室內(nèi)設(shè)計(jì)外文翻譯-- 設(shè)計(jì)空間的意義

1、<p><b>　　設(shè)計(jì)空間的意義</b></p><p>　　Meanings of designed spaces</p><p>　　學(xué) 部（院）： 建筑與藝術(shù)學(xué)院 </p><p>　　專 業(yè)：藝術(shù)設(shè)計(jì)（環(huán)境藝術(shù)設(shè)計(jì)）</p><p>　　Since the accessio

2、n of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical

3、model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design, landsc

4、ape design, and so on. This parceling of l</p><p>　　The occupant remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing mo

5、dels that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? In all of this, the occupant's situatio

6、n and skill can play a major role; we may be permitted to think that this is one the future adventures of reason. (pp.252-253)</p><p>　　The User's Obstinacy Refusal to Dwell in Theory</p><p>

7、;　　For the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, sto

8、ps in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this perso

9、n find himself? Is it in the product designer's, the graphic de</p><p>　　These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in

10、an office at the top of a high-rise m New York City or Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus i

11、n a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Saint</p><p>　　If our user's life experience is a total on

12、e,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt,

13、 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomeno

14、n, crossing all these</p><p>　　The Lesson of Prevert's Glazier</p><p>　　How should we now consider and approach the notion of our common user? Are there specific concepts or visions that can

15、 help us m this endeavour? In fact, when it comes to much of the essential dimensions that make up the user's human condition,there are major gaps in our disciplinary design knowledge that researchers need to address

16、 on a priority basis. For example,I cite the primordial phenomenon of the body. Setting aside the knowledge that biology, ergonomics, psychology, anthropology, physic</p><p>　　In this section, I would like t

17、o explore the possibilities offered by a concept so common that we use it regularly, even spontaneously and automatically, in our everyday conversations and professional language as designers: the concept of solution. I

18、will attempt to expand my ideas on the subject by using some supporting texts borrowed from three authors in particular:poet Jacques Prevert and architectural theorists Robert Prost and Philippe Boudon.Design professiona

19、ls often express their ideas,</p><p>　　terms of solutions: design solution, architectural solution, urban planning solution,simple solution to a complex situation,inspired solution, and the like. But when we

20、 engage in a little phenomenology of this concept in the framework of our disciplines, we soon realize that what seems to one professional like a final solution in a design process may be nothing more than an initial sol

21、ution to another professional.A chair, a bench, a lighting fixture, or an electrical appliance that is the final</p><p>　　be initial solution elements in the interior design process, landscape architecture,

22、or urban design. An atmosphere or existing interior space can be the starting point for a craftsperson's or a product designer's proposal (for instance, made-to-measure furniture). In the same way, the plans and

23、guidelines for an urban project may provide the initial conceptual backdrop to the work of the architect. What constitutes the end point for one person becomes the starting point for another's work. The </p>&

24、lt;p>　　How beautiful is</p><p>　　What you can see</p><p>　　Through the sand through the glass</p><p>　　Through the window panes</p><p>　　Here look for example</p&

25、gt;<p>　　At how beautiful</p><p>　　This tree feller is</p><p>　　There in the distance</p><p>　　Chopping down a tree</p><p>　　To make boards</p><p>　

26、　For the furniture maker</p><p>　　who must fashion them into a large bed</p><p>　　For the young flower girl</p><p>　　Who is marrying</p><p>　　The lamplighter</p>

27、<p>　　Who lights the streetlamps every night</p><p>　　So that the shoemaker can see clearly</p><p>　　To repair the shoes of the shoeshine boy</p><p>　　Who polishes the shoes o

28、f the grinder</p><p>　　Who sharpens the scissors of the hair dresser</p><p>　　Who cuts the hair of the bird seller</p><p>　　Who gives his birds to everyone</p><p>　　So

29、that everyone may be in good spirits.(1963)</p><p>　　But what then becomes of the user in this tangled web of solutions that are final for some and starting points for others?In reality, the user has a vital

30、 role to play because he or she is the one who brings closure to all the design processes: The user is the equivalent of Mr. or Ms. Everyone in Prevert's poem. Once all the designers have delivered their final soluti

31、ons,everything in the user's world becomes a starting point, an initial solution for experiences and life projects. They become pa</p><p>　　life experience, and the user imbues them with his or her own m

