在准备2020年11月21日
眼界的演讲之前
在我们的UDstudio我提前进行了预热
做了2020年底的UD分享会
主题为《现代与极简，都是一种复古》
In preparation for November 21, 2020
Before Vision's speech
I warmed up in advance in our UDstudio
Did a UD sharing session at the end of 2020
The theme is "Modern and minimal, both are a kind of retro"
这是loos约100年前的作品
如今看来也一点不过时，竟有些大胆，放在现在也不一定敢像他这样使用材料。
在那个时期的当下他做出这种作品的背景是什么呢？
This is the work of loos about 100 years ago
Now it seems not out of date at all, it is a bit bold, and now he may not dare to use materials like him.
What is the background for him to make this kind of work at that time?
19世纪末的维也纳，堪称整个西方世界的文化腹地，loos并未对本土的艺术传统丧失信心，他对美学的讨论常笼罩在情绪失控的激辩气氛中。
他的年代流行的“新艺术运动” Art Nouveau(1890-1910)
而loos认为太肤浅了。
Vienna at the end of the 19th century can be called the cultural hinterland of the entire Western world. Loos did not lose faith in the local artistic traditions. His discussion of
aesthetics was often shrouded in an emotionally out of control atmosphere.
The popular "Art Nouveau" of his time Art Nouveau (1890-1910)
Loos thought it was too superficial.
阿道夫·路斯（Adolf Loos）（1870-1933）
我认为他是一个
文学基础好
理论基础好
个性鲜明
思维清晰
意志坚定
超强逻辑思维的
建筑师 作家 思想家 辩手 和 职业乙方
Adolf Loos (1870-1933)
I think he is a
Good literary foundation
Good theoretical foundation
Distinctive personality
Clear thinking
Strong-willed
Super logical thinking
Architect, writer, thinker, debater and professional second party
▲同时期的东方 我们的中国还在处在清朝末年
不过就算是在欧洲，loos的作品也是当时的一个特殊的存在，因为不属于“当下应有的产物”，我们可以通过看下muller
别墅的一些空间设计了解到那时候loos的空间概念。
But even in Europe, loos's work was a special existence at the time, because it was not a "product of the moment", we can understand
the spatial concept of loos at that time by looking at some of the space design of Muller Villa.
▲ （ Muller Villa）穆勒住宅 外立面
▲ 入口前厅
▲ 起居室
▲ 通往餐厅的楼梯
▲ 儿童房
▲ 露台
▲ 平面图
▲ 剖面图
loos说
每个空间都需要不同的高度：
餐厅当然要比备餐室要高
因此将天花板设计为不同高度
……
在Dr. Müller住宅中，
我最大限度的实现了空间互动性和空间自律性
是一种私人住宅空间的“戏剧化场景”设计
loos says
Each space needs a different height:
Of course the restaurant is taller than the pantry
So design the ceiling to different heights
...
In Dr. Müller’s house,
I maximized the spatial interactivity and spatial self-discipline
It is a "dramatic scene" design of a private residential space
我的建筑不是在平面中构思的，
而是在空间（立方体）中构思的。
我不设计平面图 立面 剖面，我设计空间。
对我来说，没有一楼，二楼等。
对于我来说，
只有连贯的，连续的空间，
房间，前厅，露台等。
楼层合并并且空间彼此关联。
—— Adolf Loos
My building is not conceived in a plane,
It is conceived in space (cube).
I don't design floor plans, elevations and sections, I design spaces.
For me, there is no first floor, second floor, etc.
To me,
There is only coherent, continuous space,
Room, lobby, terrace, etc.
The floors are merged and the spaces are connected to each other.
