環(huán)境藝術(shù)設(shè)計(jì)外文翻譯--光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)

1、<p>　　中文4700字，2500單詞，1.4萬(wàn)英文字符</p><p>　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)</p><p>　　Light-and-Space Integrated Interior Visual Environmental Design</p><p>　　學(xué) 部（院）： 建筑與藝術(shù)學(xué)院 </p>

2、<p>　　專(zhuān) 業(yè)： 藝術(shù)設(shè)計(jì)（環(huán)境藝術(shù)設(shè)計(jì)）</p><p>　　學(xué) 生 姓 名： </p><p>　　學(xué) 號(hào)： </p><p>　　指 導(dǎo) 教 師： </p><p

3、>　　完 成 日 期： </p><p>　　Light-and-Space Integrated Interior Visual Environmental Design</p><p><b>　　Jia Guo</b></p><p>　　College of Art and Infor

4、mation Engineering, Dalian Polytechnic University, 116600, China</p><p>　　Keywords: Light and space, Integrated, Interior, Visual, Environmental design</p><p>　　Abstract. Light is the soul of sp

5、atial buildings, which has been proved by buildings at all times and in all over the world. On the stage of history, light plays an important role in artistic buildings, to which high attention is paid. From the perspect

6、ive of science, the ray of light can be reflected on a solid object, and what we see is not a virtual solid object; we can feel the space, because this is actually the result of joint action between light and solid objec

7、t. Therefore, there is a gr</p><p>　　Introduction</p><p>　　On the basis of studying and analyzing the excellent works of our predecessors, the Light-and-space integrated interior visual environm

8、ental design is formed based on absorbing excellent design concepts. It is required to take into full consideration the expression interaction factors of solid object and light. It is also required to create the visual e

9、ffect of interior space via such integrated mode on the basis of continuously satisfying people's psychological and physiological needs, with the</p><p>　　Basic connotation of light-and-space integrated

10、interior visual environmental design Nature of space</p><p>　　Most people thought that space is a three-dimensional concept, and Euclidean geometry theory laid the foundation and regarded the basic dimension

11、 of the world as the space, until the seventeenth century when such space theory is completed. With the development of building industry, the building space is basically the same as the inside of hollowed-out building. A

12、fter formation of modern architecture concepts, Bruno Zevi proposed that the leading role of architecture is space, and criticized the </p><p>　　Essential relation between space and light</p><p>

13、;　　As everybody knows, space has the three-dimensional feature. During the space design, it is impossible to conduct the space creation and design without space.</p><p>　　Light showing the spatial depth</

14、p><p>　　Firstly, the basis of forming the three-dimensional space is the actual physiological characteristics of human eyes. Human eyes have mainly three cues that form the depth perception: The first one is mo

15、nocular cue. That is to say, one eye can feel the depth cue. For instance, getting familiarized with the height, size, linear perspective and motion parallax, etc. of an object can provide the environment</p><

16、p>　　object with certain relative distance data, so as to achieve the depth perception. The second one is muscle cue. Namely, the eyeball muscle can be utilized to effectively adjust the cues of different distances. Wh

17、at is mainly provided is the scene within two or three hundred meters from the human eyeball; long-distance object cannot be extended. The third one is binocular cue. Two eyes are at different positions to allow deviatio

18、ns of the object seen; the image disparity appeared on retina is ca</p><p>　　Secondly, the basic substance forming the three-dimensional space is the spatial gradient. Three kinds of gradients are used to ra

19、tionally explain the reasons for the appearance of depth perception, including square distance gradient, square size gradient, and square horizontal deviation. Besides, there are color gradient, texture gradient, and int

20、ensity gradient. The most critical space depth is the intensity gradient. For space, the ray of light extending inward from window will diminish gradu</p><p>　　Light constituting the spatial density</p>

21、;<p>　　Spatial density is a concept proposed by a German scholar and mainly depends on the intensity of light and the distance between interfaces. With the gradual intensification of light and increase in distance

22、, the spatial density will become low gradually. When the distance is increased to be infinitely large, it is called vacant space. In contrast, with the diminishing of light and decrease in light, the spatial density wil

