内秀于心藏拙其外——品读武汉园博会大师园之缺园

第十届中国(武汉)国际园林博览会中的"缺园"以其独特的设计理念和空间组织,呈现出与众不同且耐人寻味的园林景致。文章从其空间布局、建筑特色、点景手法等方面分析缺园的园林特色,并从低成本设计、艺术造景、文化意境等角度阐释缺园营造的意趣之美。缺园所体现的人文关怀、哲理思考及艺术意蕴为当代园林创作提供了有益的借鉴和参考。     

理念·设计·技术的优秀结合——2011西安世园会万桥园解读

以WEST 8主创设计师高伊策在2011西安世园会的"万桥园"为解读对象,首先分析了的该作品的构思源泉和设计理念,指出作品所传达的"体验生命历程"的主题,以及所反映的"雅俗共赏"观念;继而对作品设计手法与技术进行了分析,认为万桥园是理念、设计与技术的优秀结合,作品所呈现的整体性、亲和力是其成功的关键所在。     

绿色建筑设计的探索

本文对绿色建筑的概念及内涵进行分析,采用节能、环保、智能化等先进技术,结合大连"大有恬园"住宅项目,探索实践可行的绿色设计。     

营造乌托邦——汤桦建筑理想解读

正家·园"哲学就是怀着一种乡愁的冲动去寻找家园。"1999年汤桦在《营造笔记》一文里引用了德国诗人诺瓦利斯(novalis)的这句名言,作为解读成都上河美术馆设计的开场白。文中汤桦讲解了4个房子,成都的两个分别以"水边之舟"和"平原上的房子"为题,深圳和福州的设计则称之为"形式的表演"和"媒体工厂"。是否由此可以看出建筑师为生于斯、长于斯的故乡设计时,更具一种场所精神?     

新农村绿色生态住宅设计初探

绿色生态住宅即为消耗最少地球资源和能源、产生最少废弃物的住宅,具有"健康舒适、高效清洁、和谐美观"的基本特征,其设计应遵循节约能源、结合气候、资源的最小化利用等原则.青岛市近郊某村作为试点宅用基地,进行了连体式绿色生态农宅设计,提出"从院到园,从园到家"的设计理念,并从农宅平面、立面、生态节能等方面进行了探讨.     

基于白居易造园思想的洛阳“乐吟园”规划设计初探

白居易是中唐伟大的现实主义诗人、文学家,其造园活动也相当丰富,从他留下的大量诗作中可窥见一斑;其造园思想对后世及日本园林的发展都有不可估量的影响。本文以白居易在洛阳时期的造园活动为出发点,结合已有的研究成果,从白居易诗作中分析归纳出白居易履道坊宅园造园思想,并以此为依据,通过现状考察重新立意构思,设计白居易履道坊宅园"乐吟园"。     

岩石园植物造景浅析——以山西晋中森林植物园岩石园设计为例

岩石园是一种独具特色的专类园,以收集高山植物和岩生植物为目的。本文对岩石园设计的空间布局、植物选择等方法进行了初步总结,对国外植物园的经典岩石园案例进行了分析,并以国内项目实践——晋中森林植物园岩石园设计为例,对岩石园设计手法进行了具体分析和总结。     

试论城市中心城区总体城市设计的应用

以新余市城市总体规划为案例,通过对城市结构和城市形象两个方面进行分析,从"山、水、园、城"四个角度等进行论证,提出编制城市总体城市设计和城市总体规划编制的结合与应用,以期指导今后同类城市设计工作。     

再谈园林设计的意境生成——青岛世界园艺博览会上海 慢生活园”设计

通过青岛世界园艺博览会上海展园建设的契机,意在向人们提供一个感受美好,享受自我,放慢脚步,品味生活的"慢生活"意境空间。从景观空间角度,设计了上海"慢生活园"的整个空间序列,并从"听"、"闻"、"看"、"触"四方面全方位地展现了慢生活意境的4组画面。上海园意动空间的设计方式始终贯穿于整个设计地块,慢生活衍生出各种不同的景观场地形态,很好地传达出慢生活的意境。     

地方高校学前教育专业全程式“园校合作”办学模式的研究与实践

地方高校担负着培养高层次应用型专门人才的重任。全程式"园校合作"具有系统性、渗透性、互利性、开放性等特征,是地方高校学前教育专业培养高层次应用型专门人才的有效办学模式。地方高校通过与幼儿园共同定位学前教育专业人才的培养目标,协同设计课程体系,丰富"园校合作"办学的内容与形式,构建多元化、全程式实践教学体系,加强"双师型"教师的培养等措施实现全程式"园校合作"。     

窗户的革命

数千年的时光锻造出不同时代的建筑,窗户始终处于变化之中。材料的进步,结构的更新以及科技的发展促成了窗户的三次“革命”。高技术与生态的结合是建筑发展的时代趋势,窗户将在这股洪流中呈现全新的面貌。     

建筑的“游戏”

建筑作为建筑师与大众之间的物化形式,目前正出现游戏化的趋势。从解读伽达默尔的游戏概念出发,通过探讨游戏与建筑艺术之间的关联,辨析在当代多元化思潮的影响下建筑设计中存在的问题,并对建筑设计和建筑存在方式及价值意义进行了思考,试图为正确把握当前建筑理论提供路径。     

