本文關鍵詞： 室內設計 明清風格 寫意式繼承　出處：《吉林建筑大學》2015年碩士論文　論文類型：學位論文

【摘要】：傳統建筑的現代繼承思潮,始于上世紀2、30年代,在中國近現代的建筑發(fā)展中廣泛而持久,通過“繼承與創(chuàng)新”、“新而中”、“形似神似”等各種不同的創(chuàng)作思想與傾向,反省本民族的文化坐標,尋找本民族的精神寄托,是提升設計內涵,體現中國精神、民族色彩的重要思想內容和智慧源泉。任何成功的藝術形式都是根植于本民族的傳統文化之中而發(fā)展成熟的,這一點已無需爭論,而實際上,當前所謂中國傳統建筑文化的具體內容到目前依然還是面目不清,甚至存在被曲解和誤讀現象,短期內也難以求得一個明確清晰的答案,設計實踐中的所謂民族形式更多的還僅停留于形式等外部特征的沿襲與挪用,而對其背后的精神內涵與創(chuàng)作思想卻知之甚少,舊形式與新的功能要求,與新技術、新材料、新結構之間的矛盾暫時還未徹底化解。我們既不能拋棄歷史傳統遺產,失卻自己的文化精髓,也不能開歷史倒車,像威廉·莫里斯那樣重回手工時代,漠視新舊生產生活方式等問題間的矛盾與制約,那么,傳統中式風格的室內設計關鍵是在哪里?傳統設計文化中哪些是值得借鑒與發(fā)揚的?未來的發(fā)展前景又如何?這也是本人在過去的教學以及設計實踐過程中經常思考的問題,中國傳統的建筑風格形成較早,并在明清時達到頂峰,本文重新審視這一時期的建筑室內風格,提出以“寫意”的方式從事傳統風格室內環(huán)境的設計創(chuàng)作,嘗試以新的維度視角擺脫長久以來形成的詳盡如實的形態(tài)摹寫困擾,突出強化設計中的意境、內涵,著重表現整體環(huán)境的“意態(tài)”、“神韻”和設計者的主觀情趣抒發(fā),同時吸收借鑒國外優(yōu)秀設計文化的創(chuàng)作思想,充分發(fā)揮文化的包容性和融合性,在借鑒中傳承傳統文化,在創(chuàng)新中發(fā)展傳統文化,最終,解放創(chuàng)作思想,擺脫表面形式等方面的羈絆,形成富于創(chuàng)新意識和文化涵義的設計表達語言,重拾文化記憶和文化自信,增強本土文化的競爭力。受理解、認識和時間所限,這篇論文僅可算是對這些內容粗淺思考與認知的一個簡單梳理和總結,期望它能為這方面的設計實踐提供參照借鑒。
[Abstract]:The trend of modern inheritance of traditional architecture, which began in the 230s in 0th century, has been extensive and lasting in the development of modern architecture in China. Through "inheritance and innovation", "new to middle", "form like god" and other different creative ideas and tendencies, etc. To reflect on the cultural coordinates of the nation and to seek the spiritual sustenance of this nation is to enhance the connotation of the design and embody the spirit of China. The important ideological content and the source of wisdom of the national color. Any successful art form is rooted in the traditional culture of the nation and has matured, which is no longer controversial, but in fact, At present, the specific contents of the so-called Chinese traditional architectural culture are still unclear, even misinterpreted and misread. It is also difficult to find a clear and clear answer in the short term. In the design practice, the so-called national form is more often followed and misappropriated by the external characteristics such as form, but the spiritual connotation and creative thought behind it are little known, the old form and the new functional requirements, the new technology, the new material, the old form, the new functional requirement, the new technology and the new material. The contradiction between the new structures has not been completely resolved for the time being. We cannot abandon the historical heritage, lose the essence of our own culture, nor can we reverse history and return to the manual era like William Morris. Ignoring the contradictions and constraints between old and new production and life styles, where is the key to traditional Chinese style interior design? Which of the traditional design cultures is worthy of reference and development? What are the prospects for future development? This is also a question that I often think about in the past teaching and design practice. The Chinese traditional architectural style was formed earlier and reached its peak in the Ming and Qing dynasties. This paper reexamines the architectural interior style of this period. In this paper, the author puts forward the idea of "freehand brushwork" in the design of traditional indoor environment, tries to break away from the detailed and truthful description of form from a new dimension angle, and to emphasize the artistic conception and intension in the design. Focusing on the expression of the "meaning" of the overall environment, "charm" and the subjective interest of the designer, absorbing and drawing on the creative ideas of foreign excellent design culture, giving full play to the inclusiveness and integration of the culture, and inheriting the traditional culture from the reference, In the process of innovation, we should develop traditional culture, finally liberate creative thoughts, get rid of the fetters of surface form, form a design expression language rich in innovation consciousness and cultural meaning, and regain cultural memory and cultural self-confidence. By understanding, understanding and time limit, this paper can only be regarded as a simple sort and summary of the superficial thinking and cognition of these contents, and it is expected that it can provide a reference for the design practice in this respect.
【學位授予單位】：吉林建筑大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：TU238.2

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本文編號：1541349