23、l become high gradually. If the distance is infinitely small, it is called</p><p>　　Space-and-light integrated design concept</p><p>　　Brightness of object is the result of joint action between

24、the surface material of object and the light source, involving the interactive relation. As for solid object and light source, the change to any of them will result in different degree of brightness. Solid object or ligh

25、t cannot exist independently, and the lack of any one of them will result in invisibility of the solid object, which has the corresponding consistency with the spatial density. To find out the appropriate brightness, it

26、i</p><p>　　Fundamental principle for designing space-and-light integrated interior visual environment To change the concept of designing interior visual environment</p><p>　　As a matter of fact,

27、 the space-and-light integrated interior environment visual design is the result of comprehensively utilizing illumination design and interior solid object design and is also the result of organic integration of arts and

28、 science. The interior space visual environment effect mainly relies on the interior surface treatment, spatial configuration, rays of light and furniture furnishings etc. IN the actual process of design, the designers a

29、re often influenced by pure technologies</p><p>　　building also complies with one standard, so they does not choose the lamps based on the actual working schemes, resulting in all the same light sources and

30、lamps chosen. It is required to deal with the visible light in the process of design, so it is required to design the illumination ways and light sources according to the space-and-light integration pattern. The professi

31、onals and designers need to fully analyze the possibility between illumination and structures, practically handle the surfa</p><p>　　Brightness minimalism</p><p>　　The minimalism proposed in the

32、 1960s can describe the style of interior design and architectural design to some extent, which has certain emphatic function features, which are only the anti-ornamentalism in form. In the process of design, the minimal

33、ism highlights space design, especially the space integrity. Paying attention to the design cost and expenses in the design process and integrating economic problems in design will be the main analytical factors in futur

34、e design so as to play a econo</p><p>　　Parellalism</p><p>　　The brightness minimalism reflects the energy-saving theory to some extent and can also shows the relationship between space and ligh

35、t. As a matter of fact, the fundamental principle in the design process is the parellalism, which can be embodied from the following three aspects: firstly, there is certain parellalism between solid objects and light. I

36、t is mainly because there is no true feeling of light and an illuminated face is required to feel the light source, which is the parellalism. Secon</p><p>　　The image of space and light is reflected with the

37、 correspondence of solid objects and light. For instance, in the Amun Temple of Karnak in Ancient Egypt, in specific seasons, the sunshine will shine among the gate towers through the stone pillars thoughtfully arranged

38、in the hall. The ancient people’s design concept is the instinctive understanding of light by using the parellalism to show images. The space images are also reflected with the parellalism in modern architectural design.

39、</p><p>　　Light-and-space integrated interior visual environment design</p><p>　　The starting point of space-and-light integrated interior visual environment design</p><p>　　The lig

40、ht and interfaces of solid objects jointly decide the space. During the process of designing space-and-light integrated interior environment visual design, it is required to fully analyze the light and space factors and

41、to dynamically and bidirectionally design solid objects and light. Therefore, during design, foundation is a world without any solid object and light and is the starting point for design space and light integration. Duri

42、ng design, darkness is the main melody, so the darkne</p><p>　　complete feel the light, you need to find the illuminated face. Thus, we need to synchronously and simultaneously construct the above-mentioned

43、two parts.</p><p>　　Space-and-light integrated interior visual environment design languages</p><p>　　To design a foundation without objects and light as a colorful and gorgeous world needs to co

44、nstruction solid objects and light simultaneously. A shadow, another element, which appears during making gorgeous and colorful illumination on solid objects, brings certain rhythms and changes in the brightness of spati

45、al structures. Solid objects, light and shadows are the principal languages in the design of space and light integrated interior environment vision. With the continuous development of sci</p><p>　　Space-and-

46、light integrated interior visual environment design patterns</p><p>　　In the course of design, it is required to reasonably design a building entity but one cannot visually feel the solid object actually, so

47、 irradiation of light beam is needed to form a beautiful vision. Use the strong and weak lights to reasonably illuminate the solid object to show the shade, highlight, shadow and other light-shade interlaced gradation wi

48、th rich brightness, which makes the vision more full and around. The design space effect mainly relies on the dynamic and bidirectional relatio</p><p>　　i.e. space image, it is also an important factor for d

