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Organizer of Shanghai Federation of Social Sciences
◆ ◆ ◆ ◆
Organizer of Shanghai Federation of Social Sciences
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The narrative of "urban objects" from the perspective of symbolic metaphors
Ma Yuanshu Associate Professor, Institute of Marxist Philosophy, Shanxi University
This article was originally published in Exploration and Controversy, No. 5, 2021
Unless noted, the pictures in the text are from the Internet
"Urban style" is to open the label of the historical and cultural significance of a city, which records the development process of a city from ancient to modern dynasties. Urban objects are living history in the present, the sedimentation of time and space; it is not isolated, structureless and disorderly, but condensed by a series of spatial metaphorical symbols intertwined in a historical, cultural, linguistic or artistic way. To some extent, the narration of the city from the level of wind and objects has realized the real style of multi-level and three-dimensional restoration of the city. In this context, the system of meaning of urban symbols is more likely to be fully opened.
The urban narrative infused with wind objects changes the description of urban morphology in a single dimension, and draws content, concrete and material-rich wind objects into the narrative of urban formation. The continuity of "city" and "wind objects" lies in breaking through the way of understanding the city only from the dimension of spatial order, trying to show the historical and cultural imprint buried in the process of urban development, and showing the development context of the city across time and space; it lies in embodying the humanistic feelings of the city, paying attention to the urban culture injected into life events, and taking the customs and customs brewing with customs and customs as the focus of the urban cultural narrative, making the concept of the beauty of the city more concrete and life-like. Therefore, in this sense, the urban narrative with the posture of wind and material can fully reflect the vitality of urban development, more clearly analyze the urban civilization conceived in the long river of history, and further relate to the sustainable future development of the city.
◆ ◆ ◆ ◆
Organizer of Shanghai Federation of Social Sciences
There are academic ideas EXPLORATION AND FREE VIEWS
◆ ◆ ◆ ◆
The narrative of "urban objects" from the perspective of symbolic metaphors
Ma Yuanshu Associate Professor, Institute of Marxist Philosophy, Shanxi University
This article was originally published in Exploration and Controversy, No. 5, 2021
Unless noted, the pictures in the text are from the Internet
"Urban style" is to open the label of the historical and cultural significance of a city, which records the development process of a city from ancient to modern dynasties. Urban objects are living history in the present, the sedimentation of time and space; it is not isolated, structureless and disorderly, but condensed by a series of spatial metaphorical symbols intertwined in a historical, cultural, linguistic or artistic way. To some extent, the narration of the city from the level of wind and objects has realized the real style of multi-level and three-dimensional restoration of the city. In this context, the system of meaning of urban symbols is more likely to be fully opened.
The urban narrative infused with wind objects changes the description of urban morphology in a single dimension, and draws content, concrete and material-rich wind objects into the narrative of urban formation. The continuity of "city" and "wind objects" lies in breaking through the way of understanding the city only from the dimension of spatial order, trying to show the historical and cultural imprint buried in the process of urban development, and showing the development context of the city across time and space; it lies in embodying the humanistic feelings of the city, paying attention to the urban culture injected into life events, and taking the customs and customs brewing with customs and customs as the focus of the urban cultural narrative, making the concept of the beauty of the city more concrete and life-like. Therefore, in this sense, the urban narrative with the posture of wind and material can fully reflect the vitality of urban development, more clearly analyze the urban civilization conceived in the long river of history, and further relate to the sustainable future development of the city.
Perspective Cut: Symbolic Metaphor
How to view and construct the connection between "city" and "wind objects" to make it a systematic cognitive structure can be used in the form of symbolic metaphors. Symbolic metaphors can form a systematic understanding of things by using metaphors such as category, pairing, separation, clustering, migration and interaction between the "form", "structure" and "order" of symbols and the "content", "culture" and "meaning" carried by symbols. As an important tool to assist human cognitive activities and practical activities, symbolic metaphors are applied in the narrative of urban space, and can systematically synthesize the expression form of space and the relationship between its description materials. It emphasizes that with the interaction of actors, furnishings, situations, events and layouts in urban space, the internal system of urban symbols and the correlation system of mutual clustering and combination between urban symbols can be built, and the urban narrative logic with metaphorical relationship mechanism can be established. Through this narrative logic, it is possible to show the expression of the city in the sense of wind objects, and form a drawing of the overall characteristics of a city: the relationship between the source and meaning of the wind objects can be explained individually, and the urban picture that characterizes the correlation between the wind objects can be elaborated as a whole. Symbolic metaphors also help to realize the interpretation of cities in the sense of wind and objects, build a bridge for the organic integration of urban objects and urban culture, and provide an epistemic perspective for understanding and planning the development of urban cultural landscapes.
Urban style not only refers to the spatial layout or structural order of a city, but more importantly, it records the long-term stable lifestyle of the occupants in the development of the city, and transmits and continues the interaction between urban space and the occupants, imperceptibly forming an urban style. The narrative of urban objects can neither leave the people who are active in them, nor can it describe people's lives without things, and the interactive associations of "people" and "things" in "wind objects" form a collection of symbols with meaning. In his expression of the city symbol, Roland Barthes conveyed the expression "the white main tone of everyday clothing is the symbol of the city" as the symbol sliding process of "daily clothing, main tone, white = city". Urban objects imply the transmission process of the symbolic metaphor of the continuous evolution of a city, which connects the past, refers to the present and cares for the future. The urban narrative that simply refers to the geographical location of the space is only a description of the relationship between urban wind and objects, or only a narrative of the spatial carrier or spatial shell formed by it. However, through the symbolic metaphorical narrative of urban customs, we can perceive how people live in the city effectively by saying "things" and "doing", and then feel the urban atmosphere and humanistic appearance of a city.
First of all, in terms of the etymological meaning of "urban style" itself, it is possible to build an entry perspective of symbolic metaphors. The term "wind object" mainly has three connotations: scenery scenery, flavor property and customs and customs, usually the term "wind object" is mostly associated with "natural wind object", "mountain and river wind object", "wind and material legend" and "wind and thing". The formulation of "urban scenery" reflects the modern semantic flow of the word "wind and object" - from the displacement of natural wind objects to the focus of urban wind objects, establishing the connection between the city and "scenery scenery", "flavor products" and "customs and customs", and narrowing the interactive distance between people, nature and the city. Its proposal reflects a change in the way of urban narrative: from structural narratives such as urban geographical location, layout structure and location relationship of furnishings or relatively single urban character descriptions, to cultural narratives that present specific intuitions, feelings and experiences embedded in the structure of urban scenes, and associate "things" with "people", "structure" and "culture" and other necessary factors in urban narratives.
There is a certain degree of convergence between the compound semantics to be expressed by urban objects and symbolic metaphors, and the symbolic metaphor mechanism can provide an epistemological and methodological strategy for the study of urban wind objects narratives. The semantic core and research significance of urban customs and objects are that it reflects the active care for the "form" of the city and the "culture" carried by the city, and effectively connects the form, structure and order of the urban space carrier with the characteristics of the city, including customs and customs, customs and regional styles, so as to realize the organic combination of the spatial structure on the co-section and the spatial culture of historical deposition. The symbol itself has the characteristics of two sides of the same body, one side is "form" and "structure", and the other side is "content" and "fact". Symbols are the unity of "form and content", "signifier and signifier", and "image and concept". The interrelationships between symbols and between symbols are linked in a metaphorical way, through metaphorical gestures or metaphorical strategies of contrast, pairing, clustering, and analogy. The narrative of urban scenery and objects from the perspective of symbolic metaphors provides a panoramic cognitive structure mode for viewing and understanding urban objects: on the one hand, it realizes the interaction between the malleability of urban space and the continuity of time; On the other hand, from the entity argument model between subject and guest, it has shifted to the cognitive model of symbol system and object world and relationship, opening up a new picture of urban texture understanding.
Second, how to start the narrative of "urban objects" from the symbolic metaphor? Symbolic metaphor is to carry out a metaphorical connection between people and people, people and furnishings in a specific space in a continuous way of symbols, and to develop a metaphorical connection between history, culture and society in a specific spatial scene. The narrative of urban scenery is not only a description of the urban cultural landscape with superficial significance, nor is it only a geographical location topographical representation of a single structural dimension, but also a unified interpretation of the cultural phenomena in the space and the deep social structure, the occupants in the city and their specific experiential life embedded in the organizational order of the urban structure. With the depth of urban history and the synchronicity of the urban structure, it weaves a unique style of a city. It actively mobilizes our perceptual cognition of a city, and constantly activates our rational thinking about a city in the form of perceptual experience, so as to find the structural order under the city's life.
Urban narratives at the geographical level focus too much on the investigation of the significance of topography, and miss the vivid stories that occur in urban space; The character-like urban narrative is based on capturing important people and events in the city, which may correspondingly lead to the problem of focusing on the storyline and ignoring the role of social structure. These two narratives have the effect of two directions: one emphasizes structure and ignores content, and the other emphasizes material over form. The narrative of urban scenery under the perspective of symbol metaphor integrates two different directions of presentation methods: on the one hand, with symbol metaphors close to life, it can enter the specific scenes of urban life; on the other hand, the metaphorical posture displayed by urban symbols can spy the sequence of cultural structure in urban wind objects, and realize the two-way dimensional narrative of urban cultural structure and content, form and material. In a sense, the city is the bearer of various human symbols, and this city full of human symbols is not disorganized, and these materials full of concrete emotions operate in a conventional and subtle way. The symbolic metaphor statement allows us to see the superposition effect of the two images displayed by the urban scenery, that is, the real urban landscape under the ensemble of urban diversity and order, concrete emotions and rational constraints.
