The Research Of Place Spirit Experience Design In Interior Space

In the context of globalization, regional architecture is gradually integrated into asingle international model. The standardized mode of production leads to the gradualweakening of regional features and the increasingly converging of architectural. This kind ofidentical architectural style exposes people to the environmental risk emphasized by theNorwegian architect Norberg Schultz, which causes the absence of a sense of place in people.This paper holds that this kind of feeling also exists in the interior space. Currently, the interiorspace design does not form a localization-based trend, but imitates and copies the internationalstyles crazily and unscrupulously. When these styles are widely copied, their diversities willlost, depriving the interior space of its particular spirit of place. There should be a state ofinteractive dialogue between man and interior space. The interior space not only containspeople’s feelings, but also carries people’s wishes and desires. The works whose style, materialand modeling are copied and imitated from others will inevitably become empty afterexperiencing the baptism of time. Therefore, how the designers shape and construct the spiritof place for interior space is an important topic in the current indoor research.Based on the understanding of Schultz’s concept of place spirit, this paper interprets thespirit of place in the interior place. Wu Liangyong understood the spirit of place as "artisticconception of place" in accordance with the customs of Chinese. In this paper, it is argued thatthe spirit of place is achieved by spatial experience, which is not only a way to perceive thesense of place, but also a design approach for constructing spatial structure relations. Thedesigners should utilize experience as a medium to create a spirit of place. Firstly, the premisefor experience of place spirit is based on specific substance properties, such as form of space,color of interface, material texture, light and sound. Then, on the basis of these properties,visual, auditory, tactile, olfactory and taste senses are integrated and interweaved to obtainsenses of identity and direction for place. Secondly, according to Schultz, the spirit of place issummarized as sense of identity and sense of direction. The author considers that this kind ofsummarization is not enough. So, this study attempts to further explore the relationshipsbetween man, living environment and spirit of place, as well as the interactive relationshipbetween subject and object. The existence of this interactive relationship then creates a possibility of a plot, which puts the plot space more emphasis on the interactive dialoguebetween man and environment. Indeed, this relationship is built on the experience of space andthe things contained in it, but it is not subordinate to the experience, but an experientialstructure, namely, a kind of spatial order. As a result, with experience as the guide, throughorchestration techniques of literature plays, this paper explores this kind of structural order andintegrates this perceivable but unspeakable spirit of place into the specific projects faced bydesigners so that it can be turned into the controllable design language. Finally, based on theabove theories, this paper concludes a generation strategy for spirit of place, namely, theprocess of collection, materialization, orchestration and experience, and presents direct andvivid explanation and study through actual operation projects.