32、eanings.</p><p>　　I borrowed the concept of initial and final solutions from Robert Prost's thoughts, particularly his thesis on architectural works as "works in progress": "We want to dra

33、w attention to the possibility of considering architectural phenomena as works in progress and not merely worksthat find status and complete and definitive legitimacy only at the moment of their creation, like works of a

34、rt" (Prost 1991,p. 40). Robert Prost's reading of the problem posed by architectural design (Prost,1992) attem</p><p>　　The user is the one who brings closure to the overall process. Once the soluti

35、on(or solutions) is delivered, it becomes an open work: open to the user's life experience, his or her appropriation and transformation projects. This concept of openwork, formulated by Umberto Eco and taken here in

36、its architectural sense, is borrowed from Philippe Boudon (1969).Boudon's study of those living in a residential neighborhood designed and completed in 1926 by Le Corbusier at Pessac,near Bordeaux in France</p>

37、<p>　　evolve both qualitatively (combinations)and quantitatively (surfaces) within fairly broad boundaries" (Boudon, 1969, p. 106).</p><p>　　We have seen that the user's logic extends far bey

38、ond the disciplinary logic in which we are involved. To end on a poetic note, I gladly offer Prevert's "Cancre" as a fitting comparison to the user:</p><p>　　He says no with his head</p>

39、<p>　　But yes with his heart</p><p>　　He says yes to what he likes</p><p>　　He says no to the teacher</p><p><b>　　He stands</b></p><p>　　He is questio

40、ned</p><p>　　And all the problems are posed</p><p>　　Suddenly he is overcome with uncontrollable laughter</p><p>　　And he erases everything</p><p>　　The numbers and the

41、 words</p><p>　　The dates and names </p><p>　　The sentences and the traps</p><p>　　And in spites of the teacher’s threats</p><p>　　And the jeers of the prodigal student

42、s</p><p>　　With chalk of all colors</p><p>　　On the blackboard of the happiness .（Prevert,1972)</p><p>　　Design Territories and the Logic of the User</p><p>　　since the

43、 accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the an

44、alytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban desig

45、n,landscape design, and so on. This parceling of lo</p><p>　　to the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonethel

46、ess, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. It continues to stand as an obstacle and challenge t

47、o all the leak-ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who </p><p>　　The occupant . . . remains at the heart of architectu

48、re: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:

49、Should we plan without the occupant?How should we plan with him? . . . In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one of</p><p>　　

50、the future adventures of reason. pp.252-253)</p><p>　　For the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montr

51、eal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First,

52、 in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic de</p><p>　　These same questions can be asked in the same way for many other

53、situations:</p><p>　　a person seated at a table on a bistro terrace, or in an office at the top of a high-rise in New York City or Singapore with an inverted view of the city; a driver of a car or a city bus

54、 who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a s

55、hop window on Sainte-Catherine Street in Montreal. In fact,</p><p>　　these very ordinary urban occurrences in which our city dweller, or Homo Urbanus</p><p>　　(Paquot, 1990), engages constitute

56、a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is

57、 not fragmented at all; conversely, it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this who

58、le and total condition: H</p><p>　　If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplin

59、ary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phe

60、nomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these</p><p><b>　　設(shè)計(jì)空間的意義</b></p><p>　　Tiiu Vaikla-Poldma</p>&l

61、t;p>　　關(guān)鍵詞： 空間設(shè)計(jì)，居住區(qū)，用戶</p><p>　　自從加入設(shè)計(jì)知識的現(xiàn)代大學(xué)的部門,建筑環(huán)境,代表的一個主要研究領(lǐng)域的知識,根據(jù)現(xiàn)代調(diào)查的分析模型經(jīng)歷了一個巨大的碎片變革。發(fā)現(xiàn)分散成幾個學(xué)科領(lǐng)域,通常樹立成競爭的部門:產(chǎn)品設(shè)計(jì),平面設(shè)計(jì),室內(nèi)設(shè)計(jì),建筑設(shè)計(jì)、城市設(shè)計(jì)、景觀設(shè)計(jì)等等。這個打包的邏輯本身是非常有益的。在某種程度上,它可以確保一定深度的思考時要考慮的對象和具體的知識非常有限。盡管如

