"Icon" And "Image"-the Concrete Creation Of Therme Vals

Through the study of “icon” and “image” from cultural activism and architectural research,this paper believes that architectonics is not a “concrete-abstract-concrete” process,but a study on “concrete things” and on “images” attached to the space.As a medium,“icon”makes me visually grasp the “image” in space and discriminate design as a “concrete-concrete” thinking and a transformation from “image”to “image”.The first chapter is the cultural study on eastern and western “icon”and “image”.From the study on writing origins of eastern “icon and image”,I found the difference between icon and image.Icon: selection and plan,establish the external relationship between the object and me.Image: symbol and empathy,feedback of the object formed in my mind.“external need” of “icon” and “internal need” of “image” together construct the my cognitive way towards the world — investigating things and investigating minds.What does the cognitive mechanism —“investigating” refer to? Three meanings of “investigating” can be discriminated from the eastern thought,classification,observation and resonation.The process of understanding “icon” and “image” is a process of searching for results from investigating things to investigating minds.While the studies of western iconology discriminate the difference between “iconology” of “painting” and “iconography”,and understand the implications of the works.The elements demonstrated by authors in their works are also influenced by the subjectivity and historical background together.Nature theme,motif theme and symbolic meaning are mixed into “icon”.The process of “icon” is in constant“recreating the world for me”.“Icon” is the action with “image”.The world of “observation straight to sense” and the “implication”are established by “icon” and “image”.Thus,studying “icon” and“image” from culture helps to think about architectonics.Two issues are discussed in Chapter Two.The first one is to discuss the the “establishment” of “image” to architecture,which is a certain strength bonding every clue around and things together in the architectureexperience,a suitable state presenting by architectures with the surrounding area,the presence of architecture thought by Heidegger,the tension of atmosphere thought by Zumthor,architecture “anchoring”ground and so on.The second one is to discuss how to integrate every clue to form this strength,which is called as “internalization of clues around” by Zumthor.Taking Zumthor's Therme Vals as an example,rethink Therme Vals: how the clues around,such as mountains,dams,roads and eastern bathrooms,“internalize” into a whole.To discuss the part that cannot be expressed by drawing,the presence and recognition of the whole artistic conception,etc.Chapter three discusses the presence from “image” to “icon”.Starting from the development of “image” in cultural activism and architectonic activities,symbols can be seen from the origin of arts,the viewpoint of “investigating things and investigating minds” of“icon” and “image” can be seen from eastern thought and from western painting to study iconology and iconography.“Image” and “icon” are related in this section.While with the appearance of physical optical icon and image and architectural drawing,people began to rethink where the image goes,backtracked the dividing line of architectural drawing and architectural manufacture opened by Alberti's linear structure,and understood that the meaning of drawing is reducing,especially after the emergence of computer draft.How to treat icon and drawing in architectonics is to be explained in the case of Therme Vals.For instance,the draft helping concepts to shaping is to weigh the relationship between volume and construction,and the concept of Vals cave influences the density and enclosed form of the peristele This also influences the handling of materials so as to present a feeling of natural cave and quarry.Here draft is also an assist to carry out intention.The other section is to drawing.Whether the drawing based on structure drawing or “linear structure”,“the ‘drawing',under the concept of Alberti,is not limited to the functional location,size,orientation and base handling understood by us today,but it means to inject metaphysical meaning to the project on draft beforehand.” In the worship of Greek philosophy,Alberti turned the architectural drawing into a means towards profound meaning.