[转贴]：Kunsthal@R'dam/欧洲建筑及室内(强烈推荐)

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28存完包后进入一个过渡空间

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转贴一篇对这个建筑的分析图解:

原文如下：
Locomotive Montage
Spatial Experience
When we experience the environment around us, the human body is in a constant state of motion, in order to receive the necessary stimuli for the perception of the visual world. The same can be said about the architectural experience:

“To comprehend architecture, one needs to move through its spaces. After all, this is how we all experience buildings, inside and outside; we walk, we look, we pass through space. Perspectives are revealed. Corners turned. Scale changes. The depth dimension is revealed. Details can be explored.”

However, the perception of architecture is generally depicted as a static experience, because traditional conceptions are that of permanence – physical permanence with regard to western notions of protection, and visual permanence with regard to the traditional method of architectural representation. Both provide the observer with an insular, disconnected perspective of the environment.

When one moves through space, the focus of expansion is the direction in which one moves. [ii] The eye naturally centres on the goal which dominates the scene. Artificial perspective presents us with the inverse of this condition. Space contracts towards the focal point, expanding the periphery – the non-focal point.

Traditional forms of representation – perspectival geometrical compositions, such as the photograph – may fail to meet our expectation of experiential depiction because they are artificial representations of the scene depicted – they are an “unnatural stopping of the flow.” [iii] They provide the viewer with visual information about the depicted subject, but only in a “frozen world by an observer who holds still and uses one eye.” [iv] A form of movement can be implied upon the picture plane, one where the eye carefully follows the geometrical structure of the picture. Yet the visual system has evolved to register actual change and transformation of the optic array, the natural state of the body in motion.

Locomotive Path Flow
The process of architecturally depicting spaces encountered on a path usually takes the form of a ‘spatial narrative’, views depicting space at key points on the path, usually at the entry or the exit, or a change in direction. Generally, the perspective drawing or photograph freezes the flow of space around the observer, presenting an unnatural stopping of the optical flow. Spatial narratives acknowledge that the perceptual experience can be reduced to a series of sequential spatial snapshots of the total experience. But it conventionally depicts these mental snapshots in a literal way. Perceptually, the snapshots are joined by a flowing array of continuous experience.

The importance of the path was well documented by the Russian film director and great advocate of montage, Sergei Eisenstein. He recognized the fact that the architectural experience is a dynamic one and endeavoured to solve the problem of filming a building, “transforming it from a setting of the action to a major agent of the plot.” [v] Eisenstein was concerned with the structure of perceiving the three-dimensional flow of space along a path.

“The word path is not used by chance. Nowadays it is the imaginary path followed by the eye and the varying perceptions of an object that depend upon how it appears to the eye. Nowadays it may also be the path followed by the mind across a multiplicity of phenomena, far apart in time and space, gathered in a certain sequence into a single meaningful concept… In the past, however, the opposite was the case: the spectator moved between carefully disposed phenomena that he absorbed sequentially with his visual sense.” [vi]

The Spatial Application of Cinematic Montage
Cinematic montage allows the viewer to experience a mental flowing of events between images on the screen. An action may be depicted by a reaction in order for the observer to virtually perceive the action in his mind before the image is provided for him physically. The juxtaposition of individual shots therefore, leads to an holistic experience where the sum of the parts is greater than the whole and the observer is more connected with the filmic sequence.

“The musician uses a scale of sounds; the painter, a scale of tones; the writer, a row of sounds and words – and these are all taken to an equal degree from nature… when they are all put together they lose all visible signs of being combined, appearing as one organic unit.” [vii]

The “wise and wicked” post revolutionary Russian filmmakers of the first half of the 1920’s constantly re-edited the work of others in order to bring fresh new meaning to previous films. [viii] Existing film stock in Russia allowed these pioneers to lay the foundations of filmic montage as we know it.

In order to understand the complexities of experiencing movement through spatial sequences, an architectural form may be examined. This too will be radically deconstructed, stripped of all elements to its bare minimum and then reconfigured, so that the spatial sequence is essentially the same as before the spatial editing.

Reconstructing the Kunsthal
“The art of the scriptwriter is to conceive sequences of episodes which build suspense and a chain of events… the largest part of my work is montage… spatial montage.”

