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A Study on the methodology of the Optical Correction in the Western Architecture

西方建筑光学校正方法论研究

基本信息

批准号：
08650750
负责人：
DOI Yoshitake
金额：
$ 1.47万
依托单位：
Kyushu Institute of Design
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1996
资助国家：
日本
起止时间：
1996 至 1998
项目状态：
已结题

项目摘要

I traced the tradition of the optical correction through Vitruvius in the Ancient age, Alberti, Palladio and Serho in the Renaissance, and the French Academy of Architecture in the 17th and 18th century. According to this theory, the more the angle ofelevation of an upper part of a building is big, the more that part must be large. This theory is based upon the assumption that one sees buildings from a certain distance. But any architect have not mentioned this certain distance. In this research, I calculated this distance from the numbers with which the architects described the theory. In case of Vitruvius, it is about 60 feet. The Renaissance architects followed this number approximately. In case of the Academy, besides 60 feet, the measure of 10 feet was presumed for the optical experience in the interior space.Secondly I computed the representative scale of the urban and architectural scale of each age.In the Ancient times, the scale of 60 feet was found repeatedly in the colonnaded street, basilica's interior space and the Agora and Forum space. In French 17th and 18th centuries, 60 feet is found in the nave spaces of the churches and the squares, but the scale of 22-24 feet, the double of 10 feet, is always seen in the residence spaces. It means that the viewpoint is set just in the center of the room.This study on the Optical Correction in the Ancient, Renaissance and Modem times reveals the fact that this theory was not always applied, but that the theory was founded on the universal space scale which existed in the reality. So the significance of this theory lies in that the lived visual reality can be revealed through it.

我追溯了古代的维特鲁威，文艺复兴时期的阿尔贝蒂，帕拉第奥和塞罗，以及世纪的法国建筑学院的光学校正传统。根据这一理论，建筑物上部的仰角越大，该部分就必须越大。这个理论是基于这样一个假设，即人们从一定的距离看到建筑物。但任何建筑师都没有提到过这个一定的距离。在这项研究中，我根据建筑师描述理论的数字计算了这个距离。在维特鲁威的情况下，它是大约60英尺。文艺复兴时期的建筑师大致遵循这个数字。在学院的情况下，除了60英尺，10英尺的测量被假定为内部空间的光学体验。其次，我计算了每个时代的城市和建筑规模的代表性规模。在古代，60英尺的规模在柱廊街道，巴西利卡的内部空间和集市和论坛空间中反复出现。在法国17世纪和18世纪，教堂和广场的中殿空间为60英尺，但住宅空间中通常为22-24英尺，即10英尺的两倍。本文通过对古代、文艺复兴和近代三个时期的光学校正理论的研究，揭示了这一理论并非一直被应用，而是建立在现实存在的普遍空间尺度之上的。因此，这一理论的意义就在于通过它可以揭示活生生的视觉现实。