How to apply traditional painting to architectural design?

Painting and architecture have always been inseparable two art forms. Throughout the whole historical period, painting has had different degrees of influence on architecture. From painting language to architectural language, the most important link is: through the analysis and interpretation of painting, constantly draw inspiration from painting, find the generating logic of space design, and then transform two-dimensional painting form into three-dimensional architectural form. ? 0 1 Roaming path from Fuchun to Fuchun Mountain Pavilion ▲ Fuchun author Huang? Fuyang, called Fuchun in ancient times, is also the last seclusion place of Huang and Fuchun's creation place. Fuchun Map depicts the scenery of Fuchun River and its surrounding mountains where Huang lived and traveled, from which we can see that the painter tried to find a poetic place for dialogue and meditation with nature in the landscape of Fuchun River. ? In 20 12, Fuyang municipal government put forward the project of building local art galleries and museums to study Fuyang's long-standing cultural and landscape traditions. In the same year, Wang Shu was selected to design the project. ▲ Wang Shu's Sketch? The core idea expressed in Fuchun Shan Jutu-how people live in nature is a problem that spans the east and west, ancient and modern time and space. Facing this Millennium picture, Wang Shu made a unique answer. ▲ Fuchun Mountain Residence? Wang Shu created a group of man-made mountains and houses with concrete and stones, and built a winding corridor between the man-made mountains and the real Fuchun River landscape, which made people wander between the man-made nature and the real nature, forming a landscape map that can be visited. ? First of all, the designer drew materials from the outline of the mountain at the end of Fuchun Shan Jutu and abstracted the outline of the building "mountain" as the outline of man-made mountain. Then according to the traditional landscape sequence of China, the architectural layout is carried out, and the "main mountain" in the center is the museum and art gallery; The second mountain parallel to it is the archives, and the concave land between the two mountains becomes the "valley" in the mountain. ? The office building behind it forms a background mountain, and the outline of its roof echoes the distant mountain in parallel, showing the structural law of the echo of far and near mountains and the perspective of "three distances", which constitutes the landscape image in traditional landscape painting. ? Finally, the winding cloister is used to connect the building with the surrounding small buildings such as "Mountain View Pavilion", "Mountain View Pavilion" and "Water Pavilion". People can walk, climb, look back, pitch and stop in it. Talk with architecture and nature on the way and feel the unique charm of China's landscape spirit. ? Fuchun Mountain Museum has its impressive, habitable and tourable multiple performances, and finally forms a unique pattern of "there are mountains outside the mountains and paintings in the paintings". ? From The Riverside Scene at Qingming Festival to the Narrative Space of Zhuang. The Riverside Scene at Qingming Festival depicts people's activities from morning till night, from desolate villages to bustling towns. Through the painting method of "scattered perspective", the possibility of overlapping multiple spatial narratives is demonstrated, which is a unique way and dimension to understand space and the world. In this long-axis space, stories, events and life unfold slowly like a picture scroll. ▲ Tongling Mountain Residence ▲ Pan Lin Pavilion ▲ Chengdu Huajiantang Hotel? For the above three projects, Zhuang borrowed the "scattered perspective" in the Riverside Scene at Qingming Festival. This is the cognitive system that designers analyze when interpreting paintings, and use it as a means to generate prototypes. Designed a series of works. From the original "Tongling Mountain Residence" to the recent "Chengdu Huajiantang Hotel", there is a certain correlation between their forms. ? In the design of this series of works, Zhuang interprets "scattered perspective" as a way or operation of architecture, which embodies a new understanding of the concept of time, breaks the traditional concept of space in terms of function and form, and emphasizes the diversity under the cognition of a social system. In such a "scattered perspective" relationship, a picture can see different scenes and different contents. In a flatter visual system, more dimensions of parallel narrative presentation are obtained. Zhuang hopes that other concepts mapped on the architectural level can also produce diversity, richness or a continuous iterative relationship. ? 