大空间张拉膜结构建筑的形态构造技巧

当前,张拉膜结构体系已逐渐发展成熟,国外建成了一批成功的大空间张拉膜结构建筑(LSTM)。国内建筑师对此类建筑接触的时间不长,对其创作规律还不甚了解,在设计中出现了结构与形式相矛盾的现象,针对创作中存在的问题,研究在结构合理性的基础上张拉膜结构形态的变化技巧。

大空间建筑的形式创作规律初探

该文通过大空间建筑发展的回顾，就其中技术性与艺术性以及两省与其内在制约因素之间的关系等规律性问题做了初步的探索，并在此基础上就其创作规律提出了自己的观点，以期更深刻地把握具体他作。

技术与艺术并重的大空间公共建筑

通过对大空间建筑发展的回顾,分析了技术性与艺术性在大空间建筑中的关系及发展规律。并在此基础上,粗略探讨了建筑师在创作过程中应注意把握的规律,以期创造出更多的精品。

论贾公彦的汉字学思想

贾公彦的汉字学思想主要体现在汉字的形义关系、职能分化状况和形体组构类型三个方面。贾氏自觉运用汉字形义统一规律作为注解《周礼》《仪礼》的指导思想和理论工具,使汉代以来的汉字形义统一的思想更加明确和系统。他对文献材料中汉字职能的演变情况进行了理论上的探索,提出“望文为义”等概念对汉字职能的分化状况进行了合理的解释,为后世此类研究奠定了基础。贾氏首次按照部件的摆放位置将形声字归纳为六种组构方式,这是在传统“六书”之外对汉字形体结构新的分类,开启了纯汉字形体研究的先河。贾公彦对汉字的理性认识既有继承自前人的成分,又有所创新,在汉字学思想发展史上居于承上启下的重要地位。

“O”与“零”辨析

汉字的作用是把音、义结合的语言记录下来 ,因此 ,汉字的载体是它的形 ,汉字的内涵是它的音和义。汉字把有声语言的听觉信息转换为汉字符号的视觉信息 ,这些符号所负载的实际上是不同的语言单位。形是字的本身 ,字音和字义是字所记录语言的声音和内容。认识、研究汉字 ,实质就是认识、研究汉字的形音义之间的关系。笔者从形音义三者之间错综复杂的关系来谈“O”和“零”这两个常用汉字的异同 ,从而回答“O” =“零”与“零”≠“O”这个问题。

Architecture, Faith and Culture Antagonism or Harmony？

The relationship between architecture and faith has always been of great wealth. Faith as a way of life and social memory exercises a decisive influence on the shape of the construction environment. Yet this relationship is rarely analyzed. On a general level, one reason for this deficiency is probably due to the spread of the ideology of modernity. Given that modernity is implicitly secular, it does not prompt to understand faith in its relationship with other phenomena. It is the same for architecture. We believe on the contrary that the construction environment and the cultural aspect must interact and complement each other. When this is not true or only partially true, this results in user dissatisfaction, and refusal to engage and participate in the process of changing that environment. Many authors have tried to show explicitly the influence of Islamic thought on the social organization and the housing as well as the link between housing and identity, but its implications have not always been understood and transmitted concretely. One thing is certain： the ideological -symbolic-metaphoric sphere is the essence of architecture, as are the program requirements： functionality, distributivity, health of the environment and technology of construction. In this contribution we will address the thorny issue of cultural and religious influences on the choice of the morphology of the habitat and its components, and we will try to highlight the interaction between architecture, faith and culture through analysis of a Mediterranean type ＂House with Patio＂ as a particular architectural style, which has been enriched through the centuries by different cultures. Although the course of this typology in each of these cultures and at different times has not been the same, this has only strengthened the mission and spirit of the ＂Patio＂ until the appropriation of this model by the Arab-Muslim peoples who were able to incorporate the Islamic perception in this space.