C·Th·索伦森的景观语言

丹麦现代主义园林大师C·Th·索伦森的设计古典而现代,作品在形式和精神上都非常丹麦化。他从丹麦本土景观和历史元素中提炼设计词汇,创造了以圆和椭圆为代表的几何景观的特征词汇。在现代主义建筑和现代艺术的影响下,索伦森又创造出秩序、时态、建筑化的方法和构成的构图句法规则,它们既是索伦森的景观语言,也是丹麦现代主义园林的景观语言。     

Architecture and global imaginations in China

This article examines the changing consciousness of globality in the Chinese discourses of national and modernist architecture between 1949 and 1965. Drawing on recent scholarship concerning knowledge and representation, the study focuses on three crucial moments when Chinese architectural imaginings were decisively shaped by the dynamic relationship between a vexed Chinese situation and a shifting world stage: (1) the search for a ‘Socialist Realist’ architecture in relation to the Soviet Union and Eastern European socialist countries during the early 1950s; (2) the reception of modernist architecture in relation to an expansive internationalist view of the world in the second half of the 1950s; and (3) the re-evaluation of modernist architecture in relation to Third World nations during the early 1960s. The study demonstrates the world in Chinese architectural discourses not as a static one that could be neatly divided into a centre/periphery but a dynamic one constantly being reconstructed. The article reveals the history of modern architecture as a narration of tangled global and local experiences, instead of a linear one bounded within a nationally defined space.     

Architecture and global imaginations in China

This article examines the changing consciousness of globality in the Chinese discourses of national and modernist architecture between 1949 and 1965. Drawing on recent scholarship concerning knowledge and representation, the study focuses on three crucial moments when Chinese architectural imaginings were decisively shaped by the dynamic relationship between a vexed Chinese situation and a shifting world stage: (1) the search for a 'Socialist Realist' architecture in relation to the Soviet Union and Eastern European socialist countries during the early 1950s; (2) the reception of modernist architecture in relation to an expansive internationalist view of the world in the second half of the 1950s; and (3) the re-evaluation of modernist architecture in relation to Third World nations during the early 1960s. The study demonstrates the world in Chinese architectural discourses not as a static one that could be neatly divided into a centre/periphery but a dynamic one constantly being reconstructed. The article reveals the history of modern architecture as a narration of tangled global and local experiences, instead of a linear one bounded within a nationally defined space.     

现代主义建筑的经典——白天鹅宾馆

白天鹅宾馆是我国在改革开放后建设的大型公共建筑物.在全面接受现代主义建筑思想设计的同时,将岭南文化与现代建筑进行了完美结合.通过对建筑空间、型体、细部进行分析研究,对现代主义建筑形式中蕴含的审美(文化)现代性意义进行了解读.     

Architecture and global imaginations in China

This article examines the changing consciousness of globality in the Chinese discourses of national and modernist architecture between 1949 and 1965. Drawing on recent scholarship concerning knowledge and representation, the study focuses on three crucial moments when Chinese architectural imaginings were decisively shaped by the dynamic relationship between a vexed Chinese situation and a shifting world stage: (1) the search for a ‘Socialist Realist’ architecture in relation to the Soviet Union and Eastern European socialist countries during the early 1950s; (2) the reception of modernist architecture in relation to an expansive internationalist view of the world in the second half of the 1950s; and (3) the re-evaluation of modernist architecture in relation to Third World nations during the early 1960s. The study demonstrates the world in Chinese architectural discourses not as a static one that could be neatly divided into a centre/periphery but a dynamic one constantly being reconstructed. The article reveals the history of modern architecture as a narration of tangled global and local experiences, instead of a linear one bounded within a nationally defined space.     

论勒·柯布西耶的自由平面及其现代意义

对现代建筑及现代主义建筑作了简要论述,对现代主义建筑的发展背景进行了说明,并结合实例就勒.柯布西耶及其自由平面作了叙述,同时归纳了自由平面的现代意义,从而满足人类对建筑的需求。     

论勒·柯布西耶的自由平面及其现代意义

对现代建筑及现代主义建筑作了简要论述,对现代主义建筑的发展背景进行了说明,并结合实例就勒.柯布西耶及其自由平面作了叙述,同时归纳了自由平面的现代意义,从而满足人类对建筑的需求。     

"No House Building without Garden Building!" ("Kein Hausbau ohne Landbau!"): The Modern Landscapes of Leberecht Migge

