2024年重讀《羅浮宮私人辭典》未來: “盲人體驗” 日本阿含宗 。貝聿銘、金字塔之爭。十八世紀巴黎風俗寫真"大畫師。 漢清講堂：大羅孚計畫金字塔完成30年紀念 2019.5.30 ：I. M. Pei (貝聿銘) : Mandarin of Modernism

Louvre Piramid & Olympic Flame

所有心情：

3,7863,786

2024年重讀《羅浮宮私人辭典》未來:   “盲人體驗” 日本阿含宗 。貝聿銘、金字塔之爭。十八世紀巴黎風俗寫真"大畫師。 

 

感動 (110) 《羅浮宮私人辭典》羅浮宮的未來:

   “盲人體驗” 日本阿含宗 。

貝聿銘、金字塔之爭。

十八世紀巴黎風俗寫真"大畫師。 加布里埃爾·雅克·德·聖歐班 Gabriel de Saint-Aubin, 1724~80 《羅浮宮私人辭典》說他留下上萬張以上

https://hccart.blogspot.com/2024/01/gabriel-de-saint-aubin-172480.html

日本阿含宗 羅浮宮私人辭典未來 “盲人”。貝聿銘。金字塔之爭日。十八世紀巴黎風俗寫真

大羅孚計畫金字塔完成30年紀念 2019.5.30 ：I. M. Pei (貝聿銘) 102歲；I.M. Pei: Mandarin of Modernism 《貝聿銘－現代主義泰斗》



我在籌劃一討論會：大羅孚計畫金字塔完成30年紀念2019.5.30 ：I. M. Pei (貝聿銘) 102歲

2019年4月11日，漢清講堂有一天/幾場的座談/presentations--敬邀您們參加。

















https://fr.wikipedia.org/wiki/Pyramide_du_Louvre

Musée du Louvre

❄ Snow fell silently on the Louvre this morning! The cour Napoléon, the roof of the Islamic Arts department, and the arc du Carrousel are wearing a pretty white coat...

----

Pierre Rosenberg《盧浮宮私人詞典．金字塔之爭》2014，華東師範大學出版社，526~28

----

貝聿銘-現代主義泰斗(I. M. Pei- Mandarin of Modernism )-

麥可．坎奈爾著

蕭美惠譯

智庫股份有限公司出版日期:1996/02

《貝聿銘－現代主義泰斗》

貝聿銘

　貝聿銘所到之處都引人注意。儘管它長袖善舞、八面玲瓏，與企業大老闆、藝術家和國家元首交情匪淺，私底下的貝聿銘仍是難以捉摸的。恍如童年時代四面高牆的祖宅，它的內心世界不是西方人所能了解的；；即使是他以前的合夥人也表示不曾真正跟他親近過。解開這謎團的線索就在上海複雜的社會階級，甚至在古老庭園的石頭和潺潺流水之間。

　這是一本有關建築物和權力、移民和同化、美式奔放和中式收斂、實用主義和華麗報導、東方和西方的傳記。書中附有珍貴照片幾十幀，均為貝聿銘和世界名人合照及其代表性建築作品：如中國香山飯店、香港中銀大廈、甘迺迪紀念圖書館、美國國家藝廊東廂、巴黎羅浮宮金字塔等膾炙人口的經典之作。　

作者簡介

麥可．坎奈爾

　畢業於普林斯敦大學和哥倫比亞大學新聞學院，曾供稿紐約客、時代、新聞週刊、紐約時報雜誌、運動畫報和國際合眾社。目前與妻子住在紐約。

譯者簡介

　蕭美惠

　國立政治大學西洋語文學系畢業，現任報社國際祖召集人。

目錄

貝聿銘－現代主義泰斗－目錄

一位最傑出的同學----貝聿銘     王大閎

前言

第一章　金字塔之夜 

第二章　上海與蘇州

第三章　一名劍橋的中國留學生

第四章　我們將改變這一切

第五章　未能實現的諾言

第六章　甘迺迪的祝福

第七章　成立建築師事務所

第八章　柯普利廣場上的窗戶

第九章　美國最敏感的地帶

第十章　不朽的建築

第十一章　辯護

第十二章　回歸中國

第十三章　壞風水

第十四章　尾聲----

The Louvre pyramid is a pyramid made of glass and metal in the middle of the Cour Napoléon of the Louvre museum in Paris. It houses the main entrance to the museum. It was inaugurated by President François Mitterrand on March 4, 19881.

