Foreword
We believe that buildings are classified and designed for specific uses: libraries, such as schools, prisons or hospitals. The room or open area (also called “space” in modern terms) is also determined by its function, so we mark it as a bedroom, living room, conference room, office, study or even a gift wrap (if you are a Hollywood star) .
This classification is relatively new in human history. In Europe before the 19th century and in modern China more than 3,000 years ago, there were few architectural types. In modern times, the openness of publicity and its opposite open plan raises some questions: on the one hand, the building life is short; on the other hand, the open and lifeless open architecture is two. Rooms used for cooking, washing and listening to natural scenery must meet these specific uses. Nonetheless, these rooms, like other rooms, can be conceived and designed with single or multiple characters.
For example, we can wash clothes in a specific room, but if the room has a quiet character, we can also take a bath here or even study here. We often talk about the room with humanity: a secret room, a happy room, a gloomy room, a female room, a dreamy room, and so on.
Defining the function of the room
In the pre-modern period, when a building consisted of a narrative of a room and gradually gave its own “life”, what did it do to humans?
For modern architects, it is unthinkable to accept customer orders to design a room with a variety of characters. But this is what the 16th century Renaissance master Andrea Palladio was instructed. When the Veneto nobles wanted a country house, they gave me a dozen rooms, some rooms for me, some rooms for my wife, some rooms for my son, some rooms for servants, and some rooms for “easy.” In addition to distinguishing between more open rooms (entrata, sala) and more enclosed rooms (stanze, camere and cameraini), these rooms are characterized by spaciousness, elegance, comfort and privacy.
Throughout the long summer, the Veneto nobles hang out in interconnected rooms, pursuing the ideal leisure time of the Otim-Romans. He spends not in the business and politics of the city to read literature and philosophy, and The country is talking and intoxicated. When they visit each other in these beautiful villas, they often travel with furniture. According to the mood and needs, the canopy bed can be set in the camera, so it is a modern bedroom. The entire La Rotonda villa is located on a hilltop and is conveniently located, sometimes turning into a magical theatre at night, and its room becomes a viewing box from which guests can enjoy fireworks in the valley.
Around the courtyard, each room has its own location
For more than three thousand years, the Chinese built everything from houses, shops, factories, theaters, temples, temples to the palace to the entire city, all in one configuration, a courtyard.
However, rooms lined up in the yard were designated to assume different social roles, some of which were tall, spacious, and generous, while some were grounded, hidden and hidden. The ancestor and his wife lived in the central building of the axis. The married son was placed in the side building of the two buildings. Unmarried daughters and servants are hidden in rows of rooms in the backyard. The fate of the person and the characteristics of the room are matched according to clear Confucian etiquette. The central hall – the hall – towering on the stone platform, its south is open to the lower court.
When the blind musician Mian came in, Confucius showed him the way to the hall, thus giving him the greatest respect. When Mian reached the steps, Master said, “Remember the steps.” Master took him to the mat and said, “This is your mat.” When everyone sat down, the captain explained: “Something is here, something is here.” This must be an expected but essential sequence: going to the hall, being assigned the right place Mat, sit down and talk to the lower yard. The hall is reserved for honor; the smaller one must remain in the yard. Therefore, it is a criminal offence to board the hall without the invitation of the owner. In the palace, the emperor sitting in the hall will kneel in the court and preach to the ministers.
Place under heaven
The yard itself is a distinctive room. Although the four wings of the yard shrouded the sky, the Chinese were “unclaimed” in their paradise.
When the leaves fell in the royal courtyard, the emperor was told that the fall was coming. Women and children sliced the golden leaves of various shapes and then affixed them to the side corner: this is a custom that the Chinese have long forgotten since the Song Dynasty. In the autumn song, the pulse of heaven is felt from the empty sky in the yard, but its true meaning still exists on the earth, that is, the connection between the emperor and his subjects. Not surprisingly, the emperor is the “son of heaven.” The courtyard of the Roman courtyard Domus is narrow and skyward. Its outstanding performance is similar to the eyes of the Pantheon. This “courtyard” is the respect of the Roman emperor Hadrian to the kingdom of heaven and mankind, but human beings are contained in the internalized universe and subordinate to the internalized universe.
Although there are many gods in the classical period, heaven still has to be held in awe. Modern dome philosophers believe that the concrete dome’s safe has gradually narrowed towards the eye, and after nearly 2,000 years of development, it is still the world’s largest unreinforced concrete dome. Rain, snow and hail occasionally fall from the eyeball. But this is the sacred sublime. To this day, every “Penn Eye” (eye) of Pentecost exudes a string of ruby rose petals. By the end of the 19th century, a large country house made up of British aristocrats might have as many as 50 distinct rooms – from the living room, boudoir, music room, library, gentleman’s room and car to the cloakroom, Chinese closet, gun room and even dirty linen. closet. Professor Robert Kerr had trouble writing a book on the House of Gentlemen in 1865, offering architects advice on the art of isolation in the house. Unlike the Veneto nobles of the 16th century, British country houses were occupied all year round. British gentlemen retreat to some of the closed rooms to cultivate themselves, but this is the end of the purpose of comparing buildings and their rooms to humanity, and the beginning of the building as a mechanical device.
In the early 20th century, French avant-garde architect Le Corbusier declared: “The house is the machine of residence”, although his own building is more mysterious than his enthusiastic followers. But not all are lost. The great New Zealand architect, the late Sir Ian Asfield and some of his comrades, such as Luis Barragon of Mexico and Geoffrey Bawa of Sri Lanka, conceived and built their own architecture, A fusion of rooms with various features. Nonetheless, their work proves the validity of a long-forgotten tradition – that is, architecture is an art that mimics the role of human beings, rather than “designing” for specific purposes only.
