2022-09-01

Architecture & Space

建筑与空间

Nude Descending a Staircase, No.2

By Marcel Duchamp 1912
INTRODUCTION TO DESIGN THEORY & FUNDAMENTALS OF DESIGN-I
设计概论/设计基础-1
Architecture & Space
建筑与空间
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Architecture & Space

Discover the Value of Architectural Space /

Find the Meaning behind Spatial Representations
发现建筑空间的核心价值/蕴藏在各种表象后面的文法
The value/ meaning is related to: Environment / Lifestyle / Material / Construction Method
文法与环境关联，与生活形态关联，特别是与材料与建造方式相关联。

把握建筑与自然环境的关系、研究建筑与人文环境的关系、树立建筑与环境共塑共生的观念，是建筑与城
市可持续发展的方向，也是建筑学、城乡规划学、风景园林学、城市设计、室内设计、历史建筑保护工程
等专业学习的基本要求。
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Sir Banister Fletcher’s A HISTORY OF ARCHITECTURE

弗莱彻建筑史
Edited by Dan Cruickshank

Six factors ：
六个方面影响因素：
Geography / Geology / Climate / Religion / Society / History
地理因素、地质因素、气候因素、宗教因素、社会因素、历史因素

AN INTRODUCTION OF ARCHITECTURE
建筑概论
Edited by Shen Fuxu （沈福煦）

The relationship between architecture and environment could be understood as “Part & Whole”，
建筑与环境的关系是局部与整体的关系
Environment includes:
环境包括：

Natural environment, such as the climate, landscape, light…（自然环境：气候条件、地形地貌、光线等）；

Social human environment, such as politics, economics, society…(社会人文环境：经济、政治、社会等）；

Historical environment , such as existing architectural form, urban style, and social customs（历史环境：
建筑周边的既有建筑形态、城市风貌、社会习俗等）。
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Edited by Dan Cruickshank (1st edition in 1896)

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The Relationship between Building and Natural Environment

建筑与自然环境

The Relationship between Building and Human Environment

建筑与人文环境
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Space is the core of architectural design

空间是建筑设计的核心
Architectural space is a place with a certain function, which is composed by human beings and
closely related to human activities.

建筑空间是经过人为限定的、具有某种使用功能的场所， 与人的活动紧密相关。
建筑空间通过其形状、比例、尺度、组织关系等，实现建筑的物质功能和精神功能。
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Three Periods regarding the concept of Architectural Space

建筑空间概念的三个阶段
不同时代及地域的文化、哲学、思维方法与心理特征形成不同的空间概念，在建筑历史上，建筑空间概
念可分为三个阶段（希格弗莱德·吉迪翁 Sigfried Giedion）：

1、The First Period （第一阶段）：

“Only external form, no internal space（有外无内）”空间，包括古埃及、苏美尔和古希腊建筑。在这
一阶段，空间产生于外部体量之间的各种关系，真正的内部空间尚未出现，建筑空间与雕塑尚未真正分离。
这种空间概念，持续了之后的两千年。

Space arises from external masses while internal space has not yet appeared. Architectural space
is closely limited to monuments or sculpture.
The concept of space has lasted for the next two thousand years.
Examples include Giza Pyramids and EL Castillo.
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Giza Pyramids
Giza pyramids were built from roughly 2580 to 2560 BC.
Egypt’s pharaohs expected to become gods in the afterlife. To prepare for the afterlife world, they built
massive pyramids.
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Giza Pyramids (2580 –2560 BC, Egypt)

Pharaoh Khufu’s pyramid is the largest in Giza, with the height of around 147 meters.
It used 2.3 million stone blocks, with an average weight of 2.5 to 15 tons.
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Teotihuacán (The Citadel, 3rd-4th Century, Mexico)

The city was found in the 1400s, named Teotihuacan, meaning “the place where the gods were created”.

Teotihuacán is arranged in a grid layout that covers about 20 square kilometres. It contains around
2,000 single-story apartment compounds, as well as various pyramids, plazas, temples and palaces of
nobles and priests, including the Pyramid of the Moon, the Pyramid of the Sun, the Citadel and the
Temple of Quetzalcoatl.
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EL Castillo (8th–12th Century , Chichen Itza , Mexico)

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Pyramid of the Magician

(560–16th Century, Uxmal, Mexico) Architectural space has only external form, no
internal space, which is more like a monument.
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Three Periods regarding the concept of Architectural Space

建筑空间概念的三个阶段
2、The Second Period （第二阶段）：
“Only internal space, no external form （有内无外）”空间，以罗马万神庙为标志，室内空间开始被重
视，空间通过在实体内挖空而形成。建筑空间在概念上对内部与外部空间进行了区分，但建筑的外部形式
与内部空间尚未结合。这一阶段的空间概念一直持续到18世纪晚期。