Commissioned by François Mitterrand in 1983, the pyramid was designed by Chinese-American architect IM Pei. The metal structure that supports the glass cladding is made of steel and aluminum and weighs 200 tons; it is 21.64 meters on a square base of 35.42 meters. It is covered with 603 diamonds and 70 glass triangles and is the first large building to use laminated glass.

Although the pyramid has aroused great controversy at the presentation of his project in 1984, it became the beginning of the twenty-first century the third work of the Louvre's most popular after the Mona Lisa and the Venus de Milo2.


Summary
1 Background
1.1 An idea from the 19th century
1.2 Conduct of the proposal
1.3 Construction
2 Controversies
3 Architecture
3.1 The Louvre Pyramid
3.2 The inverted pyramid
3.3 The prowess of transparency
4 Popular culture
4.1 The Louvre meridian
5 Projects and renovation works
5.1 New lighting
5.2 Project "Pyramid"
6 Notes and references
7 See also
7.1 Bibliography
7.2 Related article
7.3 External links



Context
On September 24, 1981, the President of the Republic François Mitterrand announced at a press conference his intention to install the Louvre Museum in the entire palace, a part then being occupied by the Ministry of Finance. The goal of Mitterrand is to make the Louvre a "mass museum", to initiate a museum revolution 3. In October 1982, Émile Biasini is named responsible for the Grand Louvre project which is part of the Grands Travaux (Big Operations). Architecture and Urbanism) whose idea was launched on July 27, 1981. Without resorting to the procedure of the architectural competition or the call for tenders, François Mitterrand chose the architect Ieoh Ming Pei who accepted the commissioned in June 1983 and proposed a plan to use the Napoleon courtyard as a new central entrance (a central lobby was a long-needed improvement to facilitate public access through the front door of the building). Denon wing, insufficient entry for such a project), which would give access not only to the existing rooms, but also to the spaces liberated from the Richelieu wing4.

An idea from the nineteenth century
A pyramid in the Napoleon courtyard was initially proposed for the celebrations of the French Revolution, especially for the centenary (cyclopean pyramid project of the architect Louis Ernest Lheureux of neo-Aztec style, for 18895). We also find this idea in a small booklet "Memoirs on two great obligations to be filled by the French" written by Bernard François Balzac and published in 1809. One of these obligations was to raise, in the courtyard of the Louvre, a pyramid that would be a national monument of recognition to the Emperor (Napoleon). It is possible that the architect Ieoh Ming Pei was made aware of this proposal when he chose the shape of a pyramid.

Conduct of the proposal
In the first project presented to François Mitterrand by Ieoh Ming Pei on June 21, 1983, the pyramid is integrated into his final project in 1984: the goal is to build a large, bright entrance hall with a shape that contrasts with the surrounding buildings7.

Marcel Herfray, the government commissioner and head of the central administration, is the legal director of the operation.


An idea from the nineteenth century
A pyramid in the Napoleon courtyard was initially proposed for the celebrations of the French Revolution, especially for the centenary (cyclopean pyramid project of the architect Louis Ernest Lheureux of neo-Aztec style, for 18895). We also find this idea in a small booklet "Memoirs on two great obligations to be filled by the French" written by Bernard François Balzac and published in 1809. One of these obligations was to raise, in the courtyard of the Louvre, a pyramid that would be a national monument of recognition to the Emperor (Napoleon). It is possible that the architect Ieoh Ming Pei was made aware of this proposal when he chose the shape of a pyramid.

