商业空间的审美发展
AESTHETIC DEVELOPMENT OF COMMERCIAL SPACE
随着都市化进程的加剧,经济活动的审美化深刻地影响着当代中国的社会生活。商业空间的审美化成为亟待研究的课题。当代商业空间的发展开始具有普遍的审美发展向度:美学在商品陈列、空间氛围营建中发挥重要作用;商业空间的主题化趋势日益明显;主题化的商业空间缔造了“空间意象”;同时,商业空间成为基于符码体系的消费“场域”,它以特有的空间设计、隐喻,实现阶级分野,区隔社会阶层、审美品位及生活方式。
一、随着都市化进程的加剧,经济活动的审美化深刻地影响着当代中国的社会生活,日益成为一种重要的社会现象和文化现象。德国学者韦尔施在《审美化过程:现象、区分、前景》中指出,“越来越多的现实因素正笼罩在审美之中。作为一个整体的现实逐渐被看作是一种审美的建构物。”而美学研究如何紧扣当代社会发展的现实,拓展研究领域,走出自我封闭的状态,回应社会的深刻变化,已成为学科发展亟待解决的问题。审美经济学是我们提倡建立的一门学科,审美经济学的研究对象是经济活动中的美学问题,以完整经济活动中产品的生产、流通和消费这三个基本环节为研究线索。商业空间审美化,作为流通领域的美学问题,成为我们研究关注的对象之一。
它同时也是近年来艺术学和文艺学等人文社会科学极为关注的热点命题“日常生活审美化”的某种呈现。
不难发现,商业空间正在经历着一场全面的审美化。“今天如果我们要寻找生动活泼的美和艺术,最好的去处也许不是传统的美术馆和大剧院,而是购物中心和街道两旁流光溢彩的商店。”当代商业空间的意义绝不止于作为商品流通的场所而存在,它同时以林林总总的商品和蔚为壮观的场面,构筑起梦幻的超现实王国,甚至升华为“仪式化的快乐神圣空间。”购物失去了一种物质性,成了一种文化事件(鲍德里亚语)。经济活动的审美化可以有两种不同的学科取向。一是经济学取向,二是文化社会学取向(美学包括在第二种取向中)。
本文从美学维度分析“商业空间主题化”、“空间意象”、基于符码体系的消费“场域”等普遍却未被深入研究的若干问题,希望做一次将传统美学理论纳入到时代语境下,向社会活动领域拓展和延伸的有益尝试。
With the aggravation of urbanization, the aesthetic appreciation of economic activity profoundly influences the social life of contemporary China. The aesthetics of commercial space becomes an urgent topic to be studied. The development of contemporary commercial space begins to have universal aesthetic development orientation: aesthetics plays an important role in commodity display and space atmosphere construction. The thematic trend of commercial space is becoming more and more obvious; Thematic commercial space creates "spatial image"; At the same time, commercial space becomes the consumption "field" based on the code system, which adopts unique spatial design and metaphor to realize class division, social class, aesthetic taste and lifestyle.
I. With the aggravation of the urbanization process, the aestheticization of economic activities has profoundly affected the social life of contemporary China, and increasingly becomes an important social phenomenon and cultural phenomenon. "More and more realistic factors are hanging over the aesthetics," said German scholar welsch in the process of beautification: phenomena, differentiation, and prospects. The reality as a whole is gradually seen as an aesthetic construct. And aesthetic study how closely related to the reality of contemporary social development, and expand the research field, itself out of isolation and response to the profound changes of the society, has become an urgent problem of subject development. Aesthetic economics is we advocate to establish a subject, the object of aesthetic economics is the aesthetic problems in economic activities, in order to complete the economic activities of the product production, circulation and consumption of the three basic link as the study clue. As an aesthetic problem in the field of circulation, commercial space aesthetics has become one of the objects of our research.
At the same time, it is also a hot topic in recent years, such as art science and literature and art, etc., which focuses on the "aestheticization of daily life".
It is not difficult to find that commercial space is undergoing a comprehensive aesthetic. "Today, if we're looking for vibrant beauty and art, the best place to go is probably not the traditional art gallery or the grand theater, but the shopping center and the street-level shops on both sides of the street." The significance of modern commercial space never ended as a place for commodity circulation, it also with many goods and spectacular scenes, sublimation build surreal dream kingdom, even for "happy ritualized sacred space." Shopping loses a materiality and becomes a cultural event (baudrillard). The aestheticization of economic activity can have two different disciplinary orientations. One is the orientation of economics and the other is the orientation of cultural sociology (aesthetics is included in the second orientation).
