodern trope. Robert Venturi, back in 1964, originally
rethought the paradigm of a “stair” by questioning the limits, if not the very notion,
of what a stair was and could be. This was posited through an uncomfortable, if
not awkward, shift in the rise, run, and path of a stair. Tighe here designs a
similarly challenging stair that rises and falls, and goes up and goes down,
rethinking the history of the grand overtly symmetrical redundancy of the
Beaux-Arts stair. The added shift in the wall plane of the Jacobs Subterranean
house is reminiscent of the interior spaces of Robert Weine’s 1920 film The
Cabinet of Dr. Caligari, alongside the elongated stair treads of architect Alvar
Aalto’s famous stair in the Villa Mairea House.
Tighe engages in a discourse of familiarity: the proverbial
Beaux-Arts stair, the expressionist stair, the modernist stair, the
postmodernist stair, as wells as the deconstructivist stair, all at once. This
historic discourse helps us to rethink the very notion of a stair. Through a
few playful gestures and moves of distortion, disfigurement, and deconstruction,
it brings to attention the habitual familiarity of the stair and how a stair may
be used.
This playful disfiguring and reconfiguring of a familiar
trope in architecture—whether it is a stair in the Jacobs Subterranean house,
the corner façade treatment of the La Brea Housing design, the guard rail of
the Sierra Bonita Mixed-Use Affordable Housing project, or in the stair at one of
his most accomplished designs, the Montee Karp residence—are linguistic signs
that point toward valued meaning within Tighe’s projects. They are specific
tectonic elements that become separated from the overall design visually and architecturally
through enigmatic juxtapositions. They draw our attention to specific design elements
that, upon close analysis, reveal cultural engagement with modern and
contemporary design discourses, as well as ideas about site, program, and
linguistic practices in architecture.
The Montee Karp house is a terrific example of Tighe’s
expertise. Presented as a white, pristine crystalline form, the house takes on
the familiar image of a pitched-roof house (which it was before the remodel),
alongside very contemporary formal strategies that disfigure primitive
monolithic geometries. This is not a unique practice but a very familiar one.
Of interest to contemporary post-digital artists and architects alike during the
past decade—primitive vocabularies, entirely embedded in the software we use
(Maya/ Rhino), can be employed through additive and subtractive box-modeling
Boolean techniques to generate innovative form. Unlike complex curvilinear surfaces
generated through Nurbs-modeling techniques, box modeling can provide us with an
architecture of developable surfaces that, if dynamic and computer-generated,
are also quite easy to fabricate and build. Primitive geometric forms are at
once monolithic, generating a complete whole, while at the same time readily disfigured.
Box modeling in architecture has become quite familiar.
Disruptions, breaks, awkward gestures, and discontinuous moments within such
vocabularies produce unfamiliar territories: the distorted pivoting door, the
thin-perspectival-corner-strip window, the shallow-monolithic-chamfered sink, the
hovering-garage portico. These elements that stand out from the overall
monolithic abstract Gestalt figure are important signs. Similar to what Roland
Barthes argues in his famous essay “The Third Meaning.” These disfiguring
elements call our attention, suggesting that the viewer imagine new forms of
meaning—for example, the way the new roof of the addition to the Montee Karp house
pitches to form part of a solid that wraps around the original house. At once,
it unifies with the original house, forming a Gestalt between old and new, but
then separates from it with distorted angularity. It suggests the rethinking of
the original house itself.
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