对话2010年上海世博会上海企业联合馆

文章简要介绍了2010年上海世博会上海企业联合馆的设计构思及环保技术的运用。张永和、刘家琨两位建筑师通过对话的形式分析和切磋了该建筑的设计策略、建筑元素、表现形式、材料运用等多个方面,并由此引发出对推理与感性、炫与不炫等建筑问题的探讨;进而从表现与内涵的关系出发对非常建筑的设计新作进行评价,并总结了非常建筑的设计发展方向。     

关于成都蓝顶美术馆的一次访谈

文章记录邓敬等就成都蓝顶美术馆对刘家琨进行的访谈。访谈基于对蓝顶艺术村美术馆的在场体验,内容涉及美术馆的理念定位、设计立场、体量处理、空间体验、材料选择及施工等话题,对谈深入展现了刘家琨基于具体现场的处理策略。     

刘家琨建筑20年

文章对“新三届”建筑学人刘家琨建筑实践20年进行了一次回顾性研讨,通过梳理他人和刘家琨本人对其人其作品的诠释,探寻其设计理念和策略的出发点,分析其代表作品,旨在从对刘家琨建筑实践的立场和策略的关注出发,反思处于转折时期的中国当代建筑.     

刘家琨作品中的新地域主义类型学思想探析

在当代西方新地域主义建筑类型学背景下,研究我国西南地区代表建筑师刘家琨作品中的新地域主义建筑类型学思想,有助于建筑学者在设计实践中更好地将本土文化与现代化相结合,进而创作出具有我国传统气息的本土建筑。文章以新地域主义建筑类型学为切入点,用类型学观点分析本土建筑设计师刘家琨的实践案例,分别从场所空间、建筑造型及材料肌理三部分,系统全面地探讨解析其各部分的西南本地原型提取及现代转译。总结发现,刘家琨多数实践作品中的建筑类型学原型借鉴于市井民居。     

现代主义建筑的本土化策略--上海闵行生态园接待中心解读

由缪朴教授设计的“上海闵行生态园接待中心”，是现代主义建筑在中国本土化的一次实验，文章在建筑本体意义上分析了建筑师所采取的本土化策略，从建筑的庭院、组景、室内外空间，材料技术、建构以及地域特征等方面进行了深入的解读。     

极少与极多刘家琨设计的上海青浦新城建设管理中心

文章通过对刘家琨设计的“青浦新城建设管理中心”从社会背景、审美方式等侧面的剖析,解读他在上海青浦语境下的当代创作。同时分析了该建筑在剖面,立面及细节中的思维与创作手法,指出了该作品在青浦营造中的重要作用。     

涟漪:水产馆的重读与重现

文章从蓝图和旧照片中的鱼、船、薄板和细柱等细节出发,对夏昌世1951年所设计的华南土特产展览交流大会水产馆进行了解析。1951年的夏昌世在建筑观念、方法和技术方面有着怎样的来源,又如何应用于水产馆的设计?通过对大会作为整体语境的阅读,以及水产馆所在基地的条件和最终实施的设计图纸,推演了夏昌世以涟漪为构思的设计理念,同时,回顾了水产馆建成之后遭遇到的意识形态上的批判和重新评论,以及2012年在水产馆中举行的建筑展览如何重现最初的场景。     

成为现代 阅读“中国建造：现代建筑百年对话”展中的22个作品

文章从“中国”语境中的“现代性”出发，对“中国建造：现代建筑百年对话”展览中展出的22件建筑作品展开阅读。基于形式语言、技术表达、功能组织和城市回应这四组主题，文章阐释了这批建筑师是如何通过专业训练、实践经验与国际交流来不断发展每一个作为独特设计问题的建筑项目的。文章认为尽管这批建筑师在宾大接受了美式布扎教育，布扎体系与现代主义建筑知识的构筑均在“成为现代”的过程中不断适配、调节与整合，从而得以回应具体语境中的设计议题。     

张永和的非常建筑

正不得不说,中国当下建筑取得了非常巨大的进步,这些进步是基于巨大建筑垃圾上面出现的。张永和1990年代中期成立"非常建筑"从事建筑设计看作中国实验性建筑——有别于国有设计院所和大商业设计事务所的、有研究形式的设计思路——诞生的标志。本土建筑师崔恺、王澍、刘家琨三个人现代主义个性化,海归建筑师张雷和都市实践的孟岩、刘晓都等同样是现代主义设计风格。王澍在中国美院象山校区的校舍设计中,尝试把传统园林、民居建筑和当代建筑环境结合,其中一个特点是大量使用了废弃的旧瓦来作为建材,并在空间上借鉴中国江南园林式     