Modernism sustained: Bucharest in the 1930s and 1990s

During the 1930s the social life of Bucharest rivalled that elsewhere in Europe. Culturally and artistically Bucharest embraced dynamic, innovative and avant-garde attitudes, which were prompted by the establishment of a Greater Romania after the end of the first World War. The artists Brancusi, Janco, Mary, the composer Enescu, the philosopher Eliade, were recognised internationally. The development of Bucharest was based on progressive theoretical ideas and over a period of ten years its appearance was transformed by modernist buildings. The individual villas and apartment buildings which formed the bulk of this transformation were achieved by private enterprise and represented an innovative architecture of social equilibrium which was entirely modernist; quite unlike the modernist social housing programmes elsewhere in Europe which were the products of state intervention and industry. By contrast, state and civic building programmes in Bucharest realised an architecture which retained classical conventions to become austere, sombre and repetitive. Since 1989, Romania has had to adjust to the rigours of market economics. The intervening fifty years of totalitarianism kept the achievements of the inter-war years under wraps, but these are now being rediscovered by a generation for whom they are the nearest representation of democracy on Romanian territory. The new-found democracy of the market place brings this period of cultural achievement into sharp focus, in the hope that it may act as a catalyst for the resolution of today's extensive urban deprivations.     

REGIME APPROACHES TO OBSCENITY POLICY: 1960s to 1980s

ABSTRACT: During the 1970s, the governing regimes of both Chicago and Seattle were confronted by sharp increases in the number of adult movie theaters, particularly in their central business districts. Since the traditional means of suppressing such businesses had been declared unconstitutional, these regimes were forced to derive new obscenity policies. The central concern of the Chicago regime was to construct policies that would prevent any further economic deterioration of the downtown Loop. Toward this end, the Chicago regime utilized legal harassment, changes in land use ordinances, and property development to force adult theaters from the Loop. The Seattle regime was less concerned about downtown development than with mollifying its traditional constituency in the residential neighborhoods. Thus, the Seattle regime created a policy that concentrated adult establishments downtown. Ultimately, both regimes were successful in achieving their separate policy goals.     

芳华10年 与中国自动化行业共走同心路——访约翰内斯·海德汉博士（中国）有限公司首席执行官、总经理贾江扬先牛

约翰内斯·海德汉博士有限公司始建于I889年，是一家专门研发和生产测量系统、数控系统的跨国公司（为电梯行业提供编码器产品）。海德汉公司总部设在德国，目前在49个国家和地区设立了办事机构，绝大多数是全资的子公司。120多年来，海德汉公司扎根光刻制造领域，并以生产高精度、高质量产品而享誉世界。     

Modernism sustained: Bucharest in the 1930s and 1990s

During the 1930s the social life of Bucharest rivalled that elsewhere in Europe. Culturally and artistically Bucharest embraced dynamic, innovative and avant-garde attitudes, which were prompted by the establishment of a Greater Romania after the end of the first World War. The artists Brancusi, Janco, Mary, the composer Enescu, the philosopher Eliade, were recognised internationally. The development of Bucharest was based on progressive theoretical ideas and over a period of ten years its appearance was transformed by modernist buildings. The individual villas and apartment buildings which formed the bulk of this transformation were achieved by private enterprise and represented an innovative architecture of social equilibrium which was entirely modernist; quite unlike the modernist social housing programmes elsewhere in Europe which were the products of state intervention and industry. By contrast, state and civic building programmes in Bucharest realised an architecture which retained classical conventions to become austere, sombre and repetitive. Since 1989, Romania has had to adjust to the rigours of market economics. The intervening fifty years of totalitarianism kept the achievements of the inter-war years under wraps, but these are now being rediscovered by a generation for whom they are the nearest representation of democracy on Romanian territory. The new-found democracy of the market place brings this period of cultural achievement into sharp focus, in the hope that it may act as a catalyst for the resolution of today's extensive urban deprivations.     

Louis I Kahn @ 40s: Architecture in the 1950s

Starting with the particularities of the postwar American architecture, this paper aims to discuss Kahn's recoding of what might be called the culture of building, for example, themes internal to the formation of the disciplinary history of architecture. Additional attention is given to Kahn's discourse on monumentality pronounced in 1944. Emphasis is also placed on Kahn's concern with structure and ornament, but also the tectonic. The paper then presents an historical analysis of Kahn's design for the Philadelphia City Tower and the Yale University Art Gallery, arguing that in spite of, or rather because of postmodern conditions, the project of modernity should be considered neither as a perfect past, nor a phenomenon that is working towards its completion. Modernity should rather be considered a project whose periodic crisis is endemic to architects’ ongoing recoding of the culture of building.     

西安五六十年代居住建筑初探

把时间停留在了中国的二十世纪五六十年代,结合那个年代特殊的背景,探索居住建筑发展的轨迹、特征以及风格,从而让人们能够用公正的视角看待历史,用历史的眼光看待建筑,用平和的态度看待得与失。     

卷首语

2012年曾是被预言灾难来临的一年,我想很多人听到过"2012年地球会毁灭吗?"这样的言论。也许,我们这代人在太平世界中生活的时间太久了,有时只能在灾难电影中感受恐惧,在灾区的新闻中发表同情和反思。这是不是居安思危呢,不好说。