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Anthony Ellner Jr. 《Journal of Architectural Education》2013,67(1):20-21
Despite an apparently common assumption that science and myth are totally incompatible approaches to architecture, especially as related to architectural design, I argue that science and myth are both explanations of phenomena, each different, but both valid. Positing the desirability of a research and design process that would take advantage of both approaches, I address the problems of existing conceptual categories and the possible productive relationship between myth and science for architecture. Anthropology is then proposed as a paradigm for an architectural research that could address both science and myth, and this is illustrated with examples of research and design studio instruction. 相似文献
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Jennifer Taylor 《Journal of Architectural Education》2013,67(1):72-73
The Hiroshima Peace Memorial Park, designed by Japanese architect Kenzō Tange, is an eloquent visual account of the vexed nature of postwar Japan's contested history. It played an important role in the contentious debates over postwar internationalism and an emerging Japanese nationalism among Japanese architects and critics, and catalyzed the development of a new “non-Western” modern architecture. 相似文献
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19世纪以后草坪已成为西欧城乡景观的重要部分,并随着西方殖民主义的扩张被迅速传播到非西方世界,在各地经历了不同的接受和发展历程,并被赋予了不同的社会、政治和文化意义。本文论述草坪作为西方城市近代性的象征被引入北非、南亚和东亚,及其迅速改变城市景观特征和城市生活方式的历史过程,在3个层面上讨论草坪在这些非西方地区的发展:以公园为代表的公共空间,以机关的园区和周边环境为代表的半公共空间,以及以私人住宅为代表的私有空间,比较东、西方草坪建植观念和实践的异同。 相似文献
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Aya Peri Bader 《The Journal of Architecture》2015,20(2):244-267
Architecture's daily impact on its users is the result of neither concentration nor focused attention. Preoccupied with everyday tasks, most people do not stop to observe the architectural object as a work of art. In this paper I investigate the content that may be present when architecture is experienced in the state Walter Benjamin calls 'distraction'. Using a phenomenological model of attention and my applied research, I propose a plausible model for the Lived Experience of the Built Environment (LEBEN). I further consider the possible components of the everyday experience of architecture and the urban surroundings, and suggest an integrative structure for it. Part I explains the need for the research and presents its objectives. Part II discusses the phenomenological model of attention and awareness. Parts III and IV present the LEBEN model, briefly describing its sources in the literature, and applied research, based on a workshop that examined multi-subjective perspectives. I note the research assumptions, methodology and the challenges facing such an investigation, eg, whether it is possible to study a phenomenon that exists beyond the realm of focal attention. Part V introduces the core-themes and categories distilled from my research (edge, depth, change, atmosphere and affordances) and positions them in the LEBEN model. 相似文献
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医院建筑是耗能大户,可持续发展迫在眉睫。而可持续发展不仅体现在建造技术细节上,而具有更加广阔的内涵,包含医疗和建筑两个范畴的多重层面,包括社会(道)、体制(法)、技术(术)和建筑本身(器)。本文以广义的可持续发展理念出发,探讨了医院建筑的可持续发展策略。 相似文献
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Katherine Shonfield 《The Journal of Architecture》2000,5(4):369-389
In this essay I want to revise the interpretation of architectural and urban space by questioning the supremacy of technical pronouncements on the city and its architecture. The essay traces the strands of a theoretical position. The first is that apparently natural or objective characteristics of space can be interpreted in terms of capitalist activity, particularly the pursuit of profit. The second is that the quest for purity, expressed by taboos against pollution, permeates architectural and urban practice. And the third is that fictions, particularly in film and the novel, can be used in a number of ways to reveal unseen workings of architecture. It sets out both to make connections across a range of scales, from the architectural detail and the interior, to city strategy, and, in apparent contradiction, to encourage ways of thinking about space that transgress these, and other categories. This text uses the privileges of fiction. It shifts between one technique for deciphering space and another. At times one or the other, or both, disappear from view. And at other times all three approaches are brought into play. In teaching modern architectural history, the work from which this essay springs, I have had recourse to all of these approaches. Here, I try to indicate what the interconnections and disjunctures between the three views could be. 相似文献
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Katherine Shonfield 《The Journal of Architecture》2013,18(4):369-389
In this essay I want to revise the interpretation of architectural and urban space by questioning the supremacy of technical pronouncements on the city and its architecture. The essay traces the strands of a theoretical position. The first is that apparently natural or objective characteristics of space can be interpreted in terms of capitalist activity, particularly the pursuit of profit. The second is that the quest for purity, expressed by taboos against pollution, permeates architectural and urban practice. And the third is that fictions, particularly in film and the novel, can be used in a number of ways to reveal unseen workings of architecture. It sets out both to make connections across a range of scales, from the architectural detail and the interior, to city strategy, and, in apparent contradiction, to encourage ways of thinking about space that transgress these, and other categories. This text uses the privileges of fiction. It shifts between one technique for deciphering space and another. At times one or the other, or both, disappear from view. And at other times all three approaches are brought into play. In teaching modern architectural history, the work from which this essay springs, I have had recourse to all of these approaches. Here, I try to indicate what the interconnections and disjunctures between the three views could be. 相似文献
