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。     

浅谈现代主义建筑的没落与后现代主义建筑的复兴

现代主义建筑与后现代主义建筑之间有着紧密相关的联系。从发展趋势上来说,后现代主义建筑风格起源于现代主义建筑风格,后现代主义建筑也是在现代主义建筑之上发展起来的,后现代主义建筑的兴起是现代主义建筑没落的直接影响因素。本文从现代主义建筑与后现代主义建筑两者的概念入手,着重分析两者之间关系,并对现代主义建筑没落与后现代主义建筑的星期进行详细论述,供同行参考借鉴。     

温热现代主义：昆士兰亚热带建筑特征与思想初探

温热现代主义是对二战后20 世纪40 年代至70 年代中期澳大利亚昆士兰州建筑实践特征的概括。其以亚热 带气候和文化特征为基础,对现代主义建筑进行地域化改良,发展出具有昆士兰特征的现代建筑,具有重要的理论 意义和实践价值。本文介绍了温热现代主义的特征与建筑实践,并进一步从昆士兰现代建筑教育、昆士兰建筑的亚 热带反思等方面来追溯温热现代主义思想来源。在此基础上,本文将温热现代主义置入国际现代主义地域性反思 的语境中,指出其地域化现代建筑的生成路径和对现代主义建筑的贡献,并讨论其对中国现代建筑发展的启示。     

浅析多米诺体系的演变与发展

在工业时代的背景下,柯布西耶打破了原有的古典建筑形式,发明自由平面的建筑格局,形成了多米诺体系.随着科学技术的不断突破以及互联网的兴起,建筑多元化逐渐推向大众的视野,如何采用新的材料、结构和技术来对传统建筑空间及形式进行突破,从而适应新时代空间发展的需求,成为了许多建筑师开始关注的焦点问题.文章通过研究多米诺体系,对现代主义建筑进行系统分析,从现代主义建筑角度结合社会的发展与技术的进步来总结多米诺体系的发展与演变.     

抽象艺术视野下的现代主义建筑“还原性”探析

现代主义建筑是古典建筑走向现代建筑的重要转折点,它开启了20世纪建筑发展序幕。抽象艺术对现代主义建筑产生过重要的影响,对于抽象艺术观念的深入认识是我们全面理解现代主义建筑所不可缺失的一环。本文引用现象学的理论方法对抽象艺术进行剖析,分析抽象艺术对古典艺术所进行的还原,并以此为基础分析阐述现代主义建筑设计观念与设计语言的还原性特征。     

谈现代主义建筑

本文试图从现代主义建筑入手,探讨建筑信息对建筑的影响与作用,科学技术对建筑发展的推动作用,剖析影响建筑发展的影响因素.诠释现代主义建筑的发展过程,探究建筑的发展规律.     

解读关中地区城中村的现代主义建筑

对关中地区城中村的现代主义建筑进行了研究,指出了城中村建筑与城市建筑的区别,分析了城中村现代主义住宅的特征,以期对21世纪建筑的发展定位有所贡献。     

传统中的现代——现代主义本土化的可行性

该文在对现代主义代表性建筑——萨伏伊别墅,以及代表理论——流动空间、通用空间进行分析的基础上,对中国传统建筑中的现代性进行了大胆、创新地探讨．指出了中国建筑学未来的发展需要让现代主义本土化,并且这也是切实可行的。     

探析萨伏伊别墅的空间设计与布局

勒·柯布西耶的作品萨伏伊别墅在设计中提出了新建筑五元素,对建筑的材料、结构、工艺等各方面进行革新。本文通过对萨伏伊别墅的空间设计的理论观点、设计手法、布局形式等进行分析,探索现代主义建筑的设计精神,研究现代主义建筑的设计形式、技术和特征。     

The Walter Gropius House Landscape

The Gropius house landscape is a potent physical manifestation of the design debates of its era. The landscape is an element of both mediation and integration forging a reciprocal and evenhanded relationship between architecture and site. Shaped by modern architectural sensibilities translated to the landscape and developed at a moment when landscape architecture was struggling to find a modernist inspiration and voice, it is an object lesson in the development of a modernist landscape architecture in America.     

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.     

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.     

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。     

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。     

数字媒介驱动下当代西方先锋主义创作的转变

媒介技术的发展对先锋主义创作方法的演进有积极的促进作用。数字媒介作为当代先锋主义创作工具。催生了先锋主义发展的转变。本文将从初期先锋主义——现代主义建筑到新先锋主义的发展过程作为分析对象,着重探讨了数字媒介如何驱动先锋主义创作方法的转变。