本文選題：王澍 + “非主流”建筑師��； 參考：《昆明理工大學(xué)》2013年碩士論文

【摘要】：中國(guó)當(dāng)代社會(huì)經(jīng)歷了高速的經(jīng)濟(jì)發(fā)展時(shí)期,建筑學(xué)科也迎來(lái)了前所未有的發(fā)展,并取得了舉世矚目的成就。但是在這些成績(jī)背后,還隱藏著很多亟待解決的問(wèn)題：建筑學(xué)科面臨著全球化與地方化、文化傳承與科技發(fā)展之間的矛盾。自改革開(kāi)放以來(lái),中國(guó)建筑的發(fā)展日新月異,西方的后現(xiàn)代主義、晚期現(xiàn)代主義、解構(gòu)主義以及批判地域主義建筑思潮不斷地涌入,使得新興的建筑樣式頻頻出現(xiàn)。除了上述的建筑思想在國(guó)內(nèi)蔓延之外,境外建筑師也開(kāi)始在中國(guó)建筑市場(chǎng)屢現(xiàn)身影,使得城市面貌和建筑形式達(dá)到從未有過(guò)的繁雜,國(guó)內(nèi)建筑師以及建筑呈現(xiàn)出一片茫然的狀態(tài)。 2012年王澍榮獲普利策建筑獎(jiǎng),中國(guó)建筑師的實(shí)踐探索首次被世界肯定,并給國(guó)內(nèi)的盲目建設(shè)敲響了警鐘。王澍在繼承現(xiàn)代主義思想精髓的基礎(chǔ)上,立足本土傳統(tǒng),創(chuàng)造出極富地域特色的現(xiàn)代建筑；他以獨(dú)特的建筑語(yǔ)言和思考方式回應(yīng)現(xiàn)實(shí)世界以及國(guó)內(nèi)的種種變革與矛盾,實(shí)現(xiàn)了中國(guó)傳統(tǒng)文化在建筑中的現(xiàn)代轉(zhuǎn)譯。因此,對(duì)于王澍的建筑創(chuàng)作進(jìn)行解讀和分析是必要的,而且具有深遠(yuǎn)的現(xiàn)實(shí)意義。 本文以王澍的成長(zhǎng)經(jīng)歷為主線,深入探討他的建筑觀及其建筑設(shè)計(jì)方法。王澍的成長(zhǎng)經(jīng)歷大致分為三個(gè)階段：?jiǎn)⒚膳c求學(xué)時(shí)期、研究與思考時(shí)期以及實(shí)踐與探索時(shí)期。就實(shí)踐與探索時(shí)期而言,王澍通過(guò)借鑒傳統(tǒng)建筑形制以及傳統(tǒng)空間組織方式來(lái)進(jìn)行建筑布局以及空間序列組織,進(jìn)而體現(xiàn)出傳統(tǒng)文化的氣息和神韻；通過(guò)對(duì)建筑材料“建造技術(shù)”與“建構(gòu)藝術(shù)”的轉(zhuǎn)換,將建筑的工程性與人文藝術(shù)性聯(lián)系在一起,從而表達(dá)出對(duì)傳統(tǒng)的尊重和傳承；通過(guò)借鑒傳統(tǒng)建筑的外在形式以及傳統(tǒng)符號(hào),表達(dá)新的建筑形象。 本文在研究王澍建筑觀及方法論的基礎(chǔ)之上,對(duì)以他為代表的“非主流”建筑師以及境外獲獎(jiǎng)建筑師在中國(guó)的創(chuàng)作實(shí)踐進(jìn)行個(gè)案研究,并對(duì)王澍與中外建筑師進(jìn)行了四個(gè)方面的比較：對(duì)待傳統(tǒng)文化的態(tài)度、建筑空間的處理、技術(shù)手段的運(yùn)用以及建筑形式的處理。 本文經(jīng)過(guò)對(duì)王澍以及與王澍相關(guān)建筑師的分析比較,思考具有“中國(guó)建筑特色”的創(chuàng)作之路和對(duì)建筑專業(yè)學(xué)生的培養(yǎng)方向。中國(guó)建筑應(yīng)該朝著與地理、人文、技術(shù)、經(jīng)濟(jì)等條件相契合的地方建筑的方向發(fā)展；建筑師在提升專業(yè)能力的同時(shí),還應(yīng)該全面提升自身的綜合素質(zhì),其中包括社會(huì)責(zé)任感的增強(qiáng)以及團(tuán)隊(duì)協(xié)作意識(shí)的提高等方面；建筑教育則應(yīng)強(qiáng)調(diào)對(duì)學(xué)生專業(yè)素養(yǎng)的培養(yǎng),重點(diǎn)注重其人文素養(yǎng)、創(chuàng)新理念以及藝術(shù)修養(yǎng)的提升。
[Abstract]:China's contemporary society has experienced a period of rapid economic development, architecture has ushered in unprecedented development, and has made remarkable achievements. But behind these achievements, there are still many problems that need to be solved urgently: the architecture subject faces the contradiction between globalization and localization, cultural heritage and the development of science and technology. Since the reform and opening up, the rapid development of Chinese architecture, the western post-modernism, late modernism, deconstruction and criticism of regionalism architectural trend of thought constantly influx, making the emerging architectural style frequently appear. In addition to the spread of the above-mentioned architectural ideas in China, foreign architects have also begun to appear repeatedly in the Chinese construction market, making the city look and architectural forms more complicated than ever before. In 2012, Wang Shu won the Pulitzer Prize for Architecture, and the practical exploration of Chinese architects was recognized by the world for the first time and sounded a wake-up call for blind construction in China. On the basis of inheriting the essence of modernism thought and based on the local tradition, Wang Shu creates modern architecture with extremely regional characteristics, and responds to the real world and all kinds of changes and contradictions in China with his unique architectural language and way of thinking. It realizes the modern translation of Chinese traditional culture in architecture. Therefore, it is necessary to interpret and analyze Wang Shu's architectural creation. Taking Wang Shu's growth experience as the main line, this paper probes into his architectural view and architectural design method. Wang Shu's growth experience is divided into three stages: the period of enlightenment and study, the period of research and reflection, and the period of practice and exploration. In the period of practice and exploration, Wang Shu uses the traditional architectural form and the traditional spatial organization to organize the architectural layout and space sequence, and then reflects the flavor and charm of the traditional culture. Through the transformation of "construction technology" and "construction art" of building materials, the engineering and humanism of architecture are linked together, so as to express the respect and inheritance of tradition; Through drawing lessons from the external form of traditional architecture and traditional symbols, express the new architectural image. Based on the study of Wang Shu's architectural view and methodology, this paper makes a case study of the "non-mainstream" architects represented by Wang Shu and the creative practice of foreign award-winning architects in China. The author also compares Wang Shu with Chinese and foreign architects in four aspects: the attitude towards traditional culture, the treatment of architectural space, the application of technical means and the treatment of architectural forms. Based on the analysis and comparison of Wang Shu and related architects, this paper thinks about the road of creation with "Chinese architectural characteristics" and the training direction for the students majoring in architecture. Chinese architecture should develop in the direction of local architecture that is compatible with geography, humanities, technology, economy, and so on. Architects should upgrade their professional abilities while improving their overall quality. It includes the enhancement of the sense of social responsibility and the improvement of the sense of teamwork, while the education of architecture should emphasize the cultivation of students' professional literacy, focusing on the promotion of their humanistic literacy, innovative ideas and artistic accomplishment.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：TU201

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