—— Adolf Loos
loos非常强调空间实用性和艺术性的差别，也就是说，loos的建筑设计不是单独针对建筑，而是针对整个城市环境，
是建造当地的环境。从这点来看，“Ramuplan”不仅作为一个建筑思想，也是loos在做建筑设计时候的一种方法。
他提出的空间体积规划的设计思想，始终认为，现代性是一种内在与外在的平衡，不管时代如何变化，人应当抵
挡所有外在的蛊惑，忠于自己的内心，回归真实，“真实性”不是凭空而来，不是谁设想出来的，是关乎文化，关乎源头，要去接续。
Loos作品主要材质都是昂贵的自然材质，石材，木材，用一流的工艺做成，书里说“物质本身没有贵贱之分，空气在
这儿很平常，在月球上却很稀缺，对于上帝和艺术家来说，所有材料都平等且同样宝贵。”
Loos places great emphasis on the difference between space practicality and artistry. That is to say, Loos’s architectural design is not for buildings
alone, but for the entire urban environment, which is the construction of the local environment. From this point of view, "Ramuplan" is not only an
architectural idea, but also a method when loos is doing architectural design.
The design idea of space volume planning he put forward always believes that modernity is a balance between internal and external. No matter
how the times change, people should resist all external temptations, be loyal to their heart, and return to reality. "It doesn't come out of thin air,
or someone imagined it, it's about culture, about the source, and it's about to continue.
The main materials of Loos's works are expensive natural materials, stone, wood, and made with first-class craftsmanship. The book says,
"Materials are not distinguished by high or low. Air is very common here, but it is scarce on the moon.
For God and artists In other words, all materials are equal and equally valuable."
▲ 1908年，Loos在维也纳完成了American Bar（KärntnerBar）的项目，在那里他实现了豪华材料和简化细节的非凡组合。
几年后，在1911年，Loos在维也纳同胞之间在Michaelerplatz上建造了一座新建筑，引发了激烈的辩论。
▲ In 1908, Loos completed the American Bar (KärntnerBar) project in Vienna, where he realized an extraordinary combination of luxurious materials and
simplified details. A few years later, in 1911, Loos built a new building on Michaelerplatz among his fellow Vienna citizens, sparking a heated debate.
“顶部天花大理石”
loos指着天花板：“这些大理石贴面惹了不少麻烦。专门处理石材的意大利专家忽然拒绝往天花板上贴石材。他说：‘肯定会掉下来’。
我说：‘别管，贴’。意大利人狂怒，对我挥拳头。但他立刻冷静下来，对自己的所做所为感到羞耻。他请求我的谅解，懊恼地说：
‘我该怎么补偿您呢’？我不动声色地说：‘贴’。如今20年过去了，它也没掉下来”。
"Top Ceiling Marble"
Loos pointed to the ceiling: "These marble veneers have caused a lot of trouble. An Italian expert who specializes in stone processing suddenly refused to put stone on the ceiling. He said:'It will definitely fall.'
I said: ‘leave it alone, post it’. The Italian was furious and shook his fist at me. But he calmed down immediately, feeling ashamed of what he had done. He asked for my forgiveness and said annoyedly:
"How can I compensate you?" I said calmly: ‘stick’. Now 20 years have passed, and it has not fallen."
▲1910年，michaelerplatz Vienna Austra动工，但被评为“谷仓”，同时暂停建筑许可。
1911Loos妥协，立面窗沿下加装了铜质花坛。
▲In 1910, michaelerplatz Vienna Austra started construction, but was named a "barn" and the building permit was suspended.
In 1911, Loos compromised, adding a copper flowerbed under the window edge of the facade.
loos说 “我希望把商业和住宅严格区分开来，我一直以来都认为自己是在以过去维也纳大师的方式解决建筑问题。”
loos的RAUMPLAN以及对于自然材质的偏爱以及简洁现代的手法也是被影响的，从1892年沙利文就开始提倡功能主义，
这个时期很多的反形式化的思想都在影响着那时期的建筑师。
Loos said, "I want to make a strict distinction between commercial and residential buildings. I have always thought that I am solving architectural problems in the same way as
the masters of Vienna in the past."Loos’s RAUMPLAN and preference for natural materials and simple and modern techniques are also affected. Sullivan has been advocating
functionalism since 1892.Many anti-formal ideas in this period are affecting the architects of that period.
▲ 《装饰与罪恶》 时间背景
loos认为那个当下迷失了建筑的真正方向：建筑唤起人心中的情绪，因此建筑的任务是赋予这种情绪的精准的表现，一个房间应该看起来舒适，
一套房子应该住起来宜居，法庭应该看起来对潜在的邪恶势力有震慑作用，银行应该传达出”你的财产在这里有诚实的人妥善保管“的理念，在这样
一个学校常常看起来像监狱，郊区住宅力图展现宫殿的宏伟的时代，这样的建议格外应景。
Loos believes that the real direction of architecture is lost at the moment: architecture evokes emotions in people's hearts, so the task of architecture is to give an accurate expression of this emotion.