62、此,在最基本的和必要的方面,有一個對象的知識繼續(xù)躲避著所有這些學(xué)科的理解和推理。它繼續(xù)作為一個障礙和挑戰(zhàn)所有亨利·雷蒙德(1984)所說的“空間合理性”。當(dāng)然,“我們參考通常被稱為世界建立的用戶的主人。這個主人停留在架構(gòu)的核心:消極,拒絕停留在理論上,固執(zhí),固執(zhí)地將自己房屋模型,建筑變成譴責(zé)的理由。但他的核心空間合理性的問題:我們應(yīng)該計(jì)劃沒有主人嗎?我們應(yīng)該怎樣的計(jì)劃?在所有這一切,居住者的情況可以發(fā)揮重要作用,我們可能認(rèn)為這

63、是允許的未來的冒險(xiǎn)的原因。</p><p>　　理論上用戶對住宅的頑固拒絕</p><p>　　這篇文章的目的,考慮一個很普通的城市發(fā)生:一個個體,一個城市居民,徜徉Sainte-Catherine街在蒙特利爾,加拿大,在一個陽光明媚的秋日下午,經(jīng)常站在商店櫥窗前檢查和欣賞對象顯示出來。兩個問題,存在至少,挑戰(zhàn)設(shè)計(jì)學(xué)科。首先,在這這個人發(fā)現(xiàn)自己學(xué)科或?qū)I(yè)的界限呢?它的產(chǎn)品設(shè)計(jì)師,平面設(shè)計(jì)師

64、,室內(nèi)設(shè)計(jì)師,建筑師,城市設(shè)計(jì)師的,或景觀設(shè)計(jì)師的嗎?這些專業(yè)人士似乎有權(quán)宣稱,這個人真的是在他的領(lǐng)域的專業(yè)知識:每個人都說,他是我的用戶?！暗窃谏痰隀淮扒暗娜苏嬲P(guān)心了解學(xué)科領(lǐng)域他發(fā)現(xiàn)自己,或者什么時候他十字架從一個到另一個?然而,就在那一刻,生活的實(shí)際經(jīng)驗(yàn)或片的人在我們的例子中是發(fā)生在商店櫥窗前不是支離破碎成不同的經(jīng)歷。這個人是不會告訴自己,我住一個架構(gòu)經(jīng)驗(yàn),現(xiàn)在突然/ ' 171年經(jīng)歷生產(chǎn)對象的經(jīng)驗(yàn),現(xiàn)在我在一個城市經(jīng)驗(yàn)

65、,等等。</p><p>　　這些同樣的問題可以問同樣對許多其他情況:一個人坐在小酒館階地上的表,或在辦公室頂部的一個高層m紐約市或新加坡一個倒的城市;一輛車或一個城市巴士的司機(jī)每天演習(xí)在這座城市的大街上,一個人在公交車站等公共汽車,或裝玻璃修復(fù)工作的一部分,一個教堂的彩色玻璃,甚至來修復(fù)商店櫥窗外面的圣凱瑟琳街在蒙特利爾。事實(shí)上,這些非常普通的城市出現(xiàn)在我們的城市居民,或者城市人屬,參與構(gòu)成一個全面或總情況,根

66、據(jù)提出的概念的含義莫里斯梅洛龐蒂在他的著名的身體現(xiàn)象學(xué)(梅洛龐蒂,1962)。這個城市居民生活的經(jīng)驗(yàn)不是支離破碎;相反,它是積分和整體。雜志在一篇社論中對一個問題的主題等專門的Urbanisme用戶,蒂埃里Paquot欣然指出,開車回家這整個和總條件:”他解釋說,用戶首先是一個人,一個致命的存在,在那里,并試圖實(shí)現(xiàn)的多元化他的自我表達(dá)自己沒有接受他的個性分散和分解成小碎片。用戶仍然是整體和拒絕除自己和發(fā)揮無限的作用。這種統(tǒng)一賦予了他的身

67、份,使他在任何時候,在所有的地方,一個用戶的世界”(Paquot,1999年,p . 51)。</p><p>　　如果我們的用戶的生活經(jīng)驗(yàn)是一個整體,有什么想法所有這些設(shè)計(jì)學(xué)科來分別對這個人還了沒有聲稱任何學(xué)科領(lǐng)域嗎?他們有或共享一個公共用戶的人類狀況的概念?(阿倫特,1958)或相反他們持有不同但互補(bǔ)的觀點(diǎn)嗎?我敢說這里用戶構(gòu)成現(xiàn)象,從本質(zhì)上說,逃學(xué)科邏輯:用戶是一個跨學(xué)科的現(xiàn)象,跨越所有這些學(xué)科沒有任何一個