All too often when one brings up the subject of modern architecture between the wars, the relationship to the landscape is assumed to be irrelevant, or worse, even antithetical, to modernist concepts. Two images by Ludwig Hilbersheimer of his ideal modern city are often misrepresented as symbols of the inability of modern architects to deal with the landscape in a humane manner. Not only are such images taken out of their original conceptual context, in fact "landscape" as variously defined played a crucial role in competing versions of modernity. One set of responses to the problem of the modern landscape has been introduced to contemporary readers by Dorothee Imbert in her book, The Modernist Garden in France (New Haven and London: Yale University Press, 1993). She discusses works by French designers between the wars, ranging from the jewel-like garden compositions of Gabriel Gueverkian to the more abstract minimal landscapes of Le Corbusier. Judging from Imbert's survey of the French scene, the general situation in Germany appears to have provided much more fertile ground for rational approaches to landscape design and management, with which Le Corbusier himself was arguably more sympathetic. This essay is intended to introduce the subject of rational modern landscape design in Germany between the wars to an English-speaking audience through one exemplary landscape architect, Leberecht Migge. Fundamental concepts of the period as defined by Migge are also presented for possible consideration within the discussion of sustainable design.     

“No House Building without Garden Building!” (“Kein Hausbau Ohne Landbau!”): The Modern Landscapes of Leberecht Migge

Abstract

All too often when one brings up the subject of modern architecture between the wars, the relationship to the landscape is assumed to be irrelevant, or worse, even antithetical, to modernist concepts. Two images by Ludwig Hilbersheimer of his ideal modern city are often misrepresented as symbols of the inability of modern architects to deal with the landscape in a humane manner. Not only are such images taken out of their original conceptual context, in fact “landscape” as variously defined played a crucial role in competing versions of modernity. One set of responses to the problem of the modern landscape has been introduced to contemporary readers by Dorothee Imbert in her book, The Modernist Garden in France (New Haven and London: Yale University Press, 1993). She discusses works by French designers between the wars, ranging from the jewel-like garden compositions of Gabriel Gueverkian to the more abstract minimal landscapes of Le Corbusier. Judging from Imbert's survey of the French scene, the general situation in Germany appears to have provided much more fertile ground for rational approaches to landscape design and management, with which Le Corbusier himself was arguably more sympathetic. This essay is intended to introduce the subject of rational modern landscape design in Germany between the wars to an English-speaking audience through one exemplary landscape architect, Leberecht Migge. Fundamental concepts of the period as defined by Migge are also presented for possible consideration within the discussion of sustainable design.     

浅析对本世纪建筑发展影响较大的三个主义

本文论述了现代主义建筑发展的必然性和后现代主义建筑是现代主义建筑符合逻辑的发展与完善,它们是20世纪建筑创作理论的主流。80年代西方兴起的解构主义及其依附的非理性主义是当前建筑创作理论中的新反叛思潮,它不适合中国国情。     

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。     

地形流动

越来越多的当代建筑师和规划师开始从景观的概念范畴出发,重新思考21世纪城市主义的物质形式和内容。景观组织复杂地段、生态系统和设施的能力,为改变现代主义城市规划的僵化机制提供了另一种选择。城市的景观发展方向不仅限于绿地和公园,更重要的是指向松散、灵活、包罗万象、动态的城市空间形式。景观城市主义实践的城市设计没有固定不变的结构。城市同景观一样,是随时间而变化的动态的、交互作用的现象,总会有新的呈现。     

简约、精致的现代主义建筑——保利国际广场

保利国际广场位于广州市海珠区琶洲会展商务区的中部,该项目与香格里拉酒店、广州国际会展中心等大型公共建筑共同屹立在珠江南岸,成为琶洲的新地标。该文从建筑理念、建筑规划及景观、建筑空间及形态、建筑技术及结构四个方面详细分析和介绍了这座现代主义建筑的设计手法和建筑特色。其规划设计充分考虑了当地气候及毗邻珠江的地理位置,建筑外观和构造细部都体现了SOM对现代主义建筑简约精致的理性追求。     

试论中国现代园林理论的构建——大园林理论的思考

我国现代园林的发展,经历了传统园林,城市园林绿地系统和大园林3个阶段,并初步形成了具有中国特色的现代园林理论-大园林理论。该理论强调以城市建设,城市设施以及城市绿地共同构筑一个整体性的城市大园林,实现“城市即园林,园林即城市”的构想,并以传统园林理论,城市绿化理论和Landscape Architecture理论作为理论基础。     

