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Konstantinos Avramidis on Drawing Parallels 康斯坦丁诺斯·阿夫拉米迪斯谈素描
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-06-01 DOI: 10.1017/s1359135521000300
Konstantinos Avramidis
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引用次数: 0
Urban cloverleaves: origin, aesthetics, and contradictions of the Slussen, Stockholm 城市三叶草:斯德哥尔摩Slussen的起源、美学和矛盾
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-06-01 DOI: 10.1017/S135913552100021X
Álvaro Clua Uceda
On 11 October 1935, the inauguration of the Slussen urban cloverleaf took place in front of the excited citizens of Stockholm. It had the attributes of a pure traffic machine taken from the most advanced traffic engineering publications, and it expressed the optimistic cultural modernism that five years ago the Stockholm International Exhibition had promoted.1 This urban cloverleaf was made of translucent glass, reinforced concrete, metallic handrails, and reflective tiles and was meant to solve, in one single gesture, the complex urban link between the Lake Mälaren and the Baltic Sea, between Gamla Stan – the historic city centre – and Södermalm – the southern district built on top of the 35-metre-high plateau [1]. The solution made difficult urban compromises between the foothills of the Brunkeberg topography, the smooth water surfaces of the Stockholm archipelago, the architecture of the historic urban tissue, and the demands of a complex articulated mobility. Boats, goods, suburban trains, subways, trams – later buses – pedestrians, cyclists, and automobiles finally converged on this place at different levels, completing the intricacies of a threedimensional geometry which, for the first time in history, was inserted into a compact city.
1935年10月11日,Slussen城市立交桥在激动的斯德哥尔摩市民面前落成。它具有从最先进的交通工程出版物中提取的纯粹交通机器的属性,并表达了五年前斯德哥尔摩国际展览会所倡导的乐观的文化现代主义这个城市三叶草由半透明玻璃、钢筋混凝土、金属扶手和反光砖组成,旨在以单一的姿态解决Mälaren湖和波罗的海之间、Gamla Stan(历史悠久的城市中心)和Södermalm(建在35米高的高原[1]之上的南部地区)之间复杂的城市联系。该解决方案在Brunkeberg地形的山麓、斯德哥尔摩群岛光滑的水面、历史城市组织的建筑和复杂的铰接机动性需求之间做出了艰难的城市妥协。船只、货物、郊区火车、地铁、有轨电车——后来的公共汽车——行人、骑自行车的人和汽车最终在不同的层次上汇聚在这个地方,完成了一个复杂的三维几何结构,这是历史上第一次被插入到一个紧凑的城市中。
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引用次数: 0
Making space for degenerate thinking: revaluing architecture with Friedrich Nietzsche 为堕落的思想创造空间:与弗里德里希·尼采一起重新评价建筑
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-06-01 DOI: 10.1017/s1359135521000221
Simon Weir, G. Hill
Scholarly analysis of the writings on architecture of philosopher Friedrich Nietzsche (1844–1900) has largely focused on passages in Twilight of the Idols where he claims that ‘Architecture is a kind of eloquence of power in forms – now persuading, even flattering, now only commanding.’1 Yet, considering Nietzsche’s theory of the will-to-power – that an innate drive towards power, might, and self-overcoming is the dominant force of existence – architecture gets interpreted in this passage as he would likely have interpreted sculpture. Any recognition of the social, political, physical, and psychological accommodations of architecture are absent. However, in a passage in Joyful Wisdom entitled ‘Architecture for the Perceptive’, Nietzsche wrote of architecture as a carefully crafted space to inhabit. This discussion of architecture as a lived space has received considerably less attention.
