民國(guó)建筑中設(shè)計(jì)意識(shí)現(xiàn)代性研究
發(fā)布時(shí)間：2019-04-23 21:44
【摘要】：論文研究中國(guó)現(xiàn)代建筑的起源情況,以及在特定歷史條件下,在建筑設(shè)計(jì)中表達(dá)中國(guó)傳統(tǒng)形式的必要性和可行方式。認(rèn)為"中國(guó)現(xiàn)代建筑設(shè)計(jì)"包括現(xiàn)代性和民族性兩方面。中國(guó)現(xiàn)代建筑設(shè)計(jì)意識(shí)與當(dāng)時(shí)文化思想平行對(duì)應(yīng),沿"接著講"與"照著講"兩種現(xiàn)代性道路發(fā)展。為便于分析諸建筑類(lèi)型,建立了關(guān)于建筑的體-質(zhì)-文的三層次敘述體系。"接著講"的中國(guó)建筑現(xiàn)代性體現(xiàn)分析方法,分析傳統(tǒng)建筑特征是設(shè)計(jì)基礎(chǔ)。包括兩個(gè)類(lèi)型:中國(guó)傳統(tǒng)宮殿形式現(xiàn)代化改造,以及適應(yīng)現(xiàn)代結(jié)構(gòu)、局部構(gòu)件結(jié)合傳統(tǒng)裝飾紋樣。這兩類(lèi)建筑以正面遠(yuǎn)觀的方式觀看。"照著講"的中國(guó)建筑現(xiàn)代性體現(xiàn)模仿方法,包括西方折中風(fēng)格建筑、具有現(xiàn)代主義特征的建筑,東西雜糅建筑等。移植西方折中風(fēng)格建筑同時(shí)引入了適應(yīng)高密度建設(shè)條件的近觀城市設(shè)計(jì)思想;東西雜糅建筑說(shuō)明從模仿到消化是一個(gè)過(guò)程,模仿是消化的前一階段,是"照著講"的階段;消化是"接著講"的階段。借用熊夢(mèng)飛的觀點(diǎn),對(duì)于現(xiàn)代進(jìn)程中的后發(fā)國(guó)家,都是始于模仿,終于創(chuàng)造;一面模仿追趕,一面創(chuàng)造。不同現(xiàn)代性道路可在中西調(diào)和的文化觀下,走向適合鋼骨(筋)混凝土磚石(木)混合結(jié)構(gòu)的房屋形式,具有適合這種結(jié)構(gòu)的比例和弱化的局部裝飾,是適宜的中國(guó)現(xiàn)代建筑形式。論文后部分分析了新中國(guó)對(duì)民國(guó)時(shí)期形成的現(xiàn)代建筑形式的延續(xù)。建國(guó)后,解釋建筑的語(yǔ)境發(fā)生根本變化,用階級(jí)的、群眾路線的觀點(diǎn)和話語(yǔ)解釋建筑。1955年后,在節(jié)約和反映民族形式的共同要求下,走向一種現(xiàn)代建筑設(shè)計(jì)原則,即不注重表面形式要素,而注重整體形式要素折射民族傳統(tǒng),強(qiáng)調(diào)形式表現(xiàn)新技術(shù)的真實(shí)性,考慮建筑形式與城市環(huán)境的關(guān)系。通過(guò)比較民國(guó)時(shí)期和新中國(guó)初期建筑形式,認(rèn)為盡管有解釋語(yǔ)境的根本變化,新中國(guó)建筑形式延續(xù)了民國(guó)建筑形式。說(shuō)明建筑形式的發(fā)展具有不隨解釋語(yǔ)境變化而變化的內(nèi)在規(guī)律。論文最后指出中國(guó)建筑現(xiàn)代性的特點(diǎn)。中國(guó)現(xiàn)代建筑在模仿追趕西方中調(diào)整同現(xiàn)代生活和民族傳統(tǒng)的關(guān)系,由此產(chǎn)生創(chuàng)新。中國(guó)建筑的現(xiàn)代性是具有民族特性的模仿追趕的現(xiàn)代性。
[Abstract]:This paper studies the origin of Chinese modern architecture and the necessity and feasibility of expressing Chinese traditional form in architectural design under specific historical conditions. The author thinks that Chinese modern architectural design includes two aspects: modernity and nationality. The Chinese modern architectural design consciousness is parallel to the cultural thought at that time, and develops along the two modern roads of "follow-up talk" and "follow-up talk". In order to facilitate the analysis of various architectural types, a three-level narrative system about the body-quality-text of architecture is established. The analysis method of the modernity of Chinese architecture is described, and the analysis of the characteristics of traditional architecture is the basis of design. It includes two types: the modernization of Chinese traditional palace form, and the adaptation of modern structure, the combination of local components and traditional decorative patterns. These two types of architecture are viewed in a positive and distant way. The modernity of Chinese architecture, such as the western compromise style architecture, the architecture with modernist characteristics, the mixture of the east and the west, and so on, is embodied in the imitation method of the modernity of Chinese architecture. The idea of near-view urban design adapted to the conditions of high-density construction is introduced at the same time in the transplantation of western eclectic architecture, the mixture of the east and the west explains that from imitation to digestion is a process, imitation is the first stage of digestion, and it is the stage of "telling according to the word". Digestion is the stage of going on. To borrow Xiong Mengfei's point of view, for the late-developing countries in the modern process, they all begin with imitation and finally create, while imitating catch-up and creating at the same time. Under the cultural view of harmony between China and the West, different modern roads can move towards a house form suitable for the mixed structure of steel-reinforced concrete masonry (wood), with a proportion suitable for this kind of structure and a weakened local decoration. It is a suitable form of modern Chinese architecture. The last part of the paper analyzes the continuation of the modern architectural form formed in the Republic of China. After the founding of the people's Republic of China, a fundamental change took place in the context of explaining architecture, and the views and discourses of class and mass line were used to explain architecture. After 1955, under the common request of saving and reflecting the national form, it went towards a kind of modern architectural design principle. That is, not paying attention to the surface form elements, but paying attention to the integral form elements reflecting the national tradition, emphasizing the authenticity of the new technology in the form expression, and considering the relationship between the architectural form and the urban environment. By comparing the architectural forms between the Republic of China period and the initial period of New China, the author holds that despite the fundamental changes of the explanatory context, the architectural forms of New China continue the architectural forms of the Republic of China. It shows that the development of architectural form has an inherent law that does not change with the change of explanatory context. Finally, the paper points out the characteristics of the modernity of Chinese architecture. In imitating and catching up with the West, China's modern architecture adjusts its relationship with modern life and national tradition, resulting in innovation. The modernity of Chinese architecture is the modernity of imitating catch-up with national characteristics.