【摘要】：如果說藝術(shù)需要跟隨社會(huì)前進(jìn)的步伐，那么先鋒派就是率先揚(yáng)起進(jìn)步大旗的群體；他們不滿足于當(dāng)下，對(duì)政治構(gòu)成做出反應(yīng)，對(duì)社會(huì)現(xiàn)實(shí)進(jìn)行批判，不斷的把藝術(shù)與生活向前推進(jìn)。他是西方文化危機(jī)的產(chǎn)物，是藝術(shù)對(duì)飛速發(fā)展的社會(huì)、經(jīng)濟(jì)和技術(shù)巨變做出的激進(jìn)回應(yīng)。換言之，先鋒派是社會(huì)工業(yè)化過程中出現(xiàn)的一股重要的反叛力量先鋒派概念，因此，它當(dāng)之無愧的成為了西方20世紀(jì)以來藝術(shù)領(lǐng)域中的一個(gè)重要的藝術(shù)概念。 拼貼的形式首先出現(xiàn)在立體主義的繪畫之中，作為一種傳統(tǒng)繪畫的替代，一種油畫布上的創(chuàng)新之舉，它的形式與材料沖擊了學(xué)科的極限。經(jīng)過發(fā)展，拼貼與現(xiàn)代建筑的聯(lián)系顯得更加深?yuàn)W與抽象，扮演著抽象繪畫與建筑實(shí)踐之間的媒介；它出現(xiàn)在當(dāng)時(shí)許多先鋒派設(shè)計(jì)師的作品中，，暗含著對(duì)于城市現(xiàn)象、建筑的思考，探索著重疊、并置、對(duì)立、類比、肌理、透明性的相關(guān)概念與相互關(guān)系。在20世紀(jì)60年代，這樣的拼貼手法對(duì)建筑形式的轉(zhuǎn)化起到了至關(guān)重要的作用，先鋒派建筑師通過拼貼跨向了過去被藝術(shù)家所統(tǒng)治的領(lǐng)域，實(shí)現(xiàn)了現(xiàn)代建筑與現(xiàn)代藝術(shù)之間的對(duì)話。 本文以“拼貼的運(yùn)用”為重要線索，先試圖分析歸納了拼貼在20世紀(jì)60年代的先鋒派小組阿基格拉姆社團(tuán)（Archigram）以及阿基佐姆工作室(Archizoom)中的運(yùn)用，再就此針對(duì)先鋒派建筑中拼貼的藝術(shù)特征、編排方式、編排策略以及隱喻展開擴(kuò)展式的深入探究解讀，挖掘更深層次的內(nèi)涵，給予當(dāng)今設(shè)計(jì)師更多的啟示與思考。
[Abstract]:If art needs to follow the pace of social progress, then the avant-garde is the group that takes the lead in raising the banner of progress; they are not satisfied with the present, react to the political composition, and criticize the social reality. Keep pushing art and life forward. He was the product of the Western cultural crisis and the radical response of art to the rapid social, economic and technological upheavals. In other words, avant-garde is an important concept of rebel avant-garde in the process of social industrialization, therefore, it has become an important artistic concept in the field of art since the 20th century in the West. The form of collage first appears in the Cubism painting, as a kind of traditional painting substitution, a kind of innovation on the canvas, its form and material impact the limit of the subject. Through development, the connection between collage and modern architecture is more profound and abstract, acting as the medium between abstract painting and architectural practice. It appeared in the works of many avant-garde designers at that time and implied the phenomenon of the city. Architectural thinking explores the related concepts and relationships of overlap, juxtaposition, opposites, analogy, texture, transparency. In the 1960s, such collage techniques played a crucial role in the transformation of architectural forms, and the avant-garde architects were able to collate across areas that had been ruled by artists in the past. The dialogue between modern architecture and modern art is realized. Taking the application of collage as an important clue, this paper first attempts to analyze and summarize the application of collage in the avant-garde group Aki Gramm community (Archigram) and Akizom studio (Archizoom) in the 1960s. Based on the artistic features, arrangement methods, arrangement strategies and metaphors of the avant-garde architecture, the author further explores and interprets the deeper connotation of collage, and gives more inspiration and reflection to the designers today.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TU201

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