基于主体意识层次的纪念性建筑创作方法建构研究
|
摘要
在科学技术发展的推动下，随着经济全球化及文化多元化的发展，当代纪念性建筑创作呈现出多种多样的形式和风格。这既人类集体精神发展、变化和丰富结果，也是多元文化参与国际竞争的需要。纪念性建筑作为一种特殊而重要的建筑类型，是以人类集体精神为基础和动力的产物，并且在人民集体精神的培养和身份认同感的塑造方面一直发挥着至关重要的作用。人类某集体的集体精神则是在该集体中主体的共同存在过程中，共同的存在、实践及社会交流活动的形式和内容向集体成员的意识积淀的结果。集体精神涉及到了主体意识活动的集体无意识、感知体验、概念认知及理性观念的各个意识层面。不同的人类集体间，由于主体的存在、实践和社会交流的方式及内容的类似，也会存在着相似，甚至相同的集体精神成分。要深入理解当代纪念性建筑创作中多种多样的形式和风格间的相似与不同，研究纪念性建筑创作方法和规律，必须对主体的集体精神所涉及各意识层面上意识活动有全面而深入的理解和掌握。
本文在坚持主体的集体精神是由其成员间共同的存在、实践和社会交流的方式和内容向主体意识各层次积淀形成的基本观点基础上。首先，阐述了意识层次划分的依据，解析了各意识层次间的关系，建构了主体意识层次的基本框架。然后，在各层次上引入了对该层次意识活动规律研究较为深刻的理论，归纳了各层次上意识活动的本质规律，并针对该层次上意识活动把握、体验和认知纪念性建筑的主要方面，建构了纪念性建筑创作方法建构的总体层次框架。最后，在对主体意识本能层、感知层、认知层及观念层上意识活动本质规律及主要方面进一探析的基础上，联系大量的纪念性建筑实践，分层建构了纪念性建筑创作原型表达法、氛围体验法、意义认知法及观念指导法。这些方法本身既可以构成较为完整的整体，也可与其它层次上的方法联系在一起构成逐层递进的纪念性建筑创作方法的体系。具体来说，内容如下。
本能层上，纪念性建筑形式对原型的表现为主体精神在世间存在提供了基本的立足点。系统梳理各学科中原型理论的基础上，本文建构了系统的原型层次模型，并提出了各层次原型在纪念性建筑创作中基本及创新表现方法。这些方法构成了纪念性建筑形式创作原型表达法
感知层上，纪念性建筑空间氛围对各种感知规律和线索的运用，激发了主体的想象、联想和冥思，深化了主体的体验深度和存在感。感知层是在本能层提供的立足点基础上，主体精神活动的展开。系统分析感知规律的基础上，本文从感知线索运用、静穆氛围塑造及感知空白建构三个方面总结了感知规律在纪念性建筑创作中的具体应用方法。这些方法构成了纪念性建筑空间创作氛围体验法。
认知层上，纪念性建筑通过各类符号使用及叙事方法表达特定的意义并实现与纪念对象的明确关联，主体则通过符号及叙事内容的思考和解读，认知纪念意义。认知层是主体意识活动在感知体验基础上的理性升华。本文在分析隐喻、象征意义赋予方式符号本性基础上，建构了表意符号在纪念性建筑装饰、空间及实体层次的运用方法。因为叙事是建立在符号运用基础上的，所以在上述研究的基础上，本文进一步分析了叙事场景的构成，建构了叙事节点和场景间链接的逻辑及路径结构模式，提出了叙事和符号意义空白的建构等纪念性建筑创作方法。针对纪念性建筑意义表达，这些方法构成了纪念性建筑创作意义认知法。
观念层上，建筑师的纪念性建筑创作及接受主体的接受，也都是在特定的集体观念指导下进行的，观念是人类理性发展的最高层次。由于人类共同存在和社会实践是随历史发展而变化的，并涉及到了丰富多样的内容，以本能、感知、认知等精神活动为基础而升华出集体观念也是不断发展和多元的。本文抓住当代人类存在和实践活动中，反映人对自然、时空（技术）、人、艺术（人自身精神）及周围文脉环境这些基本事物及其与人之间关系的占主导地位的观念，建构了各种观念影响下的具体的纪念性建筑创作方法。这些方法构成了纪念性建筑总体创作观念指导法。
本文的研究将有助于建筑师掌握纪念性建筑创作的本质，理解纪念性建筑创作方法与主体的集体精神之间的本质联系，创造出更加丰富和动人的纪念性建筑。对于一般接受者，本文将有助于他们对纪念性建筑意义有全面了解，加深他们对纪念性建筑的体验和认识程度。
Driven by the progress of science and technology, and with the process ofeconomic globalization and cultural diversification, contemporary memorialarchitectures prensent in various forms and styles. These results are not onlygenerated by the developments, changes and richnesses of the collective humanspirits, but also the needs for nations to participate in international competition ofmulticultures. As a special and important building type, memorial architecture is theproduct taking collective human spirits as it’s basis and driving forces, and has beenplayed a crucial role in cultivating the collective spirits and shaping the collectiveidentical senses of the people. The collective spirits of certain collectivitiy are theaccumulated results of forms and contents of the common existences, practices andsocial communications among their subjects in the process of their co-existing totheir consciousness. Collective spirits relate to the collective unconscious,perceptual experience, conceptual cognition and rational idea each level ofsubjective consciousness. Among different human collectivities, there will exsitsimilar or even the same ingredients of human collective spirits because of thesimilar and same forms and contents of the common existences, practices and socialcommunications among their sujects. In order to understand the similarities anddifferences of contemporary architetures with various forms and styles, and toresearch the memorial architectural creation methods, we must have acomprehensive and in-depth understanding and mastering of the conciousnessactivitities on each level of subjective conscious related to collective spirits.
This dissertation is based on the foundmental idea that the collective spirits areformed by the forms and contents of the subjects’ common existences,practices andsocial communications accumulating to all levels of their consciousness. Firstly, thedissertation elaborates evidences for the dividing of subject consciousness levels,analyzes the relationships among the levels, and constructs the basic framework ofsubject consciousness levels. Then, the dissertation introduces the theories on eachconsciousness level that have profound studies on the laws of the consciousnessactivities on the related level, summarizes the natural laws of consciousnessactivities on each level, and constructs the general framework for the memorialcreation method constructing. The construction of the framework is in connectionwith the main aspects of memorial that the consciousness actives on each level ofthe subjects grasps, experiences, and understands. Lastly, the dissertationconstructs four types of memorial creation methods based on further explorationand construction of the laws and main aspects of consciousness actives on each level. The method constructions are closely related with a large number ofmemorial practices. The four levels of subject consciousness are instinctive,perceptual, cognitive, ideaistic levels. The four types of memorial creation methodsare the architype expression methods, atmosphere experience methods，meaningcognition methods and concept guidance methods. These methods on eachconsciousness level themselves can not only constitute an comparative integratedwhole， but also can relate to the methods of other levels to constitute theprogressive method system of memorial creation. Specifically, the contents of themethod constructions are as follows.