Conduct of the proposal
In the first project presented to François Mitterrand by Ieoh Ming Pei on June 21, 1983, the pyramid is integrated into his final project in 1984: the goal is to build a large, bright entrance hall with a shape that contrasts with the surrounding buildings7.

Marcel Herfray, the government commissioner and head of the central administration, is the legal director of the operation.

Construction

The pyramid in 1987
The pyramid of the Louvre was built between 1985 and 1989. It was first inaugurated on March 4, 19881 by François Miterrand, then a second time on March 29, 1989: on the occasion of the opening to the public, a more modest ceremony , with ribbon cut, was held in the presence of the President 8.

controversies

Comparison of approximate profiles of notable monuments of pyramidal or almost pyramidal shape.
The official announcement of the project took place at the hearing of Mr. Pei January 23, 1984 before the National Commission of Historic Monuments, which he is disconcerted in front of the perplexity of the members of the Commission. The project is made public the next day in a headline of France-Soir titrant: "The new Louvre is already scandal". Published on the front page of the daily, the photo of the pyramid is controversial. Much of the press is also hateful: "Zero degree of architecture" according to Pierre Vaisse du Figaro, "Call for insurrection" for Jean Dutourd9,10. Opponents of the project, such as the art historian André Fermigier (who personally nicknamed the project "The zircon") then compare the pyramid to a "House of the dead" to a "funnel", evoking alternately this object everything


Architecture

Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: ​​it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.

It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.

The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.

This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.

The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.

Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.

I.M.Pei rejected the idea of ​​using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.

The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.

In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.

Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).

With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.

Architecture

Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: ​​it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.

It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.

The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.

This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.

The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.

Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.

I.M.Pei rejected the idea of ​​using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.

The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.

In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.

Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).

With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.


Architecture

Night view on the big pyramid and the little one, on the left.
The Louvre pyramid
The pyramid is not placed on the historical axis of Paris. But the "Great Pyramid" is not alone: ​​it is indeed surrounded by three smaller replicas constituting skylights and a fifth pyramid, inverted, built under the Carrousel du Louvre.

It consists of a 95-tonne steel structure and a 105-tonne aluminum chassis. Its structure is composed of a mesh of 2,100 nodes, 6,000 bars, 603 diamonds22 and 70 triangles of glass whose glazing has a thickness of 21 mm. In reality, there are few real diamonds, most of the pieces are parallelograms that are almost diamonds and which, in perspective, give the impression of being lozenges23. Its surface at the base is 1,254 m2, the width of its square of 35,42 meters. It measures 21.64 meters in height while the three replicas, surrounding the main pyramid lined with triangular water basins, make only five. The fifth is seven meters high24.

The inverted pyramid
Main article: Inverted pyramid of the Louvre.
The inverted Pyramid of the Louvre is built in the same constructive logic but with only 7 triangles at the base of each face. It consists of 84 diamonds and 28 triangles.

This reversed pyramid can not be directly in contact with the outside because the water would accumulate there, it is covered by a glazed surface of the same almost flat type, hidden at the level of the natural ground by the hedges in the center of the place of the Carrousel.

The prowess of transparency
The architect had the requirement that the glass that composes the facets of the construction is as transparent as possible. But at the time this represented a technical challenge that remained to be realized.

Indeed, any glass contains impurities that have the property of absorbing more light as the glazing is thicker23. The main contributors to this absorption of light are the heavy metals that are incorporated into the raw material during the melting of the glass. That's why it was very difficult to meet the requirements of the architect and deliver a glass as colorless as possible despite the 2.1 cm thick plates.

I.M.Pei rejected the idea of ​​using techniques capable of neutralizing iron oxides including, for example, the addition of arsenic, because he knew that they solarize over time23; too exposed to the sun, they turn yellow and turn brown.

The French glassware company that won the contract opted for the supply of a type of glass that is not sensitive for this purpose.

In order to meet the challenge, the engineers of this company produced a glass-float using the technique of an electric furnace, consisting of graphite electrodes, or molybdenum23.

