2008年3月31日 星期一

那一夜,佛洛伊德遇見佛陀,聊欲望

這本書的內容 舉例精彩 有意思
翻譯高手之"深入淺出"之作
粗讀只發現編者自創"三乘" 與梁永安先生的翻譯不同

".....他對tricycle 季刊的直接翻譯,覺得奇怪。到英文出版社的網站才知道他們的自圓其說。"





那一夜,佛洛伊德遇見佛陀,聊欲望 Open to Desire: Embracing a Lust for Life: Insights from Buddhism & Psychotherapy


  不要害怕和壓抑欲望,而是應該重新疏導、駕馭它,為我們所用。

  因為欲望乃是最強有力的生命能量,可把我們引領至自由與極樂。

  你常滿懷興致去吃期待已久的大餐,食畢不僅沒有滿足感,甚至更為失落?總是嫌另一半陪你的時間不夠多,常在愛中感到孤單?沒有辦法忍受別人不將你放在眼裡,老是覺得自己不被喜歡?稍不順心,就暴飲暴食,焦躁難耐?孩子不聽你的話,即憤怒不已,斥聲責罵?

  追根究柢,一切都是欲望在作祟。

   不過,佛洛伊德與佛法認為欲望是人對人世痛苦現實的自然反應,一旦脫離欲望,我們就不再是自己。透過欲望,反而能幫助我們了解自我,面對生活的煩瑣與生 命的困頓。因此,本書以佛陀的「四聖諦」為架構,印度神話《羅摩衍那》為經緯,融會貫通佛洛伊德的精神分析學,並結合個案研究,提出各種實際建議,調和我 們對欲望的矛盾觀點,讓我們對人類最弔詭的欲望情緒,有耳目一新的認識,進而透過欲望的驅力,達到身心靈的和諧與平靜。

  書中分為四個主要章節:

  〈欲望的渴求〉,講述人面對欲望的一般心理與反應;

  〈執著〉說明人一旦了解世上絕無可以帶來滿足的客體時,將會產生何種變化;

  〈執之止息〉點出,對待欲望,除了放棄與執著之外,仍有第三種方式能引領我們,讓精神驚人地成長;

  〈欲望之道〉告訴我們如何利用欲望而非為其所用,進而達到喜樂的境界。

作者簡介

馬克.愛普斯坦(Mark Epstein)

   精神科醫師,在紐約市自行開業,常受邀演講,談論佛教禪修法對心理治療的價值。已有著作包括《沒有思考者的思考》(Thoughts without a Thinker)、《碎散而不分崩離析》(Going to Pieces Without sFalling Apart)和《繼續存在》(Going on Being)。常為《三乘︰佛法概論》(Tricycle: The Buddhist Review)、《瑜伽期刊》(Yoga Journal)和《O雜誌》(O: The Oprah Magazine)撰稿。

to: JP 和 SU之友

to: JP SU之友

周日略讀紐約時報的導遊 · 36 Hours in Berkeley, Calif.,碰到些舊識,譬如說說,這家書店(Moe’s Books)90年代與我(hc)有緣,所以特別一記。而這書緣是陳巨擘先生(jp)引我入門的。我們當時各買了好幾箱的書郵寄台灣,jp的遺失-損失不少,我似乎丟掉(滿滿的)一大箱而已。不管怎麼說,我當時向jp說,應該買貨櫃裝書回台灣的壯舉並沒有落實:一兩年後我還去光顧一次,還買本近萬元台幣的舊書”…….

幾年後,JP在巨流出版社當主編,進口不少美國大學出版社的書,我還代理過,似乎賣出近萬元的台版書…….

去年年中,JP說他換工作,要去政大創出版社。我笑談美國的同行,以芝加哥大學的為最大(不過我懷疑它比得上OUP);也說一下Herbert Simon說為什麼著名的CMU前身在60年前發現,他們想成立出版社,已「為時太晚」,因為美國已列強林立

美國大學出版社印象頗深的是他們出版翻譯作品。以我們SU討論過的,加州大學出版· The Age of Constantine the Great: Jacob Burckhardt...;MIT出版Journey to the East by Le Corbusier, Edited by Iv...;哥倫比亞出版羅蘭 巴爾特;哈佛大學”海德格”;史丹佛大學”繁華物語;芝加哥大學”西遊記(全譯本和簡易本)…….

