沉浸式展演空间体验模式与空间组织设计探究  

Analysis of the Immersive Experience Mode and Spatial Organization in Display & Performing Space

作　　者：王铬[1] 沈康[1] 许诺 Wang Ge;Shen Kang;Xu Nuo

机构地区：[1]广州美术学院

出　　处：《华中建筑》2018年第11期152-156,共5页Huazhong Architecture

基　　金：国家科技支撑计划项目"展演空间的创新设计与展演技术的集成研究"(编号:2015BAH28F01);广东省科技厅"室内装设设计与产品交互式网络虚拟展示服务平台研发"(编号:2014A040401089)

摘　　要：自21世纪初开始,展示与演绎体验发展迅速,诞生了一系列新的展演尝试、新的思想以及新的体验模式,沉浸式展演空间便是其中之一。在国内文化旅游不断向着深度文化旅游体验方向发展,由此衍生出文化旅游主题沉浸式展演空间,逐渐成为文化旅游深度体验的新方向。本研究对国内沉浸式展演空间进行了研究,梳理了沉浸式展演空间的发展、来源与时代背景,并以"又见"系列中的《又见平遥》和"迪士尼"系列主题乐园中《迷离庄园》两个沉浸式展演空间为主要范例,尝试从沉浸式展演体验模式、空间组织以及动线串联等方面对沉浸式展演空间案例进行深入的剖析。Since the beginning of the 21st century, the display and performing experience has developed rapidly, and a series of new display attempts, new ideas and new experience patterns have been born, The immersive display ＆ performing space is one of them. In China, cultural tourism has been developing towards the direction of deep cultural tourism experience, which has resulted in the immersive display ＆ performing space of cultural tourism theme and gradually become a new direction of deep cultural tourism experience. In this study, the development, origin and historical background of the immersive display space in China were analyzed, and the two immersive display＂ Sitcom of Pingyao＂ and ＂Mystic Point＂ of Disney were taken as the main examples to analyze the space from the experience mode, spatial organization and moving line series.

关 键 词：沉浸式体验 展演融合 空间组织 

分 类 号：TU-024[建筑科学—建筑理论]