景观专业外语上课资料

1. Arts and Crafts Movement

The Arts and Crafts Movement was an international design movement that originated in England and flourished between 1880 and 1910, continuing its influence up to the 1930s. Instigated by the artist and writer William Morris (1834-16) in the 1860s and inspired by the writings of John Ruskin (1819-1900), the movement advocated truth to materials and traditional craftsmanship using simple forms and medieval, romantic or folk styles of decoration, against the styles that had developed out of machine-production.

By the end of the nineteenth century, Arts and Crafts ideals had influenced architecture, painting, sculpture, graphics, illustration, book making, photography, domestic design and the decorative arts, including furniture and woodwork, stained glass, embroidery and weaving, jewelry and metalwork.

Starting from 1855, the Association continuously held a series of exhibition in England to provide the public with a good opportunity to understand the design and elegant design taste, so as to promote the movement. Widely exhibited in Europe, the Arts and Crafts Movement’s qualities of simplicity and honest use of materials inspired designers like Henry van de Velde and movements such as Art Nouveau, Vienna Secession, and eventually the Bauhaus. Pevsner regarded the movement as a prelude to Modernism, which made use of simple forms without ornamentation. 2. Art Nouveau

Art Nouveau is an international movement and style of art, architecture and applied art—especially the decorative arts—the peaked in popularity at the turn of the 20th century (10-1905).

第1课艺术设计史

1.工艺美术运动

工艺美术运动是一场起源于英国，在1880至1910年间蓬勃发展的国际设计运动，它的影响力一直持续到20世纪30年代。该运动由艺术家、作家威廉•莫里斯（1834－16）于19世纪60年代发起，并受到约翰•拉斯金（1819－1900）的著作鼓舞。运动主张忠实于材料，提倡使用简朴形式和具有中世纪的、浪漫的、民俗风格装饰的传统手工艺，以反对机器化大生产所发展出来的设计风格。 到19世纪末，工艺美术运动的思想影响到建筑、绘画、雕塑、平面、插图、书籍出版、摄影、室内设计和装饰艺术等领域，涵盖了家具与木制品、彩色玻璃、刺绣和纺织品、珠宝和金属制品。

从1855年开始，这个协会在英国连续不断地举办了一系列的展览，向公众提供了一个了解设计及高雅设计品味的机会，从而促进了工艺美术运动的发展。随着在欧洲的广泛展出，工艺美术运动的朴素和忠于材料的品质启发了像亨利•凡德维尔德这样的设计师及新艺术、维也纳分离派等艺术流派并最终对包豪斯学校的创立产生了重大的影响，佩夫斯纳认为该运动是无装饰的简洁形式的现代主义设计的开端。 2.新艺术运动

新艺术运动是一场在艺术、建筑、实用艺术尤其装饰艺术领域的国际主义风格运动，在20世纪之交的10－1905年达到流行顶峰。

As a reaction to academic art of 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly stylized, flowing curvilinear forms. Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life. Typical products include the drawings of Breardsley, the furniture of Mackintosh, the architecture of Gaudi, the jewellery of Lalique, the glassware of Louis Comfort Tiffany, and the Paris Metro stations by Hector Guimard

Alphonse Mucha produced a lithographed poster, which appeared on 1 January 15 in the street of Pairs as an advertisement for the play”Gismonda”. It was overnight sensation, and announced the new artistic style and its creator to the citizens of Paris.

Dynamic, undulating, and flowing with curved “whiplash” lines of syncopated rhythm characterized much of Art Nouveau. Another feature is the use of hyperbolas and parabolas Conventional mouldings seem to spring to life and grow into plant-derived forms. As an art movement it has affinities with the Pre-Raohaelites and the Symbolism movement. Unlike Symbolist painting, however, Art Nouveau has a distinctive visual look; and unlike backward-looking Arts and Crafts Movement, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design. Japanese woodblock prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, also inspired Art Nouveau. Some line and curve patterns became graphic clichés that were later found in works of artists from all parts of the worlds.

作为对19世纪学院派艺术的一种反抗，它的特点是不仅有高度风格化的流动曲线的形式，而且有以有机的、特别是以花卉等植物为灵感的图案。新艺术运动是艺术家在从建筑到家具等一切工作中，使艺术成为日常生活的一部分的一种设计方法。代表性的作品包括比亚兹莱的插画、麦金托什的家具、高迪的建筑、拉利克的珠宝、路易斯•康福特•蒂凡尼的玻璃器皿以及赫克多吉马德设计的巴黎地铁站入口。

