11.30.2007

Fashion@英國時尚獎 女人出頭天

史黛拉麥卡尼(左)榮獲英國時尚獎最佳年度設計師獎,與榮獲「傑出成就獎」的薇薇安薇絲伍德一同展示獎座。
圖/路透社

英國時尚獎(British Fashion Awards)獲獎名單揭曉!史黛拉麥卡尼(Stella McCartney)榮獲最佳年度設計師獎,她是英國時尚獎20年以來,第5位獲獎的女性設計師。薇薇安薇絲伍德(Vivienne Westwood)拿下傑出成就獎。

英國位居國際時尚圈的邊陲,但以風格前衛、另類著稱,獨樹一幟。從今年的獲獎名單來看,多項大獎都被女人抱走,也可瞧出英國時尚的眼界與宏觀。

英國每日電訊報時尚主編希拉蕊亞歷山卓(Hilary Alexander)榮獲時尚媒體獎,她說:「20年來竟然只有5位女性設計師得獎!」看來她認為英國時尚圈對女人的肯定還不夠。

年度名模獎的得主是英國酷名模安吉妮絲迪安(Agyness Deyn),她外型冷豔,慘白的臉龐搭配一頭漂白短髮,渾身散發英國龐克的酷帥勁兒,曾任Burberry、Mulberry等英國精品廣告代言人。

@2007/11/29 聯合報 ╱記者陶福媛

11.21.2007

Food@米其林美食評鑑》東京191顆星 超越巴黎


權威美食評鑑米其林首次發行亞洲美食評鑑。

根據19日發表的評鑑結果,150家入選的東京餐廳中有8家餐廳得到三顆星殊榮。東京並以總星數的191顆超越巴黎和紐約,成為新的美食之都。
米其林評鑑派出3位法國人及2位日本人組成評鑑小組,費時一年半不具名地造訪東京地區1500家餐廳後完成評鑑。 獲得3星殊榮的8家東京餐廳中,有2家壽司店、3家日本餐廳及3家法國餐廳。米其林指南選出82歲高齡的壽司師傅小野次郎為全球最年長的3星主廚,小野次郎經營的「數寄屋橋次郎」位於銀座鬧區,店裡只有10個座位,每人享用一餐高檔食材捏製成的握壽司約需花費2萬日圓(約台幣5,870元)。餐廳評鑑部分另有2星級25 家及1星級117家,上榜的餐廳中超過6成為日本餐廳,4成是中國、義大利、法國及西班牙菜。

小野次郎對於自己的壽司店入選米其林3星驚訝不已:「我從來沒想過這事會發生,我一心只想著如何用最新鮮的魚貨做出最棒的壽司。」小野也對溫室效應對海洋造成的衝擊感到憂心,「我們的漁獲因此減少了,只能從現有的資源想辦法做出好壽司。」 另一家3星日本餐廳「小十」負責人奧田徹也表示與有榮焉,「該是時候讓世界了解東京美食的魅力了!米其林應該早點來的。」 米其林指南負責人尚.路克.納黑盛讚東京是餐飲界閃耀的一顆星,「東京是世界美食之都」。巴黎總星數為92顆,美食之都寶座必須拱手讓人,紐約只得到49顆。米其林指南於廿日正式發售。

@Source:
2007/11/21 聯合報 http://udn.com/

11.20.2007

Food@東歐料理飄香 政要名流捧場

拉脫維亞Vincents餐廳,內部裝璜既不豪華,服務水準更稱不上一流,但光靠主廚芮廷斯的招牌,就成為首都里加最著名的觀光景點。(彭博資訊)

國際金融炒家索羅斯、荷蘭女王碧翠絲與英國流行歌手艾爾頓強有何共同之處?答案是他們都非常喜愛拉脫維亞名廚芮廷斯(Martins Ritins)的手藝,經常造訪他主持的Vincents餐廳。

Vincents位於拉國首都里加的舊城區,在一棟高雅建築物的地下室。這家餐廳的服務並不好,訂位紀錄可能不見,你可能要等上20分鐘才會有位子,好不容易坐定,也可能找不到服務生來幫你倒水。

不過,差勁的服務水準可阻止不了全球慕名而來的饕客,Vincents餐廳整片牆都貼滿食客的相片,其中包括美國總統布希、美國前國務卿歐布萊特、義大利總理普羅迪、德國前總理施洛德等各國政要名流。

芮廷斯的歐式料理贏過不少獎,但Vincents不走高價位路線,一般消費者花68拉堤(133美元)就可享用七道菜,還有搭配的紅酒。

傳統拉脫維亞料理到底是些什麼菜式?菜單上依序是點綴滷葡萄乾的Eleja起司烤布丁、蒔羅燻鮭魚、甜菜根滷鯡魚、培根薄肉片、清蒸野生梭鱸魚片、淋上糖蜜與酒的油封乳豬等。

另一家里加非去不可的餐廳是工廠(Fabrikas),位在奇婆莎拉島(Kipsala Island)上,俯瞰優美的多加瓦河景。餐廳看起來像是一間精巧的停車場,停在外面的禮車之多可以想見餐廳非常受歡迎。

Fabrikas老闆是前總理格里斯(Maris Gailis),他是熱愛航海的旅遊家。Fabrikas的菜單可以說包羅萬象,前菜有墨西哥豆湯、泰式沙拉、主餐有炸土雞片沾芹菜鳳梨山葵醬,以及五顆星推薦的紅鹿薄肉片、藍起司蝦歐鰈魚捲。

相較前兩家餐廳的豪華氣氛,里加新戲院餐廳(Theatra Bara)就幽僻得多。它位在一條小巷子裡,被好些建物遮住,是一家庭園餐廳。

新戲院餐廳的菜式也很簡樸,有多種沙拉、湯和義大利通心粉。另有一些創意料理,像是芝麻煎鯧魚以及滷鮭魚、酒漬嫩煎茴香、蘆筍與松露油馬鈴薯泥搭在在一起的串烤。

點心包括點酸甜燉葡萄乾的開心果法式烤布丁和新鮮懸鉤子醬純巧克力蛋糕等。兩人份午餐花費37拉堤。

里加精品酒店Bergs飯店附屬餐廳也非常值得一試。里加的時髦建築物都有一種工業化外觀,而且一律漆成灰色,Bergs飯店也不例外。不過,飯店房間非常棒,餐廳也超酷。

午餐套餐是12拉堤,或者你可以自己點菜。推薦裝飾田園植物、淋上芥茉蜂蜜醬的乳鴨胸,白酒燉梨加清燉石榴小牛肉湯,價格9.6拉堤。

如果是咖哩愛好者,可以試試印度王公(Indian Raja),位在一條巷子深處的地下室。菜單包括經典的印式燒雞(chicken tik-ka masala)及馬德拉斯咖哩等。特別的是,每道菜都有獨特的調味,咖哩肉味道也很精緻,辣椒味出現之前另有多種風味。

@Source:
http://udn.com/ 2007/11/18 經濟日報 文/謝璦竹

Culture@愛丁堡藝穗節 城市與創意雙嬴


圖/小丑默劇團

位在英國北方蘇格蘭地區的愛丁堡,是舉世聞名的藝術節之都,全年大約有20個藝術節輪番上演,每年為愛丁堡帶進超過新台幣百億元的經濟效益,使得愛丁堡這個二次世界大戰後,被選為肩負以文化整合歐洲使命的城市,如今已成為全球的藝術重鎮,不只為文化創意產業帶來難以漠視的成果,也成了全球表演團體最佳曝光的國際平台。

日前來台、甫卸任的愛丁堡藝穗節前執行長保羅‧古晉(Paul Gudgin)指出,愛丁堡市議會及蘇格蘭政府曾做過一個正式研究,發現2004/2005年愛丁堡所有藝術節,共為愛丁堡帶來1.7億英鎊的經濟效益,而為整個蘇格蘭地區帶來的經濟效益更高達1億8,400萬英鎊,創造了約3,200個全職工作。

據指出,愛丁堡地區一年舉辦的所有藝術節估計約20個,光是8月就有近十個,包括愛丁堡藝穗節、愛丁堡國際藝術節等,其中最易被外界混為一談,就是愛丁堡國際藝術節(The Edinburgh International Festival)及愛丁堡藝穗節(The Edinburgh Festival Fringe)。

10英鎊門檻 創造7500萬英鎊經濟效益

明天事務所劇團藝術總監李立亨指出,愛丁堡是在二次世界大戰後被選為藝術節舉辦的城市,愛丁堡國際藝術節應運而生。但當時有八個民間團體,卻未被排入愛丁堡國際藝術節中,他們便在外圍演出,並被媒體形容為藝術節邊緣(fringe)的精彩演出,後來他們便決定以Fringe為名,成為今日的愛丁堡藝穗節。

