2013年4月27日 星期六

.日本優笛亞室內樂團 Euodia Ensemble【KIZUNA 絆 - The Bonds of Friendship】浸信會懷恩堂



明 (27六)午晚各一場"絆"音樂會:日本友情
週五音樂會 地點:懷恩堂大堂 洽詢電話: 2362-5321. 台北市新生南 ...
http://hcplace.blogspot.tw/2013/04/blog-post_8601.html

有Program 詳細說明 末又有奉獻
很值得轉載



【KIZUNA 絆 - The Bonds of Friendship】

【KIZUNA 絆 - The Bonds of Friendship】
日本優笛亞室內樂團 Euodia Ensemble
歡迎朋友們自由分享!

受人敬重喜愛但 又謙卑的日本基督徒音樂家們,將帶著上帝的愛,再度來台舉辦音樂見證佈道會。日本與台灣的深厚情誼,化不開的情感牽絆,在311大地震時,日本人見證了台 灣人的有情有義。源源不斷的支援,身為生命共同體的掛念,使他們重新思想人與人之間建立關係、以及信仰在苦難中無可替代的重要性。我們是否珍惜身旁的每一 份友誼?每一個家人?當生命驟變,我們又該如何面對不再一樣的人生而努力走下去?

日本優笛亞室內樂團 Euodia Ensemble (成立於1988)
豎笛/柳瀨洋
小提琴/蜷川泉
小提琴/工藤美穗
中提琴/村上信晴
大提琴/井上友子
鋼琴/柳瀨佐和子


演出場次/時間《自由入場》
4/19(五) 19:30 台中忠孝路長老教會
4/20(六) 19:00 台南聖教會
4/21(日) 11:00 高雄德生長老教會
     15:00 鳳山長老教會
4/27(六) 16:00 浸信會懷恩堂 《索票入場》
    19:00 浸信會懷恩堂 《索票入場》
4/28(日) 15:30 台北神召會《索票入場》
    19:00 和平長老教會

歡迎朋友們自由分享!




 Euodia (Greek Εὐοδία, meaning unclear, but possibly "sweet fragrance" or "prosperous journey"柳瀨洋說是"最高級的香料 在聖經中指基督的香氣 ) and Syntyche are people mentioned in the New Testament.


I beseech Euodias and beseech Syntyche, that they be of the same mind in the Lord.
And I entreat thee also, true yokefellow, help those women who labored with me in the Gospel, with Clement also and with my other fellow laborers, whose names are in the Book of Life.


  1. 我奉勸厄敖狄雅和欣提赫,要在主內有同樣的心情。
  2. 至於你,我忠誠的同伴,我也求你援助她們,因為她們曾伴隨我為福音而奮鬥,與克肋孟以及我的其他的同事一樣,他們的名字已寫在生命冊上了。

Blessed Assurance 有福的確據
Great is Thy Faithfulness祢信實廣大
Jesus Save Me (Swanee River)史瓦尼河
The Old Rugged Cross古舊十架
The Old Rugged Cross - YouTube
 
Hungarian Rhapsody No. 2第二號匈牙利狂想曲
Primavera Portena/ Ave Maria/ Libertango  布宜諾斯艾利斯之春/聖母頌/ 自由探戈


Kizuna
Cry out! 呼喊吧! 金希文曲

依撒意亞

Isaiah  以賽亞  40


  • 有一個呼聲喊說:「你們要在曠野中預備上主的道路,在荒原中為我們的天主修平一條大路!
  • 一切深谷要填滿,一切山陵要產平,隆起的要削為平地,崎嶇的要闢成坦途!
  • 上主的光榮要顯示出來,凡有血肉的都會看見:這是上主親口說的。」
  • 有個聲音說:「呼喊罷! 」我答說:「我呼喊什麼﹖」「凡有血肉的都似草,他的美麗似田野的花;
  • 上主的風吹來,草必枯萎,花必凋謝。【的確,人民好像草。】

  • Amazing Grace奇異恩典
    Gabriel's Oboe from "The Mission" 加百列之笛
    (Contribution)
    Coming into the Kingdom 進入國度


