本雅明拱廊思想对现代商业建筑空间的启示

本雅明的《拱廊计划》~1(The Arcades Project)是他通过建筑体验研究日常空间的巨著,近年在西方学界已得到了广泛的重视。本雅明认为拱廊不仅是欧洲商业空间的一种独特的空间符号,更是商业空间与日常空间结合的先驱。本文希望通过从本雅明的角度入手,还原拱廊的建筑地位,探讨对拱廊街对现代商业建筑公共空间内涵影响和启示。     

一个关于"电影建筑"的建筑文本

对帕斯考·舒宁(Pascal Schoning)的<一个电影建筑的宣言>的文本进行了解读.通过追溯帕斯考个人的经历和其建筑理念形成的关系.试图理解其.电影建筑"主要的议题、概念的构筑和达成的方式,并试图说明在帕斯考·舒宁的定义中,"电影建筑"不是关于电影和建筑之间再现与参照的关系.在此,"电影"表达的是一种建筑的理念,即物质实体消隐的过程对人的感知和心理体验的影响.     

现代法院建筑开放性空间设计研究

随着我国司法体制的不断完善,执法的公正性、透明性的加强。司法建筑空间也更加注重人文性、开放性的设计思想。本文试图通过司法建筑这一类型的特殊性及其在设计中的矛盾分析,提出了司法建筑开放性的设计概念,突破司法建筑的"固有"形式,希望对未来我国司法建筑空间产生新的影响。     

唐代长安城建筑思想浅探

唐代长安城作为中国古代建筑史中阶段性建筑思想的载体,有着极其重要的地位,但是目前学术界对于唐长安城建筑思想,并没有全面系统的研究和阐释;本文试图通过唐长安城营建规划中的一些细节内容的剖析和其建筑所综合反映的人文思想来对唐代长安城建筑思想作一个初步的凝练总结.     

建筑体验中的情绪密码——从心理学角度浅析建筑空间

提出当代建筑的发展趋势之一为强调“建筑体验”,进一步引出心理学范畴的“情绪理论”。通过研读建筑类及心理学类研究理论成果,试图与建筑语汇相联系,通过心理学层面的解析,将情绪与可实现的建筑语言——对应,从而营造个性的氛围,带动不同的情绪。     

瓦勒里欧·奥加提的“无参照建筑”

本文试图通过时代的责任、空间的体验、对新的追求、智性的建筑、建筑的本体等五个角度结合建筑实例分析解释瓦勒里欧·奥加提对他所谓的"无参照建筑"的定义。     

从原初到未来:藤本壮介建构的空间新秩序

藤本壮介通过对人的行为体验感受和原初场景的思考出发,寻求建筑新的普遍性,在近年的作品中,他由弱建筑的探索走向了云领域的实践。本文试图通过复杂性思维的阐述来破译其建筑生成逻辑,并以空间相关性为切入点分析其建筑中的局部秩序构建,在其一以贯之的"原初未来"思维下,对其设计思想和建筑作品进行解读。     

王澍建筑与思想中创造性的运动

本文从建筑的时间性来探讨王澍的建筑作品及思想．试图通过他的作品来阐明并称颂建筑在时间和历史中的多种存在方式,以及当我们穿行其间,或是思考、设计、建造它的时候,建筑如何呈现出不同的面貌。具体而言。通过这些作品以及他的写作,来表明空间上的秩序是如何组织以达成那些或缓或急的时间序列。设计创作如何在反复深化中逐渐推进,还有,建成作品如何因变化而持久并且表现各异。本文意欲阐明。建筑的创造性有赖于运动,也正是经由运动,人们才能体验到建筑的秩序与美好。     

建筑体验的维度:从感官意识到时空秩序——评S·E·拉斯姆森《建筑体验》(下)

《建筑体验》是拉斯姆森反思现代主义建筑的经典之作。书中指出,现代建筑师学习了现代建筑学的基本原理,却设计建造了大量毫无特色的房屋,丧失了传统工匠所掌握的对建筑场所、材料、自然感受等与人生体验相关的基本常识。这部著作试图通过对建筑体验的重新阐释,将那些建造和居住中的传统常识重新找回来。对此,本文提出以建筑体验四个维度为中心的分析框架,以便更系统地把握拉斯姆森的建筑体验理论。这里承接上文,进一步从感官意识与时空秩序两个维度展开论述。     

