建筑專業(yè)英語分析解析課件

1、后現(xiàn)代主義建筑Postmodernism architecture關(guān)鍵詞:Keywords:后現(xiàn)代主義Postmodernism ,postmdnzmThewriterisjapansbiggestpostmodernismliterarysuperstar.這個作家是日本后現(xiàn)代文學(xué)領(lǐng)域最大的超級明星。裝飾Ornament rnmntThe ornament of their door is very beautiful .他們門上的裝飾很漂亮。極簡主義minimalism mnmlzmBeautyinsmallspacesistheappreciationofminimalism,where

2、lesstrulyismore.極簡派藝術(shù)就是贊賞這種小空間的美，在這里，越少真的是得到越多。極權(quán)主義 totalitarian totltrinAlmost all government adopt totalitarian measures in time of war.幾乎所有的政府在戰(zhàn)時都采取極權(quán)主義的措施。文脈主義 contextualism kntekstjulizmI basically agree with the criticism of skepticism from contextualism. 我基本贊同用文脈主義對懷疑主義進行批判。裝飾主義 ornamentalism

3、 ,nmentlzmOrnamentalism is postmodernism to advocate the decoration used in construction裝飾主義是后現(xiàn)代主義重新提倡在建筑中使用裝飾KEY POINTS重點The response to the formalism of the modern style involved sampling old styles but breaking traditions, and was part of a movement that continues to influence contemporary archit

4、ecture.Postmodern trends became evident in the last quarter of the 20th century as some architects started to turn away from modern Functionalism, which they viewed as boring, or even unwelcoming and unpleasant.形式主義的現(xiàn)代風(fēng)格響應(yīng)了舊風(fēng)格，雖然形式主義突破了傳統(tǒng)，但一直延續(xù)并影響、成為現(xiàn)代建筑運動的一部分。 后現(xiàn)代主義的發(fā)展在20世紀(jì)的最后一個季度變得明顯，一些建筑師開始遠離現(xiàn)代功能

5、主義，他們認(rèn)為是枯燥的，甚至是不受歡迎的。Modernist Mies van der Rohe is associated with the phrase less is more; in contrast Venturi famously said, Less is a bore. Postmodernist architecture was one of the first aesthetic movements to openly challenge Modernism as antiquated and totalitarian, favoring personal preferen

6、ces and variety over objective, ultimate truths or principles.It is this atmosphere of criticism, skepticism, and emphasis on difference over and against unity that distinguishes the postmodernism aesthetic. Among writers defining the terms of this discourse is Charles Jencks, described by Architect

7、ural Design Magazine as the definer of Post-Modernism for thirty years 現(xiàn)代主義大師密斯凡德羅的名言“少即是多”;相反的文丘里有句名言，“少則乏味?！焙蟋F(xiàn)代主義建筑是最早在美學(xué)運動中公開挑戰(zhàn)現(xiàn)代主義的陳舊和“極權(quán)主義”的建筑形式，個人的喜好，種類的多樣性是最終的真理或原則 這是批評，懷疑，以及對差異和反對統(tǒng)一的區(qū)分，后現(xiàn)代主義美學(xué)強調(diào)這種氣氛。查爾斯詹克斯以一個作家身份做出這種定義，被建筑設(shè)計雜志描述為“三十年來第一個后現(xiàn)代主義的定義者”時代背景 Postmodern architecture began as an int

8、ernational style the first examples of which are generally cited as being from the 1950s, but did not become a movement until the late 1970s and continues to influence present-day architecture.后現(xiàn)代主義建筑作為一個國際化風(fēng)格的開端，首例始于20世紀(jì)50年代，當(dāng)時沒有興起風(fēng)潮，直到20世紀(jì)70年代末期才形成風(fēng)潮并持續(xù)影響今天的建筑。后現(xiàn)代主義建筑的特征Characteristics of postmode

9、rn architecture美國建筑師斯特恩“文脈主義”（contextualism） “隱喻主義”(allusionalism) “裝飾主義”(ornamentalism)Postmodern architecture slowly gained steam in the second half of the 20th century to counter the more rigid international and modernist styles that were starting to take over many urban skylines. The postmodern

10、style is characterized by whimsy and perhaps a little excess, as the alchemy of various architectural traditions to form a diversity of forms and aesthetic points of view. Many of the larger commercial buildings constructed in 2011 can be said to represent postmodern architecture.后現(xiàn)代主義建筑的勢頭逐漸在20世紀(jì)下半

