【作者】 全峰梅；

【导师】 罗汉军；

【作者基本信息】 广西大学 ， 科学技术哲学， 2004， 硕士

【摘要】 现代性语境中，西方建筑理论自西学东渐以来就在我国建筑界和建筑教育界产生了决定性的影响，甚至一再削弱了传统建筑理论的研究，挫败了民族形式的挑战，并在中国的建筑理论界引起永不休止的技术／艺术之争，使中国建筑理论界在技术／艺术、西方化／民族化的复杂关系中难以实现权势转移和中国建筑传统的现代重建。现代性的合法性危机，造成了建筑中国的思想紧张和知识人内在分裂。面对上述问题，笔者从海德格尔的现象学出发，在马克思主义实践美学的基础上，创造性地提出“建筑性”的应对策略，以明确建筑的现代性作用和意义，试图消弭建筑的技术／艺术分歧，消解由中西冲突模式向全球化冲突模式转变中的思想紧张和内在分裂；并通过建筑性问题的讨论，为中国建筑理论界提供自己思考中西建筑理论交流的一些浅见，勾画出笔者所理解的建筑理论形貌。 文章从四个层面对建筑性的内涵进行了论述，即1)作为客观本质属性和特征的建筑性；2)作为人的存在方式的建筑性；3)作为意识形态的建筑性；4)作为文化精神的建筑性，力图将建筑性作为使建筑得以澄明的术语，以其“必要的张力”使之成为建筑(在场者)的引力中心，在理论上面向中国社会生活所需要的‘中而新’的建筑本身。在建筑性的理论平台上，笔者通过现代性现象的理论剖析，展现了建筑性的观念现代性、话语现代性和范式现代性，及其与现代艺术、现代科学、市民社会等现代现象的关联，和新的认同趋势。还从建筑的个案分析、集体分类入手，试图厘清建筑的现代性表象和谱系，从而廓清建筑的全息、瞬间、精确、多元、显见等现代性质素，勾画出建筑的先锋、颓废、媚俗、现代主义、后现代主义等现代性面相。 文章还就现代性追求的中国语境作了背景分析，对建筑师作了粗略的个案分析。特别地，在个案分析中，突出本土建筑师为中国建筑“立心”，以创作实绩为建筑中国做出的贡献;指出境外建筑师在中国大地上通过其建筑创作表达建筑思想，为建筑中国注入了新的元素。因此，得到的初步结论是:建筑师的建筑性实践实现了建筑范式间的通约。至此，在逻辑上完成本文的框架。更多还原

【Abstract】 In the context of modernity, the deputy whether architecture is a technology or an art has been influencing Chinese architectural theory since western knowledge began spreading in China. And so, in the complexity between technology and art and between western thoughts and its localization proceeding, Chinese architecture theory made the transfer of authority power and resulted uncertain tradition. Facing the modernity language hegemony dominated by the western, Chinese architecture theory has encountered the crisis of legality of modernity, which resulted in the anxiety of architectures of China and internal split of intellectual. To solve the problems mentioned above, through this paper beginning with the Phenomenology of Heidegger and basing on Marxist practical aesthetics, the author creatively issues the strategy to cope with modernity in order to make modernity impact on architecture clear and eliminate the difference on whether architecture is a technology or an art. By the effort of aesthetics, eliminate the anxiety of thinking and internal splits which is resulted by the shift from the China-western conflict mode to global conflict mode. By discussing modernity, some opinions about the architectual theory exchange between China and west will be offered and at the same time, the outline of the architectural theory from which the author understood have be drawn out.This paper has discussed the architecturity on four levels as following: (1) the architecturity as an essential property and character;(2)the architecturity as being pattern of human beings;(3) the architecturity as ideology; (4) the architecturity as a cultural spirit. By this effort, we can take the architecturity as a terminology in which architecture can be defecated, made it into the heart of gravitation of architecture essential tension, and be geared to the architecture itself theoretically. Based on the theory of architecture, then, the author have stated one’s case about the modernity phenomenology of the architecturity, including the modernity of concept, the modernity of discourse, the modernity of pattern, and its relations with modern art, modern science, urban society, and its new identifying trend. Through analysis of individual cases and classifying its categories, rectify the modernity nature of architecture such as hologram, instant, accuracy, multiplity and distinctness, distinguish the modernity faces of architecture such as vanguard, depravation, kitsch, modernism and post-modernism.Besides, thinking and understanding the problem of architectural modernity in China, the author analyzes the background of pursuing modernity in Chinese context, and makes some architects for individual cases, especially to the local architects for their contribution in constructing the heart of Chinese modern architecture and their practical achievement for Chinese architecture, and points out the impacts of architecture works of the architects abroad expressed in China. Therefore, the conclusion is: the architecturity practice can make different architectural paradigms commensurable. And logically, the article is completed.更多还原