建筑思想的传承与转译——以弗兰克·盖里、艾瑞克·莫斯与黄声远的建筑思想与方法为例

本文选取当代三位著名的建筑师:弗兰克·盖里、艾瑞克·莫斯与黄声远作为比较对象,通过对其实践作品分析,研究建筑思想、工作方法的异同之处,进而试图探讨三代建筑师之间的思想传承关联所在,并探索因时空背景转换而产生的思想与实践的转译现象。从而对建筑从业者起到一定的借鉴与参考意义。     

从机械复制到大众狂欢——读本雅明的《机械复制时代的艺术作品》

本雅明是后现代研究无法忽视的重要思想家,其在意识形态和文化等方面的研究富于洞见地预言了后现代的文化转向——文化被大众煤介操控并不断地粉饰自身去追求商业利润和政治意蕴。本文在扼要回顾本雅明的人生历程之后介绍了其技术主义理论的经典作品——《机械复制时代的艺术作品》,指出本书旨在讨论技术革新将给艺术发展带来的巨大影响,甚至是受众感知方式的转变。从无法复制的隐秘性到机械复制的大众性,这个过程不仅带来了艺术品传播方式的转变,更使其内涵和本真性分崩离析。     

What belongs to architecture?' Avant-garde ideas in the modern movement

The Modern Movement is often given the role of the avant-garde in architecture. Recent theoretical developments, however, argue for a differentiation in meaning between 'avant-garde' and 'modernism'. It is claimed that the avant-garde was a radical and disruptive phenomenon, which aimed at a total unification between art and life and which resisted the divide between high art and mass culture. The avant-garde is thus theoretically distinguished from modernism, which is seen as a calmer and less revolutionary movement of aesthetic renovation. This article points out how this differentiation in meaning can elucidate some important divergences in the discourse of the Modern Movement. It focuses on some early writings of Sigfried Giedion and on Walter Benjamin's interpretation thereof, in order to highlight their fundamental questioning of architecture's role vis-a-vis society. This questioning means that, in the considered texts, both authors are closer to an avant-gardist sensibility than to a modernist one.     

Bertram Goodhue,Walter Douglas and Tyrone,New Mexico

Bertram Goodhue is well known for his important public and ecclesiastical buildings, but his project for the company town in Tyrone, New Mexico, abandoned shortly after construction and eventually swallowed up by mine pits, is surely one of the most intriguing. Reactionary politics and public relations led Walter Douglas of Phelps-Dodge to hire Goodhue to design a company town for miners in New Mexico, and politics and declining copper prices led him to abandon it only five years later, despite the merits of the architecture and planning.     

Le Corbusier and Walter Gropius: contacts prior to the Second World War

Le Corbusier left neither memoirs nor a life history written with his own pen. Nonetheless, he did leave hundreds of boxes filled with diaries, letters, notes, drawings with comments attached, designs and sketches – a wealth of documentary evidence upon which future historians might reconstruct his biography. When Le Corbusier decided that he was destined to become a great architect and appointed to bring a new architecture into the world, with full deliberation, he therefore meticulously kept every shred of documentation of his life, as had Stendhal and Thomas Mann before him. Most of this vast body of information is stored at the Fondation Le Corbusier in Paris. The author of this article had the opportunity to examine this material in depth, as well as the sources found at the Bauhaus-Archiv in Berlin and the CIAM-Archiv in Zürich. The extensive documentation available made it possible to study Le Corbusier’s contacts with leading architects in many countries. This paper focuses on one of these contacts – the relationship between Le Corbusier and Walter Gropius.     

DÉJ[Agrave] VU: MEMORY IN ARCHITECTURE

It was Walter Benjamin's fundamental insight that all experience is technological, that the term ‘technology’ designates the artificial organization of perception. and that architecture, as the locus of modern experience, is the vehicle of this organization of perception. Against the current technologies of ‘virtualization’ and assimilation of architecture to the media image industry, this essay turns to Walter Benjamin's notion of media and speculates on the relation between building and photography—as the old new media—to advance the possibility of viewing architecture as a form of ‘media’ in the organization of perceplion. From a psychoanalytical reading of the notion of ‘photography.’ the argument proceeds with the Benjaminian thesis that at the beginning of our modernity, ‘photography’ is the foundation forthe constitution oj the psychic-origin of technology Tbeessay concludes with the proposition that, after Benjamin, any speculation on ‘media theory’ in architecture must lake up a psychoanalytical framework in order to theorize the relation of technology to the human psyche. It is on this relation that we must locate Benjamin's legacy for contemporary criticism.     

Robert Damora and the mission of American architecture

In the United States of the 1950s, many architects, artists and historians were engaged with issues surrounding the nature of an authentic American architecture, and their professional responsibility to define its contours and potential. These issues included questions about the relationship of design to a democratic society and the expressive possibilities of architectural monumentality. This essay examines the contribution made by the master architectural photographer Robert Damora (1912–2009) with his wife Sirkka (b. 1924) to the development of a response to these concerns. It addresses his part in shaping American modern design through: his documentation of the work of prominent American modern architects and designers such as Marcel Breuer, Walter Gropius, Eero Saarinen, I. M. Pei, Florence Knoll, Edward Durrell Stone, Paul Rudolph and Philip Johnson; post-war studies of new housing types and innovative concrete construction; photographic interpretations of corporate work such as the Hancock Tower in Boston. Like his contemporaries Julius Shulman, Balthasar Korab and Ezra Stoller, Damora also communicated to the public the heroic drama of modern buildings through the two-dimensional medium of photography, yet unfortunately his work remains less-known than that of his peers. The essay seeks to fill this gap by presenting Damora's own participation in envisioning a new American ideal of a refined yet functionalist way of living, both through the medium of photography and through such exploratory architectural projects as the Seeds for Architecture programme of the Universal Atlas Cement Company.     

The Bauhaus: Case Study Experiments in Education

With its strong emphasis on students acquiring practical, craft skills alongside more formal design expertise, the Bauhaus provides a significant 20th-century precedent for current schools of architecture focusing on learning through making. Architect and urban planner Barbara Elisabeth Ascher describes how the approach to pedagogy in architecture evolved during the Bauhaus's 14-year history (1919-33), and the shift in leadership from Walter Gropius to Hannes Meyer and then finally to Ludwig Mies van der Rohe.     

Hans Scharoun and the aftermath of the First World War

The connection between the First World War experience and the inter-war German avant-garde is axiomatic. Current scholarship focuses almost exclusively on artists and writers although it was architects such as Walter Gropius, Bruno Taut and Hans Scharoun who led the German avant-garde in the 1920s. It is, of course, easier to uncover connections between art and war than between architecture and war since artists often drew, painted or sculpted pieces that directly addressed the trauma of war whereas buildings do not. Nevertheless, architects were profoundly influenced by the events of 1914–1918 and commented on the significance of the war experience to their work. The little scholarship that does examine architects focuses almost exclusively on war memorials and ignores the effect the war had on aesthetic ideas and the direction of progressive architectural design. This paper explores the case of Hans Scharoun, who was one of Germany's most important architects in the first half of the twentieth century, to probe the ways his war service, and the events he participated in and witnessed, may have affected the course of his inter-war practice.     

Artists of the Floating World: SANNA,Niedermayr and the Construction of Atmosphere

Hugh Campbell expands upon the mutually collaborative spatial qualities evoked in the photographic works of Walter Niedermayr and the architecture of Kazuyo Sejima and Ryue Nishizawa of Tokyo-based practice SANAA. Describing their relation as forming a ‘thickened presence’, he alludes to a particular atmosphere reliant on an ambiguity of scale, detail and discernible proximity that serves to liberate the architecture and the photographs from mere documentation whereby instead they figure as transparent recordings of spatial intentions. Copyright © 2008 John Wiley & Sons, Ltd.     

杜普利塞斯庭园

该项目坐落于距里约热内卢州的历史名城帕拉提15km的Laranjeiras Condominiun，项目的基本设计理念是“双面”建筑，即现代的外观设计和传统的内部构造相结合。