描述
The architecture of Hiroshi Sugimoto and Tomoyuki Sakakida’s New Material Research Laboratory revives ancient construction materials for the present
The architectural practice of Hiroshi Sugimoto and Tomoyuki Sakakida is informed by a simple paradox: “the oldest things are the newest.” In 2008, Sugimoto and Sakakida founded New Material Research Laboratory with an aim to develop “new” materials for construction based upon much older materials and techniques. The NMRL reinvigorates material from ancient times and the Middle Ages by using it in the context of a distinctly contemporary design sensibility and thus creating a physical connection between the past and the present. This beautiful hardcover volume delves into the art and architecture as well as the archaeological philosophy of the Laboratory. Each project is characterized by the materials used in its construction and is illustrated with rich full-color photography. Sugimoto and Sakakida are the principal authors of the accompanying text, extrapolating on their design ethos and its roots in Japanese aesthetic tradition; supplemental reading provides further historical context. The book also includes an annotated index of materials and classic Japanese techniques with information drawn from the Laboratory’s research.
An accomplished photographer in addition to his architectural work, Hiroshi Sugimoto (born 1948) is perhaps best known for his consistent experimentation with the limits of photographic representation, such as in his long-exposure series Theatres and Seascapes.
Architect and furniture designer Tomoyuki Sakakida (born 1976) has been the director of NMRL since 2013. He currently teaches at Kyoto University of Art and Design.
「最古老的物事總是別致新穎。」
為歷史人物蠟像拍攝肖像、將 33 間堂千手觀音拍成轉瞬即逝的加速影片，當代日本攝影大師杉本博司的作品，總是將古老的概念發揮得淋漓盡致。2008 年，身兼建築師和藝術家的他與建築師榊田倫之成立建築事務所「新素材研究所」，踏在鋪就人類文明的諸多材料和技術上，試著開拓另闢蹊徑的詮釋，從中研發出給下一輪世代的新素材。
本書《Old is New》悉心鑽研新素材研究所的藝術、建築乃至考古哲學和當代實踐，透過杉本博司和榊田倫之的對談，得以一窺職人的深厚手藝，和不厭精細卻瀕臨被遺忘的技術；影像則融合杉本博司長年收藏骨董的品味、寓意於物的風格，一目瞭然地呈現出每件建築作品選擇天然素材的來龍去脈及精巧手法，每一幅畫面，都看得出往昔和當今的微妙平衡。
《Old is New》的有趣之處，在於不只羅列杉本博司、榊田倫之各自在建築領域的獨特取徑和實務經驗，更深入研究埋在日本傳統文化、美學觀念和歷史脈絡中的設計精神根源，附上註釋索引，以及根據長期研究結果撰寫的日本經典技法資訊。
在資源匱乏的時代，兩人意欲思考「該如何運用自古代、中世紀和近現代流傳至今的舊素材？」，同時提倡重新串連當下和久遠的昔年。《Old is New》完整記錄這些思想激盪，用新鮮的目光回望日本在地建築，磚瓦木石反映的光線，正指向世界各地的未來。
杉本博司於 1948 年生於東京，藉超現實與形式主義的方法，探索時間、經驗主義與形而上學的思想。他自稱「習慣性的自我對話者」，以相機作為橋樑，連接各式抽象疑問與現代人日常生活之間的元素。以 1976 年在美國自然史博物館拍攝的一系列作品〈透視畫館〉(Dioramas，1976-2012) 為始，杉本博司陸續創作捕捉下整部電影痕跡的〈劇場〉(Theaters，1978-)、走遍世界各地的〈海景〉(Seascapes，1980-) 等。2002 年，他的第一個建築作品「直島護王神社」誕生，之後的作品包含靜岡縣 IZU PHOTO MUSEUM (2009)、紐約今冥途茶室 (2011)、威尼斯聞鳥庵茶室 (2014)、江之浦測候所 (2017)；由於在蘇活區經營民藝店兼藝廊 MINGEI，其建築亦富含深厚文化底蘊與思想。
榊田倫之於 1976 年生於滋賀，自京都工藝纖維大學建築系畢業後，在囊括建築、城市、環境設計的日本設計 (Nihon Sekkei Inc.) 工作，並於 2003 年正式成立了同名建築事務所，一方面持續與其他知名建築公司合作，同時展開個人的創作和研究計畫。榊田倫之曾榮獲專門表揚優良建築的 BELCA 獎，目前在京都藝術大學任教。