On instinctive level, the expressions of architypes in memorial architectureforms provide basic foothold points for collective spirits of subject existing in theworld. Based on systematically combing the Archetypal theories in variousdisciplines, the dissertation systematically constructs a hierarchical model of thearchitypes, the basic and innovational expression methods of various architypes inmemorial architecture creations. These methods constitutes the architype expressionmethods of memorial form creation.
On perceptual level, by using of various perceptual laws and clues, theatmospheres of memorial architetures can inspire the imagination, association andmeditation of the subjects, and deepen the degree of their experiences and senses ofexistence. The consciousness activities on perceptual level are the expansions ofthe sujective spiritual activities based on the footholds provided by architypicalexpressions on instinctive level. Based on systematically analysis of perceptuallaws of the subject, the dissertation sumarizes and constructs the specificapplication methods of perceptual laws in memorial architecture creations on threeaspects: the using of perceptual clues, the shaping of silence atmospheres and theconstructing of perceptional blanks.These methods constitutes the atmosphereexperience method of memorial space creations.
On cognitive level, by using various kinds of symbols and narrative methods,memorial architectures clearly express the particular meanings and realize theassociations with the memorial objects, and the subjects also understand thememorial meanings through the reflecting and reading the symbols and narrativecontents. The conscioness activities on cognitive level are rational distillations ofthe perceptual experiences of subjects. Based on analyzing the symbolic nature ofthe metaphor and symbol, the dissertation constructs the applicative methods ofsymbols on the decoration, space and entity levels of memorials. Narrative is builtup on the basis of the applications of symbols. So, on the basis of theabove-mentioned research, the dissertation furtherly analyzes the constitution ofnarrative scenes, constructs the structural modes of logic and path linkings betweenthe narrative parts and scenes, and presents the meaning blank construction methods of narratives and symbols. These are the imprtant contents of memorial creation,and they constitute the complete meaning cognition methods of memorial creationaiming to the meaning expressions of memorials.
On ideaistic level, the memorial architecture creations of architects andacceptances of subjects are always under the guidance of specific collective ideas.The ideaistic level is the highest level of the human reason. Human existing waysand social practices are changing with the developments of history, and come tovarious contents. So, the collective ideas of subjects are constantly developing anddiversiform that sublimate from the basis of human instinctive, perceptual andcognitive activities.The dissertation seizes the dominant ideas in contemporaryhuman existent and practical activities that reflect relationships between subjectsand basic things such as nature, time and space (technology), humanself, art (humanspirit) and contextual environment around them, and also reflect human ideas aboutthese basic things themselves. Then it constructs the specific memorial architecturecreation methods under the influence of these dominant ideas individually. Thesemethods constitute the concept guidance method of memorial general creations.
The research will fundamentally help architects to grasp the nature ofmemorial architecture creation methods and understand the natural relationshipsbetween memorial architecture creations and human collective spirits. So, they cancreat rich and tuching memorials. For averge recipients, the research still has a verygreat significance for them to throughly understand the meanings of memorialarchitectures and deepen their experience and cognition degree of them.
本文在坚持主体的集体精神是由其成员间共同的存在、实践和社会交流的方式和内容向主体意识各层次积淀形成的基本观点基础上。首先，阐述了意识层次划分的依据，解析了各意识层次间的关系，建构了主体意识层次的基本框架。然后，在各层次上引入了对该层次意识活动规律研究较为深刻的理论，归纳了各层次上意识活动的本质规律，并针对该层次上意识活动把握、体验和认知纪念性建筑的主要方面，建构了纪念性建筑创作方法建构的总体层次框架。最后，在对主体意识本能层、感知层、认知层及观念层上意识活动本质规律及主要方面进一探析的基础上，联系大量的纪念性建筑实践，分层建构了纪念性建筑创作原型表达法、氛围体验法、意义认知法及观念指导法。这些方法本身既可以构成较为完整的整体，也可与其它层次上的方法联系在一起构成逐层递进的纪念性建筑创作方法的体系。具体来说，内容如下。
本能层上，纪念性建筑形式对原型的表现为主体精神在世间存在提供了基本的立足点。系统梳理各学科中原型理论的基础上，本文建构了系统的原型层次模型，并提出了各层次原型在纪念性建筑创作中基本及创新表现方法。这些方法构成了纪念性建筑形式创作原型表达法
感知层上，纪念性建筑空间氛围对各种感知规律和线索的运用，激发了主体的想象、联想和冥思，深化了主体的体验深度和存在感。感知层是在本能层提供的立足点基础上，主体精神活动的展开。系统分析感知规律的基础上，本文从感知线索运用、静穆氛围塑造及感知空白建构三个方面总结了感知规律在纪念性建筑创作中的具体应用方法。这些方法构成了纪念性建筑空间创作氛围体验法。
认知层上，纪念性建筑通过各类符号使用及叙事方法表达特定的意义并实现与纪念对象的明确关联，主体则通过符号及叙事内容的思考和解读，认知纪念意义。认知层是主体意识活动在感知体验基础上的理性升华。本文在分析隐喻、象征意义赋予方式符号本性基础上，建构了表意符号在纪念性建筑装饰、空间及实体层次的运用方法。因为叙事是建立在符号运用基础上的，所以在上述研究的基础上，本文进一步分析了叙事场景的构成，建构了叙事节点和场景间链接的逻辑及路径结构模式，提出了叙事和符号意义空白的建构等纪念性建筑创作方法。针对纪念性建筑意义表达，这些方法构成了纪念性建筑创作意义认知法。
观念层上，建筑师的纪念性建筑创作及接受主体的接受，也都是在特定的集体观念指导下进行的，观念是人类理性发展的最高层次。由于人类共同存在和社会实践是随历史发展而变化的，并涉及到了丰富多样的内容，以本能、感知、认知等精神活动为基础而升华出集体观念也是不断发展和多元的。本文抓住当代人类存在和实践活动中，反映人对自然、时空（技术）、人、艺术（人自身精神）及周围文脉环境这些基本事物及其与人之间关系的占主导地位的观念，建构了各种观念影响下的具体的纪念性建筑创作方法。这些方法构成了纪念性建筑总体创作观念指导法。
本文的研究将有助于建筑师掌握纪念性建筑创作的本质，理解纪念性建筑创作方法与主体的集体精神之间的本质联系，创造出更加丰富和动人的纪念性建筑。对于一般接受者，本文将有助于他们对纪念性建筑意义有全面了解，加深他们对纪念性建筑的体验和认识程度。
Driven by the progress of science and technology, and with the process ofeconomic globalization and cultural diversification, contemporary memorialarchitectures prensent in various forms and styles. These results are not onlygenerated by the developments, changes and richnesses of the collective humanspirits, but also the needs for nations to participate in international competition ofmulticultures. As a special and important building type, memorial architecture is theproduct taking collective human spirits as it’s basis and driving forces, and has beenplayed a crucial role in cultivating the collective spirits and shaping the collectiveidentical senses of the people. The collective spirits of certain collectivitiy are theaccumulated results of forms and contents of the common existences, practices andsocial communications among their subjects in the process of their co-existing totheir consciousness. Collective spirits relate to the collective unconscious,perceptual experience, conceptual cognition and rational idea each level ofsubjective consciousness. Among different human collectivities, there will exsitsimilar or even the same ingredients of human collective spirits because of thesimilar and same forms and contents of the common existences, practices and socialcommunications among their sujects. In order to understand the similarities anddifferences of contemporary architetures with various forms and styles, and toresearch the memorial architectural creation methods, we must have acomprehensive and in-depth understanding and mastering of the conciousnessactivitities on each level of subjective conscious related to collective spirits.
