反思歷史 Daniel Libeskind - 《無題》/《流亡花園》/《V-水平》

Daniel Libeskind, Theatrum Mundi, 1984. © Daniel Libeskind. From the Collection of the Alvin Boyarsky Archive.



Daniel Libeskind 
American, b. Poland, 1946

Untitled, 1984
From the series Theatrum Mundi 
Pen and ink, brush and ink wash, and graphite


Daniel Libeskind described his Theatrum Mundi series as a representation of a “city besieged by an unknown infection……taking place within the nucleic medium that flows in the bloodstream of architectural thought.” This abstract idea is visualized in expressive pen lines and ink washes more closely related to writing or calligraphy than architecture. Is the infection related to the state of built architecture of the time? To actual biohazards and pandemics? Or is this a reflection on the terrors and tragedies of the 20th century, which saw as much architectural erasure as construction? All these questions converge in Libeskind’s cryptic drawing, allowing its composition to be read in multiple ways.

Daniel Libeskind, Micromegas, The Garden, 1979. © Daniel Libeskind. From the Collection of the Alvin Boyarsky Archive.



Daniel Libeskind 
American, b. Poland, 1946

The Garden, 1979
From the portfolio Micromegas: The Architecture of End Space
Screenprint on paper


The title of Daniel Libeskind’s Micromegas portfolio comes from the title of a 1752 short story by Voltaire—an early piece of science fiction that describes the journeys of Micromégas, an inhabitant of a planet millions of times the size of earth. The vast differences of scale alluded to in the character’s name serve as a theme within the story, and this play with spatial disjunction and conflation is also reflected in this print, The Garden. Familiar ruled architectural notations, without their expected logic, allow for the free play of precisely drawn lines and forms that often intersect in unpredictable ways.



絹印、法國麗芙版畫紙(Rives BFK)

Daniel Libeskind 
American, b. Poland, 1946

V–Horizontal, 1983
From the series Chamber Works: Architectural Meditations on Themes from Heraclitus
Screenprint on Rives BFK paper

《室內樂》系列的名稱所透露出的建築和音樂雙重含義,呼應著丹尼爾.李伯斯金在修讀建築之前曾受過的音樂訓練,而《V-水平》是在此漸進發展的系列中期左右出現。蛇形的曲線和俐落的直線組成的畫面,傳達出一股空氣流動的通透感。輕盈、密集的平行線上,為李伯斯金的樂曲充當空白樂譜的角色,而與建築有關的元素看似坐落於其上。這件圖稿所具體代表的圖像學究竟為何,至今依舊是個謎,而且對於理解AA作品集《室內樂》(Chamber Works)中的繪圖也是個充滿異議的話題,其中不少評論家將這些線條解讀為象形文字、音樂譜記和潛意識的幻覺。

The series title Chamber Works suggests both architecture and music, echoing Daniel Libeskind’s background in music prior to studying architecture. V–Horizontal appears toward the middle of this progressive series, and its scattered clusters of serpentine and ruled lines still convey a degree of airiness. Architecturally related elements seem to sit on masses of lightweight, condensed parallel lines that act rather like blank music sheets for Libeskind’s composition. The exact iconography of the piece remains a mystery and was a subject of great discussion on the pages of the Chamber Works AA Folio, in which various critics interpreted the lines as hieroglyphs, musical notations, and subconscious visions.