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2 Contents 007 Editor’s Notes 008 Contributors

Culture 010

Madrid: Conservatory of Birth, Source of Abundance -A Capital City that Needs Careful Savoring 馬德里:孕育的暖房,豐沛的源頭 — 一個需細細品味的京城

014

Ten years ago, ten years later, sneaking and slow-dancing in the crowd 十年之前、十年之後,在體相中潛行與漫舞

020

Even now, nothing is clear, shapeless is all 即便現在,無以明之,無形不在

026

Common Sense and Unhealthy Music 鏗鏘且糜糜

032

Sugar Plum Ferry:Confront 甜梅號:面對 / 對抗

Ciyt Outlook

Trend

053

090 Publishing

馬德里與其風格習性

真誠的遊戲

Madrid and its idiosyncrasies

Alchemist

Pink Artists 粉色藝遊

042

Change ‒ Inject some creativity into our lives for a better tomorrow 改變 為明日生活挹注有氧創意

046

第四度空間

全然衝突,無所畏懼

設計、距離與對等的空間

060

099 Food

Aesthetic Guerrilla

Design, space and equal room

125

The selection process for 'Landing in Scandinavian' will start this September 九月「北歐螺旋槳登陸計畫」徵選過程放送

cacao Reader

美感游擊

The scent of Andalusia 安達魯西亞的芳香

064

102 Creative Scandinavians

狂舞者—踩踏、擊掌、翻轉

脫離

068

104 Fashion

cacao News

哥本哈根︰斯堪的納維雅時尚的首都 潮領風騷

128

Crazy Dancer - Stomping, Clapping, Flipping

A mosaic-style journey of the soul

Escapism

以馬賽克拼貼心靈旅程

Copenhague: La capital de la moda escandinava Fashion Week Spring/Summer 2012

072

2012 年春夏時尚週

The body's dialogue with nature

076

Breaking through barriers ‒ Crashing into the transformation of buildings 突破設限 撞擊建築的轉化與陳新

Creative Life

Spanish Music: Most Precious Intangible Cultural Heritage of the World!

082

西班牙音樂:世上最珍貴非物質文化遺產!

東西混融的陶瓷藝術

050

086

從馬德里電影看見的力量

台灣陶作之美

The power of films from Madrid

THE FOURTH DIMENSION

096 Design

Total Confrontation, Without Fear

cacao Action

092 Photographer

056

身體與環境的對話

038

An Honest Game

121 Ren Wan - Hong Kong 122 Tao Wei-Jyun - Taiwan 陶維均 123 Buzz - Taiwan 巴斯

The art of mixing souls - ceramics between East and West

The beauty of Taiwanese pottery works

127

My father told me that 'compassion starts with how you treat animals.' 我的父親跟我說:「憐憫之心從如何對待動物開始」

Next issue 'Reykjavík and On the Origin of Species' 下期預告-“雷克雅維克與物種原始”

People 108 110 112 113 114 116 118

Vita Yang 楊謹瑜 Cheng Chang Wu 吳政璋 Amy Tseng LIAO CHIN Chin Pao Chen 陳敬寶 Edi Kuo 郭保伸 insecteens 昆蟲白

cacaoist 120 Loïc Moreau - Paris


76 Alchemist

Text / Viola Lin

Translator / Fabian Hamacher

Photographer / Antón García- Abril

Breaking through Barriers -- Crashing into the Transformation of Buildings 突破設限 撞擊建築的轉化與陳新

延伸 線條 在 方 格 間 筆 直、交 錯 或 再分 離 的建 構 空 間 與 空間 概 念,就 如同音符從置於五線譜的單音開始,一段段的匯聚及銜接,交構出龐 大 的 音樂 能 量 與情感,或 許 是相 似 的 條 理可 引發 共 鳴,使 得 Antón García-Abril 在學習的道路上,揮別了從小被培養的音樂家之路,轉而 面對承接自身才能,往建築師的方向聚力。 The extended lines of buildings seem to mutually interlace on the big rectangular grid of the modern city; just like single notes on the five horizontal lines of a lead sheet that form a simple melody and then start to harmonize together once the notes start piling up. Maybe it was that discovery of the similarity between music and the structure of a city that made Antón García-Abril abandon the future as a musician, which was chosen for him by his parents, and concentrate on becoming an architect. Antón García- Abril

That’s where he thought his natural talents were.


