阅读"白色派"——读"Reading Structuring Surfaces: the legacy of the whites"

当现代主义建筑面临危机的时候,纽约五人旗帜鲜明地扛起了继承现代主义的重任.他们继承了现代主义的许多理论观点,并且把这些观点、手法推向极致.该文主要阐述白色派在建筑学认识论方面的一些手法及其形式操作.     

环境美学视野中的山水城市理念

从阐述宜居城市的内涵出发,提出乐居是宜居的最高境界,并进而在此基础上,透过环境美学的视野,分析了山水城市理念与城市乐居追求的内在关联,指出环境美学试图营造的让人乐居的理想居住环境,实际上与山水城市的理念殊途同归．     

基于深度学习的上海城市街景与景观美学公众认知研究

随着中国城镇化转型与城市更新的开展,服务城市大众美学认知与文化精神的城市风貌与景观塑造成为当前的迫切需求.以上海典型街景为例,结合问卷调查、深度学习与贝叶斯统计方法,构建具大范围评估应用潜力的公众审美感知模型,进行公众景观偏好研究.发现公众对于街景的不同场景审美感知差异较大;景观美学感知概念模型中关键景观要素为土地、建...     

松花江大桥栏杆造型设计

本文介绍了栏杆的构成和形式,以美学的角度对栏杆的功能性和艺术性加以分析,并以松花江大桥为例,对栏杆设计中所需考虑的尺寸、造型和色彩等要素进行阐述,提高其美学性能。     

Instrumentality,aesthetics and symbolism of physical artifacts as triggers of emotion

Building on qualitative data collected from three groups of professionals who assessed the green colour of a public transportation bus, this paper develops a model of the relationship between physical artifacts and emotions. The model suggests that artifacts need to be analysed according to three conceptually distinct aspects: instrumentality, aesthetics and symbolism. These three aspects are suggested to arouse emotion through different mechanisms: a hygiene, a sensory and an associative mechanism. The model opens an arena for extensive future research on the role and influence of physical artifacts in general and on emotions in particular.     

中国美容医疗设备及其技术进展

近些年随着人们生活水平的提高,中国人在美容方面的需求不断加大,使得医学美容行业的发展极具活力,与之相应的美容医疗设备及技术的未来市场容量将非常可观。     

Making spirits,making art,Nat carving and contemporary painting in pre-transition Myanmar (Burma)

ABSTRACT

Embodiment, materiality, and technology intersect in the production of sacred images where tools, media, and intangible studio protocols inform the production of efficacious things. In Myanmar nat spirits appear in the bodies of costumed spirit mediums and in the intimately tended statues that adorn their altars. Prior to the recent democratic transition, nats appeared as the subjects of paintings, sometimes offering sociopolitical commentaries. This article explores the resonances between technologies of nat making in workshops that produce images for mediums and the techniques deployed by contemporary artists who have made nats the subjects of their paintings. In the Burmese religious world view, nats are lesser entities than the Buddha; their troubled histories of injustice account for their continuing agency as spirits in the human world. Appropriately, nat images are cruder than Buddha images; carvers are less likely to use precious wood or to observe Buddhist precepts and aesthetic guidelines while carving. A similar sense of the unrefined, unsettled nat is conveyed through the daring representational techniques and liberties of artists. We argue that connections between media, technique, and object agency can have resonance when sacred subjects are deployed in secular art.     

景观的发现与重构——南宁园博园 采石场花园设计

采石场伴随着人类文明而产生,也将伴随着人类社会的发展而长期存在。采石遗留的岩壁、岩石,以及地下水和雨水汇集形成的湖面水潭等构成了采石场景观的基础。采石场修复应当遵循自然规律,同时体现中国传统山水美学。南宁园博园7个采石场花园的设计,通过对场地景观特征的挖掘和恰当的人工介入,建立了融合于场地而又具有鲜明艺术特征的新景观体系。     

当代中国城市对荒野审美的呼唤

当今的城市化进程面临诸多问题,在生态文明的时代背景下,城市替代了乡村成为国人的主要人居环境。生态文明旨在倡导重构人与自然的关系。那么,荒野景观作为最本真的生态自然,理应成为人们市居生活的重要体验对象与审美对象。荒野哲学以其对人类生存家园损毁的忧患意识以及对当下生产生活方式的深刻反思逐渐成为哲学思考的重要组成部分。在当今城市中,荒野的价值应该得以重估,荒野景观应当得以复魅。城市对荒野的呼唤、城市审美对荒野的悦纳,是当今中国城乡可持续建设的重大使命。在生态文明的当今社会,人们在市居生活中需要倡导一种审美观念,即荒野审美。荒野审美观的构建正逐渐趋向成熟。