    2013年4月12日 星期五

    簡介 Christopher Alexander


    Christopher Alexander

    The Battle To Bring Life and Beauty to the Earth

    Date 5/2/11
    Affiliation Architect, London

    Abstract

    In his first West Coast public lecture in 10 years, Alexander will demonstrate that what he has been talking about for many years is feasible on a large scale. The methods for designing and building that are spelled out theoretically and practically applied in THE NATURE OF ORDER, TIMELESS WAY OF BUILDING, A PATTERN LANGUAGE, and other Center for Environmental Structure publications, are applied to the Eishin campus built near Tokyo, Japan from 1982 to 1985 - a project of 29 buildings on 20 acres of land, about nine city blocks.
    The care and finesse that Alexander has been describing to us throughout his career was applied to this large project, which came in on time and less expensively than a standard construction budget would have allowed. At the beginning of the talk, Alexander will show an extensive range of images about the project, the methods of construction that were used, the involvement of students and faculty, and the overall development of a full-scale environment of a rather lovely kind.
    Alexander will then talk on themes related to the way these buildings were made and are used and what it would mean if these principles could be applied to creating environments everywhere and society in general. What would that take? First is the recognition of what is described in BATTLE as system B - the method of production that is now prevalent throughout the world, which is centered on the profit motive, and supported by institutions and governments. Then we need an understanding of system A, the system which built the Eishin campus, despite system B. It was a very rough road, with many painful, arduous, and sometimes seemingly hopeless battles. But along the way, Alexander and his colleagues learned that it could be possible for these two systems to become working partners, using the best of both to achieve something that is impossible now. The most important message of BATTLE is the vision of a way forward, that we could choose together, to build a society and an environment of such a kind that we would be fulfilled in living there.

    Bio

    For nearly 40 years Christopher Alexander has challenged the architectural establishment, sometimes uncomfortably, to pay more attention to the human beings at the center of design. To do so he has combined top-flight scientific training, award-winning architectural research, patient observation and testing throughout his building projects, and a radical but profoundly influential set of ideas that have extended far beyond the realm of architecture. In the process Alexander has authored a series of groundbreaking works, including A Pattern Language: Towns, Buildings, Construction (Oxford University Press, 1977) and The Timeless Way of Building (OUP, 1977). His most recent publication continues that groundbreaking work, incorporating more than 30 years of research, study, teaching and building. The four-volume book set, The Nature of Order: An Essay on the Art of Building and the Nature of the Universe (Center for Environmental Structure, 2004) was described by Laura Miller of the New York Times "the kind of book every serious reader should wrestle with once in a while: [a] fat, challenging, grandiose tract that encourages you to take apart the way you think and put it back together again."
    Alexander was born in Vienna, Austria and raised in Oxford and Chichester, England. He was awarded the top open scholarship to Trinity College, Cambridge in 1954, in chemistry and physics, and went on to read mathematics at Cambridge. He took his doctorate in architecture at Harvard (the first Ph.D. in architecture ever awarded at Harvard), and was elected to the society of Fellows at Harvard University in 1961. During the same period he worked at MIT in transportation theory and in computer science, and at Harvard in cognitive science. His pioneering ideas from that time were known to be highly influential in those fields.
    In 1963, Alexander became Professor of Architecture at the University of California, Berkeley, and taught there continuously for 38 years, becoming Professor Emeritus in 2001. He also founded the Center for Environmental Structure, published hundreds of papers and several dozen books, and built more than 300 buildings around the world. In 2002 he moved back to England, where he now lives and works.
    Alexander is widely recognized as the father of the pattern language movement in computer science, which has led to important innovations such as Wiki, and new kinds of Object-Oriented Programming. He is the recipient of the first medal for research ever given by the American Institute of Architects, and he has been honored repeatedly for his buildings in many parts of the world. He was elected Fellow of the American Academy of Arts and Sciences in 1996 for his contributions to architecture, including his groundbreaking work on how the built environment affects the lives of people.
    -- As of 5/2/11

    1986年我翻譯 Christopher Alexander的《形之合成》Notes on the Synthesis of Form (1964)

    1987-88年我在東海建築研究所教的以他的學說為主.

    21世紀前幾年有機會讀他出版的新書.

    我想Wikipedia 的介紹可以作為討論的起點0

    Christopher Alexander及其同志的書1987年以前出版的可能都有漢譯本了.

    The Nature of Order 台灣可能有不少大學圖書館都能找到.

