后现代主义之后——罗伯特·A.M.斯特恩的思考与实践  

Robert A.M.Stern-From Postmodernism to the“Appropriate Architecture”

作　　者：何可人 HE Keren

机构地区：[1]中央美术学院建筑学校

出　　处：《城市环境设计》2023年第2期301-309,共9页Urban Environment Design

基　　金：中央高校基本科研业务费专项资金资助(批准号:20KYZY020)。

摘　　要：美国知名建筑师、建筑教育家、建筑历史学家罗伯特・A.M·斯特恩,在20世纪60年代到90年代曾经是美国后现代主义建筑的一名骁将。他早期受到罗伯特·文丘里和文森特·斯考利等人的影响,在言论上强烈反对现代主义建筑,摒弃历史和文化多样性,建立绝对化标准的趋向;在设计手法上提倡所谓的“灰派建筑”:一方面继承美国传统的木板瓦风格,另一方面在立面上采用具有手法主义倾向的、混搭的、反讽的,甚至有些粗俗的装饰形式。尽管斯特恩在20世纪90年代之后逐渐放弃了这种肤浅的符号化方式,回归到更加精确的古典主义和传统主义的“适宜性”建筑设计,然而他自始至终保持着对当代建筑设计中的历史主义和文脉主义的倡导。此外,斯特恩的在思想和实践上的成就很大程度上植根于他本人的背景和经历——纽约的城市文化,美国新英格兰地区精英建筑师阶层,以及20世纪上半叶美国知识分子阶层对于美国文化的寻根和可识别性做出的集体努力。The well-known American architect,architectural educator and historian Robert A.M.Stern used to be one of the strongest voices for Post-modern architecture from the 1960s to the 1990s.Influenced by Robert Venturi and Vincent Scully,Stern had been criticizing fiercely against Modernist architecture that ignored history,cultural diversity and attempted to create an absolute formal criterion.He promoted the so-called"Gray architecture"—on one hand he adopted the American traditional shingle-style architecture;on the other hand,he employed the manneristic,hybrid,cynical,even a bit"vulgar"kind of ornaments on facade.Although after the 1990s Stern has gradually abandoned the superficial symbolic approaches in design and gone back to the more accurate classical and traditionally"appropriate"styles in design,his persistency in historicism and traditional contextualism in architecture has been remaining in his writings.Sterns achievements in thinking and practicing have also largely based on his personal background and experiences—the urban culture of New York City,the elite architects circle at the New England area^the nationalism tendency inherited in American intellectuals since the early 20th century,of whom the collective efforts they had made by seeking for their roots and cultural identities in the modern society.

关 键 词：罗伯特·A.M.斯特恩 后现代主义 手法主义 适宜性建筑 

分 类 号：TU-86[艺术—艺术设计]