Third, the way symbolic metaphors narrate urban objects can change the stereotype of the understanding of the concept of "city". In the description of the urban landscape, people naturally think of the crowded urban picture in the midst of high-rise buildings. In most cases, "city" and "modern architecture" are spontaneously associated. As a symbol of modern civilization, the most intuitive thing about the city is the urban architecture full of modern atmosphere. In the description of urban architecture, it is often left with impressions such as "straight line", "large line", "intensive" and "decent". However, when we really walk into the interior of different cities, we will break the previous understanding of urban unity and building blocks, and will naturally be attracted by those who express the local customs, natural features and personnel miscellaneous records of the city. The combination of "things" and "people" can show the fireworks in the city, just as Bai Juyi's poem "a hundred thousand homes are like a Game of Go, and the 12th Street is like a vegetable tree", which embodies the communion situation between "street", "square" and "alley" and the life of the locals. Although modern cities have been affected by globalization, the deep cultural history has deposited the characteristics of different urban development and retained the historical foundation of urban development. The cultural symbols of the city convey the "culture of the deep sense", that is, "the most essential or characteristic thing in a national culture". From the perspective of symbol metaphor, through the tracking of the intergenerational development of the city, the original relics and modern space, the protection of ancient cities and the construction of new landmarks, the monumental old city and the public space are connected together in the form of symbol metaphors, so that the city can develop in accordance with a growth mode that transmits urban life, and then create an urban civilization containing symbolic metaphors. This narrative method can trigger us to find the internal motivation of the urban narrative, compared with the semantic repetition and the structure of the roundabout urban narrative, it is not blunt and cold, but has a concentrated expression of the original under the urban life of the human warmth of the power, can make people feel the atmosphere of the city.
Three characteristics of the narrative of "urban objects" from the perspective of symbolic metaphor
The narrative of urban customs and objects from the perspective of symbol metaphor places urban customs and objects in the specific cultural symbol scenes, achieves the connection between urban symbols through symbol metaphors, takes symbol metaphors as a composite of urban reality schemas and shared meanings, plays the role of metaphors in threading between urban cultural symbols and urban landmarks, urban cultural spirit and urban architectural design, and highlights the overall style of symbiosis between urban spatial layout and urban cultural life. The narrative of urban scenery built by symbolic metaphors mainly reflects the following three narrative characteristics:
First, decentralization. In urban narrative or depiction works, there is always an implicit way in which the narrator or depictor sorts urban space, and there is actually a certain symbolic metaphorical meaning behind this sorting. When we trace the characteristics of urban narratives in history, we will find that the earliest is the centralized expression logic, and then in the process of decentralization, the urban narrative style with the posture of wind and object is gradually opened. It overflows the self-discipline framework, and shifts to a multi-perspective, other-present, open-imagination symbolic metaphorical narrative, so that the city's abundant daily life can be displayed from this perspective.
Medieval Europeans used to combine religion, mythology, and spatial symbolic orders to form metaphors of spatial relations to convey the tradition of teachings and thus express their understanding of social subordination and ethical schemas, and this spatial metaphor was an absolutely "centralized" model. The same is true of the representation of urban space in this period, through simple and single-line means, to clarify the narrator's assertion of authority, forming a set of privileged codes that narrate the city. In the Renaissance, the spatial narrator first pursued the narrative of absolute archetype, abstract proportion and perfect paradigm, deliberately creating a state of opposition between the narrative scene and the narrator, deliberately reducing the purpose and influence of the narrator's presence, thus pointing to the "absolute" reality or the self-disciplined characteristics of architecture, constituting a metaphysical abstract narrative.
However, at the end of the 19th century, especially after entering the 20th century, this narrative structure was significantly improved. With the development of modern Western philosophy— empiricism, scientism, positivism, and phenomenology—architectural narratives have gradually shifted from the abstract form of the "absolute church" to the narrative structure that focuses on the feelings of subjects, spatial experiences, and other people in architecture. The urban narrative structure of the meaning of wind and material is gradually unfolding, and people's understanding of the city is no longer rigid and lacks temperature. In the avant-garde or constructivist urban narrative, there are already some signs of self-discipline that has transformed the closed self-discipline of urban narratives. The avant-garde valued the connection between art and life, tried to "re-integrate art and life", and gradually broke through the pain of separation between architecture and life practice as art, and the urban narrative with the plot of wind and material was expressed in this period. They see urban space as a container full of humanities, art, daily life and figurative character plots, and gradually shift from a single perspective or omniscient narrative to a multi-layered narrative structure of architectural space. The avant-garde challenged the narrative of aesthetic integrity in the non-organic form of "montage" and "fragment form", and used "incompleteness" and "fragmentation" to activate the recipient's awareness of the overall disharmony of the work, thus integrating the recipient's understanding of meaning and forming a positive way of participating in the work. At this level, the symbolic expression has a multi-level interaction between art and life, rationality and sensibility, narrator and receiver present, injecting people's understanding and perception of the city, and realizing the role of embodying the humanistic texture of the city in the sense of wind and material.
In particular, the rise of the "structure-culturalism" paradigm in the 1960s, which grafted the culturalism of "substance theory" with the structuralism of the "Gestalt", avoiding both the one-sided emphasis on the pan-empiricization of sensory experience and the excessive tendency to the limitations of the macrostructure of society. This paradigm also influences the style of architectural narrative, showing the tension of urban narrative infused with the posture of wind and material: on the one hand, it reflects the restrictive effect of historical evolution and social structural relations on the objectification of urban expression; On the other hand, it shows the value of decentralized and infused urban understanding methods with the vitality of the subject, and in this interaction the urban narrative can approach the real urban culture. As Edward M. "When urban issues and cultural issues are so closely intertwined, the intrinsic link between 'urban studies' and 'cultural studies' is more clearly presented before our eyes,' W. Suga pointed out." To some extent, the development and change of the mutual penetration of urban studies and cultural studies reflect the value and significance of the succession of "cities" and "wind objects".
With the evolution of human civilization, centralized expression is no longer indestructible, and urban narratives are driven by culturalization and life. The decentralization of symbols realizes the role of symbols in establishing the dialogue between art and life, architectural forms and cultural events, and unfolds the logic of urban narrative in the sense of wind and objects. The decentralized feature of urban style narrative lies in the spatial organization and spatial ordering that get rid of the relationship between singleness, linearization and oppression, and regard the spatial relationship as an intrinsic organic generative system.
Second, figuration. The form of a city's wind and objects is not a neat and uniform list, but a dynamic scene in which "people" and "things" crisscross and overlap each other in the city. On the one hand, the formation of urban objects comes from the mobilization and stimulation of people's feelings by urban objects such as streets, shops, food, etc.; on the other hand, it is taken from the impressions, memories and transformations left by people after they feel urban objects, which produces an aesthetic expression. The inner texture of urban objects is composed of the physical characteristics of urban objects and the feelings and expressions of people who are active in between. With the analysis of embodied symbols such as language symbols, image symbols and symbolic symbols, the characteristics of urban texture that integrate people and things, emotions and scenes can be highlighted. At the same time, the urban texture is not static, with the change of urban people's subjective feelings about urban objects, urban objects will also be given new meanings, forming a sliding meaning between symbols, and the urban texture will also form dynamic changes, showing the vibrant scene of the city.
Richard Hogart, the originator of cultural studies, highlights such a figurative feature in his description of working-class urban life in the 1950s and 1960s. He uses the seemingly trivial sequence of words "individual", "family", "neighborhood" and "local" to restore the real life of the working class. His description of the living space of the working class is similar to Giddens's division of the "front" and "back" area spaces, that is, the difference between the "public stage" and the "behind-the-scenes activity" space, and tries to change the stereotype of the urban working class life in the industrial era, that is, industrial society disintegrates the traditional city by "arranging, limiting, and complying", thus forming a typical description of a large number of "proletarian gathering places" in modern cities. He turned to the pictorial symbols of the "family life" of the working class, and the concrete life scene of the working class gave birth to its qualities of "openness and sincerity", "goodness with one's neighbor", "search for light", "helping hand" and "honesty". Hogart connects the visual, auditory, linguistic and pictorial symbols of the concrete life of the working class in the city – symbols with scenes, stories and plots of wind objects in a metaphorical way to form the cultural landscape of the working class in the city. Therefore, the narrative of urban objects from the perspective of symbolic metaphors breaks through the urban narrative in the traditional topographic or geospatial sense on the one hand, and improves the narrative of literary rendering methods such as character history and story situational on the other hand. It adopts a compatible model, places spatial scenarios in specific spatial structures, and establishes a narrative effect in which spatial geographic coordinates and spatial cultural schemas complement each other.
Third, relevance. Urban objects imply a metaphorical relationship between time and space, which looms and occasionally affects our various representations of urban memory, association, contrast and imagination, thus forming our overall perception of a city. The associative mechanism generated by symbolic metaphors can mobilize the connection between realistic perceptions and abstract thinking logic. Through metaphorical practice, the spatial subject can connect the realistic feelings of urban objects with the spatial memory in the brain in a metaphorical way, and then screen, combine and output the real scenes to form different understandings and expressions of the real scenes. Metaphor, as an important way for human beings to perceive, think and express, is an important channel for connecting people's real world and abstract thinking. Symbols shuttle between the new order and the old order, the new things and memory, phenomena and historical traces, and reconstruct the connection between each other, produce an understanding of new things, mobilize the memory of old things, form a contrast between new and old things, thus forming a movement process from concrete to abstract, and thus achieving a thinking movement with a metaphorical relationship. Through the transfer of different constituent spaces of neighborhood, place, country and global, Stuart Hall shows the pluralism of cultural symbol metaphors, showing the transmission and succession between cultural symbols of different spaces and scopes. In the common field of urban multiculturalism and the mixed cultural furnishings of urban social places, he extracts symbol traces from memory, history and tradition, analyzes the mixture of cultural boundaries and the mixture of cultural boundaries, and forms a study of the special effects of contrast, impact and superposition between various cultural symbols. In this complex urban cultural scene, symbolic metaphor practice will open up the variable distance between the concept metaphors that are crucial in the thinking activities of multicultural subjects and the real cultural scenes, form the tension between different practice subjects connecting the figurative urban sets with conceptual metaphors derived from different cultural roots, so as to form different forms of conceptual metaphorical thinking associations and different activity modes, and construct new metaphorical relationships. With the help of symbolic metaphor research, the analysis of the trajectory of the city decorated by countless symbols can be realized, so as to unlock the meaning of urban objects. This method illustrates how the overall composition of urban society is formed by tracking the spatial symbolic chains of urban activists, such as stations, offices, restaurants, libraries, supermarkets, and cinemas. In this sense, the urban style is not only the existence of a real thing, which is infused with the way of thinking, lifestyle and communication of the people living in it, and the common thoughts, concepts and emotions of the social residents are pregnant.
