【作者】 江天风；

【导师】 莫天伟；

【作者基本信息】 同济大学 ， 建筑设计及其理论， 2008， 博士

【摘要】 市场经济的确立、普遍的商品化与资本生产的合法化,使中国当代建筑状况发生了转折性的嬗变。但与此相伴的却是在学界日益增多的针对建筑商品化的批判,并正在成为论述中的话语主流。两者的共时并存于是演化成为一系列的“悖论现象”:文化悖论、市场悖论、媒体悖论、制度悖论、理论悖论、实践悖论……。作为理论解释的失效,悖论其实是社会现实与认识范式之间的冲突呈现。这无疑是有问题的。但与常规研究中界设的“问题”概念不同,悖论现象所指征的问题是无法在范式常规中获得解释的,它属于认识论的范畴。为此,将现实存在的悖论现象作为需要解惑的问题,论文采用了关于问题发现、追溯以及寻找症结的逻辑过程,这是获得认识的理性过程。鉴其背景的社会性,笔者认为只有置身社会现实,通过“建筑商品化”与“建筑范式”的两方面结合研究,才会对当代转型时期的建筑认识具有进步意义。这样,首先需要认识的就是建筑作为商品在当代的存在合理性。论文意识到正是社会转型、资本生产导致了包括经济结构、政治结构、文化结构乃至社会价值体系等几乎所有要素系统的整体性调整。由于建筑本体所具的时代性、开放性、能动性,最终都由生产方式所支配。因此,资本运动在塑造社会的同时,也必然将建筑建造成为一种商品的表意系统。然而,商品意义反映了社会关系的全部,建筑商品身份的重新获得必然导致其存在方式的根本转化。也许这种转化会导致冲突,但却有其历史的客观合理性。第二,社会现代化历程的多次转折与断裂,使中国建筑在发展过程中也同样呈现出截然迥异的阶段性特征。随着房地产业的崛起,矛盾冲突趋向尖锐。为使研究具有实证基础,论文选择了“住宅建筑”作为商品视角的解读对象。通过分析后发现,无论我们承认与否,当代建筑表现与其所应具的商品身份之间确实存在着本质上的偏离。第三,认识到这种隔阂,就需重新解读那些普遍存在的针对商品化的批判话题。由于专业话语的认同与批判同样来自社会,而当代中国几乎所有类似的著作文章,又都无一例外地引证了以法兰克福学派为代表的西方批判理论,这样对其进行深入分析就很有必要了。通过对自卢卡奇以后的包括阿多诺、本雅明、巴特、列斐伏尔、德波、鲍德里亚、詹姆逊等不同时期理论的演进式解读后发现,他们虽同发轫于马克思的“商品拜物教”批判,却都始终囿于审美现代性的维度和“主体启蒙”的范式,并具有先验价值的设定局限。但这却是与我们80年代经济过渡期形成的意识观念类似的,并在当代表现出了强势的韧性。其所占据的话语主流,也就成为了商品化批判的来源。第四,然而资本生产力却早已自发渗透到了城市的每个角落。为使认识全面,论文从资本对城市空间、城市文化这两大关涉建筑物质与精神范畴的方面入手,分析了资本与建筑的当代关系。同时由于消费是资本增值的主要环节,论文还从消费特征出发研究了建筑的现实反应,以强调资本生产对建筑影响的现实性。第五,生产方式的转换需要意识形态的更替。这就需要我们对原价值设定下所批判的“问题”进行再思考。通过对一些惯常“问题”的基于现实情境(不是价值范式)的反思,结合原范式体系形成过程的追溯,论文认识到问题的根源确实正是生产方式变革所凸现的范式危机。为体现现实性,论文还结合工程案例的“反思性实践”,从实践角度来进一步强化这一观点。第六,籍此,论文最后提出了几点关于市场语境中建筑范式转换的策略性思考。希望通过重构“建筑生产”观和相关维度的认识,来探寻一种整体的范式转换途径。另外,也正由于意识到社会转型的整体性和建筑的社会性,论文采用了跨学科的研究方法,希望能为已然发生变化的建筑提供一种全新视角的认识。更多还原