76 Alchemist

Text / Viola Lin

Translator / Fabian Hamacher

Photographer / Antón García- Abril

Breaking through Barriers -- Crashing into the Transformation of Buildings 突破設限 撞擊建築的轉化與陳新

延伸 線條 在 方 格 間 筆 直、交 錯 或 再分 離 的建 構 空 間 與 空間 概 念,就 如同音符從置於五線譜的單音開始,一段段的匯聚及銜接,交構出龐 大 的 音樂 能 量 與情感,或 許 是相 似 的 條 理可 引發 共 鳴,使 得 Antón García-Abril 在學習的道路上,揮別了從小被培養的音樂家之路,轉而 面對承接自身才能,往建築師的方向聚力。 The extended lines of buildings seem to mutually interlace on the big rectangular grid of the modern city; just like single notes on the five horizontal lines of a lead sheet that form a simple melody and then start to harmonize together once the notes start piling up. Maybe it was that discovery of the similarity between music and the structure of a city that made Antón García-Abril abandon the future as a musician, which was chosen for him by his parents, and concentrate on becoming an architect. Antón García- Abril

That’s where he thought his natural talents were.


78

Reader’s House

建築有著廣泛的範疇,會隨著建築師的創意 思維及周邊環境,感染風格在線面當中的變 化,作為與城市的場域接軌,進而開展出擁 有獨具的、個性化的立面表情,更能導引人 們對量體來進行一場空間遊歷,然而對西班 牙建築師Antón García-Abril來說,建築卻 總是在衝突、對抗,因為它是一個公共藝術 或公共科學,在城市裡進行完全暴露的比較 對話,特別是在馬德里這樣的一個偉大城市 裡。這裡是存在著非常動態的、開放的場域 能量,它有著深厚的歷史文化作底蘊,卻又 能在傳統和當代間維持了良好的平衡,所以 在同一時間知道如何去適應新的時代,也沒

Cervantes Theater

Architecture is a very broad field that is sometimes hard to define and

is always dependent on the architect and the natural environment and is ever changing. It is the glue that connects the people and culture with a

city and its places in unique ways, turning into the face of a city, guiding the citizens in the way of leading their lives. To the architect Antón

García-Abril, architecture is a constant conflict and struggle, because it is public art and science that is always fully exposed to the public eye,

a conversation held on the streets of the city that everybody can hear –

especially in a great city like Madrid. Madrid has a very powerful sense of

對建 築 保 有 百分百熱情及 創造 力的Antón

詮 釋,可以說 是 一名永不放 棄 挑 戰 與 對 抗 的鬥牛士,尤其是在建築的世界裡,必須不 斷地強化自己身體和心靈 來發揮 極 大的靈

跳躍到鬥牛場,如果他有那份實力,人們會 拍手,但隱藏於實際背後的是,大多數的觀 眾更期待見到他死。」雖然這個道理聽起來 很殘酷,但卻是很真實地存在我們生活的世 界裡,因此,Antón García-Abril在2000年與 兩位擁有不同領域專長的夥伴合組工作室, 挹注了創造力與真實交錯的能量,不斷研究

to lead architecture into the future without damaging the old structures

某些主題或技術,即使是在沒有任何委託的

are well balanced with the modern parts; so it is paramount to know how

新穎設計和高品質的建築構形,去開發創造

of the city at the same time, how to push forward the development of new

情況下,使得這個建築工作室所創作出來的

architectural ideas and visions without hurting its traditions.

產物就算不是獨一無二,卻肯定是有其獨特 的風格特點,像是從馬德里舊屠宰場改建的

Antón García-Abril is still 100% emotionally involved in architecture and has lost not one bit of his creative energy. If we were to put his

García-Abril,若是用西班牙的風格特色來

他,「建 築師就像一個鬥牛士,他要不斷地

dynamic in its public spaces, the traditional elements of the urban structure

有複合或創傷,所以能夠持續推前,也能開 拓建築的流轉新視野。

活性以求生存,就如同一位朋友曾經告訴過

character in context with the Spanish culture, we could compare him

to a bullfighter who will never give up when faced with conflict. As an

architect, you have to always improve yourself and strengthen your body

to be able to exert huge flexibility to survive in the fierce competition. It is just like what a friend of his told him: “Architects have to be just like

Reader's House,和在墨西哥的Cer vantes 劇院等,以對社會住房和城市原型作為研究

bullfighters. They have to jump into the bull-pit over and over again; only then will the audience applaud them. But the reality behind all this is

that the audience really want to see the bullfighter die, rather than have him survive.” Although this analogy seems to be a little exaggerated,

it really exists in the world we live in. That is why Antón García-Abril

opened a studio in 2000 under the collaboration with two partners that are specializing in different fields to keep the creative process fresh.

Since then, they have constantly been working on innovative architectural

designs, always eager to discover new themes or techniques, even in times when there are no current assignments. Through this continual effort,

the studio has created its own distinct architectural style; for example

Madrid’s old slaughterhouse was turned into the new Reader’s House and

also the Cervantes Theater in Mexico. By studying the relation of housing and the original structure of the city, Antón García-Abril hopes that his

architecture studio can preserve its creative momentum and also continue to challenge the old concepts of architecture, exploring architecture’s every possibility.