From the three characteristics of symbol metaphor, the urban narrative with the posture of the wind object is presented, which contains two functions: on the one hand, the decentralization and embodiment features explain the correlation between the urban objects of the real scene and the meaning behind them, and construct the urban cultural symbol system with the matching relationship between "signifier" and "pointed to"; on the other hand, the correlation feature helps to form the narrative posture of urban wind and object with overall characteristics.
Entering the study of urban scenery in the form of symbolic metaphors makes it easier to associate scattered and seemingly disorderly urban objects with symbolic metaphors, allowing us to more clearly understand the texture of a city and feel the scale of urban space - including the layout of the city, the size of the block, the width and narrowness of the street, the density of the block, etc. Thinking about urban objects from the dimension of social and cultural symbols can allow us to further understand related issues such as public space and private space, cultural space and reality field, and the intervention of different subjects to form different fields. In this way, urban objects are not only objects in the city, nor are they just the relationship between things and places, but constitute a field state with realistic scenes, forming a continuous "flow" field that can be understood and imagined.
With the concept of symbolic metaphor narrative, we will create a new pattern of "urban style" as a whole
Symbolic metaphor narratives can analyze the unique charm of urban objects and open up the formation process of the characteristics of a city in the course of historical changes. The planning of the city is not the arrangement and combination of urban objects, but the charm of the urban customs and customs that nurture the customs and customs of the people, so that the occupants of the city can fully experience the sense of livability and acquisition. Urban planning should reflect the characteristics of urban customs and objects and show the cultural charm of the city, and the narrative concept of symbol metaphor can be used to organically combine the form of objects with human activities, so as to highlight the overall characteristics of a city's unique spatial symbols. "A city with a story often leaves people with many profound spatial images, historical fragments and special emotional memories. The generation, precipitation and transformation of urban stories are closely related to the work of architects and planners. "Symbolic metaphors can provide a key to how to brew and narrate urban objects with stories.
First, the interaction between diachronic and synchronicity in the narrative is used as a metaphor for symbols, interweaving symbols with historical markers in the city with symbols injected with the characteristics of the times, emphasizing the continuity and continuity of urban development in the changing times. This is conducive to showing the historical continuity characteristics of urban customs and objects on the basis of not losing the original characteristics of the city, and highlighting the cultural landscape of the city in the process of alternating between the old and the new. In the renovation of the Old Town Museum, the Italian architect Carlo Scarpa naturally handed together the architectural fragments of each period from the Middle Ages to the present in a timeline to realize the juxtaposition of three-dimensional space and the dialogue of architectural structure, build a relationship mechanism with symbolic metaphors, and realize the integration of relics and spatial renewal. Recently, the list of finalists of the "2020 Triptych Humanistic City Award" highlights the concept of continuous and holistic urban development, such as the selected works of the transformation of Shougang Park, which comprehensively uses the spatial characteristics of the original industrial park and implants the modern urban functional area into it, which not only retains the industrial heritage of the district, but also injects new functions of urban development, including the comprehensive transformation of modern office areas, residential areas, leisure areas and museums, and realizes the change of the original place. Another selected work, "Lianzhou Photography Museum", breaks through the traditional model of the museum - the "white box" model, intertwines contemporary photography art with the background of daily life in Lianzhou Old Town, and shows the long history of Lianzhou Old Town and the cultural character of "inclusiveness" with the contrast between the spatial order between the old and the new. In the comprehensive transformation of the city, it is necessary to give full play to the wisdom of the space designer, on the basis of examining the spatial symbols of the sense of history, combined with the actual needs of the current users, the characteristics of the urban style symbols are injected into the basic elements of modern urban transformation, the way of spatial displacement is called, and the overall design of the space symbols is coordinated, so as to realize the new path of urban organic transformation in the continuous way of the history and culture of the space symbols.
Second, with the proximity of the narrative form and content of symbol metaphors, various symbols such as humanities, artifacts and space are allocated and transmitted, and a coherent, connotative and formal beauty of the city is formed in a metaphorical way, so that the spatial schema and shared meaning of urban wind objects form a unity. The city is developing, producing a new atmosphere and the style of the times, so it is necessary to create a new landmark for urban development. This raises the problem of coordination and overall planning between the city's original meaning system and the new development order. The narrative of urban objects from the perspective of symbolic metaphor can provide a methodological path for this problem, and metaphor can be applied to form an interactive association between space and meaning. In the design of the "Nanhai Guild Hall", in order to further display the "Xiqiao Landscape" and the cultural landscape of "Lingnan Culture", the humanistic complex of the Nanhai people "bravely breaking overseas and returning to their hometown" is integrated into the building, and the designer realizes the integration of Lingnan scenery and historical and cultural character through the "Landscape Corridor" and "Scenic Pavilion", showing the charm of Lingnan style. Urban objects represent not only the coordinate system of topography or geographical illustrations, but also the presentation of the overall style of the lifestyle of urban residents living in and into it. Spatial metaphor narrative dispatches the tension between real space, discourse space and organizational structure, realizes the integration of space place and spatial context, closely links the perceptible world and the deep structure of society, forms a relationship between urban design and cultural characteristics, spatial layout and humanistic complex, modernization and historical context, and provides a practical way to build a holistic meaning system of urban style and materials.
◆ ◆ ◆ ◆
Organizer of Shanghai Federation of Social Sciences
There are academic ideas EXPLORATION AND FREE VIEWS
◆ ◆ ◆ ◆
The narrative of "urban objects" from the perspective of symbolic metaphors
Ma Yuanshu Associate Professor, Institute of Marxist Philosophy, Shanxi University
This article was originally published in Exploration and Controversy, No. 5, 2021
Unless noted, the pictures in the text are from the Internet
"Urban style" is to open the label of the historical and cultural significance of a city, which records the development process of a city from ancient to modern dynasties. Urban objects are living history in the present, the sedimentation of time and space; it is not isolated, structureless and disorderly, but condensed by a series of spatial metaphorical symbols intertwined in a historical, cultural, linguistic or artistic way. To some extent, the narration of the city from the level of wind and objects has realized the real style of multi-level and three-dimensional restoration of the city. In this context, the system of meaning of urban symbols is more likely to be fully opened.
The urban narrative infused with wind objects changes the description of urban morphology in a single dimension, and draws content, concrete and material-rich wind objects into the narrative of urban formation. The continuity of "city" and "wind objects" lies in breaking through the way of understanding the city only from the dimension of spatial order, trying to show the historical and cultural imprint buried in the process of urban development, and showing the development context of the city across time and space; it lies in embodying the humanistic feelings of the city, paying attention to the urban culture injected into life events, and taking the customs and customs brewing with customs and customs as the focus of the urban cultural narrative, making the concept of the beauty of the city more concrete and life-like. Therefore, in this sense, the urban narrative with the posture of wind and material can fully reflect the vitality of urban development, more clearly analyze the urban civilization conceived in the long river of history, and further relate to the sustainable future development of the city.
Perspective Cut: Symbolic Metaphor
How to view and construct the connection between "city" and "wind objects" to make it a systematic cognitive structure can be used in the form of symbolic metaphors. Symbolic metaphors can form a systematic understanding of things by using metaphors such as category, pairing, separation, clustering, migration and interaction between the "form", "structure" and "order" of symbols and the "content", "culture" and "meaning" carried by symbols. As an important tool to assist human cognitive activities and practical activities, symbolic metaphors are applied in the narrative of urban space, and can systematically synthesize the expression form of space and the relationship between its description materials. It emphasizes that with the interaction of actors, furnishings, situations, events and layouts in urban space, the internal system of urban symbols and the correlation system of mutual clustering and combination between urban symbols can be built, and the urban narrative logic with metaphorical relationship mechanism can be established. Through this narrative logic, it is possible to show the expression of the city in the sense of wind objects, and form a drawing of the overall characteristics of a city: the relationship between the source and meaning of the wind objects can be explained individually, and the urban picture that characterizes the correlation between the wind objects can be elaborated as a whole. Symbolic metaphors also help to realize the interpretation of cities in the sense of wind and objects, build a bridge for the organic integration of urban objects and urban culture, and provide an epistemic perspective for understanding and planning the development of urban cultural landscapes.
Urban style not only refers to the spatial layout or structural order of a city, but more importantly, it records the long-term stable lifestyle of the occupants in the development of the city, and transmits and continues the interaction between urban space and the occupants, imperceptibly forming an urban style. The narrative of urban objects can neither leave the people who are active in them, nor can it describe people's lives without things, and the interactive associations of "people" and "things" in "wind objects" form a collection of symbols with meaning. In his expression of the city symbol, Roland Barthes conveyed the expression "the white main tone of everyday clothing is the symbol of the city" as the symbol sliding process of "daily clothing, main tone, white = city". Urban objects imply the transmission process of the symbolic metaphor of the continuous evolution of a city, which connects the past, refers to the present and cares for the future. The urban narrative that simply refers to the geographical location of the space is only a description of the relationship between urban wind and objects, or only a narrative of the spatial carrier or spatial shell formed by it. However, through the symbolic metaphorical narrative of urban customs, we can perceive how people live in the city effectively by saying "things" and "doing", and then feel the urban atmosphere and humanistic appearance of a city.
First of all, in terms of the etymological meaning of "urban style" itself, it is possible to build an entry perspective of symbolic metaphors. The term "wind object" mainly has three connotations: scenery scenery, flavor property and customs and customs, usually the term "wind object" is mostly associated with "natural wind object", "mountain and river wind object", "wind and material legend" and "wind and thing". The formulation of "urban scenery" reflects the modern semantic flow of the word "wind and object" - from the displacement of natural wind objects to the focus of urban wind objects, establishing the connection between the city and "scenery scenery", "flavor products" and "customs and customs", and narrowing the interactive distance between people, nature and the city. Its proposal reflects a change in the way of urban narrative: from structural narratives such as urban geographical location, layout structure and location relationship of furnishings or relatively single urban character descriptions, to cultural narratives that present specific intuitions, feelings and experiences embedded in the structure of urban scenes, and associate "things" with "people", "structure" and "culture" and other necessary factors in urban narratives.
