当代建筑的表皮化倾向研究
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摘要
在经济、文化和科学技术飞速发展的当代,借由五彩缤纷的“表皮”,建筑已经逐渐脱离了一个单纯的人工构筑物,而参与到广泛的社会与文化生活当中。在消费资本的全面掌控下,现代主义运动所树立的建筑核心——空间、平面、功能等等,早已在建筑师的手中变得摇摇欲坠,风光不再。
本文将这种“表皮”现象称之为当代建筑学中的“表皮化倾向”。应该如何定义?背后有着怎样的存在与发展逻辑?本文从“静态”的建筑表皮,更多的是从“动态”的文化与社会学领域探讨了表皮背后的驱动力量。文章结构主要包括以下三个层面:
第一,理论层面:1.表皮化的定义和相关概念界定:“表皮化”包含两个层面的意义:在精神-表现层面,“表皮化”意味着,表皮取代了建筑作为一个主体的地位,表皮就是建筑;在物质—实体的层面,“表皮化”指表皮由自然和建筑功能逻辑为主导转向由表皮自身为主导。2.表皮化的历史成因:基于技术-逻辑和文化-审美这两个作用于建筑表皮的主要因素,文章对表皮的历史演化进行了深入阐述。表皮的自觉过程是表皮化的成因和前提条件,这一过程有其历史进步意义和必然性。3.表皮化的审美特征:表皮化表现为奇观性和超现实的审美范式,在具体的表现形式上,又可以将其分为“向前看”和“向后看”两种趋向。
第二,实践层面:1.技术应用:对三种典型和新型的表皮技术——幕墙技术、数字技术和媒体技术进行了美学层面的解读。2.形态分析:在形状、材料、肌理和色彩四个方面,从具体操作和材料特性的角度结合大量实例进行了论述。
第三,反思层面:1.表皮化的正反两面性意义:表皮化带来了所谓“表皮建筑学”。一方面,它给当代建筑的发展开拓了新领域。通过它,建筑学广泛参与了大众的社会和文化生活,扩大了自身影响力;在另一方面,它导致了粗陋的“表面化”和宏观层面的“生态文化危机”,使无数城市陷于“千城一面”的尴尬。2.表皮化在建筑学中的历史地位、价值预测与展望:笔者期待,这是一项具有理论开拓意义和实用指导作用的研究。本文更多的从积极意义上发现其价值和历史进步性,也充分认识到:当代建筑学已经到了要“开疆拓地”和“重整旗鼓”的关键时刻,对此,笔者充满信心。
Nowadays, when economic, culture and science are rapidly developing, with the colorful "surface", architecture has been moving away from a purely artificial construction, and to participate in a wide range of social and cultural life. Under the overall control of consumption capital, the Modernism Movement by a core of the building - space, flat, function, practicability, and so on, have long been shaky in the hands of architects.
I regard the phenomenon as the "surface-tendency" of contemporary architecture. So, how to definite it? What is the logic behind? Not only from the angle of "static-existing" surface, but also (maybe more) from the "dynamic-existing" in the field of sociology, this article will discuss the driving force behind the“surface-tendency”. The article mainly includes three parts:
First, the theoretical part:
1. The definition of "surface-tendency" and related concepts;
The "surface-tendency" (hereinafter called "surface" for short) contains two aspects of meaning: In the spirit-performance aspect, the "surface" means that the surface has replaced the architecture's status as a principal, surface itself makes the architecture; In the material-entity aspect, the "surface" refers to the point that architectural surface becomes emancipated from the natural and functional logic.
2. The historical cause of "surface-tendency":
Based on two main influence factors: technology-logic and culture-aesthetic, this article expounds the historical evolution of architectural surface. The "surface consciousness" is the historical cause and premise of "surface-tendency". I believe that this process has its own historical meaning and some kind of inevitability.
3. The aesthetic characteristics of "surface-tendency":
I think that "surface" presents an aesthetic tendency of spectacularity and ultra-reality, which can be classified as "forward-looking" and "backward-looking" if seen from its specific form.
