Works of architecture are so much a part of our environment that we accept them as fixed and scarcely notice them until our attention is summoned. People have long known how to enclose space for the many purposes of life. The spatial aspect of the arts is most obvious in architecture. The architect makes groupings of enclosed spaces and enclosing masses, always keeping in mind the function of the structure, its construction and materials, and, of course, its design—the correlative of the other two. We experience architecture both visually and by moving through and around it, so that we perceive architectural space and mass together. The articulation of space and mass in building is expressed graphically in several ways; the principal ones include plans, sections, and elevations. A plan is essentially a map of floor, showing the placement of the masses of a structure and, therefore, the spaces they bound and enclose. A section, like a vertical plan, shows placement of the masses as if the buildings were cut through along a plane, often along a plane that is a major axis of the building. An elevation is a head-on view of an external or internal wall, showing its features and often other elements that would be visible beyond or before the wall. Our response to a building can range from simple contentment to astonishment and awe. Such reactions are products of our experience of a building’s function, construction, and design; we react differently to a church, a gymnasium, and an office building. The very movements we must make to experience one building will differ widely and profoundly from the movements required to experience another. These movements will be controlled by the continuity or discontinuity of its axes. For example, in a central plan—one that radiates from a central point, as in the Pantheon in Rome—we perceive the whole spatial entity at once. In the long axial plan of a Christian basilica or a Gothic cathedral, however, our attention tends to focus on a given point—the altar at the eastern end of the nave. Mass and space can be interrelated to produce effects of great complexity, as, for example, in the Byzantine Church of the Katholikon. Thus, our experience of architecture will be the consequence of a great number of material and formal factors, including training, knowledge, and our perceptual and psychological makeup, which function in our experience of any work of art.
A. training B. knowledgeC. perceptual and psychological makeup D. all of the above
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C．无菌手术完毕，手套未破，需连台手术，可不用重新刷手，用碘尔康涂手和前臂即可 D．先穿手术衣后戴手套 E．以上说法都不对
A.手术人员手或臂部有破损或有化脓性感染时，不得参加手术
B.手臂消毒后戴手套的主要目的是防护手术人员的手臂以免损伤
C.无菌手术完毕，手套未破，需连台手术，可不用重新刷手，用碘尔康涂手和前臂即可
D.先穿手术衣后戴手套
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