世界頂尖建築之旅 第5集 DVD

讓我們帶領您進入當代建築風潮與設計的世界
來一場跨世紀的建築之旅，解讀世界各地的頂尖建築作品

建築，是一個社會風氣的縮影
建築，是一個世代文化的表徵
建築不會移動，但卻能帶著我們在世界旅行！

建築的風格，帶領我們進入當代文化與藝術的世界
來一場跨世紀的建築之旅，走訪位於世界各地的頂間建築作品！


■ The Reception and Congress Building in Rome 羅馬國會大廈
　建築師：阿達貝托．里貝拉 Adalberto Libera (1903-1963)
　義大利法西斯政權時期由墨索里尼所委託的萬國博覽會重要建設

阿達貝托．里貝拉是二十世紀最重要、最具有象徵性意義的建築師之一，同時也是建築現代化的先鋒。

一九三七年，當時執政的法西斯政權，為了在一九四二年即將舉行的萬國博覽會，彰顯當代政權的偉大政蹟，於是決定進行一個名為E42的計畫，這個E42工程計劃要在羅馬興建幾棟永久性的建築物。

建築師里貝拉負責興建計畫中最重要的一棟建築：國會大樓，這棟建築不只是宏偉而已，它是一個結合古羅馬長方形會堂與神廟概念的建築、它是一個覆蓋了混凝土的眾神廟、它是運用幾何形式興建而成的理性主義建築…它的外型是長方體與立方體的融合。

時至今日，我們仔細分析這個建築，我們看到了前衛派運動與極權主義的矛盾融合，更廣泛一點說明，這棟建築開啟了建築與執政權力的連結。

Adalberto Libera was one of the most important architects of the 20th century, as well as being one of the most emblematic. He was a pioneer of architectural modernity .

In 1937, the regime launched one of its most ambitious projects - the E 42. The idea was to create a new monumental city embodying the new Imperial Rome, for the International Exhibition of 1942. E42 built numerous permanent edifices in Rome.

Libera won the competition for one of the most important buildings of the group - the Reception and Congress Building. It was more than a monumental building. It was "a basilica and temple", "a pantheon in reinforced concrete", a rationalist manifesto founded on simple geometrical forms - a parallelepiped and a cube.

Analysing the building as it is today, but also using many archives from fascist Italy, this film explores the paradoxical alliance between a formal avant-garde movement and a totalitarian ideology. On a more general level, it also explores the link between architecture and power.


■ The Olympic gymnasiums of Yoyogi 東京代代木奧林匹克體育場
　建築師：丹下健三 Kenzo Tange (1913-2005)
　得獎紀錄：1954，1955，1958，1965 Japan Institute of Architecture Award (AIJ) 日本建築協會獎 / 1966 American Institute of Architects Gold Medal 美國建築學會金獎

建築師丹下健三是日本戰後時期的現代主義運動領導者，，他為了一九六四年即將在東京舉辦的奧運而著手興建了這兩座體育場。東京曾在一九四零年曾獲選主辦奧運，但後來因為二次大戰而被取消，一九六四年再次獲選，這個城市馬上從過去的陰影中振作起來，這對日本來說是一大挑戰，他們必須對世界證明自己是現代化國家，此次奧運主辦權背負了雪恥與宣示雙重意義。

雖然建築師是日本現代化建築的代表人物，其作品也涵蓋許多現代化建築：包括廣島市的和平紀念公園、甲府市的通訊中心、日南市的文化中心，但他就像其他日本建築師一樣，在傳統與現代化之間他仍有滿腹疑問。

奧運體育館除了功能性一定要有以外，建築師對「美」的堅持絕不妥協，「生活中天天會看見的建築物一定要很美麗，我藉此聲明，只有美麗才是建築最大的功能」丹下健三宣示了這個令人驚艷的理論。

Architect Kenzo Tange was one of the post-war leaders of the modern movement in Japan. He built the two gymnasiums built in Tokyo for the 1964 Olympic Games. Tokyo was originally selected to host in 1940 had been cancelled because of the Second World War , when it was chosen again to organize the 1964 Olympic Games, the city picked up the threads of its past. For Japan, the challenge was a huge one : it had to prove to the world that it was a great modern nation. The event was both a form of revenge and a symbol.

Although Kenzo Tange was the representative of modern architecture in Japan. He had built the Peace Park building in Hiroshima, a communications centre in Kofu and a cultural centre in Nichinan. But like every Japanese architect, he had numerous questions about the relationship between tradition and modernity.

Complete function is essential for gymnasiums, besides, the architect insisted that “beautiful" was important element for buildings. “We feel that architecture that meets the needs of everyday life must be beautiful. In this way, I hereby declare that only the beautiful is functional. "Kenzo Tange claimed the impressed theory.