1、當代建筑美學思維兼容性問題探討中英文對照.Contemporary architecturalaesthetics thinking of compatibility issues to explore contrast in both Chinese and English【關鍵詞】建筑設計形體表達色彩配置價值取向審美思維時空觀念文化模式key words 】 building design expression profile form aesthetic thinking time-space cultural value orientation model【摘要】在漫長的建筑發展過程中

2、 ,經歷了許多次的轉變 ,但無論哪一次轉變 ,都不僅僅是因為幾個具有代表性的建筑物的出現 ,其根源在于科技、社會、經濟、人文、交通等諸多方面的發展從而引發的建筑美學觀念和價值體系的轉變。pick to 】 during the long construction development process, has experienced many times of change, but no matter what a transformation, is not just because of the emergence of several representative buildings

3、, its root cause lies in science and technology, social, economic, cultural, transportation, the development of many aspects, such as triggering the architectural aesthetics of the transition of the concept and value system.引言0 the introduction在第二次世界大戰后 ,建筑審美開始了新一輪的趨同。這個時期整個人類社會表現為工業文明的高速發展和科學技術的突飛猛

4、進。經濟和文化都突破了國界 ,形成了世界范圍空前的大融合 ,因此現代建筑運動超越了國界和文化圈 ,現代主義所產生的國際式建筑迅速統一了全世界的建筑語言。這是一次建筑美學的大趨同 ,并在發展中完成了其建筑理論框架的建構 ,從而建筑創作活動以及對建筑的欣賞與評價均以此為參照系統 ,其作用和影響至今還能夠從許多新建的建筑中體現出來。可是很快這種國際式建筑風格在人們眼中就由美變丑了。從接下來的幾十年到現在 ,建筑美學都在努力掙脫現代主義建筑的模式化束縛 ,朝著多元的方向發展。人們也試圖透過當前多元化的樣態發掘一個正在萌芽狀態的、類似于現代主義之初的新事物,這表達了人們對一個確定或可能確定的 “普適 ”

5、法則的期待與追求。然而,普適法則所依賴的 “普適情境 ”卻無法當今找到。During the second world war, the building aesthetic began a new round ofconvergence. This time the whole human society characterized by the rapid developmentof modern industrial civilization and science and technology by leaps and bounds.Economy and culture to bre

6、ak through the border, has formed the unprecedentedconfluence, the world of modern architecture movement beyond national boundaries andculture, international type produced by modernism building unified architecturallanguage around the world quickly. This is a great convergence of architectural aesth

7、etics,and its construction was completed in developing the construction of theoreticalframework, that architectural creation activity and appreciation and evaluation ofbuildings is as a reference system, its function and influence can still be reflected fromthe many new buildings. But the internatio

8、nal architecture style in peoples eyes quicklyby the beauty and ugly. Since the next decades, architectural aesthetics are hard to breakfree from the shackles of modernism architecture modeled, in the direction of thediversified development. People are trying to through the form exploring a diverse

9、is thebud, similar to modern socialism at the beginning of the new things, it expressed thepeople to a certain or possible to determine the expectation and pursuit of universalrules. Universal laws, however, rely on the universal scenarios are unable to find today.構成 :規則與無序并存1: rules and disorderly“

10、序 ”指事物或系統要素之間的相互聯系以及這些聯系在時間、空間中的表現 ; “無序 ”是指事物或系統要素間無規則的排列、組合、運動或變化”。在建筑審美領域 , “規則 ”對應著理性、同一、總體化; “無序 ”則對應非理性、異質、非總體化。現代主義建筑的幾何和純凈主義美學基本上是以一種“理性 ”來調控和引導建筑美學的走向的 ,為了在不同種族的人類之間進行溝通和了解,確實需要某種共同的價值標準、共同的理想和共同的情感。理性主義運用到極限以后,就極易流于程式。原來現代建筑大師在建筑創作上的鮮明個性特色,經長期沿用和各地效仿 ,到后來就變成千篇一律的教條 ,使人感到枯燥單調。把價值建立在最少變化和最趨穩

11、定的普適類型上 ,這樣就不可避免地導致簡單的形式。在當今這個信息時代,不同學科之間的互滲和交融比任何時代都更加頻繁和顯著,當代哲學、尤其是后結構主義或解構主義哲學對建筑有著明顯的影響。Order means a thing or mutual connection and the connection between systemelements in time and space; Disorderly refers to things or random arrangement,combination between system elements, movement or change.

