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作为三家著名的民营建筑事务所的十周年回顾展,“东西南北中”在展出形式和价值表达上都呈现出某种结构特征。在宏观上,这种结构与近十年以来中国建筑生产的模式演进形成对照,并从历时性上,关联到整个新中国建筑生产的进程史。本文试图把“东西南北中”展览看成是散布在历史之河上的浮标,并籍此去梳理60年以来中国建筑生产的“力学构型”及其演化变异的过程,反过来也为三家建筑事务所的十年创作实践寻找恰当定义的脉络与基石。因此,本文认为,三家事务所的“展示结构”与近十年中国建筑在观念生产和大众传播上的变化共同指证了“文化转向”的发生学。多种“力学构型”并存的局面和象征体系的解构与重构,使得历史沉淀和象征利益全部浮出水面。在今天这个象征生产大于物质生产的时代,建筑领域的道德冒险与利益策略此起彼伏、难分胜负,不过,它们都指向了一个难以确定的未来,并为未来的观念生产者预留了巨大的空间。
As the retrospective exhibition of the tenth anniversary of the three well-known privately-owned construction firms, the “East, West, North, South” show some structural features in the form of exhibition and value expression. In macro terms, this structure contrasts with the pattern evolution of China’s building production in the last decade, and from the diachronic nature, it relates the history of the process of building production in the entire New China. This paper attempts to treat the exhibition “East, West, North, Central China” as a buoy scattered on the river of history, and in the process of combing the “mechanics configuration” and its evolutionary variation in China’s construction production since 60 years, in turn But also for the three architectural practice of ten years of creative practice to find the right context and cornerstone. Therefore, this paper argues that the “display structure ” of the three firms together with the recent changes in China’s concept of production and mass communication in the past decade jointly indicate the genesis of “cultural shift ”. The coexistence of a variety of “mechanical configurations” and the deconstruction and reconstruction of the symbolic system have caused the historical precipitation and symbolic interests to surface. In today’s era where symbolism is greater than material production, moral adventures and profit strategies in the field of construction come and go, but they all point to an indeterminable future and leave a huge space.