赫曼米勒

Bill Stump和Don Chadwick将Aeron椅设计成3种型号，它几乎适合任何身材的男性或女性。该款座椅使用的专利Pellicle材料取代了传统的海绵与织物，良好的透气性能与切合人形体变化的材料可以提供更好的支撑与舒适度，而它的另一项专利Kinemat调节系统令身体及踝关节、膝盖及臀部可以同步、自然而顺畅的在30度角范围内倾仰并获得良好的支撑。     

The cultural landscape

There has been a recent shift by environmental agencies towards recognising the positive contribution made by humankind to the creation of valued landscapes. This discussion outlines the growing appreciation of cultural landscapes in various European countries. Particular attention is given to protected areas and the role of local communities in Britain. Landscape is concerned with more than mere marks on the ground, but also with the associations that people attach to their localities.     

The cultural landscape

There has been a recent shift by environmental agencies towards recognising the positive contribution made by humankind to the creation of valued landscapes. This discussion outlines the growing appreciation of cultural landscapes in various European countries. Particular attention is given to protected areas and the role of local communities in Britain. Landscape is concerned with more than mere marks on the ground, but also with the associations that people attach to their localities.     

奥斯卡·冯·米勒中心

这座国际交流中心坐落于慕尼黑市中心老城区与大学以及博物馆片区交会的地方.兴建该中心的目的是促进慕尼黑工业大学对优秀建筑工程师的教育培养.该项目的赞助商是巴伐利亚建筑贸易基金会. 项目的设计严格遵守了开发计划中紧凑的用地参数和限制,其整体布局由三个建筑体量按U字型排布,并围绕形成一个中央院落空间.     

文化视野中的建筑技术

探讨了新建筑与新技术的内在关系问题,对如何将新技术的运用与地域的、本土的文化结合起来进行了论述,并分析了如何运用新技术来改善生态环境以及合理的运用资源,指出在运用技术的同时,应摆脱技术的座架,以体现真正的人文关怀。     

The Bauhaus as cultural paradigm

In the first Bauhaus Manifesto of 1919, Gropius refers to the 'new structure of the future' which the school will conceive and create, a structure which will 'rise towards heaven ... like the crystal symbol of a new faith'. While there is no shortage of literature on the Bauhaus, the nature of the programme of redemption to which the school aspired is seldom explored. By studying the origins of the school and focusing on the way in which its aims were put into practice for the International Exhibition of 1923, particularly through the experimental house and the Bauhaus stage, this essay attempts to look more closely at the 'cultural paradigm' proposed by the Bauhaus.     

The Bauhaus as cultural paradigm

In the first Bauhaus Manifesto of 1919, Gropius refers to the 'new structure of the future' which the school will conceive and create, a structure which will 'rise towards heaven ... like the crystal symbol of a new faith'. While there is no shortage of literature on the Bauhaus, the nature of the programme of redemption to which the school aspired is seldom explored. By studying the origins of the school and focusing on the way in which its aims were put into practice for the International Exhibition of 1923, particularly through the experimental house and the Bauhaus stage, this essay attempts to look more closely at the 'cultural paradigm' proposed by the Bauhaus.     

简论室内设计中文化内涵的传达

当今的室内设计是集功能要求与精神需要为一体的综合产物 .室内环境设计已经不是单一的功能至上 ,而是向科学性、艺术性、文化性方向纵深发展 ,要求设计师把握好空间的基本特征 ,调动各种设计语言 ,在满足功能要求的前提下 ,深入挖掘空间的多重表现性 ,注重室内的空间、灯光、色彩、陈设的共同作用 ,并使之相互协调 ,以便共同传达出一定的美学意境 ,最终体现出具有丰富内涵和文化品味的室内环境     

The assessed value of cultural destinations in Toronto

Theory suggests many benefits to a city from cultural destinations (CDs). This study offers a framework for evaluating CDs through studying visitors to CDs and visitors to other, less cultural destinations, which we call retail destinations (RDs). As each destination represents differing positions along our “cultural continuum,” we examine how visitors perceive the destinations and report their behaviors in each. We selected three CDs and three RDs in Toronto, surveying 30 adults in each destination about their behavior and impressions. Our findings show significant differences between the respondents in the CDs and the RDs. Some findings resonate with existing theory, in that CD respondents were more likely to be highly educated and White, non-Hispanic. However, other findings suggest avenues for examination, in that CD respondents did not report greater wealth or spending than did the RDs but did mention socializing as the primary reason for visiting a CD more so than those visiting an RD. These findings suggest that by encouraging CDs, cities may improve the quality of life for residents and visitors. Thus, cities might do well to use their municipal policy and economic development tools to drive revenues to cultural destinations or to foster CD uses in retail destinations.     

