密斯·凡·德·罗建筑空间中的至上主义特征  

The Spatial Concept of Suprematism in Mies Van der Rohe's Works

作　　者：赵冠男 ZHAO Guannan

机构地区：[1]北京服装学院艺术设计学院

出　　处：《住区》2022年第3期82-96,共15页Design Community

摘　　要：本文通过讨论建筑与绘画之间关联的问题,分析了现代绘画中几何抽象绘画,与现代建筑通过二维画面中的隐含的空间概念,建立转译的可能性。通过对以绘画为形式探索起点的马列维奇的建筑试验的关注,发现其作为画家,在画布上通过平行矩形创造出的悬浮水平板面间的空间感,并未在其建筑试验中得到进一步揭示。进而,基于对空间创造过程中,呈现了“悬浮水平板面覆盖的净跨空间”这一特征的密斯·凡·德·罗的建筑实践的分析,展开了密斯建筑空间创造方式,与马列维奇在至上主义中实践的“飞行”空间感受的相关讨论。以此,形成了对马列维奇至上主义绘画,及密斯空间创造意图的读解的补充。By discussing the relationship between archi-tecture and painting,this paper analyzes the possibility of translation between geometric abstract painting and mod-ern architecture through the implicit concept of space in two-dimensional pictures that used in both fields.By focus-ing on Malevich's architectural experiments which took the form of painting as the starting point,we can find out that as a painter,the sense of space between the suspended horizontal panels created by the parallel rectangles on the canvas is not further revealed in his architectural experi-ments.And then,based on the analysis of the architectural practice of Mies Van der Rohe,which presents the feature of"clear span space covered by suspended horizontal slab"in the process of space creation,the paper conduct a discussion on the correlation between the way Mies's archi-tectural space is created and the feeling of"flying"space in Malevich's Suprematist works.In this way,a supplement to the understanding of Malevich's Suprematist paintings and Mies'space creation intentions is formed.In this way,a supplement to the understanding of correlation between the spatial intentions of Malevich in painting and Mies in the creation of space is formed.

关 键 词：密斯·凡·德·罗 至上主义 马列维奇 抽象绘画 几何抽象 

分 类 号：TU-024[建筑科学—建筑理论]