Digital Cottage Industries

Mike Aling 's ProunStretcher project engages with the recent global revival of cottage industries, fuelled by the application of digital technologies, as a means to address ‘the manifold social issues present across our rural landscape-as-urban-extension’.     

Charles Marville and the Landscapes of the Carrières d’Amérique

Charles Marville’s photographs of Paris preserve the look of streets slated for demolition under Georges-Eugène Haussmann. This article examines his photographs of the Carrières d’Amérique, or America Quarries – gypsum quarries in the outlying Parisian neighbourhood of Belleville. At a time when the rezoning of districts that were formerly extra muros was still controversial, Belleville was seen as a crime-ridden area. Marville’s photographs become documents that refute contemporary narratives of criminality. Borrowing Walter Benjamin’s view that the city ‘opens up’ to the flâneur ‘as a landscape’, the article analyses Marville’s landscapes of the Carrières d’Amérique as images that juxtapose the city, the work site, and the no-man’s land or terrains vagues at Paris’s outer limits.     

亨利·巴瓦(Henri Bava)在中法园林文化论坛上的报告

亨利·巴瓦先生通过介绍其承担的6个项目（瑞士日内瓦扬特基金会花园、法国尼姆市中学校园庭院设计、混合停车场设计、魔水花园、绿色都市、巴黎市中心集市改造工程），向人们阐述了他的设计观念，他认为土壤是进行设计工作的基质和源泉，园林设计不仅要考虑土壤本身的含义，更要由表及里去考虑各个时期中自然、历史、文化对土壤的影响所形成的地貌物的整体。他通过实例告诉风景园林师要深入挖掘发现设计区域内一些未知的、看不见的东西，从而在整体上把握我们的设计。     

City as Political Form: Four Archetypes of Urban Transformation

Pier Vittorio Aureli focuses on the category of archetype as an alternative to the idea of type. Four examples – the axial streets of Renaissance Rome, the 17th-century Parisian place, the 19th-century independent block in Berlin and the 20th-century Viennese superblock – are explored here to describe the emergence of modern urban forms that explicitly embody power relations.     

Invisible Agency

Jeremy Till and Tatjana Schneider call for a redefinition of the architect away from the professional who is ostensibly involved in adding ‘more stuff to the world’. Looking beyond the business of matter or managing the impact of that matter on the environment, they explore ways that designers can use their intelligence and creativity to shift existing habits of consumption and patterns of behaviour. They highlight the work for four practices who are already operating in this field: 2012Architecten, 00/:, Arif Hasan and Morar de Outras Maneiras (MOM).     

Illuminating Embodiment: Rafael Lozano-Hemmer's Relational Architectures

Art and architecture have a strong tradition of humanism in which man and the human body are the centre and measure of all things. Maria Fernández describes the work of artist Rafael Lozano-Hemmer whose work transgresses and challenges these preconceptions through performance, seeking to expose the body and society's receptivity to instability, fluctuation and re-imagining. Copyright © 2007 John Wiley & Sons, Ltd.     

Croatia

Abstract

When we speak about early photography in Yugoslavia, we must bear in mind the geographical and political situation of the country at the time when photography appeared. In the 19th century, Croatia, today one of the six Yugoslav federal republics, was a part of the Austro-Hungarian monarchy. So was Slovenia and, in the latter part of the century, Bosnia and Hercegovina, while Serbia and Montenegro had emerged from the disintegration of the Ottoman empire as small independent states. In this survey we shall consider the beginnings of photography in Croatia, not just because that aspect has been studied the most, but because Croatia's special position within the boundaries of Austria-Hungary led to a correspondingly rapid development of photography in this area, as compared with other Slav lands in the south.     

吕胜中与马蒂斯剪纸艺术比较

中国剪纸艺术大师吕胜中与西方剪纸艺术家马蒂斯的剪纸艺术作品有许多相似之处,又有其各自独特的艺术风格。吕胜中的剪纸艺术扎根于古老而深厚的东方民间艺术,具有典型的民族特色,其作品中的标志性形象＂小红人＂具有＂招魂＂的象征意义。同时,＂小红人＂艺术符号的重复与变形,成为吕胜中剪纸艺术的主要造型语言。在色彩应用上,吕胜中先生的剪纸作品大多是白底红纸,没有太多的变化。马蒂斯的剪纸艺术同样受到其民族文化的熏染,但同时也与其自身深厚、娴熟的绘画技法密不可分,其剪纸艺术的题材内容大多是面向生活的,且丰富多彩。马蒂斯剪纸艺术创作中也采用了重复的技法,但他更强调视觉符号的抽象性,装饰化和图案化是其剪纸艺术的突出特点。在色彩应用上,马蒂斯喜欢用大块的颜色拼接,其剪纸作品色彩跳跃。     

第三景观宣言：吉尔·克莱芒的荒野 营造

以法国风景园林师吉尔·克莱芒的理论和作品为研 究的对象,拟从4个内容展开：第一,在描述其风景园林思想 体系的基础上,勾勒第三景观宣言的理论纲要;第二,以亨 利·马蒂斯公园为例,验证该理论在具体作品中的有效性; 第三,简论该公园呈现的荒野之境,阐述其生物多样性内 涵;第四,分析都市荒野中蕴含的自主性和抵抗性概念。本 研究的意义主要有三：一方面在国内学界比较系统地引介国 际前沿的风景园林理论;另一方面深度讨论设计与理论之间 相互转化的议题;同时,荒野中蕴含的自主性和抵抗性还拓 展了都市荒野的审美批判。