城市视角下的建筑坡道设计——以库哈斯为例

建筑坡道是解决垂直联系的交通空间,其设计对空间流线的组织起着十分重要的作用,并直接影响到使用者的空间感受。近年来,伴随着相关空间理论的发展,建筑坡道设计在塑造公共空间和联系城市空间上的作用日益凸显。该文结合"倾斜平面"和"中介空间"理论,以库哈斯为例阐述了城市视角下的建筑坡道设计。文章对库哈斯所设计的康索尔艺术中心、朱苏大学图书馆方案和乌德勒支教育馆进行了详解,三个建筑采用了三种不同的坡道设计策略,表达对不同城市问题的思考。     

张子康：建筑与艺术同行

美术馆建筑是个性鲜明的 UED：美术馆建筑应该是什么？ 张子康（以下简称张）：我认为最主要的有以下几点。美术馆的外在建筑形式与美术馆的定位一致,就会产生不一样的效果。比如说蓬皮杜艺术中心,从外表就能看出它是那个时代很时尚的、现代的建筑。实际上美术馆的建筑必有它的个性,这样大家从外部就会女口道这是个什么样的博物馆。     

路易斯·Ⅰ·康文章“纪念性”解读

"纪念性"是康生涯中发表的第一篇重要文章,在文章中康提出了其建筑实践的一个重要主题,即建筑的纪念性,并阐述了他基于焊接钢管结构的建筑语言。对这篇文章的解读,可以帮助我们深入理解康独特建筑语言形成的起点。     

关于“比例的精准性”

2008年10月8日瞿丹：你好!谢谢赐文。随着你的文章,我又重新体会了一次参观康的英国艺术中心时的感受。我个人很喜欢你的文章。如果我当老师,我会把它作为一篇基于体验与论据分析的案例在课堂上讨论。这座建筑不是一个好把握的案例。     

始于三角——1950年前后路易·康建筑设计语言的转变分析

路易·康是20世纪美国著名建筑师,在其一生的建筑实践中,作品形式纷繁复杂,在对建筑空间的组织方式上呈现出了阶段性的变化。其中较为显著的变化是在1950年前后的建筑方案里,出现了多处包含三角形的构成要素,而在此前及此后却极少有使用三角形要素参与构成的方案。从这一特殊时期中对其建筑作品的观察出发,笔者绘制相关图纸与建筑模型,分析路易·康的建筑中三角形构成要素的不同使用方式,探讨为何其在以三角形为主导的构图方式向后期转变为方形单元化组织空间的可能的原因。通过理解这一关键时期康的设计语言的转变,对康后续的作品思想的解读也有着较为重要的意义。     

源与思:路易斯·康的欧洲旅行绘画

绘画是路易斯·康的图像思维与建筑哲学的重要中介。对康而言,旅行绘画既是视觉创作的组成部分,也是建筑思想的重要源泉。康在1920年代与1950年代经历的三次欧洲之旅对他的建筑观念影响深远,本文在艺术史和建筑史的双重语境中追溯康的欧洲旅行,分析其旅行绘画的题材、技法与观念,通过旅行绘画与建筑思想之间的并行关系探求康基于历史建筑的现代性思考。     

河南康百万庄园建筑雕饰艺术研究

康百万庄园是河南省巩义市一处保存较完整的明清建筑群落,石雕、木雕、砖雕等建筑雕饰艺术是该建筑群建筑装饰的重要组成部分。该文通过对康百万庄园建筑雕饰分布类型、表现内容、装饰意蕴、造型风格、雕饰技艺等的分析研究,系统地探讨了康百万庄园建筑雕饰的艺术特色和审美价值,以期传统的雕饰艺术精华能够在现代建筑装饰设计中得以传承与发扬。     

快递

国内部分(Chinese)扎哈·哈迪德公布成都当代艺术中心设计方案扎哈·哈迪德事务所公布了在四川省设计的成都当代艺术中心设计方案,这将是中国最大的文化类建筑。     

保罗·安德鲁建筑创意探讨

通过对法国建筑师保罗·安德鲁近期在中国的建筑作品的阅读和参观,分析了广州新体育馆、上海东方艺术中心、北京国家大剧院的建筑特点,回顾了其创作的过程,探讨各建筑的创意,对现代建筑设计具有借鉴意义。     

