解讀王澍建筑設(shè)計(jì)思想
發(fā)布時(shí)間：2019-01-27 14:20
【摘要】：2012年，素有建筑界諾貝爾獎(jiǎng)之稱(chēng)的“普利茲克”建筑獎(jiǎng)首次落戶(hù)中國(guó)，本土建筑師王澍獲此殊榮。中國(guó)不乏優(yōu)秀的設(shè)計(jì)師，而王澍如橫空出世一般獲的普利茲克建筑獎(jiǎng)使中國(guó)乃至世界建筑界都將目光聚焦在他和他的建筑理念上。 在西方文明對(duì)全世界成功輸出，并成為世界主流文明的情況下，中國(guó)傳統(tǒng)文化難以避免的沒(méi)落，正在逐漸走向消亡。中國(guó)傳統(tǒng)建筑也難逃相同的命運(yùn)，具有民族傳承、傳統(tǒng)文化以及地域性特征的建筑已消失殆盡，取而代之的是大規(guī)模的以西方文明為基礎(chǔ)的現(xiàn)代建筑。中國(guó)傳統(tǒng)的建筑特色已無(wú)從體現(xiàn)，地域之間的差異也日漸消失，所有城市都大同小異。 王澍深受中國(guó)傳統(tǒng)文化熏陶，以文人自居。在急功近利的發(fā)展狂潮中反而能寧?kù)o心神，置身于浮華塵世之外，力主于本土建筑的發(fā)展之路，以創(chuàng)新的精神將中國(guó)傳統(tǒng)文化融于建筑當(dāng)中，重新體現(xiàn)中國(guó)傳統(tǒng)建筑的精髓與理念。 在王澍的設(shè)計(jì)中，建筑不拘泥于功能、形式、場(chǎng)地等一系列因素的束縛。建筑布局自由，空間靈活多變，各空間功能豐富。以坡道的形式代替普通走廊與踏步，組織建筑內(nèi)外交通流線。建筑隨山地丘陵高低起伏，，內(nèi)部空間錯(cuò)落有致，高差多變，室外懸掛坡道也隨建筑起落。王澍的建筑形式簡(jiǎn)潔，與自然和諧共存，如同自然當(dāng)中的一份子，注重整體環(huán)境的營(yíng)造而非一座建筑的得失。在細(xì)節(jié)處理中通過(guò)對(duì)傳統(tǒng)文化深刻的理解，將各種元素轉(zhuǎn)化為新的形式體現(xiàn)在建筑當(dāng)中。王澍對(duì)中國(guó)園林的偏好使他在自己的設(shè)計(jì)中更多的使用造園的技法理念，努力營(yíng)造天人合一的生活環(huán)境。在材料的選擇上，王澍就地取材，以傳統(tǒng)的材料表達(dá)地域性的文化特征，大量使用回收的舊磚瓦使他的建筑在建成之初就已經(jīng)擁有百年的滄桑。而他對(duì)建筑“業(yè)余”的哲學(xué)精神和回歸傳統(tǒng)的匠人式營(yíng)造理念，也使得他的建筑作品意境幽遠(yuǎn)、沁人心脾。 細(xì)細(xì)體會(huì)王澍的建筑，有中國(guó)傳統(tǒng)文化的底蘊(yùn)，有以往生活的回憶，同時(shí)也有現(xiàn)代建筑的時(shí)代感。雖然還不是成熟的體系，但他創(chuàng)新的理念也為中國(guó)建筑的發(fā)展提出了新的思路。
[Abstract]:In 2012, the Pritzker architecture award, known as the Nobel Prize in Architecture, first settled in China, winning the award by local architect Wang Shu. There is no shortage of outstanding designers in China, and the Pritzker architecture award won by Wang has made the Chinese and the world architecture industry focus on him and his architectural ideas. With the successful export of Western civilization to the world and its becoming the mainstream of the world, the inevitable decline of Chinese traditional culture is gradually dying out. Chinese traditional architecture can not escape the same fate, with the national heritage, traditional culture and regional characteristics of the architecture has disappeared, replaced by large-scale modern architecture based on Western civilization. Chinese traditional architectural characteristics are no longer reflected, geographical differences are gradually disappeared, all cities are much the same. Wang Shu was deeply influenced by Chinese traditional culture and regarded himself as a literati. On the contrary, in the development frenzy of eager achievement and instant profit, they can be quiet and mind, and be outside the world of splendor, and advocate the development of local architecture, and integrate Chinese traditional culture into architecture with the spirit of innovation. Reembody the essence and idea of Chinese traditional architecture. In Wang Shu's design, architecture is not bound by a series of factors, such as function, form, venue and so on. The building layout is free, the space is flexible and changeable, each space function is rich. Take the form of ramp instead of common corridor and step, and organize the traffic streamline inside and outside the building. With the rise and fall of the mountain hills, the interior space is scattered, the height difference is changeable, and the outdoor suspended ramps rise and fall with the building. Wang Shu's architectural form is simple and harmonious with nature. As a part of nature, he pays attention to the construction of the whole environment rather than the gain and loss of a building. Through the deep understanding of the traditional culture, the elements are transformed into new forms in the process of detail processing. Wang Shu's preference for Chinese gardens makes him use more techniques of gardening in his own design and make great efforts to create a living environment in which man and nature are one. In the selection of materials, Wang Shu used the local materials to express the regional cultural characteristics with traditional materials, and used a large number of recycled old bricks and tiles to make his building have a hundred years of vicissitudes at the beginning of its construction. His philosophical spirit of "amateur" architecture and the idea of returning to the traditional craftsman style also make his architectural works beautiful and refreshing. The detailed experience of Wang Shu's architecture has the Chinese traditional culture, the memory of the past life, and the contemporary feeling of the modern architecture. Although not yet a mature system, but his innovative ideas for the development of Chinese architecture put forward new ideas.
