C. H. Reilly: Regency,Englishness and Modernism

C. H. Reilly (1874-1946) began his tenure of the Professorship of Architecture at Liverpool University by advocating a return to late eighteenth and early nineteenth century classicism, in defiance of the prevailing preference for non-academic Classicism and the Arts and Crafts aspiration to create a styleless architecture. Although Reilly's taste may appear conservative, it resembles in many ways the early stages of Modernism in Germany and France. After supporting American-style classical architecture in the 1920s, Reilly welcomed Modernism and was involved in the design of the Peter Jones store in London, 1936. The article looks at Reilly's developing ideas between the wars and proposes that Peter Jones was a realisation of Reilly's pre-1914 affection for the Regency, setting it in the context of British and foreign writings associating British Modernism with the Regency.     

杂谈柯布——彼得·布伦德尔·琼斯访谈

以勒·柯布西埃为主题,记录了对英国著名建筑历史理论家和评论家彼得·布伦德尔·琼斯教授的一次访谈.从《走向新建筑》译名和思想、柯布对现代主义的双关影响、柯布与同时代建筑师汉斯·夏隆的建筑创作思想的差异这三方面,试图呈现琼斯教授对柯布、现代建筑理论、当代建筑教育三者关系的一些思考.     

Too Good to Be True: The Survival of English Everyday PoMo

‘Intelligent, eclectic, witty, profoundly humanistic, and keen to debunk an inflexible, elitist and dangerously authoritarian Modernism’: Kester Rattenbury evokes the spirit of early British Post-Modernism. She reminds us of how in the early 1980s it spearheaded a spirited community architecture that played a strategic role in protest against wholesale, motorway-led redevelopments and the survival of Convent Garden. Copyright © 2011 John Wiley & Sons, Ltd.     

也谈“后现代主义”建筑

后现代主义是一场建筑运动,它在现代主义尚未退出建筑设计舞台时悄然登场。影响虽不及后者,但作为一种对传统的反叛,后现代主义的出现和普及符合建筑风格的兴起和更迭的自然规律。随着我国的改革开放,中国建筑学界用最快的速度消化和吸收着西方建筑思潮。对后现代主义,国人以自己的思维方式去理解和学习。这种立足于自己民族传统,以一种开放的姿态去接受学习外来的事物的姿态不可不谓是一种进步。停滞就意味着消亡,建筑设计发展从来就不是一成不变的,后现代主义为其以后的传承者树立了积极的榜样。     

Between Brutalists. The Banham Hypothesis and the Smithson Way of Life

This essay revisits the debates on the New Brutalism as it emerged in Great Britain in the early 1950s. The shifting positions of its main propagators, Alison and Peter Smithson and Reyner Banham, are scrutinised through a re-reading of the polemics of the period and its aftermath. Conventionally, Banham's ground-breaking essay of 1955 ‘The New Brutalism’ is used as a starting-point for a unified history of New Brutalism. However, as it turns out, the Smithsons and Banham held very different opinions about the direction of the New Brutalist project. Whereas Banham advocated an integration between architecture and the latest technologies, the Smithsons sought to combine modern architecture with a multiplicity of tendencies within British culture, reaching back to Arts and Crafts concepts, among others. To open up the discourse and to measure the various shifts, the essay discusses the concept of ‘Image’, identified by Banham as one of the key concepts of New Brutalism, in relation to the various statements made by the Smithsons. In contrast to Banham, the Smithsons defined New Brutalism by laying emphasis on the material qualities of architecture and the aspects of process and making in architectural construction. This was related to their ambition to redesign the system of relationships between the everyday, domesticity, labour and the larger society. In short, it was a different ‘way of life’ that was behind the Smithsons' project for New Brutalism.     