古晉指出,愛丁堡藝穗節已有60年歷史,一開始沒有籌備委員會,1948年起以「Fringe」命名,直到1955年才成立統一票務中心,而到了1958 年則成立藝穗節協會,目前是全球最大藝術節之一,去年在愛丁堡區域250個場地上演約2,000場秀,售出超過150萬張票,每年估計為愛丁堡帶來超過 7,500萬英鎊經濟效益。

直到現在,愛丁堡國際藝術節與愛丁堡藝穗節都在每年8月登場。李立亨說,兩者最大不同在於,前者的表演者通常必須受到邀請,但後者是一個「開放式」的藝術節,任何人都可來此表演,沒有正式邀請、限制、也沒有篩選過程。

想到藝穗節表演,必須先到藝穗節的官方網站,付10英鎊左右會費,就能得到藝穗節所有訊息。接著,必須自己找到表演場地,每年藝穗節期間,愛丁堡很多場所都會改為表演場地,網站上提供名單,可供參考挑選。第三是讓你的表演進入藝穗節的節目中,最後則是自己做行銷,以便你的表演節目能為人所知、所見。

匯聚全球藝術表演能量 處處是舞台

我國已有一些表演團體曾到愛丁堡藝穗節演出。小丑默劇團團長黃浩洸表示,小丑默劇團今年在完全沒有政府贊助、全憑自費前進愛丁堡藝穗節,雖然花費很貴,且必須練就15分鐘就要裝好表演台、收台的功力,但一切都是為了「表演」,很值得;也曾前進藝穗節的劇場工作者林欣怡說,藝穗節因為很大,有很多充滿熱情、但被淹沒的人,必須很努力,才能在人群中被看到。

古晉也表示,愛丁堡藝穗節開放、沒有限制、民間主導的方式,全由表演者及藝術家發動,在藝穗節期間愛丁堡表演場地、住宿都一位難求,有些來此表演的藝術團體是虧錢做戲,「志在參與」的精神造就了愛丁堡藝穗節的影響力,很多演藝名人甚至都在藝穗節得到第一次的演出機會。

藝穗節更是一個提升國際能見度最佳場地。古晉指出,藝穗節協會本身不提供任何獎項,但會協助很多公司或團體提供各式表揚表演或音樂的獎項,韓國已積極善用此場地,宣揚韓國藝文表演。

分析愛丁堡藝穗節成功的因素,古晉認為,愛丁堡本身的城市魅力,不容忽視,因為愛丁堡是座迷人的小城,使得8月藝術節「旺季」期間,走在城市的任何角落,絕對不可能錯過藝術節的訊息,因為街上到處是表演者,發送表演傳單,這在全世界很多舉辦藝術節的城市中是很罕見的。

其次是愛丁堡市中心有許多表演場地,隨著藝穗節的發展,很多場地經理人愈來愈懂得把任何空間變成表演場地,且讓表演場地成為吸引人的地方,像是兒童樂園、車子、巴士、甚至電梯、公廁,都可舉辦表演。

「當然所有藝術節成功的主因,莫過於有投入的人及一些主要團體。」古晉說,每年來到愛丁堡的表演者約有1.7萬人,吸引上千個各國記者,而本地觀眾願意參與,更成為藝術節的最大支持,藝穗節30%的觀眾是愛丁堡居民,他們買了超過五成的票,這些都是促成此藝術節成功的原因。

@Souce:
http://udn.com/ 2007/11/17 經濟日報 / 文/鄭秋霜/

11.15.2007

Design@Best escalator - Louis Vuitton and US architects Peter Marino and Eric Carlson

Wallpaper* Design Awards 2006: Louis Vuitton, Pari

Louis Vuitton and US architects Peter Marino and Eric Carlson have created a string of sparkling Louis Vuitton stores around the world. But the shiniest star in the Louis Vuitton universe is the newly reopened flagship on the Champs-Elysées.

The original store, which opened on this site in 1998, has been expanded and reconfigured. Now seven storeys tall and encompassing 15,000 sq m, it is arranged over a series of art deco terraces with a 20m-high atrium hung with stainless steel rods.

The store also features a light sculpture by US artist James Turrell and a sensory deprivation lift by Danish artist Olafur Eliasson. Occupants of the lift, which travels from the ground floor to the top floor (a space used for ‘artistic and cultural expression’), are kept in total darkness — not even the up and down buttons are illuminated. The lift is also lined with black ‘sound-negating’ material and, to further ensure total aural blackout, a sound system uses a carefully engineered sonic swipe to wipe out any additional noise. Eliasson considers this to be a kind of consumer decompression chamber, cleansing the experiential palate and allowing the customer to better appreciate the goodies around them when they exit the lift. We consider our shopping palettes to be clean and refined enough, thank you, but it’s a nice thought.

Indeed, the architects have thought long and hard to make navigating this huge emporium as uplifting and enlightening as possible. Our favourite passage is via a 20m-long ‘travelling staircase’, which runs alongside a fibre optic wall showing a cutting-edge video installation by US artist Tim White-Sobieski.

Information:

Louis Vuitton
101 Avenue des Champs-Elysées
Paris 8e
tel: 33.1 53 57 24 00

Website http://www.louisvuitton.com
@Source:http://www.wallpaper.com/interiors/best-escalator/800

People@Karl Lagerfeld and Zaha Hadid

Karl Lagerfeld and Zaha Hadid

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Karl Lagerfeld: We need houses as we need clothes, but even more so and they have to last longer. That is why the cycles of architecture’s evolutions are so much longer. In the 18th century, fashion and architecture went hand in hand. This perfect marriage will never be repeated. We live in another world now where people are into ‘preserving’ houses and other older buildings. Nobody wanted a medieval house in the 18th century. The 17th and the 18th century were the best periods ever in the history of French architecture.

Wallpaper*: How can architecture help sell fashion?
KL: Architecture stimulates fashion. The systematic relations of both can last in time and space for quite a long period.

W*: What were your reasons for selecting Zaha Hadid?
KL: She is the first architect to find a way to part with the all-dominating post-Bauhaus aesthetic. The value of her designs is similar to that of great poetry. The potential of her imagination is enormous and people are only just beginning to realise how important her designs are.

W*: Are you working on a project together for the future?
KL: Yes, for Chanel, but it’s too early to talk about it. It is an idea she’d had when she was a student but nobody had approached her with a need for it. I would love her to build a house or a library for me, but where?

W*: Do you have a favorite building, any building and why? The Villa Malaparte is one of my favourite houses in the world as are the Palais Wittgenstein in Vienna and the Villa Savoy near Paris.

W*: What is your favorite city and why?
KL: New York for the moment, because the mix of people and architecture.

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Zaha Hadid: Of course it can be difficult, but also very exciting. It's important to remain true to your own vision, but also open and receptive to new ideas. I think when you have two people with strong ideas collaborating on a project, amazing things can come out of that relationship.

W*: Are you surprised Karl Lagerfeld selected you as his architect of choice?
ZH: Karl and I have a long-standing respect for each other’s work, so no, I am not entirely surprised.

W*: How do you begin to help turn the display of fashion into a memorable event?
ZH: As in fashion, architects are now able to use the very latest 3D digital design and enhanced manufacturing processes to realize extremely complex geometries and merge unrelated forms and textures. This architecture translates the intellectual into the sensual by experimenting with completely unexpected immersive environments.

W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
ZH: There is a long tradition of fashion's innovators commissioning architecture that is a revolutionary experimentation of what is possible.

@http://www.wallpaper.com/fashion/power-couples-day-10/1092

People@Patrick Thomas, Hermès CEO, and Rena Dumas

Patrick Thomas, Hermès CEO, and Rena Dumas

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Patrick Thomas: Fashion is the cloth of the body. Architecture is the cloth of the spirit, of the soul. Both express a person’s personality, body or soul. A person’s spirit, or attitude, is reflected in their home’s architecture. A company’s spirit is reflected in the architecture of its offices, stores, factories. In a way, a piece of fashion is an architectural creation. Doesn’t one speak of the ‘architecture’ of a cloth?

W*: What sort of architecture do you think reflects the Hermès aesthetic?
PT: Very diverse architecture that is respectful of the site, discreetly elegant, highly qualitative in materials, in constant evolution and full of sensuality.

W*: How can architecture help sell fashion?
PT: Successful architecture enhances fashion and gives it life.

W*: What is it about Rena Dumas’ work that appeals to you?
PT: Rena Dumas has gradually developed the Hermès architectural style jointly with Hermès. Once she has understood the brief, she delivers it in total harmony with her customers. She has an extraordinary sense of what Hermès wants to do to put its objects on stage.

