本文選題：王澍 + 批判性文人品格�。� 參考：《哈爾濱工業(yè)大學(xué)》2013年碩士論文

【摘要】：隨著城市化進(jìn)程的急速擴(kuò)張，傳統(tǒng)建筑文化逐漸土崩瓦解，“非正常死亡”建筑、“短命建筑”層出不窮，當(dāng)代中國(guó)建筑實(shí)踐始終在“風(fēng)格”和“樣式”間迷茫，在“回歸傳統(tǒng)”與“邁向現(xiàn)代化”間徘徊。在近三十年的快速建設(shè)之后，中國(guó)建筑將走向何方值得每一個(gè)關(guān)心中國(guó)城市和建筑的人來進(jìn)行思考。而此時(shí)，作為首位獲得普利策建筑獎(jiǎng)的中國(guó)建筑師，王澍的獲獎(jiǎng)似乎有著特別的意味。本論文以文獻(xiàn)整理、實(shí)例列舉、實(shí)地考察及學(xué)科交叉為研究方法，試圖通過全面解析王澍的創(chuàng)作思路和方法，解讀其作品的鮮明特征，獲悉其作品深意。 首先，不與同流的邊際思維是王澍批判性文人品格建筑創(chuàng)作的思想體現(xiàn)。他堅(jiān)守著批判性文人獨(dú)立的見解和操守而與眾不同，不人云亦云。他對(duì)現(xiàn)有設(shè)計(jì)思路、建筑教育制度進(jìn)行批判和質(zhì)疑，同時(shí)建立了自己獨(dú)有的、獨(dú)特的思想及設(shè)計(jì)理念來應(yīng)對(duì)或試圖改變現(xiàn)世現(xiàn)狀。這種思想看似處于主流的、專業(yè)的建筑創(chuàng)作思維邊緣，實(shí)則對(duì)其產(chǎn)生一定沖擊及影響。王澍遠(yuǎn)離主流、淡化標(biāo)準(zhǔn)、審思現(xiàn)代，以一種“業(yè)余”的態(tài)度來應(yīng)對(duì)“專業(yè)”的機(jī)械、僵化及脫離生活；面對(duì)麻木復(fù)制的歷史、逐漸土崩瓦解的自然山水體系以及外表華麗實(shí)則空洞僵化的城市建設(shè)，他以獨(dú)特的“文人”思維，用“文人”的情懷、情趣及創(chuàng)作來抵抗“職業(yè)”建筑師的批量復(fù)制、麻木重復(fù)與無趣的做法。他注重在建筑設(shè)計(jì)中體現(xiàn)出傳統(tǒng)氣韻和造園情趣，并試圖以此來拉近已逐漸疏遠(yuǎn)的天人關(guān)系；對(duì)“小品”的重視，使他不同于大多“以宏觀為主”的建筑師的強(qiáng)調(diào)先整體后局部、先重點(diǎn)及一般的習(xí)常思維。他淡化既定的等級(jí)秩序，在設(shè)計(jì)開始僅針對(duì)真實(shí)細(xì)節(jié)本身、日常生活所悟進(jìn)行關(guān)注和多次推敲，不做深度意義的賦予，而是把解釋的權(quán)利還給個(gè)人。使得那些日常被忽略的、處于次要位置的事物反轉(zhuǎn)成為主要的關(guān)注對(duì)象。這種不與同流的邊際思維，使他偏離正統(tǒng)，遠(yuǎn)離常規(guī)，有別于主流大眾，卻真正回歸真實(shí)生活，重返中國(guó)本土建筑學(xué)。 其次，實(shí)驗(yàn)隱逸的傳統(tǒng)解構(gòu)是王澍批判性文人品格建筑創(chuàng)作的手法表達(dá)。王澍對(duì)傳統(tǒng)的流失產(chǎn)生黍籬之悲，他遠(yuǎn)離麻木復(fù)制傳統(tǒng)的方式，卻積極入世、實(shí)驗(yàn)革新、脫離規(guī)矩，創(chuàng)造性地開辟出一條繼承傳統(tǒng)的獨(dú)特且有價(jià)值的探索性途徑。他以一種歷史演進(jìn)的“實(shí)驗(yàn)性”方式將傳統(tǒng)建筑既定的構(gòu)成原則及規(guī)律進(jìn)行拆解后重新構(gòu)筑，進(jìn)而對(duì)傳統(tǒng)進(jìn)行一種建設(shè)性的再利用。在形體處理上，王澍通過將舊有的傳統(tǒng)形象、界面、體態(tài)的固定組合規(guī)律及構(gòu)圖體系進(jìn)行消解，并在保留其精髓的基礎(chǔ)上進(jìn)行重新組合、多樣變動(dòng)及演繹，將傳統(tǒng)形體進(jìn)行現(xiàn)代轉(zhuǎn)置，令建筑具有了雙重甚至多重價(jià)值；在空間設(shè)計(jì)上，王澍將對(duì)園林本質(zhì)的深刻領(lǐng)悟——自由、多義、些許的不合理疊加到現(xiàn)代空間、尺度及功能中，以此來試圖使人們?cè)诿撾x正統(tǒng)做法的場(chǎng)所中體會(huì)到真正的富有質(zhì)感的建筑愉悅和自由；在細(xì)部處理上，他重新援引和組織傳統(tǒng)建筑材料、符號(hào)及構(gòu)造節(jié)點(diǎn)這些處于羸弱話語(yǔ)權(quán)地位的傳統(tǒng)要素，從而形成新的形式語(yǔ)言，并以此來探索其異于常態(tài)的潛在的形式及功能的可能性和力量。