A room should look comfortable.A house should be livable, the court should seem to have a deterrent effect on potential evil forces, and the bank should convey the idea that "your property is kept by
honest people here". In this wayA school often looks like a prison, and suburban houses try to show the magnificent era of the palace. This proposal is particularly suitable for the scene.
在loos眼中，
一个家不仅应该承载着家庭成员们珍贵的记忆，
也应该能够随着这个家庭一起成长并延伸到这个家庭对未来生活的规划中去。
书中也讲述了他公共性私密性分寸的精准拿捏,以及对顾客个人情感诉求的充分理解。
Adolf Loos是一位追求简洁精神而具有贵族气质的绅士，是一位态度坚决而举止优雅的“反革命”的革命者。他敏锐的思考自己当下时代的文化走向，
并掷地有声的对时代做出了自己的回应，勇敢坚强且智慧，对很多人产生了影响也引起了思考和引发了更多的实践。《装饰与罪恶》不在于解决问题，
而在于提出问题从而引发人们对于现状的思考。
In the eyes of loos,
A home should not only carry the precious memories of family members,
It should also be able to grow up with the family and extend to the family's future life planning.
The book also tells about his precise handling of publicity and privacy, as well as his full understanding of customers' personal emotional appeals.
Adolf Loos is a gentleman who pursues simplicity and aristocratic temperament. He is a "counter-revolutionary" revolutionary with a firm attitude and elegant demeanor. He is keenly thinking
about the cultural trend of his current era,He responded utterly to the times, being brave, strong and wise, which has had an impact on many people and also caused thinking and more
practice. "Decoration and Sin" is not about solving problems,It is to ask questions to trigger people's thinking about the status quo.
▽ 一则小故事
《ThePoor Little Rich Man》
“可怜的有钱人”（The Poor Little Rich Man）来讽刺同时代的建筑师们不近人情的家居陈设选择标准。在这个故事中，一个富裕的顾客请建筑师来重新装修他的家。
这个建筑师把他所有的旧家具都换成他认为的更有品味的陈设，但是这些“艺术品”和这个顾客的生活没有任何联系。不仅如此，待装修布置完毕，建筑师认为这个
家已经是一件“艺术成品”了，从而不允许他的主人对它作出任何添加或改动。
“昨天，”他（这个有钱的顾客）犹豫地说，“我过生日。我家里人送了我好多礼物。我叫你来，我亲爱的建筑师，给我些建议我该怎么摆放这些东西呢？”
这建筑师立刻拉长了脸，发起了脾气，“你怎么能叫他们送礼物呢！我不是已经把所有东西都设计好了么？我是不是每件东西都考虑到了？你不需要其他东西了，
你已经完成了！”[…] “但如果我孙子送我他在幼儿园亲手做的东西呢？”“那你就不该收它！”
这则讽刺小品挖苦了牺牲顾客的私人情感而只顾追求个人艺术目标的建筑师；它也揶揄了唯建筑师马首是瞻的顾客。
它也从侧面印证了loos对室内布置的主张：住宅陈设应该允许用户改动和添加，这样才能随着用户而成长并成为对他们有意义的家。
▽ A short story
"ThePoor Little Rich Man"
"The Poor Little Rich Man" (The Poor Little Rich Man) satirizes contemporary architects' unreasonable selection criteria for home furnishings. In this story, a wealthy customer asks an
architect to redecorate his home. The architect replaced all his old furniture with what he thought was more tasteful, but these "artworks" had no connection with the customer's life.
Not only that, after the decoration and layout are completed, the architect believes that this home is already an "artistic product", so that his owner is not allowed to make any additions
or changes to it."Yesterday," he (the wealthy customer) said hesitantly, "I celebrated my birthday. My family gave me many gifts. I call you, my dear architect, to give me some
suggestions on how I should put it. What about these things?"The architect immediately stretched his face and got angry, "How can you ask them to give gifts? Haven't I already
designed everything? Have I considered everything? You don't need anything else. Now, you are done!"[…]"But what if my grandson gave me something he made in kindergarten?"