W*: Which projects have you worked on together and do you intend to do more?
PT: We’ve worked together on our Hermès workshops in Pantin (suburb of Paris), on a massive extension project that is underway in Pantin and on a very daring Hermès House in Dosan Park in Seoul.

W*: Do you have a favourite building and why?
PT: The House of Lords in London, because its harmony is so great and the proportions so well balanced that it looks like a cottage.

W*: What is your favorite city and why?
PT: The Italian cities – they mix so well with the nature surrounding them. When you visit Florence or Tuscany, you hardly know if you are in a city or in its surroundings. My favourite cities are those that are discreetly integrated in the nature surrounding them.

W*: Which location or city do you think could most do with a makeover?
PT: Lake of Annecy, because the nature is so beautiful and the architecture almost destroys it.

W*: How difficult is it to combine your vision with that of someone else whose vision may be equally strong? Rena Dumas: I appreciate having a client with a strong vision. The rest is a matter of equal respect and complicity.

W*: How does an architect begin to turn the task of shopping into a memorable event?
RD: At Hermès there is a real preoccupation with innovation, which for RDAI means leaning upon the roots of tradition, to constantly rebound to a modern vocabulary. Our architecture plays constantly with natural light and sculpts, as a staircase does, being sometimes rectilinear, or sometimes opening out into the space like a huge shell. Each store conveys the genuine atmosphere and timelessness of Hermès. The Hermès product, in its perfection, finds its place naturally enhanced in this architecture. However, the product is always the king of the festivity: the goal is that the act of selling, the act of exchange, becomes a festive moment and the realisation of a dream for the person who acquires the product.

W*: In your opinion, have many fashion 'innovators' helped advance public perception of architecture?
RD: We could say that, today, architecture ‘innovators’ help advance the perception of some fashion brands. In the more and more visible marriage of architecture and fashion, architecture is providing a strong support to the visual identity of these brands. In the case of Hermès, the architectural codes were rooted from the very beginning in the culture of the House and were founded in the first shop at 24 Faubourg Saint Honoré, Paris in 1925. Since that date, every Hermès shop is linked to that store by a golden thread. In a wider reflection on innovation in architecture, I believe that public perception of architecture is advanced by all quality architectural projects conceived by quality architects. But I believe strongly that we are entering into an era where architects and builders in general should reconsider what a privilege and responsibility towards the mankind it is to build on earth.

W*: What is your favourite city and why?
RD: Undoubtedly Paris! It is a personal choice since I was 14 years old. There is a wonderful balance and harmony between the built parts of the city and the spaces between them.

@Source:http://www.wallpaper.com/fashion/power-couples-day-9/1091

people@Donna Karan and Dominic Kozerski

Donna Karan and Dominic Kozerski

Wallpaper*: What is the relationship between architecture and fashion, for you?
Donna Karan: I love architecture – I feel so at home on building sites – so it was an incredibly important influence on me when I started both Donna Karan and DKNY. I wanted the stores to be industrial and raw-looking – like an undressed stage, or like a Robert Wilson blacked-out set. I wanted people to feel that they were outside even when they were inside. And, of course, architecture can work like fashion. Take Zaha Hadid, for example; her work has a real flow to it, as if it was a building cut on the bias.

W*: Do you have a favourite building?
DK: To be honest, I am not always very keen on the very modern. That is why I love buildings such as Dia:Beacon (by OpenOffice), with its mix of old and new.

W*: What sort of architecture do you think reflects your aesthetic?
DK: I love work that is organic and sensual. That is why I adore the stone sculptor Izumi Masatoshi. For similar reasons, an architect I am very impressed with at the moment is Shigeru-Ban. I adore his natural aesthetic.

W*: What were your reasons for selecting Dominic Kozerski?
DK: I met Dominic when he was working with Peter Merino, and our professional relationship rapidly became a partnership. When he was working with me on my apartment, he first built a full-scale model on site as a mock-up. It was so beautiful I wanted to move in and live in the model.

W*: Have you done any other projects together?
DK: He is currently working on the mini-compound I am building in Parrot Cay in the Turks and Caicos.

W*: What is your favourite city?
DK: Paris. It has such a feminine energy. I love the light, and light is so important to me. But then, of course, I will always love New York.

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Dominic Kozerski: In our view, the architects’ vision is essential to any project, but the client’s primary insight is a fundamental basis for that vision. If that insight is strong, that usually develops the project into one that is intensely personal to and customized around the client. This is true also when we are collaborating with a designer from another field such as fashion; the starting point of view can differ so greatly but if the goal is the same, the results can be very inspiring and ultimately unique.

W*: Does fashion interest you?
Dominic Kozerski: Being ‘fashionable’ does not. However fashion and the fashion industry can be a fascinating blend of art and business that finds inspiration in many, sometimes unlikely, fields that in turn influence other design disciplines, including architecture.

W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
Dominic Kozerski: Architecture has become part of the elements that significant fashion brands need to have to be validated. It can be used to promote and market a brand in terms of ‘buzz’ and image. However at the same time there can often be a struggle between the dominance of the design qualities of a space and the product that will be sold in the space. Some fashion innovators have allowed architects to develop concepts and ideas that would not be considered commercially viable or even possible for other types of public spaces. Perhaps ultimately stores will sell architecture?

@Source:http://www.wallpaper.com/fashion/power-couples-day-8/1090

People@Paul Smith and John Pawson

Paul Smith and John Pawson

Wallpaper*: What sort of architecture do you think reflects your aesthetic?
Paul Smith: This question is not easy for me to answer because I am dedicated to individuality, which means I try to make each new shop different and fit in with the character of the location and the spirit of the country. For instance, my Los Angeles shop is a simple, bright pink concrete rectangular building which works well in a city where everybody is driving not walking and looks amazing against the LA blue sky, whereas my Milan shop is in part of an old palace and its walls are in dusty pink reminiscent of the interior of a Italian church.

W*: How can architecture help sell fashion?
PS: Shop architecture of course can help present your image and help customers distinguish your aesthetic. My main concern with a lot of shops or public spaces designed by architects is that they are often too self- indulgent and the practical aspects required are not thought about.

W*: What are your reasons for selecting John Pawson?
PS: I admire John Pawson's work for its purity of scale and proportion, simplicity and quality. The bridge at Kew Gardens is so elegant and made with such quality that it will look good for many years.

W*: You have not worked on any projects together but would you/ do you intend to? PS: At the moment there is no opportunity to do so, but who knows what the future holds?

W*: Do you have a favourite building?
PS: I can never answers any questions about favourite buildings, music, designers etc. because I am so open to all aspects of life. Some buildings which really impress me are also inspirational to John: Le Thoronet Abbey, east of Provence, and the Tempietto of San Pietro in Montorio.

W*: What is your favorite city and why? PS: As I said earlier, favourite anything is difficult for me. I love the layout and scale of Paris, the energy of New York, the confusion of the skyline in Tokyo, but most of all I love London because it's my home.

W*: Which location or city do you think could most do with a makeover? PS: British provinces that were ruined in the 1960s and 1970s.

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
John Pawson: At its best collaboration, whether with architects, artists or designers of one sort or another, can be a very stimulating experience. At the Hotel Puerta America in Madrid, I was one of three architects working on the ground floor. My lobby was bookended by Marc Newson’s bar and Christian Liagre’s restaurant. We all had very strong visions and each was different, but I loved the finished sequence of spaces.

Last year, I finished a house for Fabien Baron in Sweden. He is another individual with a clear vision of how things should be, but he is also happy to trust, which made for a creative relationship.

I have tremendous respect for Paul and his work - which is always a good basis for working with someone. There is also the fact that we are both from the north of England - northern equals straightforward - and we have each experienced the passion of cycling.

W*: Are you surprised Paul Smith selected you as his architect of choice?
JP: Paul has come to see a number of projects over the last few years: he was at the consecration of the new Cistercian monastery in Bohemia a couple of years back, the opening of an exhibition at Le Thoronet Abbey in May of this year, and a few weeks later at the Sackler Crossing in Kew. I think that the work makes sense for him, but his approach is to look and listen rather than say very much, so his response always retains a little healthy mystery.

W*: How does an architect begin to turn the task of shopping into a memorable event?
JP: The whole point is to create an environment where the people, the clothes and the place look good.

W*: Does fashion interest you?
JP: I'm always interested in good design, whatever the field. My first job was working for my father who owned a textile company in Halifax. I even spent a short and not very successful spell there designing a line of women's clothes. In terms of being interested as a consumer, the answer is that I prefer to keep things simple. I have an unvarying uniform of white shirts worn with chinos in summer and dark grey wool trousers in winter. I do, however, have a made-to-measure Paul Smith suit which I enjoy every time I put it on.

