On fuzzy space culture in traditional architecture

On fuzzy space culture in traditional architecture

The wooden frame system of traditional buildings in China provides a material basis for fuzzy space. It can be said that the construction of the structural relationship of fuzzy space has a profound philosophical and aesthetic foundation, and it is the inevitable product of China's traditional culture, aesthetic spirit and traditional view of space. The following is a model essay of fuzzy space culture in traditional architecture shared by J.L.

Abstract: In today's world, with the rapid development of architectural interior space design, people have higher and higher requirements for shaping the space environment. In this context, it is particularly important to study indoor space carefully. China traditional architectural space has a high cultural spirit, contains a strong aesthetic mood, and shows vague spatial characteristics, traditional culture and aesthetic spirit. Only by exploring its inherent spatial law, characteristics and spiritual connotation can we truly inherit and develop this traditional art form in contemporary society.

Keywords: China traditional architectural space; Cultural spirit; Fuzzy space; Inheritance and development

1. The cultural basis of fuzzy space of traditional buildings in China

1. 1 philosophical basis

China culture has been recognized all over the world, just like furniture, traditional architecture, indoor space and its content (such as partition) in Ming and Qing Dynasties, with obvious vanity image, and its style contains simple philosophical spirit and profound symbolic significance, which is still popular today. After a long period of development and evolution, the traditional architectural space in China has not only formed a complete aesthetic system, but also incorporated quite a lot of traditional culture. The philosophical basis of China's traditional architectural culture is actually Buddhism and the philosophy of Laozi and Zhuangzi [1]. When it is implemented in architecture, it is the nature of emptiness and Taoism, and the unity of man and nature. Things not only have an empty side, but also have an empty side, that is? The golden mean? . In fact, this refers to a middle field between being and not being, being and not being. Taoism and Buddhism developed and infiltrated each other in China, and both of them became the philosophical basis of the fuzziness of traditional architectural space in China [2]. China traditional architecture has always been the pursuit? Although it is made by people, how to open it? Ji Cheng, a landscape architect in the Ming Dynasty, regarded this idea as the highest aesthetic ideal of China's garden culture in his book Yuanye. In fact, this is also the foundation of China architectural culture. Harmony between man and nature? The highest aesthetic realm of philosophy. [3]

1.2 aesthetic basis

Ancient artists in China deeply understand the aesthetic concept of traditional art, and they emphasize the coexistence of reality and falsehood, taking emptiness and quietness as mellow beauty, taking emptiness and quietness as the highest realm, and taking reality and falsehood as art and meaning. what's up Yu? Nothing? , see from nothing, in? Empty? Nothing? Virtual? In the field of rich content. China's traditional aesthetic theory holds that everything in the universe and all human aesthetic activities are? Virtual? And then what? Real? The unity and combination of reality and fiction is one of the basic principles and aesthetic standards of human artistic creation. The traditional indoor architectural space in China gives people a kind of aesthetic enjoyment and implicit aesthetic feeling. This involves the fuzziness of architectural beauty which is closely related to the essence of architecture. An important part of national culture is the aesthetic spirit of traditional indoor architectural space, which is essentially different from the west. It pays attention to integrity, is very orderly, and prefers implication (vagueness) and plot, among which implication is also the core feature of oriental aesthetics.

2. Spatial characteristics of fuzzy space of traditional buildings in China.

China's traditional architecture and indoor space have unique forms, diverse zoning forms, rich connotations and strong national characteristics. Under the influence of traditional culture, the division of indoor architectural space has profound connotation and aesthetic spirit. The traditional architecture in China is a wooden frame structure, with a large roof and a side porch, which naturally creates a space under the eaves, that is, a fuzzy space (as shown in figure 1). What is the biggest feature of such a space? Virtual? That is, fuzziness, which also provides a broad space for the development of indoor partitions. Moreover, this fuzzy space is everywhere, which is also the charm of traditional indoor space in China. The origin of architecture lies in space, and the creation of architectural artistic conception must finally be expressed in the form of physical existence. In the building? Blurred? Not the same as. Chaos? And then what? Does not exist? On the contrary, it should be a more active existence. The existence of this kind of building may be manifested in the partial lack of modeling and the intangible shaping of form; It may be manifested in the uncertainty of space definition, the fuzziness of space function and the suggestibility of space feeling. Incomplete, incomplete image, resulting in vacancy, uncertainty, which one is it? Incomplete symbols? [4]。

2. 1? Between four pillars?

China's Confucian and Taoist cultural systems have never tended to pursue a closed, private and dark space, and its core space is generally defined by the surrounding pillars? Gas? Space. The formation of fuzziness of traditional indoor partition space in China is closely related to the spatial form of traditional wooden buildings, which is also the necessity of the development of frame structure. China architecture? Between? There are also column layout and organizational space, and the so-called? Between? That is, the space surrounded by four pillars. Like stone carvings in the Han Dynasty? Between four pillars? Spatial form and primitive cave building are supported by four pillars, with half slope F2 1 restoration [5] (Figure 2). The space supported by these four pillars is the original? Fuzzy space? . The spatial organization form of traditional architecture in China is mainly quadrangle and closed courtyard layout. The interior space of a building is a combination of quantity, not volume. Between? As a unit, the room has become the basic unit of architecture in China [6]. Building space consists of one or several rooms. ? Between? The adaptability is very strong, and the architectural space has obvious universality. This has nothing to do with the modernist master Smith, right? Van der Rohe's Space? The theory is consistent. The flexible arrangement of columns is one of the main means to form the traditional indoor space form in China. The layout of columns determines the division of indoor space to a certain extent. Once the position of the column is determined, even if partition boards and doors are not installed, the indoor area will have a certain pattern. Column sum? Between? It provides the initial foundation for the emergence and development of the fuzziness of partition and space.