浅析现代主义初期建筑描述中的性别化修辞语言——以担保大厦和斯科特百货大楼为例

建筑描述语言中通过性别比喻的修辞将建筑之于男性与女性的特征类比,在建筑史中存在了数千年。随着现代主义建筑的产生与发展,性别化修辞描述建筑的语言越发不为人们所使用,在沙利文之后对于建筑的性别化描述更是骤然消失。这种语言描述的变化有着其时代发展的原因。通过对担保大厦和斯科特大楼的建筑描述研究,探究现代主义初期的性别化描述特点的本质以及时代意义。     

阅读"白色派"——读"Reading Structuring Surfaces: the legacy of the whites"

当现代主义建筑面临危机的时候,纽约五人旗帜鲜明地扛起了继承现代主义的重任.他们继承了现代主义的许多理论观点,并且把这些观点、手法推向极致.该文主要阐述白色派在建筑学认识论方面的一些手法及其形式操作.     

后现代主义与建筑设计

一直以来，支持建筑文化发展的动力归根结底分为两个方面同是物质技术，二是精神文化。当以形式服从于功能为美学原则的现代主义建筑发展到技术至上的时候，建筑设计过渡到后现代主义是建筑文化发展的必然趋势。与现代主义相比较，后现代主义更多地是从建筑设计的外表和形式上用模糊多元的方式来弥补现代主义建筑对功能性的一味推崇而导致的缺陷，在根本上却依然没有改变现代主义建筑实质性的东西。在二十一世纪全球化的今天，建筑设计应从自己的生存环境中寻找新模式。     

形而下的真实--试论建筑创作中的材料建构

针对当前国内建筑界对材料运用缺乏理性理解和真实表现的实际,通过对现代主义建筑大师成功驾驭材料和现代主义思想在中国近现代坎坷发展经历的分析,提出材料真实表达的三层逻辑内涵和材料建构法则,认为当代建筑师应在加强材料认知和理性建构材料的基础上全面系统实践现代主义思想,从而为提高中国建筑整体水平提出一条可行的发展途径.     

中国近代“学院派”建筑教育中的现代建筑教学——以东南大学（原国立中央大学）早期40年教学为例

回顾了中国近代现代主义建筑思潮＂渐进式＂的传播历程,从教学的角度辨析了古典建筑与现代建筑的特点;在此基础上以东南大学（原国立中央大学）早期40年建筑教学为例,分析了中国＂学院派＂建筑教育中的现代主义建筑的教学特征。指出,＂学院派＂建筑教育与中国＂渐进的现代主义＂相结合是以一种改良的姿态成为特殊的现代主义背景下的＂学院派＂,其表现是＂学院派＂指导下的＂渐进式现代主义＂的教学模式,其结果导致中国建筑界对现代主义建筑的误读。     

解读MIT校园建筑

校园建筑不仅决定着一个大学校园的风格和规模,更重要的是它们代表着大学的普遍价值和愿望。分析MIT校园不同时期建造的建筑及其风格：从20世纪初的新古典主义到中期的现代主义,从20世纪后半叶的自然国际风到21世纪初的后现代主义,旨在展现这一世界著名大学校园的发展和规划历程,以期引起规划师和建筑师的一些关注和思考。     

Creating space out of text: perspectives on domestic Regency architecture or Three essays on the picturesque

This paper examines the landscape and architecture of a Regency country house using Jane Austen's texts as 'proof' of the way these spaces are used and perceived. More general historic, political and social sources are examined in order to locate the behaviour and perceptions of Austen's characters in terms of the aesthetic sensibilities of the Regency middle classes in general. The broader social/political issues that mould Austen's physical surroundings are divided into land distribution and class, gender, and nationality. Essays on these issues are splintered, with fragments appearing where they are relevant to the primary narrative - middle class domestic life - reflecting the fact that the political/cultural outlook of a social class tends to be conscious only when it touches on more immediate concerns.     