我與梁永安先生周日培他寶貝女兒上政大書城(羅斯福路):我指行人出版社的品質標竿Gibbon的羅馬衰亡史全譯令我想Boswell's Life of Johnson…..

晚上猛KJourney to the East by Le Corbusier, Edited by Iv...之餘,翻閱 Examined Life: Philosophical Meditations: Robert Nozick (1989)

作者:(美)罗伯特·诺齐克 《經過省察的人生:哲學沉思錄》译者:严忠志

北京:商务,2007

(這本書極少附原文,非常不方便)從索引知道這本作品:

Samuel Johnson
W. Jackson Bate

知道:第20章 邁入五十歲;皇家津貼;Boswell;文學俱樂部

2008年3月30日 星期日

Moe’s Books

這家書店在90年代與我有緣 所以特別一記

BOOKMARK THIS

Old and new Berkeley, activists and high-tech workers, all head to Moe’s Books (2476 Telegraph Avenue; 510-849-2087; www.moesbooks.com). Founded in 1959 and piled high with used books, Moe’s is a reminder that Amazon can’t shut down all the little folks. You can wander its upper floors for hours, flipping through out-of-print tomes on everything from 1950s African history to kabbalah manuals. The store also has frequent in-store readings; check its Web site for coming dates.


main drag, hipster, patchouli



2008年3月20日 星期四

Myself and Other More Important Matters by Charles Handy(2)

2007年7月23日 星期一


Myself and Other More Important Matters by Charles Handy

Myself and Other More Important Matters by Charles Handy
查爾斯‧韓第(Charles Handy){你拿什麼定義自己?組織大師韓第的生命故事}台北:天下文化,2007
這本書中國在年初出版(早台北半年),書名為{思想者:查爾斯‧漢迪自傳}北京:中國人民大學,2007

它的論點是,字眼很重要,因為它們表達思想。
六標準差(Six Sigma)等為胡說、空話(另外,REENIGEERING, Core Competence, Just In Time, 360-degree Feedback, CRM, Social Network Analysis, Globalization, Format Competition, ROI Marketing {思想者:查爾斯‧漢迪自傳} p.190。「這些詞都是假冒的偽劣技術術語,目的在於把顯而易見的道理,變個說法,顯得更聰明。」

管理要從日常經驗來學習,而不是像MBAMaster of Business Analysis)。
“manage” 在英文日常用語和劇場管理等領域之中,只及於「物」。而 leader 是政治學的論述。
經營管理要尋求自己適用的標準。學習哲學般,重視設問和探討的過程。


