北京东城区宁郡王府平面研究

宁郡王府位于北京市东城区,是为数不多的保存较为完好的王府,是我们研究清代王府的宝贵实例之一。本文通过收集了宁郡王府现存实测图以及历史文献资料,对其平面进行分析研究．比较出实建王府与建筑规制的异同。并利用傅熹年先生所研究出的王府平面理论对宁郡王府的平面进行了数理关系推敲和狮子院南墙位置的推测。     

Inventing the Rural: A Brief History of Modern Architecture in the Countryside

The rural has long occupied a valuable, if under-theorised position in modern architectural history. Here, Cole Roskam , Assistant Professor of Architectural History at the University of Hong Kong, highlights key moments in this history and, in doing so, illuminates a central paradox at the heart of architecture's various turns to the countryside; namely, can architects maintain the physical and social integrity of the rural when they are themselves a fundamental vector of its changing character?     

探求查尔斯·柯里亚建筑作品中的物质性与精神性——以贝拉布尔住宅区为例

该文以分析查尔斯·柯里亚(Charles Correa)建筑作品中物质性与精神性的表达为切入点,从价值观念和意识形态两个方面,结合他深邃的建筑思想,通过对贝拉布尔住宅区的深入剖析,全面解读了查尔斯·柯里亚(Charles Correa)的建筑作品对印度社会生活的思考,探求了设计师在建筑作品中体现物质性与精神性的设计方法。     

Extreme Integration

Tom Wiscombe advances an argument for an architecture of ‘extreme integration’, where the sanctity of the single surface responsible solely for affect is challenged by multilayered and multidimensional built surfaces. The new species of architecture is ‘robust enough to be both formally and technologically innovative’, replacing a mechanistic model with a biological jungle ecology of messiness and excess. Copyright © 2010 John Wiley & Sons, Ltd.     

埃利奥特与吉尔曼大学思想比较

埃利奥特和吉尔曼是美国十九世纪著名的高等教育思想家与实践家。埃利奥特成功引领哈佛由传统学院向现代大学转变。吉尔曼成功创建了美国第一所真正意义上的研究型大学——约翰·霍普金斯大学。这两位永载美国高等教育史册的伟大校长,生活在同一时代。有着相似的学习和教育实践经历,但性格迥异,交往密切。在工作中惺惺相惜,相互影响和扶持。两人在大学目标、大学功能、课程思想和大学管理等方面对高等教育的理解与认识存在众多异同。通过分析和比较,有助于我们深化对十九世纪中后期美国高等教育转型历史过程的认识。     

襄阳明代王府建筑初探

该文首先梳理了明代襄阳城内襄王府的营建过程;在考古发掘取得初步成果的基础上,研究了襄王府的占地范围与大致布局,并总结了襄王府不同于规制的一些特征。     

Lebbeus – A Postmodernist? Early Scenes of Shopping and Dwelling

Vivid colours, commedia dell’arte, collage and hypergraphics, and villae jutting out of the cliffsides designed for the unknown dwellers – are these projects postmodern? American art, architecture and design critic Aaron Betsky investigates this question and its context, focusing on the V.I.P. Center Shopping Mall, an unbuilt scheme that was to win Lebbeus Woods his first professional acknowledgement under the auspices of the Progressive Architecture Award.     

Brief Encounter: A Reminiscence Touching on Margaret Bourke‐White

In the 1890s photographers began making artistic portraits of their subjects in the home environment. These contrasted to the stiff studio portraits that were standard at the time; key elements were casual poses and natural lighting. For the next few decades, amateur artistic photographers (pictorialists) and professionals freely interacted and both aggressively pursued making home portraits. Realising a large market, publishers issued books on the subject and manufacturers produced specialised equipment.     

Impressionism and Photography

This paper aims to show that vernacular photography contributed subtly to changing the manner in which Impressionist painters depicted landscape and the human figure. This new way of approaching reality can be discerned only for a very brief period in Impressionism, between 1865 and 1880, although signs of the impact of photography on painting are already to be seen in Daguerreotypes of the 1840s. The influence of photography becomes most striking after 1859, with the production of stereoscopic views of human figures on the boulevards and elsewhere. Painters never explicitly acknowledged these influences, however, and it may be that these influences were assimilated unconsciously in part.

Cet essai veut montrer que la photographie, dans sa production la plus courante et la plus anonyme, a subtilement contribué à changer la façon dont les peintres impressionnistes traduisaient le paysage et la figure humaine. Cette nouvelle façon d'aborder la réalité on ne peut l'observer dans la peinture impressionniste que pendant une très courte période entre 1865 et 1880, mais on en trouve déjà des signes avant coureur déjà dans certains daguerréotypes des années 1840. Elles seront particulièrement spectaculaires à partir de 1859 avec le traitement par la vue stéréoscopique de la silhouette humaine sur les boulevards. Les peintres n'ont cependant jamais mentionné ces sources indiscutables dont l'action sur eux a peut être été en partie inconsciente.     

Your loving auntie & God mama,Julia Cameron

Abstract

Written almost immediately upon her return from her 10 years in India, and probably at her temporary residence, Ephrahim Common, Tunbridge Wells, Kent, this note is a typical example of Mrs Cameron's effusive, loving style. The letter dates from a time 15 years before Julia Margaret touched a camera, and it is to her niece Julia PrinsepJackson, who was then only two years old. She was a god-daughter to Mrs Cameron, and later her most frequent model. Indeed, Julia Jackson (1846–1895) became one of the most beautiful of 19th-century women. Her first husband, Herbert Duckworth, died in 1870, and eight years later she married Sir Leslie Stephen, editor of the Dictionary of National Biography. Two of her children became famous: Vanessa Bell as a painter, Virginia Woolf as a writer. Julia eventually wrote the DNB entry (from ‘personal knowledge’) of her eccentric aunt, who was renowned for her taste in shawls, her generosity in giving them as presents, and for fixing the images of certain 19th-century great men for all time. The ‘two Hardinges’ refers at least in part to Julia Margaret's son Hardinge Hay Cameron, godson of Lord Hardinge, the recently-retired Governor-General of India