摘要
丹·凯利的规则几何构图给他的作品赋予了鲜活的生命力,取得了非凡的效果。凯利的景观作品在平面上避免绝对的和谐,并且避免在景观的边缘以安静的方式结束,而是采用动态的方式,使其成为有活力的组成部分我们把这种特征称作slippage,是对边缘的定义或是隐喻:一种在平面和分区上有意不明确的设计方法。该文同时还把密斯的建筑作品和丹·凯利的作品进行对比,来发现二者在秩序和空间概念上的相同点和不同点,从而进一步探讨现代主义空间的构成。
Dan Kiley＇s rule-geometry plan animates his landscape designs and roots them firmly. Kiley＂s landscape shuns any absolute congruence among the stacked layers of ground plane. Avoiding a neat termination at an edge, they overstep their boundaries and merging with one another as a more dynamic composition. We might term this property slippage as an extension beyond the defined or implied boundary： a purposeful imprecision in aligning elements in plan and in section. This article compares the work of the architect Mies van der Rohe with Dan Kiley to reveal similarities and differences in both order and spatial ideas, and further explore the composition of modern space.
出处
《华中建筑》
2006年第3期7-12,共6页
Huazhong Architecture
