Abstract:
Interior design is the extension of architectural design, sublimation and re-creation, both constitute an inseparable whole, which is our basic point of view towards interior design creation. Architectural creation is a complete process, and how to properly reflect the concept of creation and cultural connotation in such a relatively special environment of space, entity and form composition is the basic problem that architects are faced with in interior design. The interior design of Henan Museum is a useful attempt based on this point of view.
SECTION I.
Introduction
In the overall idea of interior design, we always insist on expressing a kind of rough mining, surging upward culture of the Central Plains. This kind of expression should get rid of the restriction of the specific image of local culture, explore the hidden meaning in the deep layer of the whole culture, discover and grasp its internal order, and fully express it in the design, so as to realize the correlation with the local culture at a higher level. The realization of the idea is ultimately expressed through concrete architectural form and space, and the method of expression is firstly to pursue the continuation of the exterior architectural concept in the interior. This requires us to have a deep experience and a strong grasp of the architectural form, and give a conscious expression in the creation. Secondly, relative to the whole building, the relationship between interior and people is closer, and the fundamental of interior design is for people rather than for things. The aesthetic elements of interior art are peoples demand for interior space psychology and scale, as well as the feeling of environment style, atmosphere, color, sound, light and other aspects. Therefore, it is necessary to guide these elements and mobilize them comprehensively in order to achieve the expected vision.
The style of interior design should be determined at the beginning of the design. First of all, we tend to be architectural in interior performance and pay attention to empty space the concept of the communication, pay attention to the interior space between all walks of life geometric relations and spatial composition, emphasis on the volume of the performance, the use of village materials, structure, light and shadow contrast to highlight the sense of spatial composition of the hierarchy, in the appropriate place and decoration phase stage. The second is to carry out the principle of integration and special soo phase. Here, the whole from large to small has three meanings, one is the echo of interior form and architectural form, the second is the unity of various space design styles, and the third is the integrity of interior space design, breaking the conventional boundary between interfaces and creating interspersion and fusion between interfaces. The particularity refers to the importance of spatial image design and the targeted design of the original form of each space. The design of museum public space should be based on meeting the requirements of display and display, and the interior design style should be simple, clear, elegant and generous, thus setting off the theme of space. Below we divide the space to elaborate.
SECTION II.
Preface hall
The preface hall is the starting point of the interior space sequence of the main hall, leading to the central hall at the end, from which the audience enters the long river of history. Its design sets the tone for the entire interior design.
The preface hall is about 50m in length, 18m in width and 5.5m in height, which is a vertical space extending horizontally. The design is dedicated to the establishment of a rhythmic and deep spatial order, making the audience feel as if they are in a long 'time tunnel'. Starting from such space conception, a row of cantilever frame is set up in the column of the platform. The shape is inclined, standing opposite each other to strengthen the depth of the space. At the same time, it is close to the scale of the human body in the hall, which not only enriches the level of the space, but also seems to be waving to welcome the audience into the room. The sloping frame points to the ceiling, echoing the long daylighting belt at a distance, at one go. Wo light belt is wavy, with an alternating rhythm for the sequence hall to cast a soft sky light, rippling in quiet a bright and silent dynamic.
The indoor ceiling and the ground of the village materials are respectively spread to the side wall, in the wall is interwoven with each other in strips. The reflector groove runs through the ceiling and the wall, linking the two interfaces closely together. The regular vertical division is adapted to the spatial intention, and forms the main tone of interior lighting design.
In order to effectively control the scale relationship between the sequence hall and people, solemn and stable dark blue polished granite is selected for the 9m-wide ground and columns in the center, while the ground and walls on both sides are elegant and grayish granite with high background. The horizontal earth-red decorative belt on the wall is the representative color of the unearthed cultural relics from the Central Plains. Together with the wooden decorative lines on the upper wall, it forms a neat visual background of the preface hall.
The image design of various elements of interior space strives to echo the architectural form with local charm, and the use of a large number of oblique lines is its main feature. For example, the traditional octagonal column has a strong sense of volume while improving the proportion of the column body. The cap of the column opens outward while the base of the column pulls in inward, which is completely modern. The glass is embedded with copper nails on both sides to arouse peoples association of
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Abstract:
Interior design is the extension of architectural design, sublimation and re-creation, both constitute an inseparable whole, which is our basic point of view towards interior design creation. Architectural creation is a complete process, and how to properly reflect the concept of creation and cultural connotation in such a relatively special environment of space, entity and form composition is the basic problem that architects are faced with in interior design. The interior design of Henan Museum is a useful attempt based on this point of view.
SECTION I.