"Then you shouldn't accept it!"This satirical sketch satirizes the architect who sacrifices the customer's personal emotions and only cares for the pursuit of personal artistic goals;
it also teases the customer who is only the architect's head.It also confirms Loos’s proposition on interior layout from the side: residential furnishings should allow users to
change and add, so that it can grow with users and become a meaningful home for them.
loos老婆回忆第一次见loos，他十分珍视手中由磨光的桦木制成的俄国烟盒，显示出木头本身的装饰性的美，它“仅仅通过形式的功能性来表达它的美。”
Loos’s wife recalled seeing Loos for the first time. He cherished the Russian cigarette case made of polished birch wood, which showed the decorative beauty of the
wood itself. It “expressed its beauty only through the functionality of form.”
loos并没有对装饰失去信心，有罪的不是装饰，而是很多人都不承认装饰已不适用于现代建筑和设计的无法回避的事实。不是依靠装饰而是以形体自身之美而美。
loos所有作品的核心：是希望清楚的划分不同事物之间的界限，来自过去但如今仍然充满活力的事物和那些活力不再的事物之间的界限，艺术领域和日常范围的界限，
真实存在和人为设计事物之间的界限。延续前人的思考和感觉的方式，他们也教会我们社会观念和精神的培养。
Loos did not lose faith in decoration. It is not decoration that is guilty, but the unavoidable fact that many people do not admit that decoration is no longer suitable for modern architecture and design.
Not by decoration but by the beauty of the body itself.The core of all loos works: the hope is to clearly divide the boundaries between different things, the boundaries between things that came from
the past but are still full of vitality and those that are no longer vibrant, the boundaries between the artistic field and the daily range,The boundary between real existence and artificially designed things.
Continuing the way of thinking and feeling of the predecessors, they also teach us the cultivation of social concepts and spirituality.
谈及Adolf loos的现代性总结为四个词：
内外平衡 回归真实 功能型美 实用美学
Talking about the modernity of Adolf loos can be summarized in four words:
Internal and external balance, return to reality, functional beauty, practical aesthetics
曾被loos影响的现代主义大师们
大众理解中的现代极简主义是
“北欧 日式 简约新中式 诧寂 工业风
造价低 工艺简单 轻装修重装饰 黑白灰
冷冰冰 不实用 中看不中用 单调 ”
并非如此
Modern minimalism in popular understanding is
"Nordic Japanese Style Simple New Chinese Style Surprised Industrial Style
Low cost, simple craftsmanship, light decoration and heavy decoration, black and white gray
Cold, not practical, not useful, monotonous ”
it's not true
现代极简和装饰性的关键在于思考顺序（由下至上，不可由上而下）：
空间情感上的装饰
形式上的装饰
功能性的装饰
▲ 空间思考过程
功能性的装饰
除了优化平面功能等基本需求
还有材质收口、设备出口、采光、照明
▲ 踢脚、凹踢脚、平踢脚
▲ 极窄边框
▲ 轨道射灯（磁吸）、无边框射灯、石膏灯
▲ 风口
▲以及门套、隐形门
▲海棠角工艺的处理
现代人的生活方式和材料特性
技术能力和材料达到满足
做直线 做曲面
做窄边 做无缝
金属收边和内嵌基层
灰泥 树脂漆 磐多磨
▲Vilem & Gertruda Kraus family apartment,1930, 10 Bendova Street —— Adolf Loos
▲惠而浦（中国）工业设计研发中心办公室 —— UD Studio Design
▲北京海格&giellesse展厅 —— UD Studio Design
▲北京海格&giellesse展厅 —— UD Studio Design
▲上海盛大金磐顶层别墅 —— UD Studio Design
形式上的装饰
空间形式元素：构成、材质、光影、细节
空间形式表达：不单一考虑一个空间6个面，用空间体去考虑功能空间关系
Spatial form elements: composition, material, light and shadow, details
Space form expression: not only consider the six faces of a space, but use the space body to consider the function and space relationship
▽
单一元素 完整表达
材质真实 实用美学
