共查询到20条相似文献,搜索用时 93 毫秒
1.
《建筑学报》创刊50周年学术研讨会 总被引:1,自引:0,他引:1
《建筑学报》2004,(7):23-27
《建筑学报》主办的2004年学术研讨会于6月22日在北京举行,研讨会主题是“新焦点:适用、经济、美观”。会议由中国建筑学会秘书长、《建筑学报》主编周畅主持,中国建筑学会理事长宋春华、中国工程院院士马国馨、张锦秋、何镜堂以及20多位中国建筑界著名专家学者出席会议并作了精彩发言。与会专家认为50年代初期“适用、经济、在可能条件下注意美观”的方针对于推动我国城乡建设、繁荣建筑创作和理论产生了积极而深远的影响,新时期应该有明确的方针来指导建筑创作。《建筑学报》发起的“新焦点:适用、经济、美观”的讨论对于引导建筑师的深入… 相似文献
2.
《建筑热能通风空调》2016,(7)
正《建筑热能通风空调》(原《通风除尘》)创刊于1982年,是中国建筑学会直接主办的四份科技期刊之一。与《建筑学报》、《建筑结构学报》、《建筑知识》刊物共同构成中国建筑领域高水平学术研究成果 相似文献
3.
《建筑热能通风空调》2016,(6)
正《建筑热能通风空调》(原《通风除尘》)创刊于1982年,是中国建筑学会直接主办的四份科技期刊之一。与《建筑学报》、《建筑结构学报》、《建筑知识》刊物共同构成中国建筑领域高水平学术研究成果、热点技术 相似文献
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
James W. Elmore 《Journal of Architectural Education》2013,67(4):63-64
Abstract This study investigates the gradual evolution of the idea of installation in three experimental exhibition pavilions designed before World War I by the German architect Bruno Taut. In collaboration with the critic Adolf Behne, Taut gradually transferred ideas from Expressionist painting to architecture and helped move his designs, and with it modern architecture more generally, from a focus on visual “objects,” to multisensory “experiences,” an idea that continues to resonate in modern installations today. 相似文献
16.
17.
18.
19.
20.
CATHRINE VEIKOS 《Journal of Architectural Education》2006,59(4):71-80
The ambient character of installation art results from the use of architectural strategies and techniques that effectively structure and organize perception. These include the territorialization of an entire site that the viewer can enter, the use of real materials rather than representations, and an emphasis on the literal interaction of the viewer with the work. Indeed, both the viewer and the space of the gallery, or site, play a constitutive role. In contrast to historiographies that trace its antecedents to land art, conceptual art, and minimalist sculpture, this article traces installation art to radical attempts by painters to spatialize the picture plane, expanding it to include "the totality of the real." This is especially evident in works by Italian artists Giovanni Anselmo and Pier Paolo Calzolari, associated with the late 1960s movement, Arte Povera (Poor Art). A similar focus on spatial perception and the production of dynamic pictorial effects in an environment involving an engaged viewer makes the suspended glass Picture Gallery of the Museu de Arte de São Paulo , completed in 1968, by Lina Bo Bardi (1914–1992) an important forerunner of installation art by an architect. 相似文献