吃火锅的人——成都西村·贝森大院评述

本文讨论了刘家琨新作成都西村·贝森大院的建筑特征及其内涵。文章分别分析了西村的城市性、具体的建筑处理手段与刘家琨以往建筑语汇之间的关系,以及建筑更深刻地切入现实所带来的一系列问题。最后文章借用尼采对阿波罗与狄奥尼索斯两种趋向的划分,指出西村的核心特点是对现象的美化颂扬,这构成了刘家琨"处理现实"设计策略中一个新的维度。     

成都高新区天府软件园交流中心评述

建筑师刘家琨的城市作品——成都高新区天府软件园交流中心,从"负"概念出发,以地景化的城市建筑,叠加于现有城市肌理中,创造出一处隐匿的聚落式公共空间;让观者在体会"山""水"的同时,感受景观、建筑与城市的融合。文章期望在对该项目就事论是的同时,以纵向视野旁观刘家琨的建筑创作思想和策略,探讨他在特定场域中的建筑表现。     

读胡慧姗纪念馆

本文讨论了刘家琨的近作胡慧姗纪念馆．对该建筑的内涵、意义、以及作者的设计立场进行了解读。虽然是一个很简单的小建筑．胡慧姗纪念馆的建筑元．素——比如双坡形体、实体构筑以及圆形天窗等——实际上与建筑史上的原初建筑以及纪念性建筑等传统观念有深厚的联系．作者根据柏拉图、维特鲁威、劳吉尔．森佩尔、路斯以及罗西的相关论述对此进行了分析。在此基础上．本文讨论了这个纪念馆的纪念性．也就是这个建筑与其纪念主题之间的关系，为这一项目的建筑意义提供了一种解读。最后．本文讨论了这个建筑与刘家琨所坚持的“处理现实”的设计态度之间的延续性。     

Outreach Extensions: OMA/Rem Koolhaas Exhibitions as Self-Critical Environments

Abstract

Many times in the history of the Office for Metropolitan Architecture (OMA), Rem Koolhaas has self- or co-curated exhibitions of recent work—in 1978 at the Guggenheim in New York; between 1980 and 1990 in London, Amsterdam, Antwerp, Rotterdam, France, Paris, and Basel; in 1994 at the Museum of Modern Art (MoMA) in New York; and in 2003–04 in Mies van der Rohe’s Neue Nationalgalerie in Berlin and in OMA’s Kunsthal in Rotterdam. They are—typical for this medium—a forgotten part of OMA’s production. In this article, OMA’s exhibition policy is reconstructed by highlighting shows that reveal both the “medium-specificity” of an OMA exhibition as well as the obsessions in Koolhaas’s method. Instead of offering the experience of “real” architectonic spaces or environments, these expositions consciously reflect the cultural and historical conditions in which OMA projects were developed, also by challenging disciplinary or institutional limits, and by “reaching out” to the world outside. A typical OMA show is not a space that has to be enjoyed phenomenologically, but rather a meaningful discursive environment, aiming to materialize the “structures” defining late twentieth-century life and work. The exhibition architecture offers guidelines for interpretation of the projects on display, as well as critical observations on the boundaries of architecture.     

Dark Matter

Following material and theoretical encounters the author has with “dark matter” in her daily life in the Otway Ranges in south-east Australia, this article explores architecture’s complicity with climate change and possible paths for its redemption. Dark matter is simultaneously the building materials produced from crude oil, the production of which is a significant contributor to global warming, and speculative practices of resistance: “dirty” material explorations with dynamic, messy materials by a range of architects and theorists since the 1990s; Donna Haraway’s “compost” thought; and Philip Ross’s “mycotecture”, architecture made from mycelium. The paper argues, with reference to Felix Guattari’s ecosophy, that these “speculative fabulations” model new social and mental ecologies that could transform architectural practice.     