This dissertation is based on the foundmental idea that the collective spirits areformed by the forms and contents of the subjects’ common existences,practices andsocial communications accumulating to all levels of their consciousness. Firstly, thedissertation elaborates evidences for the dividing of subject consciousness levels,analyzes the relationships among the levels, and constructs the basic framework ofsubject consciousness levels. Then, the dissertation introduces the theories on eachconsciousness level that have profound studies on the laws of the consciousnessactivities on the related level, summarizes the natural laws of consciousnessactivities on each level, and constructs the general framework for the memorialcreation method constructing. The construction of the framework is in connectionwith the main aspects of memorial that the consciousness actives on each level ofthe subjects grasps, experiences, and understands. Lastly, the dissertationconstructs four types of memorial creation methods based on further explorationand construction of the laws and main aspects of consciousness actives on each level. The method constructions are closely related with a large number ofmemorial practices. The four levels of subject consciousness are instinctive,perceptual, cognitive, ideaistic levels. The four types of memorial creation methodsare the architype expression methods, atmosphere experience methods，meaningcognition methods and concept guidance methods. These methods on eachconsciousness level themselves can not only constitute an comparative integratedwhole， but also can relate to the methods of other levels to constitute theprogressive method system of memorial creation. Specifically, the contents of themethod constructions are as follows.
On instinctive level, the expressions of architypes in memorial architectureforms provide basic foothold points for collective spirits of subject existing in theworld. Based on systematically combing the Archetypal theories in variousdisciplines, the dissertation systematically constructs a hierarchical model of thearchitypes, the basic and innovational expression methods of various architypes inmemorial architecture creations. These methods constitutes the architype expressionmethods of memorial form creation.
On perceptual level, by using of various perceptual laws and clues, theatmospheres of memorial architetures can inspire the imagination, association andmeditation of the subjects, and deepen the degree of their experiences and senses ofexistence. The consciousness activities on perceptual level are the expansions ofthe sujective spiritual activities based on the footholds provided by architypicalexpressions on instinctive level. Based on systematically analysis of perceptuallaws of the subject, the dissertation sumarizes and constructs the specificapplication methods of perceptual laws in memorial architecture creations on threeaspects: the using of perceptual clues, the shaping of silence atmospheres and theconstructing of perceptional blanks.These methods constitutes the atmosphereexperience method of memorial space creations.
On cognitive level, by using various kinds of symbols and narrative methods,memorial architectures clearly express the particular meanings and realize theassociations with the memorial objects, and the subjects also understand thememorial meanings through the reflecting and reading the symbols and narrativecontents. The conscioness activities on cognitive level are rational distillations ofthe perceptual experiences of subjects. Based on analyzing the symbolic nature ofthe metaphor and symbol, the dissertation constructs the applicative methods ofsymbols on the decoration, space and entity levels of memorials. Narrative is builtup on the basis of the applications of symbols. So, on the basis of theabove-mentioned research, the dissertation furtherly analyzes the constitution ofnarrative scenes, constructs the structural modes of logic and path linkings betweenthe narrative parts and scenes, and presents the meaning blank construction methods of narratives and symbols. These are the imprtant contents of memorial creation,and they constitute the complete meaning cognition methods of memorial creationaiming to the meaning expressions of memorials.
On ideaistic level, the memorial architecture creations of architects andacceptances of subjects are always under the guidance of specific collective ideas.The ideaistic level is the highest level of the human reason. Human existing waysand social practices are changing with the developments of history, and come tovarious contents. So, the collective ideas of subjects are constantly developing anddiversiform that sublimate from the basis of human instinctive, perceptual andcognitive activities.The dissertation seizes the dominant ideas in contemporaryhuman existent and practical activities that reflect relationships between subjectsand basic things such as nature, time and space (technology), humanself, art (humanspirit) and contextual environment around them, and also reflect human ideas aboutthese basic things themselves. Then it constructs the specific memorial architecturecreation methods under the influence of these dominant ideas individually. Thesemethods constitute the concept guidance method of memorial general creations.
The research will fundamentally help architects to grasp the nature ofmemorial architecture creation methods and understand the natural relationshipsbetween memorial architecture creations and human collective spirits. So, they cancreat rich and tuching memorials. For averge recipients, the research still has a verygreat significance for them to throughly understand the meanings of memorialarchitectures and deepen their experience and cognition degree of them.
引文
[1] http://www.bustler.net/index.php/article/zaha_hadids_futuristic_burnham_pavilion_for_chicago[OL].
[2] http://www.evolo.us/architecture/jewish-memorial-in-frankfurt-germany-aq-uilialberg/[OL].
[3] http://www.sfartscommission.org/primages/mayalin/[OL].
[4] Hattie Hartman. Technical and Practice-Madrid Memorial. Architects’ Journal[J].2008(01):41~42.
[5] http://www.arthitectural.com/zerafa-architecture-studio-atlantic-city-boardwalk-holocaust-memorial/[OL].
[6] http://rolu.terapad.com/index.cfm?fa=contentNews.newsDetails&newsID=108177&from=archive.[OL].
[7]段玉裁.说文解字注[M].上海:上海古籍出版社,1981:645.
[8]顾孟潮.纪念性建筑[J].北京:中国工程科学.2005,7,(2):15~19.
[9]辞海编辑委员会.辞海[M].上海:上海辞书出版社,2002:237.
[10][瑞士]荣格.荣格文集[M].冯川,苏克,译.北京:改革出版社,1997:40,480,8,10~11.
[11] Dianes Dubois. Northrop Frye in Context[M]. Newcastle: Cambridge ScholarsPublishing,2012:1~8.
[12]叶舒宪.探索非理性的世界[M].成都:四川人民出版社,1988:101.
[13] Charles Robert Darwin. On the origin of species [M]. London: W. Clowes andSons,1859:207~209.
[14] Ferdinand de Saussure. Course in General Linguistics [M]. Trans by RoyHarris. Illinois: Open Court,1986:89~96.
[15] Carl Gustav Jung. Analytical Psychology: Its Theory And Practice [M]. Dover:Dover Publications,2009:82~91.
[16] Scott Geoffrey. The Architecture of Humanism: A Study in the History of Taste[M].New York: W. W. Norton&Co Inc,1999:157~161.
[17] Rudolf Arnheim. The power of the center-A study of composition in the visualarts [M].California: University of California press,1982:2,4,6,13.
[18] Christian Norberg-Schulz. Meaning in Western Architecture [M]. New York:Rizzoli International Publications,2005:170,10,114.