03 Artistic Conception Creation From Huizhou Ink Painting to Zhiguan Village, Gade East, Fuyang District, Hangzhou ▲ Huizhou Ink Painting? In the landscape painting of light ink freehand brushwork, there is a realm called "ink is colorful and white is black". Using black and white can express a very advanced and vivid image. Because there is space in the picture-"sparse but not empty, full but not overflowing", it embodies the wisdom of China's aesthetics-the beauty of leaving blank space. Splash ink on white paper, three strokes and two points, interspersed with fiction and facts, have no chance of winning, turn virtual into real, and show the charm of beauty. ? Modern Chinese architecture blends China traditional culture into it, with clean black-and-white tones and simple lines, outlining an elegant outline, perfectly interpreting the elegant charm of oriental culture, and meeting the aesthetic needs of the contemporary public. At the same time, inheriting the oriental culture and carrying forward the spirit of oriental architectural culture is the best interpretation of China's artistic conception of mountains and rivers. ▲ Dongpuguan Village, Fuyang District, Hangzhou? Gad, a design company, takes the curved roof of Jiangnan residential buildings as a starting point, and forms a continuous asymmetric sloping roof with the traditional opposite slope or single slope roof, and shapes the matching roof line outline according to the morphological relationship of different units. The independent unit volume forms a subtle contrast with the continuous group top, forming a harmonious but different overall relationship. ? In composition, the dark gray coping and the white solid wall form a strong contrast between gray and white, lines and surfaces. ? In the construction of the relationship between reality and reality, the exterior wall is mainly solid, supplemented by hollow wall. The interface facing the courtyard is mainly semi-virtual and glass, which not only ensures the lighting demand, but also forms an inward feeling. Realize the modern transformation of the interface characteristics of traditional buildings in China. By refining and translating the formal elements of traditional folk houses, we can not only increase the moderate richness and layering, but also present the artistic conception of mountains and rivers in the south of the Yangtze River with white walls and tiles, and interpret the appropriate benefits of the artistic conception of "leaving blank" in Huizhou ink painting. It not only conforms to the aesthetics of minimalism at present, but also inherits the traditional culture of China. ? 04 figurative imitation from Yunshan Atlas to the "flaky gables" of Suzhou Museum ▲ Mi Youren Yunshan Atlas? "Mi's Landscape" is a new school of painting initiated by Mi Fei and Mi Youren in the Song Dynasty, and its paintings are called "rootless trees and hazy mountains". The traditional techniques of emphasizing ink color, blurring and paying attention to lines make the works more lyrical and freehand. Their paintings are all experiences of real landscapes. ▲ Pei's Sketch? When I was designing the Suzhou Museum, Mi Youren's "Cloud Tu Shan Volume" inspired and pondered on I.M. Pei, drawing lessons from the technique that Mi's landscape does not seek neatness and exquisiteness, but uses ink to touch and dye, but only seeks meaning. "Taking the wall as paper and the stone as painting" has increased the artistry of the whole museum. ▲ Suzhou Museum? The new Suzhou Museum uses traditional ink painting, rockery as the theme element of ink painting, artificial scenery, the wall of Humble Administrator's Garden as paper, and high and low sliced boulders falling on the wall to draw an ink landscape painting. ? When I.M. Pei translated Yun Shan Tu Juan, he focused on creating a sense of visual depth of China's landscape paintings through concrete imitation. First of all, he divided the platform of The Book of Songs into three steps. Then, on the section of granite, the simple and repeated mountain shape in Mie's painting is carved. Finally, roast it on the top of the mountain with a torch. So as to realize the unique brushwork of rice landscape painting. ? In terms of artistic conception, the ink landscape wall in the new Suzhou Museum is not shrouded in mist, but it also creates an ink landscape artistic conception shrouded in misty rain in the south of the Yangtze River. "Flake gables" have also become the crowning touch of the new Suzhou Museum. ? China's traditional painting has its own cultural and artistic precipitation, has experienced continuous inheritance and development, and has its own unique context. Based on the formal language of painting, it is transformed into an architectural form with semantic reference through abstraction or symbol. Taking this design idea as a reference for the generative logic of modern architectural forms will often produce architectural works with China's unique charm.