The Worker’s House

Abstract

The proto-sociologist Wilhelm Heinrich Riehl is best known in architectural history for the popularity that his organicist-functionalist dictum of “building from the inside out” received in early twentieth-century German architectural culture. However, less is known about Riehl’s own writing on architecture in the context of his sociological theories. This paper discusses the importance of Riehl’s thoughts on domestic architecture in giving theoretical elaboration to what, in the mid-nineteenth century, was a growing intellectual concern over the social position of workers. As the “worker” emerged as a distinct social type, and workers’ welfare registered as an increasingly pressing issue, Riehl’s call for a sociologically oriented understanding of architecture (capable of reforming the worker “from within”) significantly altered the terms of the debate over housing policy in Germany. In examining his theoretical elaboration of the task of social policy and the role of architecture within it, this paper reads Riehl’s work as a prelude to a new kind of logic about architecture’s social agency that would come to underpin modern housing reform.     

Broadcasting from the “Mediated Center:” Baltimore’s Candelabra Television Tower,circa 1959

ABSTRACT

The rise of post-WWII television markets around the world required new technical solutions for broadcast media. These solutions became novel examples of urban-scale infrastructure, including the “television tower” as a unique structure. Among early American examples is Baltimore’s three-mast “candelabra” television tower, completed in 1959. Although the project’s feasibility depended upon advances in structural design, its most significant innovation was institutional. As an early example of “infrastructure sharing,” Baltimore’s candelabra tower illustrates how innovative built form can engender a new relationship among technology, urban infrastructure, and the production of cultural capital.     

梁思成的技术理性观

结构理性主义作为一种建筑思想,一直都对国内外建筑理论及设计实践有着重要的影响。本文对梁思成“技术理性观”进行了回顾,并分析总结了其成因,进而深化对梁思成建筑思想的认识,使其更具有现实意义。     

After China: The World? Three Perspectives on a Critical Question

Are China’s cities now poised for global influence? This challenging question initiates a tripartite response from three authors: Kyong Park , Laurence Liauw and Doreen Heng Liu . In order to fully speculate on the potential of Chinese urbanism and architecture beyond its own borders: Park looks at whether China is a fully replicable capitalist model; Liauw outlines recent indicators of urban Sinofication around the world, whether it is the exporting of high-end designer furniture to the West or the injection of Chinese capital into Africa; and Heng Liu examines the dissemination of the Pearl River Delta both as an idea - first proliferated by Rem Koolhaas in the mid-1990s - and in its physical manifestations. Copyright © 2008 John Wiley & Sons, Ltd.     

A pragmatic approach to church construction in Northern China at the time of Christian inculturation: The handbook “Le missionnaire constructeur”, 1926

In 1926, French Jesuit missionaries from Daming published at Xianxian (Hebei province) a little handbook for church construction in Northern China: “Le missionnaire constructeur, conseils-plans” (“The missionary builder: advice-plans”), containing 67 pages of text and 54 plates. After a short introduction about handbooks and pattern books of churches, this paper describes and analyses the handbook׳s content and its different practical aspects about building materials, masonry, roofs, etc. The book, however, is more than a compilation of technical hints and reveals a lot about the missionaries’ perception of Chinese building traditions as well as the transmission of Western techniques to Chinese workers. The paper also contextualizes the handbook and tries to identify both the authors and the addressees. In the mid-1920s, the Vatican launched the Christian inculturation process in China, which concerned architecture too. Nevertheless, many missionaries resisted, preferring Gothic or Italianate architecture to a new Sino-Christian style. The handbook participated in this debate.     

定位、移位和再定位——迪勒＋斯科菲迪奥的针对具体场地/视点的三件作品

迪勒＋斯科菲迪奥的许多建筑方案很难说是建筑,没有明确的使用功能,没有内外的围合,常常源于建筑师自己界定或假想的命题：具体的场地激发了简单的观念,这个观念虽然是独立于功能以外的东西,是建筑师个人感性的出发点。但他们运用建筑师的思维、手段或方式再把观念表达出来,最后的形式本身就是观念直接呈现的产物。这种建筑创作和实践方式的典型例子便是1991年未完成的“缓慢的房子”和2002年在瑞士博览会上的“朦胧”临时展示建筑;然而当一个观念不能再独立存在的时候,当建筑的实用性和社会性进入的时候,观念建筑师又如何面对和适应这种转变？波士顿当代艺术馆作为迪勒＋斯科菲迪奥在美国本土的第一座公共建筑效果又如何？文章主要通过剖析迪勒＋斯科菲迪奥的三座“建筑”来探讨观念、观念的妥协和它的表达方式之间的问题。