本文選題：伊東豐雄 + 弱意象性��； 參考：《哈爾濱工業(yè)大學(xué)》2015年碩士論文

【摘要】：在人類建筑的發(fā)展歷程中,新與舊的更替是非常頻繁的。舊是人們對(duì)新的熟知,新是人們對(duì)舊的反叛;舊是人們對(duì)某種圖像熟知后的一種強(qiáng)烈意象,而新則是人們不熟知而表現(xiàn)出的一種微弱意象。在社會(huì)轉(zhuǎn)型過程中,新與舊的更替會(huì)、強(qiáng)弱的轉(zhuǎn)換會(huì)更加的劇烈,二者之間的反差會(huì)更加鮮明。任何一位負(fù)責(zé)任的建筑師,都在對(duì)舊的反叛中為時(shí)代創(chuàng)新,摒棄強(qiáng)意象,創(chuàng)造弱意象,在時(shí)代的大潮中,自覺地引領(lǐng)建筑向前發(fā)展。伊東豐雄正是這樣一位建筑師,他創(chuàng)作了一系列將概念創(chuàng)新與精美建造相結(jié)合的建筑,始終帶有浪漫的詩(shī)人氣質(zhì)。在他從業(yè)近40年后,終于獲得了2013年度的普利策建筑獎(jiǎng)。伊東豐雄的作品充滿了弱意象性,創(chuàng)新度非常高。通過文獻(xiàn)整理、實(shí)例列舉及學(xué)科交叉等研究方法,以伊東豐雄建筑作品的弱意象性作為切入點(diǎn)解讀其作品的創(chuàng)新性,剖析其建筑理念,能夠獲得其作品的深刻含義。建筑師對(duì)空間和場(chǎng)所的討論從未停歇,伊東豐雄的建筑作品的空間具有含混、無界等顯著特點(diǎn),空間層面具有弱意象性。論文首先從空間精神、空間邊界、空間要素三個(gè)角度進(jìn)行解讀。他的建筑空間具有明顯的個(gè)人特色,同時(shí)引領(lǐng)了日本的時(shí)代風(fēng)格。他的建筑作品具有“無形化”的空間精神特點(diǎn),他采用“自我性”、“瞬時(shí)性”、“浮游感”等精神屬性來體現(xiàn)建筑的弱意象性;他在空間邊界的表達(dá)上趨于“無界化”,從而獲得曖昧、含混的建筑功能分區(qū),賦予空間更多可能性;他在空間要素的表達(dá)上具有“多義化”的特征,從光影、都市、網(wǎng)絡(luò)等不同角度來分析構(gòu)成其建筑空間的要素,從而體現(xiàn)其空間弱意象性。建筑的形體是最具有強(qiáng)烈表現(xiàn)性的建筑要素,好的建筑形體能給使用者愉悅身心的感官享受。伊東豐雄建筑作品經(jīng)常給人以強(qiáng)烈的視覺沖擊感,形式創(chuàng)新而富有活力。論文從建筑形體的弱意象性進(jìn)行剖析,從其建筑作品的物質(zhì)性角度切入,從建筑結(jié)構(gòu)、建筑形體、建筑表皮和建筑細(xì)部的弱意象性進(jìn)行解讀。在建筑結(jié)構(gòu)方面,伊東探求結(jié)構(gòu)和形體的獨(dú)特結(jié)合,提倡結(jié)構(gòu)的“非普適性”,提升建筑的藝術(shù)價(jià)值和技術(shù)價(jià)值;在建筑的形體方面多采用非線性、多維靈動(dòng)的形體和建筑元素的一體化手法來表達(dá)建筑的“不確定性”;在建筑表皮方面體現(xiàn)了“透層建筑”的特點(diǎn),造成室內(nèi)室外的曖昧關(guān)系;在細(xì)節(jié)表現(xiàn)方面,伊東嘗試采用廣譜性的細(xì)部處理,精致而富有多重創(chuàng)意,無論是從材質(zhì)的類型表達(dá)或者是細(xì)部精致多元的處理方式,抑或色彩的選擇,都呈現(xiàn)了豐富多樣的弱意象性。每個(gè)具有時(shí)代性的建筑都可以被看作體現(xiàn)了時(shí)代精神的藝術(shù)品,建筑也能夠體現(xiàn)符合時(shí)代精神的審美價(jià)值。伊東豐雄力求建筑的流暢,而不受制于現(xiàn)代建筑的局限。他致力于打破現(xiàn)代主義建筑的審美秩序,從中剝離,建立新的美學(xué)觀點(diǎn)。同時(shí),他的建筑作品同樣隱晦地帶有日本建筑的民族性,用建筑的曖昧、光影來陳述日本文化和建筑美學(xué)。另一方面,伊東的建筑在不斷創(chuàng)新和探索的同時(shí)努力尋回建筑的本真,回到建筑的原初點(diǎn),力求用建筑來回歸自然,承擔(dān)社會(huì)責(zé)任。他的建筑作品經(jīng)常能夠給使用者帶來歡樂,輕盈和幸福之感,同時(shí)兼?zhèn)渥陨盹L(fēng)格和普適性,指引時(shí)代建筑的發(fā)展方向。總體看來,伊東的作品從空間、形體和審美各個(gè)角度和方面均體現(xiàn)了建筑的弱意象性。論文借助對(duì)伊東作品的弱意象性的解析,把握其建筑作品的設(shè)計(jì)理念和設(shè)計(jì)手法,分析其作品案例。并以此為契機(jī),喚起對(duì)中國(guó)建筑未來流向的深度思考。
[Abstract]:In the course of development of human construction, new and old change is very frequent. The old people is the new new people to know, is the old old people to rebel; is a strong image of a familiar image after the new image is a kind of weak people is not familiar with the show. In the process of social transformation, the new and old change, the strength of the conversion will be more intense, the contrast between the two will be more distinctive. No responsible architect, in the old age of rebellion for innovation, abandon the strong image, create a weak image, in the era of the big tide. Consciously leading building forward. Ito Toyo is such an architect, he created a series of concept innovation and exquisite construction combined with the construction, always have a romantic poet. In his business for nearly 40 years, finally won the 2013 Pulitzer prize for architecture ITO. Toyo's works are full of weak image, a very high degree of innovation. Through literature, examples and interdisciplinary research methods, the weak image of Ito Toyo architectural works as an innovative interpretation of the works the breakthrough point, analyzes its architectural concept, can obtain the profound meaning of the works. The discussion on space architect place and never stop, Ito Toyo works with a vague space, unbounded features space with weak image. Firstly, from the space spirit, space boundary, interpret three aspects of spatial elements. His architectural space has obvious