似是而非的桂林芦笛岩水榭  

The Ambiguities of Ludiyan Waterfront Pavilion in Guilin

作　　者：李华[1] 经宇澄 LI Hua;JING Yucheng

机构地区：[1]东南大学建筑学院,南京210018 [2]有声建筑,杭州310013

出　　处：《建筑学报》2022年第11期59-68,共10页Architectural Journal

基　　金：国家自然科学基金重点项目(52038007);国家社科基金艺术学重大项目(20ZD11)。

摘　　要：以造型(体形)与空间的塑造及两者之间的关联为切入点,结合尚廓的图、画、著述和建筑的摄影照片,从游线与组景入画、构图与力的隐喻、意象与几何抽象、包裹的虚空、静默的结构和斑斓的色彩几个方面,对芦笛岩水榭进行解读,以揭示多重知识体系交织下它具有的含混的复杂性与特点,考察其对民居的借鉴方式,并将之放在历史的语境中,探讨尚廓建筑“杂糅”之下的独特性、意义与局限。Starting with the construction of the shape and space and their relation,in combination with a close reading of its architect Shang Kuo’s drawings and writings and photographs of the buildings,this paper tries to interpret Ludiyan Waterfront Pavilion from the viewpoints of circulation and scenery organization,composition and metaphor of gravity,figuration and geometric abstraction,enclosed void,speechless structure and colourful ness,in order to unfold its ambiguous complexity and characteristics and examine the way vernacular Chinese architecture was used for reference.Situated in the historical context,it discusses the uniqueness of the hybrid approach in Shang’s architectu re and its significance and limit.

关 键 词：尚廓 风景建筑 桂林风景建筑 民居 现代转译 现当代中国建筑史 

分 类 号：TU201[建筑科学—建筑设计及理论]