【作者】 范东晖；

【导师】 张玉坤；

【作者基本信息】 天津大学 ， 建筑设计及其理论， 2007， 博士

【摘要】 “现代性”作为一个文化乃至哲学概念,是对自文艺复兴、启蒙运动以来的社会及文化变迁的概括,也是对人类当下生活品质的思索。在当代思想界逐渐扮演起重要的“元概念”角色。对当代建筑学科的建设而言,“现代性”研究具有某种“元研究”的意义。现代性概念十分丰富,但长期以来,现代性的审美内涵往往被人忽视。因此,在综述一系列与建筑及美学相关的现代性概念范畴的基础上,本论文以“现代性张力”为切入点对现代(性)建筑中的审美现代性问题进行了系统的理论研究,试图厘清现代(性)建筑在美学上的发展轨迹,为现、当代建筑问题的考察提供批判性视野。论文首先从发生学的视角探讨了现代性的出现及其内在张力对建筑的影响,并以现代美学(感性学)为线索,阐述了建筑审美取向的嬗变。接着论文将关注点放在处于19-20世纪之交的建筑,分析了建筑从“现实主义”向“现代主义”发展的必然性,指出建筑对审美救赎的追求是这一转向的内在动力。此后,论文希望为20世纪之后的现代(与后现代)建筑建立一个审美现代性的谱系,并对它们各自的审美现代性特征进行了比较。20世纪60、70年代,虽然批判建筑与后现代主义建筑的出现促使建筑美学发生了新的转捩,但是美学思想中固有的“形式主义”与“审美主义”因素却让它们最终陷入审美现代性的自身悖谬。在随后的研究中,针对现代性建筑形式本体的“语言的牢笼”,论文阐释了建筑语言学与建筑美学的家族相似性,指出建筑美学借用“语用学”的“实践”转向趋势。80年代之后,西方建筑迅速进入了当代的自身转型和现实重构,其美学的文化立场和理论视域正在做出全面调整。论文以“重建现代性”为主题,对当下西方的建筑实践进行了解读,指出建筑美学在“后理论”时代日益成为一种“实践智慧”。最后论文总结了当代西方建筑美学的“实用主义”与“语言现实主义”特征,对我国建筑的“实践美学”进行了分析,以期在美学思想上为我国“现代性建筑”提出建设性意见。更多还原

【Abstract】 Modernity, a cultural even philosophical concept of generalizing Modern social and cultural change since the Renaissance and the Enlightenment and the qualities of current of the present, has playing a crucial role of‘meta concept’in western thought. To contemporary architecture, the researching of modernity always has the meaning of‘meta-study’. The meaning of Modernity is very rich, however, its aesthetical connotation is often overlooked. Based on summarizing series associated categories of‘modernity-aesthetics-architecture’, this thesis makes a systematic theoretical research on the aesthetic modernity of architecture from a perspective of‘modernity tension’to find the trajectory of aesthetics in the modernity architecture. beingorFirstly, the thesis discusses the influence of modernity’s inherent tension on architecture and the evolution of architectural aesthetic orientation following the clue of modern aesthetica in the context of the emergence of modernity through a genealogical view. Then, focusing on the architecture at the turn of 19-20 century, this thesis analyzes the necessity of architectural ideas’shifting from realism to modernism, pointing out the aspiration of aesthetic redeem is the intrinsic impetus. ththFurther, the research is going to sketch a genealogy of aesthetic modernity for modern (and post-modern) architecture and outline their silhouettes. During the 1960s and 1970s, the emergence of critical architecture and postmodern architecture brought about a new transition of architectural aesthetics. However, the double plights of‘formalism’and‘aestheticism’plunge architecture into a self-paradox of aesthetic modernity. Aiming to break‘the cage of language’of architecture, the‘form’ontology, this thesis seeks to elucidate the family resemblance of aesthetics and linguistics of 20 century architecture, and argues that the architectural pragmatic or practical turn is imperative. After the 1980s, the western architecture initiated a phases of self-examination and realistic reconstruction, there was a comprehensive adjustment in the its cultural position and theory horizon. The thesis unscrambles the present architectural practice in the theme of‘rebuilding the modernity’, points out that architectural aesthetics in the thpost-theoretic era is becoming a phronesis.Finally, the conclusion reviews pragmatic and language-realistic characteristics of the contemporary western architectural aesthetics, and analyses the practical aesthetics of Chinese architecture, wishing to provide constructive comments on the‘comprehensive reflective modernity of architecture’.更多还原