68、人能夠宣稱所有權(quán)的完整正確的理解和獲得所有可能的問題流出每個專業(yè)設(shè)計(jì)的實(shí)踐。這種復(fù)雜性,描述用戶的現(xiàn)象,是真正的困難和理解的障礙和挑戰(zhàn)觀點(diǎn):對象的思想,原則,總是優(yōu)于試圖理解的思維過程,掌握甚至操縱。設(shè)計(jì)學(xué)科,他們可能會發(fā)現(xiàn)有一個常見的問題統(tǒng)一分配的時候主題學(xué)科和專業(yè)特殊關(guān)系每個人獨(dú)有的;我們的成就和專業(yè)的工作目的是在同一用戶的生活經(jīng)驗(yàn)是不分裂。在這種情況下,用戶可以使用的主題以真正的仲裁方式澄清邊界爭端我們的學(xué)科之一。</p&g

69、t;<p><b>　　卜的教訓(xùn)是裝玻璃</b></p><p>　　我們現(xiàn)在應(yīng)該考慮什么樣的方法的概念，是我們共同的用戶嗎?有特定的概念或愿景可以幫助我們這奮進(jìn)號嗎?事實(shí)上,當(dāng)涉及到的基本維度構(gòu)成用戶的人類,有很大的差距，在我們學(xué)科設(shè)計(jì)知識,研究人員需要解決優(yōu)先。例如,我引用原始身體的現(xiàn)象。留出的知識生物學(xué)、人體工程學(xué)、心理學(xué)、人類學(xué)、物理和幾何所有提供關(guān)于這個問題,我們開發(fā)

70、了什么知識和視野對我們用戶的身體,</p><p>　　他的空間性,他遇到的各種情況,等等?什么共同點(diǎn)能產(chǎn)品設(shè)計(jì)師,平面設(shè)計(jì)師,室內(nèi)設(shè)計(jì)師,建筑師,城市設(shè)計(jì)師,景觀設(shè)計(jì)師找到身體的來解決這個問題嗎?</p><p>　　在本節(jié)中,我想探索一個概念所提供的可能性如此普遍,我們經(jīng)常使用它,甚至自發(fā)和自動,在我們的日常對話和專業(yè)語言作為設(shè)計(jì)師:解決方案的概念。我將嘗試擴(kuò)大自己的想法在這個問題上通

71、過使用一些支持文本借鑒尤其是三位作者:詩人雅克·卜和建筑理論家羅伯特?普羅斯特和菲利普Boudon。設(shè)計(jì)專業(yè)人士經(jīng)常表達(dá)自己的想法,和他們的項(xiàng)目的結(jié)果</p><p>　　解決方案:設(shè)計(jì)解決方案,架構(gòu)解決方案,城市規(guī)劃解決方案,簡單的解決一個復(fù)雜的情況下,解決方案的啟發(fā),等等。但當(dāng)我們從事的現(xiàn)象學(xué)這個概念在我們學(xué)科的框架,我們很快意識到,似乎一個專業(yè)的像一個最終的解決方案在設(shè)計(jì)過程中可能只不過是一個初始

72、解到另一個專業(yè)。一把椅子,椅子上,燈具,電器,工業(yè)設(shè)計(jì)的最終解決方案可能只是過程。</p><p>　　初始元素在室內(nèi)設(shè)計(jì)的過程中,景觀建筑、城市設(shè)計(jì)?；颥F(xiàn)有的室內(nèi)空間氛圍的起點(diǎn)可以是工匠或產(chǎn)品設(shè)計(jì)師的建議(例如,定制家具)。同樣的,一個城市項(xiàng)目的計(jì)劃和指導(dǎo)方針可能提供初始概念背景的工作的建筑師。什么是一個人的終點(diǎn)變成另一個人的工作的起點(diǎn)。在世上卜的眼睛被蒙上了，很明顯,敏銳地說明了這種現(xiàn)象。社會學(xué)家說所謂的社會

73、分工實(shí)際上是人類狀況的一個基本特征,一個著名的詩人在他的詩歌中雅克·卜呈現(xiàn)出令人欽佩的“杜vitrier”:</p><p><b>　　多么的美麗啊</b></p><p><b>　　正如你能看見的</b></p><p><b>　　穿過沙粒透過玻璃窗</b></p>&

