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1、百度文库Talking about the symbols in the environmentof the use of Art and Desig nAbstract:The in herita nee and inno vati on over the years the relati on ship betwee n art and design environment has been the focus of attention. This article hopes for the design of symbols used to explore the culture, ab

2、out the mysteries of inheritanee and inno vati on of the trace of sen time nt.Keywords :deformati on grammar separatist symbols con stituteIn herita nce and inno vati on over the years the relati on ship betwee n art and desig n environment has been the focus of attention. In fact, from the linguist

3、ic point of view, this contradiction is the Ianguage of stability and variation between the contradiction. As a designer in the form of design successes and failures of the success or failure depends on the master, the term the rich and the use of grammar of proficiency. Designers to make their work

4、s by others can truly understand, we must choose the appropriate word and must comply with the grammar. This does not mean that designers can only follow the beaten track, no personal contribution. Designers skillfully use the new in dividual symbols, or a con scious cha nge in in ter-symbol comb in

5、 atio n of a nu mber of conven ti onal relatio ns, create new works of movi ng, which is desig n inno vatio n.Composition has a specific component approach, that seems to be very plain in the compositi on of the sudde n appeara nce of a heteroge neous eleme nts, making the program itself is very pla

6、in to achieve unexpected results, with a sense of innovation of new symbols like this heteroge neous. In peoples accustomed to things difficult to arouse eno ugh atte nti on and in terest in case, some com mon symbols deformati on, splitting, or the preparation of the code to change the order, you c

7、an play a compelling, thought-provok ing, the stre ngthe ning of en vir onmen tal messag ing Ian guage role.United States renowned architect Charles Moore designed the city of Orleans, Italian Piazza is bold in design elements taken from a variety of classical symbols, and symbolic means to reproduc

8、e them. The entire square to a circular plane Baroque for the compositi on to the gradual proliferati on of black-a nd-white concen tric circles and to the surro unding paveme nt surface to exte nd out un til the three sides of the street entran ce. Classical Roma n colu mn, after a face-lift to the

9、 face of new shows, such as the Corin thia n colu mn is used in sta ini ess steel colu mn, can opies wall carved with the Latin of this fountain for the public to all the people who offer the gifts of the message; Doric colu mn on the Flow ing Down gurgle, ro und coup on on the molar smiling portrai

10、t, water is constantly spit from his mouth . here is not only full of bright rich atmosphere of a moder n commercial, but also a stro ng attachme nt to local feelings. Maps and Italian Apennine Peninsula, Sicily and Sardinias plan; ancient Rome, the five-colu mn, the deformati on Motif comb in ati o

11、ns and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact, you are immediately aware that it is a mockery of classical Marxism. This is a joyous, almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style building was considered aloof in the historic and l

12、ocal above only has the tech no logy and a small nu mber of functional sema ntic semantics, there is no room for thinking aftertaste, the environment has led to apathy and boring criticism. This use of information theory to explain the principle that effective environmental information contained in

13、the symbol system too. In view of this, post-moder n architects Ven turi loudly called for: build ing a rich content, while building to include other aspects of the multi-dimensional art, even including the Ian guage, so that it is no Ion ger a mere tool for the space. It advocates en vir onmental c

14、omplexity and con tradictory n ature of modernism promoted by substitute simplicity; to semantic ambiguity and tension in place of straightforward; to the multiplicity of sema ntic oppositi on to one or the other of opport uni sm; should be mixed at a gla nce rather tha n un ity. Stern desig ned the

15、 best product showroom are a typical example, it adopted legislation faces many of the traditional symbols and constitute a form, like the ancient Greek pan the on of elevati on, thus suggest ing he was trying to convey theme purposive: that is, the building as a temple of consumerism, the commercia

16、lizatio n of society reflect the values of people and commercial activities of daily life today, the importance of. But the way metaphors are complex, multiple, without serious thought, it is difficult to understand immediately apparent from its real significance. This design works, for example, not

17、 only the depth of the box thinking is more than simply the pursuit like a sailing boat or a bird of prey such as the symbolism of a more in trigu ing, more philosophical.The environment as a symbolic phenomenon, in order to address the Iong-standing problem for the designers of the inheritance and

18、innovation of the paradoxical problem of providi ng a effective way. Desig n Ian guage as the Ian guage of symbols, are rooted in past experie nce with the rapid developme nt of the society is lin ked to the new features, new materials, new tech no logy and calls on new ideas. On the one hand, as if

19、 it were so general language Ianguage changes slowly, on the other hand, with the rapid developme nt of society. How to make the en vir onment not only of historical continuity, but also to adapt to the new requirements of the times?With the adva nce of scie nce and tech no logy progress and freque

20、nt cultural excha nges, vocabulary and grammar in the develop ing trend of conv erge nce, but a n atio n because of n atural con diti ons, econo mic and tech no logical, socio-cultural practices of the different environment Association has a number of unique symbols and arrangement. Spoken like the

21、dialect, like the designers cleverly inject this kind of accent can enhancethe environment for a sense of history and local flavor, and enhance the in flue nee of Ian guage en vir onment. Moder n Japa nese Architecture Master Kenzo Tange desig ned Kagawa hall is a new form of the traditi onal sema n

22、tic model. Although the buildi ng are used by ordinary rein forced con crete frame structure, but the external form of treatment is the use of Lu Ming Chuan head, beam top traditional symbols, vertical horizontal partition is a natural association to the Japa nese main tower of the layers of eaves.