[19] Aldo R. Building and Project[M]. New York: Rizzoli,1985:94.
[20]刘滨谊.纪念性景观与旅游规划设计[M].南京:东南大学出版社,2005:59.
[21] http://daniel-libeskind.com/projects [OL].
[22]黄捷,程克容,邓艳嫦,等.舰魂铸碑——中山舰博物馆设计[J].建筑学报.2009(5):55.
[23] http://www.worldarchitecture.org/internal/content/building-image-pages.asp?ID=3637&bimg=189449.jpg&bname=Memorial%20Bridge,%20Rijeka[OL].
[24] New York Regional Plan Association. A planning framwork to rebuilddownton New York[R].2002:15~16.
[25]叶子君.生命的极致——重读桢文彦风之丘火葬场[J].中外建筑,2005(1):61.
[26]朱光潜.西方美学史(下)[M].北京:人民文学出版社,1979:379.
[27] http://tu.chinavisual.com/ad6p[OL].
[28]中国抗日战争纪念碑及雕塑园工程设计组.新的时代景观,新的历史丰碑[J].建筑创作,2000(4):46.
[29] David Saks.“Absence and Lose”at the Goethe Institute[N]. SA Jewish Report,2007(11):2.
[30] http://commons.wikimedia.org/wiki/File:Berlin-Grunewald_Mahnmal_Gleis_17_05.jpg[OL].
[31] Roann Barris. Architectures of Memory and Counter-Memory [C/Draf].2012(10):25.
[32]刘叙杰.巍巍中山陵[J].建筑创作,2009(5):170.
[33] http://inhabitat.com/tsunami-memorial-winner-mountains-of-rememberance/[OL].
[34] Keith Kaseman, Julie Beckman. Petagon Memorial. LandscapeArchitecture[J],2009(02):115.
[35]何镜堂,倪阳,何小欣,等.侵华日军南京大屠杀遇难同胞纪念馆扩建工程创作构思[J].建筑与文化,2005(9):12.
[36]李立,张承,姚力,等.费孝通江村纪念馆[J].城市环境设计,2001(Z2):194.
[37]朱学晨.洞穴与建筑[J].华中建筑,2009(12):9.
[38] http://www.geolocation.ws/v/P/42184889/-/en[OL].
[39]祖慰.移民文化超常原创力的解码[J].世界知识,2010(10):82.
[40]刘滨谊,李开然.纪念性景观设计原则初探[J].规划师,2003(2):25.
[41]程泰宁.无形·有形·无形[J].建筑创作,2006(8):23.
[42]孟建民,邢立华,徐均超,等.广州辛亥革命纪念馆[J].世界建筑导报,2010(2):29.
[43] http://openbuildings.com/buildings/japanese-immigration-memorial-profile-4886/media#!buildings-media/[OL].
[44] http://arch.m6699.com/content-19337.htm[OL].
[45] http://www.passingthetorch.ca/intro_e.html[OL].
[46]何镜堂,汤朝晖,郭卫宏.鸦片战争海战馆创作构思[J].建筑学报,2000(7):2,3.
[47]王建国,张彤.安藤忠雄[M].北京:中国建筑工业出版社,1999:273~275,127~128,164~167,26.
[48] Mario Botta. Church Santo Volto, Turin, Italia [J]. atd,2007(10):59~60.
[49] http://www.sfveteransmemorial.org/Project/Photos/Lee/WofR_2Day_LG.jpg.
[50] Valério Augusto Soares de Medeiros, Fabiano José Arcadio Sobreira, FredericoRosa Borges de Holanda. The National Congress Palace: Niemeyer’s masterpiecefacing a functional conflict Modeling[OL]. Proceedings of6thInternational SpaceSyntax Symposium, Istanbul,2007:123.
[51] Naomi Stead. The ruins of history: allegories of destruction in DanielLibeskind’s Jewish museum [J]. Open Museum,2000(02):3~9.
[52]沈瑾.历史事件的主体表达——井陉矿万人坑纪念馆设计[J].建筑学报.2009(5):59,61.
[53] http://alvinjani.mylovepress.net/?author=2&paged=4[OL].
[54] Moshe Safdie. Holocaust History museum,[OL]. http://www.Arc space.com
[55] Tam Associati. A pavilion for prayer and mediation with different faiths inSudan [J]. Interior Design Construction,2008(11):89,90,91.
[56] Michael Arad. Reflecting Absence: national911memorial, New York[J].Time+Architecture,2012(1):141,143.
[57]孟建民,邢立华,李劲鹏,等.渡江战役纪念馆[J].建筑与文化,2008(10):28.
[58] http://media.lehighvalleylive.com/breaking-news_impact/photo/empty-sky-memorial-ff6d692432934aae.jpg[OL].
[59] http://anthonysinagoga.com/index.php/2011/09/garden-of-reflection-bucks-county-911-memorial/[OL].
[60] http://tea-hair-art.com/bits/2008/10/01/37/[OL].
[61]方振宁.彼得·卒姆托:静静的守望[J].东方艺术,2012(5):152.
[62]施燕冬.日本长崎和平纪念馆评介[J].建筑学报,2004(11):83.
[63]王蕾.浅析拼贴在后现代景观设计中的应用——以奥尔良市意大利广场为例[C].2011中国城市规划年会论文集,2011:913.
[64] http://www.obraarchitects.com/work/0402OBRAmonograph/0402OBRAmonograph.html[OL].
[65]吴焕加.论现代西方建筑[M].北京:中国建筑工业出版社,1997:139~142.
[66] Alessandra Capanna. Music and Architeture: A Cross between Inspiration andMethod[OL]. Nexus Network Journal.2009(2):259~261.
[67] http://www.studio-kinch.com/#Architecture-Kokkugia.[OL].
[68] http://www.bustler.net/index.php/article/design_unveiled_for_portland_firefighters_memorial/[OL].
[69][日]原研哉.设计中的设计[M].朱锷,译.济南:山东人民出版社,2008:73.
[70]常怀生.环境心理学与室内空间设计[M].北京:中国建筑工业出版社,2000:34.
[71] Maurice Merleau-Ponty: Phenomenology of perception [M]. Tras by ColinSmith. London and New York: Taylor and Francis e-Library,2005:52~53,5,155.
[72] James J Gibson. The Perception of the Visual World[M]. The Riverside Press,1950:11~14.
[73]钱钟书.七缀集[M].上海:上海古籍出版社,1985:54~66.
[74] http://pubmedcentral.nih.gov科学网[OL]. Devsci,2006,9(6):604~615.
[75]苏宏斌.现象学美学导论.北京:商务印书馆,2005:83.
[76] http://www.hi-id.com/?p=2459[OL].
[77] http://www.pbase.com/fengchuan/image/25059920.[OL].
[78] Desmond Morris. The human zoo [M]. New York: Kodansha America Inc,1996:182~190.
[79]王向荣,林菁.现代西方景观设计的理论与实践[M].北京:中国建筑工业出版社,2002:42~44.
[80]沈克宁.建筑现象学[M].北京:中国建筑工业出版社,2007:69,94,66.