There is a certain degree of convergence between the compound semantics to be expressed by urban objects and symbolic metaphors, and the symbolic metaphor mechanism can provide an epistemological and methodological strategy for the study of urban wind objects narratives. The semantic core and research significance of urban customs and objects are that it reflects the active care for the "form" of the city and the "culture" carried by the city, and effectively connects the form, structure and order of the urban space carrier with the characteristics of the city, including customs and customs, customs and regional styles, so as to realize the organic combination of the spatial structure on the co-section and the spatial culture of historical deposition. The symbol itself has the characteristics of two sides of the same body, one side is "form" and "structure", and the other side is "content" and "fact". Symbols are the unity of "form and content", "signifier and signifier", and "image and concept". The interrelationships between symbols and between symbols are linked in a metaphorical way, through metaphorical gestures or metaphorical strategies of contrast, pairing, clustering, and analogy. The narrative of urban scenery and objects from the perspective of symbolic metaphors provides a panoramic cognitive structure mode for viewing and understanding urban objects: on the one hand, it realizes the interaction between the malleability of urban space and the continuity of time; On the other hand, from the entity argument model between subject and guest, it has shifted to the cognitive model of symbol system and object world and relationship, opening up a new picture of urban texture understanding.
Second, how to start the narrative of "urban objects" from the symbolic metaphor? Symbolic metaphor is to carry out a metaphorical connection between people and people, people and furnishings in a specific space in a continuous way of symbols, and to develop a metaphorical connection between history, culture and society in a specific spatial scene. The narrative of urban scenery is not only a description of the urban cultural landscape with superficial significance, nor is it only a geographical location topographical representation of a single structural dimension, but also a unified interpretation of the cultural phenomena in the space and the deep social structure, the occupants in the city and their specific experiential life embedded in the organizational order of the urban structure. With the depth of urban history and the synchronicity of the urban structure, it weaves a unique style of a city. It actively mobilizes our perceptual cognition of a city, and constantly activates our rational thinking about a city in the form of perceptual experience, so as to find the structural order under the city's life.
Urban narratives at the geographical level focus too much on the investigation of the significance of topography, and miss the vivid stories that occur in urban space; The character-like urban narrative is based on capturing important people and events in the city, which may correspondingly lead to the problem of focusing on the storyline and ignoring the role of social structure. These two narratives have the effect of two directions: one emphasizes structure and ignores content, and the other emphasizes material over form. The narrative of urban scenery under the perspective of symbol metaphor integrates two different directions of presentation methods: on the one hand, with symbol metaphors close to life, it can enter the specific scenes of urban life; on the other hand, the metaphorical posture displayed by urban symbols can spy the sequence of cultural structure in urban wind objects, and realize the two-way dimensional narrative of urban cultural structure and content, form and material. In a sense, the city is the bearer of various human symbols, and this city full of human symbols is not disorganized, and these materials full of concrete emotions operate in a conventional and subtle way. The symbolic metaphor statement allows us to see the superposition effect of the two images displayed by the urban scenery, that is, the real urban landscape under the ensemble of urban diversity and order, concrete emotions and rational constraints.
Third, the way symbolic metaphors narrate urban objects can change the stereotype of the understanding of the concept of "city". In the description of the urban landscape, people naturally think of the crowded urban picture in the midst of high-rise buildings. In most cases, "city" and "modern architecture" are spontaneously associated. As a symbol of modern civilization, the most intuitive thing about the city is the urban architecture full of modern atmosphere. In the description of urban architecture, it is often left with impressions such as "straight line", "large line", "intensive" and "decent". However, when we really walk into the interior of different cities, we will break the previous understanding of urban unity and building blocks, and will naturally be attracted by those who express the local customs, natural features and personnel miscellaneous records of the city. The combination of "things" and "people" can show the fireworks in the city, just as Bai Juyi's poem "a hundred thousand homes are like a Game of Go, and the 12th Street is like a vegetable tree", which embodies the communion situation between "street", "square" and "alley" and the life of the locals. Although modern cities have been affected by globalization, the deep cultural history has deposited the characteristics of different urban development and retained the historical foundation of urban development. The cultural symbols of the city convey the "culture of the deep sense", that is, "the most essential or characteristic thing in a national culture". From the perspective of symbol metaphor, through the tracking of the intergenerational development of the city, the original relics and modern space, the protection of ancient cities and the construction of new landmarks, the monumental old city and the public space are connected together in the form of symbol metaphors, so that the city can develop in accordance with a growth mode that transmits urban life, and then create an urban civilization containing symbolic metaphors. This narrative method can trigger us to find the internal motivation of the urban narrative, compared with the semantic repetition and the structure of the roundabout urban narrative, it is not blunt and cold, but has a concentrated expression of the original under the urban life of the human warmth of the power, can make people feel the atmosphere of the city.
Three characteristics of the narrative of "urban objects" from the perspective of symbolic metaphor
The narrative of urban customs and objects from the perspective of symbol metaphor places urban customs and objects in the specific cultural symbol scenes, achieves the connection between urban symbols through symbol metaphors, takes symbol metaphors as a composite of urban reality schemas and shared meanings, plays the role of metaphors in threading between urban cultural symbols and urban landmarks, urban cultural spirit and urban architectural design, and highlights the overall style of symbiosis between urban spatial layout and urban cultural life. The narrative of urban scenery built by symbolic metaphors mainly reflects the following three narrative characteristics:
First, decentralization. In urban narrative or depiction works, there is always an implicit way in which the narrator or depictor sorts urban space, and there is actually a certain symbolic metaphorical meaning behind this sorting. When we trace the characteristics of urban narratives in history, we will find that the earliest is the centralized expression logic, and then in the process of decentralization, the urban narrative style with the posture of wind and object is gradually opened. It overflows the self-discipline framework, and shifts to a multi-perspective, other-present, open-imagination symbolic metaphorical narrative, so that the city's abundant daily life can be displayed from this perspective.
Medieval Europeans used to combine religion, mythology, and spatial symbolic orders to form metaphors of spatial relations to convey the tradition of teachings and thus express their understanding of social subordination and ethical schemas, and this spatial metaphor was an absolutely "centralized" model. The same is true of the representation of urban space in this period, through simple and single-line means, to clarify the narrator's assertion of authority, forming a set of privileged codes that narrate the city. In the Renaissance, the spatial narrator first pursued the narrative of absolute archetype, abstract proportion and perfect paradigm, deliberately creating a state of opposition between the narrative scene and the narrator, deliberately reducing the purpose and influence of the narrator's presence, thus pointing to the "absolute" reality or the self-disciplined characteristics of architecture, constituting a metaphysical abstract narrative.
However, at the end of the 19th century, especially after entering the 20th century, this narrative structure was significantly improved. With the development of modern Western philosophy— empiricism, scientism, positivism, and phenomenology—architectural narratives have gradually shifted from the abstract form of the "absolute church" to the narrative structure that focuses on the feelings of subjects, spatial experiences, and other people in architecture. The urban narrative structure of the meaning of wind and material is gradually unfolding, and people's understanding of the city is no longer rigid and lacks temperature. In the avant-garde or constructivist urban narrative, there are already some signs of self-discipline that has transformed the closed self-discipline of urban narratives. The avant-garde valued the connection between art and life, tried to "re-integrate art and life", and gradually broke through the pain of separation between architecture and life practice as art, and the urban narrative with the plot of wind and material was expressed in this period. They see urban space as a container full of humanities, art, daily life and figurative character plots, and gradually shift from a single perspective or omniscient narrative to a multi-layered narrative structure of architectural space. The avant-garde challenged the narrative of aesthetic integrity in the non-organic form of "montage" and "fragment form", and used "incompleteness" and "fragmentation" to activate the recipient's awareness of the overall disharmony of the work, thus integrating the recipient's understanding of meaning and forming a positive way of participating in the work. At this level, the symbolic expression has a multi-level interaction between art and life, rationality and sensibility, narrator and receiver present, injecting people's understanding and perception of the city, and realizing the role of embodying the humanistic texture of the city in the sense of wind and material.
In particular, the rise of the "structure-culturalism" paradigm in the 1960s, which grafted the culturalism of "substance theory" with the structuralism of the "Gestalt", avoiding both the one-sided emphasis on the pan-empiricization of sensory experience and the excessive tendency to the limitations of the macrostructure of society. This paradigm also influences the style of architectural narrative, showing the tension of urban narrative infused with the posture of wind and material: on the one hand, it reflects the restrictive effect of historical evolution and social structural relations on the objectification of urban expression; On the other hand, it shows the value of decentralized and infused urban understanding methods with the vitality of the subject, and in this interaction the urban narrative can approach the real urban culture. As Edward M. "When urban issues and cultural issues are so closely intertwined, the intrinsic link between 'urban studies' and 'cultural studies' is more clearly presented before our eyes,' W. Suga pointed out." To some extent, the development and change of the mutual penetration of urban studies and cultural studies reflect the value and significance of the succession of "cities" and "wind objects".
With the evolution of human civilization, centralized expression is no longer indestructible, and urban narratives are driven by culturalization and life. The decentralization of symbols realizes the role of symbols in establishing the dialogue between art and life, architectural forms and cultural events, and unfolds the logic of urban narrative in the sense of wind and objects. The decentralized feature of urban style narrative lies in the spatial organization and spatial ordering that get rid of the relationship between singleness, linearization and oppression, and regard the spatial relationship as an intrinsic organic generative system.
Second, figuration. The form of a city's wind and objects is not a neat and uniform list, but a dynamic scene in which "people" and "things" crisscross and overlap each other in the city. On the one hand, the formation of urban objects comes from the mobilization and stimulation of people's feelings by urban objects such as streets, shops, food, etc.; on the other hand, it is taken from the impressions, memories and transformations left by people after they feel urban objects, which produces an aesthetic expression. The inner texture of urban objects is composed of the physical characteristics of urban objects and the feelings and expressions of people who are active in between. With the analysis of embodied symbols such as language symbols, image symbols and symbolic symbols, the characteristics of urban texture that integrate people and things, emotions and scenes can be highlighted. At the same time, the urban texture is not static, with the change of urban people's subjective feelings about urban objects, urban objects will also be given new meanings, forming a sliding meaning between symbols, and the urban texture will also form dynamic changes, showing the vibrant scene of the city.
