摘要
建筑再现的发展演化经历了漫长的历史过程。伴随着自然透视向人工透视的转化,以及其后持续不断的客观化理性化过程,建筑透视主义使得基于画法几何的严格制图体系成为了建筑概念的代言人和实际作品的代替品。将世界置于几何化的画框之内,建筑再现于是变成了还原主义透明乏味的抄写。然而神话诗意的维度却构成了建筑再现超越透视主义的积极力量。借助蒙太奇等手段制造出感官奇迹,建筑再现有可能使得我们作为凡人的在世经验获得诗意的翻译。
Architectural representation has gone through a long history before it comes to what it is now.With the development from perspectives naturatis to perspectives artificialis,and its sequential objectification and rationalization, architectural perspectivism has pronounced the rigorous drawing systemization as the agent of architectural idea and surrogate of actual built works.The world is tracked in a visual box of geometrized frames,which thereby degrades representation to a mere prosaic transcription in a transparent reductivist way.Nevertheless,a mythopoetic dimension can be employed as a positive impetus to overcome this perspectivism. Creating an esthetic wonder by means such as montage,architecture representation can retrieve a poetic translation of our corporeal experience and our mortality.
出处
《时代建筑》
2008年第6期70-77,共8页
Time + Architecture
关键词
建筑
主义
透视图
Architectural Representation
Perspective
Objectification
Reductionism
Mythopoetic Dimension
Poetic Translation
