窗景与景窗 试论现代建筑中的“尺幅窗”  

Window Picture and Pictorial Window A Review On the“Picture Window”in Modern Architecture

作　　者：刘琳璠 Liu Linfan

机构地区：[1]美国宾夕法尼亚大学

出　　处：《室内设计与装修》2021年第S01期30-35,共6页Interior Design ＋ Construction

摘　　要：借由李渔(1611—1680年)对于居室中“尺幅窗”的定义和论述,通过分析和比对三位现代建筑师――贝聿铭、冯纪忠、王澍的建筑实践,引申出建筑学相关概念的思考与启发。梳理出李渔“窗景入画”与“景窗如画”等一系列概念的侧重点,并以景、框与围合空间三个概念对典型建筑案例逐一分析。对照建筑师的自述,阐述了各自对于特定概念的理解和延伸,同时表明了在实践中不断突破的“尺幅窗”,以及对于空间艺术本质的关注。Borrowing the concept of“window of painting”defined by Qing literatus LI Yu(1611-1680),the article analyzes and compares three modern architectural practices—I.M.Pei,FENG Jizhong,and WANG Shu in the use of this particular device in their designs.By rereading Li’s writing,the literature review refines three emphases inherent to his definition of“window of painting”—view as painting,window as frame,and spatial setting to transform the experience,and articulates related thinking and strategies in each modern practitioner.Associating the key ideas with architects’own reflections,the analyses present a diversity in the interpretation of the concept,and argues for an important role of this particular device in the fundamental pursuit of spatial art.

关 键 词：李渔 贝聿铭 冯纪忠 王澍 绘画式的景观 绘画式的空间构成 生活的视野 

分 类 号：I20[文学—中国文学]