15年1月1日，阿方斯•慕夏制作了一张戏剧“吉斯梦坦”的平版印刷海报，在巴黎的大街上一夜之间引起轰动，并向巴黎民众宣告新的艺术风格和创始人的诞生。 伴随着切分音节奏般的弧形曲线形成的动感、起伏感、流动感是新艺术运动最重要的特征，另一个特征就是双曲线和抛物线的使用。这些传统的装饰线条似乎充满了活力，像是从植物中生长出来的形式。作为一种艺术运动，它与拉斐尔前派和象征主义有着密切联系，但是不同于象征主义绘画，新艺术运动具有鲜明的视觉效果；也不同于过去的工艺美术运动，新艺术运动的艺术家们在纯粹的设计服务中很快接受使用了新材料、使用新机器加工外观和抽象的特征。

日本木刻版画以其曲线、图案外观、强烈对比的空间和平坦的画面，同样启发了新艺术运动。自此以后，在来自世界各地的艺术家作品中，都能发现某些线条和曲线图案成为绘画中的惯用手段。

Art Nouveau did not negate the machine as the Art and Crafts Movement did, but used it to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture.

Although Art Nouveau fell out of favor with the arrival of 20th century modernist styles, it is seen today as an important bridge between the historicism of Neoclassicism and modernism. 3．Constructivism

Russian Constructivism was a movement that was active from 1913to the 1940s. It was a movement created by the Russian avant-garde, but quickly spread to the rest of the continent. Constructivist art is committed to complete abstraction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional. Subjective or individualistic forms were far more suitable to the movement than objective forms carrying universal meaning. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements. New media was often used in the creation of works, which helped to create a style of art that was orderly. An art of order was desirable at the time because it was just after WWI that the movement arose, which suggested a need for understanding, unity and peace. Famous artists of the Constructivist movement include Vladimir Tatlin, Kasimir Malevich, Alexander Rodchenko, and El Lissitzky.

The artists of the movement were influenced by, and used materials from industrial design such as sheet metal and glass. Often these materials were used to create geometrically-shaped objects, which were in keeping with the utilitarian artistic vision of the movement.

新艺术运动没有像工艺美术运动那样否定机器，而是发挥其所长。拿雕塑来说，主要的材料是玻璃和锻铁，甚至使建筑具有了雕塑般的品质。

虽然随着20世纪现代主义风格的到来，新艺术运动日益式微，但是今天它仍被看作是历史的新古典主义和现代主义之间的重要桥梁。3. 构成主义

构成主义运动始于1913年，持续到20世纪40年代。它是由俄罗斯前卫艺术家发起的艺术运动，很快蔓延到欧洲。 构成主义致力于忠于现代主义的完全抽象，其主题通常是几何图案的，实验性的、理性的。主观或个人主义的形式远比具有普遍意义的客观形式更适合于这场运动。构成的主题也相当微小，艺术作品被分解到最小的要素，作品的创作通常使用新媒介，有助于一种新的有序的艺术风格。在当时大家都渴望一种新的艺术秩序，因为该运动是在第一次世界大战结束是产生的，提出了对理解、团结与和平的需求。著名的构成主义艺术家包括：弗拉基米尔•塔特林，卡西米尔•马列维奇，罗伯特•亚当斯和埃尔•李西茨基。 这个运动的艺术家们受到工业设计的影响并使用这些金属板和玻璃的工业材料。这些材料通常被用来创建几何形状的物体，这与该运动实用主义的艺术视野保持了一致。

Other painters, sculptors, and photographers working during this time were usually involved with industrial materials such as glass, steel, and plastic in clearly defined arrangements. Because of their admiration for machines and technology, functionalism, and mediums, members were also called artist-engineers. 4. The International Typographic Style Also known as the Swiss Style, the international Typographic Style is a graphic style developed in Switzerland in the 1950s that emphasizes cleanliness, readability and objectivity. It was extension of Bauhaus principles developed mainly in Zurich and Basle in the period leading up to the Second World War. Key figures in the evolution of the style included Theo Baller, Max Billr, and Max Huber, all of whom were familiar with the avant-garde ideals of De Stijl, Constructivism, and the New Typography of the interwar years. The rational characteristic of the Style were its use of sans serif typography (especially the Helvetica and Universe typefaces), text set in narrow columns with a rigid left-margin and unjustified right. This austere, geometrically conceived, and rational outlook was further defined by its use of photography rather than hand-drawn illustrations. Swiss neutrality during the war had allowed these design principles to develop and it became increasingly adopted in design-conscious circles internationally in the 1950s to 1970s. The influence was widely disseminated through the Swiss-based journal New Graphic Design(1958-1965). This came under attack from a new generation of typographers identified with New Wave Design who sought to counter the rigidity of the Swiss Style with a more expressive, intuitive style linked to the tenets of Postmodernism

其他的画家、雕塑家、摄影师在这个时期的创作通常使用玻璃、钢铁、塑料等具有明确定义的工业材料。由于他们对机器、技术、功能主义及现代媒体的赞赏，成员们也被称为艺术家工程师。 4.国际主义平面设计风格

