建筑室内装饰的视觉符号系统研究
发布时间：2019-01-23 09:46
【摘要】：我相信建筑与室内空间有“符号”的存在，也相信这种存在能够激发我们的创造能动性，影响我们的个人灵感体验和对自由探究的能力。观察一下各个建筑流派的设计，各种室内空间的界面，从绘画到雕塑、从运动到静止；艺术与设计、符号的语言似乎无时无刻不在我们的身边，也无时无刻不影响着我们的生活。 作者希望能通过建筑学、空间学、符号学、艺术设计、装饰图案的相关理论知识，言简意赅的对室内装饰的视觉符号作一个概括和总结。当然这不可避免的有一些传统的因素，但对于作者而言，概念需要发展，判断依赖于创造的活力，开发个人基于实践而不仅是对理论的探究，解决问题应该追求各种特殊的方法，只有这样才更富有表现力和创造性。 由于室内空间与建筑密不可分，所以论文从近代建筑史中最著名的学校包豪斯(Bauhuas)作为研究背景，由此展开到现代主义和后现代主义设计。这样我们可以意识到建筑艺术与造型符号发生的种种变化，使我们关切的是我们创造力的来源是有理有节的。同时使我们了解到符号与艺术不是以静止的概念为基础的，他们是不断演变和扩展的，历史上不同时期对理智的感情位置有不同的侧重点，对于这种变化艺术设计必定会做出反应，，并且不断地延伸其界限。 那么，谈了那么多，我们似乎可以对空间的视觉符号系统有个初步的构架了。是的，但是我们首先还是先要了解设计的元素和秩序的法则，以及它们与我们所说的视觉符号内在联系，具体来讲，就是四个字“必然条件”。视觉符号与各个领域中的基本感觉形式有关，它并不抽象，也不空洞，似乎它在人类的感知上总是充满了生活的美好和对美的向往。作者个人认为符号学比视觉符号所要包含的内容要多的多，而作者致力于室内空间设计的研究，所以对空问的视觉符号系统的构架作了一个分析，由于这种构架是不断变化的，所以不能定性的说它是一成不变的，于是作者引入了“时间”的因素。以下是作者总结的系统构架图示： 其实，符号的发出者是整个系统的大脑，他不仅要求具有各种心理素质，包括文化观念、审美观念、价值观念等等，同时要求他有反叛的精神、变革的勇气和不落俗套的追求。由此，作者提出了室内装饰视觉符号设计的几个观念： 1.视觉符号的设计应该是一种思维，是一种“逆向”的追求，而不是一种 教条的方法。 2.视觉符号的设计探求的是那些使我们对生活、对文化、对美学、对环境 的自我意识的表达和个性的语言。 3.视觉符号的设计是有时间的概念的，没有超越时间的符号，只有随着时 间发展的符号。 4.视觉符号的设计与基本的感觉形式有关，没有极端抽象的符号，也没有 非象征性的语言。应该培养我们对美好事物的幻想和好奇，从非理性的概括走向 理性的世界。 客观的说，对室内装饰的视觉符号系统的研究离不开对建筑、美学、人文、 历史、图案的探究，而时间因素的加入，使得空间又具有了一个维，成为四维空 间艺术。让我们能加入到空间的秩序中去，有序、有感、有意识的享受空间带来 的美，这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
【学位授予单位】：南京林业大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：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
【学位授予单位】：南京林业大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：TU238
【引证文献】
相关博士学位论文 前1条
1 唐建;建筑的建筑[D];大连理工大学;2007年
相关硕士学位论文 前2条
1 张婧U
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