Marked by the Roman Pantheon, interior space began to be valued. Architectural space
distinguished the interior and exterior space separately, but the exterior form of the building and
the interior space have not yet been combined closely. The concept of valuing internal space has
lasted until the late 18th century.
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Pantheon, Rome (113–125 AD , Italy)

A temple (religious building) built in honor of all the gods
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Pantheon, Rome (113–125 AD , Italy)

The big ceiling carved out of stones with natural lights going through
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Pantheon, Rome (113–125 AD , Italy)

Pantheon, Rome (113–125 AD , Italy)

The lights going through from the ceiling to the wall
The status, natural lights, paintings, columns.
Creating strong religious atmosphere in the internal space
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Three Periods regarding the concept of Architectural Space

建筑空间概念的三个阶段
3、The Third Period （第三阶段）：
“The internal and external interaction（内外互动）”空间，始于20世纪初。自由屹立的建筑所形成的
发散性外部空间重新受到重视，同时，第二种空间概念——挖空的内部空间——也得到了延续。室内外空
间之间以及不同空间层次之间的互动性，促使空间中的运动成为建筑不可分割的要素。
典型案例为1929年密斯•凡•德•罗（Ludwig Mies van der Rohe）设计的巴塞罗那国际博览会德国馆，千年
来内外空间的分隔被一笔勾消，空间从紧身衣般的封闭墙体中解放出来，并开始流动。

Regarded as one of the most important figures in the history of architecture, Mies’s ‘less-is-more’
approach to design was the gold standard for many generations of modern architecture.
With no distinction between rooms or inside and outside, his famous project of the German
Pavilion at the Barcelona Industrial Exposition of 1929 fundamentally challenged the architectural
‘boxes within a box’ standard of the time.

Free flowing space Stone, metal and glass

The German Pavilion at the Barcelona Industrial Exposition

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Mies van der Rohe (1886-1969) had long since established an international reputation as the designer of
seemingly simple, elegant steel-and-glass buildings.
In 1912, Mies established his own office in Berlin and was selected to design the German Pavilion at the
Barcelona Industrial Exposition of 1929.
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His design, a rhythmic arrangement of horizontal and vertical planes

of glass, stone and metal was an experiment in free flowing space.
He used simple material such as glass, stone, metal, and the raw
color of the material.
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The German Pavilion in Barcelona (1929, Spain)

With massive use of the material of steel, glass, stone and the water, the internal space and external
space is not juxtaposed, but instead, interlocked with.
The reflection of the building in the water could create the interaction of internal space and
exterior space.
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The German Pavilion in Barcelona (1929, Spain)

Inside view with Barcelona Chair and Barcelona Stool

His design to create ‘free flowing space’ has no distinction between rooms, totally changing the
architectural ‘boxes within a box’ standard of the time.
Inside, Mies included the Barcelona Chair and Barcelona Stool, designed to offer the King and Queen of
Spain to a place to rest.
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The German Pavilion in Barcelona (1929 , Spain)

Mies stressed formal qualities, demanded elegance and aesthetic ‘rightness’, and created ‘less-is-more’
approach to design, by using simple colors, and simple materials, such as glass, stone, metal, water.
As an architect, Mies was markedly less functionalist. However, the Barcelona Pavilion and the chairs it
contained are universally recognized as milestones of modern design.
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Schröder House by Gerrit Thomas Rietveld (1924 , Nederland)

Gerrit Rietveld was a Dutch architect and furniture designer, an icon of the Modern Movement in
architecture and an outstanding expression of purity as developed by the DeStijl (the style in Dutch)
movement. He gained recognition worldwide with the Schröder House and the Red and Blue Chair.
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Schröder House by Gerrit Thomas Rietveld (1924 , Nederland)

In 1923, Walter Gropius invited Gerrit Rietveld to attend an exhibition at the Bauhaus school in Weimar.
In 1924, Rietveld completed the Rietveld Schröder House. He collaborated intensely with the house's
owner, the interior designer Truus Schröder-Schräder, who commissioned him to design a dwelling with
as few walls as possible for herself and her children.
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Schröder House by Gerrit Thomas Rietveld (1924 , Nederland)

He used primary colors, yellow, blue, red, together with white and black in the fa çade.
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Red and Blue Chair by Gerrit Thomas Rietveld (1917 , Nederland)

The Red and Blue Chair was designed by Rietveld in 1917. Originally, the chair was made from stained
wood. The chair was produced using the primary colors red, yellow, and blue together with black, all of
which featured heavily in the work of the De Stijl movement, most notably in the art of Piet Mondrian.
The Red and Blue Chair is composed of vertical and horizontal planes, supported by black struts, in
many ways inspired by the work of Mondrian.
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Le Corbusier stands about among the

architecture and cultural greats of the 20th
century not only for the radical character of
his ideas about buildings and cities, but
also for the range of discipline he practiced.
He left thousands of sketches and
watercolors, hundreds of paintings, and
projects, designing everything from
furniture to buildings to entire cities.

