New Babylonians: from the avant-garde to the Everyday

A work of art is usually experienced in a state of contemplation within a gallery. Placed in an hermetic enclosure and protected against decay from heat, light and time, it is viewed but rarely touched. No trace or mark is left by those that see it. This is not the familiar experience of a building, but architecture is regularly defined as an art, from which it acquires much of its status. To discuss this contradiction, this paper focuses on the work of an artist, Donald Judd, noted for his 'architecture'.     

艺术设计作品模糊综合评判中的Ridit分析—以学生平面设计作业为例

评价学生的作业、对学生的学习成绩排序、选优是教师的一项重要工作.最简单的做法是按照总分排队,但是当总分相近时,这种方法就“失灵”了.这种情况对于艺术设计专业学生的平面设计作业的排序同样存在,不同之处在于平面设计的成绩是基于模糊综合评判取得的.本文在模糊综合评判的基础上使用统计数学的Ridit统计分析法对学生平面设计作业...     

景观设计和艺术的讨论--兼与王向荣老师商榷

设计先于艺术，设计有单纯的设计，也有融合了艺术的设计，景观设计是一种融合了艺术的设计，景观的生态功能和其他使用功能，只是单纯的设计的目的，只有加上人文情趣，融合了艺术的设计，才是真正的景观设计。虽然艺术及其思想有不同的流派和形式，但美是评判艺术的重要标准。     

重观媒体 与永山祐子关于丰岛横尾馆的对话

丰岛横尾馆是日本香川直岛倍乐生艺术园地中最新建成的美术馆之一,由日本青年建筑师永山祐子和知名艺术家横尾忠则共同设计完成。通过改造丰岛上一处民居,设计回应了该艺术园地特有的运行模式。建筑师将三维的建筑与两维的艺术作品完美结合,展示了生与死的主题,而建筑师对信息时代的社交媒体的思考使得作品、观者、媒体和世界有着更为开放与多元的互动。     

空间的雕塑——艺术家野口勇的景观设计作品解读

20世纪初期，早在大地艺术产生之前，野口勇已经成功地将雕塑的概论扩展到风景空间，使基底不再是展示作品的背景，而是作品自身的组成部分。作为艺术家，野口勇探索了园林和雕塑结合的可能性，从艺术的角度开拓了园林的新形式。为二战后的景观园林发展做出了卓越的贡献。     

The Variety of Scale

It is a truism that the essential qualities of a work of architecture cannot, since architecture is a visual art, be fully conveyed in words. No one would seriously maintain that this absolves those whose business it is to write or talk about architecture from the obligation to use words with some regard for exactness. Yet all too often we behave as if it did; certain words are bandied about as if all were agreed as to what they meant at any time, whereas in fact they may mean different things at different times, and even different things to different people at one time. Cecil Elliott here takes up the case of one such word, a small but much-abused one, isolating four distinct phenomena which it can denote in an architectural context and pursuing his inquiry beyond the realm of semantics to consider their practical implications for the designer.     

To Enter the Work

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.     

当代公共艺术与乡村人居环境的自组织发展

本论文以自组织理论为框架,在考察国外利用公共艺术复兴自建社区案例的基础上,对当前我国农村建设中的以政府为主导的农村发展的他组织方式予以反思,并对我国乡村人居环境建设适宜的方法予以研究。自组织理论视野下,村落可视为一种耗散结构。公共艺术介入乡村发展,将有效提升村落的开放程度,加强村落与外部环境在信息、资金、物资上的交流;除此,公共艺术在乡村公共环境中的应用,将有效提升村民的社区认同感与自豪感,增强其乡土意识,有利于乡村自治的推行与实施;另外,实施过程中的培训,也有利于当地人劳动技能的增加。     

The profound logos: creative parallels in the lives and work of Aalto and Sibelius

In this time of often divisive specialisation it is interesting to explore a cross-disciplinary parallel. This essay is drawn from my research into the life and works of an architect (Alvar Aalto), and a composer (his compatriot Jean Sibelius). It examines common, and extremely influential, childhood experiences, before moving on to study concomitant inspirational phenomena. These became keys to their creative output at the level of compositional form and structure. It is important and interesting that Sibelius and Aalto each requisitioned ideas from both the phenomenal character and the compositional forms of natural growth that they experienced around them. I argue that it was through this requisitioning that they related their own past to their adult creative work. Indeed, Suzanne K. Langer suggests that, 'Art has a logic of its own (and by “logic” I mean relational structure).'¹ This research examines the use of their creative art as just such a relational tool, and indeed, it is at this level that the study demonstrates a concatenation between their different forms of art.     

The profound logos: creative parallels in the lives and work of Aalto and Sibelius

In this time of often divisive specialisation it is interesting to explore a cross-disciplinary parallel. This essay is drawn from my research into the life and works of an architect (Alvar Aalto), and a composer (his compatriot Jean Sibelius). It examines common, and extremely influential, childhood experiences, before moving on to study concomitant inspirational phenomena. These became keys to their creative output at the level of compositional form and structure. It is important and interesting that Sibelius and Aalto each requisitioned ideas from both the phenomenal character and the compositional forms of natural growth that they experienced around them. I argue that it was through this requisitioning that they related their own past to their adult creative work. Indeed, Suzanne K. Langer suggests that, ‘Art has a logic of its own (and by “logic” I mean relational structure).’¹ This research examines the use of their creative art as just such a relational tool, and indeed, it is at this level that the study demonstrates a concatenation between their different forms of art.     

