当代西方建筑美学新思维毕业论文外文翻译.doc

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1、本科毕业设计 第6页当代西方建筑美学新思维当代西方建筑美学最显著的特征之一，就是审美思维的变化。这是一种富有划时代革命意义的变化。我们知道，现代建筑的审美思维，基本上局限于总体性思维、线型思维、理性思维这种固定的、甚至可以说是僵死的框框之中，很难突破功能主义、理性主义的束缚。然而，在当代，在西方当代哲学与科学思想的双重影响和推动下，当代建筑审美思维发生了历史性的变革。它完全摆脱了总体性的、线型的和理性的思维的惯性，迈向了一种更富有当代性的新思维之途。非总体性思维现代主义建筑的几何霸权和纯净主义美学基本上是以一种明目张胆的“压迫性总体化”（阿多诺语）来调控和引导建筑的美学走向的。当文丘里、菲利普

2、?约翰逊等人起挑战这种“压迫性总体化”，当反现代主义运动在建筑领域日益变得蓬蓬勃勃的时候，现代主义的大一统格局很快就被打破，总体性受到重挫。不幸的是，当后现代主义建筑大量涌现时，建筑师们很快就预感到，他们很可能会像雅斯贝尔斯所说的“从一种处境跳入另一种处境”一样，从一种总体性跌进另一种总体性。这种以一种专制取代另一种专制的美学革命，是当代建筑师和美学家最不愿意看到，最不能接受的，因此，从反现代主义运动以来直至当今出现的各种新建筑观念，无不把抵抗总体性、追求差异性作为预防和驱逐任何形式的美学专制妖魅的旗帜。阿多诺（Theodor WAdoeno，德国哲学家）说，“人类的解放决不意味着成为一种总体

3、性”。为了在不同种族的人类之间进行沟通和了解，确实需要某种共同的价值标准、共同的理想和共同的情感，但是，这决不意味着，人类的政治制度、风俗习惯都应该遵循同一种总体性。对审美，具体地说，对艺术和建筑来说，总体性通常只能是一种惰性力量，甚至可以说，它是创造性最可怕的敌人。总体性的可怕之处在于，它具有一种周期性病态发作的惯性力量。当艺术上的一种总体性遭到致命打击之时，往往正是另一种总体性悄悄出笼之际。所以阿多诺认为，如果艺术始终是激进的，它就始终是保守的。强化与支配性精神相分离的幻觉，“它在实践上的无效以及与没有减轻的灾难的同谋关系就显然是痛苦的”。它在一个方向上获得，又在另一个方向上失去；如果艺术

4、绕开贬黜历史的逻辑，那么它必定要为这个自由付出高昂的代价，其中之一就是难以符合历史逻辑的再生产。阿多诺对逃离总体性一直持一种矛盾、怀疑甚至是悲观的态度。他曾说过，我们可以忽视总体性，但总体性却并不忽视我们。仿佛总体性是一种如影随形、神出鬼没、无法摆脱的东西。在他看来，逃离总体性既不可能，又无必要。因为你在对抗总体性时，“在一个方向上获得，又在另一个方向上失去”。可是，大多数建筑师并不同意阿多诺的观点，他们希望能够通过提高建筑师的关注力、知觉和选择的能力，充分发挥建筑师的自主性和捕捉与表现自我差异性的能力，以图逃离总体性的陷阱。被菲利普?朱迪狄欧（Philip Jodidio）誉为思想型建筑师的

5、斯蒂芬霍尔（Steven Holl）说过：“建筑与其遵从技术或风格的统一，不如让它向场所的非理性开放。它应该抵制标准化的同一性倾向新的建筑必须这样构成：它既与跨文化的连续性适配，同时也与个人环境和社区的诗意表现适配。”霍尔明确反对任何形式的同一性或总体化，他心中理想的建筑，是既合乎个人生存的文化境遇和环境境遇，又具有某种异质性因素的建筑。摩弗西斯事务所的主将汤姆梅恩一向以特立独行而著称，他虽然没有像屈米和迈克尔索尔金（Michael Sorkin）那样，呼唤丑陋的建筑，但他对建筑形式与风格的忽视几乎与他对建筑结构和空间的重视一样出名。他对拼贴式的、虚假的后现代主义怀着深深的厌恶，对80年代流行

6、一时的虚假的多元论更是不屑一顾。他曾说，“今天，我们有可能评价我们多元世界里共同的价值系统，在这个世界，现实是混乱的，不可预测的，因而终究也是不可知的。冒险已经成为我们的操作原则今日建筑的中心主题之一，是关于一个建筑师是否可以摆脱内在于我们环境的、腐蚀我们的自主性、自我意识甚至个人心智的心理和社会的势力而独立行动的问题。”梅恩和他的其他合作者们一样，极为重视艺术创造的个人性和独立性。在他们看来，个体不应该受宏大叙述（grand narrative）的影响，不应该受制于宏观理性，而应该听从自我的纯粹创造使命的指引，走“小叙述”也即个人化道路。只有这样，建筑才能摆脱同一性和总体性的怪圈。同设计维也