国际主义平面风格也被称为瑞士风格，是20世纪50年代在瑞士发展起来的平面设计风格，强调整齐、可读性和客观性，是第二次世界大战期间包豪斯原则在苏黎世和巴塞尔的延续发展。该风格发展中的关键人物包括：西奥•巴尔莫，马克思•比尔，马克思•胡珀，他们所有人都熟悉二次大战期间的风格派、构成主义和新版面设计的前卫设计思想。 该风格设计的理性特征在于无衬线字体（尤其是赫尔维提加体和通用体）的使用，以及文本被放置在左边精确空白处狭窄的栏内，而放在右边是不合理的。这种简单、几何设想的理性观点通过对摄影图片而不是手绘插图的使用得到进一步的明确我。战争期间瑞士的中立地位使这些设计法则不断发展，并在20世纪50年代至70年代在国际设计界被越来越多的采纳。

国际主义平面设计风格的影响力通过瑞士出版的《新平面设计》杂志得到广泛传播，这遭受到新一代的新浪浪潮平面设计运动的攻击，以更具表现力的、直观的风格作为后现代主义风格的原则，寻求对刻板的瑞士风格的反击。

Unit 2 Bauhaus and the education of Design

Des Staatliches Bauhaus commonly known simply as Bauhaus,was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally “house of construction” stood for the new building design system.

The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a “total work of art” in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design. The Bauhaus has a profound influence upon subsequent developments in art, architecture,, graphic design, interior design, industrial design and typography.

The school existed in three German cities(Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different presidents: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime.

The Bauhaus curriculum combined theoretic education and practical vocational training in its educational workshops. As teachers, or Bauhaus Masters, Gropius brought from all over Europe such as Lyonel Feininger, Vassily Kandinsky, Paul Klee, Johannes Itten and Lazlo Moholy Nagy, Marcel Breuer, Hannes Meyer and Josef Albers also joined the faculty.

第2课包豪斯及其设计教育

公立包豪斯通常简称为包豪斯，是一所位于德国的

将工艺和美术相结合的设计学校，因其宣传和教导的设计方法而出名。包豪斯从1919年运营至1933年。当时的德语包豪斯，字面上是“房屋建筑”的意思，意味着新型的建筑设计体系。

包豪斯学校由沃尔特•格罗皮乌斯在魏玛成立，尽

管它的名字与建筑有关，而且它的创立者事实上就是一位建筑师，但是包豪斯成立的第一年并没有设立建筑系。尽管如此，包豪斯成立的思想是在所有领域包括最终加入进来的建筑领域创造“艺术创作的综合”。包豪斯风格成为现代主义建筑和现代设计最有影响的潮流之一，它对艺术、建筑、平面设计、室内设计、工业设计和排版艺术的发展产生了深远的影响。

学校分设于德国三个城市（1919－1925年的魏玛时

期，1925－1932年的德绍时期，1932－1933年的柏林时期），有三任不同的校长：1919－1928年任职的沃尔特格罗皮乌斯，1928－1930年任职的汉斯•迈耶，1930－1933年任职的路德维希•密斯•凡德罗，1933年，学校的领导者在纳粹政权的压力下被迫关闭学校。

包豪斯的课程结合了理论教育和在其学校性质的

工场进行实践的职业训练，至于老师，也就是包豪斯的大师们，格罗皮乌斯找了来自欧洲各地的人，比如奥尼•费宁格、瓦西里•康定斯基、保罗•克利、约翰内斯•伊顿、拉兹洛•莫霍利•纳吉、马歇•布劳耶、汉斯•迈耶、约瑟夫•亚伯斯也都加入了教师队伍。

The educational process was as much responsiblefor innovation and new design paradigms as the philosophy of the Bauhaus. For example, Ittendeveloped the innovative “preliminary course”which was to teach students the basics of material characteristics, composition, and color. In 1920, he also published a book, The art of color, which describes these ideas as a furthering of Adolf Holzel’s color wheel. Itten was one of the first people to define and identify strategies for successful color combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hue’s contrasting properties.

Beginning with a required Preliminary Course, students learned the basics of fine art (color theory, composition and drawing). After completing this requirement, the students then chose the discipline they wished to pursue, in specialized workshops for architecture, textile design, furniture design, typography, etc. This pedagogical system was soon copied by art and design schools all over the world. Students studied the problems of manufacturing, the requirement for housing large populations inexpensively, or bringing beauty as well as function into the home through fabric, furniture or utensils.

The Bauhaus school left its greatest impact in the field of applied design. Here, in designing for those objects of daily life which are mass-produced by industrial technology, it is perhaps harder to design a first-rate teapot than a second-rate painting. Modern design is now respected as a profession and an art. We are no longer surprised to see exhibits of modern furniture in museums such as the Museum of Modern Art in New York.