法国国立凡尔赛高等风景园林学院教学体系简述

法国是一个热衷于园林景观事业的国家,其园林景观艺术在世界占有一席之地,原因之一在于法国具有有别于其它国家的独特完整的风景园林师培养体系。本文以国立凡尔赛高等风景园林学院为例,通过对法国风景园林师培养体系的简单介绍,试图对中国的风景园林教育有一定的借鉴和参考作用。     

Monastic paradigms in modernism: Le Thoronet and the romantic legacy

This essay explores the role of monasticism as a paradigm in post-war French modernism. It focuses on the interest that architects, most importantly Le Corbusier, took in Cistercian architecture generally, and in Le Thoronet Abbey in Provence in particular. The role of the image of Cistercian architecture in modernism has hitherto received only cursory treatment by scholars. My focus is not so much on historicist stylistic revivals, or the question of an ‘accurate’ historical understanding of the past in modernism, but rather on the spiritual appropriations of architectural motifs by scholars and intellectuals and how this exercised an influence on leading architects. This particular episode of modernist mediaevalism is situated within a broader tradition of the modern reception of the Middle Ages. This essay shows that the Romantic legacy, and the rival national claims to the past it encompassed, have played a significant role in modernist historic consciousness. A contextual interpretation of the limited, though evocative, body of sources testifying to the modernists' elective affinity with Cistercian architecture in the post-war period shows how mediaeval monasticism would surface as a profound motif on the margins of the late-modernist imaginary.     

历史与理论

历史与理论课的设置使学生们能够对当代建筑学的发展与矛盾有较为深刻的理解。据信这是通过历史及不同学说来了解建筑学的一个良好的方法。我们用这种方法从充满现代主义语汇的建筑工程开始，发现这种方法被再次以狭隘的方式表现出来，并据此研究那些具有特殊意义的现代主义建筑师。它概括了到今天为止建筑理论的发展历史。该课程考虑了理论上各种不同的观点，并将他们渗透到各个层面的分析当中。另外，由历史与理论专业提供的这门课，鼓励学生从资秩学院和研究生院的课程中选修其他课程，并充分利用校内在晚间举办的各种讲座和其他活动，扩大学生的知识领域。在第二学期结束的时候，学生要提交份15000字的论。在进一步的完善之后，经过研究、写作、讨论会及个别辅导，论大纲在第三学期提交给特邀的建筑师和评审团成员。第四学期由个人最终完成论。     

解构思维的分解重构策略与西方现代景观设计

对现代主义景观设计、生态主义景观设计及大地艺术景观设计所体现的分解与重构策略作了研究,指出解构思维的分解与重构策略不仅为西方现代景观设计的发展提供了设计灵感的丰富来源和审美旨趣上的某种倾向,同时也为景观设计的实践提供了丰富而具有启发意义的创作思维和艺术形式语言。     

筑林七贤——现代中国建筑师与传统的对话七例

传统与现代的关系是一个文明古国在建筑的现代化过程中所不能回避的重要问题,本文以中国近现代建筑史上七位著名建筑家的实践与写作为例,考察中国建筑师对这一问题的探索,这七位建筑家是吕彦直(1894—1929年)、杨廷宝(1901—1982年)、林徽因(1904—1955年)、梁思成(1901一1972年)、童寯(1900—1983年)、刘敦桢(1897—1968年),以及冯纪忠(1915—2009年)。     

风景园林视角下的乡土景观研究 ——以成都平原为例

乡土景观是地域性文化研究的重 要学科,拥有多学科的研究语境。当前对乡 土景观的研究主要集中于生态学科和建筑学 科,而聚焦于宏观区域面貌的风景园林视角 下的乡土景观研究通常不是关注的重点。本 文从风景园林的视角出发,将乡土景观的研 究划分为自然景观、农业景观和聚落景观。 在研究过程中以农业景观为主线,以成都平 原地区乡土景观的演变过程为对象,详细阐 述风景园林学科视角下的成都平原乡土形成 过程,并归纳成都平原乡土景观的核心特征, 旨在促进广大学者在更宏观的视野中解读乡 土景观,展开更多的乡土景观基础性研究。