A Business Guru's Portfolio Life

By ADRIAN WOOLDRIDGE
March 19, 2008; Page D10
Myself and Other More Important Matters
By Charles Handy
(Amacom, 213 pages, $25)
[myself and other more important matters]
Charles Handy is one of the world's most unusual creatures -- a very British management guru. If the average management thinker seems like the kind of person who yearns to spend time in anonymous lecture rooms giving PowerPoint presentations on the "five forces" and "seven paradigm shifts," Mr. Handy, now 75, seems more comfortable at home reclining in his favorite leather armchair. He is more interested in meditating on Aristotle's concept of "happiness" -- eudaimonia -- than in recycling the latest thinking about "optimizing organizational core competencies."
Mr. Handy was one of the first management gurus to recognize, back in the 1970s, that organizations were undergoing dramatic changes, flattening out their hierarchies and hiving off ancillary functions. His writing on business was striking for its colorful metaphors, such as "shamrock organizations" (the three leaves represent core employees, subcontractors and temporary workers), and for its focus on the people who were on the receiving end of these changes.
"Myself and Other More Important Matters" is a charming autobiography, recounting Mr. Handy's life in genial prose. Like the best Oxford tutorials, it is much more substantial than it first appears. It is not only an excellent introduction to Mr. Handy's thinking; it is a valuable account of how British attitudes to business have changed over the past 50 years.
Mr. Handy grew up in a world of all-enveloping organizations. He belonged to a very peculiar British tribe: the Anglo-Irish, descended from the British Protestants who had conquered Ireland and had called themselves, with scant regard to the sensibilities of the natives, the Ascendancy. His clergyman father devoted his life to a single organization, his parish. The Handys belonged to the tightly knit group of Irish Protestants -- not properly Irish but not English either.
Still, Mr. Handy had a traditional British education -- English public (i.e., private) school followed by classics at Oxford. He could easily have been a civil servant or a teacher, like most of his contemporaries at school. But his Irish side turned him into an outsider; and he lusted after the world of "travel and money and power" that he imagined came with a career in business.
In fact, business meant another cocoon-like organization -- Shell. Mr. Handy spent six years as an expatriate manager, alternately navigating the rivers of Borneo ("Shell had ninety-five per cent of the market, a number that, I sensed, could only go down") and living in palatial splendor in Singapore. He then returned to England to work in Shell's monster headquarters on the banks of the Thames.
His time as an expat had not been a stunning success -- at one point he was talked into a harebrained scheme for improving the delivery of oil in Borneo by a bibulous old Etonian. (Building storage tanks at river's edge seemed like a great idea until dry season, when the tank turned out to be stranded on new high ground.) Back in London he was so bored by all the paper-shuffling that, for the only time in his life, he counted the minutes and joined the mass exodus from the building at precisely 5:20 p.m. every day.
At one point he failed to forward a refinery-building proposal to the proper committee members, as he should have done, because he disagreed with it. Pondering his pointed inaction ("I'm not proud of what I did that day"), he stops to comment on the "negative power" of disgruntled employees. He observes that 72% of British workers in a recent survey claimed to be dissatisfied with their business organization, nearly a fifth of them saying that they actively wanted to sabotage it. "Looking back on those days in the Shell head office," Mr. Handy writes, "I know how they feel."
Teaching management provided him with an escape from the corporate grind. Shell drafted him for its in-house training college. The new London Business School offered him a professorship. The government asked him for advice on management education. He was given one of those eccentric establishment positions that Britain specializes in, Warden of St. George's House, living in splendid apartments in Windsor Castle and introducing the great and the good, including highflying clergymen, to the new science of management.
The amateurishness of Mr. Handy's Britain in the 1950s and 1960s is shocking, as is the antibusiness prejudice that he routinely encountered. Shell gave him a job as an economist (he had been to Oxford, after all) though he had no acquaintance with the dismal science. The London Business School made him a full professor though he had no academic training or publications in the field. (He was sent off to MIT for a year to mug up on the subject.) He was once told, when he used the word "economics," to avoid jargon.
Yet his very British career gave him a unique approach to his adopted subject. He assigned his first class at London Business School just two books, "The Meaning of Company Accounts" and Sophocles'"Antigone." He illustrated his arguments not with buzzwords but with examples culled from everyday life (or at least his version of everyday life): He would note, for instance, that theaters thank everybody involved in the production, not just the stars; or that an Oxford rowing eight had improved its performance by sacking a star rower.
This idiosyncratic approach also gave him insights into management. He invented the concept of the "portfolio life" -- the idea that more and more people, in a modern economy, would end up as independent workers, putting together a collection of different jobs, clients and types of work. He produced fascinating studies of the way that a change of course in mid-career can give people a new lease of life.
Mr. Handy knew whereof he spoke: He found himself reinventing his own career, though at first he discovered that trying to make it as a "portfolio worker," after resigning from St. George's House at the age of 49, was surprisingly difficult. He did not realize that you could charge money for speeches. His agent thought that "boasting" about his client was bad form.
Britain has changed out of all recognition since Mr. Handy joined Shell roughly a half-century ago. It has, in a sense, become Americanized. The old antibusiness prejudices have all but evaporated. Business studies is the most popular undergraduate course in most British universities. British managers are all too familiar with the latest business jargon.
Of course something has been lost along the way. Mr. Handy's crystal-clear prose in "Myself and Other More Important Matters" is proof that you can write about business without butchering the English language. And his predilection for finding management wisdom in the classics is a reminder that people were thinking about how to run organizations long before the Harvard Business School was founded. Now that Peter Drucker has died, it is hard to think of another management guru who could write such an idiosyncratic and engaging book.
Mr. Wooldridge, the Economist's Washington bureau chief, is the author, with John Micklethwait, of "The Witch Doctors: Making Sense of the Management Gurus."

