Lebbeus Woods：异端建筑师的纸上建筑│Culture
悬浮映画按：Lebbeus Woods是这样的一名建筑师，他把概念性建筑画用另一种可能引入大众视野中。把自己对居住环境与科技的想法作为一种实验展示在绘图板上：奇异的架构、环境混杂的有机生长、以自然灾害或人为做成的断裂（ruptures）。他探索了建筑的政治领域，以深刻的风格向人们反映着当代的政治、社会、思想，以及建筑是如何影响着整个世界，这些墨水和铅笔画涵盖了Woods对城市的真实和虚构的研究和重新构想，并支持其长期以来表现出建筑作为变革性的力量。
（本是昨晚的文章，可是馆长单身多年的手速不小心删除了，给有需要的朋友再次推送一遍，如有打扰，万分抱歉。）
The heretical architect.
异端建筑师的纸上建筑
Lebbeus Woods
Project/项目介绍
The Architect Who Dared to Ask ‘What If?’
敢问'如果'的建筑师
He envisioned underground cities, floating buildings and an eternal space tomb for Albert Einstein worthy of the great physicist’s expansive intellect. With such grand designs, perhaps it’s not too surprising that the late Lebbeus Woods, one of the most influential conceptual architects ever to walk the earth, had only one of his wildly imaginative designs become a permanent structure.
他设想着地下城市、漂浮的建筑物和属于阿尔伯特·爱因斯坦（Albert Einstein）的永恒的太空坟墓，以致敬这位伟大物理学家的宽广智慧。如此宏伟的设计，对于已故的Lebbeus Woods也许并不令人惊讶，他是有史以来最具影响力的概念建筑师之一，在他的生涯中，他的富有想象力的设计是一个永久性的建筑物。
（© San Francisco Project: Inhabiting the Quake, Quake City, 1995; graphite and pastel on paper; 14.5 inches by 23 inches by 0.75 inches; Collection SFMOMA.）
As the curators discussed Woods’ work and his impact on the world of architecture, they talked of a brilliant mind consumed with disruption, with confronting the boring, repetitive spaces humans have become accustomed to living in by challenging the “omnipresence of the Cartesian grid.” Woods’ fantastic visions included buildings designed for seismic hot zones that might move in response to earthquakes, or a sprawling city that would exist underneath a divided Berlin, providing a sort of subterranean salon where individuals from the East and West might mingle, free from the conflicting ideologies of their governments.
当策展者们讨论Woods的作品以及他对建筑世界的影响时，他们谈到了一种被颠覆所吞噬的智慧，面对着人类已经习以为常的枯燥、重复的空间，挑战着“笛卡尔网格的无处不在”。“Woods的巨大的愿景包括建筑设计地震时可能会发生地震的地震带,或者是一个在分裂的柏林之下存在的庞大城市。提供一种地下沙龙，让来自东方和西方的个人可以混合在一起，不受政府冲突的意识形态的影响。
（©Concentric Field from Lebbeus Woods' series Centricity, 1987; graphite on paper; 23 inches by 24 inches; Collection SFMOMA.）
（©Concentric Field from Lebbeus Woods' series Centricity, 1987; graphite on paper; 23 inches by 24 inches; Collection SFMOMA.）
“He was very focused, I think, in all of his work, in what he said was ‘architecture for its own sake,'” Becker said. “Not architecture for clients, not architecture that is diluted, and not architecture that really had to be held up against certain primary factors, including gravity or government.”
“他非常专注，我认为，在他所有的作品中，他说的是‘建筑本身，不用针对客户和建筑的无力感，也不是真正需要面对某些主要因素(包括力学或政治因素)。”
Woods found his place in the conceptual architecture movement that sprang from the 1960s and ’70s, when firms like Superstudio and Archigram presented a radical peek into a possible — if improbable — future. Casting a skeptical eye on the way humans lived in cities, these conceptual architects were more interested in raising questions than in crafting blueprints for buildings that would actually be built of concrete, steel and glass.
