透视视角的环境设计绘图反思  

REFLECTIONS ON ENVIRONMENTAL DESIGN DRAWING FROM PERSPECTIVE PERSPECTIVE

作　　者：蒋星宇[1] 

机构地区：[1]湖南师范大学美术学院

出　　处：《设计》2017年第11期126-127,共2页Design

摘　　要：现代学科对透视绘图方法的工具性强调,忽视了图作为体验范式的作用。通过对透视空间意识与其他空间意识的对比分析,剖析出透视空间意识的主要特征是空间与时间的概念两分,时间成为附属品;透视是一种单一的、机械的、静止的空间意识。由东方传统绘画运动空间的体验多样性,引发对于摒弃主客体交互的透视空间意识的反思。从而指出设计教学中,应当重新审视设计绘图与设计的关系,在设计绘图与体验之间建构起连接的桥梁,避免设计绘图继续陷入肤浅模范的境地。In modern disciplines emphasis is placed on the instrumentality of perspective drawing, ignoring the role of drawing as a paradigm of experience, Through comparison and analysis of perspective spatial consciousness and other spatial consciousness, it can be concluded that the principal feature of perspective spatial consciousness is the division of concepts of space and time, with time as a subordinate object; and perspective is a single, mechanical and static spatial consciousness. The diversity of experience in motion spaces in traditional Oriental paintings triggers reflections on the perspective spatial consciousness which abandons interaction between the subject and the object. It is pointed out that in the teaching of design, the relationship between design drawing and design should be reexamined, and a bridge should be built to link design drawing and experience, thus avoiding design drawing continues to act as a superficial model.

关 键 词：设计绘图 空间体验 工具性 

分 类 号：G642[文化科学—高等教育学] TU238-4[文化科学—教育学]