摘要
The purpose of this paper is to explore how the “Beaux-Arts” “composition” sustained the constitution of design principles for architectural production in China in the last two decades of the twentieth century. “Composition”, a key technique of the “Beaux-Arts” system, is not a simple act of “putting elements together” into a unified whole, but also relates to an array of different “constructions” of architectural knowledge which regulate and sustain the act of design. Through analysing the structure of three “textbooks” published in the early 1980s, this paper examines three aspects of the “constructions”: the setting up of the principles for governing architectural forms, regularisation of design methods and approaches for architectural practice, and the construction of a “tradition” for the expression of “Chineseness”.
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