达卡图集： 从建筑到城市

达卡图集第四集:餐厅建筑餐厅建筑(Dinning Hall)和国会成员的住宿建筑(Hotel for Members ofNational Assembly)位于首都综合体的东面,隔着人工湖能望见中心的国会建筑。餐厅建筑代表了康后期最成熟的语言。服务空间与被服务空间,表皮与内部之间建立了紧密的联系,功能和符号之间达成了和解。以屈宁顿中心浴室(Bath Houseof Jewish Community Center)开始,服务     

Louis I Kahn @ 40s: Architecture in the 1950s

Starting with the particularities of the postwar American architecture, this paper aims to discuss Kahn's recoding of what might be called the culture of building, for example, themes internal to the formation of the disciplinary history of architecture. Additional attention is given to Kahn's discourse on monumentality pronounced in 1944. Emphasis is also placed on Kahn's concern with structure and ornament, but also the tectonic. The paper then presents an historical analysis of Kahn's design for the Philadelphia City Tower and the Yale University Art Gallery, arguing that in spite of, or rather because of postmodern conditions, the project of modernity should be considered neither as a perfect past, nor a phenomenon that is working towards its completion. Modernity should rather be considered a project whose periodic crisis is endemic to architects’ ongoing recoding of the culture of building.     

Kahn's light: The measurable and the unmeasurable of the Bangladesh National Assembly Building

To incline and unfold the constituent elements of Louis I. Kahn's architecture and philosophy, a precise attention must lie on the fundamental objectives that he vigorously pursued and mastered, especially in his latest works. This work focuses attention on Louis Kahn's idiosyncratic approach to light manipulation which he used to shape his architecture. That's due to the constant coherence of his approach even today. As we are merged in the plurality of fonts that haul our discipline, we constantly question the real sense of architecture and what makes it intelligible. Kahn's method drew conclusions and seeked for this sense through precise fonts: lessons from the past, current modernist flow, and the context. He combined and transformed these inspirations distinctively through his own sensitivity to achieve that spiritual value and its own true sense that architecture should retain in its form. Thus, it is considered of utmost interest to rethink his approach and particularly to reflect today on the pertinence of his main architectural parameter: Light.     

The Plan for Wayne University

Abstract

While typically accorded form-driven interpretations, Kahn's work may contribute significantly to the emergent discourse on architecture and landscape. Meditations on landscape in Kahn's work and ideas, although present in an unsystematic and sporadic manner, provide a provocative way of thinking about a building's relationship with the landscape. Applying the phenomenological notion of “lived body,” a built work is seen not only inscrutably emplaced or intertwined with the landscape but also embodying it, thus making architecture inherently a landscape “event.” An analysis of Kahn's work and writings from the vantage point of landscape presents, first, an affirmation of Kahn's particular ideas about land and landscape and, second, a substantiation of the claim that architecture is a landscape phenomenon.     

Combinatory Urbanism

Abstract

This essay investigates the relationship between programming and design. It exposes and criticizes those views that characterize programming and design as separate and their relationship as linear. Instead, we propose that the relationship is interactive and that the clarification of programmatic and design issues goes hand in hand. During this interactive process both client and architect take significant responsibilities. The design process of the First Unitarian Church of Louis Kahn is an illustrative example. Investigation of the client's reports, of Kahn's and the client's letters, and of Kahn's design proposals exposes the client's contribution and the interaction between programming and design. Our study suggests that clients have the potential to play crucial roles in design and deserve credit.     

Yale Art Gallery

Rarely does the first major work of an iconic architect face his last major work, in the same building type, open to the public, free of charge, and in excellent condition. Louis I Kahn's seminal, recently restored addition to the Yale University Art Gallery is just across Chapel Street from his Yale Center for British Art. Jayne Merkel describes the interiors of these mid-20th-century modern masterpieces and the recent Herculean efforts to return them to Kahn's intentions while making them suitable for the preservation, study and exhibition of art according to 21st-century standards. Copyright © 2007 John Wiley & Sons, Ltd.     

