重构之图新的城市空间?

文章通过关注20世纪后半叶以来的城市空间概念的一种转变过程,描述了该过程中的一些典型城市空间现象,并分析了其背后的一些主导因素及其作用力,力图由此解释新城市空间现象及其在当代社会政治经济环境中的含义。     

跨学科视野下的城市设计 — 向丹尼斯·斯科特·布朗学习

摘要：丹尼斯·斯科特·布朗作为现代城市设计领域的杰出学者和实践者,以其独特的跨学科视角和对社会可持续发展的关注而闻名。本文通过回顾她的研究项目、学术著述和职业实践,分析其跨学科城市设计思想与方法,厘清布朗的学术贡献,并试图从中汲取启发,丰富我们对城市设计的理解和实践,创造出更加人性化和可持续的城市环境。     

How Stieglitz came to photograph cityscapes

Abstract

Beginning in 1927, at the age of 63, Alfred Stieglitz began photographing the views of Manhattan outside the windows at the Intimate Gallery, his third-floor exhibition space on East 59th Street, and at the thirtieth-floor apartment at the Shelton Hotel, at 49th Street and Lexington Avenue, where he lived with Georgia O'Keeffe. In concerted bursts over the next four years, and then intermittently until ill-health forced the end of his picture-making in 1937, Stieglitz produced about 90 cityscapes, most of them depicting the changing views from .the Shelton and from his seventeenthfloor gallery An American Place, at 53rd Street and Madison Avenue, where he moved operations just after the stockmarket crash of 1929.1 The key set of Stieglitz's photographs in the National Gallery, Washington, DC, deposited there by Georgia O'Keeffe in 1949, includes 80 New York cityscapes from 1927 and after. The collection of the Philadelphia Museum of Art has, among its late cityscapes, a handful that are not present in Washington, being variants in either negative, cropping, or photographic paper. These have been donated in stages over the years by Dorothy Norman. Further examples of variations from the images in Washington are unknown at present. These hard-edged yet lush gelatine silver prints vividly document a building boom of the late 1920s and early Depression years which transformed the refined, residential ‘uptown’ that Stieglitz had known all his life into a skyscraper-ridden ‘midtown’, a centre for office rentals, luxury apartment hotels and the fme art trade (figure 1).     

皖南古民居家具艺术的象征主义研究

本文从象征主义审美意义的角度分析了皖南民居家具艺术的文化内涵,介绍了中国传统的多种观念在民居家具中的表达,分析得出皖南民居家具装饰艺术的象征主义研究有助于更深层次地理解传统家具的文化艺术,家具装饰对表达文化起到了重要作用。     

生态元素符号化在商业空间中的运用

社会进步,科学技术发展使人们越来越关注身边的商业空间.本文主要探讨在商业空间中如何运用生态元素,体现共生、可持续的设计理念,营造具有文化氛围的商业空间.     

Visual language in Mamluk architecture: A semiotic analysis of the Funerary Complex of Sultan Qaitbay in Cairo

Cultural background plays a significant role in the sphere of visual art. Semiotics as a discipline is recognized as a useful tool in gauging cultural background and identifying signs that might represent the message of a certain work. Given the rich cultural context of Mamluk architecture, this form of art can be used in studying semiotics. Semiotic tools were employed to interpret the expression of architectural forms and to formulate a subsequent understanding of these architectural forms by turning each element into a communication tool that elucidates meaning. The Sufie tradition was the dominant Islamic practice during the Mamluk period, during which metaphysics, numbers, and geometry were regarded as indispensable tools in manifesting the nature of divinity and the order of being. A semiotic reading of the Funerary Complex of Sultan Qaitbay in Cairo, regarded as one of the perfect works of this era, was proposed to study the reflections of these notions on architectural works. Several messages were embodied in the building, such as functional or technical messages. The semiotic reading in this study is solely concerned with the spiritual message of the building.     

建筑的非象征性意义表达

本文试图通过对于象征这一建筑属性的理解进行比较,发现当代东西方建筑师对于新建筑的不同理解。笔者希望通过引入非象征性的思维方式,突破传统的以形式为中心的建筑评价观,摆脱形象对于建筑师的束缚,进而以非形象化的思维去审视建筑。     

中国现代家具文化的延续性思考

本文就中国现代家具设计如何延续中华民族文化的问题进行思考,指出了把握住中国传统美学哲学思想的根;走传统家具现代化道路;提取其他传统艺术的文化精华;着意象征设计,丰富和厚实家具人文底蕴等富有启发性的思路。     

门观——天津大学、南开大学东校门之比较

该文选择天津和南开大学两所大学比邻而立却风格迥异的东侧校门进行比较,分析校门类建筑的性质特点,并强调指出其精神落位的指导意义。