personal characteristics, and lead the Japanese style of the times. His buildings works with the "spirit of the characteristics of intangible space", he adopted the "self", "instantaneous", "in the sense of" mental attributes to reflect the weak image of the building; he in space Boundary expression tends to be "unbounded", so as to obtain the ambiguous architectural functions of vague, giving more space in the space elements of the possibility; he has expressed "polysemy" features, from the light, city, different angles to analyze the network elements of the architectural space, which reflects the weak space the image of the building. The body has the most strong performance of building elements, good architectural form can give users pleasant sensual enjoyment. Ito Toyo's works often give people a strong sense of visual impact, innovative forms and rich vitality. The paper is analyzed from the weak image of the architectural form, starting from the building the work material from the angle of architectural structure, architectural form, interpretation of weak image building skin and architectural details. In the aspect of structure, explore the structure and form a unique combination of ITO, advocate node The "non universal", enhance the artistic and technical value of the building; in the construction of the physical aspects of the nonlinear integration technique, multidimensional smart form and architectural elements of the building to express the "uncertainty"; in the building facade embodies the characteristics of "transparent layer architecture", the ambiguous relationship caused by indoor outside; performance in detail, ITO try to use details of broad-spectrum, delicate and rich multi ideas, whether it is material from the type of expression or approach is exquisite detail diverse, or color choices, presents a weak image diversity. Each has the times of the building can be seen embodies the spirit of the times of art, architecture can also reflect the aesthetic value with the spirit of the times. Ito Toyo tries to smooth the building, not subject to the limitations of modern architecture. He devoted himself to play Breaking the modernist architectural aesthetic order, stripped, set up new aesthetic point of view. At the same time, his works also have Japanese nationality veiled zone building, building the ambiguous light to statements of Japanese culture and architectural aesthetics. On the other hand, our construction efforts in unceasing innovation and exploration and recovery the building of the truth, to return to the original point of the construction, and strive to use buildings to return to nature and social responsibility. His works are often able to bring joy, light and happiness, also have their own style and universality, era building development direction. Overall, our works from space, form and the various aesthetic angles and aspects are reflected in the weak image building. With the analysis of the weak image of ITO works, design ideas and design methods to grasp the construction work, analysis of the works This is an opportunity to arouse the deep thinking about the future direction of Chinese architecture.

【學(xué)位授予單位】：哈爾濱工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：TU-86

【參考文獻(xiàn)】

相關(guān)期刊論文 前6條

1 ;冥想之森:岐阜縣市政殯儀館[J];建筑創(chuàng)作;2014年01期

2 伊東豐雄;塞西爾·貝爾蒙德;;蛇形畫廊2002[J];建筑創(chuàng)作;2014年01期

3 ;松本市民藝術(shù)館[J];建筑創(chuàng)作;2014年01期

4 ;“費(fèi)加羅的婚禮”舞臺(tái)裝置[J];建筑創(chuàng)作;2014年01期

5 ;愛馬仕展館[J];建筑創(chuàng)作;2014年01期

6 ;專訪伊東豐雄:活在盒子里?NO![J];中國(guó)房地產(chǎn)業(yè);2013年05期

，

本文編號(hào)：1746355