西方现代建筑在哈尔滨的传入与表现特征

本文详尽地介绍和分析新艺术运动、装饰艺术以及现代主义运动这三大建筑运动在哈尔滨的独特表现和基本特征,进而得出"哈尔滨是西方现代建筑传入中国的前哨站"这一重要结论。     

"卡纸板建筑"的美学涵义

埃森曼早期的一系列“卡纸板建筑”象征着一种纯粹抽象、空白中性．自给自足的形式结构体系，受形式主义、结构王义和语言学的影响．它排斥任何色彩，消解任何质感．拒绝任何风格、否定建筑的一切物质和化含义．是现代建筑中形式主义倾向的一个极端例证。     

当今建筑流派的技术观念

从技术观念的角度对当今世界两大建筑流派－－后现代主义与晚期现代主义进行了系统分析,并通过在技术观念、设计思想、审美取向与表现手法上的辩证对比,谋略揭示建筑艺术在现代科技高度发展之后的新的价值取向－－浪漫与理性的融合与交织。     

The two minds of architecture: the quick and the dead

Sir: In calling the British Library 'the Sydney Opera House of libraries' ('Opening chapter', 4 July), Nonie Niesewand is misinformed. Architecturally, the two buildings share nothing of value. Jorn Utzon's masterpiece was original from its core, as his sparse competition sketches made clear in 1957. Like Hans Scharoun's Philharmonie and Alvar Aalto's Finlandia Hall, it stands as one of the few major monuments of the freethinking wing of Modernism. Conversely, Colin St John Wilson openly states: 'This is where I say my thanks,' to those he conducts round his library. And he is correct, for almost every detail has been quoted from modern masters he admires, making the whole just a revivalist's fruit salad, the fruits being canned. Whereas Utzon is a true Modernist, Wilson has merely followed Postmodernism, that great black hole into which Modernism fell.     

Madhura Prematilleke (Team Architrave)

Madhura Prematilleke practises with his colleagues at Team Architrave in Colombo, Sri Lanka, and considers himself an Asian Modernist in search of what he calls a ‘robust architecture’ that ‘can accommodate - and indeed thrive upon - the manner in which it is used, misused or otherwise “Asianised”’. This view of Modernism stems from the fact that, as Prematilleke explains, ‘in a cultural landscape such as ours in Sri Lanka - where urban contexts are chaotic, tastes are wildly heterogeneous, and usage of buildings abrasive, Modernism, in particular, with its aspirations of purity and lucidity, is hardly able to cope’. Copyright © 2007 John Wiley & Sons, Ltd.     

理性的回归：新千年的建筑主流—新现代主义

新现代主义是坚持现代主义核心思想，同时对早期现代主义的局限性进行改良、发展和完善的。活跃在当今国际建筑界的一种建筑思潮。较之现代主义，新现代主义并非一个单一的建筑风格，它具有更为客观的、冷静的、多样的、成熟的、非教条的特征。新现代主义者们坚持现代主义理性和功能化，但同时从不同的层面和角度进行重新诠释。在世纪之交，新千年到来之际，新现代主义因其内在精神的合理性和与时代发展需求的契合，表现出了越来越强劲的发展势头。     

Douglas Haskell and the Modern Movement in American Architecture

The phenomenon of Post Modern culture has manifested itself primarily in two ways in contemporary architectural production and discourse. One, which is almost exclusively stylistic, has attempted to seek a renewal in architecture through the rejection of all aspects of Modernism in favor of a picturesque and superficial Classicism. This version of Post Modernism accepts de facto the pluralist world-view of contemporary capitalist development and avoids the larger questions of architecture's place within the complexities of today's socio-political universe. The other manifestation of Post Modernism in architecture is theoretical. It seeks a critical reading of architecture within the complex labyrinthe of contemporary culture. It tries to understand how meaning has come to have a tenuous existence in the artifacts and life of our time. It has proposed, both through theory and practice, various possibilities as to how we might negotiate this situation. This paper engages in discussion and critique of both of these orientations, their implications and ramifications.     

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。