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考古遗址作为一种场所,通过对于场地的挖掘、保护、展示等各干预手段,改变并形成其场所特性,是受其时空活动影响而产生的一种营造环境。同样作为不可移动文物,建筑遗产和考古遗址最大的区别在于后者因为损失了大部分的建筑形体而失去了建筑的使用功能,只能成为具有纪念性意义的文化物体。考古遗址所承载的历史、艺术和数据价值是其被研究和保存下来的主要原因。针对这样一种碎片式的建筑残缺遗存,考古遗址的保护就不能单纯从对物质本体的老化和续存条件的研究来考虑,如何提升考古遗址视觉上的可读性和结构重组的需要也是保护设计的重要影响因素。任何保护手法的选择和干预程度都是对于遗址视觉形体呈现的一种设计决定,基于此,在尽可能保障考古信息和历史物质资料保存的前提下,考古遗址的展示和风貌价值在很大程度上取决于主持干预者的审美取向。自18世纪以来,欧洲考古学对于遗址阐释的体现与其对于以石构件为主的建筑废墟的审美趣味有着很深的关联,而东亚文化的废墟呈现形式大多则是由以因佚失而无形的木构件和仍遗存有形的土遗址所组成。本文试图在对于异同文化的废墟审美认同基础之上,对遗址保护的设计与视觉叙述性之间的关联进行论述。
Archeological sites as a place, through the intervention of means of excavation, protection and display of the site, to change and form the characteristics of the place is an environment created by its space-time activities. Also as the immovable cultural relics, the biggest difference between architectural heritage and archeological heritage is that the latter lost the function of using the building due to the loss of most of its architectural forms, and can only become a monumental cultural object. The historical, artistic and data values borne by archaeological sites are the main reasons they have been studied and preserved. In view of such a debris-type building incomplete remains, the protection of archaeological sites can not be considered simply from the study of the aging and renewal conditions of the material ontology. How to enhance the visual readability of archaeological sites and the need for structural reorganization are also protected Design of the important factors. The choice of any protection technique and the degree of intervention are both design decisions for the visual form of the site. Based on this, to the extent possible, preservation of archaeological information and preservation of historical material information is carried out to a great extent Depends on the aesthetic orientation of the interventionist. Since the 18th century, the archaeological interpretation of the ruins in Europe has been deeply associated with the aesthetic taste of stone ruins, while the ruins of East Asian culture have been mostly manifested by the invisible and invisible Wood components and still remains of tangible earth ruins. This article tries to discuss the relationship between the design of the site protection and the visual narration on the basis of aesthetic identification of the ruins of the similarities and differences culture.