具体描述
This book offers an explanation of why scale models are important to the design process. Albert Smith takes the reader through the history and significance of models in architecture from the magic of the Egyptian scale model to the present day.
Through this description of the relationship between architecture and the scale model, Smith demonstrates the most effective process between concept and 'machine', between the idea and the final building. The great value of this book is to reveal the nature of the scale model and to unlock the tremendous potential of this design tool as a thinking and communicative advice.
His chronological analysis goes on from Egypt through Rome to the relationship between the Greek paradigm scale model and then on to Medieval and Renaissance models. It concludes with the models of the Spanish architect Antonio Gaudi, the Russian Constructivists, the American architect Louis Khan and finally looks at the role of scale models in the present day through the work of the Polish/American architect Daniel Libeskind and the American Frank Gehry.
* First book to address the question of why and how architects use scale models for projects allowing designers to learn the most effective ways of communicating their ideas through the model medium
* A unique insight into the dynamic thought process of designers through history to the present day to inspire today's practitioners
作者简介
目录信息
Rating: 4
Somewhat academic approach to the role of architectural models in Western civilization, from the ancient Greeks up to the end of the 20th Century.
I found this in the architectural library at a nearby university (my daughter had a junior high school class project on building a scale model of a Gothic cathedral, and I first thought this book might be a handbook on building scale models, but not so). Still, it looked to be an interesting read (for those used to reading works by academics, at least).
Most readers of this book will be students of architecture, but for this non-architect I found the exploration of what an architect was and how they were trained over the past 5000 years an interesting mirror of how Western culture has changed over the centuries. (I'm speaking here as a social scientist more used to reading history than works in the humanities).
The first and fourth chapters are well-done surveys, though the second chapter seemed light in analytical depth in places. The third chapter provides formal framing of his argument between the first and second halves of the book, too academic for many readers but mercifully brief.
