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簡介：SCIENTIFICJOURNALOFLATVIAUNIVERSITYOFAGRICULTURELANDSCAPEARCHITECTUREANDART,VOLUME11,NUMBER1142DIGITALTOOLSINLANDSCAPEARCHITECTURENATALIJA?ITAVSKA,ARTūRSMENGOTS,LATVIAUNIVERSITYOFAGRICULTUREABSTRACTNOWADAYSPROFESSIONALTOOLSINLANDSCAPEARCHITECTUREAREMORERELATEDTODIGITALTOOLSLANDSCAPEARCHITECTS’HANDPOWEREDTOOLSHAVEBEENREPLACEDBYCOMPUTERSANDDIGITALTOOLSWHERETHETRADITIONALTECHNIQUESARESUPPLEMENTEDWITH3DMODELLINGANDANIMATIONFORLANDSCAPEPLANNINGINDIFFERENTSCALESANDFORDIFFERENTPROJECTSLEVELSTHEMAINAIMOFTHISPAPERISTOUNDERSTANDANDANALYSETHEUSEOFDIGITALTOOLSINLANDSCAPEARCHITECTUREANDPLANNINGINLATVIAFORTHECOLLECTIONOFDATAFORTHISSTUDYAQUESTIONNAIREWASDESIGNEDANDSENTTOLATVIANLANDSCAPEARCHITECTSANDPLANNERSTHEQUESTIONSITINCLUDEDWEREONHOWLANDSCAPEARCHITECTSANDPLANNERSUSEDIGITALTOOLSFORTHEREPRESENTATIONOFTHEIRSKETCHESANDIDEASANDONWHATKINDOFDIGITALTOOLSTHEYUSEINDIFFERENTLANDSCAPETYPESANDSCALESRESULTSSHOWEDTHATALLTHESURVEYEDLANDSCAPEARCHITECTSUSEDIGITALTOOLSINTHEIREVERYDAYPROFESSIONALPRACTICE–FORLANDSCAPEDESIGNORASSESSMENTMOSTOFTHEMALSOSTILLUSETHETRADITIONALDRAWINGSBYHANDFORDRAFTSKETCHESANDIDEAS,BUTFORCOMMUNICATIONWITHPUBLIC,PROJECTSANDDESIGNSELABORATEDBYDIGITALTOOLSAREUSEDLANDSCAPEARCHITECTSHAVEEMPHASIZEDTHEGREATPOTENTIALOFDIGITALTOOLSFORENHANCINGCOMMUNICATIONBETWEENTHELANDSCAPEARCHITECTANDTHEPOTENTIALUSERDIGITALTOOLSVISUALIZATIONS,ANIMATIONS,3DMODELS,ETCALLOWTHEPOTENTIALUSERTOPARTICIPATEINTHELANDSCAPEPLANNINGPROCESSANDEASILYIMAGINETHELANDSCAPEBEFOREITISCREATEDTODAYLANDSCAPEARCHITECTSUSEDIGITALTOOLSTOPRODUCETHEFINALPROJECTPRESENTATIONIMAGESVISUALIZATIONSINTHELANDSCAPEPLANNINGPROCESSESFORSELLINGOFTHEPROJECTHOWEVER,WEBELIEVETHATINFUTURETHEREISAPOTENTIALFORUSINGDIGITALTOOLSMOREASACOMMUNICATIONTOOL,WHICHCANHELPINCONTACTINGCLIENTSATVARIOUSLEVELSOFTHEPROJECTIMPLEMENTATION,ESPECIALLYINTHEEARLYSTAGESOFTHEDESIGNKEYWORDSDIGITALTOOLS,VISUALCOMMUNICATION,LANDSCAPEARCHITECTUREINTRODUCTIONTHELANDSCAPEARCHITECT’SDAILYWORKISASSOCIATEDWITHLANDSCAPINGPROJECTSOFVARYINGSCALES,SPECIFICSANDLEVELS,LANDSCAPERESEARCHORLANDSCAPEMANAGEMENTPLANNINGTHELANDSCAPEARCHITECTSPROFESSIONISCOMPARATIVELYNEW–DATINGBACKALITTLEOVERAHUNDREDYEARSAGO,WHENIN1863THEBOARDOFCENTRALPARKCOMMISSIONINNEWYORKCITYAPPROVEDALANDSCAPEARCHITECTSPOSITIONSINCETHEN,THISNEWPROFESSIONHADOFFICIALLYGAINEDMORESTABILITYANDRECOGNITIONINITSDEVELOPMENTINLANDSCAPEARCHITECTUREARTSANDPROFESSIONALKNOWLEDGEINTHEFIELDOFLANDSCAPEPLANNINGASWELLASSOCIAL,ECOLOGICALANDMENTALASPECTSARECLOSELYINTERTWINEDTHERESULTSOFDAYTODAYLANDSCAPEARCHITECT’SWORKAREOFTENSUBJECTTOPUBLICCRITICISMANDPERCEPTION,THUSINFLUENCINGTHEIVOLVEMENTOFTHERESIDENTSINTHEISSUESOFLANDSCAPECONSERVATION,PLANNING,DESIGNANDINSTALLATION1HOWDOINFORMATIONTRANSFERANDCOMMUNICATIONTAKEPLACEWHATTOOLSCANALANDSCAPEARCHITECTUSETOMOREEFFECTIVELYPREPAREQUALITYINFORMATION,SIMULTANEOUSLYMAKINGITEASIERFORTHERESIDENTSANDCLIENTSTOPERCEIVETHEIDEASNOWADAYSMOREANDMOREDIGITALTOOLSAREBEINGUSEDINTHEFIELDOFLANDSCAPEARCHITECTURE,WHICH,ONTHEONEHANDFACILITATESTHEPRESENTATIONOFTHERESULTSOFTHEREMOTELANDSCAPEARCHITECTSWORK,BUTONTHEOTHERHANDREDUCESTHEPOSSIBILITYOFUSINGTRADITIONALDRAWINGMETHODSWITHOUTADDITIONALPROCESSINGANDALSOLEAVESNOROOMFORDIRECTCOMMUNICATIONDIGITALTOOLSALLOWTHELANDSCAPEARCHITECTSTOUSENEWAPPROACHESANDMETHODSINPLANNINGANDCOMMUNICATINGABOUTLANDSCAPEPLANNING,CONSERVATION,RENOVATION,ORINSTALLINGISSUES2INSEVERALSTUDIESTHEUSEOFDIGITALTOOLSHASBEENPARTICULARLYEMPHASIZEDINLANDSCAPEARCHITECTUREANDPLANNINGINORDERTOIMPROVETHEPROJECTPERCEPTIONANDCOMMUNICATIONAMONGLANDSCAPEARCHITECTSANDPROFESSIONALS,RESIDENTS,CLIENTSASWELLASCOLLEAGUES3456THEUSEOFTHESEDIGITALTOOLSISDIVERSE,ANDITISADJUSTABLETOTHEPROJECTSOFDIFFERENTSCALESANDCOMPLEXITYINDIFFERENTSTAGESOFDEVELOPMENTILLUSTRATIVE,IMMERSIVE,INTERACTIVE,INTUITIVEANDINTENSIVE7SO,ONEOFTHEASPECTSISTHECOMMUNICATIONWITHCLIENTSANDRESIDENTSAPARTOFTHISCOMMUNICATIONISTHEEMOTIONALDESIGNWHICHDOESNOTDEPICTTHEREALFUNCTIONOFLANDSCAPEORREALPROPORTIONS,BUTINFLUENCETHECLIENTSANDRESIDENTSTHROUGHARTISTICTOOLSATTHEEMOTIONALLEVELTHEAUTHORSINTHEIRSTUDYCALLTHATKINDOFEMOTIONALDESIGNA“WOWEFFECT”WHICHWORKSNOTONLYINLANDSCAPEARCHITECTUREBUTALSOINALLTHEDESIGNFIELDSTHROUGHOUTTHEWORLDANDITISMOREORIENTEDTOWARDSSELLINGOFTHEPRODUCT8OVERALL,THERESULTOFTHELANDSCAPEARCHITECT’SWORK–APROJECTORANINSTALLEDOBJECT–INCLUDESTHEEMOTIONALASPECTOFART,THEREFOREITALWAYSINVOLVESASUBJECTIVEEVALUATIONEXACTLYWHATLANDSCAPEELEMENTSORPROJECTPARTSMUSTTHECLIENTSANDRESIDENTSMOSTOFTENEVALUATEORREADFROMTHEDESIGNSMADEBYLANDSCAPEARCHITECTSDOESTHEUSEOFVERSATILEDIGITALTOOLSMAKEITEASIERANDWITHHIGHERQUALITATYTOPERCEIVETHELANDSCAPEELEMENTSCOMMUNICATIONHASALWAYSBEENACKNOWLEDGEDTOBEONEOFTHEMOSTSIGNIFICANTASPECTSINTHEPROCESSOFLANDSCAPEDESIGNDOI1022616/JLANDARCHART20171105SCIENTIFICJOURNALOFLATVIAUNIVERSITYOFAGRICULTURELANDSCAPEARCHITECTUREANDART,VOLUME11,NUMBER1144FIG1THESTAGESOFTHEEVALUATIONPROCESSOFTHEPERCEPTIONASPECTSOFVISUALISATIONTYPESCREATEDBYTHEAUTHORS,2017THEVISUALMATERIALSWEREPREPAREDFORTRADITIONSQUAREOFTHETOWNOFPLAVINAS,INLATVIADURINGTHEDEVELOPMENTOFTHETECHNICALPROJECTINJANUARY/FEBRUARYOF2017THETERRITORYISLOCATEDINPLAVINASAMONGTIRGUS,RAINISANDDAUGAVASTREETSTHEPROJECTHASBEENDEVELOPEDWITHANAIMTOREGAINTHELOSTIDENTITYOFTRADITIONSQUAREANDCONNECTITWITHTHEBANKOFTHEDAUGAVARIVERACCORDINGTOTHEPROJECTTRADITIONSQUAREWILLBEDEVELOPEDASAMODERNPUBLICOUTDOORSPACE,INCORPORATINGBOTHAPLACEFORPEOPLETOGATHERANDFULFILTHEFUNCTIONOFAGREENZONEANDRECREATION,THUSRADICALLYCHANGINGTHESPATIALPLANNINGOFTHEEXISTINGTERRITORY–THENETWORKOFPATHWAYSANDLAYOUTOFAGREENZONE,ATTHESAMETIMESHOWINGRESPECTTOTHEEXISTINGVALUABLEPLANTINGSTOBEPRESERVEDINTOTAL,FOURVISUALMATERIALSWEREPREPARED–ATECHNICALPLAN,ANANIMATION,APOSTERANDANINTERACTIVE3600PANORAMAUSINGCAD,3DMODELLINGANDIMAGEPROCESSINGTOOLSDURINGTHEPROCESSOFDESIGNINGVISUALMATERIALS,SEVERALCOMPUTERSOFTWAREPROGRAMMESWEREUSED–AUTOCAD,SKETCHUP,ADOBEPHOTOSHOP,VRAYFORSKETCHUPANDLUMION3DTOHAVETHEOPINIONOFLATVIA’SLANDSCAPEARCHITECTSANDTHEPROFESSIONALSOFTHERESPECTIVEFIELDONTHEDESIGNEDVISUALMATERIALS,AQUEATIONNAIREWASCREATEDTHEONLINESURVEYWASCARRIEDOUTUSINGSYSTEMATICGATHERINGOFDATAFROMTHETARGETAUDIENCEPROFESSIONALSANDSTUDENTSOFTHELANDSCAPEARCHITECTURE,LATVIANCITIZENSCHARACTERIZEDBYTHEINVITATIONEMAILOFTHERESPONDENTSANDTHECOMPLETIONOFTHEQUESTIONNAIREOVERTHEWORLDWIDEWEB,USINGSOFTWAREGOOGLEFORMSFROMMARCH–APRILOF2017INTOTAL,81RESPONDENTSWEREINVOLVEDTHEQUESTIONNAIREINCLUDEDEIGHTQUESTIONSTHERESPONDENTSWEREASKEDTOEVALUATETHEFOLLOWINGPARAMETERSTHELAYOUTOFTHEELEMENTSINTHEPLANNEDLANDSCAPE,PERCEPTIONOFTHEDESIGNASAWHOLEANDTHEPROJECTIDEA,VEGETATION–THEEXISTINGANDPLANNEDWOODYPLANTS,THEINCLUSIONOFTHEOBJECTINANDHARMONIZINGITWITHTHEEXISTINGENVIRONMENT,LINKAGEWITHTHEADJOININGTERRITORIES,PERCEPTIONOFTHEPROPORTIONSOFTHESPACEANDELEMENTSANDTERRAINATTHEBEGINNINGOFTHEQUESTIONNAIRETHEDATAABOUTTHERESPONDENTS’PROFESSIONANDAGEWEREOBTAINED,WHEREASINTHEMIDDLEPARTTHERESPONDENTS’OPINIONSABOUTTHEPERCEIVINGCAPACITYOFTHEVISUALIZATIONTYPESWEREANALYSEDATTHEENDOFTHEQUESTIONNAIRETHERESPONDENTSWEREREQUESTEDTOEXPRESSTHEIROPINIONABOUTTHEVISUALIZATIONTYPESTHEYSAWMSEXCELSOFTWAREPROGRAMMEWASUSEDFORSUMMARIZINGTHEDATAANDINTERPRETINGTHERESULTSRESULTSTHERESULTSOFTHEEVALUATIONMETHODOFTHEUSEOFDIGITALTOOLSTHENUMBEROFTHERESPONDENTSTAKINGPARTINTHESURVEY–PROFESSIONALSENGAGEDINTHEFIELDOFLANDSCAPEARCHITECTURE–HAPPENEDTOBEEQUALLYDISTRIBUTEDREGARDINGTHERESPONSESGIVENTOTHEQUESTIONABOUTTHEIREXPERIENCEINLANDSCAPEARCHITECTURE–SIXOFTHEMRESPONDEDTHATTHEYHAVEHADFITTEENORMOREYEARSOFWORKEXPERIENCE,FOUROFTHERESPONDENTSHAVEHAD5–15YEARSOFEXPERIENCE,SEVENHAVEHAD3–5,BUTTHREEOFTHEM1–3YEARSOFWORKEXPERIENCEMOSTOFTHERESPONDENTS–1680OFTHEMRESPONDEDTHATTHEIRKNOWLEDGEISADEQUATE,WHEREAS315RESPONDEDTHATTHEYAREBEGINNERSINORDERTOFINDOUTABOUTTHEFREQUENCYOFTHEUSEOFDIGITALTOOLSINTHEDESIGNPROCESSOFLANDSCAPEARCHITECTUREINLATVIA,THERESPONDENTSWEREASKEDHOWOFTENTHEYUSETHESETOOLSINTHEIRPROJECTSTHEPROFESSIONALSINTHEFIELDOFLANDSCAPEARCHITECTUREUSEDIGITALTOOLSINEACHPROJECT85,WHICHINDICATESTHEPOPULARITYANDNECESSITYOFDIGITALTOOLSINTHEWORKOFLANDSCAPEARCHITECTSTHERESULTSALSOTESTIFYABOUTTHENEEDTOACQUIRETHEDIGITALTOOLSALREADYINTHESTUDYPROCESSSOTHATKNOWLEDGEANDSKILLSAREOBTAINEDFORTHEDESIGNINGPROCESSGIVINGTHERESPONSETOTHEQUESTIONWHETHERTHELANDSCAPEARCHITECTHIM/HERSELFUSESDIGITALTOOLSORAPROFESSIONALSISINVOLVED,1155RESPONDENTSACKNOWLEDGEDTHATTHEYBOTHUSEDIGITALTOOLSTHEMSELVESANDALSOENGAGEPROFESSIONALS,WHILE840RESPONDENTSUSETHESETOOLSTHEMSELVESWITHOUTANYPROFESSIONALS’ASSISTANCETHERESPONSESALLOWEDUSTOCONCLUDEABOUTTHELACKOFSKILLSINTHEUSEOFDIGITALTOOLS,SHOWINGALSOTHATTHEREISANEEDFORDEVELOPINGHIGHQUALITYVISUALMATERIALACCORDINGTOTHERESPONDENTS’ANSWERSTOTHEQUESTIONABOUTTHEMAINPREREQUISITESOFTHEUSE/NONUSEOFDIGITALTOOLSINTHEDESIGNPROCESS,MOSTOFTENFOURVARIANTSOFANSWERSWERECHOSEN–THEPOSSIBILITYOFDEPICTINGTHELANDSCAPE80,THETIMEFORPROJECTDEVELOPING75,QUALITATIVEEXCHANGEOFINFORMATIONWITHTHECUSTOMER70ANDDATAEXCHANGEPOSSIBILITIES55

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簡介：中文中文7500字文獻(xiàn)出處文獻(xiàn)出處NOVAKOVICK,PARKERJCATALYSTINITIATIONINTHEOSCILLATORYCARBONYLATIONREACTIONJINTERNATIONALJOURNALOFCHEMICALENGINEERING,2011,2011HINDAWI發(fā)表于公司化學(xué)工程的國際版2011卷，文章編號518592,11頁索引號101155/2011/518592/研究類文章在振動中羰基化反應(yīng)的催化起始階段在振動中羰基化反應(yīng)的催化起始階段KATARINANOVAKOVINC，JUICEPAKER（化學(xué)工程和先進(jìn)材料學(xué)派，NEWCASTLE大學(xué)，NEWCASRLEUPONTYNENE17RU，英國，可發(fā)送郵件至KARATARINANOVAKOVICNCLACUK和KATARINANOVAKOVIC聯(lián)系）2011年3月16收到文章；2011年4月21日修訂；2011年4月26日完成學(xué)術(shù)編輯DYUMURZIN版權(quán)?2011KNOVAKOVIC和JPARKER。這是一篇發(fā)表于創(chuàng)造共同的貢獻(xiàn)許可的開發(fā)性權(quán)限的文章，允許無限制、傳播和在任意的媒體上再發(fā)表，提供的原始文章可以被引用。碘化鈀（Ⅱ）可以用作苯乙炔氧化羰基化反應(yīng)的催化劑。這種羰基化反應(yīng)已經(jīng)證明了振蕩器在PH和反應(yīng)熱中的行為。一種目的在于提取反應(yīng)網(wǎng)，因?yàn)檫@種反應(yīng)中振蕩器的性質(zhì)。