教育过程更多是为了创新和新的设计典范，并以此

作为包豪斯的教育理念，例如，伊顿开发了创新性的“基础课程”即传授学生关于材料特征，构成和色彩的基础知识。在1920年出版了《色彩艺术》一书，该书所阐述的理念被视为是对阿道夫•霍尔茨尔色彩环的进一步推动。伊顿是第一批成功的定义和确定颜色组合策略的人之一，通过他的研究，他发明了利用色相对比的特性使色彩协调的七种方法。

从必修的基础课程开如，学生学习艺术的基础知识

（色彩理论、构成、绘画）。在完成了基础课程之后，那时学生开始选择他们所喜欢的专业，在专业化的车间学习建筑、纺织品设计、家具设计、印刷等。这种教学体系很快被世界各地的艺术设计院校所模仿。学生能够了解制造过程中的问题，了解到人口众多对低成本住房的要求，学习通过织物、家具、用具器皿使室内达到美与功能的统一。

包豪斯学校最大的影响力是在应用设计领域。在这

里，设计是那些工业化批量生产的日常用品，也许设计一个一流的茶壶比一幅二流的绘画要更难。现在的现代设计被尊崇为一种专业和一种艺术。人们不再为在博物馆里（如纽约现代艺术博物馆）发现现代家具展品而感到惊奇。

Unit 3the History of Photoshop

In September 1988, the Knoll brothers’[1] luck changed. John presented a demo to Adobe’s[2]

internal creative team, and they loved the product. A license agreement was struck soon after, and Photoshop 1.0 was shipped in February 1990 after 10 months of development.

Thomas has remained involved with the project all along. He never did have time to finish his thesis. John has continued his career at ILM[3], serving as visual supervisor on projects such as “Mission Impossible(1996)”. Gelnn Knoll is still working as a professor for the College of Engineering at the University of Michigan.

By 1987,John Knoll was working at Industrial Light and Magic-Lucas film’s[4] nascent special effects division, founded for Star War，while Thomas was studying for his PhD[5] on image processing at the University of Michigan. Having just bought a brand-new Apple Mac Plus[6] to help out with his thesis, he was dismayed to find it couldn’t display greyscale

[7]

images on the

monochrome monitor. So, in true hacker style, he set about writing his own code to do the job. John was also working on image processing at ILM, and during a holiday visit he became very impressed with Thomas’s progress. In the book 〈 A Computer Graphics Industry Reference〉 John says, “As Tom showed me his work, it struck me how similar it was to the image-processing tools on the Pixar[8]

. “Thus the pair began to collaborate on an application, which they dubbed—excitingly — Display

第3课 Photoshop 的历史 1998

年9月，诺尔兄弟的运气改变了。约翰向

Adobe公司的内部创意团队提交了一个演示版，他们喜欢这个产品。不久以后达成了许可协议，经过10个月的开发，Photoshop1.0 于1990年2月上市了。

托马斯一直参与这一项目的始终，他始终没有时间

完成他的论文。约翰继续着他在工业光魔公司的职业生涯，任视觉效果总监完成了如《碟中碟》等影片。格伦诺尔仍然作为教授在密歇根大学工程学院任教。

1987

年，约翰•诺尔正在工业光魔－卢卡斯电影

公司为《星球大战》新成立的特效部门工作。而托马斯正在密歇根大学为图像处理的博士学位进行研究工作。他刚刚买了一台全新的苹果计算机来帮助写论文，他沮丧地发现在单色显示器上无法显示灰度图像，所以他就像真正的黑客那样，着手编写自己的代码来完成这项工作。

约翰还在工业光魔致力于图像处理的工作，在一次

假期探望中，他对托马斯的进展印象深刻，他在《计算机图像产业参考》一书中说道：“当汤姆向我展示他的工作时，我突然想起它与皮克斯的图像处理工具多么相似”，因此两兄弟在应用程序上开始合作，该程序被他们振奋人心地称为Display。

It wasn’t long before John had bought a new color Macintosh Ⅱ[9]and persuaded Thomas to rewrite Display to work in color. Indeed, the more John saw of display, the more features he began to ask for: gamma correction[10], loading and saving other file formats, and so on.

Although this work distracted Thomas from his thesis, he was quite happy to oblige. He also developed an innovative method of selecting and affecting only certain parts of the image (such as soft edge)[11], as well as a set of image-processing routines (such as filters)[12]

—which would later

become plug-ins. A feature for adjusting tones (levels)[13] also emerged, along with controls for balance,[14]hue[15]and saturation.[16] These were defining features of Photoshop, but at that time, it was almost unthinkable to see them anywhere outside of specialist processing software in a lab—or at ILM.

By 1988, Display had become Image Pro[17] and was sufficiently advanced that John thought they might have a chance at selling it as a commercial application. Thomas was reluctant: he still hadn’t finished his thesis, and creating a full-blown application would take a lot of work. But once John had checked out the competition, of which there was very little, they realized Image Pro was ahead of anything currently available.

Thus the search began for investors. Thomas changed name of their software several times. Each time he found one he liked, it had already been taken. Then, during a program demo, he confided to someone that he was having problems naming the program. The confidant suggested Photoshop, and that became the program’s working name.

