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1、 talking about the symbols in the environmentof the use of art and designabstract:the inheritance and innovation over the years the relationship between art and design environment has been the focus of attention. this article hopes for the design of symbols used to explore the culture, about the mys

2、teries of inheritance and innovation of the trace of sentiment.keywords: deformation grammar separatist symbols constituteinheritance and innovation over the years the relationship between art and design environment has been the focus of attention. in fact, from the linguistic point of view, this co

3、ntradiction is the language of stability and variation between the contradiction. as a designer in the form of design successes and failures of the success or failure depends on the master, the term the rich and the use of grammar of proficiency. designers to make their works by others can truly und

4、erstand, we must choose the appropriate word and must comply with the grammar. this does not mean that designers can only follow the beaten track, no personal contribution. designers skillfully use the new individual symbols, or a conscious change in inter-symbol combination of a number of conventio

5、nal relations, create new works of moving, which is design innovation.composition has a specific component approach, that seems to be very plain in the composition of the sudden appearance of a heterogeneous elements, making the program itself is very plain to achieve unexpected results, with a sens

6、e of innovation of new symbols like this heterogeneous. in peoples accustomed to things difficult to arouse enough attention and interest in case, some common symbols deformation, splitting, or the preparation of the code to change the order, you can play a compelling, thought-provoking, the strengt

7、hening of environmental messaging language role.united states renowned architect charles moore designed the city of orleans, italian piazza is bold in design elements taken from a variety of classical symbols, and symbolic means to reproduce them. the entire square to a circular plane baroque for th

8、e composition to the gradual proliferation of black-and-white concentric circles and to the surrounding pavement surface to extend out until the three sides of the street entrance. classical roman column, after a face-lift to the face of new shows, such as the corinthian column is used in stainless

9、steel column, canopies wall carved with the latin of this fountain for the public to all the people who offer the gifts of the message; doric column on the flowing down gurgle, round coupon on the molar smiling portrait, water is constantly spit from his mouth . here is not only full of bright rich

10、atmosphere of a modern commercial, but also a strong attachment to local feelings. maps and italian apennine peninsula, sicily and sardinias plan; ancient rome, the five-column, the deformation motif combinations and the arc de triomphe; circular portico wai kwong hop. in fact, you are immediately a

11、ware that it is a mockery of classical marxism. this is a joyous, almost classical tradition are hysterical embrace pleased. today, a variety of side box-style building was considered aloof in the historic and local above only has the technology and a small number of functional semantic semantics, t

12、here is no room for thinking aftertaste, the environment has led to apathy and boring criticism. this use of information theory to explain the principle that effective environmental information contained in the symbol system too. in view of this, post-modern architects venturi loudly called for: bui

13、lding a rich content, while building to include other aspects of the multi-dimensional art, even including the language, so that it is no longer a mere tool for the space. it advocates environmental complexity and contradictory nature of modernism promoted by substitute simplicity; to semantic ambig

14、uity and tension in place of straightforward; to the multiplicity of semantic opposition to one or the other of opportunism; should be mixed at a glance rather than unity. stern designed the best product showroom are a typical example, it adopted legislation faces many of the traditional symbols and

15、 constitute a form, like the ancient greek pantheon of elevation, thus suggesting he was trying to convey theme purposive: that is, the building as a temple of consumerism, the commercialization of society reflect the values of people and commercial activities of daily life today, the importance of.

16、 but the way metaphors are complex, multiple, without serious thought, it is difficult to understand immediately apparent from its real significance. this design works, for example, not only the depth of the box thinking is more than simply the pursuit like a sailing boat or a bird of prey such as t

17、he symbolism of a more intriguing, more philosophical.the environment as a symbolic phenomenon, in order to address the long-standing problem for the designers of the inheritance and innovation of the paradoxical problem of providing a effective way. design language as the language of symbols, are r

18、ooted in past experience with the rapid development of the society is linked to the new features, new materials, new technology and calls on new ideas. on the one hand, as if it were so general language language changes slowly, on the other hand, with the rapid development of society. how to make th

19、e environment not only of historical continuity, but also to adapt to the new requirements of the times?with the advance of science and technology progress and frequent cultural exchanges, vocabulary and grammar in the developing trend of convergence, but a nation because of natural conditions, econ