From aesthetic dimension, this paper analyses the "commercial space themed" and "spatial imagery", based on the code system of the consumption of "field" and other common but has yet to be in-depth study on several issues, hope to do a traditional aesthetics theory into the context of era, the beneficial attempt to develop the field of social activities and extension.
二、商业空间主题化
商业空间的主题化趋势日益明显。“主题化”原是营销学中的概念,指“将某一主题应用于某些机构或地点”,借此赋予它某种有吸引力的特殊意义和氛围。一家以迈克尔•乔丹为主题的商店、一个被营造成中世纪风格的餐厅、一家以怀旧为装修基调的时装店,都是经过“主题化”了的。西方学者提出多种主题的来源,戈特迪纳(Gottdiener)提出了9种重要主题为:身份、热带乐土、西部蛮荒地区、古文明、怀旧之情、阿拉伯奇趣、城市特色、堡垒的建筑和守卫、现代主义和进步。艾伦•布里曼(Alan Bryman)认为戈特迪纳遗漏了3个重要主题来源:音乐、体育及电影。施密特(Schmitt)和西蒙森(Simonson)认为5个“文化领域”是主题的主要来源:物理世界,哲学和心理学概念,宗教、政治和历史,艺术,时尚和流行文化。
“主题化为应用主题的事物提供了意义和象征性的平台。它赋予这些事物一种超现实的意义,至少也是对事物真实意义的一种补充。通过主题化为事物灌输意义后,这些事物将变得比不使用主题时更加诱人和有趣味。” “主题化”的意义在激烈的商业竞争中产生。首先,营销学上的“毗邻吸引原理”认为,“将原本可能不起眼的商品或服务放在一种有趣且意义超出商品和服务本身意义的环境中可能会增加它们的吸引力,进而增大它们被购买的可能性。”其次,“主题化”是实现店铺“差异化”的重要手段。创造一个特色鲜明的消费场所,有利于使自己的店铺在众多商店中脱颖而出。西方学者因此使用了“商店形象”(store image)的概念。
商业空间有多种主题化方法。Garden Walk是日本著名的购物中心,它的特别之处在于,通过使用“隐喻”的空间造型设计,建成一座以花为主题的购物中心。Garden Walk是东京郊外的一个露天零售广场。它的商店屋顶是花瓣的形状,喷泉是郁金香的形状,表演舞台是向日葵的形状。在面积达到1.5万平方米的购物中心内,到处装饰着花的实体或形态,有4米长的玫瑰花丛,2米长的塑料“荆棘”展示出犹如“得克萨斯的黄玫瑰”之类的优美格调,鲜花和山茱萸开遍商场里的各个角落。隐喻分为“语言的”隐喻与“审美的”隐喻。我们这里所讲的是后者。“隐喻”一词来自希腊语的“metaphora”,“其字源‘meta’意思是‘超越’,而‘pherein’的意思则是‘传送’。它是指一套特殊的语言学程序,通过这种程序,一个对象的诸方面被‘传送’或者转换到另一个对象。”可见,两个对象之间的“隐喻”建立在相似性的基础上,而第二个对象不是第一个对象的简单再现,而是“超越”了的高度凝练的、被抽象化了的话语或形态。我们同意泰伦斯•霍克斯提出的观点,在“审美的”隐喻中,第一个对象确定了物体的主要特征,而第二个对象是要给物体以新的印象,使它“沉浸在一种新的气氛中”。
Garden Walk购物中心的屋顶是花瓣的形状,喷泉是郁金香的形状,表演舞台是向日葵的形状,广场上的休息座椅是花刺的形状,花瓣、郁金香、向日葵、座椅并不是对自然界形态的简单模仿,而是一种高度抽象化了的形态,但是它们能够使人想起花的自然、清新和芬芳。
主题化商业空间的构建有赖于灯光、音响、舞台、布景等多种艺术手法的同时运用。耐克是世界著名的体育休闲品牌,耐克城堪称膜拜耐克品牌的神庙,它们使用两个主题:体育馆主题和博物馆主题。
体育馆主题在店内的一个小篮球场上可见一斑。皮纳洛扎(Pe觡aloza)在提到芝加哥耐克城时写道:“新世纪的旋律荡漾在体育鞋区,打网球和观众欢呼的声效使网球区生气勃勃,运动鞋与木地板叽叽喳喳的摩擦声、篮球入筐的嗖嗖声以及鼎沸的人声烘托着篮球区,让我忍不住想走过去打一场篮球……”店内供顾客们试穿篮球鞋的球场,不仅有光滑的木地板,还配有观众欢呼的声效。整个三层楼将近7万平方英尺的耐克城里,弥漫着MTV风格的音乐,大屏幕上放着许多经典比赛,像在电影院里一样,店里悬挂着代言人麦克尔•乔丹空中灌篮的巨幅海报。
1996年,刚刚开业4年的芝加哥耐克城商店,超过艺术馆,成为当地最热门的旅游点,年客流量超过100万人。正如某些人所说的:“有创造力的市场销售者模糊了市场和戏院的界限。”商业空间的审美化引起广泛争论,有反对者认为,“商业空间中的布置导致人的一种感受,就是被描述为感觉的缺失、迷失、不在场(a sense of lack,ofloss,of absence)。有人为了抗议消费主义中商业环境刻意营造的膜拜气氛,和人在其语境下的主体迷失,在巴黎墙上写下标语:
‘你消费得越多,你离生活越远。’”