▲Adolf Loos
▲璞尚酒店
▲惠而浦（中国）工业设计研发中心办公室 —— UD Studio Design
▲惠而浦（中国）工业设计研发中心办公室 —— UD Studio Design
▲青岛何品堂餐厅 —— UD Studio Design
▲上海luckly seven餐吧 —— UD Studio Design
空间情感上的装饰
具体空间情感解读可以关注《眼界》的完整版视频演讲
▲卒姆托BRUDER KLAUS FIELD CHAPEL
▲巴拉甘自宅1947
▲圣玛丽-图雷特隐修道院-1960法国
▲上海崇明稻米文化中心二期改造前 —— UD Studio Design
▲上海崇明稻米文化中心二期 团餐大厅 —— UD Studio Design
▲愚园路老宅项目现场图 —— UD Studio Design
▲愚园路老宅项目现场图 —— UD Studio Design
而一些过度装饰出来的极简
舍弃了生活与质感
这种误以为的极简
往往太强调形式和构成
And some over-decorated minimalism
Abandoned life and texture
Minimalism
Often too much emphasis on form and composition
▲太强调形式和构成
▲过度极简
毕加索的牛，抽象的表达不是一步而来，每一步都是平衡中，重点都在，基础也在。
房子只思考当下……只有少数建筑属于艺术：坟墓和纪念碑。其它任何具有实质性功能的东西都要被排除艺术的范畴。”loos认为建筑属于culture的范畴，
但是艺术不然，艺术需超越文化。）并且，loos认为这种界限，正是现代建筑（我想，是他所处的那个“现代”）的基础。
loos有句话让我印象深刻，“我不设计立面，因为人们不住在那里。”
我想，Loos不是不“设计”立面，只是不“装饰”立面。
In Picasso's cow, abstract expression does not come in one step. Each step is in balance, with the focus and the foundation.
The house only thinks about the present... only a few buildings belong to art: tombs and monuments. Anything else that has a substantive function must be excluded
from the scope of art. "Loos believes that architecture belongs to the category of culture, but art is not the case, art needs to transcend culture.) Moreover, Loos believes
that this boundary is the basis of modern architecture (I think it is the "modern" he is in).
Loos has a saying that impressed me, "I don't design facades because people don't live there."
I think that Loos does not "design" the facade, but does not "decorate" the facade.
社会背景、空间氛围一直在变化，不变的是功能与需求，不变的是空间本身，不变的是材质本身，不变的也是“装饰”。“装饰”
也并不是罪恶，罪恶的是浪费，罪恶的是不自由 ……
现代极简不仅仅是空间状态，更是一种生活状态，装饰是文化的一部分，在文化中，一切都属于当代，所以，某种风格，
审美趣味，设计理念的形成对特定时代，特定生产力的状况的反映。
The social background and space atmosphere have been changing. What does not change is the function and demand, what does not change is the space itself,
what does not change is the material itself, and what does not change is also the "decoration". "decoration"
Nor is it sin, what is sin is waste, what is sin is not free...
Modern minimalism is not only a state of space, but also a state of life. Decoration is a part of culture. In culture, everything belongs to the contemporary era. Therefore, a certain style,
Aesthetic taste, the formation of the design concept reflects the situation of a specific era and a specific productivity.
前人的经验与思考，为后来的人做了尝试与方向，不浪费不刻意不虚假不罪恶，回归真实，回归本源，回归最初的美好。
The experience and thinking of the predecessors made attempts and directions for the later ones, not wasting, not deliberately, not false,
not evil, returning to the truth, returning to the source, and returning to the original beauty.
让我们站在巨人的肩膀上
让装饰不再罪恶
就算再过100年，相信不管是什么样的空间，我们依然可以在空间中感受到温暖，感受到阳光，感受到爱。
Let us stand on the shoulders of giants
Let decoration no longer be evil
Even if another 100 years pass, I believe that no matter what kind of space it is, we can still feel the warmth, the sunshine, and the love in the space.
具体内容可以关注《眼界》的完整版视频演讲
李诚默：你理解的现代极简主义，并不是真正的极简 | 演讲视频节录（一）
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