Popular culture
The pyramid has 673 glass panels, a number close enough to 666 to feed the esoteric interpretations. An urban legend wants this number of 666 glass panels was chosen at the "express request" of President Mitterrand, 666 being according to the Apocalypse, the "Figure of the Beast". This controversy resumed in 2003 with the release of Dan Brown's novel Da Vinci Code (Chapter 4).

With some calculations and based on a photograph of the face of the building with the entrance, it is however easy to confirm the account of 673 plates. Counting the number of plates along an edge connected to the top of the pyramid gives us 18 plates. The pyramid being regular, this number is the same for each edge and allows us to calculate the number of plates per full face: indeed, it is easily calculated according to the following {\ displaystyle u_ {n} = u_ {n- 1} + n} {\ displaystyle u_ {n} = u_ {n-1} + n}, with {\ displaystyle n} n the number of plates per edge and {\ displaystyle u_ {1} = 1} u_ {1 } = 1 (of which {\ displaystyle n} n triangular plates at the base). We obtain the result {\ displaystyle u_ {18} = 171} u _ {{18}} = 171. Multiplied by 4 faces, this gives 684 plates. To this total must be removed the missing plates due to the opening on the face that we will call "before", opening serving as entrance to the building. This opening is divisible into three horizontal rows. A first row of 4 triangles, which are not to be subtracted from the total because they are not whole plates that have been removed: simply the diamonds above the opening that have been cut, and this does not affect the number of plates (on the other hand, it changes the ratio between the number of lozenges and the number of triangles). A second row of 5 diamonds, and finally a third row, at the base, of 6 triangles. This gives us a total of 11 plates removed to form the entrance to the building. So we arrive at a total of 673 plates.

漢清講堂與 M Weber

 【新書上市】《以政治為志業》（二版）／馬克斯．韋伯（Max Weber）著、李中文譯

馬克斯．韋伯，社會學的奠基人、百科全書式的博學者

談投身政治的條件與特質

從政者要具備三種關鍵性特質：熱情、責任感、洞察力。

面對道德空談，虛榮心是投身政治者最大的死敵。

 

本書是韋伯於1919年1月28日受巴伐利亞「自由學生同盟」之邀，在慕尼黑大學所做的第二場演講，第一場演講為《以學術為志業》。兩場演講皆是「以精神工作為志業」的系列演講之一。韋伯後來根據速記人員抄錄的筆記，於1919年出版演講內容。

韋伯從三種正當性統治的依據（傳統型、法制型和領袖魅力型）開始，談到職業從政者的起源、出現和演變，包括政黨政治的運作和發展、領袖的崛起、黨職人員的角色和受過專業訓練的官員階層興起等。他分析「為」政治而活和「靠」政治而活的不同；「為」政治而活的人，或是享受權力的行使，或是藉由投入一項「事業」而為自己的生命賦予意義。想要從事政治、以政治為業的人，還必須意識到他將會跟潛伏在武力當中的魔鬼勢力同夥，而投身於此，需要具備何種先決條件與特質？道德跟政治之間，又是什麼樣的關係？

此文發表雖已百年，但未受時間所限，對實際政治運作的分析鞭辟入裡，簡短而精彩，已成為政治學和社會學的經典之作。

 

▍何謂「以政治為志業」：

 

政治意味著同時運用熱情和洞察力，慢慢用力地鑽透硬木板。如果不是一再地在世上追求不可能的事情，那麼即使是可能的事情也將無法達成。可是能夠做到這件事的人，必須是一位領袖，而且不僅這樣，甚至必須是一位英雄。即使是不屬於這兩者的人，也必須憑藉著內心的堅強來武裝自己，能夠承擔所有希望的破滅，否則就連今天有可能的事情也沒辦法實現。誰能夠確信，即使當世界太過愚昧或鄙俗而不值得他有所投入，也不會因此而崩潰，而在面對這一切時還能夠說出「何懼之有！」，唯有這種人才能夠以政治為「志業」。