49、esigning the space visual environment. The design of space and light integrated environment vision can be concluded into the patterns below: in the beginning, there is zero brightness, which means the dark environment wi

50、thout any solid object and light. Finally, there is a interior space with a favorable visual effect. Dynamic, bidirectional and simultaneous design of solid objects and light are required in designing space so as to reac

51、h the </p><p>　　Conclusion</p><p>　　To sum up, the space-and-light integrated interior environment visual design, which is a visual environment design method, needs to analyze the visual environ

52、ment design from lighting design and interior design, needs to give consideration to light environment design and artistic modeling design and needs to get rid of the restrictions of standards and norms furthest with the

53、 final purpose of expressing space images. From the foundation without light, synchronously constructs light and entities.</p><p>　　References</p><p>　　[1] Yang Chunyu, Zhang Qingwen, Liang Shuy

54、ing etc. Night Space Light Environment Design and Energy-saving Methods for Urban Administrative Office Buildings – Take the Design of Chongqing NPC’s Building for Example [C].//2011 (Tian Jin) Collected Papers in Lighti

55、ng Science and Technology Forum for the Four Directly-controlled Municipalities. 2011:25-28.</p><p>　　[2] Liu Huan and Liu Xiumei. Space-Image-Based Interior Light Environment Design. China Real Estate Indus

56、try, 2012(10):109.</p><p>　　[3] Zhang Lin, Du Cai. Discipline Construction Conception of Light Environment Design. Modern Communication, 2013,35(12):118-121.</p><p>　　[4] Shi Xiaona, Xu Zhao, Gu

57、o Jing etc. Analysis on the Relationship between Light and Space in the Indoor Environment. Art Science and Technology, 2014(6):286-286,245</p><p>　　[5] Wang Haifan. Brief Analysis on Light Environment Desig

58、n in Interior Design. Journal of Changzhou Institute of Technology, 2011,24(3):43-45.</p><p>　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)</p><p><b>　　摘要</b></p><p>　　無(wú)論是任何年代，任何地點(diǎn)的建筑，都能夠證明這樣一個(gè)事實(shí)—

59、—光是建筑空間的靈魂。在歷史的舞臺(tái)上，光是構(gòu)成一個(gè)具有美感的建筑最重要的因素，而這個(gè)因素也被高度關(guān)注著。從科學(xué)的角度上來(lái)看，光線可以被固體反射，而我們所看到的并不是物體本身；我們可以感受到空間，實(shí)際上是因?yàn)槟鞘枪馀c物體共同造成的結(jié)果。因此，光與物體之間有著顯著的關(guān)聯(lián)；也可以說(shuō)他們之間有一種通性。光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)可以充分滿足人們的真實(shí)審美需求，并促進(jìn)其發(fā)展，同時(shí)推進(jìn)建筑業(yè)進(jìn)步。</p><p>　

60、　關(guān)鍵詞：光與空間，和諧統(tǒng)一，室內(nèi)，視覺(jué)，環(huán)境設(shè)計(jì)</p><p><b>　　引言</b></p><p>　　在學(xué)習(xí)和分析前輩們的精彩作品的基礎(chǔ)上，光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)，是基于吸收那些卓越的設(shè)計(jì)概念而形成的。這既需要對(duì)光與建筑物之間互相滲透的表象因素進(jìn)行深入思考，又需要去以不斷滿足人們的心理與生理需求為基礎(chǔ)，通過(guò)整合的方式創(chuàng)造室內(nèi)空間對(duì)于視覺(jué)的影響，

61、而其最主要的目的是滿足人們的審美需求。室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)主要包括室內(nèi)空間的構(gòu)造藝術(shù)與室內(nèi)光，首要核心是創(chuàng)造空間概念。從學(xué)科層面來(lái)說(shuō)，作為一種空間視覺(jué)環(huán)境設(shè)計(jì)，光的設(shè)計(jì)與室內(nèi)設(shè)計(jì)需要徹底地回顧空間與光的關(guān)系，并分析視覺(jué)空間環(huán)境設(shè)計(jì)的基本內(nèi)涵。</p><p>　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的基本內(nèi)涵</p><p><b>　　空間的自然屬性</b></p&