Richard Hogart, the originator of cultural studies, highlights such a figurative feature in his description of working-class urban life in the 1950s and 1960s. He uses the seemingly trivial sequence of words "individual", "family", "neighborhood" and "local" to restore the real life of the working class. His description of the living space of the working class is similar to Giddens's division of the "front" and "back" area spaces, that is, the difference between the "public stage" and the "behind-the-scenes activity" space, and tries to change the stereotype of the urban working class life in the industrial era, that is, industrial society disintegrates the traditional city by "arranging, limiting, and complying", thus forming a typical description of a large number of "proletarian gathering places" in modern cities. He turned to the pictorial symbols of the "family life" of the working class, and the concrete life scene of the working class gave birth to its qualities of "openness and sincerity", "goodness with one's neighbor", "search for light", "helping hand" and "honesty". Hogart connects the visual, auditory, linguistic and pictorial symbols of the concrete life of the working class in the city – symbols with scenes, stories and plots of wind objects in a metaphorical way to form the cultural landscape of the working class in the city. Therefore, the narrative of urban objects from the perspective of symbolic metaphors breaks through the urban narrative in the traditional topographic or geospatial sense on the one hand, and improves the narrative of literary rendering methods such as character history and story situational on the other hand. It adopts a compatible model, places spatial scenarios in specific spatial structures, and establishes a narrative effect in which spatial geographic coordinates and spatial cultural schemas complement each other.
Third, relevance. Urban objects imply a metaphorical relationship between time and space, which looms and occasionally affects our various representations of urban memory, association, contrast and imagination, thus forming our overall perception of a city. The associative mechanism generated by symbolic metaphors can mobilize the connection between realistic perceptions and abstract thinking logic. Through metaphorical practice, the spatial subject can connect the realistic feelings of urban objects with the spatial memory in the brain in a metaphorical way, and then screen, combine and output the real scenes to form different understandings and expressions of the real scenes. Metaphor, as an important way for human beings to perceive, think and express, is an important channel for connecting people's real world and abstract thinking. Symbols shuttle between the new order and the old order, the new things and memory, phenomena and historical traces, and reconstruct the connection between each other, produce an understanding of new things, mobilize the memory of old things, form a contrast between new and old things, thus forming a movement process from concrete to abstract, and thus achieving a thinking movement with a metaphorical relationship. Through the transfer of different constituent spaces of neighborhood, place, country and global, Stuart Hall shows the pluralism of cultural symbol metaphors, showing the transmission and succession between cultural symbols of different spaces and scopes. In the common field of urban multiculturalism and the mixed cultural furnishings of urban social places, he extracts symbol traces from memory, history and tradition, analyzes the mixture of cultural boundaries and the mixture of cultural boundaries, and forms a study of the special effects of contrast, impact and superposition between various cultural symbols. In this complex urban cultural scene, symbolic metaphor practice will open up the variable distance between the concept metaphors that are crucial in the thinking activities of multicultural subjects and the real cultural scenes, form the tension between different practice subjects connecting the figurative urban sets with conceptual metaphors derived from different cultural roots, so as to form different forms of conceptual metaphorical thinking associations and different activity modes, and construct new metaphorical relationships. With the help of symbolic metaphor research, the analysis of the trajectory of the city decorated by countless symbols can be realized, so as to unlock the meaning of urban objects. This method illustrates how the overall composition of urban society is formed by tracking the spatial symbolic chains of urban activists, such as stations, offices, restaurants, libraries, supermarkets, and cinemas. In this sense, the urban style is not only the existence of a real thing, which is infused with the way of thinking, lifestyle and communication of the people living in it, and the common thoughts, concepts and emotions of the social residents are pregnant.
From the three characteristics of symbol metaphor, the urban narrative with the posture of the wind object is presented, which contains two functions: on the one hand, the decentralization and embodiment features explain the correlation between the urban objects of the real scene and the meaning behind them, and construct the urban cultural symbol system with the matching relationship between "signifier" and "pointed to"; on the other hand, the correlation feature helps to form the narrative posture of urban wind and object with overall characteristics.
Entering the study of urban scenery in the form of symbolic metaphors makes it easier to associate scattered and seemingly disorderly urban objects with symbolic metaphors, allowing us to more clearly understand the texture of a city and feel the scale of urban space - including the layout of the city, the size of the block, the width and narrowness of the street, the density of the block, etc. Thinking about urban objects from the dimension of social and cultural symbols can allow us to further understand related issues such as public space and private space, cultural space and reality field, and the intervention of different subjects to form different fields. In this way, urban objects are not only objects in the city, nor are they just the relationship between things and places, but constitute a field state with realistic scenes, forming a continuous "flow" field that can be understood and imagined.
With the concept of symbolic metaphor narrative, we will create a new pattern of "urban style" as a whole
Symbolic metaphor narratives can analyze the unique charm of urban objects and open up the formation process of the characteristics of a city in the course of historical changes. The planning of the city is not the arrangement and combination of urban objects, but the charm of the urban customs and customs that nurture the customs and customs of the people, so that the occupants of the city can fully experience the sense of livability and acquisition. Urban planning should reflect the characteristics of urban customs and objects and show the cultural charm of the city, and the narrative concept of symbol metaphor can be used to organically combine the form of objects with human activities, so as to highlight the overall characteristics of a city's unique spatial symbols. "A city with a story often leaves people with many profound spatial images, historical fragments and special emotional memories. The generation, precipitation and transformation of urban stories are closely related to the work of architects and planners. "Symbolic metaphors can provide a key to how to brew and narrate urban objects with stories.
First, the interaction between diachronic and synchronicity in the narrative is used as a metaphor for symbols, interweaving symbols with historical markers in the city with symbols injected with the characteristics of the times, emphasizing the continuity and continuity of urban development in the changing times. This is conducive to showing the historical continuity characteristics of urban customs and objects on the basis of not losing the original characteristics of the city, and highlighting the cultural landscape of the city in the process of alternating between the old and the new. In the renovation of the Old Town Museum, the Italian architect Carlo Scarpa naturally handed together the architectural fragments of each period from the Middle Ages to the present in a timeline to realize the juxtaposition of three-dimensional space and the dialogue of architectural structure, build a relationship mechanism with symbolic metaphors, and realize the integration of relics and spatial renewal. Recently, the list of finalists of the "2020 Triptych Humanistic City Award" highlights the concept of continuous and holistic urban development, such as the selected works of the transformation of Shougang Park, which comprehensively uses the spatial characteristics of the original industrial park and implants the modern urban functional area into it, which not only retains the industrial heritage of the district, but also injects new functions of urban development, including the comprehensive transformation of modern office areas, residential areas, leisure areas and museums, and realizes the change of the original place. Another selected work, "Lianzhou Photography Museum", breaks through the traditional model of the museum - the "white box" model, intertwines contemporary photography art with the background of daily life in Lianzhou Old Town, and shows the long history of Lianzhou Old Town and the cultural character of "inclusiveness" with the contrast between the spatial order between the old and the new. In the comprehensive transformation of the city, it is necessary to give full play to the wisdom of the space designer, on the basis of examining the spatial symbols of the sense of history, combined with the actual needs of the current users, the characteristics of the urban style symbols are injected into the basic elements of modern urban transformation, the way of spatial displacement is called, and the overall design of the space symbols is coordinated, so as to realize the new path of urban organic transformation in the continuous way of the history and culture of the space symbols.
Second, with the proximity of the narrative form and content of symbol metaphors, various symbols such as humanities, artifacts and space are allocated and transmitted, and a coherent, connotative and formal beauty of the city is formed in a metaphorical way, so that the spatial schema and shared meaning of urban wind objects form a unity. The city is developing, producing a new atmosphere and the style of the times, so it is necessary to create a new landmark for urban development. This raises the problem of coordination and overall planning between the city's original meaning system and the new development order. The narrative of urban objects from the perspective of symbolic metaphor can provide a methodological path for this problem, and metaphor can be applied to form an interactive association between space and meaning. In the design of the "Nanhai Guild Hall", in order to further display the "Xiqiao Landscape" and the cultural landscape of "Lingnan Culture", the humanistic complex of the Nanhai people "bravely breaking overseas and returning to their hometown" is integrated into the building, and the designer realizes the integration of Lingnan scenery and historical and cultural character through the "Landscape Corridor" and "Scenic Pavilion", showing the charm of Lingnan style. Urban objects represent not only the coordinate system of topography or geographical illustrations, but also the presentation of the overall style of the lifestyle of urban residents living in and into it. Spatial metaphor narrative dispatches the tension between real space, discourse space and organizational structure, realizes the integration of space place and spatial context, closely links the perceptible world and the deep structure of society, forms a relationship between urban design and cultural characteristics, spatial layout and humanistic complex, modernization and historical context, and provides a practical way to build a holistic meaning system of urban style and materials.
Third, using the analogy and aggregation function of symbolic metaphor narrative, following the original characteristics of the city's interior, the symbols expressing the characteristics of typical urban wind objects are migrated to the external space or the creation of new spaces, forming the development of the extended form of urban wind and objects. In the planning and design of modern cities, in addition to the superposition and integration of the remaining space and spatial renewal, there is also a layout of modern urban space, that is, to retain the original urban style, develop the outer ring space, and realize the development mode of extending the city's interior to the outside. This usually applies to measures to protect large original spaces, such as ancient villages, old towns and ancient cities. In the face of the transformation of such a large space, it is necessary to introduce a plan to facilitate the modern life of the occupants on the basis of maintaining the original style. In the transformation of Fujian Yongding Tourism and Culture City, a World Heritage Site, in order to promote the development of local tourism-related industries and facilitate the modern life of local residents, in the construction of related facilities for extending the cultural city, "some more typical symbolic elements of tulou" and "local materials" were selected, so that the new building and the original building were naturally and softly combined. This reflects the planning idea of the extension of the internal space to the external space, and adopts the analogy of spatial symbols, so as to realize the interactive development of the new city style and the old city characteristics, the new life of the surrounding urban residents and the original urban style. In the planning of modern cities, with this concept, the mutual promotion between the outer city and the inner city, the outer ring and the inner ring, the periphery and the center is implemented, the planning goal of the external space is provided by the actual condition of the original space, and the modernization function of the external space is used to promote the structural optimization of the original space - this method can form a sequence relationship of urban civilization development, on the one hand, it highlights the contemporary vitality of modern urban development, on the other hand, it protects the historical imprint of urban development, and forms the urban development context under the extended form of wind and material.
