“非先锋”的先锋（上）——阿道夫·路斯及其现代性研究

从去除装饰问题出发，本文分析了20世纪初维也纳建筑师阿道夫·路斯复杂而深刻的建筑理论，建筑实践和文化批判思想。此外，文章还讨论了路斯独特的现代性理解及其独特的人物性格，并在现代的视野下梳理了路斯的建筑思想和历史意义。     

一座非典型的路斯住宅——解读塞默灵的昆纳住宅

路斯的昆纳住宅及其代表的乡村住宅典型构成了其现代建筑实践的重要一面,其背后的文化含义更是一窥路斯建筑思想中现代性内涵的关键之匙。通过对昆纳住宅及路斯相关论著的解读,力图展现路斯对乡土以及现代建筑的深刻认知与思考,并对现代建筑形式化、风格化的通常认知,以及当下中国乡村建设的常见立场形成批判价值。     

矛盾与分裂——关于建筑师阿道夫·路斯及其思想的解读

建筑师阿道夫.路斯（Aldof Loos）无疑是二十世纪最伟大同时也最具争论的建筑师之一。自二十世纪以来,不乏建筑理论家（如塔夫里、佩夫斯纳、弗兰姆普顿等）对路斯及其建筑思想的进行研究与解读。而他不仅仅只是提出了＂饰面理论＂与＂体积规划＂等建筑理论,也给我们留下了谜一般的背影。对于这样一位独特的建筑师,人们对他的态度总是矛盾的。Alan Colquhoun在其著作《现代建筑》（Modern Architecture）中用＂特立独行＂（＂maverick＂）1这个词汇来描述这位充满迷幻色彩的现代建筑史上＂非先锋＂的先锋2。本文,作者用关键字矛盾与分裂表述自己对于路斯及其现代性的理解。     

阿道夫·路斯"建构"思想研究

维也纳建筑大师阿道夫·路斯(Adolf Loos)是20世纪初现代主义建筑运动的先驱。本文剖析了路斯的设计思想中对于结构与"饰面"关系的理解,澄清了他对"装饰"的看法,通过从"建构"的视角来分析"路斯楼",审视阿道夫·路斯的设计思想,揭示这位现代主义建筑大师的复杂与深刻。     

“非先锋”的先锋(下)——阿道夫·路斯及其现代性研究

六．一座公建和一座住宅在百年前的那场现代社会转变中,所有欧洲建筑师都面临一个相同的困难——如何将他对那个时代的认识同具体的建筑语言发生关系。而路斯不仅是当时欧洲头脑最清醒的文化批判家之一,也是最具创造力的实践建筑师之一。从前面提到的饰面原则和体积规划等建筑策略, 我们已经能略见一二。而该文节选取了路斯的两个主要案     

建筑与现代性批判

正比利时鲁汶大学建筑理论教授希尔德·海嫩的这本著作主要讨论现代性、栖居和建筑之间的相互关系。借助聚焦希格弗莱德·吉迪恩、恩斯特·梅、阿道夫·路斯、瓦尔特·本雅明、恩斯特·布洛赫、曼弗雷多·塔夫里、马西莫·卡奇亚理、康斯坦特以及西奥多·阿多诺等关键人物关于建筑和现代性的思考和实践,海嫩试图将20世纪建筑学历史及理论的发展与哲     

建筑王国的“独裁者”：阿道夫·路斯--一战背景下路斯设计思想浅探

第一次世界大战后,一股现代建筑思潮席卷欧洲。本文将从阿道夫·路斯①的个性与所处时代为背景,以莫勒住宅为例,探讨路斯的建筑理论和思想。     

装饰是罪恶吗?——解读阿道夫·路斯的装饰批判

作为20世纪最重要的建筑师之,阿道夫·路斯(1870-1933)的装饰批判对现代建筑产生了难以估量的影响,但却常常被简化和误解为"装饰就是罪恶".本文从多方面对路斯的装饰批判进行解读,意图还原路斯的装饰批判,呈现路斯装饰批判背后隐藏的复杂的思想.     

莫勒宅中的权力空间解读

文章以现代主义建筑大师路斯的代表作莫勒宅为例,在分析其空间可视性的基础上,从空间与权力的视角对莫勒宅进行解读,结合路斯其他住宅作品和设计思想,追寻其女性空间的设计动机,并指出空间的解读不应仅限于表象,更应注重分析设计者的创作意图和思想根源。     

高校设计院的设计实践与学科思考 同济大学建筑设计研究院60年历史回顾

高校建筑设计院是中国特有的现象,实质上它起着建筑实验室的作用,创造了一批具有批判性的建筑。同济大学建筑设计研究院融理论、实践与研究为一体,在设计思想、建筑教育思想、设计作品和建筑理论方面表现出独特的同济风格,积极参与学科建设,不断探索中国建筑的现代性,成为同济学派的重要组成。     

Reyner Banham and modern design culture

What is modernity in architecture? In English speaking world, the question is likely impossible to answer without considering the works of Peter Reyner Banham (1922-1988). Regardless of his polemist and disparaging style in his critical writings, this study argues that Banham offers a constructive renewal for the body of knowledge on history and theory of modernity in architectural design. Accordingly, he posits and disposes architectural profession with scientific and technological vision in the front line of struggle for environmental betterment. For him modernity in architecture comprises triad components: function, technology, and aesthetics by which historical milestones come into being. A study on Banham’s engagement with modernity is considerably necessary regarding his conviction that history of architecture happens as the consequence of interactions of technological innovations and design creativities, and in response to socioeconomic circumstances as well.     