W*: Have many fashion "innovators" helped advance public perception of architecture?
JP: There has always been a link between architecture and fashion ‘innovators’. I have worked extensively with Calvin Klein over the years and I think that he has had a tremendous impact in this respect. He was never interested in the impermanence of conventional store interiors. From the beginning he wanted to make authentic architecture – places with a real quality of space which people would feel as soon as they walked in. The flagship store in Manhattan has stayed pretty much as designed, more than a decade after it was finished and it is still having an impact on the way people commission and design stores.

@Source:http://www.wallpaper.com/fashion/power-couples-day-7/1084

People@Alexander McQueen and Sir Norman Foster

Alexander McQueen and Sir Norman Foster

In this month’s issue of Wallpaper*, our favourite fashion icons choose an architect that inspires them or their work. To accompany this portfolio, over the next 10 days Wallpaper.com will feature 10 exclusive interviews with the designers and their architects of choice. Today: Alexander McQueen and Sir Norman Foster.

Wallpaper*: How do you value the relationship between fashion and architecture?
Alexander McQueen: Architecture is paramount in inspiring fashion.

Wallpaper*: What sort of architecture do you think reflects your aesthetic?
AM: The work of Le Corbusier – my favourite building is the Chapelle Notre-Dame-du-Haut at Ronchamp. I am drawn to its asymmetry and mysterious energy and aura.

W*: How can architecture help sell fashion?
AM: Just by being there.

W*: What are your reasons for selecting Lord Foster?
AM: His impressive body of work – I am particularly inspired by the Gherkin.

W*: Have you worked on any projects together or do you intend to?
AM: No, no plans at present.

W*: What is your favourite city and why?
AM: London, for its diversity.

W*: Which location or city do you think could most do with a makeover?
AM: Belfast.

W*: You and Alexander McQueen have not collaborated on a project, but generally speaking, how difficult is it, as an architect, to combine your vision with someone else whose vision can be equally strong?
Sir Norman Foster: I have never had difficulties working with artists who have strong personalities or convictions, quite the reverse!

W*: Are you surprised Alexander McQueen selected you as his architect of choice?
SNF: As one of his admirers from afar, I am absolutely delighted.

W*: You have worked on store design (Hamnett). How does an architect begin to turn the task of shopping into a memorable event?
SNF: In making places which are good places to be - destinations in their own right.

W*: Does fashion interest you?
SNF: Yes.

W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
SNF: Not many numerically but the few that have done so have been positively influential.

@Source:http://www.wallpaper.com/fashion/power-couples-day-6/1082

People@Giorgio Armani and Tadao Ando

Giorgio Armani and Tadao Ando

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Giorgio Armani: Architecture certainly does inspire fashion and vice versa. Fashion needs to be presented within an environment that emphasizes its qualities and reinforces the inspiration behind it.

W*: What sort of architecture do you think reflects your aesthetic?
GA: Architecture that is in tune with humanity, that isn’t merely created to shock but is able to embrace the lives of human beings.

W*: How can architecture help sell fashion?
GA: When the design of a shop reflects the principle that its primary function is to provide a backdrop to the garment itself, contributing to its enhancement, then it has achieved its objective.

W*: What were your reasons for your initial collaboration with Tadao Ando?
GA: People talk about my style as being precise and austere, focused on the intrinsic simplicity of form, but also possessing strong impact and a forceful personality. I consider these values in harmony with the creative vision of Tadao Ando.

W*: Are you working on a project together for the future?
GA: Yes, we are refurbishing the interior of Via Bergognone 46, the new space I acquired last year across from the Teatro in Milan. It will be a creative continuation of the previous work completed in Via Bergognone 59, in which I also collaborated with Tadao Ando.

W*: Do you have a favorite building, any building and why?
GA: I am very impressed by the architecture of Pei. In his work there is a pursuit of the sensational, for instance through a wall that terminates in a very sharply angled edge, rather than a projection of a kind of gratuitous futurism that can often seem a little unjustified.

W*: What is your favorite city and why?
GA: I believe that every city has its own soul that should be respected and preserved.

W*: Which location or city do you think could most do with a makeover?
GA: In Italy, for example, the proliferation of buildings, particularly around the provincial towns, should be entirely eliminated rather than made over. More generally, a sense of genuine continuity needs to be re-established, in line with the indigenous traditions of whatever part of the world they relate to.

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Tadao Ando: I don't think it’s difficult to collaborate with such an innovative person as Giorgio Armani. He is a smart man with a firm intent and strong will. He is always demanding but his direction is very clear and strong in vision, and mine is equally so. We discussed the concept of design thoroughly together without any compromise. Such a deep encounter and intense relationship has achieved a successful result.

W*: How do you begin to help turn the display of fashion into a memorable event?
TA: I think creativity is common to both architecture and fashion. Fashion has always provided me with lots of ideas and energy for creation, and, in turn, I would like my architecture to provide something new for creation in fashion.

W*: In your opinion, have many fashion "innovators" or designers helped advance public perception of architecture?
TA: I think the collaborations between the architect and the fashion "innovators" help to develop the new audiences who become to be interested in architecture.

@Source:http://www.wallpaper.com/fashion/power-couples-day-5/107

People@Tomas Maier and Toshiko Mori

Tomas Maier and Toshiko Mori

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Tomas Maier: I believe that fashion can draw inspiration from architecture. There is a creative sensibility shared between the two.

W*: What sort of architecture do you think reflects your aesthetic?
TM: I like architecture that combines functionality and design with interesting materials.

W*: How can architecture help sell fashion?
TM: A well thought out and designed interior always lends itself to a better shopping experience.

W*: What are your reasons for selecting Toshiko Mori?
TM: I admire her aesthetic and innovative use of materials related to the surrounding geography.

W*: Have you worked on any projects together or do you intend to?
TM: We hope to work together in the future.

W*: Do you have a favourite building?
TM: I have many favorites, including the Seagram Building by Ludwig Mies van der Rohe, Le Corbusier’s Villa Savoye, Craig Ellwood’s Art Center College of Design in Pasadena, and Renzo Piano’s Menil Collection in Houston.

W*: What is your favorite city and why?
TM: For architecture lovers, Chicago and its surrounding area are a treat.

W*: Which location or city do you think could most do with a makeover?
TM: There are so many, it’s hard to name just one.

W*: How difficult is it, as an architect, to combine your vision with that of someone whose vision may be equally strong?
Toshiko Mori: As an architect we regularly test our vision against that of our client. It is challenging yet exciting to have a counterpart with a strong vision. I run a school of architecture where multiple visions are combined to form a vision for a future of architecture; it is an exhilarating process in which strong ideas are interwoven to create a kaleidoscopic complexity and richness. In short, it is not easy but there is no other way around it in any creative process.

W*: How do you begin to turn the task of shopping into a memorable event?
Toshiko Mori: If one can extract the more cultural aspect of shopping from the mundane task of simple buying, activities like walking through the bazaar can be observed as an exotic cultural event. Shopping is full of cultural codes, symbols and meaning that are a reflection of latent desire in our society.

@Source:http://www.wallpaper.com/fashion/power-couples-day-4/1074

People@Viktor & Rolf and Siebe Tettero

Viktor & Rolf and Siebe Tettero

Wallpaper*: How do you value the relationship between fashion and architecture and doyou think architecture can reflect or inspire fashion?
Viktor & Rolf : The reason that we have become fashion designers is because it allows us to escape from reality. Fashion is like a dream for us, and that is what we want to express in everything we do. A lot of material has been written about the interaction between fashion and the arts. However, our work is deeply personal and autobiographical. It reflects our thoughts and experiences. Architecture is never a direct source of inspiration.

W*: What sort of architecture do you think reflects your aesthetic?
V & R: We believe that beauty elevates humanity, it makes us aspire to believe in good. We admire architecture that reflects this sentiment, whether it is a gothic cathedral or the work of Corbusier.

W*: How can architecture help sell fashion?
V & R: By helping create the magical world around it.

W*: What are your reasons for selecting Siebbe Tettero for this coupling?
V & R: He has been part of our creative team for projects such as our first boutique in Milan and our office in Amsterdam. He understands and can translate our language into something real.

W*: What is your favorite city and why?
V & R: Our favorite city doesn't exist, but would have different elements of all the places we have visited and love.

W*: Which location or city do you think could most do with a makeover?
V & R: If we were architects, we would be able to answer that question in a second...

W*: How difficult is it, as an architect, to combine your vision with that of someone whose vision may be equally strong?
Siebbe Tettero: It is not really difficult, we think alike. The fun part of working together with Viktor & Rolf is that we immediately have the same idea and vision. Then it is easy to proceed with the project and makes sure the end project looks amazing.