II. Thematization of commercial space.
The theme of commercial space is becoming more and more obvious. "Thematization" is the concept in marketing, which refers to "applying a topic to certain institutions or places" to give it some special meaning and atmosphere of attraction. A Michael Jordan shop, a medieval restaurant, and a fashion shop with a nostalgic decor are all "themed". The source of the western scholars put forward a variety of topics, Mrs. Diener (Gottdiener) put forward nine important theme: identity, a tropical paradise, wild west region, ancient civilizations, nostalgia, Arab hall, city characteristics, fort buildings and guards, modernism and progress. Alan Bryman thinks that gottdina has missed three important sources: music, sports and movies. Schmidt (Schmitt and Simonson (Simonson) think five "culture" is the primary source of theme: the physical world, the concept of philosophy and psychology, religion, politics and history, art, fashion and popular culture.
"The theme becomes a platform of meaning and symbolism in the application of the subject matter. It gives these things a surreal meaning, at least a complement to the real meaning of things. These things become more attractive and interesting than when they are not subject to the subject, after the subject is infused with meaning. The meaning of "thematization" is generated in the intense commercial competition. First of all, on the marketing principle of "adjacent to attract" thought, "could have been ordinary goods or services in a fun and meaning beyond itself significance of goods and services may increase their attractiveness in the environment, thus increasing the possibility that they are buying." Secondly, "thematization" is an important means to realize the "differentiation" of stores. Creating a distinctive consumer space will help make your store stand out from the crowd. Western scholars therefore use the concept of "store image".
There are a number of thematic approaches to business space. Garden Walk is the famous shopping center in Japan. What's special about it is that it has built a flower themed shopping center by using the "metaphor" space modeling design. Garden Walk is an open-air retail plaza outside Tokyo. Its shop roof is the shape of the petals, the fountain is the tulip shape, the performance stage is the shape of the sunflower. Within the area of 15000 square meters of shopping centers, everywhere decorated with flowers of entities or form, have 4 meters long rose bushes, 2 meters long plastic "thorn" show like "yellow rose of Texas" style, beautiful flowers and dogwood bloom in every corner of the mall. Metaphor is divided into "language" and "aesthetic" metaphor. What we're talking about here is the latter. The word "metaphor" comes from the Greek word for "meaning a". "the word 'meta' means' transcendence 'and' pherein 'means' transmission'. It refers to a special set of linguistic programs, through which an object's aspects are 'transmitted' or converted to another object. Visible, "metaphor" between the two objects based on the similarity of, and the second object is not the first simple representation of an object, but the height of the "beyond" the concise, the abstract words or form. We agree to terrence hawkes's point of view is put forward, in the "aesthetic" metaphor, the first object to determine the main characteristics of the object, and the second object is for objects with new impression, make it "immersed in a new atmosphere.
Garden Walk the roof of the shopping center is the shape of the petals, the fountain is the shape of a tulip, performing stage is the shape of a sunflower, the rest seats in the square is in the form of thorns, petals, tulips, sunflower, seat is not a simple imitation of nature forms, it is a highly abstracted form, but they can make the person think of natural, pure and fresh and fragrant flowers.
The construction of thematic commercial space depends on the combination of lighting, acoustics, stage, scenery and other artistic techniques. Nike is one of the world's most famous sports and leisure brands, and the Nike city is a temple dedicated to the Nike brand. They use two themes: the theme of the stadium and the theme of the museum.
