In the pursuit of the essence and significance of architectural space, modern architectural philosophy re-emphasizes perception and experience. The aesthetic experience of architectural space transcends plane painting and static sculpture, and has the quality of being surrounded and constantly changing. Architectural space is self-evident in perception. This blending experience, the combination of subject and place, is the original motive force of architectural space. Narrative space is such a poetic space that integrates essence and meaning into experience.
"The spirit of place in university campus refers to the overall atmosphere experienced by teachers, students, employees and off-campus personnel in their physical environment and its significance of existence." Narrative space conveys the accumulation of culture, actively interprets the spirit of place, and infuses students' psychology and temperament. Studying the design experience of famous foreign universities here will help to inspire our design ideas and enrich the design methods of external space.
1 Place characteristics of narrative space
Narration, that is, telling stories, is one of the manifestations of human instinct. Narrative media is not limited to language, and other artistic carriers such as painting, sculpture, music and movies can also carry narrative plots and convey meaning. According to the architectural theorist Amos Lapport (1929-), people respond to the environment according to their own environmental significance. In the sense of architectural environment, he said: "As shown in Figure 2, the background of the picture is Penn University, Figure 3, View 2, View 4, View 3, View 5, View 3 in space, View 6, View 4, View 7, and View 5. Environmental design can be regarded as a process of information encoding to some extent, so users can be regarded as decoding it." The built environment carries information, and people who live in the environmental space give environmental meaning according to their own perceptual experience. It is at this level that architectural space has the possibility of narration.
When it comes to narrative architecture and external space, we can first define its two levels.
First, narrative space can be called "strong intentionality", focusing on the "meaning" of expression. Designers often use material symbols, spatial proportions, directions, etc. Through the careful arrangement of streamline, metaphor is carried out, association is triggered, or clear design intention is conveyed. This kind of space has a strong image and totality, and the designer adopts a rational macro narrative method from top to bottom.
The spatial sequence of the Forbidden City in China is a grand narrative, and the progressive levels and scales make people feel the majesty of the royal family. An unfinished work "Dante Memorial Hall" by Italian architect Giuseppe Terragni (1904-1943) is a typical representative of architectural narrative. He tried to interpret Dante's Divine Comedy through the scale and relationship of space itself. The enclosure of the interface and dense columns transform the association of sin, repression and release, and the top light, slit light and ramp imply the distance between the world and us. He expressed hell, purgatory and heaven as the theme of space according to streamline, so that visitors could get a strong space experience and spiritual experience.
Secondly, the narrative space which can be called "weak intentionality" focuses on the "artistic conception" of expression. There is no clear storyline, not the overlapping and polysemous perceptual pictures of different viewpoints, but the experiencer connects these pictures in series according to his own route and perceptual experience and gives his own interpretation. This is a more integrated and open narrative system, expressing an atmosphere and artistic conception and a sense of place.
This kind of space is mostly a series of micro-narratives of various accidental "events", which are often formed in the external space gradually built from the bottom up or within a period of time, such as China gardens and some European towns. Narration makes the external space a place with rich meaning and strong readability.
2. The operating method of narrative space-montage
The above two narrative spaces are actually distinguished by different emphasis on montage. Montage is a transliteration of French montage, which was originally an architectural term, meaning assembly and installation. Film and television theorists extend it to the field of film and television art, which refers to the editing and combination in the process of film and television works creation. "Montage thinking is a visual way of thinking with a high degree of freedom in time and space. Its typical feature is the combination of visualization and the meaning that time and space can jump at will. "
2. 1 physiological time and psychological time
To use spatial montage to influence the time of experience, we must first distinguish two time systems. The French philosopher Henry bergson (1859- 194 1) divided time into physical time and psychological time in his book The Theory of Creative Evolution, and thought that only psychological time could reveal the inner essence of life. Physical time is a kind of natural time, which is not influenced by subjective consciousness and has the characteristics of non-stop, non-repetition and irreversibility. Psychological time is human sensory time, which can change with the narrator's subjective will, and natural time can be prolonged, shortened, omitted and paused. "Psychological time is subjective and objective, and it is the narrator's grasp and handling of time under the objective premise."
