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摘要


隨著技術的發展,全球經濟的形成,如何在建築上超越制式的現代主義美學與後現代主義形式化操演,以作為當代觀點與價值的一種空間與視學的傳達。本文藉由後現代在建築以及文化上的再梳理,點出多元主義、容忍差異即創造性的反叛是後現代重要的特質,以此來測試建築的新疆界,不止超越形式創作,更是適應當代社會與日俱增的複雜特質。除此之外,建築師在現代動態世界中必須取得道德上的位置,超越並且挑戰建築的形式主義,創造更多的道德空間以邁向我們城市中的空間正義。 而全球化伴隨著商品化、意象操弄,往往造成了意義的枯竭及場所記憶的摧毀,作者試圖提醒我們避免落入資本主義的陷阱中而不自知,經由全球地方性的概念,以及地方主義、空間正義、文化多元論的交互思考下,重新找回建築師的位置。

並列摘要


With the technological development and the formation of global economy, how does architecture go beyond modern regulated aesthetics and postmodern stylized gymnastics so as to move towards a spatial and visual expression of contemporary attitudes and values? Through the analysis of postmodernism on architecture and culture, this paper attempts to argue that pluralism, tolerance of differences and creative rebelliousness are the essential qualities of postmodernism. This enables us to test the new boundaries of architecture by not only going beyond forming-making but also adapting to the increasing complex nature of contemporary society. Besides, architects have to take ethical positions, go beyond and challenge architectural formalism, and create more ethical spaces towards spatial justice in our cities. However, globalization, along with commodification and manipulation of images, more often brings about the exhaustion of meanings and destruction of memories of places. The author seeks to remind us not to fall into the trap of capitalism unconsciously. Through the concept of glocality and the interactive thinking over localism, spatial justice and cultural pluralism, architects relocate their positions in the new context.

被引用紀錄


劉興政(2011)。創新設計的產品隱喻模型〔碩士論文,國立臺北科技大學〕。華藝線上圖書館。https://doi.org/10.6841/NTUT.2011.00152
許妍飛(2002)。《社會認同》翻譯評析〔碩士論文,國立臺灣師範大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0021-1904200716275346

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