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題 名 | 面性空間(Planar Space)--探討勒.柯布西耶(Le Corbusier)的純粹主義之繪畫作品與建築作品=A Study of Compare the Works of Le Corbusier's Architecture and Drawing of the Characteristic about 「Planar Space」 |
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作 者 | 劉克峰; | 書刊名 | 實踐學報 |
卷 期 | 29 1998.06[民87.06] |
頁 次 | 頁169-207 |
分類號 | 920.99448 |
關鍵詞 | 面性空間; 表層空間; 深層空間; 層疊化空間; Planar space; Shallow space; Deep space; Spatial stratification; |
語 文 | 中文(Chinese) |
中文摘要 | 本文的背景是將建築師勒.柯布西耶在現代主義運動發生時,當時立體派、純粹 主義的藝術背景的情況下,平面性的特徵也發展在建築方面。 探討這樣的主題 " 面性空間 " 便是在這樣背景中的重要特質。而 Clement Greenberg 在識別現代性 (Modernity) 的主 要原則就是平坦的特徵。對於勒.柯布西耶的作品是以其純粹主義時期的繪畫為主與建築作 品中具有 " 面性空間 " 特徵的作品共同比較。至於 " 面性空間 " 的種類則分成三種:(1) 面性空間、 (2) 表層空間 (Shallow Space) 與深層空間 (Deep Space)、 (3) 層疊化的空 間 (Spatial Stratification)。 |
英文摘要 | The study background of this paper is about "Transparency" and "Phenomenal Transparency". The agent which had acted on this solution was an assay by Colin Rowe and Robert Slutzky, which appeared in the Yale architecture periodical Perspecta in 1963 and offered an interpretation of the device of transparency in what then seemed quite novel terms. Transparency had been treated somewhat cavalierly in the space of the dimension. The space is under the influence of the theory of Cubism the arrange the main space of shallow areas and the deep areas with vertical way. Even, salb positions varied within a frame structure of wall-like piers creating a vertical flow of space. The discuss examined this rather loose terminology to establish the main uses of the word: "Planar Space", "Shallow Space and Deep Space", "Spatial Stratification", which had to do with the translation between Modern Architecture and Modern Art. It through the drawing of Le Corbusier's Modernism character, to discuss the formation of solid volume distortion through the shifting of eye levels. Here, paintings are examined that illustrate shifting points of view, changing eye levels, split volume, or construct between "subjective" box. |
本系統中英文摘要資訊取自各篇刊載內容。