【Abstract】 A series of transformation including the establishment of market economy, the general commercialization, and the legalization of capital are making the contemporary architecture of China undergo transitional changes. At the same time, there are emerging more and more critiques on the architectural commercialization, which even become the leading discourse. A pair of contradictories in reality evolves into a series of "paradoxical phenomena", such as cultural paradox, market paradox, institutional paradox, media paradox, theoretical paradox, practical paradox and so on. Unlike the "problem" in ordinary research which is defined by the way of paradigm comparison, the problems that the "paradoxical phenomena" points to can not be explained in the ordinary paradigm, which belong to the range of epistemology.Therefore, in order to regard the "paradoxical phenomena" which exists in reality as a problem needs to be solved, the research process of the thesis is also a rational process of comprehensive understanding from discovering problems, analyzing reasons, and finding solutions. Therefore, because of the sociality of background, in order to make the cognition of architecture in contemporary transition era more advanced, the only way is to place ourselves into the social reality, combining the focus on the two aspects of paradox, i.e., the architectural commercialization and the architectural paradigm.First of all, it shall start with analyzing the justification of architecture’s being in the contemporary society as commodity. Social transformation and capital production lead to the adjustments of all elements including economic structure, political structure, social structure, cultural structure, even social valuable system and so on. The social nature of architecture refers to its time spirit, openness, and motility, which is all determined by the production mode in the end. Therefore, while capital production mode is shaping the social relationships, architecture is also constructed as a kind of ideographic system of commodity. But the commodity is the one reflecting all the social relationships. The recover of the identification of architecture commodity consequentially results in the essential change of its living mode. Though such kind of change may lead to a conflict, it has rationality in history.Secondly, the changes and ruptures emerging in the process of modernization in China result in that the architectural development of China which shows totally different features in different stages. The rising of real estate industry makes the conflicts increasingly sharp. Take residential building as an example in order to set up the fundamental root of demonstration for the research. The thesis discovers that, whether we admit it or not, there exists a big deviation between the expression of contemporary architecture and its due identity as commodity.Thirdly, after the recognition of this gulf, it should then extend the discussion to the "critiques" which are ubiquitous. Actually, the recognitions and critiques within the professional community mainly come from the social. Since in China today, almost all the manuscripts or articles in such kind of aspects adopt the western theories of social criticism with Frankfort School as representative, it’s necessary to make an analysis on them. Studying the evolution of the concepts and critique themes of the scholars of different times since Lukacs, such as Adorn, Benjamin, Barth, Lefebvre, Debord, Baudrillard, and Jameson etc., it can be seen that, although these western Marxists were deeply rooted in Marx’ criticism theory of commodity fetishism, they all along restricted their studies within the dimension of aesthetic modernity and the paradigm of "subject enlightenment", which obviously have certain limits in value. But it is symmetrical to paradigm concept dating from the period of economy transition in the 1980s, which show strong tenacity in contemporary transition, appearing as the mainstream of ideology. This is the fundamental root of the criticism.Fourthly, the capital productivity has penetrated each corner of city. The thesis explores in general the inevitable relationship between capital and architecture in the contemporary era from the viewpoint of the influences of capital on city space and city culture, the two key factors concerning the material and spiritual systems of architecture. Moreover, taking into consideration that consumption is a major step to realize the increase of capital value, the thesis analyzes the expression of architecture from the perspective of the consumption characters of the contemporary society, so as to further specify the reality of the impacts of capital production on architecture.Fifthly, the transition of production mode asks us to reconsider the so-called architectural "problems" from critical perspective. By reflecting on the "problems" being criticized on the basis of the actual situations (instead of the value paradigms), and then hoping to achieve an overall understanding on the progress of "paradigms", the thesis indicates the root of these "paradoxical phenomena", which is the paradigm crisis of architecture caused by the changes of production mode. This method is more realistic. The thesis also makes use of some projects as "reflective practice" to prove the conclusion by the way of demonstration.Finally, the thesis studies the possible strategies to change the architectural paradigms within the context of market economy, hoping to provide an overall method of transition in paradigms by rebuilding the concept of "architectural production theory" and regarding the multiple dimensions of the paradigm system composition.In view of the holism and complexity of the society in contemporary transition, the thesis adopts the trans-disciplinary methodology, hoping to provide a new perspective to understand the changes of architecture.更多还原