没多久，约翰买了一台全新的彩色的麦金塔二代，

并说服托马斯修改Display，使其能够以彩色模式工作。事实上约翰看到Display的次数越多，他就开始要求更多的功能：伽玛校正，加载和保存其它文件格式等等。

虽然这项工作分散了托马斯的论文工作，但是他很

愿意为此效劳。他还开发了一种能够进行选择，并只影响图像局部的创新方法，同时还有一组图像处理固定程序（例如滤镜）－这在后来成为了插件。随着调整色彩平衡，色相，色彩饱合度功能，调整色调，色阶的功能也出现了。这些是Photoshop的典型特征，但是在当时，在实验室或是ILM之外的任何地方看到专业处理软件几乎是不可想像的。

到了1988年，Display的名字变成了Image Pro，

并且足够先进，以至于约翰认为他们有机会将它作为一款商业应用程序出售。托马斯不是很情愿，他还没有完成他的论文，创造一个完善的应用程序需要大量的工作。但是约翰调查了为数不多的竞争者后，他们意识到Image Pro 超越了现有的任何一款图像处理软件。

于是他们开始寻找投资者。托马斯为软件更换了数

次名称，每当他找到一个喜欢的名字，结果已经被别人占用。后来在一次软件演示中，他向人吐露命名软件时遇到的问题，这位朋友建议用Photoshop，而这就成了这一程序的正式名称。

Most software companies turned their corporate noses up at Photoshop, or were already developing similar applications of their own. Fortunately, they met Russell Brown[18], the Art Director of Adobe, who was highly impressed with the program and persuaded the company to take it on. Whether through naivety on Adobe’s part or canniness on the brothers’, Photoshop was not sold wholesale but only licensed and distributed, with royalties still going to Knolls.

It wasn’t as if this deal meant the Knoll brothers could sit back and relax. They now had to work even harder on getting Photoshop ready for an official 1.0version[19]release. Thomas continued developing all the main application codes, while John contributed plug-ins separately, to the dismay of some of the Adobe staff who viewed these as little more than gimmicks.

Photoshop has become a big business. The company’s revenues are $1 billion a year. Yet throughout Photoshop’s history one thing remains clear, Photoshop came out at the right place at the right time. It continues to be a well-crafted piece of software developed by some truly gifted software engineers.

Now Thomas Knoll still lives in Michigan, in relative obscurity, with his wife and kids in the 10,000-square-foot house that Photoshop built. He still works for Adobe on a contract basis. John Knoll is no longer directly involved with Photoshop development. But he still used it in his work at Industrial Light & Magic.

大多数软件公司对Photoshop嗤之以鼻，或是已经

在开发自己的类似的程序。幸运的是，他们遇到了拉塞尔•布朗，Adobe公司的艺术总监，他对程序印象深刻并说服公司采用。不管是Adobe公司天真或是诺尔兄弟精明，Photoshop没有被买断所有权， Adobe公司只有许可和发行权，版税仍属于诺尔兄弟。

这项协议好像没有意味着诺尔兄弟能够坐下来放

松一下，他们现在必须更努力地为一个官方的1.0版本的发行做准备。托马斯继续开发所有主要的应用程序代码，而约翰独自参与一些插件的开发，使一些认为这些不过是噱头的Adobe公司的员工感到惊愕。

Photoshop 成就了大业，公司的年收入有上十

亿美元，回顾Photoshop的历史，显而易见的是，Photoshop在合适的时间出现在合适的地点，它将继续被一些真正富于天才的软件工程师精工打造。

如今，托马尔仍居住在密歇根，保持着相对低

微的身份，他和妻子儿女一起住在上万平方尺的住宅里，这都是用Photoshop换来的，他在合约前提下为Adobe工作。约翰诺尔已经不再直接参与Photoshop的开发，但是他在IML的工作中仍然使用Photoshop。

Unit 4 Landscape Planning and Design of

Residential Area[1] 1. Space Constitution Buildings and urban spaces are limited by three-dimensional material elements. The space issue considered by residential planning mainly focuses on external space research, and on how to create a suitable living environment through external space constitution.

The constitution elements of external space can be divided into basic elements and auxiliary elements. The basic elements refer to buildings, tall trees and other large-scale structures (such as walls, columns, large and tall natural terrain, etc.) that limit main space. The auxiliary elements are usually referred to the three- dimensional entities of smaller-scale to form a subsidiary space or to enrich the basic space scales and levels, such as low walls, the courtyard gates, steps, shrubs and undulating terrain, and so on. 2. Traffic Analysis[2]

Traffic function is the basic function of various accesses of residential areas. Choices of resident trip mode and transportation mode directly influence all the types of layout and connection forms of accesses at all levels in the residential areas. With the influence of economic development, living habits, natural conditions, ages, income and other factors, the choices of transportation modes have various characteristics due to residents of different regions, ages and levels. 3. Public Facilities The municipal facilities of residential areas include various types of water, electricity, gas, heating system, communication and sanitation engineering facilities on and under the ground, serving for the residential area only.

