本文選題：室內(nèi)空間　切入點(diǎn)：場所精神　出處：《南京工業(yè)大學(xué)》2014年碩士論文

【摘要】：在全球化背景下，建筑地域性正逐漸的被整合為單一的國際主義模式。標(biāo)準(zhǔn)化的生產(chǎn)方式致使地域特征逐漸弱化，建筑環(huán)境也日益趨同，這種千城一面的建筑風(fēng)格使人們陷入了挪威建筑師諾伯格·舒爾茨所強(qiáng)調(diào)的環(huán)境危機(jī)中，它帶給人們的是一種無場所感。本文認(rèn)為這種無場所感也存在與室內(nèi)空間當(dāng)中，當(dāng)前的室內(nèi)空間設(shè)計(jì)并未形成基于本地域、本土化的潮流中，而是陷入瘋狂的模仿和抄襲國際上一些風(fēng)格，當(dāng)這些風(fēng)格被廣泛復(fù)制時(shí)就失去了其差異性，使得室內(nèi)空間也就喪失了其特定的場所精神。人與室內(nèi)空間應(yīng)是一種互動(dòng)對(duì)話的狀態(tài)，室內(nèi)空間不僅附著人們的感受，還承載著人們的意愿和欲望，當(dāng)各種風(fēng)格、材料、造型的抄襲和模仿的作品難免在經(jīng)歷時(shí)間的洗禮后會(huì)變得空洞。所以，設(shè)計(jì)師如何塑造和建構(gòu)室內(nèi)空間場所精神是當(dāng)前室內(nèi)研究的一個(gè)重要課題。 本文通過對(duì)舒爾茨場所精神概念理解的基礎(chǔ)上，來詮釋室內(nèi)空間中所存在場所精神。吳良鏞認(rèn)為對(duì)于場所精神的理解，，按照中國人的習(xí)慣可稱之為“場所意境”。本文認(rèn)為場所精神的實(shí)現(xiàn)是通過空間體驗(yàn)來完成的，這種體驗(yàn)不僅是感知場所感的一種途徑，也是建構(gòu)空間結(jié)構(gòu)關(guān)系的一種設(shè)計(jì)方法。設(shè)計(jì)師應(yīng)以體驗(yàn)為媒介，創(chuàng)造場所精神。首先，場所精神體驗(yàn)的前提是建立在特定的物質(zhì)道具上，如空間的形態(tài)、界面的顏色、材料的質(zhì)感、光線和聲音等，然后在這些道具的基礎(chǔ)上通過人們視覺、聽覺、觸覺、嗅覺和味覺來進(jìn)行相互引證和交織來獲得對(duì)場所的認(rèn)同感和方位感。其次，舒爾茨對(duì)場所精神的探討將其歸納為認(rèn)同感和方位感，本文試圖在此理論基礎(chǔ)上對(duì)人與其生活環(huán)境、場所精神之間作進(jìn)一步探討，探討一種主客體之間互動(dòng)關(guān)系。這種互動(dòng)關(guān)系的存在便產(chǎn)生了情節(jié)的可能性，情節(jié)空間更強(qiáng)調(diào)人與環(huán)境之間的互動(dòng)對(duì)話的關(guān)系。誠然，這種關(guān)系建立在對(duì)空間及其事物體驗(yàn)的基礎(chǔ)上，但并非從屬于體驗(yàn)，而是一種可體驗(yàn)的結(jié)構(gòu)，即一種空間秩序。因此，本文試圖以體驗(yàn)為向?qū)Вㄟ^借用文學(xué)劇作編排手法，來探討這種結(jié)構(gòu)秩序使得只可意會(huì)的場所精神能夠融入到設(shè)計(jì)師所面對(duì)具體的項(xiàng)目設(shè)計(jì)去，把它轉(zhuǎn)化成設(shè)計(jì)師可以把握的設(shè)計(jì)語言。最后，在上述理論研究的理論的基礎(chǔ)上進(jìn)行總結(jié)和歸納，探索出一種場所精神具生成策略，即從采集——物化——編排——體驗(yàn)的過程，并通過實(shí)際操作項(xiàng)目來進(jìn)行直接形象的解釋和研究。
[Abstract]:In the context of globalization, architectural regionalism is gradually being integrated into a single internationalist model.The standardized mode of production has gradually weakened the regional characteristics and made the architectural environment more and more similar. The architectural style on one side of the thousands of cities has plunged people into the environmental crisis emphasized by Norwegian architect Norberg Schultz.It gives people a sense of lack of place.This paper holds that this sense of lack of place also exists in the interior space, and that the current interior space design has not formed the trend of localization based on the local region, but has fallen into a frenzy of imitation and plagiarism of some international styles.When these styles are widely copied, they lose their differences and make the interior space lose its specific spirit of place.People and indoor space should be a state of interactive dialogue, indoor space not only attach to people's feelings, but also carry people's will and desire, when all kinds of styles, materials,Modelling plagiarism and imitation of the work will inevitably become empty after the baptism of time.Therefore, how the designer molds and constructs the indoor space place spirit is an important subject of the current indoor research.Based on the understanding of Schultz's concept of place spirit, this paper interprets the spirit of place in indoor space.Wu Liangyong believes that the understanding of the spirit of place, according to the Chinese custom can be called "artistic conception of place."This paper holds that the realization of the place spirit is accomplished through the space experience, which is not only a way of perceiving the sense of place, but also a design method of constructing the relationship of space structure.Designers should take experience as the medium and create the spirit of place.First, the premise of the place spiritual experience is to build on specific material props, such as the shape of the space, the color of the interface, the texture of the material, the light and the sound, etc., and then on the basis of these props, through people's vision, hearing, touch, etc.Smell and taste are cited and intertwined to gain a sense of identity and orientation.Secondly, Schultz's discussion on the spirit of place concludes it as identity and sense of orientation. On the basis of this theory, this paper attempts to further explore the relationship between people, their living environment and the spirit of place, and a kind of interactive relationship between subject and object.The existence of this kind of interactive relationship leads to the possibility of plot, and the plot space emphasizes the relationship of interactive dialogue between people and environment.It is true that this relationship is based on the experience of space and its things, but is not subordinate to experience, but an experiential structure, namely, a kind of spatial order.Therefore, this paper attempts to use the experience as the guide, by borrowing the literary drama arrangement technique, to explore this kind of structural order so that only the place spirit can be integrated into the specific project design faced by the designer.Turn it into a design language that designers can master.Finally, on the basis of the above theoretical research theory, the author summarizes and induces a kind of formation strategy of place spirit, that is, from the process of collecting, materializing, arranging and experiencing,And through the actual operation item to carry on the direct image explanation and the research.
【學(xué)位授予單位】：南京工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：TU238.2

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