A thousand youth clubs: architecture,mass leisure and the rejuvenation of post-war France

The relationship between mass leisure and architecture has too often been conceptualised unevenly. The canonical story of post-war France holds for example that politicians drafted heroic and encompassing leisure programmes that were subsequently ‘concretised’ by architects in their designs. Architecture figures in these histories as a passive portrayer of political ideas, as merely a mute accommodator of mass leisure programmes.

In this article I want to suggest a more active role for architecture. I will develop two hypotheses. First, within the context of post-war France the concept of ‘mass leisure’ did not correspond to a pre-given definition of functions or programmes, nor to a well-established set of practices, that had to be housed, accommodated or staged by architecture and urban planning. On the contrary, mass leisure was a newfangled category that needed to be established and defined – and this took place through intense engagement with architecture. In other words, architects and architecture had an active role in the definition of mass leisure that reached far beyond an accommodating capacity. Secondly, architecture for mass leisure often had the function of a laboratory and fulfilled a paramount role in architectural culture. Within projects for mass leisure new architectural typologies were developed, and more importantly, new architectural definitions of urbanity were tested.     

Modernity and Die Historical Perspectivism of Nietzsche and Loos

In recent years, the increasingly diminished structure and role of architecture in society has seemed to represent, at least in part, the failure of modern thought to sustain a sufficiently robust conceptualization of cultural phenomena in general, and architecture in particular. This article addresses two fundamental questions: (1) what is the nature of this theoretical cul-de-sac in which architecture now finds itself? and (2) is there a way forward that will resuscitate the stature and mission of architecture? The first question is addressed through the analysis of how the exclusively “subjectivist” philosophical tradition of modern thought has led to an impoverished understanding of architecture. The second question leads to the suggestion that a truly “culturalist” perspective would serve to sustain a more responsible and powerful role for architecture.     

“建筑学”与“哲学”交互的可能性与实践

文章对"建筑学"和"哲学"的各自概念进行分析,论证了"建筑学"与"哲学"交互的可能性,并指出产生交互的两个原因。另一方面,通过审视"建筑学"与"哲学"交互实践的两种类型,引伸出"哲学"介入"建筑学"的角色定位与价值。     

A thousand youth clubs: architecture,mass leisure and the rejuvenation of post-war France

The relationship between mass leisure and architecture has too often been conceptualised unevenly. The canonical story of post-war France holds for example that politicians drafted heroic and encompassing leisure programmes that were subsequently ‘concretised’ by architects in their designs. Architecture figures in these histories as a passive portrayer of political ideas, as merely a mute accommodator of mass leisure programmes.

In this article I want to suggest a more active role for architecture. I will develop two hypotheses. First, within the context of post-war France the concept of ‘mass leisure’ did not correspond to a pre-given definition of functions or programmes, nor to a well-established set of practices, that had to be housed, accommodated or staged by architecture and urban planning. On the contrary, mass leisure was a newfangled category that needed to be established and defined – and this took place through intense engagement with architecture. In other words, architects and architecture had an active role in the definition of mass leisure that reached far beyond an accommodating capacity. Secondly, architecture for mass leisure often had the function of a laboratory and fulfilled a paramount role in architectural culture. Within projects for mass leisure new architectural typologies were developed, and more importantly, new architectural definitions of urbanity were tested.     

空白艺术在建筑中的表现

“空白”存在于建筑作品中,表现在作品的功能、实体、空间以及审美时序等各个层面。该文通过解析空白艺术形成的内在因素,明确建筑作品中存在着表现为形象空白和意义空白的艺术空白,从建筑作品的功能的未确定、实体界面的虚空、空间效果的虚化以及审美时序的中断4个方面来分析空白艺术在建筑作品中的具体的表现形式,揭示了建筑作品中空白的存在与建筑意境生成的内在联系,提出了建筑创作应重视空白艺术的重要作用,在设计中应有意识地建构建筑中的“空白”。     