第4课住宅区景观规划设计

1.空间构成

建筑与城市空间由三维的物质要素限定而成。住宅区规划设计所考虑的空间问题，主要侧重于研究外部空间，并研究如何通过外部空间的构筑，营造一个宜居的居住环境。

外部空间的构成要素可分为基本构成要素和辅助构成要素。基本构成要素是指限定基本空间的建筑物、高大的乔木和其它较大尺度的构筑物（如墙体、柱或柱廊、高大的自然地形等）辅助构成要素是指用来形成附属空间，以丰富基本空间的尺度和层次的，较小尺度的三维实体，如矮墙、院门、台阶、灌木和起伏的地形等。 2.交通分析 通行功能是住宅区各类通路的基本功能。居民出行与区内交通方式的选择直接影响着住宅区内各类各级通路的布局与连接形式。受经济发展、生活习惯、自然条件、年龄、收入和其它因素影响，不同地区、年龄和阶层的居民选择的交通方式有不同特征。

3、公用设施

住宅区的市政设施包括为住宅区自身供应服务的各类水、电、气、供暖、通信以及环卫的地面、地下工程设施。

The planning of such facilities should follow theprincipals of the overall coordination, management and maintenance, and the principal of sustainable development to save land, energy and water, reduce pollution, improve the ecological environment of the living area and meet the needs of modern life. (1) Water-supply System[3]

Water supplies of residential areas include resident’s living water supply, and some other water supply facilities for public services, green water supply,clean water supply and fire water supply. (2) Drainage system The drainage system includes sewage and storm-water drainage systems.In residential areas, domestic sewage is the main sewage discharge.

4. Outdoor Environmental Landscape Outdoor environmental landscape in residential areas includes

two

categories—soft and hard landscapes.The

soft

landscape

takes

plant

configuration and planting layout as the main content, while the hard landscape mainly refers to the design of walking

environment,

including

vertical floor,[4]ground pavement,marginal effect platform,[5] steps and ramp, embankment and fence, and so on. The major goal of the design of residential outdoor environmental landscape is to create an ecological, pleasant and comfortable material environment and a harmonious, intimate and energetic social and cultural environment.

Green space[6]

is an important part of outdoor environment. The elements of green space generally contain land for plant cultivation (including grass, flowers, shrubs, trees, etc.) sites for a pavement which belongs to field for plant cultivation (including foot path, open square for pedestrians, etc.), a movable or fixed water body for plant cultivation. According to the gradation of green space, it is divided into public green space, residential green space between houses, road green space, green space for special purpose etc.

住宅区市政公用设施的规划应该遵循有利于整体协调、管理维护和可持续发展的原则，节地、节能、节水、减污，改善居住地域的生态环境，满足现代生活的需求。

（1）供水系统

住宅区供水系包括居民生活用水、各类公共服务设施用水、绿化用水、环境清洁用水和消防水。

（2）排水系统

排水系统包括污水排水系统和雨水排水系统。对住宅区而言，污水排放主要是指生活污水的排放。

4、户外环境景观

住宅区的户外景观包括软质景观和硬质景观两大类。其中软质景观以植物配置与种植布局为主要内容，硬质景观主要指步行环境的设计，包括地坪竖向、地面铺装、边缘台地、踏步与坡道、堤岸与围栏等。住宅区户外环境景观设计的主要目标是营造生态化、宜人化，舒适化的物质环境以及和睦、亲近，具有活力的社会文化环境。

绿地是构成住宅区户外环境的重要组成部分。就绿地的构成要素而言，一般包含有植物种植的用地（包含草皮、花卉、灌木、乔木等），在植物种植用地中的铺装硬地（包含步行道、步行休憩广场等），可活动的或处于植物种植用地内的水体。就绿地的使用层次而言，又分为公共绿地、宅间宅旁绿地、道路绿地和专用绿地等。

5. Humanization Design[7]

The landscape design of residential areas should be humane and take all the needs of people as the fundamental starting point, and consider man’s scale an activities under the premise of developer’s scientific and rational operation, the overall environmental protection and sustainable development in pursuit of a graceful, relaxing, ecological and secure landscape with a strong sense of belonging. 6. Ecological Design Ecologizationis to protect and use local natural conditions, save energy and clean up the environment. Where there is water, there willbe people. This is the most important reason that most residential areas hope to have waterscapes. In northern regions, it is possible to set up water tanks in residential areas. Rainwater, collected by ground water drainage system, can be used for waterscape and plant irrigation. Ecological community is also a selling point for estate owners, though it needs more investment at early stage, it is beneficial to the society. The government’s efforts in carrying out this policy should be increased, which will become key driving force to promote ecology design. The use of reclaimed water[8]is the best example.