王澍試圖使這些歷史的“棄物”融進(jìn)新的個(gè)體中，從而賦予這些歷史片斷更加主動(dòng)的價(jià)值。 最后，融匯古今的變異形式是王澍批判性文人品格建筑創(chuàng)作的作品特征。面對(duì)城市的擴(kuò)張及其建設(shè)的無序，王澍秉承著批判性文人品格，以作品或文字批判反思城市的重點(diǎn)所在，他善于思辨現(xiàn)狀，審慎應(yīng)對(duì)傳統(tǒng)，在摒棄復(fù)古與歷史主義的前提下，與過去銜接并繼承。品味王澍的建筑仿佛游身處時(shí)空轉(zhuǎn)換機(jī)中，他的作品是探索性的、思辨性的，將人們習(xí)以為常的建筑語(yǔ)言給以全新的詮釋，使人們?cè)谥蒙碛趥鹘y(tǒng)意境的同時(shí)體會(huì)到強(qiáng)烈的現(xiàn)代氣息，最終呈現(xiàn)出融匯古今的淡化時(shí)間與空間的秩序和界限的差異性建筑形式。他將中國(guó)傳統(tǒng)關(guān)于自然與建筑關(guān)系及造園手法中的尺度觀等傳統(tǒng)布局方式在這里進(jìn)行現(xiàn)代轉(zhuǎn)譯，，使得建筑與環(huán)境，建筑與建筑，建筑本身的主與次、大與小的相互制約得以轉(zhuǎn)變，呈現(xiàn)一種轉(zhuǎn)譯傳統(tǒng)布局關(guān)系的衍變系統(tǒng)。他強(qiáng)調(diào)建筑語(yǔ)言譜系的無等級(jí)劃分，設(shè)計(jì)中的任何要素均可具有能動(dòng)的、超乎尋常的力量；王澍淡化了傳統(tǒng)與現(xiàn)代在時(shí)間上的明確界限，使得同一建筑場(chǎng)景、建筑立面及建筑形態(tài)呈現(xiàn)出不同的年代氛圍及迷亂了實(shí)際體驗(yàn)的差異性感受；王澍注重在現(xiàn)代設(shè)計(jì)中將傳統(tǒng)構(gòu)件符號(hào)、肌理符號(hào)的神韻以一種新的秩序進(jìn)行表達(dá)，使其在基于對(duì)歷史的尊重而不是模仿的前提下，呈現(xiàn)出新的氣質(zhì)和含義。 本文試圖通過對(duì)王澍批判性文人品格下的創(chuàng)作思想、手法及表現(xiàn)特征的解讀，對(duì)王澍形成一個(gè)較為全面、客觀的認(rèn)識(shí)。試圖探討在新時(shí)期，建筑師應(yīng)如何在現(xiàn)代建筑設(shè)計(jì)中，對(duì)傳統(tǒng)文化進(jìn)行符合時(shí)代特色的表達(dá)。這不僅對(duì)于喚醒中國(guó)本土建筑師如何創(chuàng)作具有真正“中國(guó)味道”的作品具有重要的啟示作用，更是指引著世界未來的建筑發(fā)展方向。
[Abstract]:With the rapid expansion of city urbanization, traditional architectural culture is crumbling, "Wrongful Death" architecture, ephemeral architecture of contemporary architectural practice Chinese always emerge in an endless stream, in the "style" and "style" confused, in the "return to tradition" and "modernization" Wandering between. After nearly thirty years of rapid construction China, the building will go where it is worth every care China city and building people to think. But this time, as the first Pulitzer prize for architecture Chinese architect, Wang Shu's award-winning seems to have a special meaning. In this paper, the literature, examples, fieldwork and interdisciplinary research methods, trying to through the creation of ideas and methods of comprehensive analysis of Wang Shu, the distinctive characteristics of the interpretation of his works, his work was informed of meaning.
