Toward a Broader Liberal Arts Base

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.     

Contemporary Australian Architecture

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.     

西方草坪建植观念之形成及其全球传播(下):亚非等地的接受与发展

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。     

A model for everyday experience of the built environment: the embodied perception of architecture

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.     

营造广义的可持续发展的医院建筑

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。     

风景园林与自然

在风景园林的视野中,自然有4个不同的层面,每层面的自然都有独自的特征和价值。4个层面的自然共同构筑了个国家的国土景观。只有了解并尊重不同层面的自然的属性,才能真正做到与自然的协调,也才能更好地维护和发展本土的自然景观。     

中国近代建筑的特征

中国近代建筑是产生于近代时期的政治、社会、文化条件下,并反映这些条件影响的那部分建筑。其具备如下几个特征:异质性、多样性、全球关联性、建筑样式的政策指向性及连续性等。这些特征指明未来近代建筑研究的两个主要方向:分类总结近代建筑样式及研究近代建筑与社会的各种关系。     

湖北的牌坊

牌坊又名牌楼,是中国古代建筑中的一个特殊类别.它源于中国先秦时代的衡门及华表柱.该文通过对牌坊牌楼形制的产生、发展及其变化的研究,结合湖北现存的牌坊实例,对其形制与构造、功能与性质、装饰与技艺等方面进行了探讨.     

道与中国传统建筑

本文分析了“道”的意义，及其与“五行”、“八卦”等中国古代哲学范畴之间的关系，在此基础上，进一步阐述了“道”在中国传统建筑中的应用。     

The use of fiction to interpret architecture and urban space

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.     

悬挂建筑——一种新的绿色形态

当前对于绿色建筑的理解,主要依据建筑是否应用节能技术如遮阳,保温隔热、水的循环利用、太阳能利用等,而不是对建筑全生命周期的完整认识.对悬挂结构体系的特点及分类进行了研究,发现悬挂建筑具有发展成为绿色形态的潜力,指出了悬挂建筑与绿色设计的结合点.通过分析悬挂结构在建筑中的绿色形态生成过程,证明了悬挂建筑能成为贯穿建筑全生命周期的综合高效的绿色建筑形态.     

The use of fiction to interpret architecture and urban space

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.     

关于《设计结合自然》的历史叙事--从历史的角度看伊恩·麦克哈格与景观设计学

<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.     

关于"多普勒效应"的笔记和现代主义的其它心境

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.     

建筑语义的表达及其要点

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。     

Indeterminate notation and sound in the space of architecture

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'.     

建筑设计课程学生分类教学方法研究

根据建筑学专业学习广博性、专精性、自主性和创造性的特点,文章通过调查学生在建筑设计课程学习上的表现将学生分为三类,并根据三类学生受到授课方式、学习方式的影响,以及在建筑设计不同阶段遇到的学习困难的分析总结,指出建筑设计课程应重视运用系统性、互动式以及因材施教的教学方法。     

我国伊斯兰寺院建筑艺术源流初探（三）

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。     

我国伊斯兰寺院建筑艺术源流初探（一）

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。