【學(xué)位授予單位】：長(zhǎng)安大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：TU-86;TU201
[Abstract]:In 2012, the Pritzker architecture award, known as the Nobel Prize in Architecture, first settled in China, winning the award by local architect Wang Shu. There is no shortage of outstanding designers in China, and the Pritzker architecture award won by Wang has made the Chinese and the world architecture industry focus on him and his architectural ideas. With the successful export of Western civilization to the world and its becoming the mainstream of the world, the inevitable decline of Chinese traditional culture is gradually dying out. Chinese traditional architecture can not escape the same fate, with the national heritage, traditional culture and regional characteristics of the architecture has disappeared, replaced by large-scale modern architecture based on Western civilization. Chinese traditional architectural characteristics are no longer reflected, geographical differences are gradually disappeared, all cities are much the same. Wang Shu was deeply influenced by Chinese traditional culture and regarded himself as a literati. On the contrary, in the development frenzy of eager achievement and instant profit, they can be quiet and mind, and be outside the world of splendor, and advocate the development of local architecture, and integrate Chinese traditional culture into architecture with the spirit of innovation. Reembody the essence and idea of Chinese traditional architecture. In Wang Shu's design, architecture is not bound by a series of factors, such as function, form, venue and so on. The building layout is free, the space is flexible and changeable, each space function is rich. Take the form of ramp instead of common corridor and step, and organize the traffic streamline inside and outside the building. With the rise and fall of the mountain hills, the interior space is scattered, the height difference is changeable, and the outdoor suspended ramps rise and fall with the building. Wang Shu's architectural form is simple and harmonious with nature. As a part of nature, he pays attention to the construction of the whole environment rather than the gain and loss of a building. Through the deep understanding of the traditional culture, the elements are transformed into new forms in the process of detail processing. Wang Shu's preference for Chinese gardens makes him use more techniques of gardening in his own design and make great efforts to create a living environment in which man and nature are one. In the selection of materials, Wang Shu used the local materials to express the regional cultural characteristics with traditional materials, and used a large number of recycled old bricks and tiles to make his building have a hundred years of vicissitudes at the beginning of its construction. His philosophical spirit of "amateur" architecture and the idea of returning to the traditional craftsman style also make his architectural works beautiful and refreshing. The detailed experience of Wang Shu's architecture has the Chinese traditional culture, the memory of the past life, and the contemporary feeling of the modern architecture. Although not yet a mature system, but his innovative ideas for the development of Chinese architecture put forward new ideas.
【學(xué)位授予單位】：長(zhǎng)安大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：TU-86;TU201
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 洪長(zhǎng)瑾;李浩;;回歸傳統(tǒng)、力求本土——解讀王澍[J];安徽建筑;2012年03期
2 彭w
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