建筑、艺术与技术

从词源学的角度讨论了建筑（architecture）、艺术（art）和技术（technology）的原意及其历史演变。艺术一词的原意是：人工之物、技艺与技巧,技术的原意是：系统化了的art和机械的或工业的arts。那种把技术和艺术对立起来,重艺术、轻技术,重建筑形式、轻建筑技术的倾向,实在是对艺术和技术的误读。技术包含科学和艺术两个层面。建筑实质上是一种技术,是按照科学的和艺术的原理与规则把物质的材料建造成房子（building）。所以建筑才解释为建造房屋的科学与艺术。在建筑、艺术和科学三者之间,技术是科学与艺术在建筑上结合的桥梁。     

地铁车站的多元化环境艺术

地铁在现代城市扮演着相当重要的角色，地铁车站也成了人们经常穿梭的地方，人们对其环境艺术的要求也随着经济发展而日益提高。如今的社会具有开放性和多元性两大特点，不同地域、不同层次的繁杂信息蜂拥而来，人们的审美倾向也呈现出多元特征，地铁车站作为人们频繁使用的场所，它的环境艺术也受人们的审美倾向影响而呈现出多元化。本文主要分析地铁车站这一特殊的建筑形式，对国内外典型地铁例子进行总结归类，试图从多元化角度来分析地铁车站的环境艺术特点。     

论中国古建筑的装饰特点

对于建筑艺术而言 ,装饰的现象有着复杂的历史背景 ,建筑装饰是建筑艺术中古老、广泛、含义深刻的部分 .通过分析中国古建筑的装饰艺术特征 ,论述了建筑装饰一方面给人带来审美上的愉悦和情感上的震憾力传递着特定的历史、文化信息 ;另一方面 ,由于这些装饰的存在及其所产生的特定的形式秩序 ,揭示了建筑装饰艺术的特征 .     

基于workshop的跨专业合作模式探讨

Workshop是一种偏重于短期强化的新型教学模式,其实质是运用群体压力和有效的指导来完成一些复杂而具有挑战性的工作。文章以东南大学土木工程学院与丹麦皇家艺术学院进行的"基于折纸艺术的屋盖设计"workshop为案例,详细阐述了本次workshop的成果及特色。此次活动通过来自不同国家学生的交叉分组,中外双方教师的专业指导以及最终的的作品展示和交流等方式,探讨了折纸这一可展结构形式在建筑艺术方面的运用及其能够实现的多样的光影效果,此外从结构的角度对这些融入折纸元素的建筑形式的实现进行了相关探讨。学生通过此次活动学会在差异中寻求创新。此次workshop对探索如何有效培养学生在创新、设计、合作,以及跨文化交流等多方面的能力有一定的指导意义。     

Entwurf und Tragwerk einer Stahlbogenbrücke

Design and structure of an arched steel bridge. The GAV Bridge in Villach (Carinthia, Austria) became very famous on base of the history of its building and location. Thanks to its dominance it became a symbol of the region. Already in the competition criteria and following selection process appeared to the principal (township of Villach), next to the business criteria on the same level of importance the aesthetic aspect – a situation which unfortunately happens very rarely. This was transformed by cooperation of designers, planers and builders in an ideal way. The following submission is presented from the planner's point of view and it should give an overview of the process from design up to the completion of this construction. The crux of the problem are not only the technical specialties of the supporting structure and assembly, but also the designing work and sustaining the suggested alternate solution. This way the authors want to point out the positive effects of collective proposals of the skeleton designers as well as architects, which lead to positive results when they mutually supplement each other. A factor which is being often neglected, but which helps to raise the worth of the bridge construction to the level of art construction and preserves its status it has carried for a long time in history.     

从杭州西湖第一山林“风景”欣赏到南宋临安皇家“园林”的叠山写仿——灵隐飞来峰风景园林文化遗产价值考

灵隐飞来峰是西湖第一山林,具有峰石林立、洞壑万千的独特风景,对于南宋临安皇家园林叠山有重要影响,同时它也是世界遗产西湖文化景观的重要组成部分,然而其价值至今尚未引起充分重视。探讨了灵隐飞来峰的由来、独特平地石山风景及其对园林叠山的影响,指出其文化反映的是自唐代以来兴起的中隐文化和以石为主的山林欣赏趣味的逐步成熟,是启发中国园林叠石为山的造园思路的重要源头之一。不但其佛教造像艺术非常重要,而且独特的风景园林文化遗产价值更值得重视。     

框架

大型几何雕塑“框架”已于2012年9月1日-11月5日期间在Artoisplein环形公路上展出。通过此次设计,Gijs Van Vaerenbergh再一次用建筑领域特有的表达方式和设计手段向世人呈现了一件与众不同的公共空间艺术品。     

李锦沛:在“现代主义”基础上的“装饰艺术”

“美籍华人” 李锦沛祖籍为广东台山,1900年出生于美国纽约是属于“非中国境内”出生并成长、学习于“境外”教育系统的代表性建筑师.这样的状况,在中国近代建筑师群体中,比较特殊,屈指可数,因为一般来说都是国内出生,后留学于国外,所以,这样的状况,可以称之为“美籍华人”建筑师.     

浅谈建筑艺术

针对建筑艺术的双重属性,指出建筑艺术是一种建立在广义基础上的审美观,是一个跨越多种专业学科的综合性理论体系,并把握其中的内涵实质,从多角度、多层次来分析、理解,才能对建筑艺术进行综合评价。