    約十年前網路就有付費的patterns資料庫 (月費並不高)


    3「C‧亞歷山大及其同志」的《模式語言》系統


    我們介紹的第三種「空間詩學」,就是夏氏所說的「亞歷山大及其同志」,參考: 夏鑄九「模式語言及非正式營造系統的認識論批判: 亞歷山大及其同志」(1989),修正後收入其《理論建築:朝向空間實踐的理論建構》(台北: 台灣社會研究,1992,頁86-125),其中約收入相關的論文和書籍61篇/本,還有內文提到1979年的,書/文單中從缺的。

    要了解「亞歷山大及其同志」的學說和實務,當然不應該從這種批判論文出發,因為其中許多抽象的術語,可能是不必要的誤導 (他們的主要著作4-5本,兩岸都有翻譯本,應該從它們入手,譬如說環境設計手冊型的《模式語言》(A Pattern Language,書名中的A 被誤以為為The,還是夏氏等多少「修理」的對象)。然而,夏的論文中觸及其次最大部分的全貌 (亞歷山大約十幾年前自行出版多本大型著作 (最值得深思的是,其贊助者是Sun Computers等公司的軟體設計單位),它們壓在牛津大學出版社約廿年,而他本人可能退休了約十年)。

    「亞歷山大及其同志」的著作中,是經常提到他所謂的「品質」 (或是夏所說的「圓滿」) ,而且他們有一套落實其品質的設計和營建法。

    我還沒想出來要如何簡要地介紹「亞歷山大及其同志」的學說內容。暫時,只是暫時,在這兒停一下)。寫文章或詩歌是一句句地寫,或芭蕾 (李哲洋譯為舞劇)是由許多所謂「劇繫」所組成…..所以亞氏這一套或許可以說,所有利害關係人大家討論出其「價值」,再大家一起參與討論學習用《模式語言》中相關而適切的 (多個)「模式」,再類似作詩的方式整合之來完成我們的設計。


    Grabow, Stephen: Christopher Alexander: The Search for a New Paradigm in Architecture, Oriel Press (Routledge & Kegan Paul), London and Boston, 1983.






    Christopher Wolfgang Alexander (born October 4, 1936 in Vienna, Austria) is an architect noted for his theories about design, and for more than 200 building projects in California, Japan, Mexico and around the world. Reasoning that users know more about the buildings they need than any architect could, he produced and validated (in collaboration with Sarah Ishikawa and Murray Silverstein) a "pattern language" designed to empower anyone to design and build at any scale. Alexander is often overlooked by texts in the history and theory of architecture because his work intentionally disregards contemporary architectural discourse.[1] As such, Alexander is widely considered to occupy a place outside the discipline, the discourse, and the practice of Architecture.[citation needed] In 1958 he moved from England to the United States, living and teaching in Berkeley, California from 1963. He is professor emeritus at the University of California, Berkeley. Now retired (though still active), he is based in Arundel, Sussex, UK.



    Contents
    1 Education
    2 Honors
    3 Career
    3.1 Writings
    3.2 Buildings
    3.2.1 Teaching
    4 Influence
    4.1 Architecture
    4.2 Computer science
    4.3 Religion
    5 Published works
    6 See also
    7 References
    8 Further reading
    9 External links

    Education

    Alexander grew up in England and started his education in sciences. In 1954, he was awarded the top open scholarship to Trinity College, Cambridge University in chemistry and physics, and went on to read mathematics. He earned a Bachelor's degree in Architecture and a Master's degree in Mathematics. He took his doctorate at Harvard (the first Ph.D. in Architecture ever awarded at Harvard University), and was elected fellow at Harvard. During the same period he worked at MIT in transportation theory and in computer science, and worked at Harvard in cognition and cognitive studies.
    Honors

    Alexander was awarded the First Gold Medal for Research by the American Institute of Architects in 1972. The ACSA (Association of Collegiate Schools of Architecture) honored Alexander with the ACSA Distinguished Professor Award in 1986-87.[2] He was awarded the Seaside Prize in 1994. He was elected a Fellow of the American Academy of Arts and Sciences in 1996.[3] In 2006 he was one of the two inaugural recipients of the Athena Award, given by the Congress for the New Urbanism (CNU). On 5 November 2009, at a ceremony in Washington D.C., he was awarded (in absentia) the Vincent Scully Prize by the National Building Museum. In 2011 he was awarded the lifetime achievement award by the Urban Design Group.
    Career
    Writings

    The Timeless Way of Building (1979) described the perfection of use to which buildings could aspire:


    There is one timeless way of building. It is a thousand years old, and the same today as it has ever been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way. It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.

