Expert advice! ! ! Interpretation of architectural terms: "locating axis", "finding slope with materials" and "context" * * * *! ! ! ! !

The coverage of these three words is really far.

locating shaft

It is the baseline for determining the position and marking size of main structures or components, and it is an important basis for positioning and setting out. It is divided into horizontal axis, vertical axis and additional axis.

Material slope search

Material slope finding means that the roof slope is formed by cushion slope material. The suitable slope of flat roof material is 2% ~ 3%.

Cultural lifeline

Context-Continuation of Urban Memory

Abstract: With the rapid development of urban construction, our city has undergone rapid changes, but at the same time, we have lost many things that can never be recovered-historical context. Some meaningful traditional life scenes have been destroyed, so the city has lost its own characteristics. As a context to fully express the image of architecture and city, historical city forms such as streets, hutongs, archways and religious shrines are torn into pieces, and streets and squares threaten the compatibility and continuity of city forms. Has our city developed to the point where we have to rely on yellowed old photos to find past memories? In fact, it is not necessary to "break the old" to "establish a new one". Respecting historical traditions does not mean sticking to traditions and the past. On the contrary, consciously preserving these traditional contexts will make the city more rustic.

Context and city

The word "context" comes from the linguistic category. It is a historical category developed in a specific space, and its extension and extension contain extremely extensive contents. In a narrow sense, it is "a cultural context". Alfred kroeber and Clyde KlaaCohen, American anthropologists, pointed out: "Culture includes all kinds of explicit or implicit behavior patterns, which are acquired or taught through the use of symbols and constitute the outstanding achievements of human groups; The basic core of culture includes traditional concepts derived and selected from history, especially values; Although the cultural system can be regarded as the product of human activities, it can also be regarded as a factor limiting human activities. " Clara Cohen defines "context" as "the existing mode system of historical creation"

Cities are formed by history. From the perspective of cognitive history, the city is the collection of social culture, the collection of architectural essence and the crystallization of science and technology. Gordon julia child, a famous British prehistory scholar, believes that the emergence of cities is a milestone for human beings to enter civilization. For the study of human culture, the emergence of urban architecture is regarded as a concrete symbol of civilized times, alongside words and (metal) tools. The exploration of urban architecture undoubtedly needs to be based on the cultural context. Due to the differences in natural conditions, economic technology and social and cultural customs, there are always some unique symbols and arrangements in the environment, which form the unique regional culture and architectural style of this city, thus forming its unique city image.

With the progress of the times, the progress of science and technology and the frequent cultural exchanges, the image of the city may bring convergence, and the context allows us to look for cultural highlights from ethnic groups and regions from time to time. If we only maintain the historical buildings of the city, it will still be like a rigid body, and its brilliance will only gradually weaken and disappear. This protection will only maintain a natural decline. In fact, we can take a positive thinking process from another angle-in the historical environment.

Context and post-modern architecture

The understanding of context has a long history, which can be traced back to pre-industrial times and even ancient Greece. It was not until the 1960s that the concept of context was formally put forward, and it appeared with the appearance of post-modern architecture.

Postmodern architecture noticed that modernist architecture and urban planning overemphasized the object itself, but ignored the relationship and context between the objects, lacking an understanding of the urban context. The architectural performance is: the square box with the same international style is above the history and the native land, with only technical semantics and a small amount of functional semantics, leaving no room for reflection, leading to the indifference and boredom of the environment and the chaos of industrial cities. Therefore, post-modern architecture tries to restore the original order and spirit of the city, rebuild the lost urban structure and culture, and actively explore the new language mode and new development direction of urban design and architectural design from theory to practice. They advocate: find their foothold from traditional, localized and folk content and forms (that is, context), and activate their creative inspiration, and apply historical fragments and traditional vocabulary to architectural creation, but not simply retro, but with obvious "modern consciousness", and realize a new creative process through creative means such as extraction, transformation and transplantation, so as to organically combine architectural tradition and culture with contemporary society, and

The purpose of mentioning postmodernism here is only to introduce the essential cognition of postmodern architecture into the thinking of urban memory continuation from the perspective of architectural language, draw lessons from the thinking mode and specific methods to deal with problems determined by the times and regions behind postmodernism, and combine some successful examples around us to effectively participate in the reconstruction of contemporary urban construction.

Inheritance and innovation of context

The relationship between inheritance and innovation has been the focus of design attention for many years. In fact, from the linguistic point of view, this contradiction is the contradiction between the stability and variability of language. As a designer, the success or failure of formal design depends on the richness of vocabulary and the proficiency in using grammar. If designers want their works to be truly understood by others, they must choose appropriate words and abide by certain grammar. But this does not mean that designers can only stick to the rules and have no personal achievements. Designers skillfully use individual new symbols, or consciously change some conventional combination relationships between symbols to create novel and moving works, which is also an innovation in design.