[81]陈志华.外国古建筑二十讲[M].北京:生活·读书·新知三联书店,2002:214.
[82][法]勒·柯布西耶基金会.勒·柯布西耶与学生的对话[M].牛燕芳,程超,译.北京:中国建筑工业出版社,2003:51.
[83][瑞士]彼得卒姆托.圣本尼迪克特教堂,苏姆威格,格劳宾登州,瑞士[J].世界建筑,2005(1):45,53.
[84][韩]建筑世界杂志社.前卫建筑师马里奥博塔[M].天津:天津大学出版社,2002(1):65.
[85] http://zh.wikipedia.org/zh-sg/File:Line_of_Lode_Miner's_Memorial,_Broken_Hill,_NSW,_07.07.2007.jpg[OL].
[86] http://www.duo-giocoso.com/inhalt_term_archiv_e.htm[OL].
[87] Gaston Bachelard. The Poetics of Space[M]. Maria Jolas. Boston: BeaconPress,1969:14.
[88] http://www.flickr.com/photos/ellens_album/495912798/[OL].
[89] http://www.mayalin.com/[OL].
[90] Steven Holl. Parallx[M]. Princeton Architectural Press,2000:12,132.
[91]韩靖.生态思想与当代西方建筑形态分析[D].天津大学硕士学位论文,2007:63.
[92]张昕楠,张颀.卡洛·斯卡帕——阅读空间的路径[J].世界建筑,2007(5):114~115.
[93] http://njmonthly.com/articles/lifestyle/911-memorials-part-one.html[OL].
[94] Tom Huntington. Ben’s Philadelphia: A Guild[M]. Stackpole Books,2006:201.
[95]何咏梅,胡绍学.纪念建筑的“召唤结构”[J].世界建筑,2005(9):108.
[96][韩]C3.理查德迈耶和安托尼普里多克[M].黄燕,陈红,王宁,译.郑州:河南科学技术出版社,2004:108~111.
[97] http://www.architecturaldigest.com/.[OL].
[98][法]勒·柯布西埃.走向新建筑[M].陈志华,译.西安:陕西师范大学出版社,2004:42.
[99] http://abroad.lotour.com/a/20101113/n533084.shtml[OL].
[100]Rudolf Arnheim. Art and Visual Perception [M]. California: University ofcalifornia Press,2004:438.
[101]Henry Plummer. Master of Light[M]. Tykyo: a+u Publishing Co, Ltd,2003:149.
[102]Piera Brunetta, Cara McCarty. Tadao Ando─Light and Water[M]. TheMonacelli Press, inc,2003:120.
[103]Guzowski M. Daylighting for Sustainable Design[M]. McGraw-Hill Company,2000:26~27.
[104]John Lobell. BETWEEN SILENCE AND LIGHT: Spirit in the Architecture ofLouis I. Kohn[M]. Shambhala Publications, Inc,2000:76~84.
[105]张晓春.旧金山文化艺术的新焦点——德扬博物馆新馆设计[J].世代建筑,2006(6):82~89.
[106]http://www.floornature.com/projects-buildings-and-public-places/project-tadao-ando-komyo-ji-saijo-temple-ehime-japan-4038/[OL].
[107]John B Best. Cognitive Psychology [M]. New York: John Wiley and Sonspublishing,1998:3~6.
[108]束定芳.隐喻学研究[M].上海:上海外语教育出版社,2000:22.
[109][德]黑格尔.美学(第二卷)[M].朱光潜,译.北京:商务印书馆,1996:5,10.
[110]胡经之,张首映.西方二十世纪文论选(第三卷)[M].北京:中国社会科学出版社,1989:281.
[111]林兴宅.象征论文艺学导论[M].北京:人民文学出版社,1993:128.
[112]Ernst Cassirer. An eassy on man [M]. New Haven: Yale University Press,1962:42.
[113]张寅德编选.叙述学研究[M].北京:中国社会科学出版社,1989:2.
[114]W. Somerset Maugham. Ten Novels and Their Authors [M]. New York:Vintage Classics; New Ed,2001:16~20.
[115]戴志中,舒波,羊恂,等.建筑创作构思解析——符号象征隐喻[M].北京:中国计划出版社,2006:147.
[116]彭一刚.观赏与解读──华侨大学承露泉设计[J].建筑学报,2002(1):21~24.
[117]张锦秋.为炎黄子孙的祭祖圣地增辉──黄帝陵祭祀大院(殿)设计[J].建筑学报,2005(6):20~23.
[118][英]埃德温希斯科特.纪念性建筑[M].朱劲松,林莹.大连:大连理工大学出版社,2003:221,205~208,63~67,192~196,100,47,166~170,96.
[119]吴良镛,张悦.基于历史文化内涵的曲阜孔子研究院建筑空间创造[J].空间结构.2009(4):9~12.
[120]叶晓健.查尔斯柯里亚的建筑空间[M].北京:中国建筑工业出版社,2003:137~138,118~123.
[121]http://www.guardian.co.uk/artanddesign/2004/dec/20/architecture.usa[OL].
[122]任军.建筑纪念性读解——纪念本体及纪念性审美研究[D].天津大学博士学位论文,2004:69,93.
[123][加]安德烈戈德罗,[法]弗朗索瓦诺斯特.什么是电影叙事学[M].刘云舟,译..商务印书馆,2007:151
[124]Psarra S. Architecture and Narrative: The formation of space and culturalmeaning[M]. Taylor&Francis e-Library,2009,31~35,24.
[125]黄龄儀.数位时代之空间—时间叙事结构初探:以Fa ade网站为例[J].资讯社会研究,2009(16):135~160.
[126]张婷.诗人的公园,欧利亚斯,葡萄牙[J].世界建筑.2006(2):112~113.
[127]许仁华.民主的纪念: F D罗斯福总统纪念园设计研究[D].南京林业大学硕士学位论文,2005:13~15.
[128]胡沂佳.从场地到场所:柏林战后三个城市纪念性空间研究[D].同济大学硕士学位论文,2005:63~65,52.
[129]Takushi, Yoshida.www.arch.columbia.edu/imagegalla[OL].
[130]张红卫,王向荣.漫谈当代纪念性景观设计[J].中国园林.2010(9):38~42.
[131]http://volume-control.tumblr.com/image/6553633373[OL].
[132]谭垣,吕典雅,朱谋隆.纪念性建筑[M].上海:上海科学技术出版社,1987:27.
[133]列宁.列宁全集(第五十五卷)[M].北京:人民出版社,1990:141.
[134]马克思,恩格斯.马克思恩格斯全集(第二十三卷)[M].北京:人民出版社,1972:202.
[135]李允鉌.华夏意匠[M].台湾:广角镜出版社,1982:42.
[136]邓庆尧,邹德侬.一个虚幻的神话[J].建筑师,1998,(12):22.
[137]万书元.当代西方建筑美学[M].东南大学出版社,2001:242,95.
[138]吕富珣.俄罗斯建筑百年沧桑的印迹(上)[J].科学中国人,2002(1):57.
[139]http://www.landscape.cn/Special/linying/Index.html[OL].