    A Pattern Language: Towns, Buildings, Construction (1977) described a practical architectural system in a form that a theoretical mathematician or computer scientist might call a generative grammar.

    The work originated from an observation that many medieval cities are attractive and harmonious. The authors said that this occurs because they were built to local regulations that required specific features, but freed the architect to adapt them to particular situations.

    The book provides rules and pictures, and leaves decisions to be taken from the precise environment of the project. It describes exact methods for constructing practical, safe and attractive designs at every scale, from entire regions, through cities, neighborhoods, gardens, buildings, rooms, built-in furniture, and fixtures down to the level of doorknobs.

    A notable value is that the architectural system consists only of classic patterns tested in the real world and reviewed by multiple architects for beauty and practicality.

    The book includes all needed surveying and structural calculations, and a novel simplified building system that copes with regional shortages of wood and steel, uses easily-stored inexpensive materials, and produces long-lasting classic buildings with small amounts of materials, design and labor. It first has users prototype a structure on-site in temporary materials. Once accepted, these are finished by filling them with very-low-density concrete. It uses vaulted construction to build as high as three stories, permitting very high densities.

    This book's method was adopted by the University of Oregon, as described in The Oregon Experiment (1975), and remains the official planning instrument. It has also been adopted in part by some cities as a building code.

    The idea of a pattern language appears to apply to any complex engineering task, and has been applied to some of them. It has been especially influential in software engineering where patterns have been used to document collective knowledge in the field.

    A New Theory of Urban Design (1987) coincided with a renewal of interest in urbanism among architects, but stood apart from most other expressions of this by assuming a distinctly anti-masterplanning stance. An account of a design studio conducted with Berkeley students, it shows how convincing urban networks can be generated by requiring individual actors to respect only local rules, in relation to neighbours. A vastly undervalued part of the Alexander canon, A New Theory is important in understanding the generative processes which give rise to the shanty towns latterly championed by Stewart Brand,[4] Robert Neuwirth,[5] and the Prince of Wales.[6]

    The Nature of Order: An Essay on the Art of Building and the Nature of the Universe (2003-4), which includes The Phenomenon of Life, The Process of Creating Life, A Vision of a Living World and The Luminous Ground, is Alexander's latest, and most comprehensive and elaborate work. In it, he puts forth a new theory about the nature of space and describes how this theory influences thinking about architecture, building, planning, and the way in which we view the world in general. The mostly static patterns from A Pattern Language have been amended by more dynamic sequences, which describe how to work towards patterns (which can roughly be seen as the end result of sequences). Sequences, like patterns, promise to be tools of wider scope than building (just as his theory of space goes beyond architecture).

    The online publication "Katarxis 3" (September 2004) includes several essays by Christopher Alexander, as well as the legendary debate between Alexander and Peter Eisenman from 1982.
    Buildings

    Among Alexander's most notable built works are the Eishin Campus near Tokyo (the building process of which is outlined in his 2012 book The Battle for the Life and Beauty of the Earth); the West Dean Visitors Centre [7] in West Sussex, England; the Julian Street Inn (a homeless shelter) in San Jose, California (both described in Nature of Order); the Martinez House (an experimental house in Martinez, California made of lightweight concrete); the low-cost housing in Mexicali, Mexico (described in The Production of Houses); and several private houses (described and illustrated in "The Nature of Order"). Alexander's built work is characterized by a special quality (which he used to call "the quality without a name", but named "wholeness" in Nature of Order) that relates to human beings and induces feelings of belonging to the place and structure. This quality is found in the most loved traditional and historic buildings and urban spaces, and is precisely what Alexander has tried to capture with his sophisticated mathematical design theories. Paradoxically, achieving this connective human quality has also moved his buildings away from the abstract imageability valued in contemporary architecture, and this is one reason why his buildings are under-appreciated at present.[1]

    Michael Mehaffy wrote an introductory essay on Christopher Alexander's built work in the online publication "Katarxis 3", which includes a gallery of Alexander's major built projects to date (September 2004).
    Teaching

    Apart from his lengthy teaching career at Berkeley (during which a number of international students began to appreciate and apply his methods), Alexander was a key member of faculty both of The Prince of Wales's Summer Schools in Civil Architecture (1990–1994) and The Prince of Wales's Institute of Architecture[6]
    Influence
    Architecture

    Alexander's work has widely influenced architects; those that acknowledge his influence include Sarah Susanka,[8] among others.

