本文選題：商業(yè)綜合體　切入點(diǎn)：外部形態(tài)　出處：《西南交通大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：我們所處的時(shí)代是一個(gè)視覺時(shí)代,視覺成分或視覺特性超越其他文化因素凸現(xiàn)出來,在我們的日常生活中扮演著越來越重要的角色。視覺文化所引發(fā)的消費(fèi)主義意識(shí)形態(tài)的傳播、類像化空間等問題投射到建筑領(lǐng)域即展現(xiàn)為建筑的商業(yè)化。商業(yè)綜合體對消費(fèi)文化的經(jīng)營和對經(jīng)濟(jì)利益的追求正迎合了視覺文化作為產(chǎn)業(yè)的市場運(yùn)作標(biāo)準(zhǔn),表現(xiàn)出強(qiáng)烈視覺化的趨勢。但很多商業(yè)綜合體外部形態(tài)的設(shè)計(jì)都只停留在表象化的“看圖”層面：無視環(huán)境、模仿抄襲、形象游戲、建筑文化趨同、過分追求平面效果和強(qiáng)調(diào)構(gòu)圖等等——設(shè)計(jì)陷入了形式化的和布景化的泥潭；在設(shè)計(jì)上通常采用促銷的心理策略和立竿見影的設(shè)計(jì)方式：平面、立面、形體相分離的設(shè)計(jì)模式,以靜態(tài)視點(diǎn)去設(shè)計(jì),虛擬視點(diǎn)的使用偏好等等。造成的結(jié)果是漂亮的圖紙與實(shí)施后的空間效果大相徑庭、人的尺度感缺失、知覺體驗(yàn)的豐富性不足、在設(shè)計(jì)中無法充分調(diào)動(dòng)視知覺的潛力和能力等等——商業(yè)綜合體變成了脫離了深度和真實(shí)感的圖像產(chǎn)品。究其原因,就是設(shè)計(jì)者對人的主體價(jià)值缺乏重視,尤其是對作為人最重要的感知方式——視覺缺少科學(xué)、系統(tǒng)的分析和設(shè)計(jì)。視覺體驗(yàn)的批判性介入,其實(shí)就是一種對人的主體性的重視,為商業(yè)綜合體的設(shè)計(jì)和城市、建筑、人的整合提供新的思路和策略。建筑及其視覺體驗(yàn)具有明顯的敘事性,其目的是讓人在運(yùn)動(dòng)中觀看、體驗(yàn)、理解建筑,并讓這些經(jīng)驗(yàn)構(gòu)成一系列事件——建筑是把人的視覺體驗(yàn)和物理的形態(tài)、空間結(jié)合在一起的裝置。作為與建筑有難舍難分關(guān)聯(lián)的電影更是一種敘事藝術(shù),電影的敘事認(rèn)知理論中用來分析和研究人的視覺認(rèn)知經(jīng)驗(yàn)的一系列方法在某種程度上可以運(yùn)用在商業(yè)綜合體的設(shè)計(jì)分析和研究上,并塑造其電影化的視覺體驗(yàn),一方面有助于將視覺體驗(yàn)對商業(yè)綜合體設(shè)計(jì)的介入上升到方法論層面,避免泛泛而談；另一方面可以為商業(yè)綜合體的設(shè)計(jì)提供新的視點(diǎn)和方法。借鑒電影敘事所包含的“陳述理論、敘事結(jié)構(gòu)、視點(diǎn)鏡頭”三大部分和影片制作的“劇作、拍攝、剪輯”三道工序,本文建立了以視覺體驗(yàn)的編排、場景的構(gòu)思和設(shè)計(jì)、場景的組接三個(gè)相互融合且具有操作性的方法步奏來指導(dǎo)商業(yè)綜合體外部形態(tài)的設(shè)計(jì)。通過敘事結(jié)構(gòu)來有效地控制原本無序的建筑外部形態(tài)視覺要素,將諸多空間元素連接編排成具有邏輯和張力的視覺體驗(yàn)秩序。敘事結(jié)構(gòu)的介入也意味著如電影般的故事情節(jié)的加入,激發(fā)使用者的各種體驗(yàn)、思考、感觸的可能性和契機(jī),通過視覺體驗(yàn)產(chǎn)生使用者與場所空間之間的關(guān)系,建構(gòu)場所精神。
[Abstract]:We live in a visual age in which visual elements or visual characteristics emerge above other cultural factors. Play a more and more important role in our daily life. The spread of consumerist ideology caused by visual culture, The commercial complex's management of consumer culture and the pursuit of economic benefits meet the market operation standard of visual culture as an industry. But many of the external forms of commercial complexes are designed only at the "view" level of imagery: ignoring the environment, imitating plagiarism, playing image games, and building cultures converging. The excessive pursuit of plane effects and the emphasis on composition and so on-the design has fallen into the quagmire of formalization and setting; in the design it usually adopts the psychological strategy of promotion and the immediate design method: the design pattern of the plane, the elevation, the body separated from each other, Design with static viewpoint, preference of virtual view, etc. The result is that the beautiful drawing is different from the space effect after implementation, people's sense of scale is missing, the richness of perceptual experience is insufficient, The potential and ability of visual perception cannot be fully mobilized in the design and so on-- the commercial complex has become an image product that is divorced from depth and realism. The reason is that the designer does not attach importance to the subject value of human beings. In particular, the lack of science, systematic analysis and design of vision, the most important way of perception of human beings, and the critical involvement of visual experience are in fact a kind of emphasis on the subjectivity of human beings, for the design of commercial complexes and for the design of cities and buildings. Human integration provides new ideas and strategies. Architecture and its visual experience have an obvious narrative, the purpose of which is to enable people to watch, experience and understand architecture in motion. And let these experiences form a series of events-- architecture is a device that combines people's visual experience and physical form, and space, and as a film that is inextricably linked to architecture, it's even more a narrative art. A series of methods used to analyze and study human visual cognitive experience in the narrative cognitive theory of film can be applied to the design analysis and research of commercial complex to some extent and shape the visual experience of film. On the one hand, it is helpful to raise the involvement of visual experience in the design of commercial complex to the level of methodology, and to avoid generalizing. On the other hand, it can provide a new viewpoint and method for the design of commercial complex. In this paper, the visual experience of the layout, scene design and design, The scene is composed of three integrated and operable methods to guide the design of the external form of the commercial complex. The narrative structure is used to effectively control the visual elements of the original disordered external form of the building. The involvement of narrative structures also means the addition of storylines like movies, the possibilities and opportunities to stimulate the user's experiences, thoughts, feelings, etc. Through the visual experience to produce the relationship between the user and the space, to construct the spirit of place.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：TU247

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本文編號(hào)：1564050