Since the early 1900s, modern architecture

has undergone incremental development.
Le Corbusier published his findings and
observations in the influential book of
Towards A New Architecture.

by Le Corbusier (1923, Switzerland)

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The Five Points of A New Architecture (Le Corbusier 1926)

■ The use of columns to lift the building over the ground

■ The free plan

Making a building floor plan being free from structural condition,
Make free designing of the ground plan

■ The free facade

Making the structure separating from the facade.

■ The horizontal long window

■ The roof garden

The Villa Savoye (1930 , Poissy, Paris)

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The Villa Savoye, designed by Le Corbusier, in Poissy, Paris, 1930

General view in the site, with the surroundings
In Poissy, Le Corbusier built a house for the insurance company director Pierre Savoye. He told his
mother in 1930 that the house was a “little miracle.”
Villa Savoye is one of the most significant contributions to modern architecture in the 20th century.
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Le Corbusier's Five Points:

the use of columns to lift the building above the ground, the roof garden, the free plan, the long
window, and the free façade.

It stood in the middle of a field, a cube-like shape with sharp edges, perched on piles, the ground
level arranged to allow a car to enter and turn and the floor above generously open to the sky.
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The Villa Savoye by Le Corbusier (1930, Poissy, Paris)

View of the ramp on the main floor

The ramp leading up to the roof level was to become a key element in Le Corbusier’s architectural works.
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The Villa Savoye, designed by Le Corbusier, in Poissy, Paris, 1930

In the roof garden, various spatial zones and situations coexist, as much because of their
dimensions, types, and degrees of spatial differentiation.
The arrangement of the living room and bedrooms reveal the modern and flexible atmosphere of
architectural space in the 20th century.
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Nothing remains but the stairway ramp leading

from the park to the roof garden, from the
interior to the exterior.

The Villa Savoye, designed by Le Corbusier,

in Poissy, Paris, 1930
View of the stairs
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Because of the ramp, the park and the roof

garden, the interior and the exterior are
interlocked with.

The Villa Savoye, designed by Le Corbusier,

in Poissy, Paris, 1930
View of the ramp
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The visitor experiences, bit by bit, the vertical

and horizontal sections of the ‘garden terraces’,
the interior and exterior, the volume, and so on
– in other words, “the constant and invariable
characteristics” of the architectural project.

The various space of Villa Savoye is a

realization of the “modern and flexible plan”
which Le Corbusier discussed in his book of
Towards a New Architecture.

The Villa Savoye, designed by Le Corbusier,

in Poissy, Paris, 1930
View of the Villa Savoye in the field
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Find extraordinary space in the ordinary world

在日常空间中发现不平凡的空间
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Convent of La Tourette, Le Corbusier, Lyon, 1959

View of the shadows
The lights go through the windows, leaving shadows on the ground
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La Chapelle de Ronchamp, Le Corbusier, France, 1955

Interior perspective view of the main hall
Lights going through different kinds of windows
Create quiet and mysterious atmosphere in a church
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Museo Canoviano, Carlo Scarpa, Possagno, 1957

How lights leading visitors going through different exhibition spaces
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Museo Canoviano, Carlo Scarpa, Possagno, 1957

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Himeji City Museum of Literature, Tadao Ando, 1996

Use simple material of concrete, use simple colors of raw material while create amazing space,
use lights and ramp to lead people to go through exhibition halls
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Qingcheng Mountain Stone Courtyard, Standard Architecture, 2007, China

Sight interaction between indoor and outdoor
Use narrow corridor with natural lights above to lead people to go straight forward,
Follow interesting circulations, as designed by the architect
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Walk through the arches

The arches and lights are leading
Museo di Castelvecchio, Carlo Scarpa, Verona, 1964 visitors to go through from one
exhibition lobby into the next
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Find extraordinary space in the ordinary world

在日常空间中发现不平凡的空间
How do we find an extraordinary space?

We need to feel the space through

Seeing the space 视觉

seeing what people are doing in the space, seeing how sunlights are going through the space

Touching the space 触觉

touching the material, the furniture…

Listening to the space听觉

Smelling the space 嗅觉

Walking in the space 移动

…
■ Institute of Fundamentals in Architecture & Design 01.09.2022