Cultural architecture attracts the great interest of many architects with its unique landmark and extensive publicity, and we are no exception. Since the establishment of 1979, the Architectural Design and Research Institute of South China University of Technology has attached great importance to the creation of cultural buildings, given full play to the advantages of "Industry-University-Research" integration in colleges and universities, and actively participated in various bidding and competition activities for cultural buildings. From the 1983 Shenzhen Science Museum Scheme Competition, to the expansion project of Nanjing Massacre Victims Memorial Hall, and then to the China Pavilion of the 20 10 Shanghai World Expo, after long-term exploration and unremitting efforts, the refined development route of "one project, one article and one award" has basically been realized. Cultural buildings alone won four national excellent engineering design gold medals (the Tomb Museum of Nanyue King in the Western Han Dynasty, the Yifu Humanities Museum of South China University of Technology, the Leshan Giant Buddha Museum, and the expansion project of the memorial hall for the victims of the Nanjing Massacre, etc.). ) has played a vital role in establishing the brand image of our hospital and witnessed the rapid and benign development of our hospital.
On the basis of continuous practice, create ideas around the core of "two views and three natures" (that is, holistic view and sustainable development view; Regional, cultural and contemporary), and gradually refine the creative ideas and methodologies with their own characteristics to further enhance the creative level of cultural buildings-that is, from the geographical perspective, explore the basis for the formation of architectural space form and place spirit; And on this basis, sublimate the connotation and quality of architecture and refine its cultural character; At the same time, it comprehensively reflects the development achievements of contemporary architectural science in art, technology and materials.
2. Find the root architecture of the region
First of all, it is the product of the region, always rooted in a specific environment, influenced by the geographical climate and topography of the region, so it can be said that starting from the region is the universal law of architectural creation, and cultural architectural creation is no exception. But at the same time, considering the particularity of cultural architecture creation, "regionality" is given a new meaning here: that is, it becomes the main basis for the construction of architectural personalized logo (that is, architectural culture)-the interpretation and translation of regional "genes" constitutes the basis for the development of architectural material space and spiritual core. Further: First of all, this regional attribute goes beyond the general technical problems that should be paid attention to in general architectural creation (such as area size and vertical elevation, etc.). ), but more points to the regional characteristics closely related to architectural quality and connotation shaping. Secondly, in the process of the formation and expression of architectural cultural connotation, the absorption and reproduction of regional elements also include different perspectives and levels. Here, this paper tries to summarize it into the following four main aspects.
2. 1 Taking the incident as the breakthrough point, it is often a place for cultural display, research and commemoration based on the important events that have happened in the venue area. In this case, architecture and its site environment usually have a clear cultural role orientation, which is closely related to the theme of site events. Five dollars? 12 Wenchuan earthquake is a huge and heavy natural disaster. In the design of Yingxiu epicenter memorial site, the author basically kept the original landform of memorial cemetery, and expressed his nostalgia for the dead and yearning for new life by replanting local tree species and rape flowers with symbolic meaning of life. The design of memorial hall originates from three building control lines (pointing to memorial nodes of different sites) born from the site, and the landscape architectural form is generated from this, which shows the sense of tranquility and tranquility of the site. At the same time, the building takes "land sorrow-rise-hope" as the clue, focusing on building three theme courtyards, creating a complete narrative chain and differentiated space experience.
2.2 Taking site restriction as the breakthrough point In the process of contemporary cultural architecture creation, some seemingly unfavorable site restriction factors, if scientifically analyzed and skillfully used, will become the "trigger point" for the expression of architectural cultural individuality. For example, some unconventional architectural layout or spatial form seems to be "inadvertently", but if we can consider it in combination with the individual characteristics of the site itself, these doubts will be solved. Taking the expansion project of memorial hall for victims of Nanjing Massacre by Japanese invaders as an example, firstly, the huge and exaggerated triangular volume of the new stadium is caused by the inward extrusion of the boundary shape of the stadium; Secondly, the new building adopts the "semi-hidden" construction method of gentle slope uplift, which reflects the humility to the original buildings in the site and means "breaking into the soil"; Thirdly, through a large number of walls, the enclosure design of the site is formed to avoid the unfavorable "street atmosphere" around and create an empty, solemn and "hidden in the city" place artistic conception.
