世界頂尖建築之旅 第3集 DVD

讓我們帶領您進入當代建築風潮與設計的世界
來一場跨世紀的建築之旅，解讀世界各地的頂尖建築作品

建築，是一個社會風氣的縮影
建築，是一個世代文化的表徵
建築不會移動，但卻能帶著我們在世界旅行！

建築的風格，帶領我們進入當代文化與藝術的世界
來一場跨世紀的建築之旅，走訪位於世界各地的頂間建築作品！

■ Vienna Savings Bank 維也納儲蓄銀行
　建築師：奧圖．華格納 Otto Wagner (1841-1918)
　重要影響：維也納分離派的重要成員。1895年，出版《現代建築》（Moderne Architektur），體現基本的分離派的思想。

維也納中央郵政儲蓄銀行總部，於一九零三年至一九零六年間由奧圖‧華格納所建造。華格納是個年屆五十的建築師，擁有極佳聲望並被上流社會所尊敬。維也納儲蓄銀行位於維也納最重要的地標「環城大道」上，同時也是此條道路上唯一的現代化建築。
銀行建築相當巨大，但如此與街道不協調的建築外觀，卻沒有破壞與其他建築物之間的平衡。華格納是如何辦到的？
從裡到外華格納都秉持「簡潔有力」的建築原則，他認為「現代化的眼光已從微小、個人的事物上，放大到筆直的長線條、寬闊的外觀與大型的物體上，這些東西不需要太多贅物，它們只要簡單的外型」。
The headquarters of the Royal and Imperial Post Office Savings Bank in Vienna was built by Otto Wagner between 1903 and 1906. Wagner was a well-established, 50-year old architect, respected by High Society. The architecture was built on the Ringstrasse, the very symbol of Imperial Vienna and is the only modern building on this road.
The bank is huge compared with other buildings on the Ringstrasse. However, the brutal facade would not upset the balance of the rest of the buildings on the avenue. How did Wagner balance the imbalance?
The architectural principles which Wagner insisted from inner decoration to outer facade was “simplicity".
“The modern eye has lost its perspective for the small and intimate." Wagner said," It has grown used to long straight lines, wide surfaces, and large masses, which need limited work and simple shapes."
In this episode, we could realize how architect made architecture a true reflection of our time and the military precision of modern life.

■ Roissy 戴高樂機場一期航廈
　建築師：保羅．安德魯 Paul Andreu (1938-)
　得獎紀錄：1995 Japan Institute of Architecture Award (AIJ) 日本建築協會獎
　重要作品：法國新凱旋門、北京國家大劇院

在二十世紀以前，建造機場是屬於工程師的工作範圍，並非建築師可以發揮的領域。一九六九年，一位年輕的建築師保羅‧安德魯接下了戴高樂機場一期航廈的工程，讓他成為二十世紀最重要的機場建築師之一。
早十年興建的奧利機場，是一個像商店櫥窗的建築，整棟建築興建在一個開放的露臺上，民眾可在此觀看飛機起降，「看飛機」成為一個日漸受歡迎的社交活動。
戴高樂機場一期航廈打破這種做法，用水泥取代玻璃、整棟航廈建築是不透光的，露臺與觀光客不見了，但壯觀的景象依舊，來這裡唯一的目的就是搭飛機。當時飛機與汽車是現代化的表徵，於是，戴高樂機場就是以汽車為中心設計的，其為人讚賞的部分就是清楚的宣示「現代化建築可以提供車子與飛機之間的便利運輸」。
戴高樂機場一期航廈利用建築重新定義機場的意義，創新的設計與思維，讓它在機場建築的歷史上，成為一個重要的指標。
Before 20th century, terminal buildings were a business for engineers. Not for architectural competitions. No building permit was necessary. In 1969, a young architect Paul Andreu won the competition of Roissy Terminal 1. Paul Andreu was to become one of the twentieth century’s major airport terminal builders.
Orly, the airport built during the previous decade, was a shop window. The building opened onto large terraces where people came to enjoy watching the aeroplanes. The spectacle of the aeroplanes held a promise of upward social movement.
Roissy broke with all that. The glass was replaced with concrete. The building is totally opaque, almost blind. The terraces and their visitors disappeared, but the spectacle still exists. At that time, the aeroplane and the motor car were two emblems of modernity. Therefore, Roissy was conceived for and by the car. The prized placing of the terminal is a clear proclamation: the modern terminal building is an interchange between the car and the plane.
Roissy 1 gave a new definition of airport. It had become a major date because of its innovative design and thinking in the history of airport architecture.