The theme of the stadium is reflected in a small basketball court in the store. , los firm (Pe 觡 aloza) mentioned in Nike town of Chicago wrote: "the melody of the new century ripples in the sports shoes, playing tennis and the audience cheering sound make area alive, sports shoes and wooden floor creaking sound friction, the basketball into the basket, swish, vocals, foil the basketball area, let I can't help but want to go play a game of basketball... The stadium, where customers try on basketball shoes, has a smooth wooden floor and a cheering audience. The three stories almost seven square feet of Nike town, pervaded the MTV style of music, there are many classic games on the big screen, like in the movie theater, hanging in the shop spokesman Michael Jordan air dunk huge posters.
In 1996, just four years after its opening in Chicago, the Nike city store surpassed the art gallery to become the most popular tourist spot in the city, with more than 1 million visitors annually. As some say: "creative market sellers blur the line between the market and the theater." Commercial space aesthetic controversy over, opponents argue that "commercial space layout of cause a person's a kind of feeling, is described as the feeling of missing, lost, is not present (a sense of lack, ofloss, of absence). Some people, in protest of the atmosphere of worship created by the commercial environment in the consumerism, and the subjects lost in their context, wrote a slogan on the wall of Paris:
The more you spend, the farther away you are from life. '"
三、环境意象
空间意象美国学者凯文•林奇(Kevin Lynch)提出城市设计中的重要概念──“环境意象”。所谓“环境意象”,指“一个外在具体世界的共同化精神图像……,这意象是瞬间的感觉(immediate sensation)和对过去经验的记忆两者所产生的结果,它并且用来解释认知和指示着行动……”他注意到将一个区域的整体作为研究对象,并从“精神图像”的层面研究人的认知。
根据“环境意象”理论的延伸,笔者认为,主题化的商业空间在美学上缔造了一种“空间意象”。这个理论提出的前提是美学概念的“意象”─“环境意象”─“空间意象”三者衍生关系的逻辑自恰性,即我们不得不考察凯文•林奇的“环境意象”之“意象”概念是否与作为美学范畴的“意象”具有同一性。中国古典美学中,意象指客体的景和主体的情的融合。离开客体的景,或者离开主体的情,就不可能产生审美意象。在西方美学史中,对意象理论有代表性阐述的包括康德、克罗齐、庞德、萨特、苏珊•朗格等人。如庞德在《几条禁例》中阐释意象的概念为:“一个意象是在瞬间呈现出的一个理性与感性的复合体。‘这种复合体’的突然呈现给人以突然解放的感觉,不受时空限制的自由的感觉。”可以发现,“环境意象”中的“意象”,具有美学的理论支撑:“客体”即“外在具体世界”,经过主客体的统一,即“共同化”,形成审美意象(“精神图象”),瞬间的感觉(immediate sensation)与庞德提出的“在瞬间呈现出的一个理性与感性的复合体”同义。
我们再从商业空间的美学特征阐述“空间意象”的形成过程。
其一,“意象”强调客体的景与主体的情融为一体。
就其实质而言,意象不是客观存在的景,也不是外物在主体头脑中产生的表象,而是情和景的结合,主观和客观的统一。意象产生于情景交融。而今天,购物中心成为梦幻世界,购物成为一种享乐和审美体验。在这些场所中,场面形象设计得或华丽时尚、光彩夺目,或汇集人们梦寐以求的、来自遥远他乡的异域珍品,或表达对过去宁静情怀的感念与怀旧。有人将购物中心比作忘却烦恼的乌托邦,将购物比作狂欢,“乌托邦理想同现实通过这种绝无仅有的狂欢节世界感受,暂时融为一体了。”其二,“意象”的产生强调“瞬间的感觉”,这一点在商业空间给人的审美体验中被印证。
杰姆逊曾用时间模式和空间模式区分消费社会的前现代特征和后现代特征。所谓时间模式即逻各斯模式,强调事物之间的线性关联,这主要指前现代社会以语言、理性为逻辑的文化方式;而“当时间的链条破裂之后,对当前的感受就变得无比强烈、生动、物质化,并且大大提升了其强度。”后现代社会的消费特别强调“当下的体验”追求瞬间的视觉审美愉悦。齐美尔在研究都市中的人的购买行为时发现,个人的好奇心不断被激发出来,在琳琅满目五光十色的购物空间里,瞬间的美感不断刺激人已经过度疲惫的神经。在《大都会与精神生活》一文中,他指出:“都会性格的心理基础包含在强烈刺激的紧张之中……瞬间印象和持续印象之间的差异性会刺激他的心理。”其三,审美“意象”产生时的状态为“用志不纷,乃凝于神”。
如果心中只有一个意象,就达到物我两忘的境地,我和物就打成一气了,这是审美中凝神的特点。
而“用志不纷”的必需条件是无功利的置身物外的状态。当代购物失去了购物性,成为一种文化事件,在这些场所中,人有时达到这样的状态:忘记了“何地”(where),忘记这里是商场或者百货大楼,仿佛在艺术馆或者乐园;忘记了何时(when),像孩子一样在那里徜徉、游荡,忘记时间的溜走,更何况灯火通明的购物空间早已让人区分不出黑夜与白昼的更迭;也忘记“何故”(why)以及“何自来”(whence),购物已经不是一种理性购买的活动,而演变为一种审美活动,人在其中凝神观赏,像在艺术馆观赏珍品、陶冶情趣,甚至在瞬间忘记现实种种,而以审美的、感性的态度体悟当下的氛围,达到凝神忘我的“超真实”状态。
这种状态类似于人在教堂朝拜时的精神状态。