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<设计结合自然>是历史的产物,伊恩·麦克哈格正是那个被历史之手选择的人.他的一生,在一定程度上也可以理解为围绕<设计结合自然>的一生,这种历史也是生态规划的历史,乃至于景观设计学历史的重要组成部分.伊恩·麦克哈格的成就已为世界公认,但围绕着他同时又有着一些争议.这些争议说明了景观设计学专业内部存在的一些矛盾.了解这些历史,对于今天中国现状下的景观设计学发展有重要意义. 相似文献
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罗伯特·索莫和萨拉·怀汀是美国当代年轻的理论家和历史学家.针对美国建筑学界主流的"批判性"态度,两位作者提出了另一种途径,这种途径的特征具有"投射性",既是"理想的",又是"实际的";既不期许一个建筑可以改变整个社会,也不盲目犬儒式地跟随商业需求.虽然人们很容易从这个"投射性"/"后批判"讨论中的现实性和积极性中取得共鸣,但是"投射性"本身还缺乏严谨的定义,也缺乏相关的建筑实践.因此,与其说"投射性"形成了一套与"批判性"不同的新建筑学体系,不如说"投射性"所产生的不完整提供了一系列可进一步操作的空间. 相似文献
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本文在分析建筑语义的不同构成系统,相互对应的类别及认识建筑语义的基本途径,机制的基础上,探讨建筑语义表达的各种方式,并总结建筑语义表达时的注意要点。 相似文献
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Chelle Macnaughtan 《The Journal of Architecture》2006,11(3):335-344
Exploring the potential of musical indeterminacy is an area of interest in architectural research yet to be examined in great detail.1 One possible explanation for this is that design strategies in architecture attempt to define and/or enclose space in particular visual ways, whereas sound itself asserts new and specific vibrations that are non-visual, only aurally decoded. However, the disciplines of architecture and music both conventionally communicate their ideas through notational systems made up of temporal and spatial symbols. These symbols are extensions of their authors' ideas or instructions, generally manifested through the drawing or score, which are visual modes of defining arrangements of activity waiting to be interpreted by the viewer. It is through notational systems that I began my PhD in Architecture by Project with a focus on techniques that advance strategies of indeterminacy developed in music since the 1950s, initially through a musical score of the American composer John Cage.2
For the purposes of this paper, I will limit the discussion on Cage to this score, and demonstrate how an understanding is being established that his work has consequences for other creative disciplines. I will then briefly discuss a series of architectural drawings by the architect Daniel Libeskind, and how the two interrelate.3 In the second part of this paper I will extend the understanding of Cage's and Libeskind's respective temporal imagery and notation, and illustrate how these are contributing to two projects addressing ideas of space, sound and notation as part of my architectural doctorate. Underpinning the heuristic method of all my doctoral project work are ideas of indeterminacy as originally presented by Cage in the discipline of music. When taken up within the discipline of architecture, these ideas provoke difficult questions requiring answers yet to be fully resolved and as such, my two projects in this paper may appear aesthetically complete, however, they are not conclusive in content. Although it will be shown in this paper how inconclusive investigations are a necessary problem within my research, contributing to an understanding of these questions is the distinctive in(ter)vention of interdisciplinary media, how they inform, contest and support the research. To address this, and in summary, I will position my research's design-based approach within two contexts; first, within an Australian context of the PhD in Architecture by Project, and secondly, within 'The Unthinkable Doctorate' conference's thematic subcategory of 'media'. 相似文献
For the purposes of this paper, I will limit the discussion on Cage to this score, and demonstrate how an understanding is being established that his work has consequences for other creative disciplines. I will then briefly discuss a series of architectural drawings by the architect Daniel Libeskind, and how the two interrelate.3 In the second part of this paper I will extend the understanding of Cage's and Libeskind's respective temporal imagery and notation, and illustrate how these are contributing to two projects addressing ideas of space, sound and notation as part of my architectural doctorate. Underpinning the heuristic method of all my doctoral project work are ideas of indeterminacy as originally presented by Cage in the discipline of music. When taken up within the discipline of architecture, these ideas provoke difficult questions requiring answers yet to be fully resolved and as such, my two projects in this paper may appear aesthetically complete, however, they are not conclusive in content. Although it will be shown in this paper how inconclusive investigations are a necessary problem within my research, contributing to an understanding of these questions is the distinctive in(ter)vention of interdisciplinary media, how they inform, contest and support the research. To address this, and in summary, I will position my research's design-based approach within two contexts; first, within an Australian context of the PhD in Architecture by Project, and secondly, within 'The Unthinkable Doctorate' conference's thematic subcategory of 'media'. 相似文献
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清真寺是伊斯兰教的产物。伊斯兰寺院有她独特的传统风格,初起时原属阿拉伯建筑系统。伊斯兰国家建筑大体分为两类,非宗教性建筑和宗教性建筑。礼拜寺院、祠墓尖塔、雕刻纪念物等属于宗教性建筑。本文主要对伊斯兰建筑式样与艺术特征、规模进行分析,并且介绍了在人们的信仰下,起到了对建筑积极的保护作用。 相似文献
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清真寺是伊斯兰教的产物。伊斯兰寺院有她独特的传统风格,初起时原属阿拉伯建筑系统。伊斯兰国家建筑大体分为两类,非宗教性建筑和宗教性建筑。礼拜寺院、祠墓尖塔、雕刻纪念物等属于宗教性建筑。本文主要对伊斯兰建筑式样与艺术特征、规模进行分析,并且介绍了在人们的信仰下,起到了对建筑积极的保护作用。 相似文献