▍本書特色：

◎全新德文譯本

◎投身政治的條件與特質

◎鄭志成（東海大學社會學系副教授）專文導讀，疏理韋伯演講的背景脈絡。

▍韋伯的各方評價：

◆雅斯培（Karl Jaspers）：馬克斯．韋伯是我們這個時代最偉大的德國人。

◆帕森斯（Talcott Parsons）：韋伯的才能是百科全書式的，這在現代極其罕見。

◆熊彼得（Joseph A. Schumpeter）：馬克斯．韋伯是歷來登上學術舞台的角色中最有影響的一個。

◆史壯柏格（Roland N. Stromberg）：社會學最大的黃金時代無疑是馬克斯．韋伯，一個具有極大眼界與創力的學者。

◆亨尼斯（Wilhelm Hennis）：涉入韋伯的著作，乃是一項冒險。

◆拉德考（Joachim Radkau）：無論偉大與否，韋伯在社會科學上無疑是一位具備了獨特觀點的思想家，他也是一位通常能磨礪我們思考的思想家。

◆柯塞（Lewis A. Coser）：韋伯是最後一批博學者中的一個。

◆克斯勒（Dirk Kaesler）：馬克斯．韋伯是近代社會科學發展史上，世界公認最有影響的人物之一。

▍目錄

鄭志成導讀：激情與理智同步、信念與責任共舞

一、武力是國家特有的手段

二、統治的三種正當性依據：傳統、法制、領袖魅力

三、在近代國家當中，政府官員跟行政物資是相分離的

四、職業從政者的起源和首度出現

五、「為」政治而活和「靠」政治而活的從政者

六、主管型從政者在史上的演變

七、職業從政者所出身的幾種階層：僧侶、文人、宮廷貴族、仕紳、法學家、律師

八、官員的職責和榮譽所在是行使政治，有別於律師從政者

九、從新聞工作邁向政壇的途徑目前仍然相當艱險

十、政黨組織及其制度的演變

十一、英國具領袖魅力型之領導者的產生

十二、美國的分贓制度和絕無僅有的黨老闆

十三、目前具領袖素質者在德國不易出頭的因素

十四、虛榮心是投身政治者最大的死敵

十五、政治不能像道德那樣只問信念不計後果

十六、信念倫理跟責任倫理之間的對立

十七、信念倫理的盲點：善念並不必然有善果

十八、從政者所須面對的道德難題和承擔的責任

▍看更多書籍介紹：

https://sunny-warm.wixsite.com/sawph-3/sh037

▍相關閱讀：《以學術為志業》／馬克斯．韋伯著

https://sunny-warm.wixsite.com/sawph-3/sh038

漢清講堂 對 曹永洋、我，諸貢獻者......的意義： 十年的工業教育經驗：陳函谿 ： 從物理到設計 2015 Sir Kenneth Grange 曾熙凱2024日本。浮世繪； .......

  

漢清講堂 對 曹永洋、我，諸貢獻者......的意義：  十年的工業教育經驗：陳函谿 ： 從物理到設計 2015   Sir Kenneth Grange  曾熙凱2024日本。浮世繪； .......

漢清講堂            十年的工業教育經驗： Beyond Object 2017：陳函谿 ： 從物理到設計 2015   Sir Kenneth Grange  曾熙凱2024

漢清講堂 十年的工業教育經驗： Beyond Object 2017：陳函谿 ： 從物理到設計 2015 Sir Kenneth Grange 曾熙凱2024

https://en.wikipedia.org/wiki/Kenneth_Grange
Kenneth Grange in October 2016 with an InterCity 125 power car, the nose cone for which he designed in the 1970s.


