景观设计中的比例和秩序——基于黄金分割比
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摘要
以黄金分割比为切入点,梳理了其历史起源以及在东西方建筑、绘画、音乐等领域设计作品中的特征表现,归纳出东西方的艺术作品在整体的布局控制与细节的处理把握中都包含了对黄金分割比例的领悟与运用。在此基础上,分析了国内外运用黄金分割比的景观设计案例,研究景观设计中的比例美与秩序感,以及不同审美习惯下设计作品的共通之处。研究结果认为:(1)黄金分割比是一种寻找秩序的工具,一种衡量设计的尺度,是长期实践中总结出来的经验,工具本身不能进行设计,理想的布局构图还是由设计师自己决定的;(2)合理的秩序是设计师共同遵循的基本规则,不同的是东西方审美差异下设计师对秩序的感受及其处理手法,比例并非设计必须墨守的教条,而是要因势就循、因地制宜,符合本民族的文化习惯、审美观和自然观。
This paper takes the golden ratio as the breakthrough point. By sorting out its historical origin and its characteristics in the design works of architecture,painting,music and other fields,it is concluded that the East and the West have included the understanding and application of the golden ratio in the overall control and detail processes of art works. Base on this,the paper analyzes the landscape design cases which use the golden ratio at home and abroad,and intends to study the proportions of beauty and order in it,as well as the commonalities of design works under different aesthetic habits. Finally come to two conclusions. First,the golden ratio is a tool for finding order,a measure of design,and the experience summarized in long-term practice. The tool itself cannot design,and the ideal layout is determined by the designer himself. Second,reasonable order is the basic rule that designers follow together. The difference is the designer's feelings about order and its handling methods under the different aesthetic between East and West. Proportion is not a dogma that must comply with,but following the trend and adapt to local conditions,in order to conform to the cultural habits,aesthetics and natural views of the nation.
This paper takes the golden ratio as the breakthrough point. By sorting out its historical origin and its characteristics in the design works of architecture,painting,music and other fields,it is concluded that the East and the West have included the understanding and application of the golden ratio in the overall control and detail processes of art works. Base on this,the paper analyzes the landscape design cases which use the golden ratio at home and abroad,and intends to study the proportions of beauty and order in it,as well as the commonalities of design works under different aesthetic habits. Finally come to two conclusions. First,the golden ratio is a tool for finding order,a measure of design,and the experience summarized in long-term practice. The tool itself cannot design,and the ideal layout is determined by the designer himself. Second,reasonable order is the basic rule that designers follow together. The difference is the designer's feelings about order and its handling methods under the different aesthetic between East and West. Proportion is not a dogma that must comply with,but following the trend and adapt to local conditions,in order to conform to the cultural habits,aesthetics and natural views of the nation.
引文
[1]赖德霖.关于柯布西耶住宅作品的建筑解读[J].世界建筑,1999(04):75-79.
[2]李俊霞.建筑的比例和尺度[D].南京:东南大学,2004.
[3]高宏宇.神圣的比例——勒·柯布西耶的“模度”[J].华中建筑,2005(02):31-33.
[4] Sanja Zlatic'. Golden Ratio[J]. Technical Journal,2013,7(1).
[5] Fondation Le Corbusier. The Modulor and Modulor 2[M].DE GRUYTER:2000.
[6] Jean-Louis Cohen. Le Corbusier’s Modulor and the Debate on Proportion in France[J]. Architectural Histories,2014,2(1).
[7]韦倩.山水画中的黄金分割比[J].美与时代(中),2017(04):19-20.
[8]张慧文.重新解读黄金分割——探究寓于建筑中的美学法则[J].美术大观,2009(08):242-243.
[9]刘沛林.中国古村落的景观建构[J].寻根,1997(04):25-28.
[10]王兴彬.昆明池堤坝景观规划方案阐释[J].美与时代(城市版),2017(01):31-32.
[11][明]计成原著.陈植注释.园冶注释(第二版)[M].北京:中国建筑工业出版社,1988.
