A Primary Exploration of Entrance Space of Traditional Chinese Architecture?

This paper demonstrates the unique charm of traditional Chinese architectural entrance architecture and its far-reaching influence on modern Chinese architecture by analyzing and discussing various different types of traditional Chinese architectural entrances.

Since the end of the 19th century, when German aesthetes purified the concept of space and made it the essence of plastic arts, most influential architects have accepted the views of these German aesthetes, claiming that space is the root of architecture. In fact, space and form are two interdependent aspects of the architectural whole. Architectural conceptual space is finite, and it is necessarily dependent on the formal elements that qualify it, while the organization of formal elements is difficult to establish a clear order if it lacks an understanding of good spatial relationships. At the level of spatial composition, the dependence between the formal elements and the space limited by them is very obvious, and the two are in an object relationship. This is also true for the entrance space of traditional Chinese architecture.

1The qualification and type of entrance space

An important direction of space research is the way of space composition, i.e., the space is enclosed or divided by the spatial qualification components, and how to utilize the spatial qualification elements determines the quality of space to a certain extent. According to the different ways of space qualification, the traditional building entrance space can be roughly divided into three types of shallow space, deep space and extended space.

1.1 The concept of shallow space originates from the concept of flat space in painting.

Flat space refers to the space enclosed by the picture and its four sides. Flat space is not absolutely "flat", in the organization of flat space plays an important role in the relationship between the graphics and the background is a spatial relationship between in and out of the relationship, this relationship between in and out of the relationship is controlled in a very shallow depth, so it is called shallow space. In terms of building entrances, belonging to the type of shallow space is the type of doorway, the depth of space is limited to the thickness of the building envelope, such as "with the wall type door", "Square table type door" and so on.

1.2 The opposite of shallow space is the concept of depth space, which refers to the space in the horizontal direction with a certain depth and level of space form. In traditional architecture, the deep and shallow space form is different mainly because of the different structural forms of the top surface of the space qualifying elements. The deep space type entrance adopts the structural form of overhanging or overhead, which is manifested as the space under the eaves or the gallery space. This kind of entrance space form is most widely used in traditional architecture, especially in the residential area.

1.3 Extended space is a deep space to extend inward and outward, and its qualifying elements are not limited to the entrance entity itself, but also depends on the environmental elements around the entrance. The qualifying elements of this kind of entrance space are various, except for the difference in the height of the floor or paving, it can be walls, columns, fences, but also railings, stone benches, carvings and other vignettes, and even trimmed hedges. The limited elements themselves are different in height and reality, and the types of limited elements on the edge of the exterior space are also different, so the incompletely limited exterior space is very rich in variation, and is generally not a single space, but a cluster of spaces consisting of a number of single spaces. This type of entrance space is generally found more often in high-grade buildings and buildings in natural environments, such as royal palaces, temples and so on.

2 Role and Nature of Entrance Space

From the level of spatial composition, architectural space is usually of three major types: exterior space, interior space, and intermediary space between the two in terms of limitation or enclosure. From this level of composition, the entrance space of traditional Chinese architecture is the intermediary space, which also plays the role of spatial intermediary.

2.1 The concept of intermediary space was first proposed by the Dutch structuralist master Van Eyck. It is embodied in the architecture is a kind of intermediate, neither belongs to the inside, nor belongs to the outside of the space form, that is, has a "non-internal non-external", "also inside and outside" of the nature of the space. There are many similarities with Kisho Kurokawa's concept of "gray space". When Van Eyck discusses intermediary space, he further combines it with structuralism's architectural space theory, and puts forward the "intermediary concept" of structuralism's relative hierarchical transformation and intervention. Intermediary space in the structuralist hierarchical system, is the integration of the relative internal and external transition space between the levels, rather than simply the transition area between the absolute internal and external.

Traditional Chinese architecture follows this principle in its use of integrated architecture. On the plane, "room" and "frame" are used as units to form a single building to form a group relationship centered on the courtyard, and then expand to the city by using streets such as roads, alleys, and lanes as the trajectory of development. The architectural spatial system of "hierarchical" structuralism is formed with three levels: single building, group building and city building. This structured spatial hierarchy, under the influence of the traditional inclusive philosophy of reconciliation of binary contradictions and ****survival of each other, the various levels of space have always been seeking continuity and unity. Therefore, there are many intermediary spaces between them, and the architectural entrance space also exists precisely as the intermediary space between such levels.

