景框的中介——电影与建筑中的动态布局  

Agencies of the Frame:Mobilising Assemblage in Cinema and Architecture

作　　者：迈克尔.塔瓦 包志禹[2] 鲁安东[3] 

机构地区：[1]英国纽卡斯尔大学 [2]清华大学建筑学院 [3]剑桥大学建筑系

出　　处：《建筑师》2008年第6期54-61,共8页The Architect

摘　　要：本文探讨了作为电影和建筑中的一个主要空间构成主题——景框理念。对空间的电影几何关系和建构几何关系的设置.体块、空间、视角、景观、相机和演员的相对位置和组织等.会产生特殊的张力、关系和动态——所有这一切都指向景框所带来的触媒作用和示能作用。电影与建筑中的空间是许多潜在的力量和相互作用的动力场,它涉及对空间景框、机制和策略的部署与调控,由此实现构成的、语义的和叙事的目的。景框建立了边界,但也促进并提醒可能会遇到的那些模棱两可、针锋相对与制约的突破.以及一种呈现怪诞特征的潜力。This essay investigates the idea of the frame as a major theme of spatial composition in cinema and architecture. The setup of cinematic and tectonic geometries of space, the relative position and organisation of volumes, spaces, views, landscape, camera and actors to produce specific tensions, relationships and dynamics - all these point to the function of agency and affordance that the frame provides. The spaces of cinema and architecture are dynamic fields of potential forces and interactions, involving the mobilisation and manipulation of spatial frames, regimes and strategies to achieve compositional, semantic and narrative ends. Frames establish boundaries but they also promote and prompt encounters with the ambiguous undecidability, contestation and erasure of the limit, together with a potential to present aspects of the uncanny.

关 键 词：景框 布局 空间设置 触媒 联结 边界 含混 怪诞 

分 类 号：TU-85[艺术—艺术设计] J90-05[建筑科学—建筑设计及理论]