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规划的力量:航拍器及建筑摄影第1张图片

Boa Nova Teahouse / álvaro Siza Vieira. Image © Joao Morgado

什么是鸟瞰图?在这个特别的空间视角中,一个更具包含性的,具有普遍吸引力的观察的方式,而建筑师和设计师经常在其中寻找慰藉。很容易得到的地图服务增加了我们从上空了解世界的依赖性。

What is the draw of the aerial view? Whereas architects and designers often find solace in this particular spatial perspective there is a more inclusive, universal appeal to this way of seeing. The ease of access to online mapping services has increased our collective reliance on understanding our world from above.

地图将地球浓缩成我们口袋中的小世界,地图商品使俯视图像通用化。对于平面图的状态来说,现今逐渐混合于集体意识中的地图无处不在、随处可用,其是否是一个积极的措施的争论仍在持续。然而,面对这进退两难的处境,建筑摄影师正在推进无人机技术的边界来寻找新的方式。


Maps condense the planet into a little world inside our pocket, the commodification of which has universalised the ‘plan-view’ photograph. The question of whether or not their ubiquitous availability, having now been assimilated into our collective consciousness, is a positive step for the status of the plan is a discussion ongoing. Yet, in the face of this dilemma, architectural photographers are pushing the boundaries of drone technology in order to find new meaning.

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© Fernando Guerra | FG+SG

通过平面图阐明空间很早以前就是被空间设计师所认可的公约。它是一种主要的思考、理解和表现复杂的建筑以及城市组成的方式。正投影(平面图、立面图、剖面图)提供了一个仿造的和难以到达的地方的视图,它以一定程度的精度以及在真实情况下难以复制的纯空间来定义。


Articulating space through plan has long been an accepted convention for spatial designers. It is, more than anything, a way of thinking, understanding, and representing complex architectural and urban compositions. Orthographic projections (plan, section, elevation) provide a view of a place which is both artificial and unattainable, defined by a degree of precision and purity of space that is impossible to replicate in real-world situations.

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Giambattista Nolli’s Map of Rome, 1784 (detail, The Vatican)

在任何尺度上都是如此:从诺利地图上具有创意的罗马平面图(1748)到库福尔登的荷兰要塞精准的几何形(1647)。在20世纪和21世纪的居民建筑中,平面图已经成为世界各地住宅建筑一个普遍认可的设计空间的方法。


It works on any scale: from Giambattista Nolli’s seminal ichnographic map of Rome (1748) to the geometrical perfection of the Dutch fortress of Coevorden (1647). In 20th and 21st century domestic architecture, the plan has come to symbolise a universally recognised method of orchestrating space around square feet/metres in residential buildings across the world.


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Coevorden Fortress, The Netherlands / Markus Schweiss

平面图对于建筑师了解项目的作用是有限的,无论它多么基础。而且这正是俯视图显示自身特点之处。不同于绘图,航空图捕捉完美的阴影、意想不到的天气模式、地球表面和屋顶景色,还能捕捉人、动物以及交通工具的轨迹,将建筑场景提升为现实。最重要的是,它可提供外扩的城市景色掠影和非理想性的膨胀的有生命力的自然环境,将其作为一个设计师视觉的一部分,而架起实体与非实体之间的桥梁。


However fundamental the plan is in allowing architects to understand a project, it is stylistically limited – and this is where the top-down photograph comes into its own. Unlike a drawing, aerial photographs capture perfect shadows, unexpected patterns of weather, worn ground surfaces and roofscapes, as well as the traces of people, animals and vehicles that elevate architectural scenes into ‘reality’. Most importantly, they provide glimpses into extended urban settings and powerful natural conditions which are not idealised or inflated as part of a designer’s vision, thereby splicing the gap between the tangible and intangible.

正是照片原有的真实性加上正投影的“纯粹”,使无人飞机成为可能。这些照片虽不是平面图,而正是这些照片的特点:柔和的视角和自然实在性提醒我们,我们正在通过镜头而不是通过墨水看截图。设计师不能精确地预测人们居住的住宅意向以及调整他们的生活方式。同样地,它们拥有真诚的性格:蹦床和儿童玩具在修剪整齐的草坪上,车辆转圈子尘土飞扬的情景。


It is the marriage of photography’s innate authenticity, coupled with the ‘purity’ of orthographic projection, that drone technology makes possible. These photographs are not plans; rather, the gentle perspective and natural realism that is characteristic of these shots gently remind us that we are looking at a frame captured not through ink but through a lens. Designers cannot accurately predict the ways in which people inhabit and adapt their built visions. As such, they are imbued with genuine character: vehicular turning circles can be seen etched onto dusty landscapes, while trampolines and children’s play-sets are peppered across manicured lawns.

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Biomuseo / GehryPartners. Image © Fernando Alda

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Beijing No.4 High School Fangshan Campus / OPEN Architecture. Image© Xia Zhi

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Rural Tourism Peno Monte


航拍器建筑摄影的蜜月期很可能已经结束,按照建筑师的意愿用无人机在米兰博览会上空或飞跃纽约赫斯特塔拍摄连续镜头也不再令人激动或觉得特别。一些建筑摄影师积极地使用这种技术来创造更为平和、更为宁静的建筑照片。在摄影师中,Joao Morgado和Fernando Guerra的作品展现出无人飞机可被用来捕捉令人惊奇的有力的建筑及其周边环境的照片。在他们的沉静中,他们揭示的就是鸟瞰图经久不衰的吸引力。



Perhaps the honeymoon period is now over and footage taken using drones flying over the site for this year’s Milan Expo, or through New York City’s Hearst Tower at the will of the architect, is no longer exciting nor unique. Some architectural photographers are actively embracing this technology to create quieter, more composed architectural stills. The work of Joao Morgado and Fernando Guerra – among others – demonstrates that drones can be harnessed to capture astonishingly potent photographs of buildings and their surrounding landscapes. In their stillness they reveal just how compelling the aerial view continues to be.

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Terminal Rodoviario / Castelo Branco . Image © Joao Morgado

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Terminal Rodoviario / Castelo Branco . Image © Joao Morgado


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Tagus Linear Park / Topiaris Landscape Architecture. Image © JoaoMorgad

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Lone Hotel, Croatia / 3LHD.Image © Joao Morgad

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The Building on the Water / álvaro Siza + Carlos Castanheira.Image © Fernando Guerra | FG+SG



本文来源于:http://www.archdaily.com/
编辑:杨蓓,卢荣姝

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