建筑室內(nèi)裝飾的視覺(jué)符號(hào)系統(tǒng)研究
發(fā)布時(shí)間：2019-01-23 09:46
【摘要】：我相信建筑與室內(nèi)空間有“符號(hào)”的存在，也相信這種存在能夠激發(fā)我們的創(chuàng)造能動(dòng)性，影響我們的個(gè)人靈感體驗(yàn)和對(duì)自由探究的能力。觀察一下各個(gè)建筑流派的設(shè)計(jì)，各種室內(nèi)空間的界面，從繪畫(huà)到雕塑、從運(yùn)動(dòng)到靜止；藝術(shù)與設(shè)計(jì)、符號(hào)的語(yǔ)言似乎無(wú)時(shí)無(wú)刻不在我們的身邊，也無(wú)時(shí)無(wú)刻不影響著我們的生活。 作者希望能通過(guò)建筑學(xué)、空間學(xué)、符號(hào)學(xué)、藝術(shù)設(shè)計(jì)、裝飾圖案的相關(guān)理論知識(shí)，言簡(jiǎn)意賅的對(duì)室內(nèi)裝飾的視覺(jué)符號(hào)作一個(gè)概括和總結(jié)。當(dāng)然這不可避免的有一些傳統(tǒng)的因素，但對(duì)于作者而言，概念需要發(fā)展，判斷依賴于創(chuàng)造的活力，開(kāi)發(fā)個(gè)人基于實(shí)踐而不僅是對(duì)理論的探究，解決問(wèn)題應(yīng)該追求各種特殊的方法，只有這樣才更富有表現(xiàn)力和創(chuàng)造性。 由于室內(nèi)空間與建筑密不可分，所以論文從近代建筑史中最著名的學(xué)校包豪斯(Bauhuas)作為研究背景，由此展開(kāi)到現(xiàn)代主義和后現(xiàn)代主義設(shè)計(jì)。這樣我們可以意識(shí)到建筑藝術(shù)與造型符號(hào)發(fā)生的種種變化，使我們關(guān)切的是我們創(chuàng)造力的來(lái)源是有理有節(jié)的。同時(shí)使我們了解到符號(hào)與藝術(shù)不是以靜止的概念為基礎(chǔ)的，他們是不斷演變和擴(kuò)展的，歷史上不同時(shí)期對(duì)理智的感情位置有不同的側(cè)重點(diǎn)，對(duì)于這種變化藝術(shù)設(shè)計(jì)必定會(huì)做出反應(yīng)，，并且不斷地延伸其界限。 那么，談了那么多，我們似乎可以對(duì)空間的視覺(jué)符號(hào)系統(tǒng)有個(gè)初步的構(gòu)架了。是的，但是我們首先還是先要了解設(shè)計(jì)的元素和秩序的法則，以及它們與我們所說(shuō)的視覺(jué)符號(hào)內(nèi)在聯(lián)系，具體來(lái)講，就是四個(gè)字“必然條件”。視覺(jué)符號(hào)與各個(gè)領(lǐng)域中的基本感覺(jué)形式有關(guān)，它并不抽象，也不空洞，似乎它在人類的感知上總是充滿了生活的美好和對(duì)美的向往。作者個(gè)人認(rèn)為符號(hào)學(xué)比視覺(jué)符號(hào)所要包含的內(nèi)容要多的多，而作者致力于室內(nèi)空間設(shè)計(jì)的研究，所以對(duì)空問(wèn)的視覺(jué)符號(hào)系統(tǒng)的構(gòu)架作了一個(gè)分析，由于這種構(gòu)架是不斷變化的，所以不能定性的說(shuō)它是一成不變的，于是作者引入了“時(shí)間”的因素。以下是作者總結(jié)的系統(tǒng)構(gòu)架圖示： 其實(shí)，符號(hào)的發(fā)出者是整個(gè)系統(tǒng)的大腦，他不僅要求具有各種心理素質(zhì)，包括文化觀念、審美觀念、價(jià)值觀念等等，同時(shí)要求他有反叛的精神、變革的勇氣和不落俗套的追求。由此，作者提出了室內(nèi)裝飾視覺(jué)符號(hào)設(shè)計(jì)的幾個(gè)觀念： 1.視覺(jué)符號(hào)的設(shè)計(jì)應(yīng)該是一種思維，是一種“逆向”的追求，而不是一種 教條的方法。 2.視覺(jué)符號(hào)的設(shè)計(jì)探求的是那些使我們對(duì)生活、對(duì)文化、對(duì)美學(xué)、對(duì)環(huán)境 的自我意識(shí)的表達(dá)和個(gè)性的語(yǔ)言。 3.視覺(jué)符號(hào)的設(shè)計(jì)是有時(shí)間的概念的，沒(méi)有超越時(shí)間的符號(hào)，只有隨著時(shí) 間發(fā)展的符號(hào)。 4.視覺(jué)符號(hào)的設(shè)計(jì)與基本的感覺(jué)形式有關(guān)，沒(méi)有極端抽象的符號(hào)，也沒(méi)有 非象征性的語(yǔ)言。應(yīng)該培養(yǎng)我們對(duì)美好事物的幻想和好奇，從非理性的概括走向 理性的世界。 客觀的說(shuō)，對(duì)室內(nèi)裝飾的視覺(jué)符號(hào)系統(tǒng)的研究離不開(kāi)對(duì)建筑、美學(xué)、人文、 歷史、圖案的探究，而時(shí)間因素的加入，使得空間又具有了一個(gè)維，成為四維空 間藝術(shù)。讓我們能加入到空間的秩序中去，有序、有感、有意識(shí)的享受空間帶來(lái) 的美，這是作者所要去努力的方向。
[Abstract]:I believe that there is a sign between the building and the indoor space, and it is also believed that this presence can inspire our creativity, influence our personal inspiration experience and the ability to explore freely. The design of the various architectural schools, the interface of various indoor spaces, from painting to the sculpture, from the movement to the rest, the art and the design, the language of the symbol seems to be in the absence of us, and there is no time to influence our lives. The author hopes to use the relevant theoretical knowledge of architecture, space science, semiotics, art design and decorative pattern, and the visual symbol of interior decoration. As a generalization and summary, of course, there are some traditional factors, but for the author, the concept needs to be developed, the judgment is dependent on the vitality of creation, and the development of the individual is not only the inquiry of the theory, but also the problem should be pursued. All kinds of special methods, only that's more rich. Because the indoor space is closely related to the building, the paper is the most famous school Bauhas in the history of modern architecture as the research background. In this way we can realize the design of modernism and post-modernism, so that we can realize the various changes of the architectural art and the modeling symbol, and make us close. The source of our creativity is rational. At the same time, we understand that the symbols and the art are not based on the concept of static, and they are constantly evolving and expanding, with different emphasis on the emotional position of reason in different periods of history, and for such a change of art and design To make a response and to extend its boundaries. More, we seem to have a preliminary framework for the visual symbology of space. Yes, but first of all, we should first understand the principles of the elements and order of the design, as well as their internal relations with what we call the visual symbols, in particular, the four words" unk> "c The visual symbol is related to the basic sense form in all fields. It is not abstract or empty. It seems that it is always full of the beauty of life and the longing for beauty in the sense of human being. The author thinks that the semiotics is much more than that of the visual symbol, and the author is committed to the research of the interior space design, so the visual of the empty question The frame of the symbol system is analyzed, because the framework is constantly changing, it is not qualitative to say that it is not the same, It's the author's" trunk>" tim e ". The following is the system architecture diagram of the author's summary: in fact, the sender of the symbol is the brain of the whole system, not only having a variety of The psychological quality, including the cultural concept, the aesthetic The concept, the values, and so on, while asking him to have the spirit of rebellion, change The author put forward several ideas of the design of the visual symbol of interior decoration. 