2008年3月4日 星期二

Tekkon Kinkreet by Michael Arias

Michael Arias

Wikipedia article "Michael Arias".

Michael_Arias.jpg
Michael Arias discusses Tekkon Kinkreet in December of 2006 (photo by Yoshiaki Miura)


惡童當街 Tekkonkinkreet

放映場次
時間: 11/24(六) 12:50
地點: 日新威秀
導演:麥可阿里亞(Michael Arias)
國別:日
年份:2006
片長:111min
規格:35mm
參展/得獎紀錄:

殘 暴冷酷的小黑和天真無邪的小白是街頭的惡童,以特立獨行的生活方式稱霸他們所居住的寶町;貪財的地主欲將寶町開發為商業區,小黑和小白要如何捍衛屬於他們 的城市?松本大洋經典漫畫奇蹟似地躍上大螢幕!與《心靈遊戲》系出同門,保留了原作的風格與精髓,加上最新的CG技術,將復古又超寫實的奇幻世界塑造得令 人目眩神迷。

In Treasure Town, where the moon smiles and young boys can fly, life can be both gentle and brutal. This is never truer than for our heroes, Black and White, two street urchins who watch over the city, doing battle with an array of old-world Yakuza and alien assassins vying for control of the decaying metropolis.

惡童當街(2)(HC0092)

類別: 其他類型漫畫
叢書系列:HIGH COMIC
作者:松本大洋
譯者:林妙賢、高琦智
出版社:時報文化
出版日期:1998年01月18日
世紀末的日本,在一個奇妙的城市中,有兩個被稱為「貓」的少年:小黑與小白。他們為求生存偷搶拐騙無所不來,無法無天的行徑令大人們頭痛不已……。有一 天,和小黑結怨的大尾流氓[老鼠]回來了,為了保護自己的城市,惡童們不惜以暴力為手段,展開一場「貓抓老鼠」的遊戲……。

Thursday, Dec. 21, 2006

'Animatrix' producer Michael Arias becomes the first foreign director to enter Japan's cult domain

Special to The Japan Times

Much has been written about how Japanese anime has stomped across the globe like an out-of-control juggernaut, scooping up legions of fans along the way. Such unbridled success usually results in cross-pollination; new talent floods in from far-flung shores, as was the case with the hordes of Europeans who swarmed to Hollywood in its golden age and still go there today. But Japan's anime industry has remained largely closeted, and certainly no foreigner has ever made the logical move of stepping behind the camera to seize the controls. Until now, that is.

Southern California native Michael Arias is the first foreigner ever to helm a feature-length anime film in Japan.

"No one was ever stupid enough to try before," he says of the distinction that defines "Tekkonkinkreet," his animated adaptation of Taiyo Matsumoto's cult-classic manga (published abroad as "Black and White").

Although "Tekkon" is Arias's directorial debut, the Japan resident of 15 years has long been active behind the scenes on a number of high-profile movie projects, including stints as a special-effects technician on James Cameron's "The Abyss" (1989) and "Total Recall" (1990). Arias, who admits that he's "not much of a draftsman," went into developing software, a career move that eventually led to work on animated films in the United States and elsewhere. His patented "Toon Shaders" plug-in (which gave 3-D computer graphics the look of traditional 2-D animation) helped bring life to some of the more fantastic characters in Hayao Miyazaki's Oscar-winning "Princess Mononoke" (1997). He says, "It brought my work to the attention of the industry in Japan and opened quite a few doors."

