【摘要】： 對(duì)于建筑裝飾材料表現(xiàn)力的探索一直伴隨建筑發(fā)展的始終,不同的時(shí)代有著不同的標(biāo)準(zhǔn)。但有趣的是即使在科技發(fā)達(dá)的現(xiàn)代社會(huì),傳統(tǒng)風(fēng)格的建筑裝飾材料仍然具有跨越時(shí)空的感召力,它仍然啟迪著人們對(duì)質(zhì)感、光線、色彩、象征意義及其他知覺體驗(yàn)的關(guān)注。 自從工業(yè)革命以來,生鐵材料的出現(xiàn)以及其后大規(guī)模的應(yīng)用從根本上改變了建筑的形制,并且滿足了城市的不斷擴(kuò)張與人口范圍的擴(kuò)大。隨之新興材料的不斷涌現(xiàn)使這種態(tài)勢(shì)越加明顯。由此可見建筑材料不但具有美學(xué)意義而且更具有社會(huì)意義。從一定意義上來說建筑材料類別的交替印證了不同時(shí)代的更迭,同時(shí),它們也證明了特定時(shí)代的局限和人們想要掙脫這種局限的欲望和勇氣。經(jīng)過了現(xiàn)代主義諸多風(fēng)格的流變,當(dāng)物質(zhì)資源極大豐富的同時(shí),人們又重新回歸到了對(duì)建筑材料表現(xiàn)多樣性的訴求。由此,建筑材料從結(jié)構(gòu)走向表皮,從功能走向裝飾,用其自身特殊的氣質(zhì)滿足著新的時(shí)期人們對(duì)于建筑功能和情感的需求。 因此,本文繞過建筑裝飾材料的物理屬性分析,從知覺現(xiàn)象的角度分析建筑裝飾材料在建筑空間里的表現(xiàn)力。以建筑現(xiàn)象學(xué)為理論依據(jù),突破以往對(duì)建筑裝飾材料的功能及純粹形式的爭論,關(guān)注人類意識(shí)與材料的關(guān)聯(lián),回歸到建筑裝飾材料本身,探索各種復(fù)雜表象之間的關(guān)系,明確建筑裝飾材料的魅力不僅僅源于自身的形、色、質(zhì)這一概念,更源于人們的體驗(yàn)以及體驗(yàn)產(chǎn)物空間感的再創(chuàng)造。 本文主體圍繞陜西富平陶藝村中所使用的建筑裝飾材料展開論述,并以其周邊民居的住宅改造為實(shí)例,范圍涵蓋了賓館、飯店、博物館、工作室等公共建筑和設(shè)施。其目的并不旨在提供一種具體化的執(zhí)行方法,而是旨在引導(dǎo)一種獨(dú)特的對(duì)待建筑裝飾材料的思維方式,尤其針對(duì)如何在建筑全球化浪潮中尋找地域價(jià)值問題具有借鑒意義。
[Abstract]:The exploration of the expressive power of architectural decoration materials has always been accompanied by the development of architecture, different times have different standards. But what's interesting is that even in the technologically advanced modern society, traditional architectural decorative materials still have the appeal across time and space, and they still inspire people's attention to texture, light, color, symbolism and other perceptual experiences. Since the Industrial Revolution, the appearance of pig iron and its large-scale application have fundamentally changed the shape of buildings and satisfied the continuous expansion of cities and the expansion of population. With the continuous emergence of emerging materials, this situation is becoming more and more obvious. This shows that building materials not only have aesthetic significance but also have social significance. In a sense, the alternation of building material types confirms the change of different times, at the same time, they also prove the limitations of a particular era and people's desire and courage to break away from this limitation. After the development of modernism, when the material resources are abundant, people return to the demand of diversity of architectural materials. As a result, building materials from structure to skin, from function to decoration, with its own special temperament to meet the needs of the new period for the architectural function and emotion. Therefore, this paper bypasses the analysis of the physical properties of architectural decoration materials, and analyzes the expressive force of architectural decorative materials in the architectural space from the perspective of perceptual phenomena. Based on the theory of architectural phenomenology, this paper breaks through the previous debates on the function and pure form of architectural decoration materials, pays close attention to the relationship between human consciousness and materials, returns to the architectural decoration materials itself, and explores the relationship between various complex representations. It is clear that the charm of architectural decoration material is not only derived from the concept of shape, color and quality, but also from the experience of people and the re-creation of the experience product space sense. The main body of this paper focuses on the architectural decoration materials used in the ceramic village of Fuping Shaanxi Province and takes the residential renovation of its surrounding folk houses as an example covering public buildings and facilities such as hotels restaurants museums and studios. Its purpose is not to provide a concrete execution method, but to guide a unique way of thinking about architectural decoration materials, especially to find the regional value in the tide of architectural globalization.
【學(xué)位授予單位】：西安建筑科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：TU238

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本文編號(hào)：2381119