If the city wants to develop, there will be new buildings. However, under the trend that "vocabulary" and "grammar" tend to be unified, context allows us to find the highlights of our own culture from time to time from traditional, localized and folk content and forms. Due to the differences in natural conditions, economy, technology and social and cultural customs, a nation always has some unique symbols and arrangements in its environment. Just like dialects in spoken language, designers can skillfully inject this kind of "local accent" to enhance the sense of historical continuity and local flavor of the environment and enhance the appeal of environmental language. Shanghai Jinmao Mansion is a spatial structure extracted from tradition to meet the needs of modern life. The plane of the tower of Jinmao Mansion is axisymmetric, which refines the shape and meaning of the "tower", and the gentle step rhythm of modeling outlines a strong outline. The rhythm of China ancient pagoda expressed by high-tech means is so distinct that it avoids the concrete inheritance from the form and space level, but seeks the blending point from the deeper cultural aesthetics, and expresses the essence of regional culture with technology and techniques. From the aspects of architectural layout and detail treatment, we can see the application and variation of some traditional architectural formal languages, which have new vitality under the conditions of modern material technology. Here we can regard it as the development of traditional context.

Does transplanting new buildings have to pay the price of the disappearance of old buildings? In fact, "innovation" doesn't have to be "worn out". The key lies in how to apply simple and complex semantics to modern art design with traditional and fashionable language structure, so as to create personalized and humanized brand-new design symbols. Xintiandi project is located in Huangpi Road, Xingye Road, Shanghai and around the site of the First Congress of the Communist Party of China. The southern plot opposite to the "site" is designed as a modern building with low height, which is dotted with some preserved traditional buildings to coordinate with the "site". On the other hand, the north plot where the "meeting place" is located has largely retained the pattern of alley, carefully preserved and restored the facade, details and the scale of alley space of Shikumen building, and greatly transformed the interior of the building to adapt to modern life forms such as office, commerce, residence, catering and entertainment. Designers here are like doctors transplanting new "organs" to "dying bodies" and making them reborn. As a matter of fact, in Shanghai, a metropolis impacted by eastern and western cultures, the traditional lane lifestyle has never died out. Xintiandi only gives it reasonable changes and continuity, leaving us with more thoughts and enlightenment.

When people can't pay enough attention and interest to what they are used to, reforming and splitting some common symbols or changing the coding order can play an eye-catching and thought-provoking role and strengthen the information transmission of environmental language. Symbols, like written language, are rooted in past experience and linked with the rapidly developing society. New functions, new materials and new technologies call for new ideas. How to make the environment have historical continuity and adapt to the requirements of the new era? The former site of Yue Zhong Shipyard may tell us something. In the process of qualitative change from the old shipyard to the park, the designer first kept the historical and time accumulation of docks, workshops, water towers, gantry cranes, rails and chimneys in different times, then modified and transformed them, including the design of addition and subtraction, and finally created new languages and forms, which more artistically showed the experience of the old shipyard as a city memory for nearly half a century, fully meeting the new functional requirements of the park. Perhaps when you swim in Zhongshan Qijiang Park, what you feel is not only the designer's careful planning of the park, but also the rebirth of the epic urban spirit. The scene spirit of Yuezhong Shipyard in full swing reappears, and the city memory continues in the development.

Thinking about the background

The continuation of urban memory is a challenging proposition for designers in architectural creation. This work not only means exploring history, but also means injecting new life into the historical environment. Formal imitation is coordinated by a new form of self-disappearance, but this new form of self-disappearance does not mean respect for history. The value of an old building left over from history lies in its time from the present era. Formal imitation can only blur or obliterate time, and there is no value without time difference. Looking around the present situation around us, there are many works such as "authentic imitation", "improved imitation" and "romance of symbols". In these works, the new design has lost its formal characteristics, and coordination is regarded as the purpose of creation, and imitation has almost become the only way to achieve coordination. Facing the reality, we deeply feel that we should strengthen the discussion in three aspects: the protection and renewal of traditional buildings and the addition of new architectural design in the traditional environment.

The first is the thinking about the meaning and function of symbols. Generally speaking, in cultural activities, people are limited by symbols, not by people controlling symbols, but by symbols. The so-called mastery of culture, at the symbol level, should at least skillfully operate the symbol system that constitutes culture rather than the symbol itself, and weave new experiences and sentiments for the symbol. In fact, the symbol itself is also changing, and the mystery of cultural inheritance and innovation lies in this variation.

Secondly, it is a deep understanding of modern architectural language, which is a spatial language based on architectural design theory and building materials and means. Its formal language is not a symbol, but a means to construct architectural form and space. Mature design behavior must be supported by a deep theoretical foundation. As far as the coordination between old and new buildings is concerned, the primary task is to analyze history, and knowledge is to recognize established architectural facts, including history and culture. Therefore, the creation of historical buildings must be a process of re-understanding history, re-seeking the dialogue medium between incongruous factors such as space, environment and technical concepts, and exploring the concept of symbiosis with the unity of old and new essence as the starting point. Symbiosis can not only preserve the old buildings to the greatest extent, but also use the contrast of modern materials and means in the new design to show the long history of the old buildings and the culture of the city to the greatest extent.

The continuation of memory can not be continued by the efforts of one person or some people, but by the joint creation of the whole people. We need to think not only about the building or the city itself, but also beyond the demand of building materials itself to create a spiritual world-culture that can resonate, which may be the ultimate goal of architectural design.

conclusion

Does modernization have to be at the expense of cutting off history? Is it a sign of modernization to completely break the old and establish the new? Must the new urban construction not tolerate the existence of old buildings? Do we really need to see historical relics while pursuing modernization? Human life needs the same blood to continue, and the continuation of the city also needs its unique "blood" to make it immortal. Our city has lost too many things while making progress, so we can't leave a divided history for future generations. This requires us to put more thoughts into it, inject new life into the historical context, endow the city with new connotations, and continue the historical memory.