臺灣博碩士論文加值系統

　　本論文的目的是在討論路易士康建築中的人文主義特質，並藉此來凸顯人文主義在現代與後現代之間的轉變。現代主義因為馬克思主義的社會運動與機械化的蓬勃使得人文主義發展的參考點變得複雜。現代主義宣稱新的技術和民主將在設計上決定一種新的純粹主義，他們的純粹主義主要在於反對佈爾喬亞的人文主義，從社會的角度促使布爾喬亞瓦解的目的是企圖提供人文主義與社會結合的途徑。然而現代主義的建築師努力從社會角度去改變建築命運的方式，並不能使人類失調已久的思想和感覺之間的衝突消失。
　　路易士康的人文主義象徵著對現代建築的自我反省，不但使得現代主義者注意到了他們在根本上的失敗，也開始轉變現代主義在機械和工業的價值下所帶來的混亂與脫序，努力以佈雜的傳統重建一個古典的、靜態的、穩定的建築秩序。在康的作品中，我們可以意識到他以理性當作橋樑，在對現代主義的反省下安心地回到布雜傳統，但是同時也在現代主義思潮的影響下超越了佈雜傳統，康獨特的人文主義可說是融合了現代主義與布雜之間矛盾的美學觀念，替現代建築和布雜傳統開創一個新的局面。但是自從六○年代以來，對主體觀念批判性的哲學論述導致一種「後人文主義」的出現，後人文主義的觀念合得建築的發展明顯的轉變，一種解構的建築形式蔚為風潮。但是在辯證的觀念下，我們很難肯定的回答有關傳統的人文主義是否已經被這些邀進的「文本」的摧毀，或者說康的建築觀念在它們的強烈批判下已經過時；不過我們的確看到了一種新的建築觀念正在成型，但同時也看到隱藏在其內在的邏輯危機。如果他們不能有效地克服這些危機，那些宣稱對主體的摧毀計劃也許永遠只是他們用來滿足自我在建築創作上的保護罩而已。
　　建築創作和哲學論述之間的落差明顯地出現在解構建築的表現上，這些遺憾使得我們必要重新看待後現代世界中那些哲學式的閱讀方式與建築之間的關係，更必須對主體在建築的位置上進行一種創造性的思辨，這種思辨的架構在縱向上得扣緊歷史的轉變，而在橫向上得考慮人文與整體環境的複雜關係，以及那些非人類所能支配的社會秩序。只有這樣，我們才有可能在現代主義與後現代主義這兩者之外想像一個第三者的主體定位。

　　This dissertation seeks to illustrate the evolution of humanism between modernism and postmodernism through discussion of Louis I. Kahn and the humanist qualities in his architecture. Through its prevalence of Marxist social movements and mechanization, modernism has complicated our reference points for studying the development of humanism. By heralding new technology and democracy, it has also introduced a type of purism in design, the chief purpose of which is to destroy bourgeois humanism and thus pave the way for humanism''s integration with society. The diligence of modernist architects to change the destiny of architecture has not, however, succeeded in resolving mankind''s perennial conflict between thought and emotion.
　　The humaism in Kahn''s work symbolizes a personal reflection on modern architecture. It has confronted modernists with their fundamental defeat and initiated change in the chaos brought by their mechanical and industrial values. To achieve this, Kahn applies the Beaux Arts tradition in his work, reconstructing a classical, static, and stable architectural order in which rationality serves as a conduit.But just as reflections on modemism have led Kahn back to the Beaux Arts tradition, they have also allowed him to transcend that tradition. In this sense, his form of humanism is a unique aesthetic concept that resolves the contradictions between modemism and Beaux Arts. adding new aspects to both schools in the process. Since the 1960s, however, philosophical critique of the concept of subjectivity has engendered a type of "post-humanism." This trend has shifted the course of architectural development by giving rise to deconstructuralist architecture. From a dialectical point of view, it is still too early to announce the death of traditional humanism at the hand of its radical counterpart, or to suggest that Kahn''s architectural concepts have lost currency under strong critique. What we are witnessing rather is a new architectural concept in the making, even as the inherent logical crises of that concept become more apparent. If these crises cannot be effectively overcome, designs to eradicate the concept of subject from architecture will likely remain nothing more than a protective amulet for achieving self-satisfaction in architectural creation.
　　One of the unmistakable traits of deconstructuralist architecture is its incongruity between architectural creation and philosophical discourse. This disparity compels us to reexamine the relation between philosophical interpretation and architecture in the postmodern world. It also demands further creative speculation on the position of subjectivity in architecture. The framework for such speculation must not only vertically cohere with historical change, but also horizontally consider the complex relation between humanity and environment as well as the social orders ungovernable by mankind. Only in this manner can we conceive a third subjective position beyond modernism and post-modernism.