Urban planning from the perspective of symbolic metaphor is conducive to embedding the main experience and life factors of urban residents into the organization of urban structure, reflecting the core concept of urban style narrative. The urban planning strategy with this concept adopts the symbolic model, from the organizational mode, the situation arrangement, the interpretation method to the practice process, which can form a set of urban design schemes with spatial metaphorical strategies.
epilogue
The narrative of urban customs and objects from the perspective of symbolic metaphor lies in depicting and displaying the real urban landscape, taking us into the interior of urban life with the concept of "living below", allowing us to perceive the history, present and future of the city. The narrative from this perspective advocates that the shaping of urban customs is not only based on the consideration of spatial form, but more importantly, it is to seek a livable lifestyle for urban residents. The urban narrative from this perspective establishes a network of spatial metaphors that radiate and interconnected through the interweaving relationship between the actors in the city, the urban events, the common sense that has been passed down through the ages in the city, the urban transformation and the urban ruins. In the narrative of symbolic metaphors, the endogenous force and creativity of urban development are sought, and the relationship between spatial symbols and urban cultural characteristics is strengthened, so as to form an urban style narrative structure rooted in urban cultural characteristics. Symbolic metaphor narrative presents not only the transformation relationship of the internal logic of symbols, but more importantly, the symbolic concept as a metaphorical practice and the symbolic function with metaphorical practice - that is, the symbol concept and use that emphasize the practical meaning - act together on the interpretation of urban customs and objects, and provide a valuable reference for the construction of a reasonable, healthy and orderly modern urban development.
Urban style narrative is an immersive narrative expression that reflects the close relationship between the occupants immersed in the city and the urban layout. This narrative strengthens the connection between the city and the residents, the urban customs and the customs of the residents, the spatial scenes and the humanistic feelings, and forms the common living habits and values with the order and structure of the urban space, the rhythm and rhythm of urban life, and shows the humanistic atmosphere of a city as a whole. Urban customs are inseparable from the thinking of the dimension of cultural symbols. Highlighting the overall style of a city lies in the organic combination of the characteristics of the city's artifacts and the hidden cultural heritage of the city, and the symbolic metaphor focuses the material form and the spiritual form together, which can realize the integration of the city's material form and the city's charm, and highlight the unique characteristics of a city. In a symbolic metaphorical way, listening to the notes of each of the urban wind objects that beat in the city can immerse us in the city song that these different notes play together.
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The narrative of "urban objects" from the perspective of symbolic metaphors
Ma Yuanshu Associate Professor, Institute of Marxist Philosophy, Shanxi University
This article was originally published in Exploration and Controversy, No. 5, 2021
Unless noted, the pictures in the text are from the Internet
"Urban style" is to open the label of the historical and cultural significance of a city, which records the development process of a city from ancient to modern dynasties. Urban objects are living history in the present, the sedimentation of time and space; it is not isolated, structureless and disorderly, but condensed by a series of spatial metaphorical symbols intertwined in a historical, cultural, linguistic or artistic way. To some extent, the narration of the city from the level of wind and objects has realized the real style of multi-level and three-dimensional restoration of the city. In this context, the system of meaning of urban symbols is more likely to be fully opened.
The urban narrative infused with wind objects changes the description of urban morphology in a single dimension, and draws content, concrete and material-rich wind objects into the narrative of urban formation. The continuity of "city" and "wind objects" lies in breaking through the way of understanding the city only from the dimension of spatial order, trying to show the historical and cultural imprint buried in the process of urban development, and showing the development context of the city across time and space; it lies in embodying the humanistic feelings of the city, paying attention to the urban culture injected into life events, and taking the customs and customs brewing with customs and customs as the focus of the urban cultural narrative, making the concept of the beauty of the city more concrete and life-like. Therefore, in this sense, the urban narrative with the posture of wind and material can fully reflect the vitality of urban development, more clearly analyze the urban civilization conceived in the long river of history, and further relate to the sustainable future development of the city.
Perspective Cut: Symbolic Metaphor
How to view and construct the connection between "city" and "wind objects" to make it a systematic cognitive structure can be used in the form of symbolic metaphors. Symbolic metaphors can form a systematic understanding of things by using metaphors such as category, pairing, separation, clustering, migration and interaction between the "form", "structure" and "order" of symbols and the "content", "culture" and "meaning" carried by symbols. As an important tool to assist human cognitive activities and practical activities, symbolic metaphors are applied in the narrative of urban space, and can systematically synthesize the expression form of space and the relationship between its description materials. It emphasizes that with the interaction of actors, furnishings, situations, events and layouts in urban space, the internal system of urban symbols and the correlation system of mutual clustering and combination between urban symbols can be built, and the urban narrative logic with metaphorical relationship mechanism can be established. Through this narrative logic, it is possible to show the expression of the city in the sense of wind objects, and form a drawing of the overall characteristics of a city: the relationship between the source and meaning of the wind objects can be explained individually, and the urban picture that characterizes the correlation between the wind objects can be elaborated as a whole. Symbolic metaphors also help to realize the interpretation of cities in the sense of wind and objects, build a bridge for the organic integration of urban objects and urban culture, and provide an epistemic perspective for understanding and planning the development of urban cultural landscapes.
Urban style not only refers to the spatial layout or structural order of a city, but more importantly, it records the long-term stable lifestyle of the occupants in the development of the city, and transmits and continues the interaction between urban space and the occupants, imperceptibly forming an urban style. The narrative of urban objects can neither leave the people who are active in them, nor can it describe people's lives without things, and the interactive associations of "people" and "things" in "wind objects" form a collection of symbols with meaning. In his expression of the city symbol, Roland Barthes conveyed the expression "the white main tone of everyday clothing is the symbol of the city" as the symbol sliding process of "daily clothing, main tone, white = city". Urban objects imply the transmission process of the symbolic metaphor of the continuous evolution of a city, which connects the past, refers to the present and cares for the future. The urban narrative that simply refers to the geographical location of the space is only a description of the relationship between urban wind and objects, or only a narrative of the spatial carrier or spatial shell formed by it. However, through the symbolic metaphorical narrative of urban customs, we can perceive how people live in the city effectively by saying "things" and "doing", and then feel the urban atmosphere and humanistic appearance of a city.
First of all, in terms of the etymological meaning of "urban style" itself, it is possible to build an entry perspective of symbolic metaphors. The term "wind object" mainly has three connotations: scenery scenery, flavor property and customs and customs, usually the term "wind object" is mostly associated with "natural wind object", "mountain and river wind object", "wind and material legend" and "wind and thing". The formulation of "urban scenery" reflects the modern semantic flow of the word "wind and object" - from the displacement of natural wind objects to the focus of urban wind objects, establishing the connection between the city and "scenery scenery", "flavor products" and "customs and customs", and narrowing the interactive distance between people, nature and the city. Its proposal reflects a change in the way of urban narrative: from structural narratives such as urban geographical location, layout structure and location relationship of furnishings or relatively single urban character descriptions, to cultural narratives that present specific intuitions, feelings and experiences embedded in the structure of urban scenes, and associate "things" with "people", "structure" and "culture" and other necessary factors in urban narratives.
There is a certain degree of convergence between the compound semantics to be expressed by urban objects and symbolic metaphors, and the symbolic metaphor mechanism can provide an epistemological and methodological strategy for the study of urban wind objects narratives. The semantic core and research significance of urban customs and objects are that it reflects the active care for the "form" of the city and the "culture" carried by the city, and effectively connects the form, structure and order of the urban space carrier with the characteristics of the city, including customs and customs, customs and regional styles, so as to realize the organic combination of the spatial structure on the co-section and the spatial culture of historical deposition. The symbol itself has the characteristics of two sides of the same body, one side is "form" and "structure", and the other side is "content" and "fact". Symbols are the unity of "form and content", "signifier and signifier", and "image and concept". The interrelationships between symbols and between symbols are linked in a metaphorical way, through metaphorical gestures or metaphorical strategies of contrast, pairing, clustering, and analogy. The narrative of urban scenery and objects from the perspective of symbolic metaphors provides a panoramic cognitive structure mode for viewing and understanding urban objects: on the one hand, it realizes the interaction between the malleability of urban space and the continuity of time; On the other hand, from the entity argument model between subject and guest, it has shifted to the cognitive model of symbol system and object world and relationship, opening up a new picture of urban texture understanding.
Second, how to start the narrative of "urban objects" from the symbolic metaphor? Symbolic metaphor is to carry out a metaphorical connection between people and people, people and furnishings in a specific space in a continuous way of symbols, and to develop a metaphorical connection between history, culture and society in a specific spatial scene. The narrative of urban scenery is not only a description of the urban cultural landscape with superficial significance, nor is it only a geographical location topographical representation of a single structural dimension, but also a unified interpretation of the cultural phenomena in the space and the deep social structure, the occupants in the city and their specific experiential life embedded in the organizational order of the urban structure. With the depth of urban history and the synchronicity of the urban structure, it weaves a unique style of a city. It actively mobilizes our perceptual cognition of a city, and constantly activates our rational thinking about a city in the form of perceptual experience, so as to find the structural order under the city's life.
Urban narratives at the geographical level focus too much on the investigation of the significance of topography, and miss the vivid stories that occur in urban space; The character-like urban narrative is based on capturing important people and events in the city, which may correspondingly lead to the problem of focusing on the storyline and ignoring the role of social structure. These two narratives have the effect of two directions: one emphasizes structure and ignores content, and the other emphasizes material over form. The narrative of urban scenery under the perspective of symbol metaphor integrates two different directions of presentation methods: on the one hand, with symbol metaphors close to life, it can enter the specific scenes of urban life; on the other hand, the metaphorical posture displayed by urban symbols can spy the sequence of cultural structure in urban wind objects, and realize the two-way dimensional narrative of urban cultural structure and content, form and material. In a sense, the city is the bearer of various human symbols, and this city full of human symbols is not disorganized, and these materials full of concrete emotions operate in a conventional and subtle way. The symbolic metaphor statement allows us to see the superposition effect of the two images displayed by the urban scenery, that is, the real urban landscape under the ensemble of urban diversity and order, concrete emotions and rational constraints.
