分析世界近代建築 重新定義「裝飾藝術」

Abstract

This paper is an architectural history commentary. Nowadays, the division ofresearch categories in Taiwanese architectural history has become increasingly specialized. However, all kinds of division have their political purposes (Hobsbawm, 2002). Focusing on one single issue or expanding the research scope will create different understanding toward history. This paper adopts Eric R. Wolf's view that treats the world as a group rather than a combination of independent cultural systems (Wolf, 2003). As a result, building upon existing research achievements, this paper compares and combines archives not only from architectural scholars’ writings, but also bringing into their respective social context, expecting for a more accurate reinterpretation. Chaos Theory has made linear mode of progression cease to be effective. Unexpected impacts, such as climate change, have truly influenced and even redirected history. What historians can do is to sort the archives and manage to provide a reasonable explanation but not to forecast the future. The turning points in history always turn up at the moment out of historians' expectation. Judging from the aspect of architectural development, the emergence and subsequent prevalence of Modern style was unforeseen. Historians may assume it as a matter of time and attribute the cause to social demand and revolutionary use of new material, though it may not have taken place either. is an alternative. Although there is no option for history, however, after its declination in 1930s, Art Deco has retrieved popularity nowadays, which situation is worthy of our attention. There is no certain causality in history, hence to explore possible causes of Art Deco and the potential that prompted its revival is the main purpose of this paper. If we review Art Deco, which was once overwhelmed by Modernism, we will find them shared similar breeding ground. First of all, neither Art Deco nor Modernism approved of imitating historic style. Secondly, new materials and advanced technologies accompanied industrial revolution encouraged the style to change. And the last, they were both enhanced by the fair that exhibited wonderful living. Nevertheless, there still are differences. First of all, Art Deco is rich in culturally symbolic decoration. Secondly, Art Deco creates the ambiance without altering the layout. And the last, Modernism aims at delocalization and internationalism, which stance is opposite to Art Deco. Retracing the causes of Art Deco, we will discover more hidden meaning worth further investigation. Understanding is the key to twentieth-century architectural history. Going through the long history of western architecture, people have been tired of debating on style. Modernism liberated the space while the expression was dulled at the same time. It was superseded by Post-Modernism consequently. Nevertheless, the de-contextualized bricolage of symbols lacked the competence of continuing. Today, Modernism has lost its socialism ideal and trapped in soulless details. Its formalism merely serves to show the taste of the rich. Without the spatial reform ideal, it cannot but become the magic wrapping material for the real estate. Pruitt Igoe buildings were dynamited in 1972, which signaled not only the death of Modernism but also entering another cycle of social reform ideal disillusion. At this moment in time, Art Deco, which originally came with the tide of Capitalism, relatively gets its opportunity to be the savior for popular aesthetics and cultural meanings due to its easy-imitating nature.