First of all, and the marginal flow is Wang Shu's critical thinking and the character of architecture creation embodied. He maintained their independent critical insights and conduct and out of the ordinary, not others. He is on the existing design ideas, criticize and question of building the education system, and establish their own unique ideas, and unique design concept to or try to change this situation. To deal with this idea seems to be in the mainstream, architectural creation thinking edge professional, but have a certain impact and its influence on Wang Shu. Away from the mainstream, desalination standards, thinking of modern, in an "amateur" approach to deal with the "professional" mechanical, rigid and out of life; face numb to reproduce the history of crumbling natural landscape system and looks gorgeous but empty rigid city construction, with his unique "literati" thinking, "writer" Feelings, sentiment and creative mass against "occupation" architect replication, numbness repetition and boring practice. He pays attention to reflect the spirit and taste of traditional gardening in architectural design, and tries to close gradually alienated relationship between heaven and man; the "sketch" attention, make him different from most "macro" the architects emphasize global and local, to focus on the general and common thinking. He established the desalination rank order, at the start of the project only for the real details of everyday life itself, to focus and do not give repeated scrutiny, deep meaning, but the interpretation of the right to return that person. Daily neglected, in a secondary position that inversion becomes the main object of attention. This is not the same with the marginal thinking flow, which makes him deviate from the orthodox, far from routine, is different from the mainstream, but the real return true Life, return to Chinese architecture.
Secondly, the hermit tradition is the expression of the character of Wang Shu's critical deconstruction of architectural creation methods. Wang Shu on the traditional loss of millet Lei sad, he is far away from the traditional way but copy numb, active in the world, the innovation, from the rules, creatively opened up a tradition unique and valuable exploration he is in a way. The historical evolution of the "experimental" way of traditional buildings constitute established principles and rules for dismantling and re build, reuse and a construction of the traditional form. In the process, Wang Shutong will be the old traditional image interface, fixed combination of law and system of body composition the digestion, and re combination in retain their essence, their changes and interpretation, the traditional form of modern architecture has to transpose, double or even multiple values in space design; Wang Shu, the garden essence of profound understanding: freedom, polysemy, unreasonable superposition of some modern space, scale and function, to try to make people feel the real rich texture of the building to happiness and freedom from orthodoxy places; in the details, he re quoted and traditional organization building materials, symbols and structures of these nodes is weak discourse status of traditional elements, thus forming a new form of language, and to explore the possibility and strength of the form and function of their potential is different from normal. Wang Shushi map make the historical "waste" into a new individual, thus giving the history fragments of more active value.
Finally, the variation of the fusion of ancient and modern works of critical features of Wang Shu s character of architectural creation. With the expansion of the city and the construction of the disorder, Wang Shu inherits the critical literati character, in order to focus on the works or text of critical reflection on the city, he is good at thinking situation, carefully deal with the traditional, in the premise of abandon retro and historicism. With the past convergence and inheritance. The taste of Wang Shu construction as tour in space conversion machine, his work is exploratory, speculative, common people will give a new interpretation of architectural language, so that people feel a strong modern at the same time in the traditional artistic conception, eventually showing the order and limits of desalination time and space of the difference of the fusion of ancient and modern architectural forms. He will China traditions concerning the relationship between nature and architecture and gardening practices in scale traditional layout Type of modern translation here, the architecture and environment, architecture and architecture, the building itself with the main, large and small interaction to change, evolution system presents a translation of traditional layout relations. He stressed that no classification of architectural language of the spectrum, can be any element in the design of a dynamic and the extraordinary strength; Wang Shu has weakened the traditional and modern at the time of the clear boundaries, the same architectural scene, building facades and architectural form showing in different atmosphere and confusion differences between the actual experience of feeling in modern design; Wang Shu pays attention to the traditional component symbols, symbols of expression to the charm of texture a new order, the respect for history and not based on the premise of imitation, showing the temperament and new meaning.
This paper attempts to Wang Shu literati character creation under the critical thinking, interpretation methods and features, to form a more comprehensive and objective understanding of Wang Shu, try to explore in the new period, how should the architects in the modern architectural design, expression of traditional culture with characteristics of the times. This is not only for the local Chinese wake up the architect has an important role in how to create real "Chinese taste" works, is to guide the future direction of the development of architecture in the world.

【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】：2013
【分類號(hào)】：TU-86

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