时间:寻找遗失的美——对我国城市设计的思考
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摘要
城市设计在我国高速城市化阶段推动了城市空间的巨变并提升了现代城市的物质环境条件。然而,由于城市设计实践中对时间要素的忽视,承载时间信息的城市既有建筑与空间在城市空间发展过程中日渐消逝,从而导致城市记忆断层、城市个性模糊,本应蕴含丰富文化的城市之美也逐渐隐没。通过从不同角度研究城市空间的时间性及城市既有建筑空间的使用价值、社会价值和美学价值,认为时间是城市空间之美的重要要素之一,并寓于城市既有建筑与空间。在此基础上,探讨时间要素与城市既有空间参与下的城市设计原则:强调不同时期、不同文化背景的建筑空间共存的文化多样性;强调新旧空间协调的空间延续性;强调既有空间现实功能延续的功能适应性,以期从时间中寻找遗失的城市空间美。
Urban design has made great changes in urban spaces and enhanced the physical and environmental conditions of modern cities in the stage of China′s high-speed urbanization. However, the neglect of time elements in urban design practice has caused disappearance of existing urban spaces and buildings which carry time information in the process of urban space development. That has led to fault of urban memory and ambiguity of urban personality. In addition, The beauty of the city, which should be rich in culture, has been gradually disappearing. This paper considered that time, which lies in existing urban spaces and buildings is one of the important elements of the beauty of urban space by researching the temporality of urban spaces and analyzing the use values, social values and aesthetic values of existing urban spaces and buildings from different angles. In order to retrieve the lost beauty of urban spaces from time on the basis, the paper explores principles of urban design with the participation of time element and existing urban spaces: cultural diversity that emphasizes spaces from different periods and different cultural backgrounds coexist in urban, spatial continuity that highlights new spaces coordinate with the exist, functional adaptability that endow existing spaces realistic function.
Urban design has made great changes in urban spaces and enhanced the physical and environmental conditions of modern cities in the stage of China′s high-speed urbanization. However, the neglect of time elements in urban design practice has caused disappearance of existing urban spaces and buildings which carry time information in the process of urban space development. That has led to fault of urban memory and ambiguity of urban personality. In addition, The beauty of the city, which should be rich in culture, has been gradually disappearing. This paper considered that time, which lies in existing urban spaces and buildings is one of the important elements of the beauty of urban space by researching the temporality of urban spaces and analyzing the use values, social values and aesthetic values of existing urban spaces and buildings from different angles. In order to retrieve the lost beauty of urban spaces from time on the basis, the paper explores principles of urban design with the participation of time element and existing urban spaces: cultural diversity that emphasizes spaces from different periods and different cultural backgrounds coexist in urban, spatial continuity that highlights new spaces coordinate with the exist, functional adaptability that endow existing spaces realistic function.
引文
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[2] 杨震.城市设计与城市更新:英国经验及其对中国的镜鉴[J].城市规划学刊,2016(1):88-98.
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[12] 黄健文,徐莹.对旧城改造的再认识 —— 以广州市“三旧”改造工作为例[J].规划师,2011(1):116-119.
[13] [俄]车尔尼雪夫斯基.艺术与现实的审美关系[M].周扬,译.北京:人民文学出版社, 1979:6.
[14] 施昌东.论“美是生活”[J].文史哲,1954(9):1-6.
[15] 徐苏宁,郭恩章.城市设计美学的研究框架[J].新建筑,2002(3):16-20.
[16] 常青.旧改中上海的建筑及其都市历史语境[J].建筑学报,2009(10):23-28.
[17] [加拿大]道格·桑德斯.落脚城市[M].陈信宏,译.上海:上海译文出版社,2012:314.
[18] 张庭伟.城市高速发展中的城市设计问题:关于城市设计原则的讨论[J].城市规划汇刊, 2001(3):5-10.
[19] 刘宛.旧城改造中城市设计的四个原则[J].世界建筑,2001(6):30-33.
[20] 陈业伟.城市更新与文化传承[J].现代城市研究,2012(12):35-42.
① “包浆”是古玩行业专业术语,指文物表面由于长时间氧化形成的氧化层。“包浆”其实就是“光泽”,专指古物器物经过悠悠岁月中因烟尘、雾水、光照的自然浸染与把玩者的经久摩挲,在表面上形成这样一层自然的光泽。与之相对,“贼光”一般指新瓷器釉面等崭新器物表面刺眼的光。
[2] 杨震.城市设计与城市更新:英国经验及其对中国的镜鉴[J].城市规划学刊,2016(1):88-98.
[3] [美]柯林·罗,弗瑞德·科特.拼贴城市[M].童明,译.北京:中国建筑工业出版社;2003:49.
[4] [意] 伊塔洛·卡尔维诺.看不见的城市[M].张宓,译.江苏:译林出版社;2006:20.
[5] 王富臣.城市形态的维度:空间和时间[J].同济大学学报(社会科学版),2002(1): 28-33.
[6] 何依,李锦生.城市空间的时间性研究[J].城市规划,2012(11):9-13,28.
[7] [美]凯文·林奇.城市意象[M].方益萍,何晓军,译.北京:华夏出版社,2001:1-2.
[8] [美]路易斯·芒福德.城市发展史:起源、演变和前景[M]. 宋俊岭,倪文彦,译.北京:中国建筑工业出版社,2005:33.
[9] [德]马克思,恩格斯.马克思恩格斯选集(第二卷)[M].北京:人民出版社,2006:532.
[10] 刘奔.时间是人类发展的空间——社会时—空特性初探[J].哲学研究,1991(10):3-10.
[11] 郭恩章.意大利的城市设计传统[J].国外城市规划,1990(3):9-17.
[12] 黄健文,徐莹.对旧城改造的再认识 —— 以广州市“三旧”改造工作为例[J].规划师,2011(1):116-119.
[13] [俄]车尔尼雪夫斯基.艺术与现实的审美关系[M].周扬,译.北京:人民文学出版社, 1979:6.
[14] 施昌东.论“美是生活”[J].文史哲,1954(9):1-6.
[15] 徐苏宁,郭恩章.城市设计美学的研究框架[J].新建筑,2002(3):16-20.
[16] 常青.旧改中上海的建筑及其都市历史语境[J].建筑学报,2009(10):23-28.
[17] [加拿大]道格·桑德斯.落脚城市[M].陈信宏,译.上海:上海译文出版社,2012:314.
[18] 张庭伟.城市高速发展中的城市设计问题:关于城市设计原则的讨论[J].城市规划汇刊, 2001(3):5-10.
[19] 刘宛.旧城改造中城市设计的四个原则[J].世界建筑,2001(6):30-33.
[20] 陈业伟.城市更新与文化传承[J].现代城市研究,2012(12):35-42.
① “包浆”是古玩行业专业术语,指文物表面由于长时间氧化形成的氧化层。“包浆”其实就是“光泽”,专指古物器物经过悠悠岁月中因烟尘、雾水、光照的自然浸染与把玩者的经久摩挲,在表面上形成这样一层自然的光泽。与之相对,“贼光”一般指新瓷器釉面等崭新器物表面刺眼的光。