无之无化——扎哈·哈迪德与广州歌剧院

扎哈·哈迪德的设计方案在广州歌剧院的竞标中夺得第一名,并引起建筑界的广泛讨论。试从哈迪德独特的建筑形式、女性建筑设计师身份以及她的设计理念在广州歌剧院中的体现等几个方面切入,分析这位杰出的女性解构主义建筑大师的独特设计风格,同时将广州歌剧院方案与她的其他作品相比较,对一些关于啥迪德的普遍观点加以阐述。     

九十春秋忆沧桑--我国第一代女建筑师张玉泉的回忆篇

从出生到幼年、从中大建筑系早期求学到参加20届UA大会，回顾自己成为中国第一代女建筑师的人生经历；追忆了已往的学习、工作和家庭，以及与同学、老师之间的友谊；以92岁高龄殷切表达了对祖国前途和建设事业诚挚的感情和衷心的祝愿。     

Love Between the Lines——John Donne:A Valediction:Forbidding Mourning

John Donne began life as the son of a prosperous London merchant who died when he was only four. His mother, a strong Catholic and daughter of John Heywood, a well-known writer and dramatist. As a young boy, he was an excellent student, going to Oxford University at the age of 12 and possibly Cambridge later, as well as Lincoln's Inn, one of the law schools of the time.~([1]) He secretly married Lady Egerton's niece, seventeen-year-old Anne More, daughter of Sir George More. Donne dearly loved his wife, but they lived in relative poverty and difficult circumstances for a good many years. Donne wrote poetry all his life. In his 20 s and 30 s, he wrote some of his famous lyric poems, including the collections Satires and Songs and Sonnets. Donne is one of the most famous Metaphysical poets in the world. He came back into favor in the early twentieth century with the support of poet like T. S. Eliot and other modernists. Since then, he has maintained his position as one of the most admirable poets in British literature.~([2]) Donne's poetry embraces a wide range of secular and religious subjects. He wrote cynical verse about inconstancy, poems about true love, Neoplastic lyrics on the mystical union of lovers' souls and bodies and brilliant satires and hymns depicting his own spiritual struggles. In this paper,the author focus on two groups of comparisons to demonstrate her understanding. The first part is the different attitudes the laity and Donne take towards love. The second part is how the laity and Donne react when they are faced with separation.     

《大脑环游记》

<正>The plot:剧情简介:The film will be set in the head of a young girl,Riley Anderson,where five emotions-joy,anger,disgust,fear and sadness--try to lead the girl through her life.After Riley Anderson moves to a new home in San Francsico,her emotions are plunged~1 into chaos~2 as they compete for control of her mind.     

虚构与现实之间——乾久美子的商店空间设计

本文通过对乾久美子的几个商店空间设计案例的读解和分析,展现建筑师利用建筑室内表面颜色虚拟人工照明,创造具有趣味性和矛盾性空间的设计手法,以及她在小型商业室内空间设计中的独特思考。     

风水和山地学校建筑——永春师范建筑创作随想

本文作者运用现代建筑学和规划学的原理结合传统的风水理论与手法,设计出别具一格的永春师范学校。通过实例从一个特殊的角度阐述了对于中国传统建筑文化应采取的态度是“取其精华、去其糟粕、服务当代、造福后人。”     

Anti-planning in the 1940s: the paradox of Florence Taylor

In her lifetime Florence Taylor was celebrated as an advocate of town planning reform in Australia. Based in Sydney, she trained as an architect but spent most of her long professional life as a publisher and trade journalist, developing strong ties with the building industry. Unified by a strong environmental determinist position, early preoccupations with eradicating slums segued into numerous practical suggestions for improving city efficiency, focusing on urban renewal and traffic planning. Taylor was nonetheless often critical of planning in practice. As a businesswoman, she became antagonistic to planning as an activity of the modern state because of its apparent privileging of the public sector and over-regulation of private enterprise and everyday life. This ideological tension became acute in the 1940s as planning moved from its early foundation in propaganda and voluntary advocacy towards statutory oversight. While Taylor's life and career continued to be celebrated by her professional and social peers into the 1950s, her identification with mainstream town planning declined. This paper explores the contradictions in Florence Taylor's encounters with planning in shifting from advocate to antagonist.     

Crafting the archive: Minnette De Silva,Architecture, and History

This article is about the work of Minnette De Silva, which made claims upon heritage and historical meaning through its concerns with craft. It investigates three facets of her oeuvre—her building, her writing and teaching, her design and handicraft—through the lens of her pictorial autobiography, The Life and Work of an Asian Woman Architect. She identified this remarkable publication as her ‘archives’, documenting in it her life and work (in the absence of a dedicated collection of records), and the equally notable twentieth-century sites and spheres through which she moved. Few careers invite critical investigation of South Asia's modern architectural forms and history as does that of De Silva, an understudied figure credited as a pioneer: a Sri Lanka Institute of Architects Gold Medal recipient, a Royal Institute of British Architects (RIBA) Associate, a co-founder of the journal MARG, a participant in the International Congress of Modern Architecture (CIAM), and an architect practising in a range of discursive media. This article argues that De Silva positioned her intellectual and practical labour as a basis for authority rooted in a situated knowledge. In a reading of gender, caste, race and labour that maintains a scholarly scepticism about the purpose of the artist's biography, this article recovers her life and work from a fragmented archive, including an interview with De Silva in the year before her death, as well as a consideration of craft—interrogating each vis-à-vis the politics of historiography.     

创造世界的是视角——安妮特的镜头下的城市

三月的一个下午,安妮特和我沿深圳南头一个城中村的明代古桥——大阪桥一路漫步、拍照并谈论摄影艺术。我们是通过一个共同的朋友,在香港生活的德国摄影师马丁·泽勒互相认识的。而与马丁的相识,则是通过我们另一个共同的朋友——香港诗人梁秉钧。而和梁结识,是通过他的好朋友,美国的著名学者周蕾介绍的。周蕾出生并在香港长大、但在过去的30年中一直生活和工作在美国的大学里。在美国罗德岛州普罗维登斯市的布朗大学,