12、 in the field of architecturalaesthetics, rules corresponds to the rationality, the same, general; Disorder iscorresponding to the irrational, heterogeneous, not overall. The geometry of modernistarchitecture and pure aesthetics is basically a rational to regulate and guide thedirection of the archi

13、tectural aesthetics, in order to communicate between the differentRACES of human and knowledge, do need some sort of common values, common idealsand common emotion. After applying to the limit, rationalism is easy to into the program.The original masters of modern architecture in architectural creat

14、ion is distinctpersonality characteristics, the long-term use and follow around, and then becomes a one-size-fits-all doctrine, make the person feels boring and drab. The value is based on theleast change and most steadyuniversal type, so it inevitably leads to a simple form. In todays information a

15、ge, the mutual infiltration and blend between different subjects are more frequent and significant than any era, modern philosophy, especially after structuralism and deconstruction philosophy has a significant effect on structures.從現代建筑解脫于學院派的禁錮到現代主義的自我完善、以至20 世紀中葉以后多風格、多流派、多種建筑思潮的涌現和并存,都反映了人的主體意識的

16、不斷覺醒 ,與當今世界文化的多元化潮流同出一源。大多數建筑師希望能夠通過提高建筑師的關注力、知覺和選擇的能力,充分發揮建筑師的自主性和表現自我差異性的能力 ,把非理性的、具體的自我存在放在先于一般理性本質的地位,希望建筑能用自己特殊的語言同總體性抗衡。但在這種思想的支配下,設計常以自我表現為目的,往往忘卻了建筑與公眾的交流,甚至忘卻了基本的功能需求,表現出各行其是的蕪雜。From modern architecture in academic imprison to self-perfection, to the middle of the 20th century modernist sty

17、le, genre, and the emergence of a variety of architecture, reflect the awakening of peoples subjectivity, and is of the same source cultural diversity in todays world trend. Most architects hope to by raising the architects attention, perception and the ability to choose, give full play to the archi

18、tects autonomy and the ability to self expression differences, placed the irrational and concrete itself ahead of the general status of the nature of the rational hope to compete with the overall architecture can use their own special language. But it is in this spirit under the control of the desig

19、n often for the purpose of self-expression, often forgotten building communication with the public, and even forget the basic functional requirements, and show the chart here.“當代建筑審美之所以出現無序的構成而貶損作為現代性之核心的理性 ,其根本動機源于一種打破規則、拆解中心,建構充滿自由精神、富有個性色彩的美學的沖動”;建筑創作的變革往往都是以審美思維的變革為先導的。從現代.主義以后進發的流派來看 ,主要有 “野性主義

20、、光亮式、新古典主義、隱喻主義、后現代主義、晚期現代主義、高技派、新鄉土派、新傳統派、新自由派、新理性主義、解構主義、奇異建筑、新構成主義等多種傾向,有的是自稱、有的是書刊評論”;雖名目繁多 ,但區分并不嚴格 ,更側重于以各種手法展示自我。近年來派別的名稱叫法漸漸平息 ,但他們的實踐大大增強 ,在我國也進行各種新的嘗試。The composition of contemporary architecture aesthetics is a disorderly and derogatory rationality as the core of modernity, a break the ru

21、les, is the basic motive which dismantling center, building full of free spirit, rich individual character colour aesthetic impulse; Architecture design changes often are the change of aesthetic thought as the guide. Moved from modern. After school, mainlyhas the wild, light type, new classicism, me

22、taphor, postmodernism, late modernism set, high technology and new vernacular, the new tradition, the new liberals, the new rationalism, the deconstruction, strange structures, a new constructivism, etc, have a plenty of themselves, have a plenty of books and periodicals comments; Is various, but di

23、stinction is not strict, more focused on in a variety of techniques to show themselves. Factions in recent years, as the name of the subsided, but greatly enhance their practice, in our country and to try new things.以“無序 ”來對抗 “規則 ”,從理論上說的確不失為一種逃離總體化或程式化的美學策略 ;從實踐來說 ,已經、且還將對建筑創作帶來許多影響。但“無序 ”往往會把建筑師引向

24、一個追求建筑造型“新、奇、特 ”的極端。如果說建筑是一門藝術,那么它是一門極其昂貴的、實用的、與科技緊密相關的藝術,極端的無序不僅不會給建筑創造美 ,而且往往會損害建筑本身。“規則 ”依舊反映在大多數人的建筑審美中,同時伴隨著 “無序 ”的萌動 ,產生了多元化的構成格局。Disorderly against the rules, in theory it can yet be regarded as a kind of escape from overall or stylized aesthetics strategy; From practice, has been, and will b

25、ring a lot of influence of architectural creation. But disorderly tend to be the architect to a pursuit of architectural modeling of new, strange, special extreme. If architecture is an art, it is an extremely expensive, practical, closely related to science and technology, art, extreme disorder, no

26、t only to create beauty construction, and often will damage the building itself. Rule is still reflected in the architectural aesthetics of most people, at the same time accompanied by germinating disorderly, created a diverse composition.樣態 :明晰與混沌共生Symbiotic status 2: clear and chaos混沌學所蘊涵的深刻的洞察力和對

27、傳統思維的顛覆力,使建筑師以建筑自身的復雜性和多元性來構建聚落形態的復雜性和多元性,混亂與秩序并存 ,片段性與整體性同在。充分尊重客觀現實的復雜性,并依據客觀現實重構和模擬這種展示非確定性和不可預見性空間的精神,也正體現了混沌理論的精神。混沌思維賦予建筑師一種更加自由的創造精神 ,在靜止與運動、確定與變化這樣一些對立項之間,建筑師可以根據需要進行自由選擇,甚至雙極選擇 ,創造出更靈活、更富有有機性和更符合當代審美需求的建筑聚落。混沌思維給當代建筑聚落設計帶來了新的機遇,然而 ,需要指出的是 ,雖然混沌思維作為機械論模式的對立面受到當代建筑師的重視 ,但同在其他領域中一樣 , “明晰 ”仍然在發