    Architecture critic Peter Buchanan, in an essay for The Architectural Review's 2012 campaign The Big Rethink, depicts the challenge posed by Alexander's work as follows:


    "Even architects not immune to the charms of the places depicted, are loath to pursue the folksy aesthetic they see as implied and do not want to engage with such primitive construction – although the systemic collapse now unfolding may force that upon them. The daunting challenge for architects then, if such a thing is even possible to realise, would be to recreate in a more contemporary idiom both the richness and quality of experience suggested by the pattern language."[9]
    Computer science

    Alexander's Notes on the Synthesis of Form was required reading for researchers in computer science throughout the 1960s. It had an influence[10] in the 1960s and 1970s on programming language design, modular programming, object-oriented programming, software engineering and other design methodologies. Alexander's mathematical concepts and orientation were similar to Edsger Dijkstra's influential A Discipline of Programming.[11]

    A Pattern Language‘s greatest influence in computer science is the design patterns movement.[12] Alexander's philosophy of incremental, organic, coherent design also influenced the extreme programming movement.[13] The Wiki was invented[14][15] to allow the Hillside Group to work on programming design patterns. More recently, The Nature of Order's "deep geometrical structures" have been cited as having importance for object-oriented programming, particularly in C++.[16]

    Will Wright wrote that Alexander's work was influential in the origin of The Sims computer game, and in his later game Spore.[17]
    Religion

    The fourth volume of The Nature of Order approaches religious questions from a scientific rather than mystical direction. In it, Alexander describes deep ties between the nature of matter, human perception of the universe, and the geometries people construct in buildings, cities, and artifacts,[vague][examples needed] and he suggests a crucial link between traditional beliefs and recent scientific advances.[vague][examples needed] Despite his leanings toward Deism,[citation needed] Alexander has retained a respect for the Catholic Church, believing it to embody a great deal of accumulated human truth within its rituals.[citation needed]
    Published works

    Alexander's published works include:
    Community and Privacy, with Serge Chermayeff (1963)
    Notes on the Synthesis of Form (1964)
    A city is not a tree (1965)
    The Atoms of Environmental Structure (1967)
    A Pattern Language which Generates Multi-service Centers, with Ishikawa and Silverstein (1968)
    Houses Generated by Patterns (1969)
    The Grass Roots Housing Process (1973)
    The Oregon Experiment (1975)
    A Pattern Language, with Ishikawa and Silverstein (1977)
    The Timeless Way of Building (1979)
    The Linz Cafe (1981)
    The Production of Houses, with Davis, Martinez, and Corner (1985)
    A New Theory of Urban Design, with Neis, Anninou, and King (1987)
    Foreshadowing of 21st Century Art: The Color and Geometry of Very Early Turkish Carpets (1993)
    The Mary Rose Museum, with Black and Tsutsui (1995)
    The Nature of Order Book 1: The Phenomenon of Life (2002)
    The Nature of Order Book 2: The Process of Creating Life (2002)
    The Nature of Order Book 3: A Vision of a Living World (2005)

    The Nature of Order Book 4: The Luminous Ground (2004)
     The nature of order: an essay on the art of building and the nature of the Universe. The luminous ground, Volume 4

    The Battle for the Life and Beauty of the Earth: A Struggle between Two World-Systems (2012)

    Unpublished:[18]
    Sustainability and Morphogenesis (working title)
    See also
    Pattern Garden
    Pattern Language
    References

    ^ a b Nikos Salingaros, "A Theory of Architecture", Umbau-Verlag, Solingen, 2009
    ^ *ACSA Archives, Distinguished Professor Award winners.
    ^ "Book of Members, 1780-2010: Chapter A". American Academy of Arts and Sciences. Retrieved 14 April 2011.
    ^ See Chapter 2 of his Whole Earth Discipline, 2009.
    ^ Shadow Cities: a billion squatters, a new urban world, 2004.
    ^ a b See Brian Hanson & Samir Younés, “Reuniting Urban Form and Urban Process: The Prince of Wales’s Urban Design Task Force”, Journal of Urban Design, v.6, no.2 (June 2001), pp.185-209; Charles, Prince of Wales, speech at the "Traditional Urbanism in Contemporary Practice" conference at The Prince‘s Foundation, London, 20th November 2003.
    ^ England, The West Dean Visitors Centre - Project History
    ^ Sarah Susanke: Not So Big House, Taunton Press, 2001, ISBN 1561583766
    ^ The Big Rethink: Transcend And include The Past, 24 April 2012 (accessed 5 January 2012)
    ^ Kilov, H.. "Using RM-ODP to bridge communication gaps between stakeholders". Communications H Kilov. Workshop on ODP for Enterprise Computing 2004. CiteSeerX: 10.1.1.161.553. "Peter Naur proposed in 1968 to use Christopher Alexander's work…"
    ^ Dijkstra, E. (1976-10-28). A Discipline of Programming (Facsimile ed.). Prentice Hall, Inc.. pp. 217. ISBN 0-13-215871-X.
    ^ Christopher's Alexander's influence on Computer Science
    ^ Association of C and C++ Users: Interview with Kent Beck on eXtreme Programming
    ^ C2 Wiki Front Page
    ^ C2 Wiki: People, Projects and Patterns
    ^ Space: the Final Frontier
    ^ Will Wright interview
    ^ Rob Hopkins interview