“商业空间因美学而被构筑成物的教堂,它们以让消费者满意的承诺吸引人们来朝圣。购物空间以它们庞大的规模、自我满足的感觉和营造的远离喧嚣的外面世界的环境,淹没了空间里的人。和教堂一样,商业空间是远离日常的琐碎生活,在朝圣中获得奇遇的地方。不管在商业空间中实际上有多么嘈杂,它却始终给人安静和平静的感觉。商业空间给人们一个个入口,从入口通往的是与现实分离的世界,在这里人的精神远离现实的斗争和苦难,得到补偿。”近年的研究中,商业空间被频繁描述为“商品拜物教的圣地”,正因为它呈现了非同一般的空间意象,和在这意象中个体精神达到的“凝神”状态。
III. Environmental imagery.
Space image American scholar Kevin Lynch (Kevin Lynch) put forward the important urban design concept ─ ─ "environment image". The so-called "environmental image" refers to "a common mental image of an external and specific world... This image is the result of the immediate sensation and the memory of past experience, and it is used to explain cognition and to indicate action... He noticed that the whole of a region was studied as a research object and studied people's cognition from the perspective of "mental image".
According to the extension of "environmental image" theory, the author believes that the themed commercial space has created a kind of "spatial image" in aesthetics. This theory is the premise of aesthetic concept of "imagery" ─ "environment image" ─ "spatial imagery" logic of relationship derived from just sex, namely, we have to examine Kevin lynch's concept of "image" of "environmental image" whether to have identity as an aesthetic category of "image". In Chinese classical aesthetics, image refers to the combination of the object and the subject. The scene of leaving the object, or the feeling of leaving the subject, cannot produce an aesthetic image. In the history of western aesthetics, the representation of image theory includes Kant, croce, pound, Sartre and Susan long. For example, the concept of image in "a few forbidden cases" is expressed as: "an image is a complex of rationality and sensibility in an instant. The sudden appearance of 'this complex' gives a feeling of sudden liberation, free from the constraints of time and space. Can find that the images of the environment in the "image", an aesthetic theory support: "object" namely "external world" concrete, through the unity of subject and object, namely, "common", the formation of aesthetic imagery (" mental image "), an instant feeling (immediate since) and pound's "in a flash presents a rational and perceptual complex" synonymous.
We also expound the forming process of "space image" from the aesthetic characteristics of commercial space.
Firstly, "image" emphasizes the integration of the object with the subject.
In terms of its essence, the image is not an objective view, nor is it the appearance created in the subject mind, but the combination of emotion and scene, subjective and objective unity. Images are produced in the fusion of situations. Today, shopping becomes the dream world, and shopping becomes a kind of hedonic and aesthetic experience. In these places, or luxuriant scene image design of fashion, sparkling, or people's dream, from distant exotic home, or to express appreciation to the past quiet mood and nostalgia. Someone compared shopping center to oblivion of utopia, the shopping to a carnival, "utopian ideal and reality through this unique carnival feelings in the world, and one for a while." Second, the creation of "image" emphasizes "instant feeling", which is confirmed in the aesthetic experience of commercial space.
