Terrain-Specific: Contemporary Landscape Architecture in Canada

The Canadian landscape has typically captured a global imaginary of a pristine wild, but how might its urban designed landscapes be distinctly understood? Foregrounded by the landscape transformations accelerated by climate change, the book Innate Terrain: Canadian Landscape Architecture, edited by Professor Alissa North from the University of Toronto, highlights landscape architecture projects situated on the unique Canadian terrain. Providing further provocation on Canadian landscape architecture, Innate Terrain seeks to fill the literary gap on contemporary landscape perspectives, distinguishing Canadian landscape architecture from global practice, and particularly, its well-documented American counterpart. Landscape architecture in the Canadian context has evolved and established its own distinct identity, one imbued with national and local sensitivities. Informed by diverse environmental and cultural contexts, Canadian-designed landscapes reflect and refer to the prevailing ecosystems of Canada’s innate terrain. Contrary to the preceding International Style, landscape architecture projects in Canada have adopted the ethos of Critical Regionalism in the second half of the 20th century. Contemporary Canadian practitioners are designing landscapes that are deeply informed by their surrounding geographical context while emphasizing cultural specificity. Central to this cultural specificity, addressed by a new generation of landscape architects, is the increasing recognition of Indigenous Traditional Knowledge within the discipline. Canadian landscape architects have collaborated with First Nations, Inuit, and Métis communities, including the keepers of this knowledge, to develop land management strategies and design landscape interventions.     

中国古典园林三维造型研究

论述了采用层次结构化及参数化三维造型方法，建立一个以造型函数库为核心，从而构造各类、各级园林景观构件表面模型的方法和过程。对于某些非建筑类的园林配景构件，采用了Ｆｒａｃｔａｌ方法进行造型。     

The traditional Yemeni window and natural lighting

The traditional Yemeni window is considered to be one of the most important elements that characterize the yemeni architecture. The beauty of the traditional Yemeni window comes from its four main components which combined the functions of view, lighting, ventilation, protection, and privacy. These functions can be controlled by the occupants according to their social and environmental needs. The four main components are the lower part (Taqah), the fanlight (Qamariyah), the wooden external overhang (Konnah), and the small vent (Shaquos). Since fanlights provide natural lighting during day-time, the area of the lower part can be reduced and its exterior shutters can be closed without the need for artificial lighting. The internal natural lighting that is provided by the upper and lower parts of the window was investigated to see its quality. In this investigation, there were two main goals. The first is the contribution and quality of the internal light provided by the Qamariyah when shutters are closed. The second is the effect of the internal simple white cloth curtains, in the lower part, in the internal light quality. Visual measurements were taken in a typical room of a traditional house of the Old City of Sana'a, Yemen. From the findings, it was found that the fanlights (Qamariyat) provide low and soft homogeneous internal lighting which was as low as 22 lux average. However, the occupants have the ability to increase level of lighting to as high as 600 or 700 lux. This can be done simply by deciding which shutter to open and how many of them to be opened. In this paper, the methodology and findings will be presented and discussed.     

正确处理三种关系,促进测量学教学健康发展--非测绘专业测量学的教学研究

结合教学实践，对如何正确处理好教学与科研、传统技术与新技术、传统教学与多媒体教学之间的关系进行了研究，并得出正确处理好这三种关系是促进测量学教学健康发展和提高教学质量的有效途径的结论。     

明、清官式灰背作法

在明、清官式建筑的屋顶作法中，灰背（包括泥背）作法是整个屋顶作法中关键的一环。灰背顶可以满足屋顶防水要求，并能满足屋顶水流方向发生改变时的防水要求，因此灰背作法是解决平台屋顶以及天沟等部位防水问题的主要措施。本文主要介绍传统灰背的一般操作程序；宫廷灰背作法中的几种特殊手法；传统灰背的现行作法，以及提高灰背的质量的材料配比和施工方法。     

论中国传统装饰之道

了解中国传统装饰艺术的历史,需从"纹化"艺术开始,最初的"纹化"是石块刻划所产生的线纹,"纹化"活动的视觉思维方式为"观物取象"。对于装饰艺术的社会存在、社会价值以及目的的不同思想理论、审美要求,进而形成了中国的四种美学思想。装饰是一种审美理想,是一种工艺技法,也是一种艺术形式,有着深层次社会感情和文化意识。主宰着中华民主的文化内涵,并伴随历史的演进不断的丰富发展,并渗透到当今生活的方方面面。     

国画“留白”在包装设计中的运用

"留白"是中国绘画艺术中的一个非常重要的术语,被广泛的应用在中国传统的书画创作中。"留白"是艺术达成审美交流的中介机制,它深刻的展开了艺术的创作过程与接受过程的视野融合,具有极高的设计与文化价值,是现代包装设计师在设计思维和设计手法上可供学习和借鉴的宝库。本文从国画"留白"艺术的构成方法、风格、布置等角度进行了论述。总结了其设计特点和艺术手段,以通过对国画"留白"艺术设计理念的探讨对现代包装设计给予启发与引导。     

探海侯之死

在北京团城的城台上,有几株古松,相传是辽金遗物。清代乾隆皇帝给三棵古树封赐了爵位。十多年前,团城搞修缮,建筑队的某位工人把生石灰堆在名为“探海侯”的松树周围,生石灰化光了,古树死了。     

“以人为本,师法自然”——基于中国传统美学思想的绿色包装设计

随着社会经济的不断发展,包装设计已经渗透到我们生活的方方面面。为更好的促进东西方文化交流,提高国内外市场竞争力,绿色包装设计应运而生。而绿色包装设计这一理念无论在情感上还是文化层面上都与寻求人与自然和谐统一的中国传统美学思想有着密不可分的联系。     

多媒体课件改变了教师的“主讲”地位

随着高等教育教学改革步伐和数字化教学的不断推进和发展,越来越多的教师热衷于多媒体教学课件的使用和研究,传统的教学模式被逐渐取代,教师教学的主导地位越来越不明显,数字教学的时代悄然而至。