項目,另外也試驗了新的建 築技術;Antón García-Abril希望能夠透過這些案例使工作 室更加靈活,繼而能夠開創並挑戰各種建築 的可能性。

http://www.ensamble.info/


78

Reader’s House

建築有著廣泛的範疇,會隨著建築師的創意 思維及周邊環境,感染風格在線面當中的變 化,作為與城市的場域接軌,進而開展出擁 有獨具的、個性化的立面表情,更能導引人 們對量體來進行一場空間遊歷,然而對西班 牙建築師Antón García-Abril來說,建築卻 總是在衝突、對抗,因為它是一個公共藝術 或公共科學,在城市裡進行完全暴露的比較 對話,特別是在馬德里這樣的一個偉大城市 裡。這裡是存在著非常動態的、開放的場域 能量,它有著深厚的歷史文化作底蘊,卻又 能在傳統和當代間維持了良好的平衡,所以 在同一時間知道如何去適應新的時代,也沒

Cervantes Theater

Architecture is a very broad field that is sometimes hard to define and

is always dependent on the architect and the natural environment and is ever changing. It is the glue that connects the people and culture with a

city and its places in unique ways, turning into the face of a city, guiding the citizens in the way of leading their lives. To the architect Antón

García-Abril, architecture is a constant conflict and struggle, because it is public art and science that is always fully exposed to the public eye,

a conversation held on the streets of the city that everybody can hear –

especially in a great city like Madrid. Madrid has a very powerful sense of

對建 築 保 有 百分百熱情及 創造 力的Antón

詮 釋,可以說 是 一名永不放 棄 挑 戰 與 對 抗 的鬥牛士,尤其是在建築的世界裡,必須不 斷地強化自己身體和心靈 來發揮 極 大的靈

跳躍到鬥牛場,如果他有那份實力,人們會 拍手,但隱藏於實際背後的是,大多數的觀 眾更期待見到他死。」雖然這個道理聽起來 很殘酷,但卻是很真實地存在我們生活的世 界裡,因此,Antón García-Abril在2000年與 兩位擁有不同領域專長的夥伴合組工作室, 挹注了創造力與真實交錯的能量,不斷研究

to lead architecture into the future without damaging the old structures

某些主題或技術,即使是在沒有任何委託的

are well balanced with the modern parts; so it is paramount to know how

新穎設計和高品質的建築構形,去開發創造

of the city at the same time, how to push forward the development of new

情況下,使得這個建築工作室所創作出來的

architectural ideas and visions without hurting its traditions.

產物就算不是獨一無二,卻肯定是有其獨特 的風格特點,像是從馬德里舊屠宰場改建的

Antón García-Abril is still 100% emotionally involved in architecture and has lost not one bit of his creative energy. If we were to put his

García-Abril,若是用西班牙的風格特色來

他,「建 築師就像一個鬥牛士,他要不斷地

dynamic in its public spaces, the traditional elements of the urban structure

有複合或創傷,所以能夠持續推前,也能開 拓建築的流轉新視野。

活性以求生存,就如同一位朋友曾經告訴過

character in context with the Spanish culture, we could compare him

to a bullfighter who will never give up when faced with conflict. As an

architect, you have to always improve yourself and strengthen your body

to be able to exert huge flexibility to survive in the fierce competition. It is just like what a friend of his told him: “Architects have to be just like

Reader's House,和在墨西哥的Cer vantes 劇院等,以對社會住房和城市原型作為研究

bullfighters. They have to jump into the bull-pit over and over again; only then will the audience applaud them. But the reality behind all this is

that the audience really want to see the bullfighter die, rather than have him survive.” Although this analogy seems to be a little exaggerated,

it really exists in the world we live in. That is why Antón García-Abril

opened a studio in 2000 under the collaboration with two partners that are specializing in different fields to keep the creative process fresh.

Since then, they have constantly been working on innovative architectural

designs, always eager to discover new themes or techniques, even in times when there are no current assignments. Through this continual effort,

the studio has created its own distinct architectural style; for example

Madrid’s old slaughterhouse was turned into the new Reader’s House and

also the Cervantes Theater in Mexico. By studying the relation of housing and the original structure of the city, Antón García-Abril hopes that his

architecture studio can preserve its creative momentum and also continue to challenge the old concepts of architecture, exploring architecture’s every possibility.

項目,另外也試驗了新的建 築技術;Antón García-Abril希望能夠透過這些案例使工作 室更加靈活,繼而能夠開創並挑戰各種建築 的可能性。

http://www.ensamble.info/


80

Hemeroscopium


Cacao Interview Anton Garcia Abril