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：TU-092.6;TU201
，
本文編號(hào)：2463824
[Abstract]:This paper studies the origin of Chinese modern architecture and the necessity and feasibility of expressing Chinese traditional form in architectural design under specific historical conditions. The author thinks that Chinese modern architectural design includes two aspects: modernity and nationality. The Chinese modern architectural design consciousness is parallel to the cultural thought at that time, and develops along the two modern roads of "follow-up talk" and "follow-up talk". In order to facilitate the analysis of various architectural types, a three-level narrative system about the body-quality-text of architecture is established. The analysis method of the modernity of Chinese architecture is described, and the analysis of the characteristics of traditional architecture is the basis of design. It includes two types: the modernization of Chinese traditional palace form, and the adaptation of modern structure, the combination of local components and traditional decorative patterns. These two types of architecture are viewed in a positive and distant way. The modernity of Chinese architecture, such as the western compromise style architecture, the architecture with modernist characteristics, the mixture of the east and the west, and so on, is embodied in the imitation method of the modernity of Chinese architecture. The idea of near-view urban design adapted to the conditions of high-density construction is introduced at the same time in the transplantation of western eclectic architecture, the mixture of the east and the west explains that from imitation to digestion is a process, imitation is the first stage of digestion, and it is the stage of "telling according to the word". Digestion is the stage of going on. To borrow Xiong Mengfei's point of view, for the late-developing countries in the modern process, they all begin with imitation and finally create, while imitating catch-up and creating at the same time. Under the cultural view of harmony between China and the West, different modern roads can move towards a house form suitable for the mixed structure of steel-reinforced concrete masonry (wood), with a proportion suitable for this kind of structure and a weakened local decoration. It is a suitable form of modern Chinese architecture. The last part of the paper analyzes the continuation of the modern architectural form formed in the Republic of China. After the founding of the people's Republic of China, a fundamental change took place in the context of explaining architecture, and the views and discourses of class and mass line were used to explain architecture. After 1955, under the common request of saving and reflecting the national form, it went towards a kind of modern architectural design principle. That is, not paying attention to the surface form elements, but paying attention to the integral form elements reflecting the national tradition, emphasizing the authenticity of the new technology in the form expression, and considering the relationship between the architectural form and the urban environment. By comparing the architectural forms between the Republic of China period and the initial period of New China, the author holds that despite the fundamental changes of the explanatory context, the architectural forms of New China continue the architectural forms of the Republic of China. It shows that the development of architectural form has an inherent law that does not change with the change of explanatory context. Finally, the paper points out the characteristics of the modernity of Chinese architecture. In imitating and catching up with the West, China's modern architecture adjusts its relationship with modern life and national tradition, resulting in innovation. The modernity of Chinese architecture is the modernity of imitating catch-up with national characteristics.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：TU-092.6;TU201
，
本文編號(hào)：2463824
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