Second, the application part:
1. Application of technologies:
From the aesthetic angle, the article makes an interpretation of three different technologies: curtain-wall technology, digital technology and media technology.
2. Form analysis:
With a number of examples, the author mainly discusses the following four aspects: shape, material, color and texture.
Third, the reflection part:
1. The positive and negative aspects of "surface-tendency":
"surface" has brought the so-called "surface-architecture." On the one hand, it explores a new field for contemporary architecture. Through it, the contemporary architecture expands its influence by infiltrating into the social and cultural lives of the public; On the other hand, it leads to the "superficialness" and "ecological and cultural disaster" at the macro level, so that numerous cities lose their own cultural characteristics.
2. The historical status and the value anticipation of "surface-tendency":
I hope that the article will be a pioneering study on both theory and practice. Despite of the negative influence, it’s more obvious that "surface-tendency" has the positive meaning to the contemporary architecture. On the other hand, there is no doubt that it’s time for the contemporary architecture to rally and develop.
本文将这种“表皮”现象称之为当代建筑学中的“表皮化倾向”。应该如何定义?背后有着怎样的存在与发展逻辑?本文从“静态”的建筑表皮,更多的是从“动态”的文化与社会学领域探讨了表皮背后的驱动力量。文章结构主要包括以下三个层面:
第一,理论层面:1.表皮化的定义和相关概念界定:“表皮化”包含两个层面的意义:在精神-表现层面,“表皮化”意味着,表皮取代了建筑作为一个主体的地位,表皮就是建筑;在物质—实体的层面,“表皮化”指表皮由自然和建筑功能逻辑为主导转向由表皮自身为主导。2.表皮化的历史成因:基于技术-逻辑和文化-审美这两个作用于建筑表皮的主要因素,文章对表皮的历史演化进行了深入阐述。表皮的自觉过程是表皮化的成因和前提条件,这一过程有其历史进步意义和必然性。3.表皮化的审美特征:表皮化表现为奇观性和超现实的审美范式,在具体的表现形式上,又可以将其分为“向前看”和“向后看”两种趋向。
第二,实践层面:1.技术应用:对三种典型和新型的表皮技术——幕墙技术、数字技术和媒体技术进行了美学层面的解读。2.形态分析:在形状、材料、肌理和色彩四个方面,从具体操作和材料特性的角度结合大量实例进行了论述。
第三,反思层面:1.表皮化的正反两面性意义:表皮化带来了所谓“表皮建筑学”。一方面,它给当代建筑的发展开拓了新领域。通过它,建筑学广泛参与了大众的社会和文化生活,扩大了自身影响力;在另一方面,它导致了粗陋的“表面化”和宏观层面的“生态文化危机”,使无数城市陷于“千城一面”的尴尬。2.表皮化在建筑学中的历史地位、价值预测与展望:笔者期待,这是一项具有理论开拓意义和实用指导作用的研究。本文更多的从积极意义上发现其价值和历史进步性,也充分认识到:当代建筑学已经到了要“开疆拓地”和“重整旗鼓”的关键时刻,对此,笔者充满信心。
Nowadays, when economic, culture and science are rapidly developing, with the colorful "surface", architecture has been moving away from a purely artificial construction, and to participate in a wide range of social and cultural life. Under the overall control of consumption capital, the Modernism Movement by a core of the building - space, flat, function, practicability, and so on, have long been shaky in the hands of architects.
I regard the phenomenon as the "surface-tendency" of contemporary architecture. So, how to definite it? What is the logic behind? Not only from the angle of "static-existing" surface, but also (maybe more) from the "dynamic-existing" in the field of sociology, this article will discuss the driving force behind the“surface-tendency”. The article mainly includes three parts:
First, the theoretical part:
1. The definition of "surface-tendency" and related concepts;
The "surface-tendency" (hereinafter called "surface" for short) contains two aspects of meaning: In the spirit-performance aspect, the "surface" means that the surface has replaced the architecture's status as a principal, surface itself makes the architecture; In the material-entity aspect, the "surface" refers to the point that architectural surface becomes emancipated from the natural and functional logic.
