especially its pa materiality, this Recalling the 1950s New Brutalism, rticular engagement with image and essay examines selected works of contemporary architects if only to demonstrate the paradox in the present state of tectonic think We are reminded of Gottfried Semper＇s theory the tectonic of theatricality, and the criticality dressing for transforming a constructed form ng. of of nto the cultural realm. But what if the pressing issue facing architectural criticism today is the aesthetic of spectacle permeating the present culture？ The implied paradox highlights the allegorical references of ＂brute tectonics＂ to the notion of cut as appropriated in stereotomy and cinematography. Whilst geometry is central to the image - laden drawings produced in stereotomy and by digital machines, there are a few contemporary architects whose work attempts to intermingle geometry with sculptural tectonics. The present turn to monolithic architecture is of further interest; its tectonic cuts have the potential to shortcut the postmodern approach to communication. In the second place, the anonymity implicit in monolithic architecture （its un-approachability） is of critical importance in reference to the contemporary tendency for formal autonomy, and the prevailing euphoria for the spectacular images garnishing digitally reproduced forms.%文章通过重拾20世纪50年代的新粗野主义,尤其是粗野主义与图像、材料性的特殊关联,来检视当代建筑师的部分作品,借以说明建构思考在当下境况中存在的悖论。我们会想起戈特弗里德·森佩尔有关戏剧化建构的理论,还有＂饰面＂面临着从建造形式转变成为文化范畴时所具备的批判性。然而,如果现在建筑批评所面临的紧迫议题恰是奇观的审美对当下文化的渗透,情况又会如何？隐含的悖论突出了＂粗野建构学＂中对＂切割＂这个专属于切石术与电影术的概念的寓言式借鉴。对于由切石术以及数字机器中生产出来的、承载图像的图纸而言,几何有着至关重要的作用;无独有偶,也有一部分当代建筑师的工作是致力于将几何加入到雕塑式建构之中。现在对独石切割般的建筑的取向其实有着更深远的意味;独石切割般建筑的建构切割具备简化后现代交流方式的潜力。其次,当形式自治成为一种趋势,当用奇观图像来矫饰数字化的复制形式成为流行的新潮,整石切割般的建筑中内含的匿名性（它的不可接近性）至关重要。
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