对哲学家弗里德里希·尼采(1844-1900)关于建筑的著作的学术分析主要集中在《偶像的黄昏》中的段落上,他声称“建筑是一种形式力量的口才——现在是说服,甚至奉承,现在只是命令。”然而,考虑到尼采关于权力意志的理论——对权力、力量和自我克服的内在驱动力是存在的主导力量——在这段话中,建筑被解释为他可能会解释雕塑。没有任何对建筑的社会、政治、物理和心理适应的认识。然而,在《快乐的智慧》中一篇名为“为感知而建的建筑”的文章中,尼采将建筑描述为一个精心设计的居住空间。关于建筑作为生活空间的讨论很少受到关注。
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引用次数: 0
Aleks Catina on Superstudio ‘Migrazioni’ Aleks Catina在“移民”超级工作室报道
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-06-01 DOI: 10.1017/S1359135521000257
Aleks Catina
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引用次数: 0
Microbiome-Inspired Green Infrastructure: a bioscience roadmap for urban ecosystem health 微生物启发的绿色基础设施:城市生态系统健康的生物科学路线图
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-04-21 DOI: 10.1017/S1359135522000148
Jake M. Robinson, H. Watkins, I. Man, C. Liddicoat, R. Cameron, B. Parker, M. Cruz, L. Meagher
Microbiome-Inspired Green Infrastructure (MIGI) was recently proposed as an integrative system to promote healthy urban ecosystems through multidisciplinary design. Specifically, MIGI is defined as nature-centric infrastructure restored, designed, and managed to enhance health-promoting interactions between humans and environmental microbiomes while sustaining microbially mediated ecosystem functionality and resilience. MIGI also aims to stimulate a research agenda that focuses on considerations for the importance of urban environmental microbiomes. In this article, we provide details of what MIGI entails from a bioscience and biodesign perspective, highlighting the potential dual benefits for human and ecosystem health. We present ‘what is known’ about the relationship between urban microbiomes, green infrastructure, and environmental factors that may affect urban ecosystem health - taken here to mean ecosystem functionality and resilience, as well as human health. We discuss how to start operationalising the MIGI concept based on current available knowledge and present a horizon-scan of emerging and future considerations in research and practice. We conclude by highlighting challenges to implementing MIGI and propose a series of workshops to discuss multi-stakeholder needs and opportunities. This research will enable urban landscape managers to incorporate initial considerations for the microbiome in their development projects to promote human and ecosystem health. However, overcoming the challenges to operationalising MIGI will be essential to furthering its practical development. Although the research is in its infancy, there is considerable potential for MIGI to help deliver sustainable urban development driven by considerations for reciprocal relations between humans and the foundations of our ecosystems – the microorganisms.
微生物启发的绿色基础设施(MIGI)最近被提出作为一个综合系统,通过多学科设计来促进健康的城市生态系统。具体而言,MIGI被定义为恢复、设计和管理以自然为中心的基础设施,以增强人类与环境微生物组之间促进健康的相互作用,同时维持微生物介导的生态系统功能和复原力。MIGI还旨在促进一项研究议程,重点考虑城市环境微生物群落的重要性。在本文中,我们从生物科学和生物设计的角度详细介绍了MIGI需要什么,强调了对人类和生态系统健康的潜在双重益处。我们提出了城市微生物群、绿色基础设施和可能影响城市生态系统健康的环境因素之间的“已知”关系——这里指的是生态系统功能和恢复力,以及人类健康。我们讨论了如何在现有知识的基础上开始实施MIGI概念,并对研究和实践中出现的和未来的考虑进行了展望。最后,我们强调了实施多边投资担保的挑战,并提议举办一系列研讨会,讨论多方利益攸关方的需求和机遇。这项研究将使城市景观管理者能够在其发展项目中纳入对微生物组的初步考虑,以促进人类和生态系统的健康。然而,克服多边投资担保机构运作方面的挑战对于促进其实际发展至关重要。虽然这项研究还处于起步阶段,但MIGI在考虑人类与生态系统基础——微生物之间的互惠关系,帮助实现可持续城市发展方面具有相当大的潜力。
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引用次数: 7
Demolition traditions: Isozaki and Sakaguchi 拆迁传统:矶崎和坂口
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-03-01 DOI: 10.1017/s1359135521000154
Simon Richards
If ever an architect bit the hand that fed, it was the young Arata Isozaki, a mercurial and uncompromising architectural talent who would go on to secure establishment respectability with the Pritzker Prize of 2019. But he made his renown with designs and exhibitions exploring themes of death and destruction, not least his ‘Fractures’ pavilion for the 1996 Venice Biennale, which sought to stage the aftermath of the Kobe earthquake from a year earlier, while also being a leading proponent of a playful, almost saccharine postmodernism, with projects including the Team Disney HQ of 1991. Immersed in the leading currents of Japanese architecture from the 1960s onwards, his tendency to snipe at the motives of his collaborators was legendary. Commentators have tried to account for these professional shifts and antagonisms, his dour and contrarian thematic obsessions, as well as his critiques of architectural traditionalism and technological progressivism. Why did he conduct his professional life and art this way? The conclusion seems to be that he was a nihilistic maverick pushing at the outer limits of architectural culture and even taste.
