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來源資料
頁籤選單縮合
題 名 | 視點的垂直位移與飄浮座標的建立 |
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作 者 | 劉克峰; | 書刊名 | 逢甲學報 |
卷 期 | 28 1995.11[民84.11] |
頁 次 | 頁305-345 |
分類號 | 920 |
關鍵詞 | 視點; 垂直位移; 飄浮座標; |
語 文 | 中文(Chinese) |
中文摘要 | 本文的背景是介於現代建築與現代藝術之間的轉換。藉由繪畫引發視點的垂直位 移,並對於形式量體得到不同的組構關係。在立體派理論的影響下,使空間安排有垂直化分 配公共與私密空間區域。甚至對於空間流動方式與結構框架為垂直向度安排。最後以座標( Coordinates )的觀念討論飄浮的盒子( Floating box ), 轉化成飄浮的座標( Floating Coordinates ),當成形式邏輯討論的基礎。討論對象有 Le Corbusier (1887), Gerrit Rietvelt (1888), Peter Eisenman (1932) John Hejduk (1929), Michael Graves (1934), Richard Meier (1934), 這些人的作品傾向抽象而且概念化,也正是勒,柯比意與 風格派延續之現代性特徵。 |
英文摘要 | The paper is an investigation into the translation between Modern Architecture and Modern Art. It through the drawing character of Modernism, 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. Under the influence of the theory of Cubism they arrange the main space of public areas and the private areas with vertical way. Even, salb positions varied within a frame structure of wall-like piers creating a vertical flow of space. We discuss the work of Peter Eisenman (1932), John Hejduk (1929), Michael Graves (1934), Richard Meier (1934), their forms are more abstract and conceptual, show a familiarity with Le Corbusier and De stijl. |
本系統中英文摘要資訊取自各篇刊載內容。