74、lt;p><b>　　正如這看見的</b></p><p><b>　　多么美麗</b></p><p><b>　　這棵樹的家伙就這樣</b></p><p><b>　　在如此的距離</b></p><p><b>　　砍倒了一棵樹&l

75、t;/b></p><p><b>　　去制造木板</b></p><p><b>　　那些做家具的人啊</b></p><p>　　它們必須變成一張大床嗎</p><p><b>　　年輕的賣花姑娘</b></p><p><b>　　

76、在為誰嫁娶</b></p><p><b>　　那些燈盞</b></p><p><b>　　每天是誰照亮了街道</b></p><p>　　讓鞋匠可以看得清楚一些</p><p>　　修復(fù)的鞋擦皮鞋的男孩啊</p><p>　　是誰拋光了制鞋研磨機(jī)</p&

77、gt;<p>　　是誰鋒利了制梳妝臺的工具</p><p>　　是誰剪短了賣鳥人的頭發(fā)</p><p><b>　　誰把鳥給了別人</b></p><p>　　好讓每個人都是精神抖擻(1963)</p><p>　　但就變成了用戶在這個復(fù)雜的解決方案,最后,對于某些人起點(diǎn)嗎?在現(xiàn)實(shí)中,用戶有一個至關(guān)重要的作

78、用,因?yàn)樗蛩墙Y(jié)束所有的設(shè)計(jì)過程:用戶相當(dāng)于先生或女士每個卜的詩。一旦所有的設(shè)計(jì)師帶來了他們最后的解決方案,用戶的世界上的一切都成為一個起點(diǎn),一個初始解決方案經(jīng)驗(yàn)和生活的項(xiàng)目。他們成為用戶的整體體驗(yàn)的一部分,他或她生活經(jīng)驗(yàn),用戶向他們灌輸自己的含義。</p><p>　　我借了初始和最終解決方案的概念從羅伯特?普羅斯特的思想,特別是他的論文在建筑作品“在進(jìn)步”:“我們想要關(guān)注的可能性考慮建筑現(xiàn)象不僅在進(jìn)步和工作

79、worksthat找到狀態(tài)和完整和明確的合法性只有此刻的他們的創(chuàng)造,像藝術(shù)作品”(1991年普羅斯特,p。40)。羅伯特?普羅斯特的建筑設(shè)計(jì)帶來的問題(普羅斯特,1992)試圖一起四個主要玩家在一個建筑項(xiàng)目:客戶端,建筑師,建造者,主人。每個作為球員的表演完全出現(xiàn)在他或她自己的的技能領(lǐng)域:客戶制定項(xiàng)目的目標(biāo)和使用,架構(gòu)師提出建筑解決方案;承包商建筑解決方案轉(zhuǎn)化為現(xiàn)實(shí),和主人占有了和轉(zhuǎn)換架構(gòu)的工作。工作的概念是,Prost-appears

80、擊敗的建筑解決方案的核心過程:“而不是從的角度看建筑解決方案(他們是一個問題做的?)我將介紹三個額外的問題:他們履行結(jié)束/使用做什么?他們是怎么做成的呢?最后,他們?nèi)绾无D(zhuǎn)型?”(普羅斯特1992,13頁)。前兩個問題查詢設(shè)計(jì)過程。工作,或建立架構(gòu)解決方案,出現(xiàn)在一個節(jié)點(diǎn)的位置,構(gòu)成最終的設(shè)計(jì)和實(shí)現(xiàn)過程,同時,標(biāo)志著另一個過程的開始,撥款和轉(zhuǎn)換通過社會實(shí)踐(從一項(xiàng)正在進(jìn)行中的工作的概念)。建筑師的工作,認(rèn)為最終的解決</p>

81、<p>　　用戶結(jié)束整個過程。一旦交付解決方案(或方案),它就變成了一個開放的工作:開放用戶的生活經(jīng)歷,他或她的撥款和轉(zhuǎn)換項(xiàng)目。透空式的概念,由Umberto Eco制定和采取在其建筑意義,是借用了菲利普Boudon(1969)。Boudon對那些生活在居民區(qū)的研究設(shè)計(jì)和完成貝勒·柯布西耶于1926年,在法國波爾多附近,顯示了轉(zhuǎn)換的范圍引入現(xiàn)代的一位著名的思想家的作品。亨利·Lefebvre寫序言Boud