2.3 Taking the natural environment as the breakthrough point For most cultural buildings, the establishment of their cultural personality is often not "given" in advance, but more from the excavation and utilization of the natural environment elements around the site, which has become the most extensive, direct and objective external "force" that affects the shaping of architectural culture. In the creation of Leshan Giant Buddha Museum, the designer comprehensively considered the natural landscape characteristics of rolling hills and lush vegetation around the site, and combined with the obvious location conditions of the scenic spot population, so he adopted a personalized formal language with irregular geometric bodies intertwined and stacked, which shaped the overall environmental image of "natural beauty of layered stones" and conveyed the cultural personality characteristics of simplicity, roughness and tension; At the same time, it also achieved the cultural propaganda effect of "borrowing architectural image and shaping the highlights of scenic spots" (Figure 4).
2.4 Taking the local context as the breakthrough point, it is another important way to shape the architectural culture by understanding the local history and cultural traditions, forming a corresponding understanding and integrating into the architectural environment. Different from the creative mode under the early related concepts, the interpretation and reproduction of local context by contemporary cultural architecture is no longer limited to the simple "retelling" of historical heavy feelings (such as the "big roof" style popular in the early days of the founding of the People's Republic of China), but presents a development trend that is closer to the times and abstract and simple. In the creation of Tianjin Museum, designers have established the cultural expression theme of "Window of the Century" by interpreting Tianjin's geo-culture as a communication window and transportation hub since ancient times. In the form generation, the concept of "window of the century" is abstracted as a huge window facing the city and a public space sequence rising step by step. Throughout the museum from the inside out, the audience seems to be shuttling through the "just visiting", experiencing the history of the city and looking forward to its future (pictured).
3 plastic cultural products
Cultural architecture is different from other types of architecture, on the one hand, it depends on its unique functional requirements; On the other hand, it stems from its innate distinctive cultural quality or personality. As far as architecture is concerned, this character is often a kind of overall environmental style shown by its modeling and space treatment. Grasping and shaping the architectural cultural character has also become a difficult point and a higher-level pursuit in architectural creation activities.
3. 1 Interpretation of architectural culture Generally speaking, culture is the highest summary of the relevant characteristics and qualities of a building, and it is an abstract place spirit and overall atmosphere based on the basic functions and specific forms of the building; If we further explore the deep construction of architectural culture from the perspective of "two views and three natures", it is also closely related to the regionality and times of architecture. First of all, we can't understand the cultural connotation or cultural characteristics of architecture in isolation. A tasteful architectural work needs to establish a harmonious and unified dialogue with its natural environment and historical environment.
This macro-holistic view of cultural construction requires us to pay attention to both analysis and synthesis when engaging in architectural creation, emphasizing both the individual and the whole. Take Guangzhou Urban Planning Exhibition Center as an example: the overall horizontal stretching volume of the building echoes the surrounding undulating mountain system, and the large-scale overhead design of the first floor provides a brand-new public space and excellent vision for urbanites; At the same time, the simple and lively block combination mode adopted in this building also forms a formal contrast with the vibrant Baiyun Conference Center around it. Therefore, we say that architectural culture is produced by the "fermentation" reaction of a series of elements between architectural ontology and its broader space-time environment, which may be the embodiment of the beauty of "artistic conception" often mentioned in our oriental aesthetic culture. Secondly, as far as the meaning of architectural culture is concerned, it also embodies the important characteristics of regionality and times. For example, regionality itself contains local characteristics and regional context; The era is a comprehensive reflection of modern science and technology and contemporary civilization, and "three natures" is the dialectical unity of "you have me and I have you".
3.2 Refinement of architectural cultural character We advocate starting from the regionality of architecture and exploring the roots of architectural culture; On the other hand, due to the richness of the extension of the regional concept itself, we can't describe the basic model or the only way to generate architectural cultural character in general, but can only return to the specific regional environment and comprehensively analyze and summarize the overall character of the building in combination with the specific situation of the project at this time, here, this situation and this scene. So we say that a building usually has a basic character, but the formation of this character is often not the result of a single element. It requires designers to consider the influence of various complex factors and make comprehensive and appropriate choices. Here, in order to make the expression more targeted, this paper will further study the refinement of architectural cultural character with some specific cases (abbreviated).