Book Reviews

This paper is part of a larger series, attempting to align Louis Kahn's ‘form and design’ theory with Platonism.¹ One obstacle to this alignment is the commonly held view that Kalm drew on historic precedents when conceiving his fundamental planning strategies, or die ‘form’ of his buildings, since Plato would have architects copy the Forms, or Ideas, directly. The opinions of the ‘source-hunters’ are reviewed, but found to contradict much of what Kahn said, as well as die opinions ofodier scholars and associates of Kahn's. The weight of the latter views casts doubt on those of die ‘source-hunters’, leaving open the possibility that Kahn drew on Forms directly, as Plato would have ‘craftsmen’ do.     

基于关联规则的儿童户外活动空间偏好 研究——以杭州三个社区公园为例

社区公园是儿童户外活动的重要承载空间。研究儿 童在社区公园的行为偏好及空间需求对增加儿童户外活动机 会、提升社区公园品质和促进环境公平具有重要意义。以杭州 市3个社区公园为研究对象,采用行为注记法获取儿童活动空 间分布特征,运用关联规则、核密度分析和多因素方差分析等 方法,研究儿童户外活动与社区公园空间和环境要素之间的关 系。研究发现,社区公园中儿童不同活动类型对空间的偏好度 存在显著差异：自然活动对特定空间的偏好度最高,主要集中 在有沙、水体和草坪的空间;功能活动和规则活动的空间偏好 度次之,多发生在器械区、广场等设施丰富或面积较大的场 地;休闲活动与大部分空间都具有关联性,分布较均衡。设 施、基底类型和植被覆盖等环境要素与儿童活动空间选择的关 联性较强。以此为基础,提出以儿童活动偏好为导向的社区公 园规划设计建议。     

寒地城市儿童不同季节住区户外活动 特征及空间规划启示

进行户外活动是促进儿童身体和心理健康成长的重要条件,寒地城市的季节变化对儿童的户外活动特征影响显著,作为儿童主要活动载体的住区空间设计如何去回应这些特征的季节性变化需要重视。为探讨寒地城市2～6岁儿童不同季节的活动特征如何指导住区空间设计,选取哈尔滨市中北春城、欧洲新城、恒祥城3个典型住区,分别于暖季节、过渡季节和冷季节进行实地调研,利用问卷调查、行为注记、微气候实测和相关性分析等方法,研究了儿童不同季节的户外活动特征及其与住区空间的关系,在此基础上从目标定位、空间布局和环境营造三方面提出寒地住区空间的设计策略。     

论“卷阿”形胜观的内涵与嬗

最早记载于《诗经》的“卷阿”有着独特的“飘风 自南”自然山水景观。在考辨“有卷者阿”历史源流的基础上 分析其发轫、形成及“形胜”特征,认为“卷阿”形胜观历经 “自然景观空间-建筑空间-精神空间”的发展过程,由物质空 间升华到精神空间的文化意象。在皇权观念中,以高大广阔的 建筑景观空间寓于“有卷者阿”形态,体现君王礼贤下士、君 子纳才的宽广胸怀;对于贤臣来说,彰显其所追求修身治国之 抱负和聿修厥德的情操。诠释“卷阿”山水格局并传承其文化 内涵,构建蕴含人文精神的风景游赏地,形成物质与精神交融 的山水景观空间,以达育人、化人的目的。     

The aesthetic of the absent The Chinese conception of space

The Chinese understanding of space can be traced back to Lao Zi's (also spelled as Lao Tzu) idea that 'carving out a void to create a room, only where there is emptiness does the room acquire utility.' The 'utility of a room' is a function of its space, or 'nothingness'. According to Lao Zi, the concept of nothingness is equivalent to the Dao (the way, also known as Tao ): ' You ', the general term for 'Being', i.e. all entities in the phenomenal world have been produced from an original state called 'Non-being' (' Wu '). This idea of indefin able, 'unnameable' Non-being that lies at the origin of all existence was to persist in later development of Chinese cosmology and the concept of space and time. The Chinese definition of space as explained in the term ' Yu ' (space): extension, what fills different locations; 'the four directions and the above and the below are called " Yu "'(Liu An, 179-122 B.C.); 'Reality without anything in it is " Yu "'(Zhuang Zi, first century). So, according to the Chinese, space is clearly defined not only by itself but also by its referential relation ship to the context.