W*: How do you begin to turn the task of shopping into a memorable event?
ST: By turning everything upside down.

@Source:http://www.wallpaper.com/fashion/power-couples-day-3/1073

People@Tom Ford and Ron Radziner

Tom Ford and Ron Radziner

Wallpaper*: How can architecture help sell fashion?
Tom Ford: I think of my stores as being stage sets, so it is important that the architecture doesn’t overshadow the fashion. So the feel of the space is more important than the actual lines. In a store you should only notice the volume of the space. Although, personally, I like to live with challenging architecture, the same approach isn’t necessarily right for my stores. To be honest, great architects aren’t necessarily great decorators.

W*: Do you have a favourite building?
TF: My absolute favourite architect is Mies van der Rohe. Although I have never been there, I love the Tugendhat House in Brno in the Czech Republic and I have pored over pictures of it so many times. And, of course, I love the Farnsworth House, too.

W*: What sort of architecture do you think reflects your aesthetic?
TF: Again, Mies van der Rohe. With Mies, God was in the detail. I find the idea of chromed I-beams in the Tugendhat House so simple but so luxe. Refined minimalism – this is what excites me as a designer.

W*: What were your reasons for selecting Ron Radziner?
TF: I first got in contact with Ron after having visited the Kaufmann House in Palm Springs. I was so impressed by the refurbishment that I called him up and subsequently met up with him in LA to discuss working on my Richard Neutra house together. We worked on the theme of refined minimalism. Obviously the standards of construction in the 1950s were not exactly great, so we bumped up the quality of the materials used and the finishes. So, for example, where Neutra had specified pale blond wood in the original drawings, we replicated it in walnut.

W*: Have you done any other projects together?
TF: We are now working on our fourth house – though we have never worked on a store together. We make a good team. I always think the best results come from a strong architect working with a strong client. And I am a strong client!

W*: What is your favorite city and why?
TF: I have so many favourites, but I have to say I think the residential architecture in Los Angeles is wonderful. There is nowhere else quite like it, with the work of architects as diverse as Greene & Greene, Rudolf Schindler and Frank Gehry. People had the money and they built their fantasies. Another city I adore is Santa Fe, New Mexico, where I am in the process of building a house. The city has this amazing architectural unity thanks to its pueblo adobe style of construction.

W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Ron Radziner: In theory, it could be difficult if you worked with someone with a particularly different view of design, but Tom and I work well together because we see space in a similar way. It’s wonderful when you’re working with someone with a very strong visual sense. They can easily and quickly understand the design concept, so we can have an open, honest conversation about various aspects of the design. If someone doesn’t have that visual sensibility, you end up spending a lot of time explaining.

W*: Has this house build been a memorable event?
RR: We have worked on five residences for Tom, and each has been memorable. It has been wonderful to work with a client that shares a deep interest in the total design. We’ve been able to develop a strong architectural vision and see it through, down to the last detail of a door knob. There’s a huge challenge in taking a design vision down to that level of detail, but in the end it has a tremendous effect on the experience of the space.

@Source:http://www.wallpaper.com/fashion/power-couples-day-2/1072

People@Ralph Lauren and Charles Gwathmey

Ralph Lauren and Charles Gwathmey the designers and their architects of choice.

Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Ralph Lauren: I think fashion is an art and a form of expression, just like architecture. Inspiration for both stem from what’s going on in the world. I think they could inspire each other.

W*: What sort of architecture do you think reflects the Ralph Lauren aesthetic?
RL: It isn’t about a single aesthetic. I have several homes and the architecture and setting of each represents something different. My home in Bedford evokes the feel of an English estate; it is very different from my ranch in Colorado, which captures the spirit of the West.

W*: How can architecture help sell fashion?
RL: I opened a store in Japan in Omotesando this past spring. As you know the architecture of the area is known for its diversity and my store is unique. It captures a timelessness and elegance that has been part of my design philosophy for 40 years.

W*: What is it about Charles Gwathmey’s work that appeals to you?
RL: Charles is a great modern architect; he designs with clarity and focus. He's a creative mind who lives and breathes what he does.

W*: Which projects have you worked on with Charles and do you intend to do more?
RL: We have discussed opportunities and ideas. Charles was consulted on the building of the store at 888 Madison. He is working on plans for a renovation of one of my homes and has designed a space that might one day host and display my car collection.

W*: What is your favorite city and why?
RL: I find energy and vitality in many cities but New York is my home, it is where I am from and it is personal to me.

W*: How difficult is it to combine your vision with that of someone else whose vision may be equally strong?
Charles Gwathmey: Design is a collaborative process. Having an honest, direct and committed dialogue is crucial. Obviously, we both have strong visions and there are legitimate differences. However, I believe, the more interesting and motivating part of our interaction, has been the intellectual dynamic and provocations, rather than the realisations. We have discussed many projects over the years and have realised two; I was the architectural design consultant on the original Sports Store on Madison Avenue and 72nd Street, and designed an addition to Ralph’s apartment, both in New York City. We have also designed a series of alternative schemes for a garage facility to both house and show his car collection.

W*: How does an architect begin to turn the task of shopping into a memorable event?
CG: Shopping is a form of discovery and anticipation. Experiencing architecture is similar. The ideal is fulfillment, stimulation, positive memory and a desire to return.

W*: Does fashion interest you?
CG:I have always been interested in fashion as an informing design discipline: proportion structure, detail, materiality, texture, color and quality. With a heightened interest in, and an awareness of the built environment, the ‘store’ has become a critical, perceptual and psychological component of merchandising as well as imaging. Architecture and fashion are partners.

@Source:http://www.wallpaper.com/fashion/power-couples-day-1/1071

11.10.2007

Design@Renova黑色衛生紙


三層紙結構,韌性及吸水力強一卷共有400張,觸感輕柔並有檀香氣氛。
黑色風潮席捲時尚,就連家中的衛生紙也難逃「黑勢力」,來自葡萄牙有68年歷史的Renova,為歐洲家用紙與個人清潔用紙知名品牌,以「誰規定衛生紙一定是白色的」的概念,推出黑色衛生紙系列,歐洲狂賣100萬捲,現在台灣也買得到,另有紅、綠、橘色,增添浴廁色彩與時尚感。僅於台隆手創館微風店、紐約紐約Plaza及誠品販售,隨附專屬精美提袋。
百分之百天然紙漿製成,可分解回收,已通過歐盟多項安全及敏感檢驗。

Gallery@Takashi Murakami retrospective, LA

Installation view of © MURAKAMI at The Geffen Contemporary at MOCA, 2007, photo by Brian Forrest, artwork ©Takashi Murakami/Kaikai Kiki Co., Ltd.

Takashi Murakami, Flower ball (3D) (2002), looking through to Takashi Murakami, Tan Tan Bo (2001)

Takashi Murakami, Flower ball (3D) (2002)
Takashi Murakami, installation view of Summon monsters? Open the door? Heal? Or die?, Kaikai & Kiki, (2000), Time Bokan – pink, (2001) and Jellyfish Eyes (2001)
Takashi Murakami, installation view of Summon monsters? Open the door? Heal? Or die?, Kaikai & Kiki, (2000), Time Bokan – pink, (2001) and Jellyfish Eyes (2001)

Takashi Murakami, DOB in the Strange Forest (1999)

Installation view of © MURAKAMI, And Then, And Then And Then And Then And Then (Red), (1996) and And Then, And Then And Then And Then (Blue), (1996)
Installation view of © MURAKAMI, 727-727, (2006) and Hypha will cover the world, little by little. “We should be able to get our hands on that door to the alien world soon. Wait till we get there!”, (2007)
Hypha will cover the world, little by little. “We should be able to get our hands on that door to the alien world soon. Wait till we get there!” (2007)
Hiropon, 1997 and My Lonesome Cowboy (1998)

Installation view of © MURAKAMI, Oval Buddha (2007)

Murakami's commercial products
Murakami Agendas, designed in collaboration with Louis Vuitton, 2007

Neverful bag with a special LV Hands print, designed in collaboration with Louis Vuitton, 2007


Interior of the Neverful bag showing the limited edition round monogram coin purse with the same print, designed by Murakami in collaboration with Louis Vuitton, 2007

Fashion@Louis Vuitton Christmas windows

'Latitude 48.914/Longitude 02.286' by Christopher Lawson and Marcos Villalba

'The moment an idea becomes repetitive or predictable then any sense of creativity is lost.' Thus spoke Yves Carcelle, Chairman and CEO of Louis Vuitton, commenting on the brand's latest project, which is indeed distinctly unpredictable and unrepetitive.