Woods在20世纪60年代和70年代的概念建筑运动（conceptual architecture movement）中找到了自己的位置。当时，像Superstudio和Archigram这样的团体向人们展示了一种不可能未来。对人类居住在城市的方式保持怀疑态度，这些概念建筑师对提出问题更感兴趣，而不是设计建造混凝土、钢铁和玻璃的建筑蓝图。
（© Meta-Institute, 1996; chipboard, wood, paper; Photo: Wolfgang Woessner, courtesy Austrian Museum of Applied Arts/Contemporary Art (MAK).）
In fact, only one of the nearly 200 fascinating drawings and other works on display in Lebbeus Woods, Architect was ever meant to be built, said Dunlop Fletcher. Instead of the archetypical architect’s detailed plans and models, carefully calibrated to produce a road map to a finished structure, Woods’ drawings are whimsical and thought-provoking, with radical new ideas being the intended result of his efforts. “No project is fully designed,” she said. “This is intentional — Woods allows the viewer to complete the project in his or her mind.”
事实上，在Lebbeus Woods展出的将近200幅引人入胜的图画和其他作品中，只有一幅是作为建造的，Dunlop Fletcher说道。Woods的绘画不是典型的建筑师的详细计划和模型，而是经过精心校准以制作出最终结构的路网，伍兹的图纸是异想天开和引人深思的，激进的新想法是他努力的结果。“没有项目的设计，”她说道。 “这是故意的 - Woods希望观众在脑海中完成这个项目。”
（© Unified Urban Field from Lebbeus Woods' series Centricity [no. 37], 1987; graphite on paper; 24 inches by 23 inches; Collection SFMOMA.）
Woods’ ideas started in his sketchbooks, which he crammed with detailed drawings. “He was extremely gifted with the pen,” said Becker, adding that many of the pieces are notated in a strange hybrid language that could be part Latin, part invented. The curators likened it to a kind of code that connected the conceptual fragments that run through Woods’ highly theoretical work.
Woods的想法来自于他的速写本，他在他的速写本里塞满了详细的图纸。“他非常有天赋，”贝克尔说，他补充说，许多作品都是用一种奇怪的混合语言写成的，这种语言可能是拉丁语的一部分，一部分是虚构出来的。策展者们把它比喻成一种把贯穿伍兹的高度理论工作的概念性片段连接起来的代码。
“It could mean something, it could be that he’s creating almost these fictional artifacts of these supporting elements to engage with the larger drawings that he would do later,” Becker said. “They’re almost Da Vinci-like in their illegibility.”
“这可能意味着什么，可能是因为他正在创造几乎所有这些支持元素的虚构文物，以便与稍后将要做的较大的绘图进行交互。他几乎像达芬奇一样，难以辨认。”
Other questions remain about just what, exactly, Woods was up to with when he took pencil to paper. Take, for instance, a piece called Aero-Livinglab, from his Centricity series from the late 1980s, in which the architect was “essentially creating a utopian city” with “its own set of rules,” according to Becker. The drawing depicts a floating room that resembles an insect as much as it does some sort of alien zeppelin. Just what would the purpose of such a construction be?
当他拿着铅笔到纸上的时候，Woods到底在做什么。比如，从上世纪80年代末起，他就开始创作一部名为“Aero-Livinglab”的作品，根据贝克尔的说法，这位建筑师“从本质上创造了一个乌托邦式的城市”，并有“自己的一套规则”。这幅画描绘了一个浮动房间，它和某种外星人齐柏林飞船一样酷似昆虫只是这样一个建筑的目的是什么呢?
（© Unified Urban Field from Lebbeus Woods' series Centricity [no. 37], 1987; graphite on paper; 24 inches by 23 inches; Collection SFMOMA.）
（© Nine Reconstructed Boxes, 1999; plastic models and 10 sketches; 11 inches by 8.5 inches; Collection SFMOMA. Photo: Ben Blackwell.）
“It could be an inhabitable space,” Becker said. “It could be small, it could be large. Often these things don’t have clear scale, but we do know that the point of Centricity was to invite a question of ‘what if?'”
