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      2018-05-10 05:33:50丹麥斯蒂格安德森
      風(fēng)景園林 2018年2期
      關(guān)鍵詞:莉亞西西效果圖

      (丹麥)斯蒂格·L·安德森

      (編輯/ 西西莉亞·耶森·漢森 張雯娟)

      Yuán,我們稱之為新·園,是一個(gè)沉思和探索的空間。在這里,傳統(tǒng)的中國文化和自然交融成為一個(gè)感性的糅合體。在一個(gè)難分自然文明和人類文化的時(shí)代,園想要去潛移默化地啟發(fā)游客,對(duì)自然和人性關(guān)系進(jìn)行探索和思考。

      我希望通過園,強(qiáng)調(diào)人們對(duì)于自然的審美是一種感官的感受,這也是我在自己的工作中不斷重現(xiàn)的。這種微妙的體驗(yàn),這種漫游的感覺,就像是會(huì)發(fā)生在霧蒙蒙的早上,或者是走在樹林里的小路,你會(huì)感覺到感官的釋放,遠(yuǎn)遠(yuǎn)超出于凡世和理性的追求,而這種感覺我們在城市里很少體驗(yàn)到,甚至于我們沒有感受到我們對(duì)其的渴望。

      因此,我也希望讓游人在我們的園中去發(fā)掘這些他們本來有的形而上的感官體驗(yàn),這是種不自主地、潛意識(shí)地把自己放置于自然的能力,這種不是邏輯推演而是體驗(yàn)自己和自然絲毫互動(dòng)的能力。通過這種能力去喚醒審美和感官,我們想要去創(chuàng)造一個(gè)景觀,它并不存在于實(shí)體,而是與游人融合交流,讓游人成為它的一部分,在其中去發(fā)現(xiàn)和思考。

      中國文化和傳統(tǒng),將自然看作是一個(gè)富有哲學(xué)意味的概念和存在,自然哲學(xué)隨著時(shí)間的演變而成長,形而上的概念融入了繪畫和園林之中。論其中的感受,已遠(yuǎn)遠(yuǎn)超越了形而下的視和被視,無關(guān)乎自然的存在與否,而在于美和靈性的升華。這樣微妙的體驗(yàn),恰好揭示了對(duì)于文化和自然關(guān)系的探索。

      因此,國畫不在于形似,而在于意動(dòng)。國畫常常描繪水霧和留白,往往想要傳達(dá)流動(dòng)和空靈,營造出一個(gè)在潛意識(shí)中想象和升華的空間。

      1 效果圖“竹間”Moon Gate collage

      2 效果圖“峰壑”Bridge Top collage

      3 效果圖“幽翠”Bamboo Scaffolding collage

      園將傳統(tǒng)的中國自然哲學(xué)審美及其對(duì)人視角的抽象,代入其中。正如同國畫和園林,園不在于其形,在于其意,意圖創(chuàng)造出一個(gè)強(qiáng)調(diào)形而上的看與被看,感知精神世界。在這個(gè)人類駕馭自然的時(shí)代,人類社會(huì)的現(xiàn)代材料和技術(shù)被用于創(chuàng)造和維持,這是我們從中國傳統(tǒng)中繼承下來的關(guān)于美和自然的哲學(xué)。

      4 效果圖“松風(fēng)”Bamboo Scaffolding Meandering collage

      正如同國畫中留白一般,園創(chuàng)造出一個(gè)空靈的意境。園將空間圍合與隔離,在其中創(chuàng)造出飄忽流動(dòng)的景觀和意境,觸發(fā)游人的感官,進(jìn)行形而上的思考和探索。作為園的一部分,游人不僅僅“視”,而且“被視”。

      在這個(gè)科技改變自然的時(shí)代,園不僅僅傳承中國哲學(xué)的審美和人與自然的關(guān)系,同時(shí)容納和適應(yīng)這個(gè)科技社會(huì)所帶來的層層變化,讓游人能體驗(yàn)和經(jīng)歷傳統(tǒng)中式哲學(xué)和美學(xué)在現(xiàn)代社會(huì)的繼承和再現(xiàn)。

      (編輯/ 西西莉亞·耶森·漢森 張雯娟)

      項(xiàng)目設(shè)計(jì):SLA事務(wù)所

      翻譯:劉書菡

      The New Garden carries on this Chinese tradition for aesthetic contemplation of nature and its spiritual meaning. It does not do so by way of representation, but by creating a basis for experience itself, and thereby for a beginning understanding of the new nature. Elements from the classical Chinese landscape painting and garden are staged in a cultivated, man-made ecosystem where nature and culture merge to form a reality that defy traditional concepts. Here, modern technology is as much a part of the ecosystem as the pine tree, the water as much as the electrical fans that disperse it.

      The New Garden is a space for rediscovery and contemplation. Here,ancient Chinese knowledge and a new nature are brought together in a sensuous presence. It invites visitors to intuitively reflect on the relationship between nature and humanity, in a time where they are increasingly hard to distinguish.

      With The New Garden, I wish to make the aesthetic sense of nature present to visitors as a felt experience—an experience that guides me in my own work. It is the sense of wonder a misty morning can evoke, or the feeling of belonging during a forest walk. In a time where rationality and economic pursuit takes precedence, it is an experience that is increasingly absent in our cities and our individual lives. It leaves us unattuned to the world, its constant becoming and vitality, and with an elusive sense of longing.

      I wish to invite visitors to rediscover their own innate ability to inhabit and relate to the world in an intuitive, sensuous way—to know it not just by way of logic and calculation, but by paying close attention. Through an awakening of an aesthetic awareness and a sensuous presence, visitors are invited to discover and contemplate the new nature, they themselves are part of. A nature not untouched by human hands, but one that is tangled,intertwined and changed.

      Nature as both philosophical concept and experience has a long history in Chinese culture and tradition. A characteristic understanding of nature is expressed in both the classical Chinese landscape painting and garden. Both are an image not of the seen, but of the felt—they represent the experience of nature and the relationship between nature and humanity. As such, they illustrate a cultural attunement to the aesthetic rather than the material quality of nature.

      The classical Chinese landscape painting does not strive to capture a precise visual representation. To the contrary, it illustrates the experience of being in and with the landscape and meditates on the aesthetic experience of nature. It often depicts a sea of fog or a void—an intangible space without solid shapes and de finite answers. A space for imagination and intuition, and for aesthetic attunement.

      The New Garden incorporates the void from the classical landscape painting as an all-encompassing atmosphere. The garden envelops its inhabitants, both human and non-human, in a foggy and sensuous mist. Delaying visual certainty and enhancing the sensual presence in the garden, the fog creates a sphere for imagination and intuitive understanding. In the atmosphere, visitors become part of the garden, and their attention is directed as much towards their own presence as their surroundings.

      5 概念分析圖Process diagram

      6 鳥瞰圖Atmosphere Axonometric

      Being at the same time both clearly staged and technological, and yet inherently real and present, The New Garden is a space to experience what nature might mean in our day and age. It asks its visitors how the aesthetic qualities of natural phenomena could be grasped in a time where their materiality and origin are changing.

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