试论博物馆展示设计中的形式渗透

“形式渗透”是指在展示形式设计中通过几种或多种、同类或异类形式间的相互吸收、相互影响、相互融合,而形成总体形式的独有的特质。而本文主要介绍了在博物馆展示设计艺术中的“形式渗透”。     

Tourism planning and place making: place-making or placemaking?

ABSTRACT

Tourism destination planning and marketing are fundamentally place making actions intended to shape the image and imageability of a place. Place making is an innate human behavior, ranging from the organic and unplanned actions of individuals, defined here as ‘place-making,’ to planned and intentional global theming by governments and tourism authorities, defined here as ‘placemaking.’ Place-making and placemaking are ends on a continuum of options, with most places have a mix of local and global elements. These elements also range from the tangible (base in urban design) to the intangible (peoplescapes and imaginations). The tools of place making are essentially the same for both organic place-making and planned placemaking, but the intentions and outcomes can vary enormously. Tourism development, as an economic activity, almost always has a neoliberal planned placemaking agenda. Organic place-making emerges through individual agency, which if allowed to proceed, will make its imprint even in a heavily master planned tourism landscape. An understanding of place-making and placemaking gives insight into research questions on the political economy of tourism and the roles of hosts and guest in co-producing tourism places. Examining the elements of place making in a tourism landscape can more clearly identify how different worldview perspectives have contribute over time to the making of tourism places, and thereby assist in planning for the future development of destination communities.     

Cosmopolitan translation and patriotic sensibilities in German garden art

ABSTRACT

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What they shared was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe.     

Transformational design literacies: children as active place-makers

Innovative curriculum frameworks that support children as active researchers and designers in everyday learning contexts remain unprioritized in school settings. Design literacies challenge and expand existing curriculum structures at a time when state and national curriculum privilege literacy and numeracy testing. Drawing on a broader ethnographic study that examined children's inhabitation of school food gardens through pedagogies of food production, ecology and design in three Australian primary schools [Green, M. 2011 Green, M. 2011. “Place Matters: Pedagogies of Food, Ecology and Design.” Unpublished PhD, Monash University Churchill Victoria [Google Scholar]. “Place Matters: Pedagogies of Food, Ecology and Design.” Unpublished PhD, Monash University Churchill Victoria], this paper focuses on the design literacies or ‘design-centered pedagogy’ [McLaren, S. 2008 McLaren, S. 2008. “Learning for Engagement: Lose the Ring-Fencing.” Paper presented at the Technology Education Research Conference: Exploring Technology Education: Solutions to Issues in a Globalised World, Gold Coast, Queensland. [Google Scholar]. “Learning for Engagement: Lose the Ring-Fencing.” Paper presented at the Technology Education Research Conference: Exploring Technology Education: Solutions to Issues in a Globalised World, Gold Coast, Queensland] that supported children's engagement with everyday learning in one school community. Semi-structured and ‘walking interviews’ provide rich data for understanding the contributions of design and design processes in a garden-based curriculum. When linked to a framework of sustainability, design literacies can expand learning opportunities that deepen their connection to everyday places.     

钧窑瓷

乳光釉和窑变是钧窑的两大特点,蓝、红是钧窑瓷的两大瓷色,胎体不净、胎色不纯是钩窑资的两大缺憾。     

文物计算机辅助修复方法探讨

为提高文物的修复效率和修复质量,改变传统以人工技艺为主的修复方法,探讨利用计算机辅助文物修复方法。通过图像处理研究计算机辅助文物修复的设计方法,研究包括文物破损边界特征的数据提取,实现文物修复模型的生成、修复方案结构设计优化。以吴虎鼎为应用案例进行了试验。研究结果表明,计算机辅助修复可以缩短文物修复周期、提高文物修复质量。     

康熙时期的养心殿

养心殿作为宫内的一处重要建筑,在康熙时期的情况一直不甚清楚。本文通过零星的记载,尤其是当时西方传教士的著作,对康熙时期养心殿的建筑格局、内部陈设、使用情况等进行了考证,认为与雍正以后的状况有很大差异,其功用是多方面的,从而对养心殿历史沿革的认识更为全面。     

西周至南北自制玻璃概述

我国玻璃起步较晚,大体始于西周初或先周(殷末),主要是蓝色、浅蓝色或绿色玻璃珠管,与玉、玛瑙配合制成“杂佩”。其时玻璃的主要成分为二氧化硅,并含有少量铅、钡,故称为铅钡玻璃,与西方钠钙玻璃不同而独树一帜。春秋战国时期,西方蜻蜓眼玻璃珠输入我国,从此,以仿羊脂白玉美若明月的“隋侯珠”为代表的自制玻璃与外来玻璃并存。西方(大月氏)吹制玻璃术于汉魏传入我国之后,也出现了自制的空心玻璃器皿。     

康熙朝雕漆初探

康熙朝有无雕漆,一直悬而未决。本文通过对故宫博物院所藏7件雕漆作品的造型、漆色、雕工、装饰纹样、款识等多方面的分析,认为康熙朝有雕漆,并推断为苏州制造。