本文關(guān)鍵詞：戰(zhàn)后臺灣建筑現(xiàn)代性研究　出處：《哈爾濱工業(yè)大學(xué)》2014年博士論文　論文類型：學(xué)位論文

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【摘要】：現(xiàn)代化是人類不斷擺脫迷信、愚昧和專制的過程,也是追求理性、科學(xué)和民主的過程�，F(xiàn)代化改變了人類傳統(tǒng)的文化取向和價值系統(tǒng)，對于一個民族或地區(qū)而言，現(xiàn)代化是努力以赴的目標(biāo)。戰(zhàn)后臺灣建筑現(xiàn)代化取得了豐碩的成績，也經(jīng)歷了曲折的道路。由于對現(xiàn)代性的認(rèn)識局限以及實用主義傾向，戰(zhàn)后臺灣建筑現(xiàn)代化面臨著東西方文化“橫向移植”與古今傳統(tǒng)“縱向轉(zhuǎn)化”的繼承上對立，此傳統(tǒng)性與現(xiàn)代性的對立、取舍與融合的過程，一方面是自然地承繼傳統(tǒng)建筑文化，另一方面則不可避免地受到現(xiàn)代主義建筑體系框架的影響，展現(xiàn)了獨特的非西方國家的反歷史傾向。本研究以現(xiàn)代性理論作為切入點，并結(jié)合價值觀、辯證思維，以哲學(xué)和社會學(xué)的交叉視角研究戰(zhàn)后臺灣建筑；從特定的歷史時勢角度，構(gòu)建建筑現(xiàn)代性理論框架，揭示建筑意識形態(tài)與社會關(guān)系再生產(chǎn)的復(fù)雜關(guān)系，并以此建立論文的研究范疇。在此基礎(chǔ)上，通過建立雙軸線與邏輯單元結(jié)合的研究方法，即以建筑現(xiàn)代性的普遍性與戰(zhàn)后臺灣建筑的特殊性為兩條結(jié)構(gòu)軸線，構(gòu)建戰(zhàn)后臺灣建筑的啟蒙現(xiàn)代性、文化現(xiàn)代性和審美現(xiàn)代性三個邏輯單元為研究體系，并圍繞這一觀點探討建筑現(xiàn)代性核心與本質(zhì)。 首先，本文從社會存在和社會意識兩個路徑，提出了現(xiàn)代性“三分法”，，將建筑現(xiàn)代性分成文化現(xiàn)代性和審美現(xiàn)代性。而啟蒙現(xiàn)代性是文化現(xiàn)代性的最初主要體現(xiàn),其核心與基礎(chǔ)是理性主義。通過剖析建筑現(xiàn)代性的條件要素、目標(biāo)要素以及動力要素，建構(gòu)建筑啟蒙現(xiàn)代性的成長路徑、建筑文化現(xiàn)代性的發(fā)展路徑以及建筑審美現(xiàn)代性的實現(xiàn)路徑。 其次，本文的主體部分基于建筑現(xiàn)代性理論框架的建立，從戰(zhàn)后美國對臺經(jīng)濟(jì)援助對臺灣建筑學(xué)院教育的啟蒙性、文化守成思想與中華道統(tǒng)意識的文化性，以及“宮殿式”民族形式與現(xiàn)代主義形態(tài)的審美性等三方面展示戰(zhàn)后臺灣建筑現(xiàn)代化經(jīng)歷了由表及里、建筑現(xiàn)代性的表達(dá)漸進(jìn)達(dá)理的過程。通過建構(gòu)建筑現(xiàn)代性的整體觀和時空觀，從依賴的啟蒙現(xiàn)代性、斷裂的文化現(xiàn)代性、曖昧的審美現(xiàn)代性分別理順戰(zhàn)后臺灣建筑現(xiàn)代性的理性、人文和感性脈絡(luò)、解析戰(zhàn)后臺灣建筑現(xiàn)代性的精神內(nèi)涵，探尋戰(zhàn)后臺灣建筑實踐的深層社會因素。 最后，通過綜合分析戰(zhàn)后臺灣建筑現(xiàn)代性發(fā)展環(huán)境、發(fā)展歷程和發(fā)展路徑，本文提出，建筑現(xiàn)代性并不是孤立于社會意識形態(tài)，它有時間向度的縱向深度和空間向度橫向廣度，其核心體系包括整體性與時空性，其中整體性是總體效能和場所的精神建構(gòu)，時間性是傳統(tǒng)與現(xiàn)代的沖突與對話，空間性是地域與現(xiàn)代的紛爭與兼容；建筑現(xiàn)代性理論體系建構(gòu)不能脫離社會背景，也就是社會歷史的縱向深度和文化背景的橫向廣度。論文的結(jié)論揭示建筑現(xiàn)代性的本質(zhì)是民主性與科學(xué)性。 由于意識形態(tài)的差異，1949年以后，中國大陸和中國臺灣走上了截然不同的發(fā)展道路，然而兩岸中國人基于共同的華夏文明，在面對建筑現(xiàn)代化的發(fā)展目標(biāo)時，相互之間仍有不少的共通之處，并可相互借鑒。本文期望借由對建筑現(xiàn)代性理論在戰(zhàn)后臺灣發(fā)展經(jīng)驗的分析，了解不同支配性歷史力量在意識形態(tài)的競逐過程中，如何透過建筑的象征表現(xiàn)，空間的文化形式等滲透角度，以掌握政治與藝術(shù)，意識形態(tài)與文化形式之間的微妙關(guān)系，旨在提煉和思考建筑設(shè)計實踐普遍共有的現(xiàn)實問題。同時也針對典型性建筑案例做客觀評價，期望借由針對戰(zhàn)后臺灣主流建筑師在特定情境下的設(shè)計進(jìn)行整理與剖析，以凸顯其背后的根本觀點、理論工具與角度方法等，以期中國大陸在建筑現(xiàn)代化的實踐中能突破同樣的困境。研究戰(zhàn)后臺灣建筑現(xiàn)代性的啟蒙、發(fā)展及演變，探尋戰(zhàn)后臺灣建筑多元表現(xiàn)及其歷史構(gòu)成背后的深層次原因，不僅有助于廓清戰(zhàn)后臺灣建筑現(xiàn)代性發(fā)展的得失，也警醒中國大陸建筑在現(xiàn)代化歷程中避免簡單地跟隨國際時尚的前車之轍。
[Abstract]:Human modernization is to get rid of superstition, ignorance and autocratic process, but also the pursuit of rational, scientific and democratic process. The modernization changes the traditional human culture orientation and value system, for a nation or region, modernization is to target. Taichung Bay building modernization has achieved fruitful results, but also experience the twists and turns of the road. Due to limitations on the modernity and the tendency of pragmatism, postwar Taiwan modern architecture is facing Western culture "transplant" and "inherit the ancient traditional vertical transformation" on the opposition, the opposition of tradition and modernity, choice and integration process, on the one hand is the natural succession of traditional architecture culture, on the other hand is inevitably influenced by the modern architecture of the framework, to show the anti historical tendency in non western countries is unique. In this study, Modernity The theory as a starting point, combined with the values, dialectical thinking, philosophy and sociology of post-war cross view architecture in Taiwan; from the specific historical time perspective, construct a framework for building modern theory, reveals the complex relationship between architecture ideology and social reproduction, and establish the research category. On this basis, through the Study on method of establishing double axis and logic unit combination, the particularity of the construction of modernity and postwar Taiwan building as the two axis structure, construction of postwar Taiwan architectural enlightenment modernity and cultural modernity and aesthetic modernity three logic elements as the research system, and discusses the essence and core of modern architecture around this point of view.