20、omic and technological, socio-cultural practices of the different environment association has a number of unique symbols and arrangement. spoken like the dialect, like the designers cleverly inject this kind of accent can enhance the environment for a sense of history and local flavor, and enhance t

21、he influence of language environment. modern japanese architecture master kenzo tange designed kagawa hall is a new form of the traditional semantic model. although the building are used by ordinary reinforced concrete frame structure, but the external form of treatment is the use of lu ming chuan h

22、ead, beam top traditional symbols, vertical horizontal partition is a natural association to the japanese main tower of the layers of eaves. layout has absorbed the advantages of the square tower of the traffic and public facilities on the planar core (similar to the tower kaguta ventricle), so that

23、 they share the smallest get all floors of the shortest route traffic. so as to show a structure with modern forms of technology to reflect the style of traditional local methods.united states artist susan lange once said, is always a symbol to simplify the form of the performance of its meaning, th

24、at is exactly what we can grasp the reasons for it. regardless of a work of art (or even all of the arts) is how the complexity of , profound and rich, it is easy than real life. therefore, the art theory is undoubtedly the establishment of an effective hearts and minds in a vivid reality of the con

25、cept of such a great cause of the preamble is more. symbolic activities have been included in the activities of some abstract no longer remain in the individual above the. visual symbols are an art symbols, but also the performance of sexual symbols. relative reasoning in terms of sexual symbols, vi

26、sual symbols do not have their own system, and any visual symbols have a certain degree of cultural content, and only reflected in a certain degree of emotional structure, around a particular theme of organic combination. educated youth hotel, mao jia restaurant commercial building and so on, it als

27、o adopted the hats, corn on the cob, rough wooden tables and chairs, wells and so on, and even more in order to create an atmosphere of clothing are to be attendants, as well as the menu were also cleverly integrated into the among them, these different geographical significance in rural areas typic

28、ally rich in visual symbols to create an environment here is like an old album, recording a different persons experience, making the design become more cordial, but also worth pondering. visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke th

29、oughts association, which have empathy, to achieve emotional resonance, thus building more meaningful.the rapid development of urban construction has brought rapid changes, but at the same time we also lost many will never be able to recover things - historical context. the history of the formation

30、of the streets, alleys, arches, religious shrines and so on urban form as a complete expression of architecture and urban image of the symbol system, being into films, shing street, into a square to be removed, threats to the urban form of the compatibility and continuity . respect for historical tr

31、adition does not mean, rigidly traditional. instead, consciously keep these traditions, will make the city more local flavor. in fact, establishing a new do not have to old, the key lies in how to approach traditional and fashion to create a new symbiosis of old and new urban form (symbols). new wor

32、ld project is located in shanghai, xingye road huangpi road, a major site of the chinese communists of the surrounding area. venue opposite the south block, design for the modern architecture is not high, which is dotted with some reservations the traditional architecture, and the venue in harmony.

33、and venue where the north block, the neighborhood retained a large pattern, carefully preserved and repaired the building exterior facade shikumen, detail and neighborhood-scale space, the building was made larger internal transformation in order to adapt to office, commercial, accommodation, cateri

34、ng and entertainment and other modern life. have been built from the current part of view, received much praise, has a greater impact. it is said that sales and cost-effectiveness also very good. in fact, in shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lif

35、estyle never die off, new world just give it a reasonable change and continuity, are left for us to think more and enlightenment.famous philosopher ernst cassirer person think symbols are animals. all human spiritual and cultural activities are the product of symbols. the essence of that person in t

36、hat he can use to create cultural symbols. therefore, all cultural forms, is both a symbol of the reality of events is also the person of the nature of the object. the so-called master culture, in the symbolic level at least, to be skilled to operate constitute the cultural symbols and cultural syst

37、em rather than the symbol itself, the new experiences and insights woven into symbols go, in fact, symbols themselves are also changing, and the cultural heritage and the innovation of the mysteries of it exist in this variation of the. confucius and socrates are still human beings are eternal beaco

38、n, and the symbols of modern subjects in this study call for us from the back to socrates. will be simple and complex semantics, traditional and fashionable phrase structure, and applied to the design of modern art, thereby creating a personalized, human cultures new design symbols.fiber art and int

39、erior designabstract: fiber art is a functional fiber art and aesthetic value in one art form. fiber art is full of natural flavor to the material texture and flavor of the simple hand-woven to meet the emotional needs of a wide range of people, it and other types of interior decoration as compared

40、to an irreplaceable advantages. fiber art has been to infiltrate the building and environmental matters in all aspects of design, it is mainly the use of various materials and techniques to express the concept of modern design and modern life.keywords: fiber arts; not include the indoor environment;

41、 fiber artfiber art collection of classical and modern, romantic and calm, industrial civilization and traditions in one hand, are an ancient and young arts. it is natural animal and plant fiber or synthetic fiber materials, with knitting, ring binding, winding, stitch and other production means, th

42、e creation of planar, three-dimensional image of a form of art. fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling language works.1.