Rem Koolhaas. [ix]

The Kunsthal is used as a vehicle to test the application of theories of montage to the locomotive experience because the design of the Kunsthal has been attributed to film theory, and in particular, to montage. [x] Rem Koolhaas describes the process of making buildings as being similar to that of making films. The design for the Kunsthal was “conceived in serial vision; the route through it being structured like the plot for a movie, that is, with a beginning, a middle, and a powerful climax.” [xi] Movement through the building presents the viewer with a juxtaposition of rapidly varying elements and spaces, heightening the visitors’ sensory awareness of materiality and transparency, light and shadow, inside and outside.

The Kunsthal sits on the northern edge of the Museum Park, Rotterdam, crossed by two routes: the existing road running east-west; the other, a public ramp running north-south, the entrance to the park and the Kunsthal. [xii] Essentially, the structure consists of a series of exhibition halls configured in a three-dimensional loop, each hall joined by a long, narrow, connecting space. The visitor ends the journey where he begins, constantly spiralling around the central ramp, aware of his orientation within the context of the Museum Park, and within the Kunsthal. The Kunsthal celebrates the essence of path, connecting the observer, physically and perceptually, with his journey, by way of aspects and expansive perspectives.

Like the pioneering Russian filmmakers, who re-interpreted the nature of film, the spaces of the Kunsthal will be re-interpreted, two-dimensionally and three-dimensionally, leaving only the essence behind as a starting point for virtual reconstruction.

A reductive study of the Kunsthal examines the validity of perspectival representation as a means of depicting a spatial experience. The artificial views of the traditional spatial narrative at each point on the path represent many sub-levels of a linear process – a journey along a path, each view isolated from the previous or following.

When analysed subjectively, the spaces of the Kunsthal can be implied with only the surfaces of locomotion, as their edges define the horizontal and vertical spatial boundaries. All walls and structure may be removed (Figure 01). The floor surface contains an infinite number of non-existential paths. The path is a mental vector, only consciously coming into existence once we have made the decision to move from one point to another. From an infinite number of routes around the exhibition halls, any observer will choose one unique path. However, despite a seemingly free choice of routes, the flowing natural perspectives created by the architecture, cause some paths to be more frequently used. This study follows one such path, unique on the one hand, yet prescribed on the other (Figure 02).

Perceptually, and diagrammatically, the unique, spiral path may be pulled taut, providing an essential perceptual link between each point on the path. The locomotive experience of the Kunsthal now may be truly perceived in ‘serial vision’; each point on the path related to another. A continuous, fluid link has been formed, enabling locomotive flow to take place perceptually. A straightened path, 365990mm long and consisting of 25 node points is, at this moment, the substitute for the Kunsthal experience (Figure 03).

According to the psychologist J. J. Gibson, locomotion is guided towards an object by “keeping the focus of optical outflow centred on that item.” [xiii] The focal point, then, becomes clear and the flowing periphery is blurred. This is achieved diagrammatically by simplifying the form that specifies the goal – the view of the approaching space.

Natural perspective (the ambient optic array) consists of nested solid angles of vision, [xiv] all appearing to converge towards a vanishing point. The basis of artificial perspective uses converging lines and textures to imply depth, although its interpretation is somewhat limited, because we cannot move and see the ‘depth’ of an object or space. The philosopher, Maurice Merleau-Ponty proposes that depth cannot be truly perceived from a stationary location, as in artificial perspective. To truly perceive depth, one must take a ubiquitous view point, enabling depth to become breadth viewed from the side. [xv]

The simplified form that specifies the goal then becomes a two-dimensional slice through the approaching space, devoid of physical depth and detail (Figure 04). Therefore, at each node point, or at each point on the path where a new vista is offered, a two-dimensional section is positioned, corresponding to the space encountered along the path. So, for example, when the observer starts his journey with the ascent up the ramp from the Museum Park towards the entrance kiosk, a section through this space is placed at the first node.

The form of the Kunsthal experience, at this point, is known as the ‘spatial armature’ (figure 05).

Motion is experienced when an observer moves from one place to another, or in the case of the experiential Kunsthal, from one reductive two-dimensional section to the next. The section at the node point is an ‘anchor’ which we visually ‘grip’ when moving. [xvi] These positions are the important ones, the ones which we see, not the intermediate points between the nodes. Hence, the depiction of space at the intermediate positions only needs to be approximated, simulating the continuous optical flow from one goal to the next.

The newly formed armature is lofted along a single rail (the path) using a three-dimensional computer-modelling program. A coherent form from a collection of individual elements is created, derived from locomotive perception – the spatial flow form (Figure 06). The form is unspecific, shaped by the parameters of the modelling tool and the two-dimensional sections, but this is within the acceptable scale of spatial and temporal deformation expected from the optical flow due to locomotion (head turning, interaction with objects).