Another important aspect of ecology of landscape design is the cultivation of green plants. A good cultivation design can not only make the community green, but also play an excellent role of purifying air, isolating noise, shielding landscape and softening space, etc. This is also one of the goals of long-term objectives in ecological landscape design of residential areas.

5、人性化设计

住宅小区景观设计要做到人性化，要一切以人的需求为根本出发点，应该在开发商商业运作的科学性、合理性、整体自然环境保护和可持续发展的前提下，考虑人的尺度、人的活动，追求一种优雅、放松、生态、安全并有强烈归属感的景观风貌。

6、生态化设计 生态化是指更好地保护和利用当地的自然条件，节

约能源、净化环境。有水的地方就有人，这是大部分住宅区都希望有水景的重要原因。在北方可以在

住宅区内设置水箱，通过地面排水系统收集雨水，用于水景用水及绿化浇灌。生态社区也是开发商的一个卖点，尽管前期会增加一些投入，但是社会效益巨大。对这方面的力度应当加大，也是此项工作能够推进的关键动力，中水的使用就是一个最好的范例。

景观设计生态化的另外一个重要方面是绿色植物的种植问题。好的种植不仅能使社区绿意盎然，而且能在净化空气、隔绝噪音、屏蔽景观、柔化空间等方面都起到极好的作用，这也是住宅区景观设计在生态化方面需要长期努力的目标之一。

Unit 5Business Quarter Design

1. Building Overview

ABC, one of the top-ten construction projects in the Central Business District (CBD)[1] of Beijing, is located on the east of Chang-an Street in Beijing. Composed of four independent high buildings, it is a comprehensive building of Super Grade 5A[2]intelligent office with relevant business and service facilities. 2. Environment

Almost every nation in the world prides itself in its National Mall, which concentrates the political, economic and cultural quintessence of a nation, such as the National Mall in Washington D.C. of the US, the Champs-Elysees Avenue in Paris of France, etc. Chang-an Street is the National Mall in China. All of the international and domestic large enterprises long for a place on this street, in order to demonstrate their enterprise image and strength. ABC just stands on the eastern part of this National Mall.

It is opposite to the seven-story high west wing of the China World Trade Center and a large plot of green land. On the south it borders on the largest green space inside CBD----Culture &Art Square and a sightseeingwaterscape on the eastside of Beijing—Tong hui River. This is a fantastic office location in the hustle and bustlemetropolitan.In addition, the traffic is very convenient. It isencircled by Chang-an Street, CBD Axial Road, Third Ring Road, Cultural &Art Square and Tong hui River North Road, so that it becomes thefocal point of the checker board shaped traffic inside the CBD. There is easy access to it from any direction and by any means. 3. Architectural Design Concept[3]

The design not only focuses on maintaining the overall unity with urban space, but also stresses the tune with regional environment in the city. At the same time, it integrates urban space with urban transportation, making the buildings become an

第5课商业区整体规划

1.建筑概述

ABC位于中国北京东长安街，是北京商务区（CBD）十大重点工程项目之一。ABC由四栋的高层建筑组成，是以超5A智能型办公为主，配以相应的商业及服务设施的综合性建筑群。 2.建筑环境

几乎世界上每一个国家都有自己的国家大道，浓缩着国家政治、经济、文化的精髓，如美国的华盛顿国家大道，法国巴黎的香榭丽舍大街等，长安街就是中国的国家大道，国际国内的企业都希望在长安街上立有一席之地，以展示企业的形象和实力，ABC就耸立在这条国家大道的东段。

该项目正对面上七层的国贸西楼和大片绿地，南临CBD内最大的集中绿地――文化艺术广场和北京东部观光水景――通惠河，这在拥挤繁华的大都市是不可多得的绝佳办公场所。除此之外，ABC交通极为便利，长安街、CBD中轴路、三环路、文化艺术广场、通惠河北路将其环绕其中，使其成为CBD内网格状交通的枢纽地段，无论从任何方向、采取任何方式，都可以快捷到达。

3.建筑设计理念

该设计不仅从形态上注重保持城市空间的整体统一，更强调和城市区域环境的协调。同时在近地空间上和城市交通进行有效的接轨，将建筑融为城市

integralpart of the city. Therefore ABC and the city can complement and interrelate, while ABC itself is able to stand on its own. ABC has a good sight, for there are no high buildings to both south and north sides of the building. Outdoor design reflects simple and noble, prudent, tall and straight; indoor design of the main features focuses on the environmental protection, comfort, clean air quality without sense of repression. The core design principles are humanization, overall sense, freedom, privacy, practicality, and environmental protection. 3. Design outline and details

Semi-ellipse shape is adopted as the basic profile of the buildings, whose roofs are high in the north and low in the south to match with the surrounding and green area in the south. Multi-layer sightseeing balconies are built on the top of buildings in a gradual retreating mode.