2.2 The ambiguity of the entrance space

The ambiguity of the entrance space lies in the uncertainty of "both inside and outside" and "seemingly but not". Architectural space directly affects human psychology and behavior, according to the needs of people to create different spaces or space necessary to deal with the rich space to meet the different needs of people, which is the significance of the existence of the building. The ambiguity of entrance space is the embodiment of people-oriented, which not only pays attention to the rational requirements of people, but also emphasizes the emotional attachment of people. People form certain spatial feelings by perceiving the meaning of spatial elements, and the richness of the form of architectural space and its connotations leads to the ambiguity of spatial feelings (i.e., spatial feelings are subject to complexity and polysemy), and this ambiguity is caused by the reason of the space itself, that is, the space itself has certain potentials, which enable people to understand it in different ways. At the root of this, there are two main reasons: the ambiguity of spatial qualification and the multidirectionality of spatial meaning.

2.3 Multidirectionality of Meaning of Entrance Space

The entrance space of traditional architecture has the multidirectionality of meaning, i.e., the same space has multiple meanings, which gives people a composite feeling. This composite or superposition of meanings includes two levels of space and time. Entrance space has several functions at the same time, or in addition to the functional meaning also has the connotation of cultural practices, and thus has a multi-level spatial meaning, which is the spatial level of meaning superposition; spatial elements in different time periods have different spatial meaning, it is the time level of meaning superposition.

2.4 Transitional nature of entrance space

The transitional nature of the entrance space between the layers of space is mainly manifested in the spatial hierarchy. As a kind of intermediary space, the entrance space is the extension of the internal space of the building to the external environment, as well as the penetration of the external space to the internal space, which makes the transition between the internal and external space of the building have a rich sense of hierarchy and spatial proximity, and with the help of this intermediary space, it makes the "external space--entrance--internal space" three-dimensional. --With this kind of intermediary space, it makes the "outer space - entrance - inner space" three gradual levels to be logical, and also makes the natural and artificial space to be intermingled and permeated. Architecture no longer exists in isolation from the urban environment, thus achieving the organic combination of architecture and architecture, architecture and surrounding environment and even the whole urban environment. Entrance space, as the interface between indoor and outdoor space, is the communication domain between indoor and outdoor space, and is the transition space between two environments. At the same time, when people go from outdoor to indoor or from indoor to outdoor, there is also a transition process from physiology and psychology (including behavior). Indoor and outdoor are two different environmental systems, different fields, people in which the psychological feeling is naturally different. This or from tension to relaxation, or from ease to constraints and other subtle changes in mood, there is a need for a transition space to complete and adjust, so as to avoid the space of the "hard" alternation caused by people's psychological discomfort, the entrance to the space for the psychological transition to provide the space and time.

3 Entrance space sequence organization

The final establishment of the entrance space relationship generally have the following factors: human activities, for people to move through the channel, and the channel related to the composition of the factors (artificial and natural environments, buildings and the environment). It is created as a result of human activity, either walking or lingering, a series of short and varied forms of movement that intervene in the occurrence of the linear space, which is subject to architectural and environmental constraints, reflecting interactions with politics, economy, and culture. Any complete linear space or sequential system of entrances will be a composite or superimposition of artificial and natural elements. The boundary is the zone where the passage and these elements meet. It is the linear edge of the passage, the spatial transition between the passage and the built elements, and the interpenetration of the passage and the natural environment. Boundary area is the key area for making positive linear spatial form, and its form ultimately depends on the combination of the relationship between architectural space and natural space, and its degree of openness also directly determines the nature of linear space.

3.1 Vertical Composition of Entrance Linear Space

The demarcation of passages or boundaries in the linear structural space of traditional architectural entrances is rather vague. Fumihiko Zen, in his 1979 article, "The O of Urban Space in Japan," proposed the concept of "O" space. He believed that the spatial form of "Oku" space was characterized by the formation of multi-layered realms through layers of "membranes," so that one could see a lot in a little, and could make a shallow space feel deep. This layer of "membrane" is the incomplete limiting element of space, which can be an entity such as steps, bridges, etc., and can also be the turn of the line of sight. The linear space of the traditional Chinese entrance is also characterized by "Ao" in the vertical direction. "Ao" means a sense of depth, which is the result of human experience of relative distance and level of space. Traditional architecture entrance linear space in the vertical multiple composition form, its potential spatial awareness can be explained by the concept of "Ao". Such as the Ming Xiaoling mausoleum's Shinto Road, along the Shinto Road, stone tablet, door, bridge, pavilion, columns, stone statues, etc., the formation of many layers of "film", the original monotonous linear space into a section of varying lengths, sparsely spaced spatial segments, increasing the sense of longitudinal distance, but also rendered the atmosphere of the royal mausoleum.

More about the engineering/service/procurement category of the tender writing production, to enhance the winning rate, you can click on the bottom of the official website customer service free advice:/#/?source=bdzd