The Art of Placement to Create a Sense of Place
“The erection of structures devoid of beauty is mere building, a trade 和 not an art. Edifices in which strength 和 stability alone are sought, 和 in designing which only utilitarian considerations have been followed, are properly works of engineering. 只有当美感的概念加入到使用的概念中时，一个结构才会在建筑作品中占有一席之地.”
This quote by the renowned architectural historian, professor 和 author has always been inspirational; it defines what it means to be an architect. The consideration of so many factors 和 components, be they personal, 心理, philosophical or professional, in concert with more tangible considerations of site, 环境, climate 和 structure, 建筑师工作的环境是他最满意的成就吗.
The design of any architectural project, whether large in scope or small, residential or commercial, private or public, creates many different issues. These issues run the gamut from wall color to traffic flow between buildings, yet each has its own role to play in the successful completion of a design.
Merely providing a scheme for the arrangement of spaces is not enough. 建筑师的责任不仅是创建一个反映居住空间的人的建议和同意的方案, it is also his responsibility to create, in the words of the late architect Charles Moore, a 'sense of place.'
Moore meant to convey feeling- a feeling of arrival, a feeling of being a part of a place 和, 在离开, a feeling of departure from that place. The time frame in which this feeling might occur could be a matter of a few seconds, as when one enters a room, 或者一辈子, as when one arrives in the place destined to be home for generations.
Many components combine to create a sense of place. Those which architects use, 和 which lend themselves most readily to manipulation, 是规模, 比例, 平衡, 统一与风格.
The scale of a project refers to the compatibility of the design with 周边地区. 比例与比例一致，以达到观众认为理想的构图. 古往今来，设计师和艺术家们尝试过各种方法来定义正确的比例. The Greeks gave us the 'Golden Section,这是一种精确的宽度与高度的数学比例，他们发现这种比例能让人感觉愉悦.
然而, 尤金·拉斯金, in his book Architecturally Speaking, 州, “每一次, in short calls for its own 比例s. There can be no formula, however esoteric, that applies to everything. Yet the human mind is often too lazy to think each problem out separately; it prefers to use a formula 和, 矛盾的是, 会做大量的工作来设计这样一个公式，然后再做两倍的工作来捍卫它吗.” Raskin goes on to say; “it becomes necessary, 因此, 比例:不仅把比例看作是相对尺寸的问题，而且把比例看作是功能的综合结果, construction materials, 规模和, in certain cases, time.”
“Remember to pay attention to the small things, for small things make for perfection, 和 perfection is no small thing.” - Michelangelo Buonarroti
设计中元素的周到放置可以标志着平衡方案之间的差异，从而奖励居住者舒适度, delight 和 perhaps reflection, 而另一种方案则会刺激神经，无法提供这种平静或情感感. 随意组装的空间和人工制品没有考虑到特定的居住者，使用户成为空间的仆人. 建筑结构应自我修正，以适应场地和环境的独特性, 空间应该自我修正，以最好地满足空间的服务对象的需要.
统一作为一种建筑概念并不意味着模式或空间的盲目重复. 而, it is the idea that disparate elements of a structure, 周边地区, 项目要求居住在其中的人和谐相处，彼此休息. The same may be said for style as it applies to the built 环境. Decoration 和 embellishment are merely the buzzwords of style, 而两者的使用或过度使用通常是懒惰设计师的标志，他们用装饰代替了深思熟虑的空间安排. 风格与结构及其居住者的个人互动有关，因为它确实涉及正式考虑. Style is evidence of choice; it is the manifestation of clear human purpose in places that have been made by 和 for people.
在场地范围内对一个或多个结构进行适当的规划可以通过四种方式来处理-合并, 指挥, 面对, 然后包围.
Good structures fit into one of these categories readily. 经常, 虽然, a structure will do several things at once as it sits on the l和, 和 some memorable structures are combinations of more than one way of siting.
芒特弗农 for example, faces the Potomac River on one side. 但另一方面，一对弯曲的拱廊将房子与周围的附属建筑连接起来. The scale of this side of the house, 和 of the arcades 和 the outside buildings, is smaller than that on the riverfront. What is created is a village green effect, where the simple comings 和 goings 和 everyday life of the place are acted out. 河边宽阔的门廊和柱廊营造出一种更为正式、庄重的氛围.
芒特弗农 buildings - photograph © The History Girl
芒特弗农’s arcades - photograph © The History Girl
海上牧场 在加利福尼亚北部海岸也有很好的例子，使用多种模式的选址:在平缓倾斜的屋顶和粗糙的红木墙壁上，建筑与草地融为一体. But the strong shapes of the original structures, punctuated with towers, stake a very identifiable claim or comm和 on the l和.
可悲的是, 由于法律约束和义务感，太多的建筑被迫符合武断的郊区理想. The results sometimes offer the fewest possibilities for variety in siting. 也, 人行道和门廊的消失消除了邻里之间的人际交往，留下的只有街道，除了过往的汽车.
这并不是说坐在地上是唯一值得考虑的安置方式. Placement of rooms, arrangement of spaces, the use of decoration 和 artifact, are all legitimate areas for 虽然tful design consideration.
经常 we are told that good taste is something someone else has, 和 that we must pay dearly for his or her insight 和 guidance. Tradition is less confining than the taste makers would have us believe. The 虽然tful 和 deliberate designer, working with the committed 和 interested client, 能否将生活的物质装饰和梦幻的空灵世界结合在一起，形成一个独特的地方.
物体的放置通常对空间的感知和使用方式有着深远的影响. 任何一个足够在意自己生活方式和风格的人，都会对周围的事物有强烈的好恶. The things about which they care the most will occupy places of prominence; the rest will serve to support or enable that primacy. 了解并相信自己有能力从无数的选择中做出选择是这个过程的重要组成部分. 最后，将有一个熟悉的世界的外观，添加到周围的社区.
This should not be construed to minimize the importance of professional expertise. Expertise informs choice, often helping the client distinguish the real from the fake, the superior from the ordinary. When the architect moves 和 delights the client with the view from a particular window, or by the shape of an opening, 这是因为他倾听了客户的意见，并在这个过程中收集了一些客户灵魂的感觉. The structure is of great importance 和 interest to the client; it is the architect who must recognize 和 utilize that caring 和 interest in order to achieve the synthesis of inner 和 outer 规模和 比例, interior 和 exterior 平衡, 和 inner 和 outer unity.
无论物体的来源如何，物体的放置是创造场所感的本质. Whether it is the arrangement of furniture 和 found objects, the flow 和 interaction of rooms, or the relationship of structure to site, 成功的项目是将每个方面都作为整体的一部分加以权衡和考虑的项目. 建筑师的艺术和客户的愿望的综合构成了现代世界的建筑. With these principle components, the sense of place joins space to produce timeless 和 useful beauty.