Pioneers in the fashion world for opening their arms to collaborations with a range of surprising artists (notably Takashi Murakami, who graffitied the precious Monogram in 33 colours, Olafur Eliasson, who created a pitch black lift in the Paris flagship store, and Richard Prince, who teamed up with Marc Jacobs to design the S/S 2008 bag collection) the historic, luxury brand yesterday unveiled their Christmas windows in London's flagship - the result of a competition with the iconic design college, Central Saint Martins.

Laughing in the face of any potential risk associated with handing the reins over to students, Louis Vuitton held a competition back in March of this year, commissioning 80 graduates from the BA course to come up with a design for the Christmas windows, to be featured in all 380 stores worldwide.

'The brief was pretty non-existent,' said winners Christopher Lawson (21, from Ireland) and Marcos Villalba (26, from Spain), 'so we did our research and isolated the things we felt were the essence of the brand, focusing on travel, wood and Asnieres, the historic workshop.'

The result is 'Latitude 48.194 / Longitude 02.286', a masterfully simple creation and a synthesis of the brand's core principles: a three-dimensional topographical map of the area surrounding Asnieres, made from poplar wood, used for the frame of the Louis Vuitton trunks since 1854. Graphic, abstract, poetic and historic, it is proof that creativity is not something acquired through age or experience.

'For us it was as much a matter of concept as feasibility,' explained Carcelle about the judging process. 'We learnt a huge amount from the students, too. It's interesting that in the whole history of Louis Vuitton, no worker has ever thought of travel in terms of latitude and longitude until now. The concept was extraordinary but the feasibility was equally clever. The simplicity of the design meant that it could arrive at any sized window in store in the world and be assembled in two hours.'

And what is the significance of working with students on a project of such vast exposure? 'It's a very considerable part of our philosophy to encourage the next generation of creatives, and for us we find there's a freshness discussing things with students.' Carcelle is the first to admit that 'Paris is the heart of luxury, but London is the heart of creativity.'

@Source:http://www.wallpaper.com/fashion/louis-vuitton-christmas-windows/1886

11.09.2007

Thinking@11件事人生中必做的事,張忠謀線上告訴你

很多人對張忠謀的認識是在他成功後,擔任德州儀器副總裁、工研院院長、創辦台積電。但對於他成功前的少年人生,卻知之甚少。
十八歲以前的張忠謀,跟著父母,持續搬家,坐在露天大卡車裡拉著綁貨的繩子一路顛簸,躲避戰火。但他日後回憶起,卻覺得無論近年的旅遊如何舒適與奢侈,最令他懷念的還從上海到重慶的跋涉。


大時代的動盪讓年輕時的他刻苦自律;而十八歲即赴美國求學的他,則在哈佛接收了世界的能量。 他在自傳裡寫道:「十八歲去美國前,父母是我的天地,之後我凡事只能倚賴自己。」


因為青年時特殊的生命經歷,他知道青年的學習對人生的重要性。不久前他在新生入學典禮向上千名學生演講,當時他把牛頓的一句話送給學生,「如果我看得更遠,是因為站在巨人的肩膀上。」


他知道成功不是偶然,而是每個當下的努力;他說這世代要先打破迷思,因為進了一個好的大學不等於鐵飯票,以後成功的機率也不一定比別人高。

競爭邏輯在改變,但不變的是持續的努力。大學生如何透過這位巨人的肩膀學習,以下他的演講應該會給許多青少年啟發。

大學四年,我認為大學生應該要多花心思在十一件事情上:


第一點:養成一個終生的、健康的生活習慣


假如你已經養成了這個習慣,那很好,希望你繼續維持;假如你尚未養成這個習慣,那麼請好好把握十八歲這個年紀,因為這近乎是最後的機會。錯過了大學四年這段養成健康生活習慣的時期,以後要再擁有健康的生活習慣,恐怕將更不容易。而沒有健康,一切都不用談。況且,現在大家醫學的知識比起五十年前更豐富,醫學也有很大的進步,保健知識比起我十八歲時候好多了。


健康生活的習慣包含了運動,經常運動不一定是要以成為一個很好的運動家或者校運選手為目標,而是養成一個習慣,把運動當作健康生活的一部份。


第二點:「培養志願」,為自己許一個更細微的志願


例如,你未來要走哪一個行業?要在政治上、法律上、科學上、學術上還是到企業界?這個就是志願。


假如目前尚未決定志願的話也不用太擔心,這往往是大學二、三年級甚至於是更後面才能做決定的事。但希望你在這大學四年裡儘早有自己的志願,這樣就可以決定你要在哪些事情上下功夫、花時間,也可以早一點知道自己事業的方向、人生的方向,進而知道自己要在什麼學問上多努力。


志願可以分成學術上的志願與非學術相關的志願。學術上的志願就至少是一門主修,無論物理、化學、電機、機械都好,甚至是寫作等藝文方面的志願,都屬於學術上的志願。


除了學術以外的其他志願則屬於非學術相關的志願,範圍更廣。例如:當立法委員、到公司裡頭作經理、工程師、總經理、當律師等都是非純學術的志願。


無論是哪一類的志願,一旦有了志願以後,學習會比較有方向。


第三點:要用功學習


假如你們的志願是學術志願,是未來想當教授、做研究,那麼你們盡可能花百分之一百學習的時間專注在專門的領域上。


若是政治、法律、企業、工商業、服務業等非學術相關的志願,則建議你們頂多在專業領域上花二分之一到三分之二的時間即可;另外的二分之一到三分之一的時間則可以用來學習與你們的志願相關的東西,但不在你的專門領域裡頭。
舉例來說,如果你的志願是在企業裡頭工作,而你的主修卻是電機系的話,電機是你吃飯的本錢,你得花二分之一到三分之二的時間在電機的領域裡頭用功學習;另外三分之一到一半的時間,因為你預備到企業界做事,所以你要了解包括電腦、資訊、半導體、通訊等資訊,閱讀國內外報章雜誌、相關行業的新聞報導;除此之外,你也得花點時間學學會計、財務、行銷,看看企業是如何競爭,甚至應該注意一下這個行業公司的股價,還有股價漲跌波動的理由為何?


假如你預備以政治來作為志願,那更有一套經典式的學習領域,包括:飽覽歷史、地理、語文方面的書籍,還有閱讀傳記,這是作為一個政治人非常經典式的訓練。


第四點:學習的時候不要背書,要徹底了解


無論是看書或是閱讀其他資訊,有時候不是一本書,而只是論文中的幾個段落或是幾頁內容,都要徹底了解。徹底了解比你看多來得重要。而且千萬不要僅靠你的記憶力背書,背書只是通過考試的一個辦法而已。


你目前的人生已經通過了種種考試,之後的人生不是挑一個習題或者寫一篇短文的這種考試。未來你人生中的每一天可能都在考試,但那些考試是需要徹底了解與融會貫通的。


以我自己為例,我的學士跟碩士都是主修機械,可是我一進產業就是進入半導體業,剛開始我對半導體業是一竅不通。可是我的物理相當好,於是我買了一本當時半導體的經典著作,是夏克萊(William Shockley)的一本書,有兩百多頁,我花了四、 五個月的時間從頭到尾徹底地學習與了解。


那時年紀輕,大概二十四歲。白天我在生產線上做事,晚上則花好幾個鐘頭看半導體的書籍。白天的工作雖然讓我對半導體有基本的認識,但實際上對我的半導體學問幫助不大,我的半導體知識主要是靠晚上幾個鐘頭的閱讀而來。


我每天晚上頂多看這本書的十頁,有些地方看來看去還是看不懂,這時候就要找一個教師。我那個時候有一位非常喜歡喝酒的同事,跟我住在同一個旅館裡,他有豐富的半導體學問。他因為很喜歡喝酒,幾乎每天七點鐘到十點鐘都在旅館樓下的bar裡面喝酒,所以很容易找到他。雖然是在喝酒,可是他沒有真正喝醉。我念書這三個鐘頭中,有看不懂的地方,或者是想來想去還是不懂的地方,我就去找他,我不僅可以找到他,百分之九十的問題,他也都可以替我解答。


學校的環境對學習很好,可是要抱著徹底了解的心去請教,而且要適時尋找與運用資源。


第五點:學會「獨立思考」


獨立思考在中國、台灣的文化裡比較欠缺。


所謂的獨立思考就是不要人云亦云,不要看了什麼文章,或者聽了一個演講就認為是這樣。看了文章或聽了名人的演講後,要去想他講的是不是事實?然後去找另外一個來源來求證。


第六點:學創新


創新有很多是來自天分,但有一部份是可以靠後天培養。培養創新的途徑其實就是之前說的徹底了解、用功學習與獨立思考,這三件事與創新有強烈的正相關。


第七點:學中文


雖然大學生的中文已經學了十八年,可是絕大部份學生的中文還是不夠好。


台灣中學的中文教育跟我小時候在大陸所學的十分相似,均注重讀跟寫,當然還有背書與背古文。那為什麼很多人十八歲了還不夠好,甚至到了四十歲都還不夠好?主要是因為他們缺乏「聽」跟「講」的能力。