23、Layout has absorbed the adva ntages of the square tower of the traffic and public facilities on the planar core (similar to the tower Kaguta ven tricle), so that they share the smallest Get all floors of the shortest route traffic. So as to show a structure with moder n forms of tech no logy to refl

24、ect the style of traditi on al local methods.Un ited States artist Susa n Lange once said, is always a symbol to simplify the form of the performa nee of its meaning, that is exactly what we can grasp the reas ons for it. Regardless of a work of art (or eve n all of the arts) is how the complexity o

25、f , profo und and rich, it is easy tha n real life. Therefore, the art theory is un doubtedly the establishme nt of an effective hearts and mi nds in a vivid reality of the con cept of such a great cause of the preamble is more. symbolic activities have bee n in cluded in the activities of some abst

26、ract no Ion ger rema in in the in dividual above the. Visual symbols are an art symbols, but also the performance of sexual symbols. Relative reasoning in terms of sexual symbols, visual symbols do not have their own system, and any visual symbols have a certain degree of cultural content, and only

27、reflected in a certain degree of emotional structure, around a particular theme of organic comb in atio n. Educated Youth Hotel, Mao Jia Restaura nt commercial buildi ng and so on, it also adopted the hats, corn on the cob, rough woode n tables and chairs, wells and so on, and even more in order to

28、create an atmosphere of clothing are to be attendants, as well as the menu were also cleverly integrated into the Among them, these differe nt geographical sig nifica nce in rural areas typically rich in visual symbols to create an environment here is like an old album, recording a different persons

29、 experie nce, making the desig n become more cordial, but also worth pon deri ng. Visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke thoughts association, which have empathy, to achieve emotional resonance, thus building more meaningful.The

30、 rapid developme nt of urba n con structi on has brought rapid cha nges, but at the same time we also lost many will never be able to recover things - historical con text. The history of the formatio n of the streets, alleys, arches, religious shri nes and so on urban form as a complete expression o

31、f architecture and urban image of the symbol system, being into films, Shi ng Street, into a Square to be removed, threats to the urba n form of the compatibility and con tin uity . Respect for historical traditi on does not mean, rigidly traditi on al. In stead, con sciously keep these traditi ons,

32、 will make the city more local flavor. I n fact, establishi ng a n ew do not have to old, the key lies in how to approach traditional and fashion to create a new symbiosis of old and new urban form (symbols). New World project is located in Shanghai, Xingye Road Huan gpi Road, a major site of the Ch

33、in ese Communi sts of the surro unding area. Venue opposite the south block, design for the modern architecture is not high, which is dotted with some reservations the traditional architecture, and the venue in harmony. And venue where the north block, the neighborhood retained a large pattern, care

34、fully preserved and repaired the building exterior facade Shikumen, detail and neighborhood-scale space, the building was made larger internal transformation in order to adapt to office, commercial, accommodati on, cateri ng and en terta inment and other moder n life. Have bee n built from the curre

35、 nt part of view, received much praise, has a greater impact. It is said that sales and cost-effective ness also very good. In fact, in Shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lifestyle never die off, New World just give it a reasonablechange and cont

36、inuity, are left for us to think more and enlightenment.Famous philosopher Ernst Cassirer pers on think symbols are ani mals. All huma n spiritual and cultural activities are the product of symbols. The essence of that person in that he can use to create cultural symbols. Therefore, all cultural for

37、ms, is both a symbol of the reality of Events is also the person of the nature of the object. The so-called master culture, in the symbolic level at least, to be skilled to operate constitute the cultural symbols and cultural system rather than the symbol itself, the new experie nces and in sights w

38、ove n in to symbols go, in fact, symbols themselves are also changing, and the cultural heritage and the innovation of the mysteries of it exist in this variation of the. Confucius and Socrates are still human beings are eternal beac on, and the symbols of moder n subjects in this study call for us

39、from the back to Socrates. Will be simple and complex sema ntics, traditi onal and fashi on able phrase structure, and applied to the design of modern art, thereby creating a personalized, Huma n Cultures new desig n symbols.Fiber art and in terior desig nAbstract:Fiber art is a functional fiber art