Jameson used the time pattern and spatial pattern to distinguish the pre-modern features and post-modern features of the consumer society. The so-called time pattern, the logos mode, emphasizes the linear relation between things, which mainly refers to the cultural way of the former modern society with language and rationality as logic; "When the chain of time is broken, the feeling of the present becomes extremely intense, vivid and materialistic, and greatly increases its intensity." The consumption of post-modern society emphasizes the "current experience" in pursuit of instant visual aesthetic pleasure. In simmel studied the buying behavior of people in the city found that personal curiosity has been aroused, in a wide variety of colours shopping space, moments of beauty constantly stimulate nerve of excessive exhaustion. In the article, "metropolis and spiritual life", he points out: "the psychological foundation of the metropolis is contained in the intense excitement... The difference between an instant and a lasting impression will stimulate his mind. Thirdly, the state of the aesthetic "image" is "to use the mind and not to stir, but to the god".
If there is only one image in my mind, I can forget the things that I have forgotten, and I have become a breath of things, which is the characteristic of the contemplation of beauty.
The necessary condition for "to use the mind" is to be out of materiality without utility. Contemporary lost shopping shopping, become a cultural event, in these places, people sometimes to achieve such a state: forget the "where" (where), forget this is a shopping mall or department store building, as if in the gallery or paradise; Forget when (when), like a child to wander, wandering, forget the time of the escape, and the brightly lit shopping space has long been a distinction between night and day; Also forget the "why" (according to) and the "how come" (whence), shopping is not a rational purchase activity, and evolved into a kind of aesthetic activity, in which people peered viewing, as in a museum of art treasures, edify sentiment, even forget reality in an instant, and aesthetic attitude, perceptual awareness of the present atmosphere, concentration, dedication "hyperreality" state.
This state of mind is similar to the state of mind when people worship in a church.
"Commercial space is built into the church of things because of aesthetics, and they attract people to make pilgrimages with the promise of satisfying consumers. Shopping space overwhelms the people in space with their vast scale, self-satisfied feelings and an environment that is built away from the hustle and bustle of the outside world. Like the church, the business space is a place away from the daily grind, where you get the adventure of a pilgrimage. No matter how noisy it is in business space, it always feels quiet and peaceful. The commercial space gives people an entrance, from the entrance to the world separated from reality, where the spirit of the people is far from the reality of struggle and suffering and compensation. In recent years, research, commercial space is frequently described as "commodity fetishism" holy land, because it shows extraordinary space image, and the individual spirit in this image of "peaceful" state.
