【摘要】：自1978年十一屆三中全會召開以來,中國建筑行業(yè)高速發(fā)展。但縱觀這30多年來中國的新建筑成果,大多呈現(xiàn)“高開低走”的狀況,鮮有精品項(xiàng)目。 真實(shí)存在的建筑,不僅能在一定程度上反映建筑師的設(shè)計(jì)思想,也反映了社會建筑環(huán)境的整體特征。在中國建筑發(fā)展的現(xiàn)狀下,通過對“同時(shí)、同地”,不同背景建筑師設(shè)計(jì)的同類型建筑的梳理、剖析與橫向比較,不僅能學(xué)習(xí)不同背景建筑師對于“此時(shí)此地”不同的設(shè)計(jì)理念與方法；也能嘆息國內(nèi)當(dāng)下建筑環(huán)境的整體特征,找到部分與建筑業(yè)發(fā)達(dá)國家之間的差異；還看到建筑對城市的社會、文化生活的影響。 為“以小見大”,真實(shí)可信地反映上述問題,本文嘗試用“切片”的形式,選取相似時(shí)間在杭州建成的,由不同背景建筑師所設(shè)計(jì)的三個(gè)博物館：浙江美術(shù)館、良渚博物院和濕地博物館作為具體研究對象,以一種局外的立場和對比交叉的視角,盡量客觀真實(shí)地對三個(gè)建筑為基礎(chǔ),對問題進(jìn)行解讀。 文章雖不能面面俱到,但希望通過論文,不僅能完善三個(gè)博物館的資料,學(xué)習(xí)三位建筑師的設(shè)計(jì)理論和手法,還能對當(dāng)下建筑環(huán)境的特征有客觀的洞悉,并為中國建筑未來的發(fā)展方向提供可借鑒的思路。
[Abstract]:Since the third Plenary session of the Eleventh Central Committee was held in 1978, China's construction industry has developed at a high speed. But throughout these 30 years of new construction achievements in China, most of the "high open and low walk" situation, few high-quality projects. The real architecture not only reflects the architect's design idea to a certain extent, but also reflects the overall characteristics of the social architectural environment. Under the present situation of the development of Chinese architecture, through combing, analyzing and comparing the same type of architecture designed by the architects of different backgrounds, "at the same time, in the same place", Not only can learn different background architects to "here and now" different design ideas and methods; We can also sigh the overall characteristics of the current domestic architectural environment, find some differences with the developed countries in the construction industry, but also see the impact of architecture on the city's social and cultural life. In order to "see the whole through a small part" and truly and reliably reflect the above-mentioned problems, this paper attempts to use the form of "slicing" to select three museums designed by architects of different backgrounds in Hangzhou: Zhejiang Art Museum, which was built in Hangzhou at a similar time. Liangzhu Museum and Wetland Museum, as specific research objects, interpret the problems objectively and truthfully on the basis of an out-of-local stand and a crosscutting angle of contrast, as far as possible, on the basis of objective and real understanding of the three buildings. Although the article can not be comprehensive, but I hope that through the paper, not only can perfect the data of the three museums, learn the design theory and techniques of the three architects, but also can have an objective insight into the characteristics of the current architectural environment. And for the future development direction of Chinese architecture can be used for reference.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：TU242.5

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