62、gt;<p>　　大多數(shù)人都認(rèn)為空間是一個(gè)三維的概念。歐幾里得幾何理論將空間作為了世界最主要的一個(gè)維度，奠定了這一概念理論的基礎(chǔ)；直到十七世紀(jì)，這一空間理論才完全形成。隨著建筑工業(yè)的蓬勃發(fā)展，建筑空間總地來(lái)說(shuō)就等同于建筑內(nèi)部所挖空的這些空間。在現(xiàn)代建筑理論形成之后，布魯諾·賽維提出，統(tǒng)領(lǐng)建筑的其實(shí)是建筑內(nèi)部的室內(nèi)空間，并且批判通過(guò)雕塑與繪畫(huà)等手段所進(jìn)行的藝術(shù)性建筑創(chuàng)作。同時(shí)，這一理論也不斷啟發(fā)著人們?nèi)ダ斫獠⑻剿鹘?/p>

63、筑空間的真實(shí)意義，但這也緊緊依賴于理解固態(tài)建筑本身，而不再進(jìn)行更深一步的探討。在二十世紀(jì)相對(duì)論提出之后，人們將時(shí)間因素加入到了傳統(tǒng)的三維空間當(dāng)中，這也逐漸揭示了流動(dòng)空間的設(shè)計(jì)概念以及有機(jī)建筑的形成——從體驗(yàn)建筑空間，欣賞建筑空間以及評(píng)論建筑空間開(kāi)始。</p><p><b>　　空間與光的緊要聯(lián)系</b></p><p>　　正如人人所知道的那樣，我們所生活的空間具有

64、三維的特征。因而在進(jìn)行空間設(shè)計(jì)時(shí)，脫離空間因素的空間創(chuàng)造與設(shè)計(jì)都是不可能實(shí)現(xiàn)的。</p><p><b>　　光展現(xiàn)了空間的深度</b></p><p>　　首先，三維空間形成的基礎(chǔ)是人們?nèi)庋鄣恼鎸?shí)性生理特征。人類(lèi)肉眼有三個(gè)主要的感知空間深度的線索：第一個(gè)線索是單眼線索。也就是說(shuō)，憑借一只眼睛就可以感受到深度。例如，熟悉高度、大小、直線透視、運(yùn)動(dòng)視察等等。一個(gè)物體如果

65、可以提供包含確定相關(guān)距離的數(shù)據(jù)，便能夠成功地感知到深度。第二個(gè)線索是肌肉線索。換句話說(shuō)，眼球肌肉可以被用來(lái)有效地適應(yīng)不同的距離情況。人類(lèi)的眼球主要可以提供二百米至三百米之內(nèi)的場(chǎng)景影像；過(guò)于遙遠(yuǎn)的物體不會(huì)被很好地接收。第三個(gè)線索是雙眼線索。兩只眼睛在不同的位置會(huì)產(chǎn)生視覺(jué)偏差。圖像出現(xiàn)在視網(wǎng)膜上的不一致現(xiàn)象被稱(chēng)作雙眼偏差。這種偏差可以被用來(lái)形成深遠(yuǎn)的空間。</p><p>　　其次，形成三維空間最主要的物質(zhì)因素是空間

66、漸變。共有三種漸變模式可以合理解釋深度感知的出現(xiàn)，包括距離漸變、大小漸變以及水平漸變。除此之外，也有色彩漸變、材質(zhì)漸變及亮度漸變等等。而最關(guān)鍵的空間深度線索就是亮度漸變。對(duì)于空間來(lái)說(shuō)，光線從窗口向室內(nèi)延伸并逐漸衰減，變得溫和，而這種漸變可以被用來(lái)創(chuàng)造空間的面貌。</p><p><b>　　光構(gòu)成了空間密度</b></p><p>　　空間密度概念是一位德國(guó)的學(xué)者提出