2. The historical cause of "surface-tendency":
Based on two main influence factors: technology-logic and culture-aesthetic, this article expounds the historical evolution of architectural surface. The "surface consciousness" is the historical cause and premise of "surface-tendency". I believe that this process has its own historical meaning and some kind of inevitability.
3. The aesthetic characteristics of "surface-tendency":
I think that "surface" presents an aesthetic tendency of spectacularity and ultra-reality, which can be classified as "forward-looking" and "backward-looking" if seen from its specific form.
Second, the application part:
1. Application of technologies:
From the aesthetic angle, the article makes an interpretation of three different technologies: curtain-wall technology, digital technology and media technology.
2. Form analysis:
With a number of examples, the author mainly discusses the following four aspects: shape, material, color and texture.
Third, the reflection part:
1. The positive and negative aspects of "surface-tendency":
"surface" has brought the so-called "surface-architecture." On the one hand, it explores a new field for contemporary architecture. Through it, the contemporary architecture expands its influence by infiltrating into the social and cultural lives of the public; On the other hand, it leads to the "superficialness" and "ecological and cultural disaster" at the macro level, so that numerous cities lose their own cultural characteristics.
2. The historical status and the value anticipation of "surface-tendency":
I hope that the article will be a pioneering study on both theory and practice. Despite of the negative influence, it’s more obvious that "surface-tendency" has the positive meaning to the contemporary architecture. On the other hand, there is no doubt that it’s time for the contemporary architecture to rally and develop.
引文
[1] Christian Schittich.时尚包装与反应性立面:现代外立面设计趋势.建筑细部,2006,(+8):14
[2]周宪.视觉文化:从传统到现代.文学评论,2003,(6):147
[3]冯路.表皮的历史视野.建筑师,2004,(8):10-14
[4] John Berger.Ways of Seeing.New York:Penguin,1972,8
[5]布尔迪厄.艺术的法则.刘晖译.2001年版.北京:中央编译出版社,2001,276
[6]陈国华.建筑表皮肌理的形态意义:[同济大学硕士学位论文].上海:同济大学,2003,6-9
[7] Plato.Plato.New York:Walter J Black,1942,398
[8]包亚明.权力的眼睛:福柯访谈录.1997年版.上海:上海人民出版社,1997,157-157
[9] Mark Poster.Jean Baudrillard:Selected Writings.Stanford:Standford University Press,1998,135-137
[10]黑格尔.美学(一).朱光潜译.2006年版.北京:商务印书馆,2006,142
