摘要
文章将在西方现代建筑中的一个重要理论话语—画意美学—之中考察王澍建筑与世界现代建筑的关联。正如其先驱者乌维达尔·普莱斯所认为,画意概念不同于崇高,也不同于美丽,以王澍为代表的一批"文人"建筑师所追求的画意也有别于象征权威与尊严的崇高和表现金钱与财富的美丽。而对于中国建筑,画意话语不仅可以帮助重新认识中国现代建筑师们对这一问题的长期探寻,也有助于重新思考如何在现代建筑的条件下发展中国建筑的画意传统。王澍的建筑在新粗野主义建筑所强调的"意象"概念之中加入地域和文化的象征性,促使人们反思近年代以来被建构思想视为对立的种种建筑属性—如物品性与符号性等—共容并存的可能,从而恢复对于后现代主义建筑所主张的表意性的信心。
This paper studies the architecture of Wang Shu in light of the discourse of the picturesque in twentieth-century architecture. It argues that as much as Sir Uvedale Price, author of the Essay on the Picturesque, As Compared With The Sublime and The Beautiful （1794）, meant for the picturesque to be distinctive from the beautiful and the sublime, for Wang Shu and his literati peers, the picturesque character differentiates their works from two dominant trends in contemporary Chinese architecture, namely, the sublime for symbolizing authority and dignity, and the beautiful for showcasing wealth and abundance. In addition to cultural criticism, the perspective of the picturesque brings to light the effort made in the past century by Chinese architects to combine the traditions of Chinese gardens and vernacular architecture with the design of modern architecture. Among these architects is Wang Shu, whose works concern the architectural promenade, townscape, and regionalism and exhibit the influence of Chinese landscape painting, garden design and local materials and craftsmanship. Similar to architecture of New Brutalism, a development of picturesque discourse in the 1950s, the architecture of Wang Shu downplays ＂form＂ in favor of ＂image.＂ By incorporating cultural symbolism into the image, however, Wang Shu＇s architectural style drives us to re-think the semiotic characteristics of architecture that have been stressed by Postmodernism but targeted by the notions of tectonic and critical regionalism in recent decades.
出处
《建筑学报》
北大核心
2013年第4期80-91,共12页
Architectural Journal
关键词
画意
市镇景观
新粗野主义
拼贴城市
王澍
picturesque, townscape, New Brutalism, Collage City, Wang Shu
