What are the characteristics of set imitation? Which buildings in China are representative works?

Western retro style can be divided into three schools: one is the revival style of ancient Greek and Roman architecture; One school is the revival style of Gothic architecture; One school is the eclectic school.

Classical Renaissance architecture strictly follows the architectural style of classical architecture, also known as neoclassicism; The eclectic style is based on history, but it does not focus on any architectural style, and it is often a combination of several styles, so it is also called "set imitation". Tang Yulin House, Wanfulin House, Yujichuan House and Zhang Tingdong Apartment are all representatives of this kind of buildings.

The retro-style official residences are distributed in commercial ports, and the construction time was concentrated in the 1920s and 1930s. These officials are all important members of warlord Feng, and the official residence building is full of luxury.

The architecture of Yulin House in Tang Dynasty is steady and generous. The main entrance is in the west. Four Onek-style columns are used to support the second floor platform and also serve as the entrance awning. Platform railings are European railings. The wall is decorated with obvious European cutting lines. Flat roof, parapet decorated with European lines.

There are two relatively large European-style columns on both sides and the upper part of the main entrance of Zhangfu, and the columns are decorated with European semi-circular arches; The first floor wall window is an arched window opening, while the second and third floor wall windows are rectangular windows, and the upper edge of the window echoes the first floor window opening, with arched decoration; The practice of railing on the second floor is also the embodiment of European style.

The front and side of the small brothel look completely in the architectural style of combining Chinese and western styles.

The complex interweaving of two pairs of contradictions between China and the West constitutes the characteristics of modern architecture in China.

On the one hand, there are a large number of unprecedented building types, such as factories, stations, banks, hospitals, schools, halls, churches, consulates, new houses, etc., as well as the application of new building materials represented by steel and cement and the corresponding new structural methods, construction technologies and construction equipment, which have caused great impact on the traditional building methods dominated by wooden structures and manual construction; On the other hand, the construction of traditional architectural types such as palaces, altars and temples, imperial tombs, classical gardens and temples has stopped. All these provide a new direction and impetus for the development of architectural art, which is of positive significance objectively. At the same time, the new way of life and production has changed people's aesthetic taste. In a word, the classical architecture system in China, which developed to the end as a whole, has gradually faded out in modern times, and new architecture has become the dominant direction of China architecture.

However, this "newness" did not naturally evolve from the interior of traditional buildings in China, but was imposed on the land of China from the outside with the bayonet of foreign powers. A large number of Western-style "houses"-classicism, eclecticism and later "modern architecture"-first appeared in the concessions of major cities, with the purpose of plundering China's wealth, showing off the pride of the West and humiliating China. This reality has hurt the self-esteem of the people of China. Art is the product of feelings, so a group of patriotic architects in China who have received modern western education will naturally rise up and fight against it. Therefore, corresponding to the completely westernized architectural trend, modern China architecture has set off a powerful "national form" movement. The movement was supported by the government at that time to maintain its legal orthodoxy, and even foreign churches participated in it to publicize its cultural ideas. Therefore, completely westernized houses and efforts to "national form" constitute two main lines of modern China architectural art.

As early as the Ming Dynasty, western churches appeared in China. In the early Qing Dynasty, a "Western Building" was built in Yuanmingyuan, which was designed by western painters working in the Qing court. The level is not high, and the baroque style after the Western Renaissance is basically adopted. However, the influx of western architecture was after 1840 Opium War. Since the beginning of this century, with the development of modern western architecture, a large number of "foreign houses" with the same appearance as western architecture at the same time have appeared in the concessions of major cities. Its development can be roughly divided into three periods. First, before the 1920s, classicism prevailed, imitating the architectural forms of the Western Renaissance, and then imitating various ancient western architectural forms, such as the British Bank Company on the Bund, the Tsinghua School Auditorium of Beijing Preparatory School for Studying in the United States, etc. The second period was in the 1920s and 1930s, and most of the architectural forms have been transformed into modern "modern buildings", such as Shanghai Bund River Style, Sassoon Building and 24-story International Building. Jianghai Mountain Pass and Sassoon Tower still bear the imprint of eclecticism, while the international hotel belongs to authentic modern architecture, which is almost the same as the Chicago School of Modern Architecture in the United States at the same time. The third period is after the end of 1930s, that is, from War of Resistance against Japanese Aggression to before the founding of New China. Apart from the so-called "Xingya-style" architecture promoted by the Japanese during the Puppet Manchukuo period, which still belongs to western eclecticism, there are not many architectural activities.