[11] H H Gerth,C Wright Mills,etal.From Max Weber:Essay’s In Sociology. Oxford:Oxford University Press,1946,341
[12]肯尼斯·弗兰姆普敦.现代建筑:一部批判的历史.张钦楠等译.第三版.北京:三联书店,2005,161-174
[13]周榕.异度空间.建筑师,2003,(10):58-59
[14]罗伯特·文丘里,丹尼斯·布朗,斯蒂文·伊曾尔.向拉斯维加斯学习.徐怡芳,王健译.原修订版.北京:知识产权出版社,中国水利水电出版社,2006,3-8
[15] Henri Lefebvre.Production of Space.trans by Paul Foss.Oxford:Blackwell Publishers Ltd,1991,313
[16] Guy Debord.The Society of The Spectacle.trans by Donald Nicholson Smith.New York:Zone Books,1994,12-13
[17]周宪.视觉文化与消费社会.福建论坛·人文社会科学版,2001,(2):29-33
[18]梅琼林.消费社会的视觉文化.青年记者,2006,(5):14
[19] W J T Mitchell.Pitcture Theory.Chicago:University of Chicago Press,1994,10
[20]罗钢,王中忱.消费文化读本.2003年6月版.北京:中国社会科学出版社,2003,3
[21]孔明安.从物的消费到符号消费——鲍德里亚德消费文化理论研究.哲学研究,2002,(11):68
[22]荷兰建筑学会.荷兰建筑年鉴1.边放译.2005年版.天津:天津大学出版社,2005,127,84
[23]廉毅锐.生活在别处——浅谈2003年消费文化对中国建筑的影响.建筑师,2005(4):56-59
[24]李鸿谷,金焱.库哈斯与CCTV新大楼.三联生活周刊,2003,(8):38-44
[25]谢晓蓉.建筑表皮的情境特征:[同济大学硕士学位论文].上海:同济大学,2005,26-27
[26]丹尼尔·贝尔.资本主义文化矛盾.赵一凡译.第一版.北京:三联书店,1989,98
[27]迈克·费瑟斯通.消费文化与后现代主义.刘精明译.2000年版.上海:译林出版社,2000,59
[28]曲彬.消费文化下的唯美主义大师——王尔德的矛盾性解析.理论界,2006,(9):162-163
[29]威托德·黎辛斯基.建筑的表情.杨惠君译.第一版.天津:天津大学出版社,2007,12-13
[30]陶东风.新文化媒介人批判.首都师范大学学报,2003,(6):20-21
[31]周榕.物质主义:弗兰克·盖瑞的建筑主题与范式革命. http://arts.tom.com/1004/2003/10/31-54362.html,(2003-10-31)
[32]张晓晖.追踪建筑表皮设计:[同济大学硕士学位论文].上海:同济大学,2002,31-33
[33] Venturi.Complexity and Contradiction in Architecture.London:Architectural Press,1977,90
[34] Alan Colquhoun.Three Kinds of Historicism(1983).Modernity and the Classical Tradition:Architectural Essays 1980-1987.Cambridge:MIT Press, 1991,90
[35] Gilles Deleuze.The Fold:Leibniz and the Baroque.trans by Tom Conley.London and New York:Continuum,1993,15
[36] Hoberman.Unfolding Architecture.In:Folding in Architecture.London:John Wiley&Sons Limited,1993,50
[37] John Lobell.Between Silence and Light.Birmingham:Shambhala Limited, 1979,40
[38] William Curtis.A Conversation.El Croquis,2004,109/110:30
[39]戴维·莱瑟巴罗.评《建构文化研究——论19和20世纪建筑中的建造诗学》.世界建筑,2008,(4):113
[40]周鸿.文明的生态学透视——绿色文化.1997年版.安徽:安徽科学技术出版社,1997,134
[41]克里斯·亚伯.建筑与个性.候正华译.2003年版.北京:中国建筑工业出版社,2003,234
[42]马建业.库哈斯和他的《普通城市》.世界建筑,1998(3):82-84
[43]候海云.建筑表皮的构筑形态研究:[同济大学硕士学位论文].上海:同济大学,2003,40-41
[2]周宪.视觉文化:从传统到现代.文学评论,2003,(6):147
[3]冯路.表皮的历史视野.建筑师,2004,(8):10-14
[4] John Berger.Ways of Seeing.New York:Penguin,1972,8
[5]布尔迪厄.艺术的法则.刘晖译.2001年版.北京:中央编译出版社,2001,276
[6]陈国华.建筑表皮肌理的形态意义:[同济大学硕士学位论文].上海:同济大学,2003,6-9
