上海兰心大戏院建筑研究

20世纪20~30年代是中国近代剧院建筑繁荣发展的阶段,这一时期上海、天津、北京等许多大城市新建了一批水平较高的剧院。这些剧院的建筑设计、技术设备和施工质量都已接近当时国际上的先进水平。上海的兰心大戏院曾作为中国大陆近代史上第一座西式剧场建筑,具有重要的历史意义,在当时具有较大影响。现存的兰心大戏院则反映了20世纪初上海建筑的技术水平和艺术风格。1994年,兰心大戏院被上海市公布为优秀历史建筑。该文在现场调查和文献收集的基础上,分析了兰心大戏院的历史背景、平面布局、结构设计、建筑风格、细部装饰等。     

探索一条通向中国现代建筑的道路——黄毓麟的设计及教育思想分析

20世纪20年代末至50年代初,中国通过各种途径逐渐受到西方蓬勃兴起的现代主义建筑思想的影响,其主流的"布扎"教育和设计体系也在发生相应转变。文章以40年代后期受教于实施"布扎"体系的之江大学建筑系、50年代初活跃于建筑设计领域的建筑师和教育者黄毓麟(1926-1954)的设计作品为例,分析他在探索现代建筑过程中所具有的特点。论文一方面剖析"布扎"体系在黄毓麟作品中所呈现的基本特征,揭示该体系的本质和核心思想,另一方面考察西方现代建筑如何通过各种方式对于"布扎"教育体系背景的建筑师产生影响,并进而阐述这些思想对于"布扎"体系本身的影响和作用。     

中国民居的特征及其在现代建筑中的借鉴与运用

建筑现代化的涵义，它主要指建筑功能、建筑技术上的现代化，途径是建筑满足现代化生产和生活需要，采用最新科学技术成就。建筑民族化主要指建筑具有本国家本民族本地区的特色。途径是传统建筑现代化和外来建筑民族化。我国传统建筑分为官式的和民间的两大体系。民居，作为传统建筑具有明显的地方特色和浓厚的民族特色。从民居的历史实践中，总结出它的优秀特征和经验，可以在现代建筑创作中加以借鉴和运用，它对我国建筑创作的现代化民族化道路将有启发作用和现实意义。     

立体主义与建筑美术教育研究

立体主义是20世纪西方最重要的先锋艺术运动,它对后来各种现代派艺术都产生过不同程度的影响。并有力地推动了现代建筑运动的发展。建筑造型总体上的立体主义化是20世纪现代主义建筑风格的一个重要特征,随后演绎出各种形形色色的“主义”。目前,中国建筑美术教育依然主要参照自欧洲文艺复兴以来确立的审美理论和基本准则,造成了建筑美术教育与现代建筑观念上的缺失,回顾立体主义的产生和演变,反思今天的建筑美术教育是本文探讨的重点。     

天津中国大戏院建筑研究

20世纪20年代-30年代,是中国近代剧院建筑繁荣发展的阶段,上海、天津、北京等许多大城市在这一时期新建了一批高水平的剧院.这些剧院的建筑设计、技术设备和施工质量都已接近当时国际上的先进水平.天津的中国大戏院就是这些剧院中的典型代表,在当时具有较大影响,反映了20世纪初天津现代建筑的设计、技术水平和艺术风格.该戏院现保存完好,在1997年被公布为天津市文物保护单位.该文在现场调查和文献收集的基础上,分析了中国大戏院的背景和历史、选址和区位、风格和立面、平面和流线、结构和剖面、装饰和门窗等.     

街景人情 ——香港老区民居建筑及街貌保护与活化发展

在20世纪初,英国政府为她管治的香港订立了一套划时代的《建筑及公共卫生条例》,将当时英国最先进的结构及卫生标准,融合华人起居模式与岭南营造技术,演变出一类当年特色的建筑类型,称为“唐楼”,是日战之前香港华人的主要民居建筑。我国民居研究一向偏重传统村镇的建筑,鲜有将香港20世纪初外观或工艺不起眼的市区民间屋宅纳入。然而经过分析其背景及设计,就发现“唐楼”其实是结合中西民居文化理念的历史先锋。此外,文章通过研究 “唐楼” 的价值和特色,探讨如何保护及展示其特色,以见证重要的建筑历史阶段,希望可以填补我国近代民居研究的空缺。文章亦将分析香港近年几个活化再用的唐楼项目,尝试为近代都市华人民居的可持续发展寻找新的路向。     

A typological,environmental and socio-cultural study of semi-open spaces in the Eastern Mediterranean vernacular architecture: The case of Cyprus

