解构主义影响

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The identity of aesthetic characteristics
• • • • 现代化的摩天大楼形象一时主宰了世界建筑样式。 Modern skyscrapers dominates the style of architecture in the world at that moment. 解构主义建筑的出现推翻了现代主义提倡的建筑设计规范,瓦解了现代主义 建筑的垄断格局,倡导设计师个体情感的主观抒发与精密严谨的计算相结合, 丰富了当今建筑的表现形式,推动建筑产业的多元化进程。 Deconstructive architecture appears break down the monopoly pattern of modern architecture, combining of designers individual feelings and precise calculation, enriching the forms of today„s construction ,promoting the diversification process of the construction industry. “哈迪德在香港顶峰俱乐部国际设计竞赛方案中,设计师用了根以锐角重叠 的大梁，梁间是两层的建筑空间,整个建筑像废墟似地堆砌着”。方案渗透 出设计者对现代主义形式的一次颇具反讽意味的对抗行为。 “In Hong Kong top club international design competition , the designer Hadid use overlap of girder whose roots are acute Angled ,there are two layers of architectural space between each beam. The whole building stacked like ruins, the organization of whole space seems to be a horizontal skyscraper.” This project shows the behaviors that the designers object to the form of morden architecture.
Deconstruction theory
The influence and function
Overview
• 在后现代主义的浪潮走向式微背景下，解构主义的视个体、部件本身，反对总体统一的哲学 思想开始被一些理论家和设计师所认识和接受，在20世纪末的设计界产生了较大的影响。 • In the context that the wave of Postmodernism transform into weak ，the deconstruction as a part itself or the parts themselves, which against the unification theory began to be known and accepted by some theorists and designers at the end of the 20th century and make a great influence to design industry. • 从某种角度来看，解构主义是对正统原则、正统秩序的批判与否定。 • From a certain perspective, deconstruction is the criticism and negation of orthodox principle and order. • 解构主义不仅否定了现代主义的重要组成部分之一的构成主义，而且也对古典的美学原则， 如和谐、统一、完美等提出了挑战。 • Deconstruction denies modernism not only for constructivism, but also for classical aesthetic principles, such as harmony, unity and perfection.
• 解构主义建筑流派
解构主义建筑七人展
• 解构主义建筑观的美学特征
反同一性的美学特征
无秩序感的美学倾向 去功能化的美学趋向
• The aesthetics characteristic of deconstruction architecture view
The identity of aesthetic characteristics
这些观点不仅说明德里达对后现代范畴的建筑有其主张,也对随后而生的解构主义建筑定下了理论上的基调, 那就是对现代主义建筑及其建筑观的背弃。 These views explain Derrida has his claims on postmodern architecture, then made the fundament-al of deconstruction theory, which betrayed Modern architecture and its theory.
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Baidu Nhomakorabea
Jacques Derrida thinks that new buildings, postmodern architecture should against of the control of modernism、the authority of the modernism、the modern and traditional buildings opposite mode of binary opposition.
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Deconstructive architecture exhibition of seven people
• • • • • • 建筑界普遍认为“解构主义流派”的明确是和发生在20世纪80年代的一系列标志性事件密切相关的。 Architecture generally believed the clear of deconstruction was established by series of landmark event in 1980s 最具典型意义的事件是在1988年3月，在英国伦敦泰特于时画廊举行的 “解构主义建筑研讨会”,此次活 动首次把建筑冠以解构主义名衔。 The most typical events occurred in March 1988, the deconstruction architecture workshop hosted in London„s Tate Gallery British. This workshop first branded in deconstruction. 期间展出了建筑师盖里、埃森曼、李伯斯金、库哈斯、扎哈· 哈迪德、希麦伯劳蓝天组、伯纳德· 屈米卜这 七人共十件作品,史称“解构主义建筑七人展” During the exhibition, Gehry, Eisenman, Daniel Libeskind, Rem Koolhaas, Zaha Hadid, Coop Himmelblau, Bernard tschumi bligh , ten pieces of works and these seven people, history says " deconstruction architecture exhibition of seven people " 由1988年在英美的一系列事件引发,解构主义以迥异于其他任一建筑潮流的无畏姿态出现在世人面前,解构 主义实现了从理论到实践,从思想到物质的转化。 After series of events in British and American at 1988 , deconstruction realized the transformation from theory to practice, from the thought to matter.
目录
• 解构主义理论在现代建筑中的影响
Contents
• The influence of deconstruction theory in modern architecture • Deconstructive architecture genre
Deconstructive architecture exhibition of seven people
The chaos aesthetic tendency
The aesthetic trend of disablement
Deconstruction theory reflected in modern architecture
• 建筑是目前能够明确认定为从解构主义思想母体中分离出来的非哲学领域。解构主义 哲学是在上世纪年代就已经确立,但所谓的解构主义建筑的诞生却是在二十年后的事 情。 At present ，only architecture can be clearly identified and separated from deconstruction philosophy. Deconstruction philosophy has been established in last centurys, but the birth of the deconstructive architecture delayed twenty years later. 德里达认为“新的建筑,后现代的建筑应该是要反对现代主义的垄断控制,反对现代主义的权威地位,反对把 现代主义和传统建筑对立起来的二元对立方式”。
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Deconstruction theory reflected in modern architecture
• • • • 解构主义建筑就像它的本源那样以一种与传统割裂的姿态存在着。 Deconstructive architecture exists in a traditional fragmented attitude like its origin. 虽然,旧的建筑样式以其视觉的愉悦性和可读性特点很容易让人接受,但长此以往势必会 产生一定程度的审美疲劳,解构主义者所做的努力是将人从旧的审美惯性中解脱出来,进 而确立一种新的美感体验,最终达到审美重心偏移的目的。 Although, the old architectural style with its visual pleasure and readability chara-cteristic is easy to accept, but over the long term it will produce a degree of fatigue, deconstruction in the efforts of the people to get out of the old aesthetic inertia, and establish a new aesthetic experience, ultimately change people‟s aesthetic. 这就是一些建筑美学评论中所说的“零度美学”或“反美学”倾向。 that is some of the architecture said "zero aesthetics" or “anti-aesthetics". 它在强迫人们的审美由苛刻转向宽容,而这种审美偏移的实质就是现代美学由局限性向 外延性发展。 It inforce peoples aesthetic change from harsh to tolerance, and this change is the development of modern aesthetics turning from the limitations to the extensionality.