Third, the way symbolic metaphors narrate urban objects can change the stereotype of the understanding of the concept of "city". In the description of the urban landscape, people naturally think of the crowded urban picture in the midst of high-rise buildings. In most cases, "city" and "modern architecture" are spontaneously associated. As a symbol of modern civilization, the most intuitive thing about the city is the urban architecture full of modern atmosphere. In the description of urban architecture, it is often left with impressions such as "straight line", "large line", "intensive" and "decent". However, when we really walk into the interior of different cities, we will break the previous understanding of urban unity and building blocks, and will naturally be attracted by those who express the local customs, natural features and personnel miscellaneous records of the city. The combination of "things" and "people" can show the fireworks in the city, just as Bai Juyi's poem "a hundred thousand homes are like a Game of Go, and the 12th Street is like a vegetable tree", which embodies the communion situation between "street", "square" and "alley" and the life of the locals. Although modern cities have been affected by globalization, the deep cultural history has deposited the characteristics of different urban development and retained the historical foundation of urban development. The cultural symbols of the city convey the "culture of the deep sense", that is, "the most essential or characteristic thing in a national culture". From the perspective of symbol metaphor, through the tracking of the intergenerational development of the city, the original relics and modern space, the protection of ancient cities and the construction of new landmarks, the monumental old city and the public space are connected together in the form of symbol metaphors, so that the city can develop in accordance with a growth mode that transmits urban life, and then create an urban civilization containing symbolic metaphors. This narrative method can trigger us to find the internal motivation of the urban narrative, compared with the semantic repetition and the structure of the roundabout urban narrative, it is not blunt and cold, but has a concentrated expression of the original under the urban life of the human warmth of the power, can make people feel the atmosphere of the city.
Three characteristics of the narrative of "urban objects" from the perspective of symbolic metaphor
The narrative of urban customs and objects from the perspective of symbol metaphor places urban customs and objects in the specific cultural symbol scenes, achieves the connection between urban symbols through symbol metaphors, takes symbol metaphors as a composite of urban reality schemas and shared meanings, plays the role of metaphors in threading between urban cultural symbols and urban landmarks, urban cultural spirit and urban architectural design, and highlights the overall style of symbiosis between urban spatial layout and urban cultural life. The narrative of urban scenery built by symbolic metaphors mainly reflects the following three narrative characteristics:
First, decentralization. In urban narrative or depiction works, there is always an implicit way in which the narrator or depictor sorts urban space, and there is actually a certain symbolic metaphorical meaning behind this sorting. When we trace the characteristics of urban narratives in history, we will find that the earliest is the centralized expression logic, and then in the process of decentralization, the urban narrative style with the posture of wind and object is gradually opened. It overflows the self-discipline framework, and shifts to a multi-perspective, other-present, open-imagination symbolic metaphorical narrative, so that the city's abundant daily life can be displayed from this perspective.
Medieval Europeans used to combine religion, mythology, and spatial symbolic orders to form metaphors of spatial relations to convey the tradition of teachings and thus express their understanding of social subordination and ethical schemas, and this spatial metaphor was an absolutely "centralized" model. The same is true of the representation of urban space in this period, through simple and single-line means, to clarify the narrator's assertion of authority, forming a set of privileged codes that narrate the city. In the Renaissance, the spatial narrator first pursued the narrative of absolute archetype, abstract proportion and perfect paradigm, deliberately creating a state of opposition between the narrative scene and the narrator, deliberately reducing the purpose and influence of the narrator's presence, thus pointing to the "absolute" reality or the self-disciplined characteristics of architecture, constituting a metaphysical abstract narrative.
However, at the end of the 19th century, especially after entering the 20th century, this narrative structure was significantly improved. With the development of modern Western philosophy— empiricism, scientism, positivism, and phenomenology—architectural narratives have gradually shifted from the abstract form of the "absolute church" to the narrative structure that focuses on the feelings of subjects, spatial experiences, and other people in architecture. The urban narrative structure of the meaning of wind and material is gradually unfolding, and people's understanding of the city is no longer rigid and lacks temperature. In the avant-garde or constructivist urban narrative, there are already some signs of self-discipline that has transformed the closed self-discipline of urban narratives. The avant-garde valued the connection between art and life, tried to "re-integrate art and life", and gradually broke through the pain of separation between architecture and life practice as art, and the urban narrative with the plot of wind and material was expressed in this period. They see urban space as a container full of humanities, art, daily life and figurative character plots, and gradually shift from a single perspective or omniscient narrative to a multi-layered narrative structure of architectural space. The avant-garde challenged the narrative of aesthetic integrity in the non-organic form of "montage" and "fragment form", and used "incompleteness" and "fragmentation" to activate the recipient's awareness of the overall disharmony of the work, thus integrating the recipient's understanding of meaning and forming a positive way of participating in the work. At this level, the symbolic expression has a multi-level interaction between art and life, rationality and sensibility, narrator and receiver present, injecting people's understanding and perception of the city, and realizing the role of embodying the humanistic texture of the city in the sense of wind and material.
In particular, the rise of the "structure-culturalism" paradigm in the 1960s, which grafted the culturalism of "substance theory" with the structuralism of the "Gestalt", avoiding both the one-sided emphasis on the pan-empiricization of sensory experience and the excessive tendency to the limitations of the macrostructure of society. This paradigm also influences the style of architectural narrative, showing the tension of urban narrative infused with the posture of wind and material: on the one hand, it reflects the restrictive effect of historical evolution and social structural relations on the objectification of urban expression; On the other hand, it shows the value of decentralized and infused urban understanding methods with the vitality of the subject, and in this interaction the urban narrative can approach the real urban culture. As Edward M. "When urban issues and cultural issues are so closely intertwined, the intrinsic link between 'urban studies' and 'cultural studies' is more clearly presented before our eyes,' W. Suga pointed out." To some extent, the development and change of the mutual penetration of urban studies and cultural studies reflect the value and significance of the succession of "cities" and "wind objects".
With the evolution of human civilization, centralized expression is no longer indestructible, and urban narratives are driven by culturalization and life. The decentralization of symbols realizes the role of symbols in establishing the dialogue between art and life, architectural forms and cultural events, and unfolds the logic of urban narrative in the sense of wind and objects. The decentralized feature of urban style narrative lies in the spatial organization and spatial ordering that get rid of the relationship between singleness, linearization and oppression, and regard the spatial relationship as an intrinsic organic generative system.
Second, figuration. The form of a city's wind and objects is not a neat and uniform list, but a dynamic scene in which "people" and "things" crisscross and overlap each other in the city. On the one hand, the formation of urban objects comes from the mobilization and stimulation of people's feelings by urban objects such as streets, shops, food, etc.; on the other hand, it is taken from the impressions, memories and transformations left by people after they feel urban objects, which produces an aesthetic expression. The inner texture of urban objects is composed of the physical characteristics of urban objects and the feelings and expressions of people who are active in between. With the analysis of embodied symbols such as language symbols, image symbols and symbolic symbols, the characteristics of urban texture that integrate people and things, emotions and scenes can be highlighted. At the same time, the urban texture is not static, with the change of urban people's subjective feelings about urban objects, urban objects will also be given new meanings, forming a sliding meaning between symbols, and the urban texture will also form dynamic changes, showing the vibrant scene of the city.
Richard Hogart, the originator of cultural studies, highlights such a figurative feature in his description of working-class urban life in the 1950s and 1960s. He uses the seemingly trivial sequence of words "individual", "family", "neighborhood" and "local" to restore the real life of the working class. His description of the living space of the working class is similar to Giddens's division of the "front" and "back" area spaces, that is, the difference between the "public stage" and the "behind-the-scenes activity" space, and tries to change the stereotype of the urban working class life in the industrial era, that is, industrial society disintegrates the traditional city by "arranging, limiting, and complying", thus forming a typical description of a large number of "proletarian gathering places" in modern cities. He turned to the pictorial symbols of the "family life" of the working class, and the concrete life scene of the working class gave birth to its qualities of "openness and sincerity", "goodness with one's neighbor", "search for light", "helping hand" and "honesty". Hogart connects the visual, auditory, linguistic and pictorial symbols of the concrete life of the working class in the city – symbols with scenes, stories and plots of wind objects in a metaphorical way to form the cultural landscape of the working class in the city. Therefore, the narrative of urban objects from the perspective of symbolic metaphors breaks through the urban narrative in the traditional topographic or geospatial sense on the one hand, and improves the narrative of literary rendering methods such as character history and story situational on the other hand. It adopts a compatible model, places spatial scenarios in specific spatial structures, and establishes a narrative effect in which spatial geographic coordinates and spatial cultural schemas complement each other.
Third, relevance. Urban objects imply a metaphorical relationship between time and space, which looms and occasionally affects our various representations of urban memory, association, contrast and imagination, thus forming our overall perception of a city. The associative mechanism generated by symbolic metaphors can mobilize the connection between realistic perceptions and abstract thinking logic. Through metaphorical practice, the spatial subject can connect the realistic feelings of urban objects with the spatial memory in the brain in a metaphorical way, and then screen, combine and output the real scenes to form different understandings and expressions of the real scenes. Metaphor, as an important way for human beings to perceive, think and express, is an important channel for connecting people's real world and abstract thinking. Symbols shuttle between the new order and the old order, the new things and memory, phenomena and historical traces, and reconstruct the connection between each other, produce an understanding of new things, mobilize the memory of old things, form a contrast between new and old things, thus forming a movement process from concrete to abstract, and thus achieving a thinking movement with a metaphorical relationship. Through the transfer of different constituent spaces of neighborhood, place, country and global, Stuart Hall shows the pluralism of cultural symbol metaphors, showing the transmission and succession between cultural symbols of different spaces and scopes. In the common field of urban multiculturalism and the mixed cultural furnishings of urban social places, he extracts symbol traces from memory, history and tradition, analyzes the mixture of cultural boundaries and the mixture of cultural boundaries, and forms a study of the special effects of contrast, impact and superposition between various cultural symbols. In this complex urban cultural scene, symbolic metaphor practice will open up the variable distance between the concept metaphors that are crucial in the thinking activities of multicultural subjects and the real cultural scenes, form the tension between different practice subjects connecting the figurative urban sets with conceptual metaphors derived from different cultural roots, so as to form different forms of conceptual metaphorical thinking associations and different activity modes, and construct new metaphorical relationships. With the help of symbolic metaphor research, the analysis of the trajectory of the city decorated by countless symbols can be realized, so as to unlock the meaning of urban objects. This method illustrates how the overall composition of urban society is formed by tracking the spatial symbolic chains of urban activists, such as stations, offices, restaurants, libraries, supermarkets, and cinemas. In this sense, the urban style is not only the existence of a real thing, which is infused with the way of thinking, lifestyle and communication of the people living in it, and the common thoughts, concepts and emotions of the social residents are pregnant.