67、來(lái)的，這一概念主要由光的強(qiáng)度與其距交界處的距離決定。當(dāng)光線逐漸增強(qiáng)，距離逐漸增加時(shí)，空間密度也會(huì)逐漸變低。當(dāng)距離增加到無(wú)限大時(shí)，就被稱(chēng)作虛空間。反之，隨著光線的減弱與距離的縮短，空間密度就會(huì)變得很高。如果當(dāng)距離變得無(wú)限小的時(shí)候，就被稱(chēng)作固態(tài)物體。這是兩種形成空間密度與空間感知的主要變化。這兩種變化對(duì)于每一個(gè)空間來(lái)說(shuō)，都會(huì)影響其空間密度。光的強(qiáng)度與交界處決定了空間的自然屬性。不同的空間感知由不同的空間密度組成，并且每種密度之間都有著確定的

68、關(guān)聯(lián)。光的強(qiáng)度將不會(huì)對(duì)固態(tài)物體本身產(chǎn)生影響，但它會(huì)通過(guò)視覺(jué)對(duì)人們的心理產(chǎn)生影響。因此，將光與空間相結(jié)合的概念就出現(xiàn)了。</p><p>　　空間與光和諧統(tǒng)一的設(shè)計(jì)理念</p><p>　　物體的亮度是由物體表面材質(zhì)與光源的共同作用而決定的，它們之間有一種相互影響的關(guān)系。至于物體與光源，二者當(dāng)中的任何一個(gè)因素發(fā)生變化都會(huì)導(dǎo)致不同亮度的光。類(lèi)似于空間密度中的光線因素與距離因素，物體與光也不能獨(dú)

69、立存在，缺少二者當(dāng)中任意一個(gè)因素將會(huì)導(dǎo)致物體無(wú)法被人們看見(jiàn)。找出合適的光線亮度，就需要挑選合適的光源。除此之外，這也需要我們?nèi)コ浞址治霾⒄莆毡砻娌牧系慕Y(jié)構(gòu)紋理與光學(xué)特性，并且從實(shí)際中去把握物體與光源之間的關(guān)系，然后，再做出合理的設(shè)計(jì)，以求達(dá)到空間與光和諧統(tǒng)一的設(shè)計(jì)理念。人們常常把設(shè)置光亮作為一個(gè)可以提供簡(jiǎn)單照明環(huán)境的手段，從而去關(guān)注固態(tài)結(jié)構(gòu)的空間布置，而這是不規(guī)范的。因此，在設(shè)計(jì)中，我們需要充分分析光源與材質(zhì)的重要性，二者當(dāng)中沒(méi)有任何一

70、個(gè)因素是可以省去的。這需要以設(shè)計(jì)一個(gè)較好的視覺(jué)空間環(huán)境為主要目的，動(dòng)態(tài)而雙向地去構(gòu)建空間。</p><p>　　空間與光和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的具體原則</p><p>　　事實(shí)上，空間與光和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)是綜合利用了照明設(shè)計(jì)與室內(nèi)構(gòu)筑物設(shè)計(jì)的結(jié)果，同時(shí)也是有機(jī)地整合藝術(shù)與科學(xué)的結(jié)果。影響室內(nèi)空間視覺(jué)環(huán)境的因素主要在于室內(nèi)空間的界面處理，空間組態(tài)，光線及家具陳設(shè)等等。在設(shè)計(jì)的

71、實(shí)際過(guò)程當(dāng)中，設(shè)計(jì)師們經(jīng)常被便捷的科學(xué)技術(shù)與標(biāo)準(zhǔn)規(guī)范所影響與束縛?？偟貋?lái)說(shuō)，在當(dāng)前階段，室內(nèi)環(huán)境的設(shè)計(jì)并沒(méi)有充分考慮到視覺(jué)的影響，裝飾燈具甚至也成為了一個(gè)用以夸耀的道具。這種設(shè)計(jì)僅僅是追求實(shí)際的照明效果而并沒(méi)有充分分析客觀條件。因此，當(dāng)他們?cè)谠O(shè)計(jì)照明時(shí)，僅僅是按照一種行為準(zhǔn)則去做，而當(dāng)設(shè)計(jì)整個(gè)建筑時(shí)也仍舊是依照一個(gè)標(biāo)準(zhǔn)去進(jìn)行，所以他們不會(huì)以實(shí)際工作方案為基準(zhǔn)去挑選燈具，這也導(dǎo)致了所選擇的光源與燈具都是大同小異的。這需要在設(shè)計(jì)階段去解決光