如果说有一位建筑师忘恩恩义,那就是年轻的矶崎新,这位反复无常、毫不妥协的建筑天才,将继续获得2019年普利兹克奖的荣誉。但他以探索死亡和毁灭为主题的设计和展览而闻名,尤其是他在1996年威尼斯双年展上设计的“骨折”展馆,该展馆试图再现一年前神户地震的后果,同时也是一种有趣的、近乎糖化的后现代主义的主要支持者,其中包括1991年的迪士尼团队总部。从20世纪60年代开始,他沉浸在日本建筑的潮流中,对合作者的动机进行抨击的倾向是传奇的。评论家们试图解释这些专业的转变和对抗,他的严肃和逆向的主题痴迷,以及他对建筑传统主义和技术进步主义的批评。为什么他会这样指导他的职业生涯和艺术?结论似乎是,他是一个虚无主义的特立独行者,推动建筑文化甚至品味的外部极限。
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引用次数: 0
ARQ volume 25 issue 1 Cover and Back matter ARQ第25卷第1期封面和封底
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-03-01 DOI: 10.1017/s1359135521000191
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引用次数: 0
ARQ volume 25 issue 1 Cover and Front matter ARQ第25卷第1期封面和封面
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-03-01 DOI: 10.1017/s1359135521000208
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引用次数: 0
How do buildings talk? Embodied experience in the Rolex Learning Centre 建筑是如何说话的?劳力士学习中心的亲身体验
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-03-01 DOI: 10.1017/S1359135521000129
Jing Yang, J. Hale, Toby Blackman
The Venice Architecture Biennale in 2010, curated by Japanese architect Kazuyo Sejima, co-founder of Tokyo-based practice SANAA, included a remarkable twenty-four-minute 3D film by the German director Wim Wenders depicting the practice’s Rolex Learning Centre in Switzerland. Entitled If Buildings Could Talk, the film ran in a continuous loop, without a tangible beginning or end, much like the building itself. Invited by SANAA to develop the film, Wenders found himself confronted with a new type of space that he had no prior experience of, and no vocabulary to describe: ‘The Rolex Learning Centre’, said Wenders during a talk given at the Biennale, ‘is more landscape than building.’
2010年的威尼斯建筑双年展由日本建筑师Kazuyo Sejima策划,他是东京SANAA事务所的联合创始人,其中包括德国导演Wim Wenders制作的一部引人注目的24分钟3D电影,描绘了该事务所在瑞士的劳力士学习中心。这部名为《如果建筑会说话》的电影是一个连续的循环,没有具体的开始或结束,就像建筑本身一样。受SANAA的邀请,文德斯发现自己面对的是一种新的空间类型,他之前没有任何经验,也没有任何词汇来描述:“劳力士学习中心”,文德斯在双年展上的一次演讲中说,“与其说是建筑,不如说是景观。”
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引用次数: 0
Andrew Carr on contrapposto permanence 安德鲁·卡尔对持久性的看法
IF 0.1 4区 艺术学 Q3 Arts and Humanities Pub Date : 2021-03-01 DOI: 10.1017/s1359135521000178
A. Carr
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arq-Architectural Research Quarterly
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