History as Drawing

This essay examines the assimilation and progressive devaluation of typological theory into American post-modern historicism between the late seventies and early eighties, when theory was transformed from a critical means of resistance to the commodified architecture and urbanism of multinational capitalism into an affirmative instrument of the forces it was initially intended to oppose. This episode raises issues that are central to a critical understanding of the production and consumption of ideas and images within the contemporary architectural “culture industry” and illuminates some of the broader conditions of contemporary culture that have profoundly affected the role of architecture within it. Most significantly, perhaps, it exemplifies the unwillingness or inability of most recent “avant-garde” positions within architecture to address substantially the role of architecture and the city as economic and cultural commodities. This essay addresses two points along the brief trajectory of type theory in the United States that underscore its significance—its initial mode of reception within architectural academia and its selective assimilation into post-modernist architectural practice—and concludes with an examination of its defenselessness against the broader realities of architecture's role as an instrumentalized symbol within a mass-mediated, market-driven culture.     

解读20世纪初的抽象艺术对建筑之影响

该文对20世纪初的抽象艺术观念和视觉语言进行了剖析,并以此为基础阐述现代主义建筑的"设计观念还原"和抽象艺术对建筑的影响所存在的两条路线。以期帮助学生从抽象艺术的角度展开对建筑的理解,对学生将艺术观念作为建筑创作源泉有所推动。     

以美国景观设计市场化经营为鉴,审视中国的发展

加利福尼亚作为美国自然环境多样化和文化多元的地区,景观设计在历史上形成了独具特色的风格.在二战以后社会变革和产业复兴中,景观设计学在私营领域得到了巨大发展,涌现了大量的事务所.通过介绍笔者在加州的实践二例,并从多学科合作的设计方法、与不同主体的沟通策略、发展开放空间以及城市复兴的经济和社会考虑等多个方面,阐述了景观设计的意义,并强调私营部门的积极作用,以期对中国的景观设计学发展有所助益.     

外来建筑类型中的“借壳”现象研究——以博物馆与佛教寺院为例

本文通过对博物馆以及佛教建筑中的＂借壳＂现象的分析,以及比较两者在发展过程中的异同,探讨文化内外博弈在建筑＂舶来品＂本土化发展过程中的作用特征。     

现代主义建筑思潮述评——以有机建筑与工业建筑为例

工业建筑流派与有机建筑流派作为现代建筑史上两大主要派系,被认为是极富创新意识,且勇于挑战建筑复古思潮的时代先锋。该文以有机建筑与工业建筑对比为突破点,系统的探究两种建筑流派思想根源的统一性与差异性,指出设计中建筑与环境应呈现互动而融合的关系。通过对比,探寻当今城市规划与景观设计的未来发展方向,力图达到设计中"天人合一"的境界。     

批判性建筑——在文化和形式之间

作为批判性话题中的经典之作,海斯在文章中系统地回顾了长期以来在建筑学中存在的两种基本态度：其一是将建筑看作是主导文化的一个部门和意识形态的再现,也就是“建筑作为文化手段”;其二是“建筑作为自治形式”．将建筑看作无关任何外部文本和前在状况的先验形式逻辑之再现。通过对密斯的若干经典建筑的再解读,海斯描述了在文化和形式之间存在的批判性领域。他进而提出了批判性建筑的观念,将建筑放置到它自身的世间性状况中去,以开放的批判的态度来面对不确定的经验状况。通过对如上两种对立态度及其二分法的抵抗和对抗．海斯认为,可以依靠建筑师的著述过程建立起批判的建筑知识体系和实践策略。     

“传统与创新”随感——我看现代建筑之发展

论述了现代建筑的发展历史,进而说明了传统与创新的密不可分的关系。创新是推动社会各方面向前发展的动力,任何一种创新所带来的新风格随时间的推移将会成为传统,而这个传统又会被另一个创新所打破,创新与继承成为建筑发展的两条主线,同时或交替地起着作用。     

