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。     

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。     

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).     

中国海洋石油总部办公楼

从中国海洋石油总部办公楼的象征性建筑形态入手,对城市建筑形象与城市空间、建筑内外空间景观、传统建筑空间形态与现代建筑手法以及新材料、新技术在现代化办公建筑中的应用进行了探讨。     

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。     

上海国际赛车场

本文通过上海赛车场的规划设计介绍,论述了对当代建筑的地域文化性和环境特征的理解。     

激活“消极地带”的妙笔--解析库哈斯的伊利诺伊理工学院校园中心设计

伊利诺伊理工学院校园中心是著名建筑大师雷姆·库哈斯的早期代表作品，该建筑的落成提升了校园的人气，止住了原址的颓废之势。本文通过实地调研的方法，详细分析了该作品的环境背景、设计特点和库哈斯的建筑哲学，阐述了库哈斯如何通过“文化拥塞”的理念和电影化的表现手法实现建筑的功能性和社会性的最大化。     

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。     

Concept cathedral and “squaring the circle”: Interpreting the Gothic cathedral of Notre Dame de Paris as a standing hymn

Semiotics is used in the sphere of visual arts as a tool that helps reading the message included in a certain work. Gothic architecture, as an outcome of the rich cultural context of medieval tradition, where metaphysics, numbers and geometry were indispensable tools to symbolically manifest cosmological and theological concepts, is suggested as a good example for testing this approach in the field of architecture. In this paper, a semiotic reading for one of the most distinguished works of this era; i.e., the cathedral of Notre Dame de Paris, is introduced as a model for this methodology. Among many message included in the building, such as the functional or the technical messages, this is a trial to introduce a reading, i.e., an interpretation, of what could be called “a hidden spiritual message”. The paper comes to a conclusion that the Gothic cathedral, as represented in Notre Dame de Paris, might be perceived as an externalization of a standing hymn that was meant to send continuous appeals of protection to Heaven.