四、生产意义的空间
上海女作家陈丹燕在《上海女子的相生相克》一文中,通过都市白领杜小姐的眼光描写淮海路的风情:“冬天的阳光从高大的梧桐树秃枝上照下来,街边房屋整齐,行人的皮鞋很亮。这里是上海的脸面,像纽约的第五大街,东京的银座,巴黎的香榭丽舍大道,还有彼得堡的涅瓦大街。最贵的商店,最好看的商品都在这里闪闪发光……上海本地人总是说,外地人去南京路,上海人去淮海路,因为淮海路更符合上海人的胃口。”“淮海中路上的散步是一种消遣郁闷的方式,一种业余的竞技,是一个终生的学校,一个没屋顶的沙龙”。
这段话说出了消费社会的实情:购物活动已经渗透到我们生活的方方面面,所以购物空间及其形成的街道正在不断更新着城市的面貌。有人说,要读懂一座城市,就要读懂它最繁华的商业街。有中国“香榭丽舍”之称的淮海路,是上海的脸面。商业空间之所以具有代表性的意义,是由消费社会的语境决定的。正如日本学者原广司所说,“对于某种文化来说,只要有起支配作用的空间,人们便不可避免的要生活在其中,日常的空间性的思考、空间性的想象力,都回避不了这个支配空间……现在,这个起支配作用的空间就是商业空间。” “淮海中路上的散步是一种消遣郁闷的方式,一种业余的竞技,是一个终生的学校,一个没屋顶的沙龙”指出了“购物”和“商业空间”的社会学、文化学上的意义。商业空间成为提供给人消遣郁闷的乐园,一个让人参与时尚、品位竞技的场所,一个聚集了各方名流竞相展示社交才华、个人魅力的沙龙,说明“商业空间”已经由传统的空间意义上的物理范畴转化为一个具有丰富内涵的社会范畴。商业空间的意义研究被诸多理论家所关注。迈克尔•迪尔在《后现代都市条件》中断定,“空间意义重大已成普遍共识”。
杰姆逊通过对后现代社会文化现象的研究得出结论说,“我们的日常生活,我们的精神经历,我们的文化语言,今天都受到空间范畴而非时间范畴的控制……”商业空间是产生社会意义的空间,它以特有的空间设计、隐喻,实现阶级分野,区隔社会阶层、审美品位、生活方式。“Crompton在1993年提出,近来出现另一种划分等级阶层的方法,这种方法基于一个论断,那就是阶层之间的联系和联盟,越来越少地以职业或财产为根据,取而代之的是在消费的竞技场划分人的等级(Burrows and Marsh在1992年,Warde在1994年也提出过类似观点)。”上海人爱去淮海路,因为淮海路是以国际性的商业街为标杆的,那里有最好的品牌店,最富有的阶层。逛淮海路使上海人有作为国际化大都市市民的优越感。正如诺伯格-舒尔茨指出的:“社会阶层、社会文化群落与其他群体的界限以及城市与人的关系,都镶嵌在一定的空间中。各种空间的隐喻,如位置、领域、边界、边缘与核心等,无不透露、表征着社会阶层、群落的界限所在,也是个体
与城市的心理认同或排斥的形构机制。”布迪厄的场域理论值得我们注意。布迪厄认为:“消费方式是在特定的场域中形成并得以表现的,因而受场域限制。场域是一个斗争的处所,其中展现的是特定场中的权力关系,而消费场所无疑也是如此,其间表现的是不同阶级的符号斗争与支配关系。”场域理论是布迪厄反思社会空间关系的重要基础,该理论有两个核心概念:“场域”和“惯习”。所谓场域,是指一种关系网络,是各种位置之间的客观关系的组合。在这些关系网络中,每个场域都有自己支配性的逻辑。消费场所也表现不同阶层的符号斗争与支配关系。例如,进出消费场所时,我们不得不考虑自己在社会中的地位,奢侈品的品牌、商品和消费空间此刻都具有符号意义,符号的权力斗争使类似小职员的平民对奢侈品店望而却步。“购物商店不仅仅是与符号有关,它们更是一个个符号集结的复杂系统。它们是文本。就像Lefebvre指出的,商业促进者构建的这些空间满载着诸多的象征生活状态(幸福、快乐),格调,品位,富裕,权力等的符号。” “惯习”(habitus)与“习惯”(habit)不同,它是一部分人的群体在长期的共同生活时间中所形成的稳定的品位、信仰和习惯的综合,是集体认同的标记。在奢侈品店里汇聚的是城市新贵,而在绿色环保设计理念的店铺里,“乐活族”们也感到彼此间的亲近。因此,商业空间的意义还在于它区分了具有不同“惯习”的阶层或文化群。在特定的商业空间里,人们实现对同一阶层或同样品位的人的认同,并找到归属感。
这里需要进一步要探讨的问题是,商业空间的符号价值,是怎样被感知的?我们认为,室内设计、美学风格是传递商业空间意义的媒介。以位于曼哈顿的PRADA专卖店为例。该店虽然座落于曼哈顿SOHO区,是租金相当昂贵的地段,但是店里的空间利用率非常低。设计师的理念是,如此低的空间利用率与PRADA奢侈的品牌特性是相一致的,从空间的浪费反映出奢侈的气度。这个巨大的建筑内部是一个“波浪展示”的下沉式空间,从入口处一直延至地下一层,再上升到地面,都铺就着从热带美洲产的木材。靠近百老汇大街一边的地面是楼梯式台阶,台阶的对面是一大片展示台阶,在大型表演和时装秀时,观众可以坐在阶梯上观看。PRADA纽约店的设计透出设计师的独具匠心,最突出的是空间设计彰显出非凡的奢侈气度。与之相比,代表大众消费水平的麦当劳专卖店,映入眼前的都是M形金黄拱门标志、明亮的玻璃、排列整齐的硬塑料餐桌、板凳和张贴在墙上的新产品海报,踏入全球任何一家麦当劳店的空间里,都像走进同一间店里。列斐伏尔说过:“对生产的分析显示我们已经由空间中事物的生产转向空间本身的生产。
IV. The space of production significance.
Shanghai writer we in the context of "Shanghai woman - based", through the eye of urban white-collar miss du description of huaihai road amorous feelings: "winter sunshine from tall plane trees bald branches snowed, street house neat, pedestrian shoes is very bright. This is the face of Shanghai, like the fifth avenue in New York, the ginza in Tokyo, the champs elysees in Paris, and the Neva avenue in Petersburg. The most expensive shops, the best looking goods are all glittering here... Shanghai natives always say that outsiders go to nanjing road and Shanghai people go to huaihai road, because huaihai road is more suitable for Shanghai people's appetite. "Walking in the huaihai road is a way to relax, an amateur competition, a lifelong school, a salon without a roof."