Arias formed a strong relationship with the cutting-edge anime production house Studio 4C and wound up as the producer of "The Animatrix" (2003), a package of short films inspired by "The Matrix" movie series. Says Arias of the project, "I'm not really cut out to be a producer, and there I was wrangling nine different animated films from different directors -- a lot of personalities. But it was great that I got to see a lot of aspects of the industry that I wouldn't have otherwise." Arguably more fun to watch than the two disappointing live-action "Matrix" sequels that followed the original, "The Animatrix" is now the best-selling direct-to-video anime title ever in the U.S.

Soon after "The Animatrix," Hollywood started to take a noticeable shine to anime and manga. Quentin Tarantino spiced up "Kill Bill Vol. 1" (2003) with an animated sequence. Samuel L. Jackson provided the voice of the main character in the upcoming Japan-U.S. coproduction "Afro Samurai." Even Arias' old boss Cameron is trying to bring to the screen a live-action film based on the Japanese manga "Battle Angel."

Given his experience, Arias could have cashed in on the wave by attaching himself to a big-name project to further bridge the gap between Herculean Hollywood and the animation industry in Japan. Instead, for the last decade he has spent untold hours toiling on a single-minded quest to bring to the big screen Matsumoto's emotional tale of friendship and its stunning European-influenced artwork, which appeared in 33 installments between 1993 and 1994.

Rather than mount the project in Hollywood, where a watered-down version would probably (and almost did) result, Arias decided to make the film in Japan, where "there's less money, less time, but the ideas are better." Created in collaboration with Studio 4C, the story of two street orphans struggling to survive in an imaginary surreal Pan-Asian city called Takara Machi was named the No. 1 film of 2006 in the annual "Best of" roundup by the New York Museum of Modern Art's Artforum magazine.

Still, Arias believes that the Japanese anime industry, cooler than ever according to rest of the world, may be in danger of drying up at home. It's a good thing then that Arias is in Japan helping to keep it on track.


See related stories:
Anime through an American eye
Outlander gazes into Showa's soul













男性月刊誌 GOETHE」(ゲーテ)

日本的幻冬舍http://www.gentosha.co.jp/ 竟發行、出版雜誌"哥德GOETHE"(男性月刊誌「GOETHE」(ゲーテ))

主題:在工作中自得其樂的人生才會愉快

創字 BUSINESSHOLIC

".......米其林東京美食指南如願在日本創下銷售佳績,自去年11月開賣以來,已賣出逾29萬本。日本人這種既歡迎又排斥的複雜心理,反映米其林美食指南和星級評鑑系統在進入全然不同的飲食文化時,所面臨的考驗。

米其林正極力拓展新興市場,以彌補在歐洲日漸式微的影響力。網路和消費者需求轉變,導致米其林在歐洲的讀者愈來愈少,消費者品味不再受美食指南左右。米其林說,一年在全球賣出100萬本美食指南,歐洲以外市場銷售不斷成長。

不少東京人抱怨,米其林給予不起眼的餐廳很高的評鑑,日本師匠級的餐廳未能入選,反倒是徒弟自立門戶的餐廳得到青睞,讓人懷疑給東京這麼多顆星只是米其林的行銷伎倆。

幻冬舍出版集團會長見城徹說:「了解東京餐廳的人都知道,這份評鑑很可笑。米其林自毀招牌,美食指南將來肯定賣不好。」"
東京美食界 嗆米其林可笑 【經濟日報╱編譯于倩若/綜合東京二日電】 2008.03.03



2008年3月2日 星期日

Pro Domo by Yona Friedman

(1923– )