中国古代城市规划中的吉祥文化

通过对历史文献的引证,结合古代城市规划的建设实践,从祈祥、避邪两方面入手分别对城市选址、城市布局、居住形式、园林规划以及色彩的应用等方面进行分析,总结了吉祥文化对古代城市规划的影响。     

文化碰撞中的城市商业街区改造

以牡丹江中俄时尚广场项目设计为例,结合整体宏观协调、局部重点塑造的设计原则,从建筑单体、街区布局、标识系统、雕塑小品、灯饰亮化方面研究了城市商业街区的改造策略,为中外文化交融下的街区改造设计提供参考。     

城市文化特色的消失

介绍了文化与城市文化的概念,分析了城市文化特色消失的原因,论述了保护城市文化的具体措施,指出在保护城市文化的过程中,应特别注意对待外来文化的态度以及城市文化连续性和城市特色整体性的保护,有利于城市文化的建设。     

The cultural context of critical architecture

The urban space of Shanghai has been forcefully shaped by American architects during the past thirty years. Among these movers and shakers, John Portman &; Associates is the most notable because it was the pioneering American commercial design practice to enter Shanghai. It has actively participated in the process of Chinese urbanisation since the early 1980s. This paper reviews the practice's design projects in Shanghai: namely, the Shanghai Centre, the Bund Centre and Tomorrow Square. Each project — its intention, design, and usage — is analysed from the perspective of Chinese modernity in a ‘global-local’ context. The authors try to reveal the historic process of how American design rewove the urban fabric of Shanghai, and the reasons for and impacts of importing architecture from the West to contemporary China.     

徽州牌楼之文化特征探析

结合徽州地区的文化环境,重点对徽州牌楼的文化特征进行了解析,从儒商文化、义理道德、传统价值观念入手,分析了文化构成要素对该建筑艺术形式的影响,指出了对徽州牌楼文化特征进行研究的重要性,为更好传承与保护这种建筑艺术形式提供了参考和依据。     

The role of the private actor in cultural regeneration: Hybridizing cultural heritage with creativity in the city

Building on the most relevant literature on cultural regeneration and creative cities, this paper provides an integrated framework to investigate the factors exploited by private actors to stimulate the hybridization of urban cultural heritage with creativity and the strategies adopted to engage stakeholders in bottom-up cultural regeneration processes. Two recent Italian cases of cultural regeneration driven by private actors, which exemplify two sharply contrasting urban extremes, have been chosen to validate this integrated theoretical framework of cultural regeneration in the city. Both have been recognized nationally and internationally as examples of best practice: IlCartastorie Museum in Naples and the Farm Cultural Park, Favara. Our results show that private actors mainly draw upon the innovative thinking of the creative class and innovative approaches to stimulate cultural regeneration. The evolutionary processes, and the resulting models of cultural regeneration, are shaped by the visions of these private actors, which are, in turn, influenced by specific urban conditions. In Naples' highly touristic inner city, the managerial innovation of the IlCartastorie Museum is fostered by the Foundation's pro-tourism growth strategy aimed at increasing both social inclusion and the organizational value of the actual museum. In Sicily, Favara's socio-economic marginalization means that its transformation into a creative city has to be supported by a strategy conducive to social inclusion and sustainability, which conjoins the explicit strategy of the private actor with an implicit emerging community strategy. Preliminary managerial recommendations and suggestions for effective private engagement and community involvement in cultural regeneration and creative city building are given.     

抚顺市群众文化中心方案解读

结合抚顺市群众文化中心的地理位置,介绍了该文化中心的规划理念,从场地规划布局、设计思路、建筑形态三方面具体阐述了该方案设计,指出抚顺市群众文化中心设计方案综合考虑了区域形态、时代特点、环境特色等,总体布局科学合理,对同类工程具有一定的指导意义。     

The crisis of cultural identity in rehabilitating historic Beirut-downtown

The dilemma of devising a theme that can convincingly and collectively express the cultural identity of a nation usually surfaces at the time of planning for the reconstruction and rehabilitation of devastated sites of significance. Particularly following civil wars, both the planning phase and procedures for rehabilitation often exhibit an extension of the civil conflict over the issues of identity and cultural ideology. The 15-year Lebanese civil war (1975-1991) left Beirut severely damaged. After almost two decades after the end of the war, the city center rehabilitation is in its final stages and presents an explicit paradigm of urban governance and management in a severely damaged urban setting claimed by a community of multilayered culture stratums. The construction and reconstruction effort has aspired to resurrect the pre-war cosmopolitan Beirut, and has represented not only the rehabilitation of the infrastructure and devastated structures, but equally, an attempt to reinterpret Lebanon’s tumultuous past and to create a new collective memory for the nation. For many, most of this effort was in vain for multiple reasons, but more notably, it fueled an endless cultural conflict in the historical city overlooking the sea. The objective of this article is to develop a better understanding of the specific socio-political dynamics and attributes influencing the rehabilitation process of the historic Beirut city center. The article examines the capacity of the chosen rehabilitation approach which was meant to crystallize the intangible meanings of Lebanese cultural identity. In addition to the site visits and observation which took place upon settling in Beirut for the last 6 years, the conclusion is underpinned by a review of culturally-diverse literature and interviews with multiple stakeholders, in particular urban officials, local professionals, visitors, and affected residents of the city center, and represents the groundwork for similar rehabilitation initiatives.     

DMAIC模型在项目冲突管理中的应用

说明如何在项目冲突管理中应用DMAIC模型,通过DMAIC模型的五个阶段详细说明每个阶段的主要步骤和成果。最后,通过一个具体的案例演示了如何借助DMAIC模型来有效解决项目中的冲突。