The spatial flow form now exists as a mono-directional linear object. At each node point there is no need for the observer to make a decision about a change in direction. It is at this point in the reconstruction process that the straightened path and skin are reconfigured to the original spiral form of one of the many of the Kunsthal’s paths (Figure 07).

In effect, a three-dimensional representation of locomotion through space relative to the observer is produced. The flow of the optic array can now be experienced spatially, rather than linearly. The process of cutting, editing and piecing together the selected fragments of the Kunsthal, in a similar manner to Sergei Eisenstein’s methods of montage, comes closer to the manner in which we experience spatial events. [xvii]

Future Exploration
This exploration of locomotive experiential flow is reductive to the extreme. Visual clues pointing towards the perception of the visual world are excluded. Recognizable elevational details, such as windows and doors, are victims of the reductive process. The addition of more visual information can be investigated in later studies. Also reduced are the possible number of paths (one), and the corresponding journey. A great number of spatial studies may be produced, providing experiential data for many different routes around the Kunsthal.

The increase of dimensional depictions is easily recognized – node (one), to line (two), to spatial flow form (three). But temporal flux, at this stage has not been considered. Can spaces be represented temporally as well as spatially? Time does affect the perception of space, depending on whether the observer’s duration in that space is a long one or a short one. The depiction of spaces that are experienced could also be influenced by how quickly a person moves through them, the form based on spatial flow can either contract or expand.

The Kunsthal celebrates the essence of path with its integration into the museum park, both physically and visually, with views to the outside which orientate the visitor within the building. The experiential depiction, as it stands, is insular, offering no contact with what lies beyond the skin. Further investigation into the importance of context may offer clues as how to approach the integration of the outside, inside.


References
. Murray Grigor, Space in Time – Filming Architecture, Architecture and Film, Architectural Design Profile No. 112, Academy Group, London, 1994, p. 19.


[ii]. James J. Gibson, The Ecological Approach to Visual Perception, Lawrence Erlbaum Associates, Hillsdale, New Jersey, 1986, p. 122.


[iii]. James J. Gibson, The Ecological Approach to Visual Perception, Lawrence Erlbaum Associates, Hillsdale, New Jersey, 1986, p. 294.


[iv]. Ibid. p. 293.

[v]. Yve-Alain Bois, Assemblage, No. 10, December 1989, p. 113.


[vi]. Sergei Eisenstein, Montage and Architecture, Introduction by Yve-Alain Bois, Assemblage, No. 10, December 1989, p. 116.


[vii]. Sergei Eisenstein, Through Theatre to Cinema, Film Form – Essays in Film Theory, translated by Jay Leyda, Dennis Dobson Ltd, London, 1963, p. 3


[viii]. Sergei Eisenstein, Film Form – Essays in Film Theory, translated by Jay Leyda, Dennis Dobson Ltd, London, 1963, p. 10.


[ix]. Maggie Toy (editor), Architecture and Film, Architectural Design Profile No. 112, Academy Group, London, 1994, p. 7.


[x]. Tom Porter, The architects Eye – Visualization and Depiction of Space in Architecture, E & FN Spon, London, 1997, pp. 113-119.


[xi]. Ibid. p. 115.


[xii]. Rem Koolhaas, Bruce Mau, S,M,L,XL, Monacelli Press, Inc. New York, 1995, p. 431.


[xiii]. James J. Gibson, The Ecological Approach to Visual Perception, Lawrence Erlbaum Associates, Hillsdale, New Jersey, 1986, p. 122.

[xiv]. Ibid. p. 68.


[xv]. Maurice Merleau-Ponty, Phenomenology of Perception, tenth reprint, translated from the French by Colin Smith, Routledge, London, 1999, pp. 255-256.

[xvi]. Ibid. pp. 268-270.


[xvii]. Tom Porter, The architects Eye – Visualization and Depiction of Space in Architecture, E & FN Spon, London, 1997, p. 114.

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分析图解2：

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分析图解3：

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分析图解4：

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分析图解5：

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分析图解6：

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分析图解7：

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29这段楼梯有意思，撞到墙上了

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30钱币设计展览入口
两个是设计精美的荷兰盾硬币，但现在已经不存在了

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31钱币展

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32钱币的“时间隧道”，展示了荷兰一直以来发行钱币的情况

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33穿过一条廊进入坡道另一边的展厅

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34转向展厅的过渡空间

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35展厅