Hungarian-born, he moved to Paris in 1957, and made his reputation as an architectural theorist and visionary designer. With Frei Otto and others he founded the Groupe d'Étude d'Architecture Mobile (GEAM—Group for the Study of Mobile Architecture), and evolved the notion of the city as a primary permanent infrastructure or framework with a changeable impermanent secondary structure determined by the users and erected using simple technologies. He published several books expounding his ideas, including L'Architecture Mobile (1970) and Alternatives Énergétiques (1980). He has been considered as contributing to Experimental architecture, and is associated with Megastructures and Mobile architecture.


b Budapest, 5 June 1923). French architect of Hungarian birth. He studied architecture at the Technical University, Budapest (1943), but he left Hungary in 1945, completed his training at the Technion, Haifa (Dip. Arch., 1948) and subsequently taught. In 1956 he attended CIAM X in Dubrovnik, which confirmed his belief that requirements generated by technological progress and demographic growth were too great to be solved by traditional social, urban and architectural values and structures. In 1957 he settled in Paris and founded the Groupe d'Etude d'Architecture Mobile (GEAM) with Paul Maymont, Frei Otto, Eckard Schultze-Fielitz, Werner Runhau and D. G. Emmerich. The group's manifesto was Friedman's L'Architecture mobile (1958), in which he rejected the idea of a static city. In contrast he developed the principle of ‘infrastructure', a skeletal metal ‘space-frame grid' of several levels, on which mobile lightweight ‘space-defining elements' would be placed. He proposed to adapt these ideas for large cities by superimposing this grid on the existing fabric of London, Tunis and New York, or by allowing commercial facilities to be built over the network of high speed roads in Los Angeles.


Extract from "Pro Domo"

Monday, September 17, 2007

The following extract was taken from Yona Friedman's "Pro Domo" (Actar, 2006), pp. 118-123.

I believe that each animal species interprets the experience we call the "world" in its own way. I base this hypothesis on the observation I have made of dogs, the only other species I have known well enough as the human species.
In order to be able to define human interpretations, I have first tried to refer to what seems to me to be characteristic of a dog's interpretation of universe, although I cannot be absolutely sure.
It seems to me that dogs do not "see". What I mean by that is they do not pay attention to separated, individual "things". Their sight is holistic, images of a group of "things" at a given moment. These images contain everything that fits in a fixed and immobile "setting" which lasts a split second. As visual experience consists of a sequence of a non-determined length of images, their attention is absorbed by each change between two consecutive "settings," two movements. But the change they perceive is not the movement of any random thing, but it is the movement of the whole "setting". The whole universe changes, not just some parts of it.
Dogs seem to consider the whole universe as the "reservoir" of their means of survival. They take what they need from this reservoir at the moment they need it and do not care about what is left. Thus other dogs or any other living being wishing to take from the reservoir remain free to do so. Dogs do not accumulate reserves.
The fact that they do not collect goods prevents them from understanding the abstract idea of "property" and consequently, they do not understand the "barter system." If they leave something for others, they do not ask to be "paid" for it.
Beyond any doubt, a hierarchy of domination between dogs exists. The leader of the pack has preference over others to food or to court a female. "Canine society" is patriarchal.
But, very importantly, canine society never tries to have slaves; it never forces some dogs to do the jobs which others consider hard. A leader of a pack does not have servants.
Dogs seem to possess a developed sense of chronology. They notice that some events are followed by others with a seemingly exact certitude. But they do not seem to attribute the course of events to a causal chain. Dogs do not have "metaphysics".
My last remark about dogs has to do with the way they communicate.
Communication between dogs does not seem to need abstract symbols, phonetics or anything else. I think that the only components of canine communication are emotions, expressed by gestures and individual onomatopoeia, and that it does not imply a common code shared by all dogs. This communication between dogs is not useful to collective information.
Though dogs do not possess a language which carries information, they do know the "signals." The "signal" is not a symbol. All animals are attentive to signals, especially the larger felines.



Because Hugo was right - architecture today is about the press, not the building!

