中央音乐学院华东分院琴房研究 黄毓麟现代建筑探索的另一条路径  

Piano Teaching Building at Central Conservatory of Music East China Branch An Alternative Approach of Huang Yulin to Modern Architecture

作　　者：彭怒[1] 谭奔 

机构地区：[1]同济大学建筑与城市规划学院,高密度人居环境生态与节能教育部重点实验室

出　　处：《时代建筑》2014年第6期126-134,共9页Time + Architecture

基　　金：国家自然科学基金(51178314;51108322)

摘　　要：同济大学文远楼是公认的建国初期中国现代建筑的代表作品,文章对其设计者黄毓麟另一个不为人知的现代建筑杰作——中央音乐学院华东分院二层琴房进行了深入细致的历史研究。相对于文远楼以功能原则和抽象体块为特征的现代主义风格,文章分析了黄毓麟在琴房设计里探索现代建筑的另一条路径:以场地关系为导向的形体、功能思考.以材料为起点的结构体系、结构逻辑、构造形式与建造性的表达:以及空间原型和形式对传统民居的借鉴和转译。文童总结了黄毓麟"建筑整体完美性"的设计原则对布扎知识体系和现代建筑观念的融合,指出不能以技术进步和西方现代主义为唯一参照来构筑中国现代建筑历史。The Wenyuan Building of Tongji University, designed by architect Huang Yulin, has been acknowledged to be an outstanding representative of modern Chinese architecture in the early years of the People＇s Republic. This paper offers an in-depth historical study of the architect＇s yet unknown masterpiece, Piano Teaching Building at Central Conservatory of Music East China Branch, Comparing it to the modern style of Wenyuan Buildingwith functionist principles and abstract volumes, this paper analyzes Huang＇s alternative approach to modern architecture in the design of Piano Teaching Building, namely thinking on form and function oriented towards site relations, structural system and logic, tectonic form grounded in material, as well as borrowing and regenerating of traditional Chinese residence in terms of spatial prototype and form. The paper sums up Huang＇s design principle as the ＇unifying architectural design elements＇, which successfully integrates the Beaux-Arts knowledge system and modern architectural concepts. It further points out that we would be ill advised to construct the modern architectural history in China by referring to technological advancements and western modernism alone.

关 键 词：中国现代建筑探索 文远楼 琴房 建造性 物质性与抽象性 廊式建筑原型 建筑整体的完美性原则 

分 类 号：TU-092[建筑科学—建筑理论] TU-86[艺术—艺术设计]