43、 fiber texture art interior environmental design on the impact of material selection.the performance of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an unparalleled visual appeal. fiber art of material selection is very extensive, almost all t

44、ypes of textile fibers may be applicable. the use of different materials through different processing or the use of different structures can produce different textures. texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and transparency and so on constitute a

45、 large number of attributes. constitute the attributes of diverse, complex portfolio, will also change texture infinite. at the same time, textures are also belong to the common perception of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds

46、of materials are exposed through the texture to its true features and through the texture to express the characteristics of materials. fiber interior accessories through tactile senses given different psychological feelings, such as hard and soft, thick, hot and cold and so on. at the same time, set

47、 up in the memory of visual perception, evoke images of different psychological perception, distinguishing texture characteristics. modern fiber art is a breakthrough and go beyond the traditional, mainly manifested as fiber such material on a higher level of understanding and application. tradition

48、al fiber art, mainly in natural fiber materials. these materials include silk, wool, hemp, cotton and so on. used in modern fiber art materials, has broken through the traditional constraints. here the fiber is no longer just cotton, hemp, wool, brown, rattan and other traditional fiber materials, i

49、ncluding chemical fiber and latitude of the hard and soft woven material, as well as all of the linear material, and even some metal fibers have also been artists of all ages. american fiber artists such as nancys work the golden wave used wool, viscose fiber and copper wire as material. bulgaria ca

50、yman million fiber artists work with the weft a plastic tube and wool as a material. modern fiber art of painting from nature than from the pursuit and began to focus on the performance of materials in the united states itself, the natural form of fiber materials, rich texture, just between the diff

51、erent fibers and sophie, straight and curly, miscellaneous and pure, ming with dark, light and heavy contrast, and to appreciate those who bring a wealth of aesthetic experience. fiber art has always been known as the artistic and texture. whoof weaving is a traditional fiber arts major process. how

52、ever, modern technology of fiber art practices have not been listed out in full, such as weaving, hitch, winding, stitch, collage, as well as dyeing, painting, spraying, printing and so on . many artists will also science and technology into the field of fiber art creations. american artist cynthias

53、 runs, lake rain looms for the creative use of computer tools, the use of three-way warp space to create a unique effect in the fabric texture and structure to show the endless imagination, different types and color overlay with the cover line, resulting in the traditional process can not be achieve

54、d on many levels of subtle changes. there are many artists, make use of the existing products to create, but also the effect of unusually touching. for example, the pioneer of modern fiber arts - united states miss lei nuo senior artists in the early 80s of last century the united nations building i

55、n new york designed the giant fiber works of art white fluttering fiber. this work of art from the interior of the building about 6m square vertical hoisting the roof down countless articles and white fibers, this fiber bundle with a bunch of slightly swinging the wind, both light also generous, we

56、also implicitly simple, it reveals a hazy and includes the state of tune of the realm of the united states. these works and the use of materials through the excavation of the united states itself and the integration with the environment, so as to achieve the unusual decoration of the united states c

57、an not match the artistic realm.2 .fiber art sculpture on the interior of the impact of environmental designcompared with traditional fiber art, contemporary fiber art is an important feature of its sculpture. traditional fiber arts such as carpet, wall,缂丝and other works, the main works are flat. si

58、nce the 60s of last century, fiber arts gradually to semi-relief from two-dimensional until the emergence of fully three-dimensional space of the work of soft sculptures - with the flexibility and elasticity of the sculpture. some artists take into account in the design works are works of more space

59、 for the overall situation brought about by decorative. polish artists work red wall yes to sculpture, to works of the landmark space. rui forward into the corner after their full deep oval to form a strong contrast, like a could not suppress the passion agitatedly eruption. 1992 1993 created to nest as represented by the works, she will be of good pulp pour in bamboo was carried out on a fan has created a singular effect.