柔性界面

【作者】 张斌；

【导师】 吴晓敏；

【作者基本信息】 中央美术学院 ， 建筑设计及其理论， 2012， 硕士

【摘要】 本文内容主要论述了建筑柔性界面作为当代建筑界面的一种美学表征。本文以柔性界面的当代性作为研究背景,将柔性界面的“柔性”以现象学的手段加以剥离,论述建筑柔性界面的造型表征及其造型手法并试图去发现的更深层次的意义。本文将柔性界面的“柔性”表征先入为主的从语义上的直观理解加以定义,以建筑界面的“柔性”表征作为感性材料的研究对象通过对“柔性”表征的剥离和造型手法的还原揭示了“柔性”界面作为当代建筑界面的一种美学表征的真实存在性。笔者对“柔性”的理解借用语言学的符号能值,将其认为是具有社会群体性的普遍审美经验的共性而非个体自身经验的个性,柔性即是指一种具有韵律感、可塑性与消隐的美学形式表征。关于“界面”的定义则是原于老子对建筑的论述：以为室,当其无,有室之用。描述其‘无’为建筑空间即作为使用上的便利,而除去‘无’之外的“有”均可被作为空间边界的界面。并从凯文·林奇(Kevin Lynch)①对边界的论述：“边界是城市中不被视为通道的线性成分,是两种不同事物之间的空间界定,……”以此构成本文对“界面”的定义。在对柔性界面的形式表征的论述中,笔者将建筑界面的形式表征进行剥离。将界面的形式表征分为形态表征与材质表征。笔者将建筑形态分为面域和体量两个层面,并论述二者之间的逻辑关系：面域界面的二维的形式表征,体量界面则是三维的形式表征。笔者将材质表征分类为隐藏真实性的材质和表露真实性的材质。隐藏真实性的材料即是对材质的柔性处理,表露真实性的材料则是材料自身具有的柔性表征形式。对形式表征的造型手法的研究中,笔者将柔性界面的造型手法总结归纳为：韵律手段、消隐手段和塑性手段。并阐述了造型手法的具体形式表达的内涵。列举了国内外已经实施或正在实施的大量柔性界面的相关案例。笔者继续对柔性界面的造型手段的可行性进行论述,阐述了造型手法的不同实质内涵以及对造型手法的怀疑,并以思辨和发展的世界观看待柔性界面造型手法,论述了柔性界面造型手法的不确定性。笔者从对柔性界面的发展脉络进行梳理,将柔性界面的产生与发展看作是建筑史发展阶段中的一种理性回归和循环往复的提高,并对柔性界面的发展抱有继续怀疑的眼观审视柔性界面的表征形式。最后笔者对柔性界面做出了从个人观点为出发的片面判断,偶然对某位国外艺术家的装置作品“沙滩怪物”的了解对实现柔性界面的生命机制提出了可能性。把建筑界面遮阳看作是建筑生命机制的体现,并发现了关于建筑界面的对环境的回应无需人工动力的实际案例。更多还原

【Abstract】 This article mainly discusses the construction of flexible interface as an aesthetic representation of contemporary architecture interface. Based on the survey of contemporary flexible interface, from which separating the "soft property" by the means of phenomenology, this essay first dissertates the exterior characteristics and architectural styling measures of flexible interface, than makes an attempt at discovering the profound meaning of it.The definition of "interface" is originally discussed by Lao-tzu:"The door and windows are cut out from the walls to form an apartment; but it is on the empty space within, that its use depends. Therefore, what has a positive existence serves for profitable adaptation, and what has not that for actual usefulness", Which descripts the convenience of utilizing the "empty space" for the building and asserts that except for what doesn’t exist, all that exist can be used as space boundary interface.Kevin Lynch once discourses:"Boundary is a linear component in the city which is not considered as the channel of transportation linear component, and it is the border to define two different things..." This constitutes the definition of "interface" in this article.The author discusses the form characterization of a flexible interface the form characteristics in two levels, including morphological characterization and materials characterization. The form the building is divided into two aspects that include the surface domain and volume. Then, the author discusses the logical relationship between the two:characterization of the two-dimensional surface domain of interface and the three-dimensional form of the volume. The author classifies the material characterization into two aspects, materials behind the authenticity and materials revealing the authenticity. The material which hides the authenticity of is the form of dealing with the authenticity of the material. The property of revealing authenticity is a characteristic of the material with a flexible characterization. In sum, on the modeling approach of form representation, the author generalizes the methods in three aspects including Rhythm means, Hiding means and Sculpture means. In addition, the connotation of the specific form expression is analyzed. Considerable numbers of relevant cases in the world are cited to illustrate the employment of the flexible interface.The author then focuses on the feasibility of means to model of the flexible interface. Besides contenting the different connotation as well as the suspicion of forming approaches, the author analyzes the methods of shaping flexible interface in a critical and insightful way, discussing the uncertainty of these approaches.Sorting out the development of flexible interface, the author regardsthe emergence and development of the flexible interface as a rational regression and improvement of the cycle in the development of architectural history, with the critical method to deal characterization of the flexible interface.Learning from an installation work of a certain foreign artists called "Beach Monster", finally, the author makes a point of the flexible interface, at the personal level points out the realization possibility of the life mechanism of the flexible interface.Considering the construction interface shade as the architectural manifestation of the life mechanism, this study finds the actual cases of building interface response to the environment without manpower.更多还原