2.2 narrative of external space
What are the characteristics of narrative external space?
First of all, you should be able to express a certain theme.
Whether it is a "strong intentional" theme or a "weak intentional" event, the spatial expression of the theme is the basis of narrative space. The space to express the theme is an ideographic space that transcends functionality and pure aesthetics, and it is a heterogeneous place space. It should be noted that not all places have clear themes, but the space with themes makes the places narrative.
On campus, such a space is particularly important. It may be a space defined by sculptures, water surfaces, lawns and other landscapes, or it may be a space with a good sense of enclosure defined by architectural interfaces. They are often the visual focus or foothold of the external space, and they are important nodes supporting activities and behaviors.
Secondly, space montage is used to show the characteristics of time passing.
GerardGenette (1930-), a French narrator, thinks: "Study the chronological order of narration. It is to compare the sequence of events or time periods in narrative discourse with the sequence of these events or time periods in the story. " This is actually a comparison between physical time and psychological time. Genette divided these two kinds of time into four types: ellipsis, summary, scene and pause. If we compare the movement time (equivalent to physical time) of the experiencer with the experience time (equivalent to psychological time) in the narrative of architectural space, we can find isomorphism. A little analysis can be summarized as follows:
Situation: The exercise time is close to the experience time.
Pause: The exercise time stops while the experience time continues. For example, people may stop to have a rest and feel and appreciate the scenery of this place.
Omission: the experience time is suspended, while the exercise time continues. When the environmental information is simple and unchangeable, such as in the monotonous path of landscape, people will stop their cognitive experience of the environment and just move on.
Compression: the exercise time is longer than the experience time, which is often due to the visual attraction from a distance, and the heart is full of expectation and imagination, which leads to the acceleration of exercise.
Prolongation: the experience time is longer than the exercise time, which may be due to the complexity and ambiguity of the spatial environment and the twists and turns of the path.
3 Narrative Interpretation of Campus Space of University of Pennsylvania
3. 1 University of Pennsylvania Overview
The University of Pennsylvania (hereinafter referred to as Penn) is the United States.
A world-famous university, one of the eight members of northeast JvyLeague, was founded in 1740. Located on the west side of the central business district of Philadelphia, facing the downtown of Philadelphia across the river, it covers an area of 108.86hm2 (figure 1). China architecture students are no strangers to this. Liang Sicheng and Yang Tingbao, the earliest architects in China, graduated here, and their architecture department has long been famous for architect Louis Kahn. The author experienced the campus space when he visited the United States in June 2006. The following paths and viewpoints are all from the author's data collection.
3.2 Interpretation of campus space
The interpretation of narrative is carried out with the movement of people in the spatial sequence, so this paper chooses a path through the main external space of the campus and analyzes it from different angles. The external space displayed by the whole campus space is rich and ambiguous, and its spatial montage technique can be summarized as follows:
3.2. 1 Spatial montage prolongs the experience time: the overlap of places and paths;
The external space of the University of Pennsylvania often shows a kind of fuzziness, which is caused by the overlap of place space and path. It is not a logical ambiguity, but a rich meaning produced by overlapping. Generally speaking, roads and places bear clear functions and have a stable form. Spatial sequences with clearly defined paths and positions are traditional and easy to understand. However, modern and post-modern architecture is tired of static traditional space, and takes people's experience in sports as the starting point of design. Fuzzy space has the characteristics of multi-viewpoint, fragmentation and strong direction heterogeneity, which prolongs the time of psychological experience by causing cognitive ambiguity and the pleasure of choice. This narrative mode is open and dynamic, and people can make choices according to their own preferences and make their own interpretations of environmental information.
This space is an open space surrounded by many faces. Viewpoint 2 sees the symmetrical historical building interface and sculpture, which is a space with clear theme. The emphasis of the center just implies the important position of this open space in the whole campus. In this place, the relationship between place and path is subtle. The path of closed space such as traditional courtyard or square conforms to the direction of space, which strengthens the overall sense of the place. However, the closed interface and the path of the space where viewpoint 2 is located overlap in a conflicting way, and the path seems to be self-contained, and the homogeneous place space slice is divided into many fragments, which leads to the possibility of multiple experiences.
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