亚历山大“正式的持久性模式。“
阳性和阴性、动态和静态线和圈,概述个人经验的深刻的二元性。此外,世界各地的民间舞蹈在正方形和圆形或行。石圈位于查看刚刚形成的麦田怪圈以及随后menhirs在卡纳克其次,长房子和帐篷,教堂和万神殿,线性空间和中心空间:这些被认为是导致建筑的两大主题。组织标记的模式以及分割这两个方面在那些向中心集中,就像在一个院子里,和那些提供沿着一条线对运动的反应。此外,院子里被认为是一种全包模式,可以在修道院的想法,中庭,城堡,temenos和广场。在对运动的反应模式排列,两个概念,串行进展和循环的脊柱,可以分开。这样的原型模式也使空间和重要手段,安排组织的空间。在众多的网站我们可以观察他们的反映。进一步说,一个网站的重要性不是完全在一个正式的安排模式,专注于共同的主题并不减少一个出色的作品的意义。
Purves, Alexander. “The persistence of formal patterns.” Perspecta 19 (1982): 138-163. Print.
Masculine and feminine, dynamic and static, the line and the circle, outline the deep duality of individual experience. Moreover, folk dances worldwide are done in either squares and circles or lines. The stone circles located at Avebury as well as the menhirs lines at Carnac and secondly, the longhouse and tipi, the basilica and the Pantheon, the linear space and centric space: these are considered as the two themes which lead architecture. The patterns of organization which tag along these two aspects split amid those which concentrate towards centre, like within a courtyard, and ones which dispense along a line in reaction to the movement. Additionally, the courtyard is considered as an all-inclusive pattern that could take in the ideas of cloister, atrium, castle, temenos and square. In patterns which are arranged in reactions to movement, two concepts, the serial progression and circulation spine, could be set apart. Such archetypal patterns are important means of making space and also, of arranging groups of spaces. One could observe their reflections within numerous idiosyncratic sites. Further, the significance of a site does not lie completely within a formal pattern of arrangement and focus on common themes does not lessen the significance of an exceptional work.
