Emilio Ambasz:
Architecture Toward Nature

The exhibition Emilio Ambasz:Architecture Toward Nature will be presented in Shanghai at the ground floor gallery of The Shanghai Study Centre (HKU) from January 15 to March 4, 2018.

What is architecture and what makes a building more than merely a sum of its parts? How does one inhabit a place? Can buildings peacefully coexist with nature? Should architects strive to create emotionally charged total works of art? These are some of the questions that are central to the work of Emilio Ambasz. Architecture Toward Nature exhibition, organized by the New York-based Curatorial Project, examines the ideas and buildings of Ambasz, an architect, designer, curator, and writer who has been designing and building radical green projects for 40 years. He is a crusader whose work and ideas were, in the words of James Wines, the “forerunner of Green Architecture.”

Ambasz believes that architecture must be pragmatic, but its primary reason for being is to move us emotionally. It is for that reason that his architecture has a very poetic and solitary quality. It does not belong to any particular age, and does not necessarily belong to any particular place either. His projects are more like dreams, in which one stumbles upon these fantastic fusions of architecture and landscape. The architect says: “The ideal gesture would be to arrive at a plot of land so immensely fertile and welcoming that, slowly, the land would assume a shape – providing us with an abode. And within this abode – being such a magic space – it would never rain, nor would there ever be hardships of any other sort. We must build our house on earth only because we are not welcome on the land. Every act of construction is a defiance of nature. In a perfect nature, we would not need houses.”

Emilio Ambasz (born 1943, Chaco, Argentina) apprenticed at the office of leading Argentinean architect, Amancio Williams in Buenos Aires. He won a scholarship to study architecture at Princeton University where he completed the undergraduate program in just one semester, and earned a Master’s Degree the next year. In 1967, after a short stint as a professor at his alma mater, he became one of the founders of the Institute for Architecture and Urban Studies, an experimental research think-tank in New York conceived and headed by Peter Eisenman. From 1969 through 1976 Ambasz served as Chief Curator of Design at The Museum of Modern Art in New York, where he curated numerous influential exhibits on architecture and design, including the seminal Italy: The New Domestic Landscape (1972) and The Architecture of Luis Barragan (1976) from whom he absorbed the art of poeticizing land, space, light, form, water, and not least, walls. The Barragan exhibit first introduced the great Mexican master to the United States, and Ambasz’s catalogue was the first monograph on his work. In 1972, Ambasz directed “The Universitas Project,” a proposal for an experimental university for 30,000 residents in upstate New York.

Immediately after leaving MoMA, the architect founded Emilio Ambasz & Associates with offices in New York City and Bologna, Italy. The same year he represented America at the Venice Architecture Biennale. He is the recipient of numerous professional prizes and honors, including several Progressive Architecture and American Institute of Architects awards. Ambasz holds a number of industrial and mechanical design patents. His diverse industrial design products range from toothbrushes, light fixtures, and wristwatches to Signature 600 Diesel Engine (1996) by Cummins Engine Co.. It is said to be the most fuel efficient, lightest, and fastest engine in its power range. And his Vertebra (1976) chair is famous for challenging the notion of ergonomic seating; it was the world’s first automatically adjustable office chair.

His most recognized works include a town-like hospital complex, Ospedale dell’Angelo, and an eye bank, Banca dell’Occhio, near Venice (2008); an iconic underground house, Casa de Retiro Espiritual (2004); a commercial and residential development in The Hague (project, 2002); a plant-covered mountain-like office structure, Fukuoka Prefectural International Hall (1994); a glass pyramid the Mycal Cultural Center in Japan (1993); a building-turned-garden, Union Station in Kansas City, Missouri (project, 1986); and a botanical garden, Lucille Halsell Conservatory in San Antonio, Texas (1982). Among the architect’s current projects are hotels and residential towers in Italy and South America, and the renovation of the Museum of Modern Art and Cinema in Buenos Aires. His Museum of Art, Architecture, Design and Urbanism in under construction in Madrid.


什么是建筑,什么使得建筑不单单是各部分构件的拼插?人如何居住于一个场所?建筑和自然能和平共处吗?建筑师应该努力创造一种情绪化的艺术作品吗?这些问题是埃米罗·安伯斯的工作核心。由纽约策展人弗拉基米尔·贝罗戈洛夫斯基策划的展览“建筑走向自然”重新审视了建筑师、设计师、策展人和作家埃米里奥·安柏兹的想法和建筑。近四十年里,安柏兹一直在设计和建造先进的绿色建筑项目。他就像是名十字军战士,用詹姆斯·瓦恩斯的话来说,他的工作和思想就是“绿色建筑的先行者” 。