4 show the face of the times
Architecture is a portrayal of an era and a comprehensive reflection of social economy, science and technology and culture. With the advent of the information age and the era of globalization, the aesthetics and values in the field of architectural creation are also undergoing profound changes. The new design concept, thinking mode and technical means also provide a broader and more diverse platform and direction for the innovative expression of contemporary cultural buildings. To this end, South China University of Technology adheres to an inclusive and open attitude and keenly grasps the development context of the times; Critically absorb and boldly learn from the emerging architectural culture trends and innovation trends, thus providing fertile soil for cultivating the innovative mechanism of local architectural culture. For example, the works of our hospital in recent years try to integrate "popular" words such as topological geometry, complex epidermis and narrative space. On the other hand, the introduction of these innovative means and innovative consciousness can not only stay at the formal level, but also seek the "basis" from the regional and contemporary environment, and then excavate and establish the "implication" hidden behind the building to realize the display of architectural cultural individuality.
4. 1 Breaking through the traditional language mode With the development of contemporary architecture and other disciplines, new concepts and new means such as topological geometry, ecology and parametric design have been introduced into architectural creation, greatly expanding the scope of current architectural language. The sense of balance, symmetry and clarity in the form emphasized by traditional cultural architectural design has been broken; Dynamic, distorted, continuous, fuzzy and other new language expressions emerge one after another, which opens up a new way for the regional environment and its contextual characteristics of architectural translation. In the design of Yantai Cultural Square, designers use continuous ups and downs of folded plates, irregular polyhedrons and other elements as symbolic means to interpret the cultural character of the building. On the one hand, it solves the objective contradiction of the coexistence of multiple complex functions in the same venue with the idea of intensification and integration; On the other hand, the spatial image of "advection fog smoke around Yuntai" is expressed by novel architectural formal language, and the abstract generalization (sketch) of Yantai's regional environmental characteristics is realized.
4.2 Innovative interface forms Based on the development of contemporary aesthetic consciousness and materials science, the overall complex and changeable architectural skin forms have become a new means to highlight the architectural personality charm. Building maintenance structure has gradually evolved into a complex interface form with texture and pattern from the previous opening and window opening based on basic functions, which provides a more three-dimensional and comprehensive way for the interpretation of architectural significance. This point has been clearly confirmed with the implementation of some major public construction projects in recent years (such as the Bird's Nest and Water Cube of the Olympic Games). Taking Guangzhou Urban Planning Exhibition Center as an example, its main body is the image of "two frames interlocking": the white metal grid on the facade forms a gradually expanding texture according to the bottom-up transformation of architectural functions, which implies the characteristics of the times of digitalization and informatization; The facade of the dark body is based on the generation of Guangzhou city map, which skillfully shows the natural and cultural themes of the building itself. In the design of Qian Xuesen Library of Shanghai Jiaotong University, the designer directly realized the personalized interpretation of the architectural cultural theme through the "pixelization" of the opposite material (GRC board) (pictured).
4.3 Strengthening the logic of inner space With the deepening of people's understanding of the value of architectural ontology, the expression of contemporary architectural cultural connotation shows a trend of "returning to the origin": that is, through the deep shaping of architectural space ontology, it tends to obtain more meaningful, implicit and diverse cultural meanings. The logic of architectural space and its form composition has been further strengthened in this period, and its ideological root stems from people's deep reflection on the authenticity of the relationship between form and content of architecture. The new building of Anhui Provincial Museum is based on the design concept of "four waters belong to the hall and five parties are connected". The square and simple architectural form consists of a solid part covered with bronze texture and a transparent and light glass body, which penetrate and bite each other, forming a continuous turning change from the inside out. Its spatial composition not only highlights the core radiation function of the museum's public communication space; At the same time, it also metaphors the deep cultural proposition that the museum is the "joint point" between history and the future.
5 conclusion
Looking back on the cultural architecture creation of South China University of Technology in the past 30 years, we have always implemented the creative concept of "two views and three natures", based on local conditions and innovation, made great efforts in the regionality, culture and times of architecture, actively sought the combination of cultural connotation and modern science and technology, adhered to the green and low-carbon architectural design direction, and embarked on a road of modern cultural architecture creation with China culture and times characteristics.
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