[140]http://articles.latimes.com/2012/may/16/entertainment/la-et-cm-frank-gehry-eisenhower-memorial-20120516.[OL].
[141]彭璞.当代纪念性建筑发展的新特点[D].同济大学硕士学位论文,2005:15,20.
[142]沈克宁.批判的地域主义[J].建筑师,2004(10):48.
[143]博塔,布雷.艾弗利天主教堂[J],法国.世界建筑.2001(9):72.
[144]徐聪智.基于自然观的建筑创作研究[D].哈尔滨工业大学博士学位论文,2008:80.
[145]http://www.toacanada.com/works/[OL].
[146]李保峰,赵逵,熊雁.王屋山世界地质公园博物馆[J].建筑学报,2007(1):49~51.
[147]蔡永洁,刘韩昕,邱鸿磊.裂缝中的记忆:北川地震纪念馆方案设计[J].时代建筑,2011(6):55.
[148]赵劲松.建筑的原创与概念的更新——在形式之外寻找新的起点[D].天津大学博士学位论文,2005:53,46,42,106.
[149][意]乔瓦尼·莱奥尼.诺曼福斯特[M].李梦非,译.大连:大连理工大学出版社,2011:39~41.
[150]李保峰.柏林佛颂生土小教堂[J].新建筑,2002(3):29.
[151] http://www.flickr.com/photos/maggiejones/6192303885/sizes/l/in/[OL].
[152]http://commons.wikimedia.org/wiki/[OL].
[153]大师系列丛书编辑部.彼得艾森曼的作品与思想[M].北京:中国电力出版社,2006:126~132.
[154]http://www.aidsmemorial.org/[OL].
[155]http://architecture.about.com/od/monuments/tp/9-11-Monuments.htm.[OL].
[156]李晔.华盛顿的战争纪念建筑[J].海外,2005(3):44~47.
[157]杨志僵.当代艺术视野中的建筑[M].南京:东南大学出版社,2003:58,103,131~132.
[158]http://www.e-architect.co.uk/austria/hainburg_church.htm[OL].
[159]大师系列丛书编辑部.让努维尔的作品与思想[M].北京:中国电力出版社,2006:168~169.
[160]费菁.超媒介——当代艺术与建筑[M].北京:中国建筑工业出版社,2005(1):175.
[161]文兵.精神与历史同行:大沽口炮台遗址博物馆设计[J].建筑创作,2006(4):37
[162]大师系列丛书编辑部.阿尔巴罗西萨的作品与思想[M].北京:中国电力出版社,2005:142~143.
[2] http://www.evolo.us/architecture/jewish-memorial-in-frankfurt-germany-aq-uilialberg/[OL].
[3] http://www.sfartscommission.org/primages/mayalin/[OL].
[4] Hattie Hartman. Technical and Practice-Madrid Memorial. Architects’ Journal[J].2008(01):41~42.
[5] http://www.arthitectural.com/zerafa-architecture-studio-atlantic-city-boardwalk-holocaust-memorial/[OL].
[6] http://rolu.terapad.com/index.cfm?fa=contentNews.newsDetails&newsID=108177&from=archive.[OL].
[7]段玉裁.说文解字注[M].上海:上海古籍出版社,1981:645.
[8]顾孟潮.纪念性建筑[J].北京:中国工程科学.2005,7,(2):15~19.
[9]辞海编辑委员会.辞海[M].上海:上海辞书出版社,2002:237.
[10][瑞士]荣格.荣格文集[M].冯川,苏克,译.北京:改革出版社,1997:40,480,8,10~11.
[11] Dianes Dubois. Northrop Frye in Context[M]. Newcastle: Cambridge ScholarsPublishing,2012:1~8.
[12]叶舒宪.探索非理性的世界[M].成都:四川人民出版社,1988:101.
[13] Charles Robert Darwin. On the origin of species [M]. London: W. Clowes andSons,1859:207~209.
[14] Ferdinand de Saussure. Course in General Linguistics [M]. Trans by RoyHarris. Illinois: Open Court,1986:89~96.
[15] Carl Gustav Jung. Analytical Psychology: Its Theory And Practice [M]. Dover:Dover Publications,2009:82~91.
[16] Scott Geoffrey. The Architecture of Humanism: A Study in the History of Taste[M].New York: W. W. Norton&Co Inc,1999:157~161.
[17] Rudolf Arnheim. The power of the center-A study of composition in the visualarts [M].California: University of California press,1982:2,4,6,13.
[18] Christian Norberg-Schulz. Meaning in Western Architecture [M]. New York:Rizzoli International Publications,2005:170,10,114.
[19] Aldo R. Building and Project[M]. New York: Rizzoli,1985:94.
[20]刘滨谊.纪念性景观与旅游规划设计[M].南京:东南大学出版社,2005:59.
[21] http://daniel-libeskind.com/projects [OL].
[22]黄捷,程克容,邓艳嫦,等.舰魂铸碑——中山舰博物馆设计[J].建筑学报.2009(5):55.
[23] http://www.worldarchitecture.org/internal/content/building-image-pages.asp?ID=3637&bimg=189449.jpg&bname=Memorial%20Bridge,%20Rijeka[OL].
[24] New York Regional Plan Association. A planning framwork to rebuilddownton New York[R].2002:15~16.
[25]叶子君.生命的极致——重读桢文彦风之丘火葬场[J].中外建筑,2005(1):61.
[26]朱光潜.西方美学史(下)[M].北京:人民文学出版社,1979:379.
[27] http://tu.chinavisual.com/ad6p[OL].
[28]中国抗日战争纪念碑及雕塑园工程设计组.新的时代景观,新的历史丰碑[J].建筑创作,2000(4):46.
[29] David Saks.“Absence and Lose”at the Goethe Institute[N]. SA Jewish Report,2007(11):2.
[30] http://commons.wikimedia.org/wiki/File:Berlin-Grunewald_Mahnmal_Gleis_17_05.jpg[OL].
[31] Roann Barris. Architectures of Memory and Counter-Memory [C/Draf].2012(10):25.
[32]刘叙杰.巍巍中山陵[J].建筑创作,2009(5):170.
[33] http://inhabitat.com/tsunami-memorial-winner-mountains-of-rememberance/[OL].
[34] Keith Kaseman, Julie Beckman. Petagon Memorial. LandscapeArchitecture[J],2009(02):115.
[35]何镜堂,倪阳,何小欣,等.侵华日军南京大屠杀遇难同胞纪念馆扩建工程创作构思[J].建筑与文化,2005(9):12.
[36]李立,张承,姚力,等.费孝通江村纪念馆[J].城市环境设计,2001(Z2):194.
[37]朱学晨.洞穴与建筑[J].华中建筑,2009(12):9.
[38] http://www.geolocation.ws/v/P/42184889/-/en[OL].
[39]祖慰.移民文化超常原创力的解码[J].世界知识,2010(10):82.
[40]刘滨谊,李开然.纪念性景观设计原则初探[J].规划师,2003(2):25.
[41]程泰宁.无形·有形·无形[J].建筑创作,2006(8):23.