云南高黎贡手工造纸博物馆

文章回顾了华黎及其迹·建筑事务所(TAO)设计的云南高黎贡手工造纸博物馆项目的背景、设计理念和建造过程,阐释了建筑师对于如何在当下中国的乡土环境中运用当地资源和适宜手段来诠释建筑的地域性与现代性的思考。     

Bachelor Culture in the Work of Adolf Loos

The issue of gender in the architecture and writing of Adolf Loos arose from an ongoing debate over gender identification and roles in Viennese culture of the fin-de-sie`cle. Loos's critique challenged what he saw as the degradation of contemporary culture through its feminization. His masculinized alternative reclaimed the public realm for the rational and the pragmatic. Through this crucial maneuver, Loos tied modernity back to its class base, to an ideology of production and progress, and brought nineteenth-century positivism forward into the twentieth century, jumping over the "effeminate" interlude of art nouveau.     

Hassan Fathy Revisited

This article investigates an important, yet unexplored aspect of Hassan Fathy's work, namely his 1957–1961 collaboration with the prolific international firm, Doxiadis Associates. Focusing on Fathy's proposals for mass housing in Iraq and Pakistan, the article examines how the Egyptian architect recast his famous 1945 project of New Gourna in a new perspective, to calibrate his social and formal sensibilities according to Doxiadis's scientific and developmentalist ethos. The goal is to demonstrate that Fathy's thought was complexly intertwined with larger mid-twentieth century architectural debates on culture and modernity, and as such, it transcended any essentialist discourses of identity that often appropriated his notion of vernacular architecture.     

解析建筑现代性及其当代表达

现代性是当代被广泛关注的重要课题。建筑的现代性是建筑现代化过程中所获得的哲学与文化价值提升。该文就建筑现代性的产生作了简要论述,并从历史、空间、技术、观念等四个方面对建筑现代性作出诠释,最后简论了建筑现代性的当代表达。     

傲慢与轻蔑——荷兰在制造

文章是对第二次世界大战后荷兰建筑发展的穿针引脉,是有态度地对发展历程中知名建筑师、建筑作品、出版物的评点.文章以独特的线索和视角,透过传统与现代、延续与新生、重塑与激活、竞争与策略、宣传与销售、时代与发展之间的博弈和角力,解析现象背后的文化特质和历史特性,更是在纷繁复杂时代背景下,对荷兰战后的建筑思潮与作品及未来的发展...     

Drawing the identity of architect: Liu Jipiao as an artistic architect in the late 1920s China

This article investigates the responsibility of architectural drawing in developing the professional identity of modern architects in the late 1920s when Chinese architects started to emerge and assume the title of “architect.” Using architectural drawing as both its subject and its method, this research interrogates how a representative figure – Liu Jipiao employed the power of drawing to establish the identity of the modern Chinese architect.This paper argues that architectural drawing, in establishing the identity of the Chinese architect, faced the requirement to build an affinity between the architect and the artist. The entangled history of these two professions offers up Liu as the representative figure of the artistic architect. Liu's artistic drawing fulfilled the previously mentioned requirement and earned the architects the artistic power that distinguished them from their counterparts – the engineers.Under the perspective of multiple modernities, the paper challenges the contemporary misreading of Liu Jipiao as an irrelevant individual intellectual and of his practice as a minor failure. Furthermore, this article invites further reflection on the modernity of Chinese architectural drawing, and shows how such drawing made more attempts to convey subjectivity rather than to transmit modern technique per se.     

空间体验概念探源

"空间"概念作为建筑词汇在19世纪末才出现,其源自于德国哲学领域的思考,并深受同时代的一小部分德国哲学家和艺术史学家对空间概念阐释的影响。其中美学中的移情理论和空间中的围合概念为发展空间体验的概念奠定了理论前提:同时20世纪初的德语系建筑师路斯的"空间布局"与西特的"空间艺术"则为这一概念提供了实践案例。     

建筑中的现代性:述评与重构

本文探讨近期理论动向为反思当代建筑与现代性之关系所带来的影响.文章指出,在最近的研究中,单极的、线性的、欧洲中心主义的现代性模型,正在为"多元"、"全球"和"他者"现代性所代替.这个转向鼓励研究者通过新的界定来考量现代性,并为观察建筑与现代性之间错综复杂的关系开启了新视野.文章回顾呈现于20世纪主流西方话语中建筑的现代...