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<正>教堂,是被誉为"上帝之家、天堂之门"的地方。教堂建筑常见于西欧众多国家的闹市中心,几乎可以说是随处可见。教堂以其极富历史与艺术价值的建筑形式向人们展现着城市与宗教的发展与变迁。宣扬基督教精神的同时,这些令人惊叹的建筑也是欧洲中世纪基督教美学的最集中体现和最高代表。抱着对宗教精神的敬畏和对现代美学的追求,不少建筑师都曾涉足教堂的设计:柯布西耶的朗香教堂,迈耶的千 相似文献
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正在葡萄牙的莫什卡维迪,本土设计事务所Plano Humano Arquitectos设计了一个宗教中心。为了满足不同功能的需要,宗教中心由布道室、葬礼小教堂和教区住宅在内的一系列设施组成。这个建筑群和莫什卡维迪国宝级的建筑圣安东尼教堂在空间上有着紧密关联和联系,教堂在建筑环境上给宗教中心提供了对话互动的语境。两个时代的两座标志性建筑在整个社区脱颖而出,不同之处是它们提供的社区功能不同,但能相互补充。 相似文献
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依循欧洲基督教及历史文化环境的发展,简要梳理和分析了公元后第一个千禧年间(自基督信仰诞生后的第一个千禧年间)教堂建筑空间的发展演变历程。指出:从公元1~11世纪的千年间,教堂建筑处于一种不断寻求自身完善的上升态势,从最初的借用民间住宅及古罗马世俗建筑巴西拉卡的形式,逐渐演变发展出了罗马风教堂这样的基督教专属的建筑空间形式,为随后教堂建筑的普及发展奠定了坚实的基础。 相似文献
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《Planning》2014,(16)
哥特式建筑构成了中世纪基督教文化的标志性成就,以一种外在性的凝固形式形象地反映了中世纪西欧人内心深处汹涌激荡着的神秘而诡谲的宗教感受。从外面来看,这些哥特式的教堂,这些宏伟无比的建筑物,建造得那样空灵、优美、精致。哥特式建筑集中体现了中世纪基督教思想中的理性主义与后期中世纪现实生活中的个人主义的矛盾,是当时最具代表性的艺术盛品。 相似文献
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本文论述了结构形态设计的概念,以及它在建筑设计过程发挥的重要作用力。通过分析不同时期的3个现代教堂建筑实例,阐述教堂建筑中所体现的结构技术的逻辑关系,进一步明确了结构形态设计在教堂建筑实例中所发挥的重要作用。本文希望通过发掘结构形态设计发展应当遵循的规律,进而启迪和激发结构技术及结构形态设计在建筑创作中的创新精神。 相似文献
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江北天主教堂属于较为典型的哥特式建筑,是西方建筑文化在宁波的移植和渗透。受本土文化的影响,江北天主教堂建筑也融合了本土传统建筑的许多成份,成为一种西式建筑形式与本土建筑技术结合而成的新的建筑体系,对宁波近代传统建筑的转型有着促进作用。本文以江北天主教堂创建的时代背景为出发点,从教堂的平面形式、内部空间、外部造型及结构技术等方面论述宁波江北天主教堂的建筑特色及其所具有的价值。 相似文献
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The Church of San Lorenzo in Turin, which was designed by the Theatine architect Guarino Guarini in the 17th century, is among the most famous Christian Baroque architectural masterpieces. Guarini was given freedom to plan and design this church, which can be considered his most innovative and influential work. The most significant feature of this building is its dome, which is magnificent and slightly different from what is expected from a Baroque church. The dome of San Lorenzo has been the subject of considerable research due to its perforated surface that allows daylight to penetrate into the interior space. However, this dome has been mostly described through mere observation in a poetic and mystical manner. Although a subjective analysis is vital in understanding this architectural piece, a systematic and objective analysis that includes numerical data is required to understand fully the illumination by natural light present in this work of architecture. This paper presents a method based on high-dynamic-range-imaging luminance analysis that employs a quantitative luminous measurement technique to analyze the daylight behaviorin San Lorenzo. The first section of this paper investigates the subjective experience in the dome hall, and the last two sections objectively show the dome functions and the manner through which the design of Guarini creates various light values in different parts of the dome. Such a design is responsible for the unique experience in the dome hall. 相似文献
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Stephen Firth 《Architectural Theory Review》2013,18(2):28-39
In 1952, the Italian art historian Ugo Procacci found behind an altar in the church of Santa Maria Novella in Florence a fresco of a skeleton. The fresco was the lower thirdofapaintingdescribedby Vasari in his Lives of the Painters. The upper part of the painting, showing the Trinity above Mary, St John and of two kneeling donors, had been moved to the entrance wall of the church three centuries earlier (1570). It was a painting famous in its own time, a masterpiece of Masaccio's painted around 1425-7. This paper argues that Masaccio's Trinity straddles medieval and renaissance symbolic structures, one rooted in symbolic geometry, and the other based in narratives indebted to Christian rhetoric. It reinterprets ancient themes of temporality and a-temporality in its use of an architectural setting. The paper considers the relation to illusion and to perspective in architectural representation, and to the symbolic nature of representation. It sets the problem of temporal representation in the light of the work of Adrian Snodgrass in temporality in architecture, including his writings on mandalas. The useof'symbolandits interpretation is placed in the context of participation and ritual, that suggest an inevitable surrender of the self in an order established by an architectural setting. 相似文献
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解决集中式教堂与教礼的矛盾是巴洛克建筑所要面对的关键问题。本文以波罗米尼设计的两座教堂为例,探讨他以独特的设计手法对这一问题的回应。 相似文献
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慕尼黑圣心教堂作为典型的德国当代建筑,对传统哥特教堂的空间结构、空间序列、空间界面以及光的运用进行了继承,并用当代的建筑语言进行了演绎,在简洁的形体下获得了具有丰富内涵的教堂仪式空间。 相似文献