這個(gè)系統(tǒng)可以分為更小的部分并且能夠研究它們。本文主要研究這種反應(yīng)網(wǎng)，因?yàn)榈饣Z（Ⅱ）在這種振蕩器的反應(yīng)中才的起始反應(yīng)。研究對象包括甲醇、碘化鈀（Ⅱ）、碘化鉀和一氧化碳。一些化學(xué)反應(yīng)可以認(rèn)為并且能夠用作模型研究。這些研究表明，通過在HPLC標(biāo)準(zhǔn)下水的示蹤，甲醇使用的階段表現(xiàn)的重要角色。1引言引言這種鈀催化的苯乙炔氧化羰基化反應(yīng)（PCPOC）在很多方面突出。這種反應(yīng)在一個(gè)攪拌釜反應(yīng)器操作中提供了一個(gè)異常的PH振子18。此外，在一個(gè)振動體系高產(chǎn)物選擇性下操作PCPOC體系的時(shí)間可以和在無振動模型條件下的相比較6。在工程反應(yīng)當(dāng)中，用這種方法去成功實(shí)現(xiàn)選擇性產(chǎn)物方程的能力是新且顯著的成果。這種反應(yīng)工程是一旦被掌握，可能可以強(qiáng)加在工業(yè)上重要的反應(yīng)并能開發(fā)的。另外，PCPOC反應(yīng)代表了由相關(guān)的簡單反應(yīng)物在一個(gè)振動模型的催化系統(tǒng)中合成復(fù)雜分子的第一個(gè)例子。科學(xué)地說，這是重要的，正如全部其他的振動過程，包括那些由非均相催化劑驅(qū)動的，包含氧化、還原或者復(fù)雜分子的毀壞3。另外，振蕩器在PH方面，PCPOC反應(yīng)有能力去長時(shí)間（如，數(shù)天）產(chǎn)生重要的振蕩器心臟的搏動（如，600J/振蕩器），這通過反應(yīng)條件可以調(diào)節(jié)5,6,8。因?yàn)檫@些原因，由于PH和溫度調(diào)控“敏感物質(zhì)”PCPOC反應(yīng)的重要性和它們未來的應(yīng)用是可預(yù)見的，例如，在藥物傳送方面9。為了利用觀察到的現(xiàn)象和把這些知識應(yīng)用到獲得其他反應(yīng)網(wǎng)絡(luò)體系（如，在一個(gè)化學(xué)反應(yīng)機(jī)理方面決定性反應(yīng)速率），前面提到的結(jié)果闡述了基本理解PCPOC反應(yīng)的需要，因?yàn)檎袷幹蠵CPOC反應(yīng)的性質(zhì)。PCPOC反應(yīng)體系的性質(zhì)在開始有7種物質(zhì)CH3OH，PDI2，KI，NAOAC，CO，空氣和C8H6。導(dǎo)電機(jī)理模型研究是困難的，因?yàn)槲镔|(zhì)種類太多。在這樣的研究中，一個(gè)減少復(fù)雜性的方案是需要的。對于一系列至少由兩種物質(zhì)組成的子的。實(shí)驗(yàn)操作如下碘化鉀（2G）溶于25ML甲醇之后添加碘化鈀（II）。在PDI2添加83分鐘之后，二氧化碳的量（6ML/MIN）開始減少。溶液的顏色是深黃棕色的并且觀察不到沉淀。記錄的PHAPP體現(xiàn)在圖表1。正如圖表1所體現(xiàn)的，超過25分鐘后，當(dāng)CO開始減少，PHAPP從68一個(gè)急速轉(zhuǎn)折至5。這個(gè)PHAPP開始下降之后，從5一直更加緩慢持續(xù)下降至29大約75分鐘。這說明PHAPP從29平穩(wěn)的下降至23約超過2個(gè)小時(shí)，直至PHAPP值達(dá)到23。PH在CO添加物上的下降表明一個(gè)產(chǎn)生氫離子的化學(xué)反應(yīng)。在這個(gè)實(shí)驗(yàn)系統(tǒng)中，氫離子有2個(gè)來源甲醇和水（因?yàn)樵诟稍飾l件下這個(gè)實(shí)驗(yàn)中不會產(chǎn)生）。在下面的溶液中，研究甲醇和水實(shí)驗(yàn)的角色水，無水甲醇，標(biāo)準(zhǔn)HPLC梯度甲醇和無水丙酮。23水作為溶劑。在這個(gè)實(shí)驗(yàn)中，水代替甲醇用作溶劑。KI（2G）溶于25ML去離子水中，然后添加24MGPDI2。添加碘化鈀（II）約1小時(shí)后，二氧化碳的量（6ML/MIN）開始減少。溶液的顏色開始是棕色，然后因?yàn)閷?shí)驗(yàn)的原因開始褪色并且出現(xiàn)黑色沉淀。PH結(jié)果如圖表2所示。

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