| 요약2 |
The purpose of this study is to identify how much the designer understood a prototypical space to realize a modern space and to explore the specific characteristics related to spatial arrangement, spatial components, and expressive characteristics between a prototype and an interpreted space. First, the tangible and intangible contexts were expressed to include the locality of Suzhou in all processes and contents of creating a space. Second, Suzhou Museum emphasizes historical symbolism. Third, it can be said that the spatial arrangement and components were directly influenced by Yuanye. Fourth, Suzhou Museum shows the garden was a male-centered space as a natural object represented by geometric and clearly-linear shape and simple colors. Fifth, the characteristics of Suzhou Museum in relation to arrangement, spatial components, and expression processes are mutually overlapped and connected. Lastly, in the method of expression, the expressions related to tradition are related to the way of appreciation. In the expression of development stage, many applications centered on form and color are found. The expression of innovation are marked by complete differentiation, which allows for analogizing the relation with the prototype through physical properties. It is confirmed that the characteristics of the traditional garden, where Pei sought to find the origin in temporal and spatial ranges through Suzhou Museum and create a space, were reflected with the difference in extent and stage. This is the result of a deep understanding and insight into a garden, an object which Pei set as the prototype, and can be seen as a faithful interpretation of the spatiotemporal identity of an area at a certain point in time. |