中国风景园林法制建设的学理与研究方向

风景园林法制是从学科属性出发，探讨与风景园林 实践行为和现象相关的法律制度目标、原理、机制、体系等 议题的一种学理界定，是中国法制建设实践与理论的“横切 片”。法律制度在引导风景园林行业发展，规制规划、设计、 建设行为方面具有基础性地位。提出风景园林法制的立法综合 性、环境部门法两大学理特征，解析中国风景园林法制进程及 存在的典型问题，从目标和制度层面提出面向生态文明建设的 风景园林法制方向，提出制度意识与制度分析在风景园林教学 中的重要性，从法理学、法哲学、法律体系、具体法律制度层 面提出风景园林法制研究的重点领域     

现象学与现代建筑

建筑本体的建构性问题属于科学的范畴,而建筑的目的性属于哲学的范畴,建造能力不能满足人类的物质需要曾经是建筑学的主要问题;而当代建筑科学发展所带来的主要问题则是近乎无限的建造能力如何与自然生态的承载能力相协调,也就是如何用建筑来调整人类在自然界存在的方式。古典建筑是人类社会宇宙观的表达,而现代建筑的价值呈现出矛盾的两个方面,其一尊重所谓科学,以物的管理代替人的管理;其二,倡导所谓人民、社会和生活等反主流价值,这类建筑成为商业化的工具和标志。穆科特的住宅建筑呈现出人在自然中的另外一种存在方式,这或许暗示了当代建筑的方向。     

英国的景观设计学——历史和教育

本文回顾了英国景观设计学的发展历史,展望其在21世纪的发展.景观设计学在英国是伴随着职业和教育产生和发展的,最早可以追溯到1821年,20世纪30年代正式开始景观设计学的教育和职业.历史经验表明,景观设计学在相关领域扮演着领导角色,是由于其发展动力源自体现国家和社会需求的公共建设、自然保护、文化保护和全球化,并因此而充满生机活力.     

标志性建筑在城市文化游憩活动中的重要意义

文章从阐述城市文化游憩活动中标志性建筑的重要意义出发,通过分析标志性建筑的文化游憩特性和不同类型标志性建筑的文化游憩功能。指出标志性建筑在促成城市文化游憩活动、提升活动品质方面作用显著,并从以标志性建筑作为城市文化游憩地的中心点和以标志性建筑为载体开发多种文化游憩活动两个方面提出了挖掘标志性建筑的城市文化游憩功能的措施和方法。     

风景园林学科在法国城市发展建设中的作用

今天,风景园林学科在法国已经发展得比较成熟,在城市发展建设中扮演非常重要的角色,通过该学科多学科交叉优势及其整体、开放的"感性"视角来为城市的发展建设定位方向,并充分协调好包括建筑学、城乡规划学、地理学、社会学等与城市发展建设相关的各学科之间的关系,实现地域均衡、和谐、真正的可持续发展。通过大巴黎规划及南特-圣纳扎尔都市圈规划展示该学科在其中起到的统领、协调作用。     

建筑退台式的发展

在现代建筑中,退台式扮演着一个十分重要的角色,许多设计者都在不自觉地运用退台建筑设计手法。在社会对建筑和环境提出更高要求的时候,这种形式也发展出许多新的现象和问题。该文就这些现象以及建筑与城市的关系进行一些归纳和探讨,并试图给设计者们提供一个行之有效的思考方法。     

从容回首--建筑大师张开济访谈录

建筑大师张开济,亲身经历了20世纪中国现代建筑史上的许多重大事件,见证了新中国建筑事业的曲折历程。他丰富的建筑人生,几乎囊括了那一代建筑师在时代洪流中可能选择的道路;他的建筑理想和设计理念,也具有鲜明的时代特征。传统知识分子的社会责任感与内心的挣扎,现代社会精英的敏锐和开放,在张开济的身上奇妙地融合起来,使他成为我国第二代建筑师的典型,也浓缩了第二代建筑师在中国现代建筑史上承上启下的重要作用。     

从波尔图建筑学院看西扎的建筑精神

以波尔图建筑学院为例,从历史、材料、空间等角度分析了阿尔托对西扎建筑的影响,指出不论在建筑观念还是在具体的建筑处理手法上,阿尔托的建筑对西扎一生的建筑实践和建筑作品都起着决定性和持续性的作用.