2.2? Partition room?

It says here. Partition room? Refers to the space divided by partitions. It can be said that the traditional indoor space in China is a typical representative of fuzzy space. In the song dynasty, the division of indoor space was called? Intercept? , that is, will mean? Check in? Separate it. After that, all the separated forms and facilities are collectively called? Partition? , partition is? Verb? , again? Nouns? . Ancient books, documents and pictures clearly show that the earliest facilities used to separate indoor space in China buildings are movable curtains, curtains and screens that do not belong to the building structure. That is, clusters? Partition? It has inherent fuzziness, uncertainty and contradiction since its birth, and it is continuous. The partition makes the indoor space full of layers, and the spaciousness is obvious and important. For example, Ji Cheng in the Ming Dynasty wrote in Yuan Ye? What did the hall base say? Deep and straight, connecting the past and the future, all in the middle of the room, giving birth to a dreamland? Spatial characteristics of circulation [6]. These partitions can be connected in series or in parallel; Can be inclusive and can be interspersed; It can be regular or irregular. Spatial relations are complex, flexible and rich.

3. The aesthetics and effect of fuzzy space in China traditional architecture.

3. 1 structure

China traditional architecture attaches great importance to the structural beauty of space, which is mainly manifested in the image of strict logic and clear organization between the structures of single buildings. The indoor space structure is unified and harmonious, and the logical connection is smooth and close. Because its wooden frame is made of wood, tenon and mortise technology unique to China has been developed since ancient times. The load-bearing structure of the wooden frame system building is separated from the envelope structure, and the wall is only a dispensable filler with thickness and thinness, which provides superior technical conditions for creating flexible indoor space.

3.2 Harmony

What is the way of architecture in China? Taoism is natural? , reflected in? Harmonious nature? . Except for the tower, almost all the traditional buildings in China have developed horizontally, never? Aggressive Live in harmony with nature. ? Harmony between man and nature? It is a reasonable view of nature and a view of time and space. Heaven and man are interlinked, emphasizing the harmony between man and nature. From the perspective of the natural universe, heaven and earth provide a living environment for human beings. With what? And then what? China's view of the world, its purpose is not to oppose architecture and indoor space with nature, but to make it live in harmony with nature.

3.3 fuzzy

China's traditional indoor wooden frame system emphasizes the cooperation and coordination between spaces, which is manifested in the thinking consciousness, which is a vague and uncertain thinking consciousness. Fuzziness refers to the uncertainty of things' attributes. Through the division of space, the essence of spatial fuzziness is determined. For example, in the traditional gardens in China, the pavilion is supported by several pillars without walls, and the spatial form is transparent and open. The definition of this kind of space is not clear, so its spatial characteristics are vague.

3.4 artistic conception

China people's artistic concept is not as direct and concise as that of westerners, while China people pay more attention to the inner world's feelings about external things. In terms of conception, people often create scenery according to the description of painting and literature, express literary artistic conception with scenery, or use calligraphy and painting plaques to guide people to understand natural scenery more deeply, that is, use? Poetry? And then what? Painting? This design method creates a poetic indoor architectural environment. This artistic conception is related to the wooden structure of traditional buildings in China. Frame? The structure makes the indoor space transparent, supported by columns and? Between? Parallel, laying the foundation for implicit artistic conception. [7]

4. Conclusion

The wooden frame system of traditional buildings in China provides a material basis for fuzzy space. It can be said that the construction of the structural relationship of fuzzy space has a profound philosophical and aesthetic foundation, and it is the inevitable product of China's traditional culture, aesthetic spirit and traditional view of space. ? Between four pillars? And then what? Partition room? This is the spatial feature of fuzzy space of traditional architecture in China. Its architectural structure is rigorous, harmonious, vague and pursuing artistic conception, which explains the cultural and spiritual connotation of China traditional architectural space. Only by exploring its inherent spatial law, characteristics and spiritual connotation can we truly inherit and develop this traditional art form in contemporary society.

References:

[1] Hou Youbin. China architectural aesthetics [M]. Heilongjiang science and technology press. 1997: (42- 120，280-308)

[2] Lu Haipeng. Research on fuzzy space and its enlightenment to modern times [D]. Master's degree thesis of Chongqing University.2005.09: (11-21)

[3] Wang Zhenfu. Notes on Architectural Aesthetics [M]. Tianjin: Baihua Literature and Art Publishing House.2007.04: (25-125)

[4][ America] Paul Ricker The main trend of philosophy (second edition) [M]. Translated by Li Youyan and Xu Yichun. The Commercial Press.2004.04

[5] Yang Hongxun. Essays on Architectural Archaeology [M]. Cultural Relics Publishing House. 1987.04: (6- 13)

[6] Wang Guixiang. East and West Architectural Space [M]. Tianjin: Baihua Literature and Art Publishing House.2006.04: (290-337)

[7] Weimin Qi. A comparative study of Chinese and western traditional indoor space forms [D]. Master's degree thesis of Harbin Institute of Technology. 2006.( 1 19- 140).

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