40、 and aesthetic value in one art form. Fiber art is full of natural flavor to the material texture and flavor of the simple hand-woven to meet the emotional needs of a wide range of people, it and other types of interior decorati on as compared to an irreplaceable adva ntages. Fiber art has bee n to

41、in filtrate the building and environmental matters in all aspects of design, it is mainly the use of various materials and tech niq ues to express the con cept of moder n desig n and moder n life.Keywords :Fiber arts; not in clude the in door en vir onment; fiber artFiber Art collecti on of classica

42、l and moder n, roma ntic and calm, in dustrial civilization and traditions in one hand, are an ancient and young arts. It is natural animal and plant fiber or synthetic fiber materials, with knitting, ring binding, winding, Stitch and other product ion means, the creati on of pla nar, three-dime nsi

43、onal image of a form of art. Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling Ianguage works.1. fiber texture art interior environ

44、mental design on the impact of material selecti on.The performance of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an un paralleled visual appeal. Fiber art of material selection is very extensive, almost all types of textile fibers may be app

45、licable. The use of different materials through different processing or the use of differe nt structures can produce differe nt textures. Texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and transparencyand so on con stitute a large nu mber of attributes. C

46、on stitute the attributes of diverse, complex portfolio, will also change texture infinite. At the same time, textures are also belong to the com mon percepti on of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds of materials are exposed th

47、rough the texture to its true features and through the texture to express the characteristics of materials. Fiber interior accessoriesthrough tactile senses given differe nt psychological feeli ngs, such as hard and soft, thick, hot and cold and so on. At the same time, set up in the memory of visua

48、l perception, evoke images of different psychological perception, distinguishing texture characteristics. Modern fiber art is a breakthrough and go bey ond the traditi on al, mainly mani fested as fiber such material on a higher level of understanding and application. Traditional fiber art, mainly i

49、n natural fiber materials. These materials include silk, wool, hemp, cotton and so on. Used in modern fiber art materials, has broken through the traditional con stra in ts. Here the fiber is no Ion ger just cott on, hemp, wool, brow n, ratta n and other traditional fiber materials, including chemic

50、al fiber and latitude of the hard and soft woven material, as well as all of the linear material, and even some metal fibers have also been artists of all ages. American fiber artists such as Nancys work The Golde n Wave used wool, viscose fiber and copper wire as material. Bulgaria Cayma n million

51、fiber artists work with the weft a plastic tube and wool as a material. Modern fiber art of painting from nature than from the pursuit and began to focus on the performanee of materials in the United States itself, the natural form of fiber materials, rich texture, just betwee n the differe nt fiber

52、s and Sophie, straight and curly, miscella neous and pure, Ming with dark, light and heavy con trast, and to appreciate those who bring a wealth of aesthetic experienee. Fiber Art has always been known as the artistic and texture. Whoof weaving is a traditional fiber arts major process. However, mod

53、ern tech no logy of fiber art practices have not bee n listed out in full, such as weav ing, hitch, winding, Stitch, collage, as well as dye ing, painting, spray ing, printing and so on . Many artists will also scie nce and tech no logy into the field of fiber art creations. American artist Cynthias

54、 Runs, Lake rain looms for the creative use of computer tools, the use of three-way warp space to create a unique effect in the fabric texture and structure to show the endless imagination, different types and color overlay with the cover line, resulting in the traditional process can not be achieve

55、d on many levels of subtle cha nges. There are many artists, make use of the existi ng products to create, but also the effect of unu sually touch ing. For example, the pioneer of modern fiber arts - United States Miss Lei Nuo senior artists in the early 80s of last century the United Nations buildi

56、ng in New York designed the giant fiber works of art white fluttering fiber. This work of art from the interior of the building about 6m square vertical hoisting the roof down countless articles and white fibers, this fiber bundle with a bunch of slightly swinging the wind, both light also generous,

57、 we also implicitly simple, it reveals a hazy and includes the state of tune of the realm of the United States. These works and the use of materials through the excavation of the United States itself and the integration with the environment, so as to achieve the unusual decoration of the United Stat

58、es can not match the artistic realm.2 .fiber art sculpture on the in terior of the impact of en vir onmen tal desig n Compared with traditi onal fiber art, con temporary fiber art is an importa nt feature of its sculpture. Traditional fiber arts such as carpet, wa缂革丝 and other works, the main works

59、are flat. Since the 60s of last century, fiber arts gradually to semi-relief from two-dimensional until the emergence of fully three-dimensional space of the work of soft sculptures - with the flexibility and elasticity of the sculpture. Some artists take into account in the design works are works of more space for the overall situation brought about by decorative. Polish artists work red Wall yes to sculpture, to works of the Iandmark space. Rui forward into th