[42]孟建民,邢立华,徐均超,等.广州辛亥革命纪念馆[J].世界建筑导报,2010(2):29.
[43] http://openbuildings.com/buildings/japanese-immigration-memorial-profile-4886/media#!buildings-media/[OL].
[44] http://arch.m6699.com/content-19337.htm[OL].
[45] http://www.passingthetorch.ca/intro_e.html[OL].
[46]何镜堂,汤朝晖,郭卫宏.鸦片战争海战馆创作构思[J].建筑学报,2000(7):2,3.
[47]王建国,张彤.安藤忠雄[M].北京:中国建筑工业出版社,1999:273~275,127~128,164~167,26.
[48] Mario Botta. Church Santo Volto, Turin, Italia [J]. atd,2007(10):59~60.
[49] http://www.sfveteransmemorial.org/Project/Photos/Lee/WofR_2Day_LG.jpg.
[50] Valério Augusto Soares de Medeiros, Fabiano José Arcadio Sobreira, FredericoRosa Borges de Holanda. The National Congress Palace: Niemeyer’s masterpiecefacing a functional conflict Modeling[OL]. Proceedings of6thInternational SpaceSyntax Symposium, Istanbul,2007:123.
[51] Naomi Stead. The ruins of history: allegories of destruction in DanielLibeskind’s Jewish museum [J]. Open Museum,2000(02):3~9.
[52]沈瑾.历史事件的主体表达——井陉矿万人坑纪念馆设计[J].建筑学报.2009(5):59,61.
[53] http://alvinjani.mylovepress.net/?author=2&paged=4[OL].
[54] Moshe Safdie. Holocaust History museum,[OL]. http://www.Arc space.com
[55] Tam Associati. A pavilion for prayer and mediation with different faiths inSudan [J]. Interior Design Construction,2008(11):89,90,91.
[56] Michael Arad. Reflecting Absence: national911memorial, New York[J].Time+Architecture,2012(1):141,143.
[57]孟建民,邢立华,李劲鹏,等.渡江战役纪念馆[J].建筑与文化,2008(10):28.
[58] http://media.lehighvalleylive.com/breaking-news_impact/photo/empty-sky-memorial-ff6d692432934aae.jpg[OL].
[59] http://anthonysinagoga.com/index.php/2011/09/garden-of-reflection-bucks-county-911-memorial/[OL].
[60] http://tea-hair-art.com/bits/2008/10/01/37/[OL].
[61]方振宁.彼得·卒姆托:静静的守望[J].东方艺术,2012(5):152.
[62]施燕冬.日本长崎和平纪念馆评介[J].建筑学报,2004(11):83.
[63]王蕾.浅析拼贴在后现代景观设计中的应用——以奥尔良市意大利广场为例[C].2011中国城市规划年会论文集,2011:913.
[64] http://www.obraarchitects.com/work/0402OBRAmonograph/0402OBRAmonograph.html[OL].
[65]吴焕加.论现代西方建筑[M].北京:中国建筑工业出版社,1997:139~142.
[66] Alessandra Capanna. Music and Architeture: A Cross between Inspiration andMethod[OL]. Nexus Network Journal.2009(2):259~261.
[67] http://www.studio-kinch.com/#Architecture-Kokkugia.[OL].
[68] http://www.bustler.net/index.php/article/design_unveiled_for_portland_firefighters_memorial/[OL].
[69][日]原研哉.设计中的设计[M].朱锷,译.济南:山东人民出版社,2008:73.
[70]常怀生.环境心理学与室内空间设计[M].北京:中国建筑工业出版社,2000:34.
[71] Maurice Merleau-Ponty: Phenomenology of perception [M]. Tras by ColinSmith. London and New York: Taylor and Francis e-Library,2005:52~53,5,155.
[72] James J Gibson. The Perception of the Visual World[M]. The Riverside Press,1950:11~14.
[73]钱钟书.七缀集[M].上海:上海古籍出版社,1985:54~66.
[74] http://pubmedcentral.nih.gov科学网[OL]. Devsci,2006,9(6):604~615.
[75]苏宏斌.现象学美学导论.北京:商务印书馆,2005:83.
[76] http://www.hi-id.com/?p=2459[OL].
[77] http://www.pbase.com/fengchuan/image/25059920.[OL].
[78] Desmond Morris. The human zoo [M]. New York: Kodansha America Inc,1996:182~190.
[79]王向荣,林菁.现代西方景观设计的理论与实践[M].北京:中国建筑工业出版社,2002:42~44.
[80]沈克宁.建筑现象学[M].北京:中国建筑工业出版社,2007:69,94,66.
[81]陈志华.外国古建筑二十讲[M].北京:生活·读书·新知三联书店,2002:214.
[82][法]勒·柯布西耶基金会.勒·柯布西耶与学生的对话[M].牛燕芳,程超,译.北京:中国建筑工业出版社,2003:51.
[83][瑞士]彼得卒姆托.圣本尼迪克特教堂,苏姆威格,格劳宾登州,瑞士[J].世界建筑,2005(1):45,53.
[84][韩]建筑世界杂志社.前卫建筑师马里奥博塔[M].天津:天津大学出版社,2002(1):65.
[85] http://zh.wikipedia.org/zh-sg/File:Line_of_Lode_Miner's_Memorial,_Broken_Hill,_NSW,_07.07.2007.jpg[OL].
[86] http://www.duo-giocoso.com/inhalt_term_archiv_e.htm[OL].
[87] Gaston Bachelard. The Poetics of Space[M]. Maria Jolas. Boston: BeaconPress,1969:14.
[88] http://www.flickr.com/photos/ellens_album/495912798/[OL].
[89] http://www.mayalin.com/[OL].
[90] Steven Holl. Parallx[M]. Princeton Architectural Press,2000:12,132.
[91]韩靖.生态思想与当代西方建筑形态分析[D].天津大学硕士学位论文,2007:63.
[92]张昕楠,张颀.卡洛·斯卡帕——阅读空间的路径[J].世界建筑,2007(5):114~115.
[93] http://njmonthly.com/articles/lifestyle/911-memorials-part-one.html[OL].
[94] Tom Huntington. Ben’s Philadelphia: A Guild[M]. Stackpole Books,2006:201.
[95]何咏梅,胡绍学.纪念建筑的“召唤结构”[J].世界建筑,2005(9):108.
[96][韩]C3.理查德迈耶和安托尼普里多克[M].黄燕,陈红,王宁,译.郑州:河南科学技术出版社,2004:108~111.
[97] http://www.architecturaldigest.com/.[OL].
[98][法]勒·柯布西埃.走向新建筑[M].陈志华,译.西安:陕西师范大学出版社,2004:42.
[99] http://abroad.lotour.com/a/20101113/n533084.shtml[OL].
[100]Rudolf Arnheim. Art and Visual Perception [M]. California: University ofcalifornia Press,2004:438.
[101]Henry Plummer. Master of Light[M]. Tykyo: a+u Publishing Co, Ltd,2003:149.
[102]Piera Brunetta, Cara McCarty. Tadao Ando─Light and Water[M]. TheMonacelli Press, inc,2003:120.
