面积21世纪的建筑本体论：读《建筑的革命》等书后的认识与思考

认为《建筑的革命》是有关建筑本体论的重要著作。对建筑是什么、为什么、研究什么、建筑的未来等四个本体论问题作了综合论述,并提出商榷意见。     

潜与显——技术在建筑中的存在

建筑技术是什么,它在建筑中如何存在？这看似简单的问题,实则关系到对建筑本体论的追问,而且与历史上的建筑理论思想的变迁有着复杂的关系。回顾维特鲁威建立的关于建筑本体的三个基本范畴——实用、坚固、美观,我们可以看出,技术并没有直接出现在建筑基本范畴中,     

建筑哲学概论（导论篇）——哲学层次的建筑文化理论

建筑哲学是建筑的精神意境及关于空间新思维的原则，它包括建筑的本体论、价值论和方法论三个基本部分。每人都有其建筑哲学，人人需要建筑哲学，建筑师更离不开自党的正确的建筑哲学。论述了建筑哲学的基本内涵、研究学习建筑哲学的必要性和基本方法。     

建筑社会论的提出

本文根据社会发展趋势，分析建筑本体论，建筑文化论，建筑环境论各自的特点和利弊，提出应把建筑摆到社会大天平上进行评判的建筑社会论的新概念，有利于建筑人类生存空间环境趋向更有科学性，合理性和现代性。     

关于建筑形态学的讨论 同济大学研究生“近现代建筑理论与历史”课笔谈

建筑形态学,足罗小未教授给同济大学建筑、城规、室内、园林研究生开设的必修课“近现代建筑理论与历史”的一个新专题。这门课可以说是一个开放的系统,教学内容随着时代的发展在不断地更新。这门课的内容大致分三部分:建筑本体论与认识论、建筑方法论、当代建筑创作     

建筑与建筑装饰

建筑与建筑装饰伴随着人类文明的发展历史其实质作用和形式表现已成为一段段的历史碑文,记载和表现了一个国家、一个民族、一个区域乃至一个村落的发展史,成为人类文明宝库中的重要财富。建筑与装饰是人类在劳动中创造的智慧结晶,为后人留下极其宝贵的精神与物质财富,其发展创造的思想及形式表现在人类创造的历史长河中将继续延伸、发展。面对即将到来的二十一世纪,中国现代建筑的发展方向是什么？建筑装饰又呈现什么特点？建筑与建筑装饰又是什么样的关系？建筑风格、民族特色又是什么？这些都需要我们予以认真研究。建筑是人类初始时…     

宗白华建筑美学思想初探

宗白华是中国建筑美学的第一个拓荒者。通过对歌德美学思想的吸收和中国传统美学的继承,宗白华形成了新的建筑美的本质观,即建筑美是情感的表现和理想的象征。宗白华建筑美学思想的根基是生命本体论,他对建筑意境和建筑时空统一体的阐释,均建构于此之上。     

建筑类型学本体论基础

建筑类型学不只是一种方法，它还依托一定的 。剖析建筑类型学本体论基础，简评亚里士多德，维持鲁威、罗西的类型观。     

谈建筑存在的基本关系

从建筑的美观、功能、技术三方面对建筑本体论做出分析,对建筑意义进行了研究,揭示了建筑存在的基本关系,并指出只有满足本体,符合其存在与发展的要求,才能创造出坚固、适用、美观又富有历史文化的建筑。     

杂谈建筑的象征性

在文艺批评的范畴里，研究文艺媒体的象征性已是20年前的事了。然而在建筑批评的领域里，关于建筑象征性的讨论则显得浮光掠影。我们似乎很轻易地绕开了作为设计师所要面对的基本问题：就是建筑为什么一定要有文化和社会意义？建筑的象征性是什么？建筑的象征性有什么什么特质？了解这些知识对当代的建筑师们有什么作用？这些问题一直使我困惑，让我无法仅仅留在建筑的领域内，最后，选择了“离经叛道”的道路。今天，上述问题可能还在困扰着中国的设计师们。君不见每一个城市都有一个悉尼歌剧院式的贝壳建筑或是风帆式的宾馆吗，人们美其名…     

建筑文化遗产保护在未来建筑学发展中的角色

社会经济文化在不断发展,建筑文化在不断发展,建筑学科的范畴也日益扩大。在纷繁变化的建筑形式下,建筑学科未来发展的方向如何,建筑文化遗产保护又会在其中扮演什么样的角色,从对二者之间关系的考察入手,在剖析未来建筑学的发展趋势的基础上,探讨建筑文化遗产保护在未来建筑学中的角色。     

建筑“底线”部分的特性研究

建筑构图的“底线”部分对于形式表现以及其他方面到底有着怎样的影响？不同于绝大多数从整体对建筑形式进行剖析的方式,本文旨在通过一种相对“孤立”的角度对位于建筑构图“底线”位置的部分进行研究,从其在三段式构图中的角色、在官式建筑庄严性中起到的关键作用、在现代建筑形式变革中的代表性地位和作为城市环境与建筑枢纽四个方面唤起设计者们对这一建筑局部在设计过程中的重视。     

The Medium is Not the Solution

It is doubtful whether any university program in architecture has ever simulated accurately the experience of any particular architectural practice, much less the variety of practices that now exist or the increasing variations that are evolving. More simply, if the schools are to prepare architects for the practice of architecture, what practice should be taken as a model? What is the realistic possibility of hitting the moving target?     

INVISIBLE CONTRIBUTIONS: The Problem of History and Women Architects

The known history of women architects has never sat comfortably within or in parallel with mainstream architectural history. Research into the history of women architects is usually broadened to consider die contribution to and consideration of women in architecture and conceived as a separate history. What is it about mainstream architectural history that makes the inclusion of professional women architects so difficult? This paper explores the nature of architectural history and how its concerns and construction obscure die contributions of women architects.     

Design Signals: The Role of Software Architecture and Paradigms in Design Thinking and Practice

Does the ontology of design software influence built form? Panagiotis Michalatos , lecturer in architectural technology at Harvard Graduate School of Design and a principal research engineer at Autodesk, Inc, here looks at how the move from drawing typologies to digital modelling since the mid-1990s has affected architectural aesthetics. He goes on to examine two more recent developments that may announce a further paradigm shift: granular tracking of design input, and data organisation practices in biomedics which, transferred to architecture, could allow for a more spatio-temporal approach.     

Mood Swings: Architectural Affective Disorder

What is architectural mood? Is it subjective, or objective? Phenomenological, or conceptual? Consistent, or constantly evolving? John McMorrough , Associate Professor of Architecture at the University of Michigan, here considers the theme from four different angles – indicative, imperative, interrogative and subjunctive. He suggests that we are embarking on a ‘manic’ phase, in which the noise of modern life makes making an impression ever more difficult, but the vocabulary of mood in architecture just might be growing richer as a result.     

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.     

中国建筑学学制的问题及其改革

建筑学学制问题的本质是什么?中国建筑学学制究竟面临什么问题?以及学制改革的基本原则是什么?本文试图就这3个问题作一简略的分析。     

Animating Architecture: Coupling High-Definition Sensing with High-Definition Actuation

Ruairi Glynn , lecturer on interactive architecture at the Bartlett School ofArchitecture, University College London (UCL), puts the pressing question: ‘What does a world of hyper-connective, high-definition sensing offer architectural design?’ Despite the pervasiveness of ubiquitous computing – the Internet of Things (IoT) – and students' ability to speculate, build and test responsive lifesize installations, could practice itself be in danger of getting left behind?