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建筑创作的实践使我们认识到:灵感的勃发,新的设计方法和手法的运用以及建筑环境美的创造和表现,不惟少数天才的建筑大师所独有,一般建筑师在创作过程中也常有灵感产生,使得设计作品见诸个性。然而其中不少作品经不起严格的推敲,更经不起时间的考验,“来亦匆匆,去亦匆匆”;而一些素质和造诣较高、功底较深的建筑师设计的作品则往往凝练厚重、耐人寻味。在我们试图考究这种创作现象的同时,汪正章教授的新著《建筑美学》(人民出版社1991年9月第一版)一书,给我们以有益的启迪。建筑创作是审美经验的客观化过程。但审美经验的表现是“潜在性”的,审美经验的积累悄悄地提高着建筑师的鉴赏力,慢慢地熏陶着创作者的“悟”性,以至在一定程度上出现了建筑创作中“信手拈来”的现象。这种审美经验的内容实质上
The practice of architectural creation makes us realize that the inspiration of inspiration, the application of new design methods and techniques, and the creation and performance of the beauty of the architectural environment are not unique to only a few talented architects, and the general architects often have inspiration in the creative process. Produced, making the design work personality. However, many of these works cannot withstand rigorous scrutiny, and they can’t stand the test of time. “They are also in a hurry to go and hurry.” Some works designed by architects with high quality and high attainments and deep foundations are often concise. Heavy and intriguing. While we are trying to study this creative phenomenon, Professor Wang Zhengzhang’s new book, Architectural Aesthetics (People’s Publishing House, First Edition, September 1991) gives us a useful enlightenment. Architectural creation is the objective process of aesthetic experience. However, the performance of aesthetic experience is “potential”. Accumulation of aesthetic experience quietly enhances the architect’s appreciating ability, and slowly influences the “comprehension” of the creator. As a result, to a certain extent, the architectural creation appears. The phenomenon of “hand in hand”. The content of this aesthetic experience is essentially