7、纳Z银行的G多米尼希(Gunther Domenig)一样，蓝天组的沃尔夫?普瑞克斯（Wolf Prix）显然也把建筑当作了一种叙述性和表情性艺术。他真诚地希望建筑师的设计能够和作家们的创作一样，充分构拟、揭示和表现我们世界的复杂性和多样性。他说：“我们应该寻找一种足以反映我们世界和社会的多样性的复杂性。交错组合和开放的建筑没有什么区别：他们都怂恿使用者去占据空间。”唯有语言艺术能够自如地描绘、揭示和诠释心灵、自然和社会的复杂性，这种常识普瑞克斯当然知道。但是，他和许多当代建筑师一样，急切地希望建筑能够超越自身的极限，用自己特殊的语言同总体性抗衡，所以难免对建筑的叙述性和表情性有过高的、不切实

8、际的期许。New thinking of contemporary western architectural aestheticsOne of the most striking features of aesthetics of contemporary western architecture, is the change of aesthetic thinking. It is a rich epoch-making revolutionary change. As we know, the aesthetic thought of modern architecture, basic

9、ally confined to the overall thinking, linear thinking, rational thinking this fixed, and even can be said to be rigid frame, it is difficult to break through the shackles of functionalism, rationalism. However, at present, in and promote the dual influence of western contemporary philosophical and

10、scientific thought, had the historical transformation of aesthetic thinking of contemporary architecture. It is completely out of the general, linear and rational thinking inertia, towards a new thinking for a more contemporary natures way.Non overall thinkingModern architectural geometry hegemony a

11、nd pure aesthetics basically is a kind of in a flagrant way oppressive totalisation (his words) to control and guide the construction of aesthetic trend. When Venturi, Philip? Johnson et al to challenge the oppressive totalisation, when the modern movement has become thriving in the construction fie

12、ld, modern unified pattern was quickly broken, overall tanked. Unfortunately, when the postmodern architecture emerge in large numbers, the architects soon felt, they are likely to be as Jaspers said, from a situation into another kind of situation, from an overall fall into another kind of overall.

13、 This replaces the aesthetic revolution another tyranny in a dictatorship, is a contemporary architects and scientists do not want to see, most cannot accept, therefore, all sorts of new architectural concepts since the anti-modernist movement until the emergence of resistance, all to the overall, p

14、ursuit diversity as a preventive and expel any form of aesthetic autocracy charm monster banner.Adorno (Theodor W Adoeno, German philosopher) said, the liberation of mankind does not mean to become a general. In order to carry out the communication and understanding between different races of human,

15、 really need a standard of value, common ideals and common feelings, however, this does not mean that, humans political institutions, customs should follow the same general. On the aesthetic, specifically, on art and architecture, the general can only is an inert strength, even can say, it is the mo

16、st terrible enemy of creativity.Terrible place overall is, it has a periodic attack morbid inertial forces. When a art of totality was a fatal blow when, often is another kind of overall quietly out of. So Adorno thinks, if art is always a radical, it is always conservative. The strengthening phase

17、separation and the dominant spirit of the illusion, which in practice is invalid and complicit did not reduce disaster is apparently painful. It was in one direction, and lost in the other direction; if art to bypass the disgraced historical logic, then it will have to pay a high price for this free

18、, one of which is difficult to meet the reproduction of historical logic. Adorno to escape from the overall has been holding a contradiction, suspicion and even pessimistic attitude. He said, we can ignore the totality, but overall did not ignore us. As if the general is a kind of come and go like a

19、 shadow, as the shadow follows the form, unable to get rid of stuff. In his view, fled the totality is neither possible nor necessary. Because you are against the general, get in one direction, and lost in another direction. However, most architects do not agree with his point of view, their ability

20、 to hope that through improve the architects attention, perception and choice, give full play to the architect of the autonomy and capture and expression ability difference, in order to escape from the trap of totality.Philip? Judi Di ou (Philip Jodidio) Stephen Holzer known as the ideological Archi

21、tects (Steven Holl) said: the unified construction and its compliance technique or style, irrational open let it to a place. It should be the same tendency to resist standardization. New buildings must be formed in this way: it is a cross-cultural continuous adaptation, and poetic performance and pe

22、rsonal environment and community adaptation. Holzer clearly opposed to any form of identity or overall, his ideal architecture, is both personal survival culture situation and environmental situation, but also has a certain heterogeneity architecture.Mofuxisi firm commanding general Tom Men has alwa

23、ys been a personal independence of conduct is known, although he did not like Bernard Tschumi and Michael Sorkin (Michael Sorkin), call ugly building, but he to architectural form and style and he ignored almost of the building structure and spatial attention as famous. He mounted the spell, false p

24、ostmodernism with deep aversion, to the 80s popular false pluralism is a contemptuous disregard. He once said, today, we have the common value system of evaluation of our diverse world, in this world, the reality is chaotic, unpredictable, so it is unknown. The adventure has become our principles of

25、 operation. One of the central themes of todays building, is about an architect can in our environment, corrosion of autonomy, our sense of self and personal mental psychological and social forces independent action problem from within. Main and his researchers cooperation, attaches great importance

26、 to the art creation and personal independence. In their view, the individual should not be affected by the grand narrative (Grand Narrative) influence, should not be subject to the macro rationality, and should follow the guidelines for creating self pure mission, go narrative that personalized roa

27、d. Only in this way, the building can get rid of the same sex and overall cycle.With the design of Vienna Z bank G. Domini (Gunther Domenig), and the blue sky group Wolf? S (Wolf Prix) apparently Rex the building as a kind of narration and expression of art. He sincerely hopes to the architects design and the writers creation, fully draw, revelation and expression of complexity and diversity of our world. He said: we should find a enough to reflect the complexity of the diversity of our world and society.