11、葉高漲，以應(yīng)對更嚴(yán)格的國際和現(xiàn)代主義風(fēng)格，并開始用于許多城市的輪廓線。后現(xiàn)代風(fēng)格的特點是反復(fù)無常的，也許有點多余，因為不同的建筑傳統(tǒng)的融合形成的形式和美學(xué)觀點是多樣的。許多在2011年興建的大型商業(yè)建筑，可以說是代表了后現(xiàn)代主義建筑。One general way in which postmodern construction differs from earlier styles is the degree to which the construction abandons the focus of the modernist movement of architecture for m

12、ore technically unnecessary elements. For example, a modern skyscraper could be adorned with staggering ledges featuring gabling, or classical columns could be incorporated not for any pragmatic reason but instead for aesthetic purposes. Another name for this blending of old and new styles is neo-ec

13、lectic architecture.后現(xiàn)代建筑不同于早期風(fēng)格的一個普遍手法是摒棄功利的現(xiàn)代主義運動的更多技術(shù)上的不必要的元素。例如，現(xiàn)代摩天大樓可以用巨大的巖架山墻裝飾或古典主義建筑可以實行，不是任何現(xiàn)實的原因,而是出于審美的目的。這種混合新舊風(fēng)格的另一個名字是新折衷主義建筑。Examples of postmodern architecture abound nationwide, from the trivial to the grand. Modern shopping malls or commercial districts often blend postmodern arch

14、itecture with formerly prominent characteristics to tap into an areas distinctive charm. Other prominent buildings built in this style include the Disney Hall in Los Angeles, the Sony Tower skyscraper in New York City, and the Scottish Parliament Complex in Scotland, which is considered by many crit

15、ics to be among the best examples of British postmodernism.后現(xiàn)代主義建筑的例子比比皆是，從小到大?，F(xiàn)代商場或突出以前特色的商業(yè)區(qū)融合后現(xiàn)代建筑成為一個地區(qū)的獨特魅力。建于這種風(fēng)格的其他著名的建筑包括洛杉磯迪斯尼音樂廳，紐約市索尼大廈，而蘇格蘭議會大廈被許多評論家認(rèn)為是最好的英國后現(xiàn)代主義的例子。Often, however, historic elements have nothing to do with postmodern architecture, with a blend of all modern styles suffi

16、cing instead. In Indiana, the College Life Insurance building was one of the prominent examples of the postmodern style. Finished in 1972, the building starkly departs from the International school of architectures standard tall box-of-glass skyscraper. Instead, the builder preferred to build three

17、smaller, oddly shaped buildings , connected by outdoor or underground walkways.然而，通常情況下，后現(xiàn)代主義建筑與歷史的元素都無關(guān)，融合了所有的現(xiàn)代風(fēng)格就夠了。印第安納州大學(xué)生活保險大樓是一個著名的后現(xiàn)代風(fēng)格的例子。它完成于1972年，赤裸裸地背離了箱玻璃建筑高度標(biāo)準(zhǔn)的摩天大樓。相反，制造商傾向于建立三個較小，形狀奇特的建筑，而不是通過戶外或地下人行通道相連。后現(xiàn)代主義建筑的例子Examples of postmodern architecture羅伯特文丘里 塞恩斯伯里之翼國家美術(shù)館Sainsbury Wing o

18、f the National Gallery in London by Robert Venturi (1991)羅伯特.文丘里 母親的住宅Vanna Venturi House with its split gablePortland Building in Portland, Oregon, by Michael Graves and Emery Roth & Sons, completed 1982俄勒岡波特蘭市市政廳M.格雷夫斯Bank of America Center in Houston, by John Burgee and Philip Johnson, completed

19、1983美國銀行菲利普約翰遜Neue Staatsgalerie in Stuttgart, Germany, by James Stirling and Michael Wilford, completed 1984斯圖加特的州立美術(shù)館擴建工程詹姆斯斯特林后現(xiàn)代主義建筑的影響Torebelandbeyondtheharmoniousaestheticsoftraditional,exposingthecomplexityand contradictionssetarchitecture,payingattentiononrichambiguityconnotationofthebuildin

20、gs. 一、對傳統(tǒng)的和諧美學(xué)觀的反叛和超越，揭露建筑的復(fù)雜性和矛盾性，注目建筑的豐富的多義性內(nèi)涵。后現(xiàn)代主義建筑的影響Withthedevelopmentofresearchparadigms,the previouswayofstressingthecommonsensebetweenarchitectureandotherformsofarthasalreadybeen alteredaparadigmwhichpursuitthedistinctionand featuresofthearchitecturalcrafts. 二、研究范式的變化。改變了以往注重于探討建筑與其它藝術(shù)的共性的研究范式，努力找尋建筑藝術(shù)的差異性和個性特征。后現(xiàn)代主義建筑的影響 Expanded and deep