| 摘要: |
| 长春洞是巍宝山保存最完整的宫
观，虽占地不到两亩①，却在有限的空间中
创造出九楼十院的空间格局。本文以长春洞
空间布局序列为研究对象，从知觉体验的
连续性入手，提出了空间变化对参观者情感
的影响，论述了在建筑空间布局序列中参观
者知觉体验逐层递进的控制机制，探讨了以
“起、承、转、合”为结构，以“知觉体验”为
章法的动态空间布局设计手法，希望为道教
建筑空间与其他超越日常的精神空间的研
究提供启示。 |
| 关键词: 道教建筑 空间布局 结构章法 起承转合 知觉体验 |
| DOI：10.13791/j.cnki.hsfwest.20190213 |
| 分类号: |
| 基金项目: |
|
| Starting·Continuing·Evolving·Uniting—Interpretation on the Spatial Layout of Changchun Cave in Mountain Weibao |
|
XU Yingjin,Wang Dong
|
| Abstract: |
| Changchun Cave is the most complete Taoist temple in mountain Weibao. Although
it covers an area of less than 0.134 hm2, it creates the spatial pattern of the 10th courtyard in the
limited space. Taking architectural space sequence of Changchun Cave as the research object,
from the continuity of perceptual experience, it puts forward the space changes in the role of
emotional change for visitors. It discusses visitors’ perception experience progressive sequence
control mechanism in the architectural space layout, explores the structure of composition as
the starting point of a dynamic spatial layout design gimmick. It is expected that it will provide
enlightenment on the space research of Taoist temple beyond space and other non-daily use.
The Taoist immortal thought emphasizes the change of the mental journey, which is called
gradual enlightenment, focusing on sports and experience. With the movement going on, people
produce a series of continuous impressions of the space they see, and translate perceptually
according to their own cognitive associations and memories, and then synthesize and generalize
in their minds to form a whole cognition. In space, the sense of sequence is acquired by people
moving through different space. In addition to spatial changes, people experience changes in time
and perception in the process of movement. In discussing the sequence structure of architectural
space layout, modern architectural philosophy emphasizes the importance of perceptual
experience. This paper compares the time of perceptual experience in spatial sequence with the
time of tourists’ movement, and concludes that the four time prototypes of scene, extension,
compression, and pause correspond to the starting, continuing, evolving, uniting of spatial
sequence.
The spatial sequence of Changchun Cave is like a touching poem. It takes the gate space of
Changchun Cave as its starting point to show the space scene of Taoism straightforwardly. For
Changchun Cave, the mountain gate is the base of construction. The worship of gods by visitors
begins through the mountain gate, and the action of crossing the threshold itself is endowed with
a religious ritual function. For visitors, the mountain gate, as the boundary of space, defi nes the
mountain forest environment and religious space internally and externally, which is an intentional
starting space and symbolizes the beginning of spatial sequence. Taking the continuing space
as the transition of space, we should avoid a glance, increase the space association of tourists,
and show a strong ambiguity. The irregular courtyard space is used as the inheritance space to
prolong the time of visitors’ cognitive environment through the complexity and multi-meaningof the space environment. The main method is to enrich the interface of the courtyard space, as well as cleverly deal with the place space, movement
path, road pavement, step height difference, vegetation planting, and wall hint and so on. In order to guide visitors to cultivate the necessary mood
and interest, to continue the artistic conception of the initial space, and to pave the way for the follow-up space, turning space emphasizes the sudden
change of space through the means of promoting the first restraint, and allows people to see a part of the climax space in advance through weak
clues, so as to compress the visitor’s experience time. As the turning part of space, the middle Taoism temple hall sets the turning point of space
in both vertical and horizontal dimensions, and makes people’s emotions change qualitatively and reach a climax through the treatment of steps,
doorsteps, Buddha statues and doorways. Taking the main hall of the Taoism temple as the end of the spatial sequence, highlighting its main position.
Through lifting the bottom of the main Taoism temple, increasing the volume, enriching the decoration and guiding the sight of people, the main
Taoism temple has always been the visual center of tourists, attracting people to stay and watch slowly. There are some secondary spaces in the space
sequence of Changchun Cave after the uniting space. These spaces are the supplement and extension of the main Taoist space. The environment of
these spaces are naturally and artistically, which enable people to enter a relaxed, pleasant and memorable space atmosphere after experiencing the
mysterious atmosphere of the main Taoist space.
In general, the spatial layout sequence of Changchun Cave is one kind of overall control from top to bottom, which determines the spatial layout
seems like the traditional Chinese Eight Diagrams. Secondly, it is followed by a bottom-up control which combines visitors’ perceptual experience
during their tour. It uses the structure of starting, continuing, evolving, and uniting to keep pace with the heartstrings of visitors, so that the spiritual
level of visitors progresses step by step with the spatial level. Finally, through the combination with the mountain and forest environment, people can
return to nature, which is also in line with the Taoist thought of harmony between man and nature, which takes nature and returns to nature. |
| Key words: Taoist Architecture Spatial Layout Structure Composition Starting, Continuing, Evolving,Uniting Perceptual Experience |