[103]Guzowski M. Daylighting for Sustainable Design[M]. McGraw-Hill Company,2000:26~27.
[104]John Lobell. BETWEEN SILENCE AND LIGHT: Spirit in the Architecture ofLouis I. Kohn[M]. Shambhala Publications, Inc,2000:76~84.
[105]张晓春.旧金山文化艺术的新焦点——德扬博物馆新馆设计[J].世代建筑,2006(6):82~89.
[106]http://www.floornature.com/projects-buildings-and-public-places/project-tadao-ando-komyo-ji-saijo-temple-ehime-japan-4038/[OL].
[107]John B Best. Cognitive Psychology [M]. New York: John Wiley and Sonspublishing,1998:3~6.
[108]束定芳.隐喻学研究[M].上海:上海外语教育出版社,2000:22.
[109][德]黑格尔.美学(第二卷)[M].朱光潜,译.北京:商务印书馆,1996:5,10.
[110]胡经之,张首映.西方二十世纪文论选(第三卷)[M].北京:中国社会科学出版社,1989:281.
[111]林兴宅.象征论文艺学导论[M].北京:人民文学出版社,1993:128.
[112]Ernst Cassirer. An eassy on man [M]. New Haven: Yale University Press,1962:42.
[113]张寅德编选.叙述学研究[M].北京:中国社会科学出版社,1989:2.
[114]W. Somerset Maugham. Ten Novels and Their Authors [M]. New York:Vintage Classics; New Ed,2001:16~20.
[115]戴志中,舒波,羊恂,等.建筑创作构思解析——符号象征隐喻[M].北京:中国计划出版社,2006:147.
[116]彭一刚.观赏与解读──华侨大学承露泉设计[J].建筑学报,2002(1):21~24.
[117]张锦秋.为炎黄子孙的祭祖圣地增辉──黄帝陵祭祀大院(殿)设计[J].建筑学报,2005(6):20~23.
[118][英]埃德温希斯科特.纪念性建筑[M].朱劲松,林莹.大连:大连理工大学出版社,2003:221,205~208,63~67,192~196,100,47,166~170,96.
[119]吴良镛,张悦.基于历史文化内涵的曲阜孔子研究院建筑空间创造[J].空间结构.2009(4):9~12.
[120]叶晓健.查尔斯柯里亚的建筑空间[M].北京:中国建筑工业出版社,2003:137~138,118~123.
[121]http://www.guardian.co.uk/artanddesign/2004/dec/20/architecture.usa[OL].
[122]任军.建筑纪念性读解——纪念本体及纪念性审美研究[D].天津大学博士学位论文,2004:69,93.
[123][加]安德烈戈德罗,[法]弗朗索瓦诺斯特.什么是电影叙事学[M].刘云舟,译..商务印书馆,2007:151
[124]Psarra S. Architecture and Narrative: The formation of space and culturalmeaning[M]. Taylor&Francis e-Library,2009,31~35,24.
[125]黄龄儀.数位时代之空间—时间叙事结构初探:以Fa ade网站为例[J].资讯社会研究,2009(16):135~160.
[126]张婷.诗人的公园,欧利亚斯,葡萄牙[J].世界建筑.2006(2):112~113.
[127]许仁华.民主的纪念: F D罗斯福总统纪念园设计研究[D].南京林业大学硕士学位论文,2005:13~15.
[128]胡沂佳.从场地到场所:柏林战后三个城市纪念性空间研究[D].同济大学硕士学位论文,2005:63~65,52.
[129]Takushi, Yoshida.www.arch.columbia.edu/imagegalla[OL].
[130]张红卫,王向荣.漫谈当代纪念性景观设计[J].中国园林.2010(9):38~42.
[131]http://volume-control.tumblr.com/image/6553633373[OL].
[132]谭垣,吕典雅,朱谋隆.纪念性建筑[M].上海:上海科学技术出版社,1987:27.
[133]列宁.列宁全集(第五十五卷)[M].北京:人民出版社,1990:141.
[134]马克思,恩格斯.马克思恩格斯全集(第二十三卷)[M].北京:人民出版社,1972:202.
[135]李允鉌.华夏意匠[M].台湾:广角镜出版社,1982:42.
[136]邓庆尧,邹德侬.一个虚幻的神话[J].建筑师,1998,(12):22.
[137]万书元.当代西方建筑美学[M].东南大学出版社,2001:242,95.
[138]吕富珣.俄罗斯建筑百年沧桑的印迹(上)[J].科学中国人,2002(1):57.
[139]http://www.landscape.cn/Special/linying/Index.html[OL].
[140]http://articles.latimes.com/2012/may/16/entertainment/la-et-cm-frank-gehry-eisenhower-memorial-20120516.[OL].
[141]彭璞.当代纪念性建筑发展的新特点[D].同济大学硕士学位论文,2005:15,20.
[142]沈克宁.批判的地域主义[J].建筑师,2004(10):48.
[143]博塔,布雷.艾弗利天主教堂[J],法国.世界建筑.2001(9):72.
[144]徐聪智.基于自然观的建筑创作研究[D].哈尔滨工业大学博士学位论文,2008:80.
[145]http://www.toacanada.com/works/[OL].
[146]李保峰,赵逵,熊雁.王屋山世界地质公园博物馆[J].建筑学报,2007(1):49~51.
[147]蔡永洁,刘韩昕,邱鸿磊.裂缝中的记忆:北川地震纪念馆方案设计[J].时代建筑,2011(6):55.
[148]赵劲松.建筑的原创与概念的更新——在形式之外寻找新的起点[D].天津大学博士学位论文,2005:53,46,42,106.
[149][意]乔瓦尼·莱奥尼.诺曼福斯特[M].李梦非,译.大连:大连理工大学出版社,2011:39~41.
[150]李保峰.柏林佛颂生土小教堂[J].新建筑,2002(3):29.
[151] http://www.flickr.com/photos/maggiejones/6192303885/sizes/l/in/[OL].
[152]http://commons.wikimedia.org/wiki/[OL].
[153]大师系列丛书编辑部.彼得艾森曼的作品与思想[M].北京:中国电力出版社,2006:126~132.
[154]http://www.aidsmemorial.org/[OL].
[155]http://architecture.about.com/od/monuments/tp/9-11-Monuments.htm.[OL].
[156]李晔.华盛顿的战争纪念建筑[J].海外,2005(3):44~47.
[157]杨志僵.当代艺术视野中的建筑[M].南京:东南大学出版社,2003:58,103,131~132.
[158]http://www.e-architect.co.uk/austria/hainburg_church.htm[OL].
[159]大师系列丛书编辑部.让努维尔的作品与思想[M].北京:中国电力出版社,2006:168~169.
[160]费菁.超媒介——当代艺术与建筑[M].北京:中国建筑工业出版社,2005(1):175.
[161]文兵.精神与历史同行:大沽口炮台遗址博物馆设计[J].建筑创作,2006(4):37
[162]大师系列丛书编辑部.阿尔巴罗西萨的作品与思想[M].北京:中国电力出版社,2005:142~143.