This is the true story of the consumer society: shopping has infiltrated every aspect of our lives, so shopping space and its streets are constantly changing the face of the city. Some people say that to read a city, you must understand its most prosperous commercial street. The huaihai road, known as the "champs-elysees" in China, is the face of Shanghai. The representative significance of commercial space is determined by the context of consumer society. As Japanese scholars had wide division, said, "for a certain culture, so long as has the dominant role of space, people will inevitably be living in them, the space of thinking, space imagination, can avoid the dominant space... Now, the dominant space is commercial space." "In the huaihai road walking is a form of recreation depressed, an amateur sports, is a lifetime of schools, a roof of salon" is pointed out that "shopping" and "commercial space" of sociology and culture meaning. Commercial space be provided to the pastime depressed paradise, sporting a let a person involved in fashion, taste, a gathered all celebrities to show social talent, charisma and the salon, explain "business space" has been from the traditional space in the sense of physical category into a social category has rich connotation. The significance of commercial space is concerned by many theorists. Michael Deere concludes in "postmodern urban conditions" that "significant space has become a universal consensus".
Partial on the phenomenon of post-modern social culture study concluded that "our daily life, our spiritual experience, our culture, language, today they were given a space category rather than the time of control... "Commercial space is the space that generates social significance. It adopts unique spatial design and metaphor to realize class division, which is divided into social class, aesthetic taste and lifestyle. "Who put forward in 1993, the other are the latest in a grade a class method, this method is based on a judgment, the link between the class and alliance, based on less and less land or property as a professional, instead of spending the arena of human level (Burrows and Marsh in 1992, Warde also put forward a similar view in 1994)." Shanghai people like to go to huaihai road, because huaihai road is the international commercial street, which has the best brand shop and the richest class. Huaihai road makes shanghainese a sense of superiority as a cosmopolitan city citizen. As norberg-schultz points out, "the boundaries between social class, social and cultural communities and other groups, and the relationship between cities and people, are embedded in certain Spaces. All kinds of spatial metaphors, such as location, domain, boundary, edge and core, all reveal and represent the boundaries of social class and community, as well as individuals.
The mechanism of mental identity or rejection of the city. Bourdieu's field theory deserves our attention. "Consumption patterns are formed and expressed in a particular field and thus subject to field constraints," bourdieu said. Field is a struggle of the premises, which shows the power relations in the specific field, and consumption is, of course, so, in which performance is symbol of different class struggle and govern relations." The field theory is the important basis of bourdieu's reflection on social space relations, which has two core concepts: "field" and "habitus". A field is a network of relationships, a combination of objective relationships between positions. In these networks, each field has its own logic of dominance. The consumption place also shows the symbol struggle and domination relation of different stratum. In and out of the consumer place, for example, we have to consider yourself in the position in society, luxury brand, product and consumption space at the moment has a symbolic meaning, symbol of power struggle to make a similar small staff of civilians and to luxury shops. "Shopping stores are not just about symbols, they are complex systems of symbolic assembly. They're text. As Lefebvre points out, these Spaces are filled with symbols of life (happiness, happiness), style, taste, wealth, power and so on. "Rituals" (habitus) and "habit" (habit) is different, it is part of the group in the long life time together in the formation of the stable grade, beliefs, and habits, is a sign of collective identity. In luxury stores, where the city is newly rich, and in the green design concept shop, the "lok" people feel close to each other. Therefore, the significance of commercial space is that it distinguishes the class or culture group with different "habits". In a particular business space, people realize identification with people of the same class or grade, and find a sense of belonging.
The question that needs to be further explored here is how is the symbolic value of business space perceived? We believe that interior design and aesthetic style are the media that convey the meaning of commercial space. Take the PRADA store in Manhattan. The store, which is located in Manhattan's SOHO district, is a very expensive location, but its space utilization is very low. The concept of the designer is that such low space utilization is consistent with the luxury brand characteristics of PRADA, and the waste of space reflects luxury. Inside the huge building is a "wavy display" of sunken space, stretching from the entrance to the ground floor and up to the ground, where it is paved with timber from tropical America. The ground near Broadway is a stairway, with a large display of steps across the steps, and the audience can sit on the steps while performing at large shows and shows. The design of PRADA New York store shows the originality of stylist, the most outstanding is the space design shows extraordinary luxurious gas degree. On behalf of the public, by contrast, consumption level of McDonald's store, came into sight is M shape golden arches logo, neat and bright glass, hard plastic table, bench and new products put on the wall posters, step into the world any a McDonald's restaurant space, like into the same store. "The analysis of production shows that we have shifted from the production of things in space to the production of space itself," he said.