中国风水概念转换在建筑环境设计应用的探讨

Discussion on the Application of Concept Transformation of Chinese Geomantic Omen in Architectural Environment Design

摘要: 本文系统地讨论了中国传统风水理论在现代建筑环境设计中概念转化及应用价值的有关理论问题。首先，梳理风水理论的基本概念及哲学基础，“气”“阴阳”“五行”等基本概念内涵的生态智慧与空间美学生命力和心理调节力量，进而说明从经验性范式的古风遗留到目前具备科学性和人文性的现代设计语言转换的可能性与必要性，并以国内外采用风水原理成功转化为现代设计思路的实例(如生态建筑、可续住小区、康养环境等)为例论证，即当下再谈风水不是一种迷恋于鬼神的迷信，而是一种既能辅助科学家理解分析场所的现实境况、又能帮助建筑师合理确定功能分区、给出平面布局的空间格式、选择适宜材料以及节能减排、为人居住、营造心灵世界的服务理念。其次是对论文研究存在的问题及展望。认为转换过程有难度：难以解释清楚科学化的问题；不能准确理解解读出风水背后的文化含义。最后立足中国地情、顺应世界潮流，在古今中外古典园林代表性作品的基础上深入思考其未来。

Abstract: The theoretical issues related to the conceptual transformation and application value of China’s traditional geomantic omen theory in modern architectural environmental design were discussed systematically in this paper. Firstly, it outlines the basic concepts and philosophical foundations of theory of Geomantic Omen, such as “qi”, “yin-yang”, and “five elements”, along with their vitality and psychological regulatory power, to explore the ecological wisdom and spatial beauty of fundamental concepts. Besides, the possibility and necessity were explained from the empirical paradigm of ancient traditions transferred to current modern design languages, which combined the scientific and humanistic elements. The examples of successful applications of principles of Geomantic Omen (such as ecological architecture, sustainable residential communities, and wellness environments) were taken as examples. Namely, it revealed that discussing the “geomantic omen” was not obsessed with ghosts and spirits currently, but rather a service philosophy that could assist scientists in understanding and analyzing the actual conditions of a place, and help architects rationally determine functional zoning, provide spatial layouts, select appropriate materials, and promote energy conservation, emission reduction, livability, and the creation of a spiritual world. Secondly, the challenges and prospects were addressed in this paper. But some difficult occurred in the transformation process, namely that it struggles to explain scientific issues clearly and fails to accurately interpret the cultural meanings behind “Geomantic Omen”. Finally, based on China’s geographical conditions, and in line with global trends, it delves into the future of classical garden design by examining representative works from both ancient and modern times, as well as from different cultures.