In the 1920s and 1930s, with the popularity of western architecture in China, the "national form" architectural movement also showed an active trend. There are three ways to deal with its forms: one is to basically copy the ancient forms and cast them with reinforced concrete, such as the Nanjing Sun Yat-sen Mausoleum, the "Auditorium" of the former Central Museum, the Memorial Tower of the fallen soldiers in Linggu Temple, the Buddhist Scripture Building of Sun Yat-sen Mausoleum, and the Weiming Lake Tower in yenching university, Beijing, etc. The "Auditorium" of the Central Museum is an exhibition hall, which completely imitates the architecture of the Liao Dynasty in the north from the whole to the details. Linggu Temple Pagoda and Weiming Lake Pagoda are also made of reinforced concrete, imitating Song Pagoda and Liao Pagoda in form. The Buddhist scripture architecture of Sun Yat-sen Mausoleum is the reappearance of the form of Tibetan Buddhist temple in China, Beijing in Qing Dynasty.

Most of the buildings built in this way are memorial buildings with simple functions, among which Sun Yat-sen Mausoleum built in 1926 is an excellent work designed by China young architect Lv Yanzhi. A prize-winning design competition was held in advance, stipulating that "those with special and commemorative nature must adopt the ancient style of China or innovate according to the architectural spirit of China". After receiving more than 40 Chinese and foreign entries, the author must hide his name. After public display and selection, all the first, second and third prizes came from China, and then the construction was carried out according to the first prize. Commented that the scheme was "completely based on the ancient architectural spirit of China".

Nanjing Sun Yat-sen Mausoleum is located at the southern foot of Nanjing Zijin Mountain. There is a stone archway at the entrance, and it reaches the main entrance of gentle slope through a long Shinto, and then reaches the Great Compassion Pavilion. After passing through the pavilion, the slope increases, rising with wide steps and platforms, and reaching the memorial hall. The gradient of the whole journey is from gentle to steep, resulting in the serious atmosphere of "stopping at the top of the mountain" gradually strengthened by tourists. The wide steps connect the small memorial hall and other buildings into a larger whole, which has achieved solemn results. The general plan of the mausoleum is bell-shaped, which means "alarm bell".

The front of the altar plane is near, and each corner has a corner chamber; The back is connected with the circular tomb by a short tunnel, which is generally convex. The appearance is a double eaves resting on the top of the mountain, covered with dark blue glazed tiles, and the corner wall is higher than the lower eaves, forming four solid wall piers. The walls and columns are all white stones, lined with blue sky and green trees, which are very elegant and solemn, quiet and solemn. In the center of the memorial hall, there is a white stone statue of Dr. Sun Yat-sen, and the four pillars and the lower parts of the left and right side walls are inlaid with black polished marble. The hall is a dome, inlaid with mosaics of blue sky and daytime patterns, and the ground is red mosaics, which means "red everywhere". The center of the circular tomb is concave, surrounded by white stone railings, and the white stone statue of Zhongshan is placed, and the coffin is sealed underground. The top of the tomb is also inlaid with blue sky and day patterns. The layout of the mausoleum absorbed French classicism.

Sun Yat-sen Mausoleum is the first national modern memorial building designed by China people themselves. The master plan absorbed the technology of Ming and Qing tombs. Although the single building also adds a wooden shell to the modern structure, the shape is very innovative. At the same time, as a special building whose spiritual meaning greatly exceeds the material meaning, its content and form are still in harmony. Even today, for some similar buildings, adopting this method should be one of the exploration directions that can exist.

Lv Yanzhi was only 365,438+0 years old when he designed Sun Yat-sen Mausoleum, and he also won the first prize in the design competition of Guangzhou Sun Yat-sen Memorial Hall. 1929, when Sun Yat-sen Memorial Hall was still under construction, he died prematurely at the age of 35.

The second way of "national form" is used for large buildings with complex functional requirements. Graphic design is similar to modern western architecture, but it covers the "creative" shell of traditional China architecture. Representative works include the former Shanghai Municipal Government Building, Nanjing Academia Sinica, Beijing Fu Jen Catholic University, Wuhan University, yenching university, Nanjing Jinling University, Peking Union Medical College Hospital, and the former Beijing Library. Some of them were designed by foreigners. Because there is not much research on traditional architecture in China, it is often neither fish nor fowl, and its function is often unreasonable.

The third kind of "national form" architecture characterized by simplified form appeared after people began to doubt the previous works, such as Nanjing former Foreign Ministry Building, Beijing Bank of Communications, Nanjing former National Government Office, Shanghai China Bank and so on. It is quite close to western modern architecture, but only partially uses some decorative patterns of ancient buildings in China.

Generally speaking, Chinese modern architectural art is at a great turning point. On the one hand, new functional requirements, new construction conditions and means, as well as western-style buildings built on China land, including modern western-style buildings, have provided China architects with opportunities to study nearby and played a positive role in promoting the development of China architecture; On the other hand, a new generation of China architects with modern education don't think that modernization means westernization, and they are also exploring various ways of nationalization. Although not all successful, whether it is experience or lessons, modern China architecture is the direct basis for the development of new China architecture and the transition from China classical architecture to new China.

In the late 1920s, the discipline of architectural history in China was formally born. Liang Sicheng and Liu Dunzhen, the founders of the discipline, have done a lot of work, bringing the architectural cause blindly despised by scholars for thousands of years into the academic field, laying a preliminary foundation for the study of architectural history and architectural theory in China.