Sir Kenneth Henry Grange CBE PPCSD RDI (17 July 1929 – 21 July 2024) was a British industrial designer, renowned for a wide range of designs for familiar, everyday objects.

https://www.google.com/search?q=+Sir+Kenneth+Grange++&sca_esv=398b87aa3ea4c694&sca_upv=1&hl=zh-TW&sxsrf=ADLYWIKy0DiphkttGV7CMF-juCubKl6ueA:1722041959354&source=hp&biw=683&bih=320&ei=Z0akZuLLEpapvr0Pz9isKA&iflsig=AL9hbdgAAAAAZqRUdx2VjsvPgjhRXP4xGM0GwTX7YPu5&ved=0ahUKEwiim5eagsaHAxWWlK8BHU8sCwUQ4dUDCA8&uact=5&oq=+Sir+Kenneth+Grange++

Introducing Beyond Object

A perfect blend of art and minimalism, the Beyond Object collection transforms everyday desktop items into beautifully crafted sculptural objects.

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GESSATO.COM

 Beyond Object 的貼文。

Beyond Object 新增了 3 張相片。

6月13日 · 

最近，我們很受歡迎的膠帶台，CANTILI，以及削筆器，FUNNO，推出了耐看的黑色款，有著鑄鐵般的紋路，低調的全黑設計特別受到設計師和建築師喜愛。

讓人興奮的是我們在這兩天登上著名的英國設計媒體 Wallpaper* magazine 首頁！非常喜歡他們的點評 ：

前衛：不但實用，而且動人的膠帶台

原來我們被收入他們 W* HOUSE 的典藏之中，以不同的空間分類，推荐了來自全世界的優異產品，Rooms/Study的三十件選品中，首先看到的是一組CANTILI和FUNNO！評鑑文字特別提及CANTILI的懸臂及圓盤設計，贊許其精準運用必要元素，是實用文具，也是桌上的雕塑品，簡單，優雅，摩登。

如果你動心了，歡迎來我們的線上商店選購我們精心設計的產品，很希望我們的創意與精工能夠進入你的生活空間。

● 心動不如馬上行動傳送門：http://www.beyond-object.com/shop/

Behind the Design: Hanhsi Chen of Poetic Lab

‘We write poetry with objects’ is a strapline used by London-based Poetic Lab, the words...

GESSATO.COM

---
上周，知道好消息。Beyond Object 在Facebook 更新頗快：

Beyond Object 新增了 5 張相片。
9月12日 8:02 ·

我們在巴黎的 Maison & Objet 展覽即將來到尾聲，週日晩上大會在會場辦了一個小小的香檳酒會頒發2017的 Best of MOM 獎項，很榮幸我們的 Empty Memory 隨身碟系列在整個巴黎展會上成千上萬件作品裡成為少數的幸運兒，除了漂亮的獎杯還有一個由設計師Philippe Nigro精心策劃的展區展出獲獎的作品。


MOM 為 Maison Objet & More 的簡稱，是去年開始展方的一個新嘗試，希望將一年兩次的展覽經驗延伸到網路空間，一年 365天無時差的串連品牌方與買家。這邊不得不稱讚一下這個平台，非展覽期間還能不時帶來世界各地優質買家的詢問與訂單。


這次的獎項就是以產品在 MOM平台上受歡迎程度來當做一個重要指標評選。酒會上一邊喝著香檳一邊有著十足的感觸，Beyond Object品牌在五年前從這個展會上踏出第一步，一年年成長、逐漸站穩腳步；在我們第十一次參展時獲頒這個榮耀真的格外具有意義啊。

⋯⋯更多













還有 2 張

2014年12月18日 19:39 · 

免費公開演講，請報名。
From physics to design：陳函谿(旅英設計師)的學習歷程簡報
題目：From physics to design
從物理到設計。
時間 ： 2015年1月3日 (周六) 10點~12點
地點( 漢清講堂)：台北市新生南路三段88號2樓
電話：（02） 23650127

2013年春，和夥伴在米蘭家飾傢具展奪得「沙龍衛星獎」和「設計報告獎」的產品設計師陳函谿，1984年出生於台北，2006年畢業於台大物理系，2008年當完兵後，赴倫敦皇家藝術學院（RCA）進修，於2010年取得產品設計的碩士學位。目前他和夥伴共組谿品設計有限公司，自創品牌「Beyond Object，非物」，立意、設計、製造與銷售的產品，希望不僅具有物質與實用的意義，更帶有靈光、意涵與美感。