[7] Plato.Plato.New York:Walter J Black,1942,398
[8]包亚明.权力的眼睛:福柯访谈录.1997年版.上海:上海人民出版社,1997,157-157
[9] Mark Poster.Jean Baudrillard:Selected Writings.Stanford:Standford University Press,1998,135-137
[10]黑格尔.美学(一).朱光潜译.2006年版.北京:商务印书馆,2006,142
[11] H H Gerth,C Wright Mills,etal.From Max Weber:Essay’s In Sociology. Oxford:Oxford University Press,1946,341
[12]肯尼斯·弗兰姆普敦.现代建筑:一部批判的历史.张钦楠等译.第三版.北京:三联书店,2005,161-174
[13]周榕.异度空间.建筑师,2003,(10):58-59
[14]罗伯特·文丘里,丹尼斯·布朗,斯蒂文·伊曾尔.向拉斯维加斯学习.徐怡芳,王健译.原修订版.北京:知识产权出版社,中国水利水电出版社,2006,3-8
[15] Henri Lefebvre.Production of Space.trans by Paul Foss.Oxford:Blackwell Publishers Ltd,1991,313
[16] Guy Debord.The Society of The Spectacle.trans by Donald Nicholson Smith.New York:Zone Books,1994,12-13
[17]周宪.视觉文化与消费社会.福建论坛·人文社会科学版,2001,(2):29-33
[18]梅琼林.消费社会的视觉文化.青年记者,2006,(5):14
[19] W J T Mitchell.Pitcture Theory.Chicago:University of Chicago Press,1994,10
[20]罗钢,王中忱.消费文化读本.2003年6月版.北京:中国社会科学出版社,2003,3
[21]孔明安.从物的消费到符号消费——鲍德里亚德消费文化理论研究.哲学研究,2002,(11):68
[22]荷兰建筑学会.荷兰建筑年鉴1.边放译.2005年版.天津:天津大学出版社,2005,127,84
[23]廉毅锐.生活在别处——浅谈2003年消费文化对中国建筑的影响.建筑师,2005(4):56-59
[24]李鸿谷,金焱.库哈斯与CCTV新大楼.三联生活周刊,2003,(8):38-44
[25]谢晓蓉.建筑表皮的情境特征:[同济大学硕士学位论文].上海:同济大学,2005,26-27
[26]丹尼尔·贝尔.资本主义文化矛盾.赵一凡译.第一版.北京:三联书店,1989,98
[27]迈克·费瑟斯通.消费文化与后现代主义.刘精明译.2000年版.上海:译林出版社,2000,59
[28]曲彬.消费文化下的唯美主义大师——王尔德的矛盾性解析.理论界,2006,(9):162-163
[29]威托德·黎辛斯基.建筑的表情.杨惠君译.第一版.天津:天津大学出版社,2007,12-13
[30]陶东风.新文化媒介人批判.首都师范大学学报,2003,(6):20-21
[31]周榕.物质主义:弗兰克·盖瑞的建筑主题与范式革命. http://arts.tom.com/1004/2003/10/31-54362.html,(2003-10-31)
[32]张晓晖.追踪建筑表皮设计:[同济大学硕士学位论文].上海:同济大学,2002,31-33
[33] Venturi.Complexity and Contradiction in Architecture.London:Architectural Press,1977,90
[34] Alan Colquhoun.Three Kinds of Historicism(1983).Modernity and the Classical Tradition:Architectural Essays 1980-1987.Cambridge:MIT Press, 1991,90
[35] Gilles Deleuze.The Fold:Leibniz and the Baroque.trans by Tom Conley.London and New York:Continuum,1993,15
[36] Hoberman.Unfolding Architecture.In:Folding in Architecture.London:John Wiley&Sons Limited,1993,50
[37] John Lobell.Between Silence and Light.Birmingham:Shambhala Limited, 1979,40
[38] William Curtis.A Conversation.El Croquis,2004,109/110:30
[39]戴维·莱瑟巴罗.评《建构文化研究——论19和20世纪建筑中的建造诗学》.世界建筑,2008,(4):113
[40]周鸿.文明的生态学透视——绿色文化.1997年版.安徽:安徽科学技术出版社,1997,134
[41]克里斯·亚伯.建筑与个性.候正华译.2003年版.北京:中国建筑工业出版社,2003,234
[42]马建业.库哈斯和他的《普通城市》.世界建筑,1998(3):82-84
[43]候海云.建筑表皮的构筑形态研究:[同济大学硕士学位论文].上海:同济大学,2003,40-41