解读当代建筑课件

1、解读当代建筑一、当代建筑解读方法1、文本阅读2、图纸解读3、影像阅读4、建筑体验二、当代建筑新变化1、功能的复合2、材料的创新与应用3、审美趋向的多样化4、生态和智能的趋势5、电脑技术的影响建筑艺术欣赏三、现代主义建筑的反思与发展1、后现代主义2、新现代主义3、极少主义4、解构主义5、地方主义的演进6、高技与建筑的技术趋向7、中国当代建筑实践图纸阅读：总平面Church of the Light, Ibaraki, Osaka, 1988, Tadao AndoGerman Pavilion, Barcelona, Spain, 1928-1929, Mies van der Rohe图纸阅读

2、：平面图纸阅读：剖面Collection Goetz, Munich, German, 1989, Herzog & De Meuron图纸阅读：草图Saint Benedict Chapel, Sumvitg, Switzerland, 1988, Peter Zumthor 图纸阅读：表现图Edgar Kaufmann House (FallingWater), Bear Run, PA, USA, 1934-37, Frank Lloyd Wright影像阅读影像：三维的二维表现真实的直接再现直观、易懂、表达清晰与风格、形式、空间、材料有关照片：直观地表达形式、环境、材料等局部Aasen

3、 Center, rsta, Norway, 2000, Sverre Fehn照片：直观地表达形式、环境、材料等局部Aasen Center, rsta, Norway, 2000, Sverre Fehn环境概念整体感受空间体验光线质感建筑体验二、当代建筑新变化功能的复合（Multi-Function）功能的复合Multi-Function功能的复合(Multi-Function)：光大会展中心功能的复合： 光大会展中心功能的复合： 光大会展中心功能的复合（Multi-Function）John Hancock Center, Chicago, 1969, Skidmore, Owings

4、 & Merrill (SOM)材料的创造性运用（新构造/材料）Signal Box, Basel, Switzerland, 1994, Herzog & de Meuron 充分考虑到美观和功能的兼顾，赫尔佐格和德梅隆对材料进行了突破性的发挥，将建筑外墙统一用一个“表皮”包裹起来，钢筋搭建的六层楼建筑外包裹上一层20厘米宽的铜片，使整个建筑保持了犹如雕塑般的极度统一感，又能产生微妙的立体层次变化，达到“尺度的模糊化”。建筑失去尺度感，也就是说不清此建筑物有多大。审美趋向的多样化（多元/个性）The Umbrella, Culver City, California, 2000, Eric

5、Owen Moss审美趋向的多样化（多元/个性）浙江大学宁波理工学院图书馆，宁波，2002，马青运审美趋向的多样化（多元/个性）Tokyo Metropolitan Gymnasium, Tokyo, Japan, 1990, Fumihiko Maki/槇文彦 生态和智能的趋势Menara Mesiniaga, Selangor Darul Ehsan, Malaysia, 1992, T.R. Hamzah & Yeang 生态和智能的趋势Menara Mesiniaga, Malaysia, 1992, T.R. Hamzah & Yeang 生态和智能的趋势Menara Mesinia

6、ga, Malaysia, 1992, T.R. Hamzah & Yeang 梅那拉梅西加尼亚座落于马来西亚Subang Jaya。它淋漓尽致地表现出建筑师控制环境和气候因素的熟练手法，特别是“空中花园”的意象.建筑物在内部和外部采取了双气候的处理手法，使之成为适应热带气候环境的低耗能建筑。 功能的复合（Multi-Function）材料的创造性运用（新构造/材料）审美趋向的多样化（多元/个性）生态和智能的趋势CAD技术的影响CAD技术的影响Guggenheim Museum, Bilbao, Spain, 1991-97, Frank O. GerhyCAD技术的影响2008年北京奥运会主

7、体育场三、现代主义建筑的反思与发展后现代主义新现代主义极少主义解构主义地方主义的演进高技与建筑的技术趋向中国当代建筑实践1. 后现代主义(Post-Modernism)对现代建筑（国际式）的批判性思考与实践理论准备：Roger Scruton，建筑美学：强调功能的先验存在，倡导美学至上，形式主义的趋向Robert Venturi，建筑的复杂性与矛盾性：针对现代主义所忽视的美学问题，提倡多元、兼容并蓄建筑师：Michael Graves, Robert Venturi(& Scott Brown), Aldo Rossi, Charles Moore, James Stirling AT&T B

8、uilding, New York, 1978, Philp JohnsonAT&T Building, New York, 1978, Philp JohnsonThe Portland Building, Portland, Oregon, 1980, Michael GravesDenver Central Library, Denver, Colorado, 1996, Michael GravesDenver Central Library, Denver, Colorado, 1996, Michael GravesDenver Central Library, Denver, C

9、olorado, 1996, Michael GravesDenver Central Library, Denver, Colorado, 1996, Michael GravesDenver Central Library, Denver, Colorado, 1996, Michael GravesPiazza dItalia, New Orleans, Louisana, 1974, Charles MoorePiazza dItalia, New Orleans, Louisana, 1974Charles MooreSainsbury Wing, National Gallery,

10、 London, 1988-91, Venturi Scott Brown & AssociateSainsbury Wing, National Gallery, London, 1988-91, Venturi Scott Brown & AssociateSainsbury Wing, National Gallery, London, 1988-91, Venturi Scott Brown & AssociateNew State Gallery, Stuttgart, Germany, 1977-83, James Stirling New State Gallery, Stutt