From the three characteristics of symbol metaphor, the urban narrative with the posture of the wind object is presented, which contains two functions: on the one hand, the decentralization and embodiment features explain the correlation between the urban objects of the real scene and the meaning behind them, and construct the urban cultural symbol system with the matching relationship between "signifier" and "pointed to"; on the other hand, the correlation feature helps to form the narrative posture of urban wind and object with overall characteristics.
Entering the study of urban scenery in the form of symbolic metaphors makes it easier to associate scattered and seemingly disorderly urban objects with symbolic metaphors, allowing us to more clearly understand the texture of a city and feel the scale of urban space - including the layout of the city, the size of the block, the width and narrowness of the street, the density of the block, etc. Thinking about urban objects from the dimension of social and cultural symbols can allow us to further understand related issues such as public space and private space, cultural space and reality field, and the intervention of different subjects to form different fields. In this way, urban objects are not only objects in the city, nor are they just the relationship between things and places, but constitute a field state with realistic scenes, forming a continuous "flow" field that can be understood and imagined.
With the concept of symbolic metaphor narrative, we will create a new pattern of "urban style" as a whole
Symbolic metaphor narratives can analyze the unique charm of urban objects and open up the formation process of the characteristics of a city in the course of historical changes. The planning of the city is not the arrangement and combination of urban objects, but the charm of the urban customs and customs that nurture the customs and customs of the people, so that the occupants of the city can fully experience the sense of livability and acquisition. Urban planning should reflect the characteristics of urban customs and objects and show the cultural charm of the city, and the narrative concept of symbol metaphor can be used to organically combine the form of objects with human activities, so as to highlight the overall characteristics of a city's unique spatial symbols. "A city with a story often leaves people with many profound spatial images, historical fragments and special emotional memories. The generation, precipitation and transformation of urban stories are closely related to the work of architects and planners. "Symbolic metaphors can provide a key to how to brew and narrate urban objects with stories.
First, the interaction between diachronic and synchronicity in the narrative is used as a metaphor for symbols, interweaving symbols with historical markers in the city with symbols injected with the characteristics of the times, emphasizing the continuity and continuity of urban development in the changing times. This is conducive to showing the historical continuity characteristics of urban customs and objects on the basis of not losing the original characteristics of the city, and highlighting the cultural landscape of the city in the process of alternating between the old and the new. In the renovation of the Old Town Museum, the Italian architect Carlo Scarpa naturally handed together the architectural fragments of each period from the Middle Ages to the present in a timeline to realize the juxtaposition of three-dimensional space and the dialogue of architectural structure, build a relationship mechanism with symbolic metaphors, and realize the integration of relics and spatial renewal. Recently, the list of finalists of the "2020 Triptych Humanistic City Award" highlights the concept of continuous and holistic urban development, such as the selected works of the transformation of Shougang Park, which comprehensively uses the spatial characteristics of the original industrial park and implants the modern urban functional area into it, which not only retains the industrial heritage of the district, but also injects new functions of urban development, including the comprehensive transformation of modern office areas, residential areas, leisure areas and museums, and realizes the change of the original place. Another selected work, "Lianzhou Photography Museum", breaks through the traditional model of the museum - the "white box" model, intertwines contemporary photography art with the background of daily life in Lianzhou Old Town, and shows the long history of Lianzhou Old Town and the cultural character of "inclusiveness" with the contrast between the spatial order between the old and the new. In the comprehensive transformation of the city, it is necessary to give full play to the wisdom of the space designer, on the basis of examining the spatial symbols of the sense of history, combined with the actual needs of the current users, the characteristics of the urban style symbols are injected into the basic elements of modern urban transformation, the way of spatial displacement is called, and the overall design of the space symbols is coordinated, so as to realize the new path of urban organic transformation in the continuous way of the history and culture of the space symbols.
Second, with the proximity of the narrative form and content of symbol metaphors, various symbols such as humanities, artifacts and space are allocated and transmitted, and a coherent, connotative and formal beauty of the city is formed in a metaphorical way, so that the spatial schema and shared meaning of urban wind objects form a unity. The city is developing, producing a new atmosphere and the style of the times, so it is necessary to create a new landmark for urban development. This raises the problem of coordination and overall planning between the city's original meaning system and the new development order. The narrative of urban objects from the perspective of symbolic metaphor can provide a methodological path for this problem, and metaphor can be applied to form an interactive association between space and meaning. In the design of the "Nanhai Guild Hall", in order to further display the "Xiqiao Landscape" and the cultural landscape of "Lingnan Culture", the humanistic complex of the Nanhai people "bravely breaking overseas and returning to their hometown" is integrated into the building, and the designer realizes the integration of Lingnan scenery and historical and cultural character through the "Landscape Corridor" and "Scenic Pavilion", showing the charm of Lingnan style. Urban objects represent not only the coordinate system of topography or geographical illustrations, but also the presentation of the overall style of the lifestyle of urban residents living in and into it. Spatial metaphor narrative dispatches the tension between real space, discourse space and organizational structure, realizes the integration of space place and spatial context, closely links the perceptible world and the deep structure of society, forms a relationship between urban design and cultural characteristics, spatial layout and humanistic complex, modernization and historical context, and provides a practical way to build a holistic meaning system of urban style and materials.
Third, using the analogy and aggregation function of symbolic metaphor narrative, following the original characteristics of the city's interior, the symbols expressing the characteristics of typical urban wind objects are migrated to the external space or the creation of new spaces, forming the development of the extended form of urban wind and objects. In the planning and design of modern cities, in addition to the superposition and integration of the remaining space and spatial renewal, there is also a layout of modern urban space, that is, to retain the original urban style, develop the outer ring space, and realize the development mode of extending the city's interior to the outside. This usually applies to measures to protect large original spaces, such as ancient villages, old towns and ancient cities. In the face of the transformation of such a large space, it is necessary to introduce a plan to facilitate the modern life of the occupants on the basis of maintaining the original style. In the transformation of Fujian Yongding Tourism and Culture City, a World Heritage Site, in order to promote the development of local tourism-related industries and facilitate the modern life of local residents, in the construction of related facilities for extending the cultural city, "some more typical symbolic elements of tulou" and "local materials" were selected, so that the new building and the original building were naturally and softly combined. This reflects the planning idea of the extension of the internal space to the external space, and adopts the analogy of spatial symbols, so as to realize the interactive development of the new city style and the old city characteristics, the new life of the surrounding urban residents and the original urban style. In the planning of modern cities, with this concept, the mutual promotion between the outer city and the inner city, the outer ring and the inner ring, the periphery and the center is implemented, the planning goal of the external space is provided by the actual condition of the original space, and the modernization function of the external space is used to promote the structural optimization of the original space - this method can form a sequence relationship of urban civilization development, on the one hand, it highlights the contemporary vitality of modern urban development, on the other hand, it protects the historical imprint of urban development, and forms the urban development context under the extended form of wind and material.
Urban planning from the perspective of symbolic metaphor is conducive to embedding the main experience and life factors of urban residents into the organization of urban structure, reflecting the core concept of urban style narrative. The urban planning strategy with this concept adopts the symbolic model, from the organizational mode, the situation arrangement, the interpretation method to the practice process, which can form a set of urban design schemes with spatial metaphorical strategies.
epilogue
The narrative of urban customs and objects from the perspective of symbolic metaphor lies in depicting and displaying the real urban landscape, taking us into the interior of urban life with the concept of "living below", allowing us to perceive the history, present and future of the city. The narrative from this perspective advocates that the shaping of urban customs is not only based on the consideration of spatial form, but more importantly, it is to seek a livable lifestyle for urban residents. The urban narrative from this perspective establishes a network of spatial metaphors that radiate and interconnected through the interweaving relationship between the actors in the city, the urban events, the common sense that has been passed down through the ages in the city, the urban transformation and the urban ruins. In the narrative of symbolic metaphors, the endogenous force and creativity of urban development are sought, and the relationship between spatial symbols and urban cultural characteristics is strengthened, so as to form an urban style narrative structure rooted in urban cultural characteristics. Symbolic metaphor narrative presents not only the transformation relationship of the internal logic of symbols, but more importantly, the symbolic concept as a metaphorical practice and the symbolic function with metaphorical practice - that is, the symbol concept and use that emphasize the practical meaning - act together on the interpretation of urban customs and objects, and provide a valuable reference for the construction of a reasonable, healthy and orderly modern urban development.
Urban style narrative is an immersive narrative expression that reflects the close relationship between the occupants immersed in the city and the urban layout. This narrative strengthens the connection between the city and the residents, the urban customs and the customs of the residents, the spatial scenes and the humanistic feelings, and forms the common living habits and values with the order and structure of the urban space, the rhythm and rhythm of urban life, and shows the humanistic atmosphere of a city as a whole. Urban customs are inseparable from the thinking of the dimension of cultural symbols. Highlighting the overall style of a city lies in the organic combination of the characteristics of the city's artifacts and the hidden cultural heritage of the city, and the symbolic metaphor focuses the material form and the spiritual form together, which can realize the integration of the city's material form and the city's charm, and highlight the unique characteristics of a city. In a symbolic metaphorical way, listening to the notes of each of the urban wind objects that beat in the city can immerse us in the city song that these different notes play together.
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