“这可能是一个适合居住的空间，它可以是小的，也可以是大的。这些事情往往没有明确的规模，但我们知道中心性的目的是邀请一个“如果?”的问题。
An obituary on the Architectural Record website dubbed Woods “the last of the great paper architects” and said he “achieved cult-idol status among architects for his post-apocalyptic landscapes of dense lines and plunging perspectives. Deconstructivist in the most literal of ways, they were never formalist exercises. Instead, they conveyed the architect’s deep reservations as to the nature of contemporary society, and particularly its penchant for violence. He eschewed practice, claiming an interest in architectural ideas rather than the quotidian challenges of commercial building.”
建筑记录网站上的一个讣告称Woods是“最后一位伟大的“纸上”建筑师”，他说他“在建筑师中获得了偶像级的地位，因为他的后世界末日的景观是密集的线条和纵深的视角。”解构主义以最真实的方式，从来都不是形式主义的练习。相反，他们传达了建筑师对当代社会本质的深刻保留，尤其是对暴力的偏好。他回避了实践，声称对建筑理念的兴趣，而不是商业建筑的日常挑战。
（©Conflict Space 4, 2006; crayon and acrylic on linen; 74 inches by 120 inches; Collection SFMOMA.）
If It Looks Like Sci-Fi …
它看起来像科幻小说……
With a body of work filled with flying structures, space beacons and bizarre post-apocalyptic buildings that look as if an alien mothership had crashed into them, it’s only natural that Woods’ work drew comparisons to science fiction. Woods designed a set for Alien 3, drawing comparisons to Swiss surrealist artist H.R. Giger, but the whole thing got scrapped when directors changed on the production, Becker said.
这是一个充满了飞行结构、太空灯塔和奇异的后世界末日建筑，像是有一艘外星飞船撞向了它们，而Woods的作品被比作科幻小说是很自然的事情。Woods为《异形3》设计了一套布景，并与瑞士超现实主义艺术家H.R. Giger作比较，但当导演改变了制作方法时，整件事却被取消了。
（© Aerial Paris. 1989. Copic Marker on tracing paper on board, 815 × 507 mm © Estate of Lebbeus Woods）
（© Aerial Paris. 1989. Copic Marker on tracing paper on board, 815 × 507 mm © Estate of Lebbeus Woods）
（© Photon Kite from Lebbeus Woods' series Centricity, 1988; graphite on paper; 24 inches by 22 inches; Collection SFMOMA.）
One of Woods’ drawings — Neomechanical Tower (Upper) Chamber, which depicts an elevated chair in a creepy, decaying industrial environment — found its way into Terry Gilliam’s 1995 sci-fi movie, 12 Monkeys. Woods filed a lawsuit claiming an interrogation room seen on-screen was an unauthorized reproduction of his work, and won a six-figure settlement. “Essentially, they just ripped this drawing off,” Becker said.
Woods的一幅画——机械塔，描绘了一个令人毛骨悚然的、破旧的工业环境中的高架椅子——它却被Terry Gilliam 1995年的科幻电影《十二猴子》引用。Woods提起诉讼，声称在屏幕上看到的审问室是他工作的未经授权的复制品，并获得了六位数的赔偿。
（©Quote courtesy of Lebbeus Woods, 1940 - 2012）
（© Aerial Paris. 1989. Copic Marker on tracing paper on board, 815 × 507 mm © Estate of Lebbeus Woods）
Still, Woods, who founded the Research Institute for Experimental Architecture in 1988 and taught for many years at Manhattan’s revered arts institution Cooper Union, did not see himself as a sci-fi concept artist, according to Dunlop Fletcher, who said the master draftsman’s works “come from a place of really understanding the current built environment, as opposed to a complete fantasy. He seemed to be very hesitant to be kind of thrown into that realm of fantasy architecture.”
尽管如此，Woods在1988年创立了实验建筑研究所，并在曼哈顿著名的艺术机构Cooper Union（库珀联盟学院）任教多年，他并没有将自己视为一个科幻概念艺术家，根据Dunlop Fletcher的说法，他说主要绘图员的作品“来自真正理解当前建筑环境的地方，而不是完全的幻想。他似乎很犹豫要不要被扔进幻想建筑的领域。”
（©Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
（© Woods sued the makers of Twelve Monkeys for recreating his design Neomechanical Tower (Upper) Chamber, in this scene.）
A New Mission After an Untimely Death
新任务后的突然离世
The exhibit was not supposed to cover so much territory. Becker and Dunlop Fletcher had been collaborating with the architect for months, meeting in his Lower Manhattan studio to discuss his work and planning to include a new installation in the exhibit. When the 72-year-old Woods died unexpectedly in his sleep as Hurricane Sandy swamped New York City on Oct. 30, the news came as a shock to the curators.