11、gart, Germany, 1977-83, James Stirling New State Gallery, Stuttgart, Germany, 1977-83, James Stirling New State Gallery, Stuttgart, Germany, 1977-83, James Stirling 2. 新现代主义(Neo-Modernism)对现代建筑的传承与发展准备：Bruno Zevi，建筑空间论：功能原则扩大化，着眼于创造形式对空间、光、形式的认识和实践建筑师：Louis Kahn, Richard Meier, Tando Ando, Gwathmey

12、Siegel, Luigi SnozziJonas Salk Institute, La Jolla, California, 1959-1966, Louis Kahn Jonas Salk Institute, La Jolla, California, 1959-1966, Louis Kahn Jonas Salk Institute, La Jolla, California, 1959-1966, Louis Kahn Getty Center, Los Angeles, California, 1985-97, Richard Meier Getty Center, Los An

13、geles, California, 1985-97, Richard Meier Getty Center, Los Angeles, California, 1985-97, Richard Meier Getty Center, Los Angeles, California, 1985-97, Richard Meier Getty Center, Los Angeles, California, 1985-97, Richard Meier Getty Center, Los Angeles, California, 1985-97, Richard Meier The New Mo

14、dern Art Museum, Fort Worth, Texas, 2002, Tadao Ando The New Modern Art Museum, Fort Worth, Texas, 2002, Tadao Ando The New Modern Art Museum, Fort Worth, Texas, 2002, Tadao Ando 3. 极少主义(Mininalism )对现代建筑的发展准备：Mies van der Rohe的实践极少主义艺术家的创作建筑师：Herzog & De Meuron, Alberto Campo Baeza, Luis Barragan,

15、Toyo Ito(伊东丰雄), Shigeru Ban(坂茂), Kazuyo Sejima(妹岛和世)Collection Goetz, Munich, German, 1989, Herzog & De MeuronCollection Goetz, Munich, German, 1989, Herzog & De MeuronT House, Yutenji, Tokyo, 1999, Toyo IyoT House, Yutenji, Tokyo, 1999, Toyo Iyo2/5 House, Nishinomiya, Hyogo, 1995, Shigeru Ban2/5 Ho

16、use, Nishinomiya, Hyogo, 1995, Shigeru BanM house, Tokyo, Japan, 1997, Kazuyo SejimaM house, Tokyo, Japan, 1997, Kazuyo SejimaM house, Tokyo, Japan, 1997, Kazuyo Sejima4. 解构主义(Deconstructionism )对现代建筑的批判理论准备：Jacques Derrida建筑师： Bernard Tschumi, Frank O. Gehry, Daniel Libeskind, Eric Owen Moss, Rem K

17、oolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelblau, Morphosis, Asymptote, MVRDVLa Villette “Follies”, Paris, France, 1982-85, Bernard TschumiLa Villette “Follies”, Paris, France, 1982-85, Bernard TschumiVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum,

18、Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, G

19、ermany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Furniture Museum, Weil am Rhein, Germany, 1986-89, Frank O. GehryVitra Fire Station, Weil am Rhein, Germany, 1986-89, Zaha HadidVitra Fire Station, Weil am Rhein, Germany, 1986-89, Zaha HadidV

20、itra Fire Station, Weil am Rhein, Germany, 1986-89, Zaha HadidVitra Fire Station, Weil am Rhein, Germany, 1986-89, Zaha HadidVitra Fire Station, Weil am Rhein, Germany, 1986-89, Zaha HadidThe Umbrella, Culver City, California, 2000, Eric Owen MossThe Umbrella, Culver City, California, 2000, Eric Owe

21、n MossThe Umbrella, Culver City, California, 2000, Eric Owen MossRooftop Remodelling, Vienna, Austria, 1983-89, Coop Himmelblau(蓝天组) Rooftop Remodelling, Vienna, Austria, 1983-89, Coop Himmelblau(蓝天组) Rooftop Remodelling, Vienna, Austria, 1983-89, Coop Himmelblau(蓝天组) Rooftop Remodelling, Vienna, Au

22、stria, 1983-89, Coop Himmelblau(蓝天组) Convention Center, Columbus, Ohio, 1988-1993, Peter EisenmanConvention Center, Columbus, Ohio, 1988-1993, Peter EisenmanSeattle Library, Rem Koolhaas5. 地方主义的演进(Regionalism)结合当地的环境要素和条件（气候、地形、材料、形式等）理论介绍：Frampton, Kenneth. (1985 ) Critical Regionalism: modern arch

23、itecture and cultural identity, Modern Architecture A Critical History, London: Thames and Hudson, 建筑师：Alvar Aalto, Peter Zumthor, Mario Botta, Glen Murcutt, Charles Correa, Luis BarraganVilla Mairea, Noormarkku, Finland, 1938-41, Alvar Aalto Villa Mairea, Noormarkku, Finland, 1938-41, Alvar Aalto V

24、illa Mairea, Noormarkku, Finland, 1938-41, Alvar Aalto Syntsalo Town Hall, Finland, 1952 Alvar AaltoSyntsalo Town Hall, Finland, 1952 Alvar AaltoSyntsalo Town Hall, Finland, 1952 Alvar AaltoThermal Bath, Vals, Graubunden, Switzerland, 1997, Peter Zumthor Thermal Bath, Vals, Graubunden, Switzerland,

25、1997, Peter Zumthor Thermal Bath, Vals, Graubunden, Switzerland, 1997, Peter Zumthor Thermal Bath, Vals, Graubunden, Switzerland, 1997, Peter Zumthor 6.高技派(Hi-Tech)新材料的精湛表现，技术体现的风格准备水晶宫埃菲尔铁塔技术表现建筑师：Renzo Piano, Norman Foster, Richard Rogers, Santiago Calatrava, Nicholas Grimshaw, Paul Andrew Pompidou Center, Paris, France, 1977, Renzo Pia