摘要
文章通过梳理王澍写作中“自然”这一母题,并对照其近期建筑项目,阐述自然这一宽泛概念在王澍设计中的转化和表达。文章细分出王针对自然解读的三个层面,通过“江山”“景观”和“道法”作为概念的延展,引申出王在其理论与实践中对于表象世界、身体经验和内部结构的总结与思考。文章同样关注王澍在对于自然论述中的主要参照物古代山水画的解读,并试图论证山水画这一特殊的艺术形式在王的建筑设计中从技法到概念的引申。通过分析,文章质疑其符号性和语义性在两种艺术转译中的主导性作用。以王澍的实践为例,笔者鼓励更多不拘泥固有标准的丰富的创作形式和思考,从而促进文脉在当代实践中的传承和发展。
Through a close analysis of the phrase“nature”in WANG Shu’s text,along with his recent built projects,the article elaborates on the interpretations and expressions of this broad concept in WANG’s design.The analysis further categorizes three different focuses in WANG’s reading of nature,summarized as“mountains and rivers”,“land-scape”,and“the way/method”.The three focuses respectably tie three distinct aspects in WANG’s design philosophy–the phenomenal word,the bodily experience,and the inner structure of architectural design.Throughout the study,the article dwells on one primary reference–Chinese landscape painting-in WANG’s interpretation of nature.Zooming into this specific art form,the analysis aims to demonstrate the complexity and comprehensiveness in the process of translation.The examination questions the symbolic and semantic functions in WANG’s appropriation of the landscape paintings.Using WANG as an exemplified case study,the author encourages more diverse and fruitful creations and thinking in contemporary practices,which enable and sustain the ever-evolving dialogue on cultural continuity.
出处
《建筑师》
2022年第6期27-34,共8页
The Architect
关键词
王澍
自然
山水画
江山
景观
道法
WANG Shu
Nature
Landscape Painting
Mountains and Rivers
Landscape
The way