Pro Domo

Monday, September 17, 2007

It proudly states on the cover of this book that "this book is not actually a 'book'."
This isn't true - it is, in fact, a book and demonstrates all the attributes of bookiness.
The next sentence on the book's cover says "It is a collection of fragments on scattered topics produced in different periods of my life."
This is actually true and it makes the book quite interesting, largely due to the fact that its author, Yona Friedman, is quite an interesting person in that unorthodox kind of way.
So the book presents snapshots of Friedman's work from over the past 50 years as a kind of retrospective.
Friedman is not an architect whose name crops up regularly, even though his 1958 manifesto on "mobile architecture" and his "ville spatiale" influenced the much more famous Archigram group's plug-in city. More the theorist than practitioner, Friedman's work seems to be something of a contradiction of humanity and cold science. He says that "the two most important impulses in 20th century architecture, as it seems to me, are 1) space frame structures... and 2) the Merzbau of Kurt Schwitters." It is the combination of these that create the megastructure of the ville spatiale which is a huge framework built on stilts above the existing city. Within the framework, users can construct their own dwellings. This framework was proposed to be several stories high and can certainly not be called a thing of beauty. Friedman proposed it for cities all over the world as a kind of self-organisation: "My goal since 1945 has been to conceive a work of architecture without a plan, in other words, an improvised work."

But it's not just these ideas that occupied Friedman's fertile mind. He tinkered with processes to allow users to design their own dwelling plans - the Flatwriter - which is kind of like a typewriter with symbols to help users design their own dwellings within a larger framework. He also invented the concept of "continent cities", a network of railways connecting each city. This new vision of Europe is simlar to an idea in the Global Cities exhibition at last year's Venice Biennale, showing how much of Europe could be reached within x hours of a city using only railway travel, now that the Eurotunnel has linked the UK with the continent. This is a preferable situation to the megalopolis, claims Friedman, and The Sesquipedalist cannot disagree.

Friedman goes beyond the physical city to more involved social issues and discusses economics at length. According to economic theory, the three-sector hypothesis divides economies into three sectors of activity: extraction of raw materials (primary), manufacturing (secondary), and services (tertiary). Friedman augments this with his so-called "quaternary sector":
I call "quaternary sector" that fraction of the population called "inactive" (as opposed to "active") that performs socially useful work, but whose work does not figure in the gross national product."
This is all commensurate with him constantly thinking about the world as a whole, placing particular emphasis on the undeveloped nations. Other aspects of this thinking that are explored in this memoire are the participatory design exercises, erratic (or random) structures and structures built from rubbish. He covers the gamut from ground level interventions to abstract mathematics and seems to have a theory on all scales of life.

Interleaved between these writings are pages of quick cartoons, a method he devised to create "manuals" for self-plan projects. These are line drawings with stick men to quickly get a message across in an un-selfconscious style. It's these small ideas and ways of looking at things, rather than the "grands projets" that makes Friedman interesting and worth a look at. For example, The Sesquipedalist's favourite piece is his leap into dog interpretation, extracted here. Maybe it's just me as a dog-lover, but these unfounded notes are a combination of the bizarre, touching and insightful, which pretty much sums up this "non-book".


Pro Domo (2006) by Yona Friedman
Actar

Hardback, 320 pages.






£17.00 from Amazon.co.uk here
$25.08 from Amazon.com here

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2007-05-22 09:29:46   來自: 蒼間 (上海)

Yona Friedman: Pro Domo
的評論 *****

   西元前57年,古羅馬第一雄辯家西賽羅從流放地回到家鄉,發現他的宅第已被對手Publius Clodius拆毀,在原址建造了神廟。為了維護自己的權益,西賽羅發表了一篇雄辯演說“Pro Domo Sua” (為家園辯護),最終說服了長老院,拆除神廟,重建了他的家園。


  歸還他人的家園,真正使得使用者成為其主人,使得建築盡可能的自主建造,這也正是Yona Friedman作為一個建築師,一個城市與人類的思考者,用其畢生事業來努力實現的人生理想。這本《為家園辯護——尤納弗萊德曼》正是他在眾多領域所 做的眾多成績中隨意選取的片段。從這些不同時期不同研究的文章和圖像中,不難看出Yona Friedman對人類社會所賴以棲居的家園的熱愛與觀照,他從獨特的建築視角出發,用那些簡明的象形語彙、草圖模型等獨創工具,為我們建構出一個更加理 想,更加美好的生活世界,同時得以讓使用者重新成為家園的主人。而這也正是這本書借用西塞羅的演說“Pro Domo”作為本書書名的良苦意願。