米蘭得獎後，陳函谿回應記者的訪問，曾這樣說：「物理學有很多哲學性的概念是相當迷人的，像是相對論裡人與時間的關係，或是量子力學對物件構成的本質性探討。」

他又說：「我喜歡美的事物，後來慢慢發現設計能滿足我運用物質來落實想法的渴望，ㄧ個產品從無形的概念慢慢形塑成實體的物件，創作過程中充滿了挫折與喜悅，其實設計就像實驗一般，只是探討的主題不同，我認為設計最有趣的地方在於理性與感性的界線模糊，我一方面可以從哲學概念去思考事物本質，另一方面又能充分運用理工背景所訓練出來的邏輯思考能力，在工業設計中完成我想執行的概念。」

一路行來，在設計的領域裡，他得到鼓勵，也摔過跟頭。有人說他走得很快，也有人說他只是跨過門檻，取得了設計師的執照。不論怎麼說，關於設計，陳函谿有他獨特的想法和經歷，讚許他的人可能沒有看見他的挫折，批評他的人可能沒有看見他的努力。2015年的新年度將臨，一月三號，早上10:00~11:00，陳函谿將在新生南路的「漢清講堂」，以From physics to design為題，與你分享他的思索和經驗。

限於時間，演講將分三子題進行：

ㄧ. 碰撞----RCA時期

二. 摸索----RCA畢業以後

三. 開拓----天色漸漸光，方向逐步明朗

這將是一場互動式的演講，講者陳函谿很歡迎聽者在演講進行中和結束後與他交流、對談。

從物理，到設計。

朋友，歡迎你來。

2015年元月


13:38
從物理到設計(1) 陳函谿 Hanhsi Chen - Designer -(I) 出國留學
hc iTaiwan forum
328 views2 years ago
陳函谿(旅英設計師)的學習歷程簡報(I) 從物理到設計From physics to design (I)： Hanhsi Chen 時間： 2015年1月3日(周六) 10點~12點 ...


36:01
從物理到設計(2) 陳函谿 Hanhsi Chen - Designer -(II) RCA留學&畢業展
hc iTaiwan forum
168 views2 years ago


陳函谿(旅英設計師)的學習歷程簡報從物理到設計(2) 陳函谿Hanhsi Chen - Designer -(II) RCA留學&畢業展2013年春，和夥伴曾熙凱 ...


21:14

從物理到設計(4) 陳函谿 Hanhsi Chen - Designer -(IV) 自創品牌
hc iTaiwan forum
•
70 views2 years ago




陳函谿(旅英設計師)的學習歷程簡報從物理到設計(4) 陳函谿Hanhsi Chen - Designer -(IV) 自創品牌Vitra Design Museum共同合作 ...


26:34

從物理到設計(3) 陳函谿 Hanhsi Chen - Designer -(III) 米蘭「波光- Ripple」獲獎


hc iTaiwan forum



陳函谿(旅英設計師)的學習歷程簡報從物理到設計(3) 陳函谿Hanhsi Chen - Designer -(III) 米蘭「波光- Ripple」獲獎時間： 2015年1月3 ...

Beyond Object 的貼文。

還有 2 張
Beyond Object 新增了 5 張相片。



離開巴黎前特別去了趟 Colette，跟它說聲再見。

每趟到巴黎展覽總會抽空去看看這間選品店始祖，感受一下那時髦的氣息，別緻的選品；前陣子聽到他們將在年底將這間二十年的傳奇店鋪畫下休止符真的十分震驚。

說到和他們的淵源， Colette 在我們品牌草創時期就大膽的引入 Empty Memory 隨身碟系列，可說是我們的伯樂呢！還記得是第一次去巴黎展覽，展後帶著小粉絲的心情跑去朝聖，逛著逛著不小心和一位帥哥店員聊開了，給他看了我們熱騰騰剛出爐的隨身碟，他整個愛翻，叫來一整票同事圍著把玩，霸氣的省話主管也靠過來看了兩眼直接說：「這我名片，報價發過來，我們要進。」


很榮幸能在它們二十年的奇幻篇章之中占了小小一段，在事業剛起步的階段就被傳奇給認可，這件事給了我們很大的勇氣持續往前進。

再見， Colette !
2017.9.20  ？

Sir Kenneth Grange 這兩天過世了，享年95歲...