什麼是「聽的能力」?你跟人家講話,對方會有感覺,但可能沒有真正在聽,那就是對方聽的能力差。我是董事長,照理說在公司裡頭大家應該聽我講話,可是我發現常常我講了一句話後,其實我接下來有四、五句話要說,但我在講完一句後就被對方打斷了,因為他以為他知道我接下來會講什麼,但事實上百分之八十的時候他都猜錯了,這就是聽的能力不夠。


講話人人都會講,因為中文是大家的母語,可是「講」的能力還是有層次之別。講話的第一層能力是「詞能達意」;其次是能夠「有邏輯的解釋一件事情」,就是口頭上能有邏輯性的解釋好一件事情,這個恐怕只有百分之六、七十的人能夠做到。再高一層則是「有說服力地表達一件事情」,這部份可能只有百分之二、三十都還不到的人達得到。那最高的層次是「雄辯」,這部份一百個人中恐怕一個人都沒有。


事實上,幾乎每個人都可以提高聽的能力,在說話方面也能達到具說服力的層次,這是可以花時間、花功夫學習的。 


第八點:學英文


英文非常重要,因為未來的五十年,甚至於更長的時間,英文會是世界上非常重要的語言。雖然要一個十八歲的人學英文已經有點晚了,但是還是可以補救。


補救的話可以從「讀、聽、寫、講」這四方面來進行。學中文要注意的是「聽跟講」,學英文則是要多注意「讀跟聽」。到了十八歲時如果你的英文講得不好,要你流利地講英文會比要你流利地寫英文還來得困難,但重要的是你能夠流利地「讀」,這對十八歲的人來說還不晚,要期許自己能夠做到讀英文跟讀中文一樣地流利,這點相當重要。


你可以給自己一個測驗。現在台灣翻譯的書很多,很多英文書被翻譯成中文。兩、三年以後,假如你是願意看原文書而不是中文譯本,而且能夠流利地閱讀的話,那麼你就做到了。


英文聽力也一樣,到了十八歲時,如果英文底子沒有很好的話,已經很難再要求英文講得流利或者寫得好,但是英文聽的能力可以再加強,把英文的讀與聽的能力訓練好是非常重要的事情。


第九點:學習世界


要學習全世界,不只學習台灣、大陸、亞洲。


學習世界的前提是要有一定的英文能力,假如你無法流利地閱讀英文,要學習世界就比較困難。以新聞而言,台灣報紙報導國外的新聞的量很缺乏,台灣的新聞台雖然有時候會報導國外新聞,但簡直是少到幾乎沒有。所以我曾經說過要學習世界,起步點就是每天看《國際先鋒論壇報》(International Herald Tribune),你會在裡頭看到不同的世界。除了《國際先鋒論壇報》之外,可以再看看《經濟學人雜誌》(The Economist),還有美國的《Business Week》。


第十點:學演講、學辯論


這個跟我剛剛講中英文的訓練有關,演講是講,辯論又是聽又是講。


電視上有很多時論者, 他們的演講技巧很好,簡直是口若懸河,但是內容不見得那麼豐富,演講跟辯論需要技巧,更需要內涵。


第十一點:也是最重要的一點,做一個「誠與信」的人


「誠」就是不講謊話,不是只對你熟的人不講謊話,而是任何時候都不講謊話;「信」就是你說要做什麼,你就會不計代價來完成。我期許大家做一個誠與信的人。


我認為社會有沒有提升與社會上的領導人有關。我希望你們現在十八歲以後都能成為各個領域的領導人,也是一個在誠信上不容置疑的人,誠信之外還能與別人既競爭又合作。


在大學的時候學會了如何既競爭又合作,希望出了校門還是能夠繼續如此,那我們的社會才會提升。

(本文摘錄整理自二○○七年張忠謀交大新生入學典禮演講)

@摘錄/天下雜誌

People@名人談青春,學李安捍衛自己夢想

電影「色,戒」國內票房直奔台幣三億大關,導演李安忙著從紐約、倫敦、首爾再到上海做全球宣傳,所到之處國際媒體包圍著他,希望從他口中聽到兩三句關於新作的評論。

從螢幕上看來,李安的神色疲憊而堅毅,但他一點一滴為自己掙來的國際名導尊嚴,正煥發出熠熠星光,「現在已不是李安融不融入西方社會的問題,而是西方社會渴望跟他合作、了解他的觀點,」李安的得力助手李良山曾如此形容。


李安大器晚成的一生,是人們津津樂道的勵志故事,在他三十六歲事業起飛之前,人生有兩個嚴重低潮期,一個是從紐約大學電影製作研究所畢業後,窩居在家六年沒有電影可導;另一個就是台南一中畢業,卻連兩屆大學聯考落榜。


不如意的國、高中歲月


李安的國中、高中時期有多麼蒼白失意,從猶如他前半生自傳的《十年一覺電影夢》一書中可略窺一二。整本書厚達近五百頁,但談到自己的國、高中歲月,李安只用了短短五頁篇幅,裡面甚至還有一頁半,是他的好友回憶兩人的年少情誼。


在典型的外省家庭中長大,李安從小跟著媽媽看電影,小學三年級時就自編自導話劇找同學一起表演,還會反串女生,但這些天賦在那個萬般皆下品、唯有讀書高的年代顯得不值一哂。


李安身為台南一中校長李昇的大兒子,書讀不好,就是自尊上最大的挫折,「青春期我在行為上倒沒什麼叛逆,就是喜歡胡思亂想,讀書不專心,」彼時駝背又害羞的李安,對高中的印象,除了上課,就是補習。幫他補習的老師,全是中南部名師,但成績不見起色,倒是高一時李安就勇敢對父親說了自己的志向,「其他科目都不喜歡,我想當導演。」


一句「我想當導演」,大人們不以為意,當然也無法幫助李安在聯考的困境中殺出重圍。第一年考大學,李安以六分之差落榜,第二年重考,數學甚至考了零點六七分,再度以一分之差落榜。「二度落榜在我們家有如世界末日,我根本沒想到會發生在我身上,」李安當時最大的情緒發洩,不過是把桌上的檯燈、書本一把掃到地上,然後跑出家門透透氣。


靈魂第一次獲得解放


李安後來考上藝專影劇科,據他形容,是「靈魂第一次獲得解放」,那時才發現,原來人生可以不是千篇一律的讀書與升學。他在舞台上找到真正的自己,學芭蕾、寫小說、練聲樂,甚至是畫素描,各方嘗試後在電影領域裡漸放光芒。


不過,李安雖然在藝專如魚得水,但父親的期待也一直懸在年輕的心上。他回憶在專二升專三的暑期環島巡迴公演,因為累成黑瘦模樣而被老爸訓了一句「什麼鬼樣子!」他憤而走回房間把房門鎖上,「這是我第一次膽敢有此犯上舉動,已經是很革命了!」即使後來父親答應李安出國念電影,初衷也是希望他拿個博士成為學者。


二十三歲前,李安在台灣度過,青春時期在學業上的不順遂、無法滿足父親的期望,讓李安在自己選擇的道路上,毫無保留地拚命去盡最大努力,不斷地給自己壓力,彷彿一直想要證明什麼。即使後來拍了「臥虎藏龍」、有奧斯卡最佳外語片加持,李安還是會說,「我可以處理電影,但我無法掌握現實。面對現實人生,我經常束手無策,只有用夢境去解脫我的挫敗感。」


反倒是當年對這個長子有著傳統士大夫期望的李爸爸,曾寫卡片勸解兒子,「用力不要太深,著色不要太重。」


從青澀緊張到大氣從容,全世界的影評人總是想要為李安的成功找理由。但找到最後,那個鏡頭可能就是落在一個瘦小的十六歲台灣男孩,對著自己不敢反抗但又不願順從的父親說,「我想當導演!」


@天下雜誌384期 2007教育特刊 關鍵十年的獨立與探索/文/馬岳琳

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好萊塢女星設計操刀,替品牌增添巨星風采,MANGO今年冬天分別找來蜜拉喬薇琪和潘尼洛普克魯茲,分別推出一系列商品。

平價服飾找明星、名模跨刀設計掀起潮流,蜜拉喬薇琪設計的「Milla Jovovich by MNG」,以一件式洋裝為主要線條,大量使用垂墜性佳的水洗絲面料,色彩上以黑色、粉色為主。今年度品牌代言人潘尼洛普克魯茲設計「Penelope&monica cruz for MNG」系列,推出31種款式商品,靈感延續秋季對電影致敬的靈感,增添以奧戴莉赫本為設計概念的晚宴服飾。

