秩序中的变化和变化背后的坚守—西方建筑创作新形态背后的基本手法分析
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摘要
在20世纪的最后20年间，中国的建筑师不断地吸收西方当代的建筑理论和手法，在与西方的建筑创作互动中设计理念渐趋同步。同时在对西方的建筑思潮的认识上，也由“风格流派”式的理解逐渐向建筑本体转变，并注重了解思潮背后的其他学科背景。近20年来的建筑创作通过学科间的相互借鉴和仿生学、语言学及哲学的介入产生了大量的新形态。从建筑本体来看则是建筑技术的成熟扩大了形态产生的自由度，使一些原本很难实现的建筑形象成为可能。不管新的形态最初是如何被激发，最终都要面临建造和使用问题，由建造和使用产生的各种逻辑就成了设计进一步深化时遵循的准绳。论文试图从建筑本体出发，通过分析西方当代建筑（主要是20世纪最后20年）的建筑实践，用形态学方法（即从外部形象和内部制约因素的关系出发了解事物特征的方法）对建筑的几何形以及制约几何形的各个因素（如建筑的使用、建造技术等等）之间的关系做一探讨。论文主要从城市中的建筑组群布局、有延续原有秩序的建筑形态和含隐秩序的建筑形态三种情况讨论，从建筑的几何形自身的逻辑和几何形及其制约因素的关系两个方面入手，对其中的基本手法和原理进行分析和发掘，尤其讨论了在含隐秩序的各种建筑形态中秩序的内涵和作用，试图找到源自建筑本体的各种基本手法和原理在20世纪最后20年纷繁的建筑理念指导下的建设实践中的作用。即认为：基本手法和原理仍然能作为进行设计和读解方案的出发点，在大量性建筑的设计中基本手法和原则有不可替代的作用。新形态的产生和被大众认同是对传统的不断补充，真正意义上的反传统的新形态基本不存在。虽然大众对建筑物好坏美丑的判断标准在不断拓宽，但是判断核心仍然非常稳定。对于我国来说在吸收和消化各种思潮的时候除了关注其中明星建筑师的明星作品，更应当注意非明星的、大量性的建筑作品，注意明星作品中的基本手法和原则。
In the last 20 years of the 20th century, as the theory and technique of design of the western architects was absorbed by the Chinese architects, the idea of design of both of them became synchronous in the procession of communication. The Chinese architect has now had a different understanding on the theory of all kinds of architectural thoughts. That is, diverted from “style” to the noumenon of the architecture, and pay more attention to the background of all the architectural thoughts. In recent 20 years, as the theory of glossology, philosophy and bionics were merged into architecture, more and more new form was created. Whatever the cause of the creation of the new form is, they all needed to be built up. So the basic technique and basic principles, which are come out of the procession of building, are the only guide line in the deepen of design. The thesis tries to begin from the noumenon of the architecture, through the method of Morphology, analyzing the design of contemporary western architecture (mainly the design in the last 20 years of the 20th century). Probing into the geometry of architecture and its restricting elements, the thesis discussed the planning of building group, the building with obvious order and the building with latent order, trying to find the effect of the basic principle and basic technique in the practice of western architecture. From the analyze of the logic of geometry itself and the relationship between geometry and its restricting element, the thesis concluded that the basic technique and the basic principle can still be the beginning point to understand the practice of western architecture, and the Chinese architects have to pay more attention to the practice of commen western architect.
In the last 20 years of the 20th century, as the theory and technique of design of the western architects was absorbed by the Chinese architects, the idea of design of both of them became synchronous in the procession of communication. The Chinese architect has now had a different understanding on the theory of all kinds of architectural thoughts. That is, diverted from “style” to the noumenon of the architecture, and pay more attention to the background of all the architectural thoughts. In recent 20 years, as the theory of glossology, philosophy and bionics were merged into architecture, more and more new form was created. Whatever the cause of the creation of the new form is, they all needed to be built up. So the basic technique and basic principles, which are come out of the procession of building, are the only guide line in the deepen of design. The thesis tries to begin from the noumenon of the architecture, through the method of Morphology, analyzing the design of contemporary western architecture (mainly the design in the last 20 years of the 20th century). Probing into the geometry of architecture and its restricting elements, the thesis discussed the planning of building group, the building with obvious order and the building with latent order, trying to find the effect of the basic principle and basic technique in the practice of western architecture. From the analyze of the logic of geometry itself and the relationship between geometry and its restricting element, the thesis concluded that the basic technique and the basic principle can still be the beginning point to understand the practice of western architecture, and the Chinese architects have to pay more attention to the practice of commen western architect.