82、on書,突顯出這收購行為:“居住者做了什么?</p><p>　　而不是將自己融入到這個容器和適應(yīng)它冷漠,他們占領(lǐng)了它積極地在某種程度上。他們居住在一個地方意味著什么:一個活動。他們工作,改變和添加到他們。他們添加了什么呢?他們需要什么。菲利普Boudon顯示了不同的意義。他們介紹了品質(zhì)。他們建立了一個有區(qū)別的社會空間”(Lefebvre,1969)。在這個意義上,其中一個提議Boudon制造研究的結(jié)論是,架構(gòu)是

83、一個開放的工作,換句話說,打開主人的計(jì)劃和糾正:“基于一個居住者的表情,架構(gòu)可以被認(rèn)為是一個基礎(chǔ)設(shè)施的主人的自由表達(dá)進(jìn)化(組合)和定性定量兩個(表面)在相當(dāng)廣泛的范圍內(nèi)”(Boudon,1969年,p . 1969)。</p><p>　　我們已經(jīng)看到用戶的邏輯遠(yuǎn)遠(yuǎn)超過我們涉及的學(xué)科邏輯。結(jié)束在一個詩意的注意,我很樂意提供卜的“Cancre”作為擬合對比給用戶:</p><p><b

84、>　　他說沒有頭</b></p><p><b>　　但對他的心</b></p><p><b>　　他說,是的,他喜歡</b></p><p><b>　　他沒有向老師說</b></p><p><b>　　他站</b></p&g

85、t;<p><b>　　他是質(zhì)疑</b></p><p><b>　　和所有提出的問題</b></p><p>　　突然他克服了無法控制的笑聲</p><p><b>　　他抹去一切</b></p><p><b>　　數(shù)字和單詞</b>&l

86、t;/p><p><b>　　日期和名稱</b></p><p><b>　　句子和陷阱</b></p><p><b>　　老師和欺侮的威脅</b></p><p><b>　　學(xué)生和嘲笑的浪子</b></p><p><b&g

87、t;　　用粉筆的顏色</b></p><p>　　寫在黑板上的幸福。(卜,1972)</p><p>　　設(shè)計(jì)地區(qū)和用戶的邏輯</p><p>　　自從加入設(shè)計(jì)知識的現(xiàn)代大學(xué)的部門,建筑環(huán)境,代表的一個主要研究領(lǐng)域的知識,經(jīng)歷了一個巨大的碎片根據(jù)現(xiàn)代調(diào)查的分析模型。也發(fā)現(xiàn)自己分散成幾個學(xué)科領(lǐng)域,通常豎立成競爭的部門:產(chǎn)品設(shè)計(jì),平面設(shè)計(jì),室內(nèi)設(shè)計(jì),建筑設(shè)計(jì)

88、、城市設(shè)計(jì)、景觀設(shè)計(jì)等等。這個打包的邏輯本身是非常有益的</p><p>　　在某種程度上,它可以確保一定深度的思考時要考慮的對象和非常具體的知識有限。盡管如此,在最基本的和必要的方面,有一個對象的知識繼續(xù)躲避著所有這些學(xué)科的理解和推理。它繼續(xù)作為一個障礙和挑戰(zhàn)的所有l(wèi)eak-ages亨利·雷蒙德(1984)所說的“空間合理性。當(dāng)然,“我們是主人,人通常稱為用戶建立的世界的主人。仍然架構(gòu)的核心:消極,拒

89、絕停留在理論上,固執(zhí),固執(zhí)地將自己房屋模型,建筑譴責(zé)的理由。但他也的核心空間合理性的問題:我們應(yīng)該計(jì)劃沒有主人嗎?我們應(yīng)該怎樣和他計(jì)劃?。在所有這一切,居住者的情況技能可以發(fā)揮重要作用,我們可能認(rèn)為這是允許的未來的冒險(xiǎn)的原因。pp.252 - 253)</p><p>　　這篇文章的目的,考慮一個很普通的城市發(fā)生:一個個體,一個城市居民,徜徉Sainte-Catherine街在蒙特利爾,加拿大,在一個陽光明媚的秋

