共查询到20条相似文献,搜索用时 283 毫秒
1.
建筑业是国民经济中的一个独立的物质生产部门,还是基本建设这个“物质生产部门”的组成部分;《建筑经济学》是一门独立的部门经济学学科,还是《基本建设经济学》学科的一个分支,这是目前有关理论界 相似文献
2.
唐宋八大杰出文学家之一的柳宗元,在他的文章《梓人传》中,生动地记述了一位建设、施工指挥人材杨氏。认为“梓人之道类于相”,“足为佐天子、相天下法矣”。就是说,这位梓人的工作方法,可作为辅佐皇帝治理天下的将相们效法的典范。文章叙述了梓人毫无矜夸、侃侃而谈地表明自己的工作能力:“吾善度材,视栋宇之制,高深圆方短长之宜,吾指使而群工役焉。舍我众莫能就一宇”。并说明自己曾经得到过的物质待遇:“故食于官府,吾受禄三倍。作于私家吾收其值大半焉。”也就是 相似文献
3.
谢英俊近年来无论在台湾、还是中国内地及海外的实践项目,都获得了极大的反响,并获奖和展览无数.一系列灾后重建工作的成绩使谢英俊拥有“灾难建筑师”、“人道主义建筑师”、“公民建筑师”等美誉,但这仅是媚俗的赞誉.在脉络性的理解架构里,检视建筑实践与欲解决问题的关系性构成.亦即回答谢英俊建筑意识形态召唤了什么?而建筑实践又回应了什么?包含从理论上分析其超越现代性与一般灾后重建的不同,最终将谢英俊的建筑实践归结为“社会性建筑”. 相似文献
4.
继1999年中英文双语的《中国建筑实践》.2001年的文集《思考建筑》、2006年英文的《建造革命(Building a Revolution:Chinese Architecture since 1980)》等书之后.薛求理先生的又一本探讨中国当代建筑实践的著作《全球化冲击——海外建筑设计在中国》于2006年底出版。与前几本书不同.薛求理先生将目光集中在近30年来国内建筑发展的一个特殊现象,即海外建筑师涌入国内建筑市场,完成和正在从事大量重要项目的建筑设计。薛先生把这些在国内建造的、由海外建筑师设计.经和国内的设计力量合作而完成的建筑作品视为一种“新移植建筑”。客观而言.海外建筑师及其建筑设计.不仅参与改变了中国城市建筑的风貌.带来了新的建筑设计和管理方式.而且在一定程度上刺激了境内外建筑师的竞争和国内建筑的发展。然而.海外建筑师大量进入中国.究竟如何、并在何种程度上影响了中国建筑的发展和城市生活?是否百利无害?而隐藏在这些问题后面的.则是在全球化背景下.由海外建筑师引起的关于“传统/现代”、“中国/西方”、“全球化/民族性”等命题的深层思考。 相似文献
5.
1月15日.BIAD传媒《建筑创作》杂志社与中国建筑学会建筑师分会、中国图书馆学会联合主办了“第三届建筑师与建筑传媒新年论坛暨中国建筑图书奖”评选启动活动。目的在于梳理中国建筑科技文化艺术出版现状.向世界展示中国建筑图书出版精品;提高建筑师及业内外人士对建筑文化的关注度,鼓励建筑评论; 相似文献
6.
7.
8.
9.
10.
《建筑史学刊》编辑部 《建筑》2021,(3):54-56
建筑史学是一门学问,也是一个独立的学科。它既隶属于大建筑学,同时也是艺术史学的一个研究分支。所谓大建筑学,或称广义建筑学,包括了城市规划、风景园林等多方面的内容。或者说,它是古罗马建筑师维特鲁威《建筑十书》、文艺复兴时期建筑师阿尔伯蒂《建筑论》,及古今中外无数建筑理论著述中不厌其烦、反复言说、深入阐释过的一门学科—Architecture(建筑学)。 相似文献
11.
迪勒+斯科菲迪奥的许多建筑方案很难说是建筑,没有明确的使用功能,没有内外的围合,常常源于建筑师自己界定或假想的命题:具体的场地激发了简单的观念,这个观念虽然是独立于功能以外的东西,是建筑师个人感性的出发点。但他们运用建筑师的思维、手段或方式再把观念表达出来,最后的形式本身就是观念直接呈现的产物。这种建筑创作和实践方式的典型例子便是1991年未完成的“缓慢的房子”和2002年在瑞士博览会上的“朦胧”临时展示建筑;然而当一个观念不能再独立存在的时候,当建筑的实用性和社会性进入的时候,观念建筑师又如何面对和适应这种转变?波士顿当代艺术馆作为迪勒+斯科菲迪奥在美国本土的第一座公共建筑效果又如何?文章主要通过剖析迪勒+斯科菲迪奥的三座“建筑”来探讨观念、观念的妥协和它的表达方式之间的问题。 相似文献
12.