[12]周萌.江南古典园林空间尺度研究[D].上海:华东理工大学,2016.
(1)出自法国雕塑家奥古斯特·罗丹(Auguste Rodin,1840年-1917年),其代表雕塑作品有青铜时代、地狱之门、加莱义民、巴尔扎克等。
(2)出自嵇康《琴赋》,意思是在众多乐器中,古琴的德操性情是最为突出的,可使君子修身养性。
(3)如图所示,1947年创作的《原子勒达》的草图,其构图是一个五边形的内接五角星。
(4)Fondation Le Corbusier.The Modulor and Modulor 2[M].DEGRUYTER:2000.
(5)春秋时期管仲提出的三分损益法,可以计算出五声音阶的律度。根据某一特定的弦,去其1/3,即三分损一,可得出该弦音的上方五度音;将该弦增长1/3,即三分益一,可得出该弦音的下方四度音。
(6)斐波那契数列又称黄金分割数列,是数学家列昂纳多·斐波那契(Leonardoda Fibonacci)以兔子繁殖为例子而引入,表现为:1、1、2、3、5、8、13、21、34……相邻两个斐波那契数的比率越来越接近黄金分割率。
(7)出自明代计成《园冶》,意为:厅堂立基,古来或三间或五间。根据地方大小,四间也行,四间半也可。再没地方,三间半也可以。曲折变换,营造空间深度的变化,就全在那半间地方上。大凡建筑园林,都以此例。
[2]李俊霞.建筑的比例和尺度[D].南京:东南大学,2004.
[3]高宏宇.神圣的比例——勒·柯布西耶的“模度”[J].华中建筑,2005(02):31-33.
[4] Sanja Zlatic'. Golden Ratio[J]. Technical Journal,2013,7(1).
[5] Fondation Le Corbusier. The Modulor and Modulor 2[M].DE GRUYTER:2000.
[6] Jean-Louis Cohen. Le Corbusier’s Modulor and the Debate on Proportion in France[J]. Architectural Histories,2014,2(1).
[7]韦倩.山水画中的黄金分割比[J].美与时代(中),2017(04):19-20.
[8]张慧文.重新解读黄金分割——探究寓于建筑中的美学法则[J].美术大观,2009(08):242-243.
[9]刘沛林.中国古村落的景观建构[J].寻根,1997(04):25-28.
[10]王兴彬.昆明池堤坝景观规划方案阐释[J].美与时代(城市版),2017(01):31-32.
[11][明]计成原著.陈植注释.园冶注释(第二版)[M].北京:中国建筑工业出版社,1988.
[12]周萌.江南古典园林空间尺度研究[D].上海:华东理工大学,2016.
(1)出自法国雕塑家奥古斯特·罗丹(Auguste Rodin,1840年-1917年),其代表雕塑作品有青铜时代、地狱之门、加莱义民、巴尔扎克等。
(2)出自嵇康《琴赋》,意思是在众多乐器中,古琴的德操性情是最为突出的,可使君子修身养性。
(3)如图所示,1947年创作的《原子勒达》的草图,其构图是一个五边形的内接五角星。
(4)Fondation Le Corbusier.The Modulor and Modulor 2[M].DEGRUYTER:2000.
(5)春秋时期管仲提出的三分损益法,可以计算出五声音阶的律度。根据某一特定的弦,去其1/3,即三分损一,可得出该弦音的上方五度音;将该弦增长1/3,即三分益一,可得出该弦音的下方四度音。
(6)斐波那契数列又称黄金分割数列,是数学家列昂纳多·斐波那契(Leonardoda Fibonacci)以兔子繁殖为例子而引入,表现为:1、1、2、3、5、8、13、21、34……相邻两个斐波那契数的比率越来越接近黄金分割率。
(7)出自明代计成《园冶》,意为:厅堂立基,古来或三间或五间。根据地方大小,四间也行,四间半也可。再没地方,三间半也可以。曲折变换,营造空间深度的变化,就全在那半间地方上。大凡建筑园林,都以此例。