對於在異鄉求學，一週只能看到tutor一次，系主任Ron Arad直來直往，對自己沒興趣的事物完全沒耐心的情況下，這位當年已經屆齡80仍然每個學期都從郊區搭火車撥空來市中心跟學生聊聊的紳士爺爺，在我們的心中是非常溫暖的存在。2011年，倫敦設計博物館幫他辦了第一次的人生回顧展，我才知道平常那個和藹可親的阿公，對英國人的影響無比巨大，連路上的black cab都是他設計的... 

今年在書展無意間看到 桑格設計書店 有進今年 Thames&Hudson為他出版的書，一直都沒機會打開。今早看到英國友人的IG才知道老先生已經仙逝。下方有一個留言讓我久久不能忘懷：

Ken G, a true soldier of design! (@_hugopassos_)

看著老先生，讓當時年輕的我們對於80歲還是可以繼續做設計這件事情感到無比嚮往與開心。

打開Thames&Hudson出版的 Kenneth Grange Designing the Modern World，第一頁是 Sir Jonathan Ive 為他寫的序言（GPT翻譯）：

Sir Kenneth Grange深具謙遜。他的非凡作品無不顯示出他無私的雄心，旨在為他人創造優秀產品。他在公共服務的黃金時代進入專業領域，終其一生致力於通過設計服務社會。當我想到他的作品時，我並不立即想到設計師本人，而是想到成千上萬從中受益的用戶。

對於許多在英國長大的人來說，他的作品構成了我們共同視覺文化的很大一部分。它代表了一種無私的樂觀和信任，信任彼此，信任我們共同的未來。他創造的產品擁有如此罕見的文化意義，最終成為了偶像級別的象徵。坦率地說，他的標誌性產品對於試圖在消費主義的過度中找到方向的一代設計師來說，是一個絕佳的範例。我想到他那奇妙的停車計時器，它的純粹性如此完美地描述了它在嘈雜的眾多物件中爭奪我們注意力的情境和地位。

Sir Kenneth Grange在使用材料方面一向謹慎且充滿敬意。他對材料性質和價值的深刻理解，源自他對製作的熱愛。對我而言，正是這種對材料和工藝的根本知識，最終使他的設計呈現出一種正確性——一種必然性。雖然他的作品充滿了愉悅和真實，但這伴隨著他保護脆弱創意的強烈決心，以及將草圖和模型演變成原型和產品的堅定信念。

我最喜愛的作品無疑是InterCity 125火車。我記得曾經僅僅為了乘坐這趟火車，而特意從倫敦到巴斯進行了一次當日往返。我喜愛它完全拒絕了隨意的形式或沒有功能的太空時代設計抱負。它不是火箭——它是一列美麗、簡單的火車。真正的簡單並不是通過消除複雜性或虛假而實現的，而是通過表達基本的目的和實用性來實現的。

因為他的服務和謙遜，因為他對製作的熱愛以及他對我們視覺文化的巨大影響，Sir Kenneth Grange是我和英國設計界的英雄。

--------------------------------------------------------

另外這篇是Dezeen發出的KG生涯回顧：

https://www.dezeen.com/2024/07/23/kenneth-grange-obituary/

我或許一輩子也沒辦法像是Sir K.G. 一樣，設計上千個消費產品，參與公共事務改變社會的樣貌，但他敬業的態度以及對設計的熱愛，是我此生嚮往且追尋的。

RIP, the true soldier of design.