建筑与存在——以朗香教堂和中国馆为例看中国当代建筑本质的回归  

Architecture and Being:The Nature of Contemporary Chinese Architecture from Perspective of Ronchamp Chapel and China Pavilion

作　　者：张昊[1] 

机构地区：[1]惠州学院建筑与土木工程系,广东惠州516007

出　　处：《华南理工大学学报（社会科学版）》2011年第4期110-114,共5页Journal of South China University of Technology(Social Science Edition)

基　　金：广东省自然科学基金:岭南建筑学派与岭南建筑创新研究(S2011010001601);惠州市哲学社会科学规划重点项目:惠州城市公共空间对市民幸福指数的影响研究(A51101)

摘　　要：中国建筑在改革开放30年以来,各种风格流派掺杂混合、起伏跌宕。但是,在建筑批评中对于建筑存在本质的探讨长久以来处于缺失的状态。本文从海德格尔晚期存在理论和天地人神四元整体思想出发,对柯布西耶的朗香教堂与何镜堂的中国馆做了穿越时空的分析,提出二者均是海德格尔存在真理的体现,并以此为基点衍生出对未来建筑的探讨,提出建筑在现在和未来都应该让更多人聆听到存在的真理。For the past 30 years of opening up and reform, a variety of architectural styles and genres have emerged, blended, bloomed and withered. However, intellectual research on the nature of architectural being in architectural criticism has never been in place. In this paper, an analysis of Le Corbusier＇s Ronchamp chapel and the China Pavilion through a span of time and space is derived from Heidegger＇s later theory of being and his fourfold thought of earth, sky, divinities and mortals, and it concludes that these two buildings are their theoretical embodiments. From there, architecture in the future is explored and from now onwards it should avail more people to listen to the truth of being.

关 键 词：中国馆 朗香教堂 海德格尔 天地人神 建筑的本质 建筑批评 

分 类 号：TU-86[艺术—艺术设计]