現代都會建築的擬仿向度：從巴塞隆納展覽館到虹廬、良士與鴻霖大廈

Mimetic Dimension of the Modern Metropolitan Architecture: From Barcelona Pavilion to Rainbow House, Liang-Shih and Hung-lin Buildings

羅時偉(Shih-Wei Lo)

《國立台灣大學建築與城鄉研究學報》 7期 (1993/12) Pp. 121-137

https://doi.org/10.6154/JBP.1993.7.009

摘要

阿多諾的「擬仿」概念發展自一種刻意自我放棄的抗拒作為，本文嚐試以此闡述建築作品處身於現代都會情境中，面對其負面本質時所提陳出的一種迂迴的批判進路。依此觀點，密斯•凡德羅的巴塞隆納館與王大閎的三幢作品被提出討論；並進一步審視後者作品中就其非西方模式的現代化過程中對西化的抗拒與超越。

並列摘要

Adorno's concept of mimesis is derived from the resistance incorporated with an intentional self-renunciation of the subject. This is the key idea applied here to elucidate the indirect critical approach formulated by the architectural works which confront themselves with the negntive nature inherent in modern metropolitan condition. Mies van der Rohe's Barcelona Pavilion and Wang Ta-hung's three works in Taipei are thus discussed here; and, as a non-Western mode of modernia don, the latter's resistance against and transcendence from being Westernized are also further examined.