First of all, this article from the social existence and social consciousness, the two path, put forward the modern "three law", the construction of modernity into cultural modernity and aesthetic modernity. Modernity is the initial culture mainly reflects modernity, the core and foundation of rationalism. Through the analysis of the conditions of modern architecture the target elements, factors and dynamic factors, construct the growth path of building modern enlightenment, the realization path of development path of modern architectural culture and architectural aesthetic modernity.
Secondly, the main part of this paper establish a framework based on the theory of modern architecture, from the Enlightenment of the post-war economic assistance to the Taiwan School of architecture education, culture and cultural conservatism thought of the Confucian orthodoxy consciousness, and the "palace style" national style and modernist aesthetic form three aspects of architecture in Taiwan after World War II modernization has experienced from the outside to the inside of the gradual building of modern expression, reasonable process. Through the overall construction of modernity and Modern Enlightenment from the view of time and space, dependence, cultural modernity fracture, ambiguous aesthetic modernity respectively to straighten out the modern rational construction of postwar Taiwan, humanities and perceptual context of modern architecture in Taiwan the spirit of the connotation of war, seeking the deep social factors in postwar Taiwan architectural practice.
Finally, through the comprehensive analysis of postwar Taiwan building modern development environment, development process and development path, in this paper, the construction of modernity is not isolated from the social ideology, it is time to the depth of the vertical and spatial dimension of transverse breadth, the core of the whole system including space and time, which is the overall construction of the overall the performance and the spirit of place, time is the traditional and modern conflict and dialogue space is regional and modern disputes and compatibility; system of building modernity theory can not be divorced from the social background, which is the social historical and cultural background of the depth of transverse breadth. The conclusion of this paper reveals the essence of modernity is the democratic construction and science.
Because of differences in ideology, after 1949, China, and China Taiwan embarked on a completely different development path, but both sides Chinese based on common Chinese civilization, in the face of the construction of modernization development goals, there is still a lot in common with each other, and can learn from each other. This paper is expected by the analysis of development experience in postwar Taiwan the construction of modern theory, understand the different dominant historical forces compete in the process of ideology, how to through the symbolic representation of architecture, space culture form penetration angle, to grasp the politics and art, the subtle relationship between ideology and culture form, to refine the thinking and practice of architectural design is common to all problems. At the same time according to the typical case of building objective evaluation, expected by the mainstream for postwar Taiwan architects in the particular context of the whole Theory and analysis, to highlight the fundamental view behind the theoretical tool and perspective method, in order to China, in the practice of modernization construction can break through the same dilemma. Study of post-war Taiwan building the modern initiation, development and evolution, to explore the post-war Taiwan building is multivariate and historical form behind the deep-seated reasons not only helps to clarify the development of modern architecture in postwar Taiwan gains and losses, also alert in the process of modernization construction, China avoid before the car simply follow the international fashion rut.

【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2014
【分類號】：TU-0

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 楊嵩林;;中國近代建筑復(fù)古之初探[J];華中建筑;1987年02期

本文編號：1417820