摘要
本文主要分析了筱原一男于1976年设计的"上原的住宅"。筱原自己将其一系列住宅作品按照样式进行了排序。在对样式变迁进行整理的基础上,本文对"第3样式"的初期作品"上原的住宅"中筱原的思想从实际形态和架构进行考察,并通过"裸形的事物"、"错位"等关键词将这一作品定位为从抽象空间向具体空间的转变。与这一转变并行的是,从"传统"到"都市"的文脉转变。"上原的住宅"具有混乱的美与复数场所的集结,以此作为本文结论。
This article is aimed mainly at providing an analysis on ＂House in Uehara＂ designed by Kazuo Shinohara in 1976. Shinohara had once sorted his projects by styles. Based on an overview of the changes of h thought in ＂H early work in h investigated by is ＂Styles＂ , Shinohara＇ s ouse in Uehara＂ - an is 3rd-Style period - is actual form and structure.Together with keywords like ＂naked things＂ and ＂dislocation of forms＂ , it is considered Shinohara shifted his focus from abstract space to concrete space, and meanwhile his concerns were changed from ＂tradition＂ to ＂contemporary city＂ at a contextual level. As a conclusion of this article, ＂House in Uehara＂ had in it both the beauty of chaos and assemblage of places.
出处
《南方建筑》
2013年第5期23-24,共2页
South Architecture
关键词
筱原一男
上原的住宅
抽象与具体
传统
都市
混沌
Kazuo Shinohara
Housein Uehara
abstraction and concreteness
tradition
urban
chaos