Becker和Dunlop Fletcher与这位建筑师合作了好几个月，在曼哈顿下城的工作室开会讨论他的工作，并计划在一场展览中加入一个新装置。10月30日，当飓风桑迪席卷纽约市时，72岁的伍兹在睡梦中猝死，这一消息令策展人们震惊。
“It was actually very kind of eerie and bizarre, because a lot of his work deals with ideas of chaos and, you know, even climactic events or geological events,” Becker said. “And for him to pass away the night that superstorm Sandy hit New York, it was almost like it had to be that way.”
“这实际上却是一种令人毛骨悚然的奇怪之处，因为他的很多作品都涉及混乱的概念，甚至是气候事件或地质事件。“在桑迪飓风袭击纽约的那一夜，他要离开这里，就好像是命中注定。”
After Woods’ death, the curators decided to expand the exhibit to include more pieces from throughout the late architect’s career. Both were drawn to one of his earliest works, the Einstein Tomb project, done for Steven Holl and William Stout’s Pamphlet Architecture series. Woods proposed a kinetic space tombstone for the great thinker, whose cremated remains had been scattered in the Atlantic Ocean.
在Woods死后，策展人决定扩大展览的范围，包括从这位已故建筑师的职业生涯中获得更多的作品。两人都被他最早的作品——爱因斯坦的坟墓计划所吸引，这是为史蒂文·霍尔和威廉·斯托特的小册子建筑系列所做的。伍兹为这位伟大的思想家提出了一个运动空间的墓碑，他的骨灰被分散在大西洋中。
（© .Unified Urban Field from Lebbeus Woods' series Centricity [no. 37], 1987; graphite on paper; 24 inches by 23 inches; Collection SFMOMA.）
“Lebbeus imagined a more fitting tribute to the mind of the man,” Becker said, “and so designed this monument — this cross-shaped monument with these different elements that would actually travel on a beam of light into the universe and perhaps back, and perhaps out and back again forever, dealing with issues of relativity in the monument itself.”
“他想象更恰当去致敬人的大脑,所以设计了这个纪念碑——这十字形的纪念碑和这些不同的元素,实际上在一束光进入宇宙,也许,也许永远回来,处理问题的相对论纪念碑本身。”
And speaking of things actually being built, what about that structure in China, the only example of Woods’ work ever to be constructed? Neither Becker nor Dunlop Fletcher have seen it, but they described it vividly. The Light Pavilion is embedded within a massive building designed by Woods’ collaborator and friend, Stephen Holl. Glass walkways and stairs allow the visitor to stroll through the gigantic plastic shafts and metal rods that comprise the structure, while the sides, ground and ceiling are covered in mirrored material.
灯光亭嵌在一个由伍兹的合作者和朋友斯蒂芬霍尔设计的大型建筑内。玻璃走道和楼梯允许游客漫步在构成结构的巨大的塑料轴和金属杆上，而侧面、地面和天花板都覆盖着镜面材料。
（© Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
（© Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
“It just really feels like this expansive space,” Becker said.
“感觉就像一个广阔的空间，”
（©Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
（© Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
（© Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
（© Lebbeus Woods, 1940 - 2012 Courtesy of fikacoffeebreak.com）
“我生活在一个幻想世界中。我所有的作品其实都试图再现种种真实的建筑空间。我感兴趣的是，假如我们摆脱了常规的束缚，我们的世界将呈现出什么景象。或许我能展示我们在另一套不同规则生存下将会发生什么。”
-Lebbeus Woods
More/更多
https://lebbeuswoods.wordpress.com/
http://www.architectmagazine.com/person/lebbeus-woods
https://www.sfmoma.org/exhibition/lebbeus-woods-architect/
https://www.archdaily.com/349556/lebbeus-woods-1940-2012
Render/相关阅读
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