There are 4 buildings in 3 groups, 2 super-high-rises in the north and the other 2 in the south in two groups with office and commercial functions. In the area between the super-high-rises are entrances and exits to underground parking lots.

1st to 3rd floors are lobby, public service area and commercial area; 4th to 16th floors are standard office floors; 17thfloor is emergency floor; 18th to top floors are standard office floors; B1&B2 partial are commercial areas; B2&B3 are garage equipment room and employees cafeteria; B4 is underground civil air defense(garage in normal time)

The floor area ratio[4]of ABC is only 5.7, which is rare in such a hustle and bustle metropolis. The story height[5]of a standard floor inside the building is 4 m. the developer sacrifices the area for a cosyspace for user. A 3m healthy and comfortable net height is possible after a suspended ceiling is installed in the standard floors. The story height of commercial area is 5.2m, which is extremely rare in properties of the same level. The minimum utilization efficiency[6] of

不可分割的组成部分，使之相互补充、相互关联，而ABC本身又能够存在。建筑南北两向无高大建筑，视野宽阔，外观设计体现高贵简洁、稳重、挺拔；内部功能设计主要体现环保、舒适、空气清新、不压抑的品质。

核心的设计原则是人性化、整体感、自由度、私密性、实用性、重环保。 4.方案设计要点与细节

采用半椭圆形作为建筑的基本外轮廓，顶部采用北高南低的方式，以取得与周边环境及南侧绿地的协调。建筑顶部采用逐级退台的方式提供多层的观景平台。

地上建筑共分4栋3组，北侧2栋1组，南侧2栋2组均为超高层建筑，功能为办公及商业。在超高层建筑之间是地下车库的出入口。

首层至三层是大堂、公共服务区及商业区；四至16层为标准办公层；17层是避难层；18至顶层为标准办公层；地下一层以及二层局部为商业区；地下二层至三层为车库、设备机房和职工食堂；地下四层为人防地下室（平时作为车库用）。

ABC容积率仅为5.7，这在拥挤繁华的大都市是很少见的。楼内标准层层高达4米，标准层吊顶后净高能达到3米的健康舒适空间，而这一切都是开发商牺牲面积换取的绝无仅有的空间享受。商业空间的层高设计在5.2米，这在同档次的物业中也是非

the standard floors of the four office buildings is more than 78%, creating a new standard of Grade 5A intelligent office building and achieving the best performance, price ratio among the office buildings of the same class in Beijing.

The unique design of naturalventilation[7]and air conditioning system[8]brings you endless fresh air. Concept of human priority, high quality and accuracy are achieved by humanized toilets,[9] carefully organized vertical transport[10], reasonable separation of pedestrains and vehicles,[11]application of energy-saving and environment-friendly materials,[12]delicate basement and greenbelts. All buildings are installed with non-obstacle ramp and entrance, parking lots, toilet and elevator for the handicapped and roads for the blind. Fire protection Grade: Grade A Class A. The buildings are furnished with helicopter platform, emergency floor and other facilities. Fire-fighting passage, the fire-fighting surface, anti-fire stairways and fire-fighting elevator are located in full accordance with the relevant state codes.

Considering sustainability and changes caused by the society and the metropolis with era, the design has left sufficient room in the function configuration, office floor height, intelligent arrangement and floor loads. There is enough space for changes in the future. The green system near ABC aims at expanding the open public space at the joint of major roads with the buildings, making the building easily-recognizable and strongly-guiding as a landmark.Closely adjacent to the central axial road of CBD, ABC is designed to have a 20m-wide green belt at street, a green belt of 50m wide to the north of Chang-an street, and a green square of 50,000m2 in the CBD. Good location and environment give the buildings a high taste.

常少见的。四幢写字楼标准层使用率最低为78%，创造了5A智能型写字间的新标准，在京城同档次的写字楼中达到最好的性价比。

独特的自然通风和空调系统设计，不断送来清新空气；人性化的洗手间、仔细周到的竖向交通组织、合理的人车分流、节能环保材料的运用以及地下室、绿化等设计体现了以人为本、注重品质、精益求精的理念。

各楼均设置了无障碍坡道及入口，残疾人停车位、盲道、残疾人卫生间及残疾人电梯等设计。

消防等级为高层一级一类。设有直升机救援平台、避难层以及其它设施。消防通道、消防扑救面、防火楼梯、消防电梯的设计完全按照国家相关规范设置。

考虑到社会及都市不断随时代的发展而变化，该建筑设计在功能配置、办公层高、智能化布置及楼板荷载方面都留有足够的余地，为将来提供了充足的改变空间。

ABC绿化系统的规划目标是：在主要道路和建筑相交处尽量放大公共开放空间，使该建筑成为易识别的具有导向性的地标建筑。ABC紧临CBD中轴路，临街设计有20米宽的绿化带，北临长安街一侧设计有50米绿化带，南侧为CBD内5万平方米的绿化广场。卓越的地理位置及环境使该建筑具有极高品位。