Semi-open spaces – largely incorporated in vernacular dwellings in Cyprus during the 19th and 20th centuries – formed diachronically significant socio-cultural, functional and environmental features of the vernacular architecture of the area. The climate of the Eastern Mediterranean region, i.e., hot summers and mild winters, encouraged the use of open weather protected spaces, thus leading to the widespread incorporation of such spaces in the vernacular architecture of the region. This paper focuses on the interconnections between architectural forms and human comfort, convenience or pleasure in relation to the semi-open spaces found in the vernacular architecture of Cyprus – an island in the Eastern Mediterranean region. For the purpose of this research, characteristic traditional settlements found in the coastal, lowland and mountainous areas – which represent three different climatic regions and topographies of the island – were selected for an in-depth investigation. The findings confirm a high frequency of semi-open spaces, as well as the existence of a remarkable richness of typologies. Although semi-open spaces constitute a fundamental part of the structure of these vernacular dwellings in all climatic regions examined, they dominate in the lowland regions due to the particularly hot climate, as well as the specific activities of the inhabitants of these areas. The prevailing architectural forms and constructions of these spaces in each climatic region under investigation was found to be closely adapted to the local resources, terrain and climate, while also being related to the social, household and agricultural needs of the inhabitants, thus underlining their sustainable and locus-specific conception. Research findings can contribute towards critically re-thinking semi-open spaces and their inherent value in rehabilitation projects, as well as in contemporary residential architecture.     

Kuwaiti architectural modernity: an unfinished project

This paper examines Kuwait's unfinished modern project, its architectural heritage, the actors that mobilised and decided its trajectory, and some of the factors that interrupted its path to completion. This broad critique, with a special focus on architecture and the city, draws from debates on top-down planning to map the evolution and initial celebration of al-`Imārah al-Hadītha, or modern architecture, followed by its slow erasure through acts of demolition. Focusing on the period from 1950 to 1980, this study provides a critical reading of Kuwaiti modern heritage and suggests a sustainable approach towards its conservation. The paper argues that the destruction of Kuwait's modern heritage erodes progressive socio-cultural values tied to a mid-twentieth century architectural debate on authenticity, identity and modern self-expression. It also contributes to architectural histories of modernity and bridges the gap between those in the established canon and ones outside its margins.     

台湾地域主义建筑发展历程

地域主义是台湾近现代建筑发展过程中相当特殊的一种现象,本文回顾了从19世纪末西方传教士引进的地域主义,历经日本统治时期、战后20世纪50～90年代,以至21世纪不同阶段的地域主义建筑发展特色。     

重构建筑学与国家的关系：中国建筑现代转型问题再思

在中国,无论是古代还是现代,国家与建筑活动都有着密切的联系。但是这一关联的现代转变及其影响至今在中国建筑史研究中还鲜有讨论。本文考察19世纪中叶以来,在中国现代化过程中国家性质的变化对中国现代建筑专业的影响。文章论证,在近代中国,伴随着外来势力和文化在中国影响的扩大,多元的公民社会出现并成为建筑商品化和多元化建筑价值取向的基础。在这个过程中建筑的话语权的把持者,即建筑职业标准和审美评判的主体也发生了变化,建筑师职业在中国社会分工中的独立。传统国家与建筑业的主宰与被主宰关系被以租界为代表的管理与被管理关系取代,建筑形式从传统等级社会的制约下获得了发展的自由。20世纪20年代之后新的民族国家的建立不仅延续了外国租界对于建筑活动的法制化管理方式,还出于国家认同和改造国民的需要,推动了建筑中关于民族风格的探索以及对于政府行政建筑、纪念物和国民教育空间等特殊类型建筑的建造。国家与建筑学形成一种利用与被利用的关系。20世纪50年代以后,限于当时的建设条件,国家与建筑再次经历了主宰与被主宰的关系,改革开放所带来的经济和社会多元化格局为中国建筑业的繁荣提供了新的条件,国家正在重建与建筑之间管理与被管理、利用与被利用的关系。     

“得州骑警”与“九宫格”练习的发展

在现代建筑设计和教学思想的发展中,20世纪50年代的"得州骑警"重新回顾现代建筑空间形式的基础,探索系统的教授现代建筑的方法,形成了以"九宫格"练习为代表的,现代建筑设计与教学的新的学科规训基础。在"得州骑警"对现代建筑设计与教学的研究中,20世纪20年代的"多米诺"结构和"空间构成"这两个现代建筑的重要图式为其界定了办学背景,以柯林·罗为代表的战后形式主义研究则展开了对单纯功能主义设计方法的批判。在这些基础上,相继在画家斯路茨基和建筑师海杜克等人的工作室中,逐渐由抽象形式到具体建造,发展出"九宫格"练习,和一套"装配部件"式的设计方法,并与"建筑分析"练习、"方盒子"练习等一起,开辟了战后现代建筑设计与教学的一个重要源流,产生了广泛而深远的影响。     

水窖影响下的晋东民居及其当代变迁研究# ——以上、下董寨为例

在现场调查和测绘等实地工作的基础上,本文运用人居环境科学和乡土建筑等跨学科理论的研究方法,将传统民居看作是一个包含基础设施、空间、建筑等部分的整体系统,从地域性的水窖供水技术对传统民居影响的角度,就晋东传统民居的建筑院落布局、功能布局、单体建筑形式、院落铺装及坡度处理等方面对晋东民居的地域性特征进行了深入分析,并进一步讨论了水窖供水系统影响下晋东当代民居的发展变迁问题。     

