上海交響樂團音樂廳 Shanghai Symphony Orchestra Concert Hall
來到七十年代，他的代表作必定是群馬當代美術館 (MOMA Gunma)。將美術館設計成邊長12米的正立方體， 再將底部挖空，形成一個看來輕巧的架構，室內設計盡量簡 約，採用了大量玻璃窗引入陽光。現今看來簡單的概念在當 時可是十分前衞，充滿後現代主義的味道，跟他的師傅丹下 健三擅長使用的曲線建築產生強烈的分別，創造出獨特的 風格。 八十年代是磯崎新衝出日本，蜚聲國際的日子。首個日 本以外的設計為洛杉磯的MOCA (Museum of Contemporary Art) ，泥紅色外牆配以半圓拱頂的構思，至今仍然是為人津 津樂道的地標。當大家以為磯崎新的風格就是低調沉靜，他 卻在九十年代設計了水戶藝術館(Art Tower Mito)，全館採用 大量自然素材搭建，讓人置身其中也感受到一絲恬靜，抬頭 又突然發現有一個以金屬製造的高塔聳立在藝術館之中，成 為令人難忘的標誌。 來到21世紀，磯崎新並沒有停下來，設計思維繼續與時 並進。2000年左右在意大利建成的Pala Alpitour，在金屬外 殼之中滲出有規律的燈光，遠看近看皆非常矚目，與從前作 品風格迴異，完全是當代建築的代表。2011年在卡塔爾設計 的Qatar National Convention Center，在冷色調的玻璃幕牆 中，加入兩棵「樹木」，為整幢建築物帶來生機，樹幹從建築 裡面延伸至外面，看起來十分壯觀。2013年的上海交響樂團 音樂廳，又一反常態，外形就像磚頭般封閉，巧妙地採用波 浪形的屋頂，令建築物變得有種低調的獨特，大師風範就是 如此建立出來。 普立茲克獎的評審對於磯崎新的評語—「勇於前進，不 複製過去，融合全球化與本地化的需要，是建築界的先驅。」 看過他的作品，相信不會有異議。
A monumental piece of his work is the Museum of Modern Art, (MOMA) Gunma in Takasaki, Japan, which opened in 1974. The gallery is a 12-squaremetre cube with a hollow base. The interior design is simplistic, leveraging natural sunlight with the use of large windows. It was avant-garde at the time, introducing modernism inspired by his master, Kenzō Tange, to generate a distinct, contrasting architectural style. Isozaki gained international acclaim with the design of the Museum of Contemporary Art in Los Angeles, which opened in 1986. By combining a mud-red exterior wall with a semi-circular vault, it became an instant landmark. The Art Tower Mito, in Ibaraki Prefecture, stunned the world in 1990. Isozaki created the entire building with natural materials, imbuing a Zen vibe with a sense of calm. The multimedia centre incorporates a concert hall, theatre and art gallery. The most striking aspect of the complex is the 100-metre-tall steel tower made in a geometric triangular pattern, commemorating the 100th anniversary of Mito becoming an official city. Isozaki continued his architectural innovation with the completion in 2005 of Pala Alpitour, a multi-purpose sports/concert arena in Turin, Italy. The metallic exterior diffuses a charismatic and rhythmic light pattern that anchors a firm representation of contemporary “art-chitecture”. Isozaki also designed the visually astonishing Qatar National Convention Center in Doha, which opened in 2011. A pair of sprawling steel columns create the illusion of two trees in front of the large rectangular glass facade, supporting a roof canopy. The “tree trunks” extend from inside to outside the building. In 2013, he created another unique masterpiece, the Shanghai Symphony Orchestra Concert Hall, with its signature white wavy roof red bricks and, interestingly, no windows. Clearly, Isozaki is one of the most influential figures in contemporary architecture. He has brought together East and West, not through mimicry or as a collage, but through the forging of new design paths.
ELITEGEN
•
J u Ly / A u G u s T
•
2019
83