72、的視覺(jué)問(wèn)題，即需要根據(jù)空間與光和諧統(tǒng)一的模式去設(shè)計(jì)照明方式以及光源。專(zhuān)家與設(shè)計(jì)師們則需要充分分析照明與結(jié)構(gòu)之間的多種可能性，從實(shí)踐中掌握界面條件，從而保證設(shè)計(jì)質(zhì)量。</p><p><b>　　光的極簡(jiǎn)主義</b></p><p>　　于十九世紀(jì)六十年代提出的極簡(jiǎn)主義可以被用來(lái)描述室內(nèi)設(shè)計(jì)與建筑設(shè)計(jì)的某些范疇，如強(qiáng)調(diào)某些功能特點(diǎn)，以及形式上的反裝飾主義。在設(shè)計(jì)的過(guò)程中

73、，極簡(jiǎn)主義強(qiáng)調(diào)了空間設(shè)計(jì)，尤其是空間的完整性。關(guān)注設(shè)計(jì)過(guò)程中的經(jīng)濟(jì)與精力成本，整合設(shè)計(jì)中的經(jīng)濟(jì)問(wèn)題將會(huì)成為未來(lái)設(shè)計(jì)的主要分析性因素，從而便于兼顧經(jīng)濟(jì)與實(shí)際。這種設(shè)計(jì)風(fēng)格主要通過(guò)去掉所有不必要的裝飾，明確地反對(duì)了裝飾主義，保持了建筑對(duì)原始結(jié)構(gòu)與主題的需求。在空間設(shè)計(jì)過(guò)程中合理運(yùn)用極簡(jiǎn)主義的最根本的目的，是讓人們?cè)谡彰鞅缓芎玫乜刂频那疤嵯?，感受到空間的意向與環(huán)境——空間的意向與環(huán)境已經(jīng)清楚地反映到室內(nèi)視覺(jué)環(huán)境的設(shè)計(jì)當(dāng)中。另外，在設(shè)計(jì)時(shí)，于一

74、些不重要的部分中設(shè)置過(guò)于明亮的光線是不必要的。對(duì)于環(huán)境空間設(shè)計(jì)，我們需要建立一種光之極簡(jiǎn)主義的設(shè)計(jì)理念。也就是說(shuō)，在設(shè)計(jì)過(guò)程中，重點(diǎn)在于建筑與空間。對(duì)于一些輔助空間，僅僅保障一些必要的正常照明即可，這樣會(huì)使設(shè)計(jì)變得富有節(jié)奏感與韻律感。</p><p><b>　　對(duì)應(yīng)性原則</b></p><p>　　光的極簡(jiǎn)主義在某些范疇內(nèi)反映了能量?jī)?chǔ)存的理念，同時(shí)也說(shuō)明了空間與光

75、之間的密切聯(lián)系。事實(shí)上，設(shè)計(jì)過(guò)程中的基本原則就是對(duì)應(yīng)性原則，它可以從以下三個(gè)方面來(lái)闡釋?zhuān)旱谝稽c(diǎn)，固態(tài)的物體與光之間有一個(gè)明確的對(duì)應(yīng)性。這主要是因?yàn)楣馐菬o(wú)法被真實(shí)的觸碰所感覺(jué)到的，一個(gè)被照亮的表面需要去感受光源，這就是對(duì)應(yīng)性原則。第二點(diǎn)，有了空間與光之后，可以適當(dāng)?shù)卦鰪?qiáng)光的強(qiáng)度，以滿足所要著重展現(xiàn)的空間的需要；一些不那么重要的空間將減弱光源，從而形成對(duì)比，使空間內(nèi)的光產(chǎn)生相應(yīng)的變化。第三點(diǎn)，過(guò)于強(qiáng)烈而明亮的光源不能被用作室內(nèi)光的組成部分。