28、揮它應有的作用。從動態的觀點來看 , “混沌態是一種臨界狀態 ,在一個層次上的混沌可產生另一個層次上的明晰 ”。從自組織系統的角度來討論建筑聚落 ,由混沌到明晰、再由明晰到另一個層次的混沌是系統發展的必然。Chaos study contained profound insight and subversion of traditional thinking, make the architectin building its own complexity and diversity to build settlements form the complexity and diversity,

29、 chaos and order, fragmentary with integrity. Fully respect the complexity of the objective reality, and on the basis of objective reality reconstruction and simulation show this kind of uncertain and unpredictability of spirit, is also embodies the spirit of the chaos theory. Chaos thinking gives a

30、rchitects created a more liberal spirit, in determining static and motion, and change some between the project, architects can choose according to need to be free, even bipolar, create a more flexible, more rich in organic and more accord with contemporary aesthetic demand of building settlement. Ch

31、aos thinking settlements to contemporary architecture design has brought new opportunities, however, it should be pointed out that, although the chaos as the opposite of mechanistic model of thinking brought to the attention of the contemporary architects, but also in other fields, clear continues t

32、o play its proper role. From the dynamic point of view, chaos state is a critical state, at a level of chaos can produce another level of clarity. From the Angle of self-organization system, to discuss settlement construction, from chaos to clarity, again by clear to another level of chaos is the ne

33、cessity of developing the system.追求 :發展與回歸相通3 pursuit: development and regression are interlinked作為建筑審美的發展 ,人類中心論被逐漸打破。在當代人類世界有兩種相關的危機 :第一種是最直觀的危機是環境的危機 ;第二種更微妙 ,也同樣是致命的 ,這就是人類自身的危機 人類與自己的聯系、與所有包圍人類的一切關系的危機 ,還有和地球上各個群體之間的關系危機。這兩個危機是緊密聯系著的。如何恢復人與自然之間正常而和諧的關系、在人與自然生物及其環境之間建立一種平衡、為子孫后代留下一個不受污染的綠色生存空間等問

34、題 ,以前所未有的嚴峻性擺在了當代人的面前。“現代工業的發展使城市的交通、能源、治安、住房等 ,全然陷入了一種惡性循環狀態 ,城市的文化風尚、價值體系、生態環境的日益惡化以及由此帶來的人與人、人與自然的隔膜 ,迫使人們迫切希望離開城市 ,回歸自然、回歸鄉野 ,這或許來自于一種懷舊情感和浪漫情懷 ,當然 ,也可以是一種來自于建筑審美的沖動 ”。As an architectural aesthetic development, the anthropocentrism is gradually broken. In contemporary human world there are two r

35、elated crisis: the first is the most intuitive is the crisis of environment crisis; The second is more subtle, is equally deadly, this is the crisis of human - human beings with their own contacts, and the crisis of all surrounded by the human relations, and the relationship between the groups on th

36、e earth. The two crises are closely linked. How to restore normal and harmonious relationship between man and nature, between man and nature in establishing a balance between organisms and their environment, for future generations left a not contaminated green living space, with unprecedented severi

37、ty before the modern people. The development of modern industry makes urban traffic, energy, security, housing, etc., all in a vicious circle situation, urban culture and habits, value system, the increasing deterioration of the ecological environment, and the resulting human, human and the nature o

38、f the diaphragm, forcing people desperate to leave the city, return to nature, return to country, it may comefrom a kind of nostalgia and romance, of course, can also is a kind of from thearchitectural aesthetic impulse.哲學家和生態學家們認為 ,要切實解決人與自然的關系問題 ,必須以一種有機論和生態平衡論取代 “人是宇宙的精華和萬物的靈長 ”這種人類優越論。與其去征服自然 ,不

39、如學習如何保護自然 ,如何保持同自然的平衡、協調。如果在發展過程中認識到自然 “可持續 ”被榨取的限度 ,把眼前利益同長遠利益結合起來 ,把局部利益同整體利益結合起來 ,把人類的發展同人類以外的自然生物的發展協調起來 ,認識到自然的價值決非只是人的工具的價值 ,那么人類與自然的和諧將成為一種可能。建筑聚落作為自然中的一個有機系統 ,其中每一個生命體都和自己的種群、其他的種群以及非生物的環境有著某種程度的關聯。Philosophers and ecologists believe that we need to solve the problem of the relationship betw

40、een human and nature, must be replaced by an organic theory and the ecological balance theory is the essence of the universe and everything the spirit of the superiority of human beings. Rather than go to conquer nature, let us learn how to protect nature, how to preserve the natural balance and coordination. If you realize that nature in the development of sustainable is to extract the limits of the immediate interests with long-term interests, the local interest and overall interests, the development of the human and non-human n