诗性与意义的景观：一种“事件”而非 “事物”的视角

当理性工具不可避免地成为风景园林研究与实践的重要趋势时,风景园林师的核心价值依旧体现在其不能被信息处理机器所取代的,诗意且充满意义的设计决策之中。如果将景观视为一种经历,那么它就可以被理解为黏附着参与者主观体验和时间属性的"事件"(event),而非单纯的"事物"(object)。以上述关键词为依据,将作为"事件"的景观在时间维度上细分为短时段的(瞬时的)、长时段的(行走中的)、混合的(蒙太奇式的),借助于案例所营造情境的现象学分析,认为通过对场地特质的敏锐把握,对行走过程的关注与行进节奏的精心编排,以及将场地的空间形式与历史、文化、社会等多重信息相照应,有助于形成富有诗性和意义的、精神性的景观场所。     

从建筑现象学角度分析彼得·卒姆托的建筑材料观念

文章主要探索建筑师卒姆托的材料观念中现象学思想,并在对其建筑作品与散文著作的交互解读中,理清卒姆托材料观念中现象学思想的两个层面：一、将笼罩在材料认知上的人为信仰悬置,直面材料本质;二、将材料与“生活世界”相连,塑造场所精神。     

筛：卒姆托建筑观感

在走访了卒姆托设计的大多数建成作品后。笔者发现,他在很多项目中都通过不同构造方式的使用,对建筑所处环境中存在的诸多信息进行着过滤和筛选。这些有意识的筛选依托于对建造方式的实验,营造出令人印象深刻的空间氛围及体验。     

壶纳天地：亭子作为“场所”的意义

本文运用现象学的一些观念以及文人诗画中的庄子哲学,试图诠释亭子作为一种世界之内的存在的场所意义。亭子不以被看为目的,它提供了一个看世界的场所。内部的虚空是它作为一个场所实现的方式。在对虚空的容纳中,它以一个完整的独立面貌呈现出来。它自身通过聚集着空间的位置,持留着此在者的时间,它吸引着人的驻足,而任何在亭子中驻足的人,都是此地的一位客人。他作为一个客人的在场,达成了自我与亭子之间自由世界的建立,从而得以再次栖居。最终,大地在这种栖居的意义上,显露了自身。     

An experiential account of phantom vibration syndrome

A small handful of recent studies have addressed a phenomenon known as “phantom vibration syndrome”. This refers to when phone users perceive their device to vibrate, indicating that a call or text is incoming, when in fact the phone did not vibrate at all. Though these studies show that most users do not find phantom vibration hallucinations to be very bothersome, they also find that a large majority of users experience this phenomenon. This paper explores what the striking prevalence of phantom vibration syndrome means for our contemporary relationships with technology. I begin with a review of the theories purporting to explain these data, which largely rely on particular understandings of the brain. Next I develop an alternative theory of phantom vibration syndrome based on insights from the philosophical tradition of phenomenology. This account considers the ways users develop bodily and perceptual habits regarding how the phone is understood and used. By critically contrasting these different theories, we can refine our questions about what the high prevalence of phantom vibration syndrome implies about our contemporary technological situation.     

SLOWING DOWN FAST CITIES WITH DESIGNED EXPERIENCES

To challenge the stupefying homogeneities produced by dense and fast urban environments, designers should offer a range of experiences to create a “slowing city,” which first relies on the understanding of the character and range of “slow experiences,” then requires an empiricallydriven approach to attain it. Phenomenologically, slow experiences can be social or solitary; both are discussed. The former comes from “event” experiences that facilitate meaningful interactions among people, while the latter promotes a shift into “being mode” which can help replenish human’s attention. Using findings in psychology and neurocognition, this article suggests that architects, landscape designers, and urbanists adopt a scientifically-grounded phenomenological approach to designing healthy urban environments where people can flourish. More attention is required to investigate people’s experience of surfaces and textures, and of compositions with varying levels of patterned complexity, as well as the changeability of design features and approaches to combat habituation.     

时间·记忆·空间

时间周而复始,时间变亦不变,在连续变化的阶段中“绵延”表现了持续性和存留。知觉和体验在时间与场所空间中获得。在时问的绵延中记忆将空间体验在意识中浮现并得以重新体验。情景构成了城市建筑的记忆。记忆是现时对过去的再体验,是空间结构的向导,是时间的度衡。体验的“生活时间”由记忆衡量。在日常生活的体验中,建筑空间构成了“生活时间”的衡量框架。时间中具体的空间和建筑体验永远是知觉建筑现象学的基石。     

Phenomenology of rhythm in design

Rhythm in design, as explored in this research, is proposed to be the result of cognitive performance generated stylistically by creators and recognized consciously by beholders. This study describes the phenomenon of rhythm; how it is created; the factors that comprise rhythm; the types of rhythms created by human cognition of repetition, and why repetition is recognized as a part of human cognition. Images of seven buildings designed by Alvar Aalto are used to demonstrate the creation and expression of rhythm in building compositions. Evidence gathered in this research explains that rhythm in design is a result of the design method consciously applied by human cognition of repetition. Rules of generating the phenomena of rhythm are also summarized. Designers could apply these rules to generate harmonious patterns through the effective usage of repetition. In sum, rhythm is ingrained in the human conscience and therefore should be a key component of design applied universally.     

SANAA建筑氛围的营造 — —以新现象学的视角解读

氛围是介于主客体之间的空间 感受,人们首先通过氛围来体验建筑。以 SANAA建筑中的氛围为研究对象,依据赫 尔曼·施密茨新现象学中的氛围研究,借助其 中的情景共建、联觉特性,以及运动暗示理 论,分别从建筑特征、行为体验、设计意识 三个层面,解读SANAA营造氛围的思想,剖 析其建筑中氛围的营造取决于活动场景、建 造方式,以及空间节奏。探索新现象学在建 筑设计中的实践方法,进而帮助鲜活的氛围 回归到建筑中。     

非线性建筑设计

基于对非线性建筑及理论的认识,以及对现象学建筑设计思想的理解,文章以清华学生作业为例阐述了非线性建筑设计方法。