76、因此，這就需要運(yùn)用“只見(jiàn)光線不見(jiàn)光源”的設(shè)計(jì)理念，從而形成構(gòu)筑物與光之間的對(duì)應(yīng)關(guān)系。要使光源不可見(jiàn)，就需要使用物體將其遮蔽，于此同時(shí)光的固態(tài)特點(diǎn)又需要被展現(xiàn)出來(lái)。這就是空間與構(gòu)筑物之間的對(duì)應(yīng)性關(guān)系。</p><p>　　空間與光的效果是被物體與光的統(tǒng)一性所影響的。例如，古埃及卡爾納克的阿蒙神廟，在特定的季節(jié)，陽(yáng)光照射在門(mén)口的塔上，這些陽(yáng)光穿過(guò)石柱，深沉地劃分著大廳的內(nèi)部空間。古代人們的設(shè)計(jì)理念是一種對(duì)光的直覺(jué)性理

77、解，即運(yùn)用對(duì)應(yīng)性原則去展現(xiàn)空間意向。對(duì)應(yīng)性原則在現(xiàn)代建筑設(shè)計(jì)中也影響著空間效果。</p><p>　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的出發(fā)點(diǎn)</p><p>　　光與固態(tài)物體的界面共同決定了室內(nèi)空間。在光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)過(guò)程中，我們需要充分分析光與空間的實(shí)際情況，動(dòng)態(tài)而雙向地設(shè)計(jì)構(gòu)筑物與光。因此，在設(shè)計(jì)時(shí)，最開(kāi)始的基礎(chǔ)是一個(gè)沒(méi)有任何物體與光的世界，而這同時(shí)也是對(duì)空間與光

78、綜合設(shè)計(jì)的出發(fā)點(diǎn)。在設(shè)計(jì)時(shí)，黑暗是主旋律，所以黑暗會(huì)將空間淹沒(méi)在沒(méi)有光的世界里，而光能使空間自己顯現(xiàn)出來(lái)。如果你想完全感受到光亮，你需要去尋找受光面。因此，我們需要同時(shí)并同步地構(gòu)建上述兩個(gè)部分。</p><p>　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的設(shè)計(jì)語(yǔ)言</p><p>　　將一個(gè)沒(méi)有構(gòu)筑物與光的基礎(chǔ)空間設(shè)計(jì)成一個(gè)豐富多彩的世界，需要同時(shí)結(jié)合構(gòu)筑物與光這兩種因素。在對(duì)構(gòu)筑物進(jìn)行豐富多

79、彩的照明設(shè)計(jì)時(shí)，影子作為另一個(gè)要素，可以在有光的地方對(duì)室內(nèi)空間結(jié)構(gòu)帶來(lái)富有韻律的變化。構(gòu)筑物，光，影就是光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的設(shè)計(jì)語(yǔ)言。隨著科學(xué)與技術(shù)的不斷發(fā)展，光源的類(lèi)型數(shù)量愈加龐大，構(gòu)筑物的材料種類(lèi)也與日俱增。如何合理地將不同種類(lèi)的構(gòu)筑物材料與光源搭配起來(lái)，以達(dá)到一個(gè)良好的室內(nèi)空間效果，這正反映了空間設(shè)計(jì)與照明設(shè)計(jì)的統(tǒng)一性，同時(shí)也形成了光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的設(shè)計(jì)語(yǔ)言。</p><p&g

80、t;　　光與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)的模式</p><p>　　在設(shè)計(jì)的過(guò)程中，我們需要去合理地設(shè)計(jì)出一個(gè)實(shí)體的構(gòu)筑，但卻不能讓人們從形式上去感受到構(gòu)筑物的存在，所以為了形成一個(gè)良好的視覺(jué)體驗(yàn)，光線的照射是必不可少的部分。運(yùn)用強(qiáng)弱光線去合理地照亮室內(nèi)構(gòu)筑物，通過(guò)充足的光線來(lái)展現(xiàn)構(gòu)筑物的形狀、最精彩的部分、影子及其他光與構(gòu)筑相交錯(cuò)的漸變，這些方法可以讓視覺(jué)效果更加豐富，使人有身臨其境之感。室內(nèi)空間的設(shè)計(jì)效果主