The payoff to the too-academic structure of the book comes in the last (fifth) chapter, as the author attempts to deconstruct the work of a handful of architects from the 20th Century, focusing on the role of drawings versus physical models of specific projects in their body of work. I found the approach persuasive for all of the architects examined except for the last, Andrew Libeskind (spelling?), but at least some illumination came of it.
A read of a day and a half for a casual reader outside the field. I'd be interested to hear what specialists in the field would have to say about the book. For instance, is this book based on refereed articles in the field? And how does it related to other scholarly work in the field of architectural studies?
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读后感
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这本书的叙事节奏感非常独特，它不像传统的学术论著那样线性推进，而是更像在对一系列破碎但相互关联的“案例碎片”进行手术刀式的解剖。作者在探讨二十世纪中期某些先驱建筑师如何利用模型进行“批判性模拟”时，并没有采用标准的历史梳理方法，而是频繁地在不同年代、不同地理背景的案例之间进行跳跃。这种非线性的叙事结构，初读时可能会让人感到有些迷失，因为缺乏明确的章节导览来提供心理地图。然而，一旦适应了这种“碎片化”的阅读模式，你会发现它极大地增强了阅读的智力挑战性。每当我试图将一个关于早期参数化设计模型的讨论，与后面关于战后社会住房原型模型的研究联系起来时，那种认知上的“摩擦”反而激发了更深层次的思考。它迫使读者不能仅仅满足于接受既有的知识框架，而是必须主动地在这些散落的“碎片”之间建立起属于自己的、动态的连接网络。这种处理方式，使得本书更像是一部建筑思想的“蒙太奇”，而非编年史。
评分本书在语言风格上的多变性达到了惊人的程度。在讨论模型与权力的关系时，作者的笔调变得极其尖锐和哲学化，充满了对现代性与标准化生产的反思，句子结构复杂，充满了从德语哲学中借用来的长定语和从句，读起来需要反复咀嚼，仿佛在品味某种浓缩的、略带苦涩的理论精华。然而，当转入对特定项目图纸的分析时，语言风格会瞬间切换成一种近乎临床诊断般的精确和冷静，数据、比例和几何描述占据了主导，所有修饰性的词汇都被无情地剔除，只剩下纯粹的描述性功能。最令人意外的是，在收录的几篇访谈录中，作者又展现了极富人情味和口语化的叙述，充满了对日常工作中的挫败感和创造性瞬间的坦诚记录。这种风格的快速切换，使得阅读体验充满了张力，避免了单一学术腔调带来的疲劳感，但也对读者的认知适应能力提出了较高的要求。
评分这本书的装帧设计，从我拿到它开始就给我一种强烈的“触感”体验。封面采用了一种略带粗糙感的哑光纸张，触感上模拟了某种未精加工的混凝土或者石膏板的质地，这立刻将读者的思维拉向了物理实体和材料本身的层面。封面上那组极简的、等宽的字体排版，没有使用任何花哨的衬线或装饰，反而营造出一种工业图纸般的精确感和冷峻的理性。内页的纸张选择偏厚，略微泛黄，这使得大量黑白图像在印刷时保留了足够的灰阶层次，不会显得死板。我特别留意了书籍的装订工艺，它采用了平摊式的无线胶装，这让我在阅读过程中，即便是跨页的大幅图纸，也能保持画面的完整性，而不是像某些精装书那样，硬生生地在书脊处断裂。这种对物质性的执着，似乎在预示着这本书不仅仅是一本关于“模型”的理论探讨，它更是一件精心制作的、具有自身物质属性的“物体”。翻阅的每一次动作，似乎都在提醒我，我们正在讨论的介质——模型——本身就是一种物质存在，而不是纯粹的数字摹写。这种对物理体验的关注，在我阅读完第一部分关于早期建筑模型制作技术的章节后，显得尤为恰当。
评分书中对“模型失真性”的探讨，我认为是本书中最具颠覆性的部分。传统的观点倾向于将模型视为对现实的忠实再现，或者至多是一种理想化的预期。然而，这本书深入挖掘了模型在制作过程中必然产生的“信息丢失”和“偏见放大”的环节。作者没有将此视为缺陷，而是将其提升为一种主动的“编辑”或“过滤”机制。例如，书中对早期建筑师在制作粘土或木制模型时，如何无意识地通过材料的内在限制来筛选掉那些在纸面上看似可行、但在物质化过程中会失败的结构概念进行了细致的描绘。这种“物质的抵抗力”迫使设计师退回并重塑他们的想法。这种视角颠覆了我长期以来对模型作为“可视化工具”的理解，它不再仅仅是工具，而是一个具有自身能动性的中介体，一个通过“拒绝”或“扭曲”来引导思维的伙伴。
评分从书籍的整体结构来看，它似乎遵循了一种“由大到小，再由内而外”的回旋结构。开篇从宏观的、历史性的视角切入，探讨了模型作为一种认知工具的起源，涉及建筑学、人类学甚至早期科学仪器的对比。随后，叙事急剧收缩，聚焦于单个节点——例如某个特定年份制作的特定比例模型上的一个微小节点或接缝处理——进行极为细致的微观分析，几乎达到了纤维级别的观察。这种“微观钻探”往往占据了全书篇幅的三分之一以上。而当读者似乎被困在这些细节的泥沼中时，作者又会突然将镜头拉远，回到更广阔的社会语境中，讨论这些精细的模型如何影响了城市规划的决策，或是如何被用于政治宣传。这种由宏观到微观再回归宏观的螺旋上升，使得读者在学习到具体技术细节的同时，从未丧失对这些技术背后的文化和历史意义的把握。
评分少有的说模型的书，就冲这也给5星。
评分少有的说模型的书，就冲这也给5星。
评分少有的说模型的书，就冲这也给5星。
评分少有的说模型的书，就冲这也给5星。
评分少有的说模型的书，就冲这也给5星。
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