  早在上個世紀50年代,Yona Friedman提出的移動建築Mobile Architecture)的設想就引起了建築界的廣泛爭論。隨著研究的深入,他不斷涉獵不同的領域,從社會學、經濟學、美學、物理學、心理學等諸多視野 審視建築的本質,並且對使用者的空間權益等問題提出可行性探討。他由居住者決定住宅與城市規劃的理念以及由此具象化生成的空中城市橋鎮等計 劃,給當時的城市規劃帶來不小的震動,開啟了建築設計與城市規劃的新思路,更對今日的城市形成影響深遠。上世紀60年代出現的英國建築電訊Archigram)和日本的新陳代謝派Metabolism)都受其影響。


  Yona Friedman現定居在法國巴黎,雖然已有83歲的高齡,但是依然充滿著令人驚異的各種奇思妙想。隨著老人閱歷的積澱,除卻那些早期那些極端民主化理念的延續,這本《Pro Domo》中更散發出睿智豁達意味深長的哲理光芒,久而彌篤。


  誠然,如他本人所言,這本《Pro Domo(為家園辯護——尤納 弗萊得曼)》並不算是一本建築理論的專著,書中編集了他一生中不同時期的零散思想片段,甚至沒有選用他那些已經被廣為流傳的經典文章。同時因為 Yona是憑感性判斷來任意摘選的,這些不同時期寫就與發表的文章與圖像似乎聯繫不大。初讀此書,眾多陌生且鮮活的理論概念在腦海中不斷跳躍湧動,從二戰 廢墟到天空城市,從莫斯堡空間到大跨度結構,從粒子時空到第四產業,從蛋白質鏈到洲際城市等等,不得不讓人在驚歎其思維空間之廣博,並贊佩其理念的超前。 而當這些概念及其解釋逐漸清晰,彼此拼合,便顯現出一幅迥異于現世的人類生活世界的美好圖景。


  本書開始的自述部分使我們初步瞭解Yona建築理念的發展歷程;隨後的自我訪談則更深入的闡述了移動城市空中城市不確定性等核心理念的架構與肇源;沿用這些理念,城市部分闡述其可變城市理論、洲際城市等概念,並描繪出未來城市的迷人景象;普遍理論則是從動物的視角出發,描述出另一種對於世界的詮釋,那是哲與詩;舉措部分則說明一種體現自助建造的輔助工具Flatwriter;在剖析今日建築師至上的社會經濟體制過程中,他用簡單的圖像語彙向我們講解了國際社會經濟運作過程,並指出第四產業的隱性能量,從而在生存章節裏驗證了自主建造的可能性;近些年來,Yona則致力於研發展示各種不規則結構在建築中的應用,將自主性建造形象化為各種不確定的即興的空間結構形態類型;沿用其可變建築以及空中城市理念,最後的方案部分是他在各個時期在各個地區所做的概念性設計方案。


   當我們終日沉迷於圖紙上的空間形態,執著於建築定勢的鞏固,或頂禮膜拜,或熱衷效仿,或逆來順受時,Yona也許正在牽著他的愛犬,散步於巴黎的某條小巷 中,而在他眼裏,100年後的城市風貌已然清晰。這位建築師,奇跡般的超然於當代建築主流思潮的喧囂之外,用一種簡單的智慧,提醒著我們切莫執著於建築的意義而放棄了建築的自由,提醒著我們:基本框架建造+自主生活調整=生活世界(海德格爾所言的人類存在原點)。


  如他所言,建築,其實更應該像每個人的拿手好菜,建築,其實更應該是親自動手的試錯過程。試錯意味著有所為有所不為,意味著清規戒律越少越好,越不精確越好。事實上,這也就是的特性。

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