“景观社会”中的工业遗产“造景” 天津运河创想中心设计

Scenery-making for Industrial Heritage Renovation in the Age of "Society of Spectacle" The Tianjin Grand Canal Creative Exhibition Center

文章以天津运河创想中心设计为例,探讨了当前工业遗产改造中的一个不可回避的问题,即这种改造已经变成了居伊·德波所提出的"景观社会"中的一种造景行为,它有可能被异化为消费社会的一种资本和权力控制的手段。通过解析天津运河创想中心的设计方法,文章完成了设计所言而未尽的引申意义,即对"景观社会"的一种批判性的态度。

Based on the case study of the Tianjin Grand Canal Creative Exhibition Center design,this article explores an inevitable issue in the renovation of the industrial heritage:the design is also a way of a scenery-making in the age of the "society of spectacle" termed by Guy Debord,and its format of alienation is likely to be utilized as a means of control by this society of consumerism.By analyzing the methodology applied in the design for the Grand Canal Creative Exhibition Center,this writing articulates the ineffable connotation in the design:that is,architects should have a critical stance towards this society of spectacle.