安柏兹认为,建筑必须务实,但其存在的首要原因是感动我们。 正因为如此,他的建筑才具有强烈的诗意和孤独的品质。 它不属于任何特定的年龄,也不一定属于任何特定的地方。 他的项目更像是梦想。人们在建筑和景观梦幻般的交融中蹒跚而行。 安柏兹说:“理想的姿态应该是,当你抵达一片如此宏大而肥沃的土地,慢慢地,它将迎着你的到来,呈现一个形状——为你提供一个居所。 在这里,在这样一个神奇的空间里,永远不会下雨,也不会有任何其他的灾难。 我们必须在地球上建造我们的房子,是因为我们在这片土地上并不受欢迎。 每一次施工都是对自然的蔑视。 在完美的大自然中,我们不需要房子。”

埃米利奥·安柏兹 1943年生于阿根廷查科市, 曾在阿根廷著名建筑师阿曼西奥·威廉姆斯(Amancio Williams)驻布宜诺斯艾利斯的办公室当学徒。他获得了普林斯顿大学的奖学金,用一个学期完成了建筑学专业本科课程,第二年他拿到了硕士学位。毕业后他留在母校,用很短的时间拿到了教授的职位,1967年离校之后,他成为纽约建筑和城市研究学院(Institute for Architecture and Urban Studies)的创始人之一。该机构是由彼得·艾森曼(Peter Eisenman)领导的实验研究智库。从1969年到1976年,安柏兹在纽约当代艺术博物馆(The Museum of Modern Art in New York)担任设计总策展人,并在那里策划了许多有影响力的建筑和设计展览,包括重要的《意大利:新国内景观》(1972)和《路易斯·巴拉甘作品展》(1976)。从巴拉干的设计中,他学习了土地中蕴藏的诗意,以及对空间、光、形式、水、墙壁的理解。展览第一次将这位伟大的墨西哥大师介绍给了美国,而安柏兹做的参展作品列表是有关巴拉干作品的第一次总结。 1972年,安柏兹执导了“The Universitas Project”,一个在纽约州北部为3万居民提供实验性大学的提案。

离开MoMA之后,安柏兹立即在意大利博洛尼亚和美国纽约和成立了设计公司。 同年,他代表美国参加了威尼斯建筑双年展。 他获得过许多专业奖项和荣誉,包括先进建筑(Progressive Architecture)和美国建筑师协会(American Institute of Architects)的表彰。安柏兹拥有多项工业和机械设计专利。 他设计的产品包括牙刷、灯具和手表,还有康明斯发动机公司(Cummins Engine Co.)的发动机(Signature 600 Diesel Engine),据说是所在功率范围内最省油、最轻且速度最快的发动机之一。 他所设计的Vertebra(1976)椅子以挑战人体工学座椅的概念而闻名,是世界上第一个自动调节的办公椅。

安柏兹最大的贡献在于他对绿色建筑的推动。他最广为人知的作品包括一座城镇般的医院综合体——天使医院(Ospedale dell'Angelo)和威尼托眼库基金会(Banca dell'Occhio)。 科尔多瓦的标志性的地下房子,安宁之宅(Casa de Retiro Espiritual); 海牙商业和住宅开发项目(2002年); 福冈县国际会馆(1994年) 日本的小樽文化中心的玻璃金字塔(1993); 密苏里州堪萨斯城的联合车站(1986年); 和德克萨斯州圣安东尼奥的露西尔海瑟温室植物园(Lucille Halsell Conservatory 1982年)。 安柏兹目前的项目包括意大利和南美洲的酒店和住宅大楼,以及布宜诺斯艾利斯现代艺术和电影博物馆的改造。 他在马德里的艺术作品以及建筑和城市规划设计正在建设中。

Curator 策展人:
Vladimir Belogolovsky

Assistant Curator 助理策展人:
Kelsi SU 苏杭

Thanks to 鸣谢:
Faculty of Architecture, The University of Hong Kong 香港大学建筑学院
Anderson Lee 李亮聪

Opening Reception and Lecture 开幕讲座
7:00PM, Monday, January 15, 2018
2018.1.15 19:00

Date 展期:January 15 - March 4, 2018
2018.1.15 - 3.4
Opening Hours 开放时间:
9:00AM – 6:00PM (Last entry at 5:30PM) 
Opens on all national holidays.
9:00 - 18:00 (17:30最后入场),所有国定节假日均开放。

Venue 地点:
HKU/Shanghai Study Centre
298 North Suzhou Road, 
Hongkou District, Shanghai

Metro Line 10 or 12, Tiantong Road
地铁10 或12号线 天潼路站3号口

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引用: "展览丨埃米利奥·安柏兹:建筑面向自然(上海站)" 19 1月 2018. ArchDaily. Accesed . <https://www.archdaily.cn/cn/887289/zhan-lan-gun-ai-mi-li-ao-star-an-bo-zi-jian-zhu-mian-xiang-zi-ran-shang-hai-zhan>



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