上海大光明大戏院建筑研究

20世纪20~30年代,是中国近代剧院建筑繁荣发展的阶段,这一时期上海、天津、北京等许多大城市新建了一批水平较高的剧院。该文在现场调查和文献收集的基础上,对大光明大戏院进行研究。分析了大光明大戏院的建设背景、选址规划、平面设计、立面设计、剖面设计、建筑风格、细部设计等。作为上海近代老剧院的典型代表,大光明大戏院真实反映了20世纪30年代上海近代剧院建筑的技术水平和建筑艺术风格。其建筑的艺术魅力对于研究中国近代剧院建筑有着一定的历史意义和学术价值。     

Field assessment of thermal behaviour of historical dwellings in France

In many countries, there is a great number of old buildings with local architectural, patrimonial, aesthetic and historic interest. They are the products of the vernacular traditional architecture fully integrating the environmental, social and economic local constraints.Moreover, this built inheritance is more heterogeneous than the modern stock of existing buildings. The historical buildings were built with different architectural designs featuring local styles of construction, different techniques and historical expertise.By experience, the actors of the building sector know that the thermal behaviour of historical buildings are not those of modern buildings set up at the time of the industrial period. However, they do not have assessed these specific thermal characteristics of historical buildings.This paper describes the complexity of architectural designs of historical dwellings in France. A field investigation during one year highlights various thermal characteristics of 11 dwellings. It provides a new understanding of thermal behaviour of these historical dwellings. The results show the thermal characteristics of historical dwellings and their differences with modern architecture.     

西方建筑文化对梅州传统民居的影响

西方建筑文化在19世纪与20世纪对梅州传统民居产生了一定的影响,这种影响有其深刻的历史根源和社会背景。传统民居建筑受其影响在建筑结构、立面和材料使用上均有一定程度的改变,同时这批传统民居的平面形式和室内装饰仍旧保留了本地区特征,并对这种兼容吸收现象进行了分析。     

近百年西方建筑思潮与流派的演化与发展

文章从建筑的内涵出发,探讨了建筑思潮及建筑流派的演化规律,并以现代主义思潮为主线,对19世纪上半叶至20世纪末的主要建筑思潮及建筑流派进行了梳理。在此基础上,对新世纪的建筑发展趋势进行了展望。     

Developing prototypes for France’s mass housing programme, 1949–53

The results of two key competitions run by the French Ministry of Reconstruction and Urbanism in 1949 and 1950 have long been regarded as prototypes for les grands ensembles, the large mass housing developments of the 1950s and 1960s. Claudius‐Petit, the minister (1948–52) and a strong supporter of modern architecture, believed that industrialization would raise both the quality and the volume of housing construction. The competitions, one for 200 dwellings at Villeneuve‐Saint‐Georges and the other for 800 in Strasbourg, were judged large enough to attract the interest of contractors working in the public works sector and capable of developing industrialized building techniques. In each competition the winning project, though able to satisfy the technical demands of the competition, won because of its architectural qualities, while the second place project addressed the issues of production more comprehensively. However, the subsequent development of mass housing in France has caused the legacy of the competitions to be identified with the mainstream emphasis on production and economy, bitterly attacked from the late 1950s onwards. This has overshadowed that combination of architectural and technical values, central to Claudius‐Petit’s vision for post‐war housing, which was embodied in the two winning projects.     

汉口里分研究之七：咸安坊

该文从20世纪初成安坊开发与建设的背景入手，总结出该里分紧凑新颖的规划布局形式，灵活多变的户型平面和建筑形态，以及开放的居住社区管理模式，展现出1920年代汉口高档里分住宅的独特风貌，以期对当今高尚住区的规划与管理提供有益的借鉴。     

雅典──马丘比丘──北京──热烈祝贺国际建协第20届大会的召开!

《世界建筑》杂志热烈欢迎国内外建筑界同行和师生光临北京,衷心祝愿国际建协第20届大会圆满成功！本世纪建筑理论与实践、技术与文化均从传统走向现代,实现了建筑学、城市规划学与景观学的综合与完善。《雅典宪章》和《马丘比丘宪章》是建筑与城市建设史的里程碑,希望第20届大会通过的《北京宪章》也成为本世纪建筑发展史中最重要的篇章之一。     

Architect Robert Fan Wenzhao and the design of Chung Chi campus

In about 1949, there was a large-scale migration of architects from the mainland to Hong Kong, China. Among them were those important figures in the modern Chinese architectural history such as Robert Fan, Su Gin-Djih, and Chu Pin. Their arrival at this colony had changed its architectural practice substantially from professional organization to actually built environment. Their unique contributions to Hong Kong’s modern architecture have been a new research interest in recent years. This paper tells a story about Robert Fan and his design of the Chung Chi College campus in the 1950s with an intention to reveal the multiaspects of the so called “migrant architects” through a single architectural event. The author tries to capture the intertwining relationship between the migrant architects and educators through the reconstruction of the recruitment process for a campus architect by Chung Chi College and to identify Mr. Robert Fan’s concept of campus planning with reference to his early design experience in the mainland of China.