Introduction
In the overall idea of interior design, we always insist on expressing a kind of rough mining, surging upward culture of the Central Plains. This kind of expression should get rid of the restriction of the specific image of local culture, explore the hidden meaning in the deep layer of the whole culture, discover and grasp its internal order, and fully express it in the design, so as to realize the correlation with the local culture at a higher level. The realization of the idea is ultimately expressed through concrete architectural form and space, and the method of expression is firstly to pursue the continuation of the exterior architectural concept in the interior. This requires us to have a deep experience and a strong grasp of the architectural form, and give a conscious expression in the creation. Secondly, relative to the whole building, the relationship between interior and people is closer, and the fundamental of interior design is for people rather than for things. The
摘要
室内设计是建筑设计的延伸、升华和再创造，两者构成不可分割的整体，这是我们对待室内设计创作的基本观点。建筑创作是一个完整的过程，创作的理念和文化的内涵如何在室内这样一个无论空间、实体还是形态构成都相对特殊的环境中给予恰当的体现是建筑师从事室内设计所面临的基本问题。河南博物院主馆的室内设计就是我们基于这样的观点所进行的一次有益的尝试。
第一节
介绍
在室内设计的总体构思中，我们自始至终坚持要表达出中原地方的一种粗矿的、奔腾向上的文化底蕴。这种表达应当摆脱地方文化特定形象的制约，探求在其文化整体的深层中隐含的意义，发现并抓住其内在的秩序，在设计中进行充分的表现，从而在较高的层次上实现与地方文化的关联。构思的实现最终还要通过具体的建筑形式与空间来表达，表达的方法首先就是追求外部建筑概念在室内的延续。这需要我们对建筑形式有深刻的体验和有力的把握，并在创作中给予自觉的体现。其次，相对建筑整体而言，室内与人的关系更加密切，室内设计的根本是为人而不是为物。人对室内空间心理及尺度的需求，以及对环境格调、气氛、色彩、声音、光线等方面的感受构成了室内艺术的审美要素。因此有必要对这些要素进行引导，并综合地予以调动以达到预期的设想。
aesthetic elements of interior art are peoples demand for interior space psychology and scale, as well as the feeling of environment style, atmosphere, color, sound, light and other aspects. Therefore, it is necessary to guide these elements and mobilize them comprehensively in order to achieve the expected vision.
The style of interior design should be determined at the beginning of the design. First of all, we tend to be architectural in interior performance and pay attention to empty space the concept of the communication, pay attention to the interior space between all walks of life geometric relations and spatial composition, emphasis on the volume of the performance, the use of village materials, structure, light and shadow contrast to highlight the sense of spatial composition of the hierarchy, in the appropriate place and decoration phase stage. The second is to carry out the principle of integration and special soo phase. Here, the whole from large to small has three meanings, one is the echo of interior form and architectural form, the second is the unity of various space design styles, and the third is the integrity of interior space design, breaking the conventional boundary between interfaces and creating interspersion and fusion between interfaces. The particularity refers to the importance of spatial image design and the targeted design of the original form of each space. The design of museum public space should be based on meeting the requirements of display and display, and the interior design style should be simple, clear, elegant and generous, thus setting off the theme of space. Below we divide the space to elaborate.
SECTION II.
室内设计的风格，在设计一开始就要确定下来。首先，我们倾向于室内表现的建筑化，注重空
间概念的传达，重视室内空间各界面间的几何关系和空间构图，强调体积的表现，在表现手段上运用村料、构造、光影对比突出空间构成的层次感，在适当的部位与装饰相结台。其次是贯彻整体性与特洙性相结台的原则。这里，整体性由大到小有三层含义，一是室内形式与建筑形式的呼应，二是各空间设计风格的统一，三是室内空间设计的完整性，打破界面间的常规界限，创造界面间的穿插融合。特殊性则指重视空间形象设计，对各空间原有形态进行针对性设计。博物馆公共空间的设计要以满足陈列与展示的要求为依据，室内设计格调宜简洁、明朗、典雅大方，从而衬托出空间的主题。下面我们分空间予以阐述。
第二节
Preface hall
The preface hall is the starting point of the interior space sequence of the main hall, leading to the central hall at the end, from which the audience enters the long river of history. Its design sets the tone for the entire interior design.
The preface hall is about 50m in length, 18m in width and 5.5m in height, which is a vertical space extending horizontally. The design is dedicated to the establishment of a rhythmic and deep spatial order, making the audience feel as if they are in a long 'time tunnel'. Starting from such space conception, a row of cantilever frame is set up in the column of the platform. The shape is inclined, standing opposite each other to strengthen the depth of the space. At the same time, it is close to the scale of the human body in the hall, which not only enriches the level of the space, but also seems to be waving to welcome the audience into the room. The sloping frame points to the ceiling, echoing the long daylighting belt at a distance, at one go. Wo light belt is wavy, with an alternating rhythm for the sequence hall to cast a soft sky light, rippling in quiet a bright and silent dynamic.
The indoor ceiling and the ground of the village materials are respective
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