李路珂-2009-从原型出发-寻求全球化背景下本土建筑设计的一种途径——徐州龙华寺“净土文化馆”设计

2009InternationalConferenceonEastAsianArchitecturalCulture,Tainan,TaiwanⅡ‐115 StartfromPrototype,theWayofRegionalArchitectureDesignintheContextofInternationalism–theCultureCentreofPureLandSchoolinXuzhouLukeLi1,GuixiangWang2PostDoctorResearcher1,InstituteofArchitectureHistory&Theory,SchoolofArchitecture,TsinghuaUniversity,ChinaProfessor2,InstituteofArchitectureHistory&Theory,SchoolofArchitecture,TsinghuaUniversity,ChinaAbstractDuringtheglobalizedperiod,traditionalandregionalcultures,whicharereinspectedbythesubject,comeintovogueinauniqueway.Consequently,therecomesarepresentativeculturalphenomenonthatBuddhismandtemplesarerevivedinpresentChina.However,theconcernabouttraditionalculturealwaysresultsinanotherassimilation,thatis,thespiritofthetimeislost,becauseoftheimitationofancientstyle.Thisculturalphenomenonseemsmoreseriousinthetraditionaltypeofarchitecture,agoodexampleofwhichisBuddhisttemple.Howtounscrambleandrepresentthefeatureoftime,local,andculture,inthispaper,arethekeypointsofregionalarchitecturedesigninthecontextofinternationalism.TheprojectoftheCultureCentreofPureLandSchoolinXuzhouLonghuaTemple,issuchanopportunityforustoattempttosolvetheproblemsthatmentioned.Keywords:globalization;modernity;localization;Buddhistarchitecturedesign;PureLandSchoolIntroductionInmodernsociety,globalizationreducesthedimensionoftimeandspace,whichbringsontheintercommunionofmultiplecultures.Atthesametime,itcausesinternationalismofarchitecturalcultureandassimilationofthespaceandformofourcities.Duringtheglobalizedperiod,traditionalandregionalculture,whicharereinspectedbythesubject,comeintovogueinauniqueway.Consequently,therecomesarepresentativeculturalphenomenonthatBuddhismandtemplesarerevivedinpresentChina.However,theconcernabouttraditionalculturealwaysresultsinanotherassimilation,thatis,thespiritofthetimeislost,becauseoftheimitationofancientstyle.Thisculturalphenomenonseemsmoreseriousinthetraditionaltypeofarchitecture,agoodexampleofwhichisBuddhisttemple.ItalreadybecomesadistingushingfeatureofmodernBuddhistprojectsthatblindorcarefulimitationofhistoricalstyle.Somearchitectswhoarefamiliarwithtraditionalculture,oftenprefixTangStyle,SongStyle,orQingStyle,totheirdesignworks,inordertorecordthesourceofthemodeltobecopied.Howtounscrambleandrepresentthefeatureoftime,local,andculture,inmyopinion,arethekeypointsofregionalarchitecturedesigninthecontextofinternationalism.TheprojectoftheCultureCentreofPureLandSchoolinXuzhouLonghuaTemple,issuchanopportunityforustoattempttosolvetheproblemsthatmentioned.Inthisproject,specifically,weattempttoreflectthethreecharacters-modern,ChineseandBuddhist,throughformandspaceinthearchitecturaldesign.TheEastAsianArchitectureandUrbanismunderOccidentalismⅡ‐116 Inthearchitecturaldesignprocessunderthemodernsocietyandtechnicalconditions,andthemodernarchitecturaltheoryofFunctionalism,SymbolismandTypology,wetriedtore-interpretitsfunctionwithalonghistory,aswellastoseekthetypicalcharacteristicsorprototypefromthereligiousdoctrinesandhistoricalexamplesofsuchbuildings.FromFunctiontoForm–PrototypefromReligiousCeremonyAsaChineseModernBuddhistarchitecture,themainfunctionsoftheCultureCentreofPureLandSchoolinXuzhouLonghuaTemple,istoprovideavenuefortheBuddhistmonksandthebelievers,forpreachingandreligiouspractice,especiallychantingthenameofBuddhaasawayofreligiousdiscipline.Andothervariousfunctionsforthemonks’dailylife,issettledinthemainbuildingofLonghuaTempleneartotheCultureCentre.(Fig.1)Fig.1.SitePlanofTheCultureCentreofPureLandSchool,whichisconnectedwithapavementtotheMainBuildingofLonghuaTemple.TherepreservedahugestoneBuddhabustofNorthernWeiperiod(A.D.386-534)intheoldLonghuaTempleinXuzhou,becomestheevidenceofthelonghistoryofPureLandBuddhisminthisarea,whichishighofabout30meters.So,inthenewculturalcenters,theclientswishtoimitatethehugeBuddhabust,tobeworshippedinthemainhall.ForthehistoricalBuddhistarchitecture,althoughindifferentage,differentplace,anddifferentbuildingsystem,thebasicpatternofspaceforworshipandspiritualhasbeenretained.So,atfirstinthisproject,wefindouttheBuddhistwayofreligiousworshipandcultivation;second,wecomparethemwiththeexistingsamplesofBuddhistarchitectureinspace(Fig.2)andsummarizingtheirspatialcharacteristics.Afterthat,therecanbedrawn4essentiallydifferenttypesofspace-thepathspace(tocircumambulatearoundtheBuddha),themeetingspace(toobservetheBuddha,tochantthenameofBuddha,toworshiptheBuddha,toexpoundBuddhistdoctrine,etc.),theprivatespace(tositinmeditation,toreciteorchantscriptures,etc.),thefreespace(towalkaroundforrestingandmeditating(经行)).(Fig.3)2009InternationalConferenceonEastAsianArchitecturalCulture,Tainan,TaiwanⅡ‐117 (1)(2)(3)(4)(1)ViharaCave(毗诃罗窟):tositinmeditation,toreciteorchantscriptures,meditation,expoundBuddhistdoctrine(Cave285ofMogaoGrottoes,WesternWeiDynasty,A.D.535-556);(2)CavewithPyramidalCeilings(覆斗窟):forobservetheBuddha,tochantthenameofBuddha,toworshiptheBuddha,etc.(Cave220ofMogaoGrottoes,EarlyTangDynasty,A.D.618-755);(3)CentralPillarCave(中心塔柱窟):CombinationofobservingtheBuddha,worshippingtheBuddha,an