引文
[1]矾崎新，解体、离散、转变的先兆，渊上正幸，现代建筑的交叉流——世界建筑师的思想和作品，覃力，黄衍顺，徐惠等译，北京：中国建筑工业出版社，2000，1
[2]邹德侬，中国现代建筑理论的解困，华中建筑：1998(16)，16~19
[3]薛恩伦，哈蒂德和动态构成，世界建筑：1998（4），76~80
[4]朱涛，“建构”的许诺与假设——论当代中国建筑学发展中的“建构”观念，时代建筑：2002（5），30~33
[5] KOLAREVIC, Branko，Designing and Manufacturing Architecture in the Digital Age， Architectural Information Management，05 Design Process 3:117~123
[6] 万书元，当代西方建筑美学，南京：东南大学出版社，2001
[7] 凌继尧，设计艺术学，上海：上海人民出版社
[8] 德扬·苏季奇，图尔加·拜尔勒，20世纪名流别墅，汪丽君，舒平，钟声译，北京：中国建筑工业出版社，2002
[9]卢志刚，建筑设计的城市意识，建筑创作，2003(9)：61
[10] 万书元，当代西方建筑美学，南京：东南大学出版社，2001
[11] 库哈斯，广谱城市，王群译，世界建筑，2003(2)：64
[12] 鲁道夫·阿恩海姆，艺术与视知觉，滕守尧，朱疆源译，四川：四川人民出版社，1998
[13] 亚历山德罗·翟拉，法兰克·盖里访谈录，见作品集05 法兰克·盖里，台湾：圣文书局股份有限公司，1995，21
[14] 朱晓东译，法国大学生住宅，法国，世界建筑，2002(2)：44
[15] 彭一刚，从整齐一律到“杂乱有章”——当代西方建筑赏析，世界建筑，2002(07)：78
[16] 辛华全编著，形态构成学，杭州：中国美术学院出版社
[17] 库哈斯.大.姜君译.世界建筑.2003(2)：64
[2]邹德侬，中国现代建筑理论的解困，华中建筑：1998(16)，16~19
[3]薛恩伦，哈蒂德和动态构成，世界建筑：1998（4），76~80
[4]朱涛，“建构”的许诺与假设——论当代中国建筑学发展中的“建构”观念，时代建筑：2002（5），30~33
[5] KOLAREVIC, Branko，Designing and Manufacturing Architecture in the Digital Age， Architectural Information Management，05 Design Process 3:117~123
[6] 万书元，当代西方建筑美学，南京：东南大学出版社，2001
[7] 凌继尧，设计艺术学，上海：上海人民出版社
[8] 德扬·苏季奇，图尔加·拜尔勒，20世纪名流别墅，汪丽君，舒平，钟声译，北京：中国建筑工业出版社，2002
[9]卢志刚，建筑设计的城市意识，建筑创作，2003(9)：61
[10] 万书元，当代西方建筑美学，南京：东南大学出版社，2001
[11] 库哈斯，广谱城市，王群译，世界建筑，2003(2)：64
[12] 鲁道夫·阿恩海姆，艺术与视知觉，滕守尧，朱疆源译，四川：四川人民出版社，1998
[13] 亚历山德罗·翟拉，法兰克·盖里访谈录，见作品集05 法兰克·盖里，台湾：圣文书局股份有限公司，1995，21
[14] 朱晓东译，法国大学生住宅，法国，世界建筑，2002(2)：44
[15] 彭一刚，从整齐一律到“杂乱有章”——当代西方建筑赏析，世界建筑，2002(07)：78
[16] 辛华全编著，形态构成学，杭州：中国美术学院出版社
[17] 库哈斯.大.姜君译.世界建筑.2003(2)：64