摘要
弗兰克·L·赖特在20世纪40~50年代以相同的螺旋形母题作为概念,设计了桃花源（Xanadu）画廊以及古根海姆（Guggenheim）博物馆。本文通过对两者共同的形式特征的分析,指出了赖特在其作品中显示出的现代＂空间＂意识。然而,赖特对于这种＂空间＂意识的建构方式,无论是在其理论还是实践中,都与同时代的先锋建筑师存在着明显差异,这篇文章试图对这些差异产生的前因后果进行梳理,以重新定位赖特在现代建筑发展过程中的历史坐标。
During the 1940s - 1950s, Frank L. Wright had completed Xanadu Gallery and Guggenheim Museum, taking ＂spiral＂ theme as the same archetype. By analyzing common formal characteristics of these two buildings, this paper indicates that the ideas of ＂Modern Space＂ had been clearly reflected in Wright＇s works, and the ways in which Wright presented his idea on Space were obviously different from other Modernist Architects＇ in that era, both theoretical or practical. By going through the reasons and results related to these differences, this paper attempts to relocate the historic position of F. L. Wright in the Modern Movement.
出处
《建筑师》
2014年第5期69-78,共10页
The Architect