MANGO這季擷取中古世紀的「Embllishment裝飾藝術」,設計完整的晚宴系列,線條上從正式的長禮服到俏麗的MINI洋裝,大量使用亮片、縫珠技術,增加時髦感,並使用混紡材質的搭配,諸如華麗感的綢緞搭配性感的皮草、針織搭配多層次的蕾絲裙,以及奢華感頗濃的提花織物搭配毛絨絨的長圍巾,豐富多層次性。

@2007/11/09 聯合報╱記者李思嫻

11.07.2007

異業結盟 時尚名牌出擊@Design

HERMES皮件部門特別為直昇機量身打造機內設備,這兩款駕駛員座艙座椅都採用手工牛皮縫製。圖片/HERMES提供


Paul & Joe和 PERRIER合作,設計了三款充滿時尚感的礦泉水飲料外包裝。圖片/Perrier提供

為了雙嬴,時尚圈興起一股Crossover「異業結盟」風潮。時尚龍頭LV不斷向不領域設計師招手的合作案,不但捧紅了日本藝術家村上隆,也使得傳統Monogram皮件系列再創銷售高峰。

最近時尚圈內的跨業合作案更是上天下海,今年在亞特蘭大舉行的美國商務航空展National Business Aviation Association(NBAA),中赫見愛馬仕(HERMES)皮革裝飾部門與Eurocopter公司合作的愛馬仕直升機(Helicopter by HERMES)首度亮相。這也是繼VERSACE為私人直昇機、GIORGIO ARMANI為汽車設計內裝案例之後,時尚大牌又一大作。

愛馬仕總部皮革工坊一直以來都有所謂「專門訂製部門」,從私人物件到家具都有先例,這次合作對象是世界最大直昇機製造廠 EUROCOPTER,為了提供更有質感的直升機給頂級VIP客層;愛馬仕皮革裝飾部門選用經典帆布材質作內裝,而駕駛員座艙座椅更是採用手工牛皮縫製,提供更舒適的飛行經驗。

時裝品牌PAUL & JOE,跨足為百年歷史的法國氣泡水品牌Perrier設計新衣,這項Crossover合作立刻成為時尚圈熱門話題。兩大法國知名品牌聯手打造這場「美得冒泡」的作作案,三種全新的瓶身設計,將兩個品牌追求時尚的創意在瓶身一留下視覺震撼。

PAUL & JOE選了著名的三種截然不同圖騰為瓶身設計,這系列特殊包裝的PERRIER將於全球指定國家限量販售,台灣地區只送不賣,只提供給11月1日至11月15日於全省PAUL & JOE及PAUL & JOE SISTER門市消費滿一萬元的消費者,作為回饋。

@Source:2007/11/05 聯合報/╱記者袁青

11.02.2007

People@大師何為「大」——紀念建築師黑川紀章

柯布西耶為現代建築帶來了根本性革命,其《走向新建築》似一把利劍,直刺傳統建築咽喉;而賴特則更注重建築與環境的結合,將其濃縮為「有機建築」的思想,同樣產生了深遠影響……,他們逐漸成為現代人所敬仰的建築大師,因為他們為現代建築的發展注入了活力,並做出了巨大貢獻,他們有資格享受人們的讚譽,日本建築師黑川紀章先生同樣應該如此。

  「綻放」的思想——從「新陳代謝」到「共生」

  「新陳代謝」是一個生物學專有名詞,指的是生物體時刻不停地與它周圍環境進行著物質交換和能量轉換,藉以完成自身更新適應體內外變化的過程,即一個生命自我更新得以永續的過程。
  而黑川紀章之所以在1960年的東京國際會議上提出「新陳代謝」的思想,則源於他對西方強勢文化的抗議。
  自從蒸汽機以及稍後的汽車和飛機發明以來,現代化就成為西方人的驕傲和其他地方人們的夢想。現代化則就意味著西方化、機械化和國際化,意味著強勢文化對弱勢文化、傳統文化的強大衝擊。於是,這種影響從歐洲開始,迅速遍及世界的每個角落。這種迅速的國際化,對於沒有悠久傳統文化的美國影響甚小,而對於有著悠久文化的中國、日本、韓國等國家則形成了巨大的衝擊。
  黑川紀章強調:「一切生命中均存在未知的領域,而每種文化中都有超越我們理性認識的神聖領域」。正是在這一思想的影響下,他提出了「新陳代謝」概念,即建築應該像生命體一樣能夠進行不斷的自我更新,而不是強調採用統一的「國際」模式。設計建築在考慮國際強勢文化影響的同時,更應該尊重地域的文化、多樣的文化。
  而後,經過近30年的實踐,黑川先生又不斷將其思想進行完善,先後經歷了共時、變生的階段,最終發展成為成熟的「共生」思想。
  「共生」哲學的核心內容是:異質文化的共生、人與技術的共生、內部與外部的共生、部分與整體的共生、歷史與未來的共生、理性與感性的共生、宗教與科學的共生、人與自然的共生。而「共生」思想也成為今天建築設計界的一個重要依據,成為黑川紀章先生對現代建築界最大的貢獻。
  黑川先生說:「將人類視為僅次於上帝並控制整個自然界的理性生物的人本主義學說正面臨著危機,我們應該逐漸認識到人類的生存依賴於我們星球上許多生命形式的共生,建築和文化同樣如此」。
  海德格爾稱歐洲中心主義為一種看得見的文化,它認為世界只是像戴著特殊有色眼鏡的西方人所看見的那樣,相比之下,「共生」思想認為存在多種文化的世界是豐富多彩的世界。

  從「銀艙體大樓」到「藝蘭齋美術館」

  在黑川紀章先生的作品中,東京中銀密封艙型塔是一個佔有非常重要地位的建築,這也是其早期實踐「新陳代謝」思想的重要代表作,同時也表現了黑川先生早期打破「機械建築」束縛而追求有生命的、可以改變的建築決心。該建築曾被世界教科文組織評為「20世紀世界建築文化遺產」。
  當黑川紀章談到該建築時說:「這一工程的中心思想並不是尋求大批量生產的優越性,而是尋求在自由的佈置單體空間的過程中,表達新陳代謝的可能性」。
  而美術館是一種特殊的建築類型,因為它要更多考慮地方的文化。正是在「共生」思想的影響下,黑川先生設計了至少27個不同的美術館,尤其值得一提的是,他把第27個「獻給」了中國——南京藝蘭齋美術館。
  當有人問他如何評價這些美術館時,他說:「這27個美術館就相當於我的27個孩子——我創作出來每個小孩的臉型、所生的時代、所受的教育都是不一樣的,所以他們的個性也不一樣。唯一共同的地方就是他們的遺傳因子是一樣的。即使他們的臉是完全一樣的,性格也完全不相同,建築也是這樣。」這正是他「共生」思想的偉大體現。
  從「新陳代謝」到「共生」思想,黑川先生用了近40年的時間。在這40年中,他設計的作品已經遍佈全球20多個國家,給我們留下了一筆非常寶貴的「遺產」。

  現代的勇敢「鬥士」

  黑川紀章曾到西安講學時以這樣的話作為開場白,他說:「對中國西安來說,京都只是個小孩子,可是從機場到城裡的路上,我感到十分失望。」這是他對中國城市建設的批判和無奈!
  今天,我們中國同樣面對著西方強勢國際化的衝擊,中國的傳統文化正在遭受嚴峻的考驗,但可悲的是,我們看到了更多的西方巴洛克風格的建築群,在某些中國人眼裡,這就是豪華、榮耀的代名詞。而我們的傳統文化則處於日益衰落的窘況,這絕不是聳人聽聞。我們更應該從黑川先生的偉大思想和行動中獲取更多的自信,像他一樣做一個勇敢的「鬥士」。
  「我不認為日本文化優於其他任何文化,而且我強烈反對排外的宗教主義、民族主義、種族主義或歷史循環主義。對我來說,新時代建築的目標是普遍的秩序與地域文化的共生」,黑川先生強調。
  可惜,2007年10月12日,黑川紀章先生與世長辭!
  正如貝聿銘先生所說:「沒有人能永遠風光,但建築是悠久的,最要緊的是看你的工作如何,工作能否存在,50年以後、100年以後……任何名分都會隨時間流逝,真正留下來的只是建築本身」。
  雖然黑川紀章已離我們遠去,但他的偉大思想和建築將永留人間!


@Source:http://www.abbs.com.cn/news/read.php?cate=3&recid=23369

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