本文選題：臺(tái)灣建筑 + 黃聲遠(yuǎn)��； 參考：《廈門大學(xué)》2014年碩士論文

【摘要】：自80年代后,臺(tái)灣現(xiàn)代建筑的發(fā)展顯示出極強(qiáng)的生命力,并且極具臺(tái)灣地域特色,而黃聲遠(yuǎn)便是臺(tái)灣當(dāng)今最具代表性的建筑師之一。1994年至今,黃聲遠(yuǎn)與他的田中央工作室扎根于臺(tái)灣宜蘭,專注于宜蘭當(dāng)?shù)氐慕ㄖ⻊?chuàng)作。面對(duì)宜蘭優(yōu)美的自然條件和親和的人文壞境,黃聲遠(yuǎn)向宜蘭傳統(tǒng)鄉(xiāng)土建筑學(xué)習(xí),與當(dāng)?shù)卣⒘己玫暮献麝P(guān)系,并與當(dāng)?shù)鼐用裢耆诤显谝黄?共同完成了一批批住宅、社會(huì)福利機(jī)構(gòu)、政府公共部門等建筑,詳盡的闡釋了他在宜蘭的在地建筑實(shí)踐。黃聲遠(yuǎn)以普通大眾的需求為出發(fā)點(diǎn),通過(guò)與業(yè)主的溝通進(jìn)行設(shè)計(jì),他用適宜的手段實(shí)現(xiàn)了建筑的社會(huì)責(zé)任,闡釋了建筑的深刻內(nèi)涵和人文關(guān)懷。 本文以黃聲遠(yuǎn)在宜蘭的建筑作品為研究對(duì)象,從理念詮釋、形態(tài)演繹、個(gè)性化凝練三方面全面解析了其作品及思想,進(jìn)而形成對(duì)他的建筑觀念的整體性把握。 首先,本文從戰(zhàn)后臺(tái)灣建筑的發(fā)展演變,宜蘭厝的興起與發(fā)展歷程以及黃聲遠(yuǎn)個(gè)人的教育與工作經(jīng)歷這三個(gè)方面來(lái)分析黃聲遠(yuǎn)創(chuàng)作思想形成的背景。其次,在黃聲遠(yuǎn)的創(chuàng)作理念的研究上,主要從接近自然的心愿、強(qiáng)烈的場(chǎng)所情致與專業(yè)自省的態(tài)度三個(gè)方面進(jìn)行總結(jié)。然后,通過(guò)選取黃聲遠(yuǎn)具有代表性的不同建筑作品進(jìn)行深入分析,總結(jié)黃聲遠(yuǎn)的建筑創(chuàng)作形態(tài)演繹：主要分為隱喻的建筑形式、真實(shí)的構(gòu)成手法與多樣的空間感受三個(gè)方面。同時(shí),論述了黃聲遠(yuǎn)作品建筑創(chuàng)作的細(xì)節(jié)上的特色提煉。如材料的真實(shí)運(yùn)用、細(xì)部設(shè)計(jì)中地域性的體現(xiàn)與光影色彩的獨(dú)特闡釋。最后,通過(guò)對(duì)黃聲遠(yuǎn)作品的設(shè)計(jì)手法與思想的總結(jié),論述對(duì)于當(dāng)代建筑師建筑創(chuàng)作的啟示。并望能針對(duì)我國(guó)建筑界的現(xiàn)狀,設(shè)計(jì)建造出適合我國(guó)國(guó)情、富有地方特色的本土建筑。
[Abstract]:Since the 1980s, the development of modern architecture in Taiwan has shown great vitality, and it is extremely characteristic of Taiwan's region. Huang Shengyuan is one of the most representative architects in Taiwan today. Huang Shengyuan, with his Tian Central Studio, is based in Ilan, Taiwan, focusing on the local architecture of Ilan. In the face of the beautiful natural conditions of Yilan and the friendly cultural environment, Huang learned from the traditional local buildings in Yilan, established a good cooperative relationship with the local government, and completely integrated with the local residents, and jointly completed a number of housing units. Social welfare agencies, the government public sector and other buildings, detailed explanation of his local construction practices in Ilan. Taking the needs of the general public as the starting point, Huang Shengyuan designed the building by communicating with the owner. He realized the social responsibility of the building by appropriate means, and explained the profound connotation and humanistic concern of the building. This paper takes Huang Shengyuan's architectural works in Yilan as the research object, and analyzes his works and thoughts from three aspects: concept interpretation, form deduction and individuation condensation, and then forms a holistic grasp of his architectural concept. First of all, this paper analyzes the background of Huang Shengyuan's creative thoughts from the following three aspects: the development of Taiwan architecture after the war, the rise and development of Yilan House, and the personal education and work experience of Huang Shengyuan. Secondly, in the research of Huang Shengyuan's creative idea, it summarizes from three aspects: close to nature's wish, strong place feeling and professional introspection. Then, through the in-depth analysis of Huang Shengyuan's representative architectural works, this paper summarizes Huang Shengyuan's architectural creation form deduction: mainly divided into three aspects: metaphorical architectural form, real composing technique and various space feeling. At the same time, it discusses the characteristics of Huang Shengyuan's architectural creation. Such as the real use of materials, detail design in the embodiment of regional and unique interpretation of light and shadow color. Finally, through the summary of the design technique and thought of Huang Shengyuan's works, the enlightenment to contemporary architect's architectural creation is discussed. According to the present situation of our country's architecture, we can design and build the local architecture which is suitable for our country's national conditions and rich in local characteristics.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TU-86

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 彭智謀;朱丹;;城市灰空間對(duì)城市生活品質(zhì)的作用[J];規(guī)劃師;2007年09期

2 林從華;臺(tái)灣寺廟建筑探源[J];哈爾濱建筑大學(xué)學(xué)報(bào);2002年06期

3 許安之;建筑中的動(dòng)感[J];建筑學(xué)報(bào);2004年05期

4 李敏霞;談雕塑感建筑的幾何表現(xiàn)——以貝聿銘的建筑為例[J];南方建筑;2004年06期

5 羅時(shí)瑋;;當(dāng)建筑與時(shí)間做朋友:近二十年的臺(tái)灣在地建筑論述[J];建筑學(xué)報(bào);2013年04期

6 賈志峰;;臺(tái)灣建筑的起源與發(fā)展[J];山西建筑;2010年27期

7 龔書章;;大棚子下的馬賽克——1990年以來(lái)的臺(tái)灣建筑圖景[J];建筑學(xué)報(bào);2013年04期

8 羅時(shí)瑋;房子、棚子與折子——黃聲遠(yuǎn)與邱文杰(大涵)的建筑空間形式與復(fù)性思維[J];城市建筑;2004年02期

9 ;黃聲遠(yuǎn)的會(huì)唱歌的房子——地下莖機(jī)器[J];城市建筑;2004年02期

10 羅晶;韋詩(shī)譽(yù);;訪談:19年在“田中央”[J];建筑學(xué)報(bào);2013年04期

，

本文編號(hào)：2072892