1 The design of the visual symbol should be a kind of thought, it is a kind of" trunk> "reverse" The pursuit of , not one. the method of dogma. The design of visual symbols. The search is for those who make The form of our self-awareness of life, to culture, to aesthetics, to the environment The language of Da and the personality. 3. The design of visual symbols is the concept of time, No time to go beyond The symbol of development, only with the sign of time-to-time development. 4. The design of the visual symbol is related to the basic sense form, no extreme abstract symbol, and no A non-symbolic language. We should develop our fantasy and curiosity about a good thing, from The general trend of non-rationality
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：TU238
[Abstract]:I believe that there is a sign between the building and the indoor space, and it is also believed that this presence can inspire our creativity, influence our personal inspiration experience and the ability to explore freely. The design of the various architectural schools, the interface of various indoor spaces, from painting to the sculpture, from the movement to the rest, the art and the design, the language of the symbol seems to be in the absence of us, and there is no time to influence our lives. The author hopes to use the relevant theoretical knowledge of architecture, space science, semiotics, art design and decorative pattern, and the visual symbol of interior decoration. As a generalization and summary, of course, there are some traditional factors, but for the author, the concept needs to be developed, the judgment is dependent on the vitality of creation, and the development of the individual is not only the inquiry of the theory, but also the problem should be pursued. All kinds of special methods, only that's more rich. Because the indoor space is closely related to the building, the paper is the most famous school Bauhas in the history of modern architecture as the research background. In this way we can realize the design of modernism and post-modernism, so that we can realize the various changes of the architectural art and the modeling symbol, and make us close. The source of our creativity is rational. At the same time, we understand that the symbols and the art are not based on the concept of static, and they are constantly evolving and expanding, with different emphasis on the emotional position of reason in different periods of history, and for such a change of art and design To make a response and to extend its boundaries. More, we seem to have a preliminary framework for the visual symbology of space. Yes, but first of all, we should first understand the principles of the elements and order of the design, as well as their internal relations with what we call the visual symbols, in particular, the four words" unk> "c The visual symbol is related to the basic sense form in all fields. It is not abstract or empty. It seems that it is always full of the beauty of life and the longing for beauty in the sense of human being. The author thinks that the semiotics is much more than that of the visual symbol, and the author is committed to the research of the interior space design, so the visual of the empty question The frame of the symbol system is analyzed, because the framework is constantly changing, it is not qualitative to say that it is not the same, It's the author's" trunk>" tim e ". The following is the system architecture diagram of the author's summary: in fact, the sender of the symbol is the brain of the whole system, not only having a variety of The psychological quality, including the cultural concept, the aesthetic The concept, the values, and so on, while asking him to have the spirit of rebellion, change The author put forward several ideas of the design of the visual symbol of interior decoration. 1 The design of the visual symbol should be a kind of thought, it is a kind of" trunk> "reverse" The pursuit of , not one. the method of dogma. The design of visual symbols. The search is for those who make The form of our self-awareness of life, to culture, to aesthetics, to the environment The language of Da and the personality. 3. The design of visual symbols is the concept of time, No time to go beyond The symbol of development, only with the sign of time-to-time development. 4. The design of the visual symbol is related to the basic sense form, no extreme abstract symbol, and no A non-symbolic language. We should develop our fantasy and curiosity about a good thing, from The general trend of non-rationality
【學(xué)位授予單位】：南京林業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：TU238
【引證文獻(xiàn)】
相關(guān)博士學(xué)位論文 前1條
1 唐建;建筑的建筑[D];大連理工大學(xué);2007年
相關(guān)碩士學(xué)位論文 前2條
1 張婧U
本文編號(hào)：2413682
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