在快速城市化的背景下,中国建筑师能否从纷繁复杂的日常城市和建筑中发现建筑学的新经验?这正是阿科米星建筑设计事务所最近相关实践和研究的动力。日常建筑倾向于不断改变,其中蕴含的使用调整、有效建造和时间差异感的力量可以被转化为具体的实践策略。这种一直被主流建筑学所忽视的"非识别体系的建筑",可以成为当代建筑师对建筑学进行新的拓展的有益参考。 相似文献
13.
14.
Daqing GU 《Frontiers of Structural and Civil Engineering》2010,4(4):456-464
In about 1949, there was a large-scale migration of architects from the mainland to Hong Kong, China. Among them were those important figures in the modern Chinese architectural history such as Robert Fan, Su Gin-Djih, and Chu Pin. Their arrival at this colony had changed its architectural practice substantially from professional organization to actually built environment. Their unique contributions to Hong Kong’s modern architecture have been a new research interest in recent years. This paper tells a story about Robert Fan and his design of the Chung Chi College campus in the 1950s with an intention to reveal the multiaspects of the so called “migrant architects” through a single architectural event. The author tries to capture the intertwining relationship between the migrant architects and educators through the reconstruction of the recruitment process for a campus architect by Chung Chi College and to identify Mr. Robert Fan’s concept of campus planning with reference to his early design experience in the mainland of China. 相似文献
15.
Keith Evan Green 《Architectural Theory Review》2013,18(2):32-44
For architect-authors from antiquity and the Renaissance, the architectural treatise served as an expressive vehicle for performing a curious act: the subsuming of forbidden space as the proper “property” of architecture. While devoting much textual space to delimiting the categories of high and low, inside and outside, authors of the early treatises—among them Vitruvius, Alberti, Palladio, Colonna and Filarete—have effectively defined the forbidden, low and outside space as a proper place within the urban, architectural order; this, to appeal to a generalized, cultural fixation on “propriety.” Reflecting on the moral imperatives of these old stories of architecture may perhaps motivate contemporary architects to embrace architecture more as “angels and lovers” than as the owners of afield. 相似文献
16.
Lawrence Davis 《Journal of Architectural Education》2013,67(2):128-130
Abstract Embedded in the culture of modern architecture is the directive that a façade ought to fit tightly around its building, like a well-fitting suit. “False façades,”“façadism,” and the “screen façade” have been derisive terms used by architects and critics to describe buildings whose façades appear either too big or too small for their buildings. Postmodernism changed this, so that façades relatively independent of their interiors were encouraged. The neo-modernism of the last two decades has integrated this “disconnected” façade into the practice of what otherwise is a revival of the system of the heroic period of the movement. 相似文献
17.
18.
“意象性”思维环境下建筑作品创作的相关问题,一直以来都存在,在东方文化圈特别是当今中国尤为突出。比照既往学者关于“意象”设计的观点,并对基于该思维方式的建筑设计现实进行分析,结合中外著名建筑设计案例,试图理清建筑意象之由来,分辨其与建筑象征、建筑仿生、建筑意境之间的区别。同时借用语言翻译理论中的“信”、“达”、“雅”三层次说法,探讨了建筑意象设计中的层次问题。 相似文献
19.
Janet McGaw 《Architectural Theory Review》2018,22(1):120-139
Following material and theoretical encounters the author has with “dark matter” in her daily life in the Otway Ranges in south-east Australia, this article explores architecture’s complicity with climate change and possible paths for its redemption. Dark matter is simultaneously the building materials produced from crude oil, the production of which is a significant contributor to global warming, and speculative practices of resistance: “dirty” material explorations with dynamic, messy materials by a range of architects and theorists since the 1990s; Donna Haraway’s “compost” thought; and Philip Ross’s “mycotecture”, architecture made from mycelium. The paper argues, with reference to Felix Guattari’s ecosophy, that these “speculative fabulations” model new social and mental ecologies that could transform architectural practice. 相似文献
20.
《Material Religion》2013,9(1):30-58
ABSTRACTThe exuberant, eclectic architecture of the Caodai Holy See in French Indochina was described as a “grotesque combination” of European and Asian elements by several famous writers and this sense of horror served to construct a notion of “visual blasphemy” which merged aesthetic and ethical elements. Architecture is always read and misread though a cultural lens. It has been argued that the colonial “world as staged” (Mitchell 1999) produced its own “reality-effects,” so I argue that an anti-colonial counter project of large public works tied to an innovative Asian synthesis of world religions served not only to bolster the morale of a once downtrodden people but also to convince them of the historical inevitability of their triumph. Caodaism was a new religious movement followed by 3 million people in French Indochina and its daring and “presumptuous” architecture was a visual act of insurrection, an iconographic revolution designed to precede and prepare the way for the political revolution to follow. 相似文献