90、日下午,經(jīng)常站在商店櫥窗前檢查和欣賞對象顯示出來。兩個問題,存在至少,挑戰(zhàn)設(shè)計(jì)學(xué)科。首先,這個人發(fā)現(xiàn)自己學(xué)科或?qū)I(yè)的界限呢?它的產(chǎn)品設(shè)計(jì)師,平面設(shè)計(jì)師,室內(nèi)設(shè)計(jì)師,建筑師,城市設(shè)計(jì)師的,或景觀設(shè)計(jì)師的嗎?這些專業(yè)人士似乎有權(quán)宣稱,這個人真的是在他的領(lǐng)域的專業(yè)知識:每個人都說,“他是我的用戶?！?但這個人是否在商店櫥窗前真正關(guān)心了解學(xué)科領(lǐng)域他發(fā)現(xiàn)自己,或者什么時候他十字架從一個到另一個?然而,就在那一刻,生活的實(shí)際經(jīng)驗(yàn)或片的人在我們的例子

91、中是發(fā)生在商店櫥窗前不是支離破碎成不同的經(jīng)歷。這個人是不會告訴自己,我住一個架構(gòu)經(jīng)驗(yàn),現(xiàn)在突然我經(jīng)歷生產(chǎn)對象的經(jīng)驗(yàn),現(xiàn)在我在一個城市經(jīng)驗(yàn),等等。</p><p>　　這些同樣的問題可以問同樣對許多其他情況:</p><p>　　一個人坐在小酒館階地上的表,在辦公室或在紐約市高樓的頂部或新加坡一個倒的城市;一輛車或一個城市巴士的司機(jī)每天演習(xí)在這座城市的大街上,一個人在公交車站等公共汽車,或裝

92、玻璃修復(fù)工作的一部分,一個教堂的彩色玻璃,甚至來修復(fù)外面的櫥窗Sainte-Catherine街在蒙特利爾。事實(shí)上,這些非常普通的城市出現(xiàn)在我們的城市居民,或者城市人屬(Paquot,1990),參與構(gòu)成一個全面或總情況,根據(jù)提出的概念的含義莫里斯梅洛龐蒂在他的著名的身體現(xiàn)象學(xué)(梅洛龐蒂,1962)。這個城市居民生活的經(jīng)驗(yàn)不是支離破碎;相反,它是積分和整體。在一篇社論《Urbanisme投入的問題專門的主題用戶,蒂埃里Paquot欣然指

93、出,開車回家這整個和總條件:”他解釋說,用戶首先是一個人,一個凡人存在,在那里,并試圖使他自我表達(dá)的多元化本身沒有接受他的個性加以分配,分解成小碎片。用戶仍然是整體和拒絕除自己和發(fā)揮無限的作用。這種統(tǒng)一賦予了他的身份,使他在任何時候,在所有地方,用戶worjd”(Paquot,1999年,p . 51)。</p><p>　　如果我們的用戶的生活經(jīng)驗(yàn)是一個總,有什么想法所有這些設(shè)計(jì)學(xué)科來分別對這個人還了沒有聲稱任

94、何學(xué)科領(lǐng)域嗎?他們有或共享一個公共用戶的人類狀況的概念?(阿倫特,1958)或相反他們持有不同但互補(bǔ)的觀點(diǎn)嗎?我敢說這里用戶構(gòu)成現(xiàn)象,從本質(zhì)上說,逃學(xué)科邏輯:用戶是一個跨學(xué)科的現(xiàn)象,跨越所有這些學(xué)科沒有任何一個人能夠宣稱所有權(quán)的完整正確的理解和獲得所有可能的問題流出每個專業(yè)設(shè)計(jì)的實(shí)踐。這種復(fù)雜性,描述用戶的現(xiàn)象,是真正的困難和障礙和挑戰(zhàn)中了解我們的學(xué)科。在此基礎(chǔ)上,似乎挫折存在設(shè)計(jì)學(xué)科,但在現(xiàn)實(shí)中,這是一個被抓住的機(jī)會。首先,這是一個機(jī)

95、會為我們的學(xué)科培養(yǎng)一定的謙虛精神對我們所知道的:思想的對象,通過原則,總是優(yōu)于試圖理解的思維過程,掌握甚至操縱。,設(shè)計(jì)學(xué)科可能6nd有常見問題而團(tuán)結(jié)起來的時候指定主題的學(xué)科和專業(yè)的專業(yè)他們每個人獨(dú)有的;我們的成就和專業(yè)工作旨在相同的用戶是誰的生活經(jīng)驗(yàn)分裂。在這種情況下,用戶可以使用的主題以真正的仲裁方式澄清邊界爭端我們的學(xué)科之一。</p><p><b>　　參考文獻(xiàn)：略</b></p