81、要依賴于室內(nèi)構(gòu)筑物與光之間動(dòng)態(tài)而雙向的關(guān)系，所以空間與照明的設(shè)計(jì)在一個(gè)充滿光亮的時(shí)間進(jìn)行是無(wú)法得出結(jié)論的。室內(nèi)構(gòu)筑物與光的雙向性設(shè)計(jì)需要在黑暗中進(jìn)行。因此，建筑空間的設(shè)計(jì)不僅僅要關(guān)注于室內(nèi)構(gòu)筑物的樣式，也要關(guān)注整體的光影形狀與效果。在對(duì)空間與光的統(tǒng)一設(shè)計(jì)時(shí)，室內(nèi)構(gòu)造的亮度主要來(lái)源于構(gòu)筑物的表面材質(zhì)與光。因此，從某種意義上來(lái)說(shuō)，光影的分布會(huì)影響人們對(duì)空間的感知，換句話說(shuō)就是空間效果，這也是室內(nèi)空間視覺(jué)設(shè)計(jì)的一個(gè)重要因素。光與空間和諧統(tǒng)一的

82、室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)可以被概括成這樣一種模式：在開(kāi)始的時(shí)候，沒(méi)有照明，這意味著那是一個(gè)黑暗的環(huán)境，既沒(méi)有構(gòu)筑物也沒(méi)有光。而最終將形成一個(gè)擁有良好視覺(jué)效果的室內(nèi)空間。對(duì)構(gòu)筑物與光的動(dòng)態(tài)，雙向，同步地設(shè)計(jì)在室內(nèi)空間設(shè)計(jì)中是</p><p><b>　　總結(jié)</b></p><p>　　總地來(lái)說(shuō)，作為一個(gè)視覺(jué)性的環(huán)境設(shè)計(jì)方法，光影與空間和諧統(tǒng)一的室內(nèi)視覺(jué)環(huán)境設(shè)計(jì)，既需要從光的設(shè)

83、計(jì)與室內(nèi)設(shè)計(jì)中分析視覺(jué)性的環(huán)境設(shè)計(jì)，又需要考慮光的環(huán)境設(shè)計(jì)與藝術(shù)造型設(shè)計(jì)，同時(shí)也需要以表達(dá)空間意向?yàn)樽罱K目的，最大限度地突破標(biāo)準(zhǔn)與規(guī)范的限制。從沒(méi)有光的基礎(chǔ)環(huán)境開(kāi)始，同步地構(gòu)建光與構(gòu)筑物。充分運(yùn)用空間與光統(tǒng)一設(shè)計(jì)的模式，并密切關(guān)注設(shè)計(jì)語(yǔ)言的表達(dá)。不要僅僅去為了展示照明與光源，而疏忽了材料的光學(xué)特點(diǎn)。同時(shí)，因?yàn)椴牧隙鲆曊彰饕彩遣磺‘?dāng)?shù)?。這需要將光與構(gòu)筑物充分地結(jié)合起來(lái)，形成我們所需要的室內(nèi)環(huán)境，從而實(shí)現(xiàn)最好的環(huán)境視覺(jué)效果。</p&

84、gt;<p><b>　　參考文獻(xiàn)：</b></p><p>　　[1]楊春雨，張慶文，梁淑英等.城市行政辦公大樓的夜晚空間光環(huán)境設(shè)計(jì)與能源儲(chǔ)存方法-將重慶NPC大樓作為案例[C].//2011（天津）四大直轄市的照明科學(xué)技術(shù)論壇會(huì)議錄.2011:25-28.</p><p>　　[2]劉歡，劉秀梅.以空間效果為基礎(chǔ)的室內(nèi)光環(huán)境設(shè)計(jì).中國(guó)真正的房地產(chǎn)工業(yè)

85、，2012（10）：109.</p><p>　　[3]張琳，杜蔡.光環(huán)境設(shè)計(jì)的自律構(gòu)筑概念.現(xiàn)代對(duì)話，2013,35（12）：118-121.</p><p>　　[4]史曉娜，徐兆，郭靜等.對(duì)室內(nèi)環(huán)境中光與空間的關(guān)系分析.藝術(shù)科學(xué)與技術(shù)，2014（6）：286-286,245.</p><p>　　[5]王海帆.淺析室內(nèi)設(shè)計(jì)中的光環(huán)境.常州科技研究所雜志，201