    Further reading
    Grabow, Stephen: Christopher Alexander: The Search for a New Paradigm in Architecture, Oriel Press (Routledge & Kegan Paul), London and Boston, 1983.


     HRISTOPHER ALEXANDER: The Search for a New Paradigm in Architecture  (1983)是一本絕版書   不過美國有三處"新書"賣60美元 (1983年版訂價37.5元)

    作者STEPHEN GRABOW 當初申請到補助,跑到CHRISTOPHER ALEXANDER任教的伯克萊大學,與傳主密切訪談6個月以上 (訪談多有錄音 本書多根據這些謄本寫作)。當時CHRISTOPHER ALEXANDER 教書約有15年經驗 基本的思想系統已備 雖然他還有近20年的大學教學生涯
    英文書將Stephen Grabow與CHRISTOPHER ALEXANDER合作的此書
    比擬為Boswell與S. Johnson間合作的The Life of Dr. Johnson

    我之所以要特別記一下本書是因為有些書緣




    External links





    Wikiquote has a collection of quotations related to: Christopher Alexander

    Official website for Alexander's Pattern Language
    Official website of Christopher Alexander, called "Living Neighborhoods"
    Official website of Christopher Alexander, on his 4-volume book "The Nature of Order"
    Essay on Christopher Alexander's Pattern Language
    "Some Notes on Christopher Alexander", by Nikos Salingaros
    Introduction to Christopher Alexander
    Review of Notes on the Synthesis of Form
    Towards a New Science of Architecture Michael Mehaffy's review of The Nature of Order
    The Architect of Life Science in Society's review of The Nature of Order
    Review of Notes on the Synthesis of Form
    Radio interview with Christopher Alexander by NPR's Jennifer Ludden
    National Building Museum interviews Michael Mehaffy on the occasion of Christopher Alexander receiving the 2009 Scully Prize
    Works by Christopher Alexander on Open Library at the Internet Archive







    ****






    hall of fame: christopher alexander - Residential Architect
    2000 Leadership Awards
    hall of fame: christopher alexander
    spurred by a love of buildings and building, alexander decoded the patterns that make houses truly livable.
    By:

    Bruce D. Snider










    Credit: Bryce Duffy/Corbis SABA


    Christopher Alexander's theory and practice promote an architecture that nurtures human life.


    Enlarge


    Credit: Bryce Duffy/Corbis SABA


    Christopher Alexander's theory and practice promote an architecture that nurtures human life.

    What is architecture? What is the role of the architect in society? What is a good building? Should architects strive for beauty in their work? What is beauty? These are matters that every architect must ponder from time to time. But no architect of our time has explored such fundamental questions in greater depth or breadth, or with greater persistence, clarity, and originality of thought, than Christopher Alexander. As a theorist, teacher, author, practicing architect, and builder, Alexander has taken it upon himself to question everything, from construction details and the effects of color to the process by which a global species makes and remakes its environment and, beyond, to the objective bases of beauty itself.





    Along the way, his work has informed, inspired, and provoked generations of architects. His most widely read book to date, A Pattern Language (co-authored with Sara Ishikawa and Murray Silverstein), has served as an essential text for architecture students, architects, and builders. Yet the book is so accessible that it remains popular among lay readers more than 20 years after its first publication and so universal that it has become a model not only for architects, planners, and homeowners but also for software developers. In his architectural practice he has shown a way to create, without being merely imitative, buildings with the richness, resonance, and life we are accustomed to experiencing only in old buildings.




    His analysis of the structural features of healthy communities provided the theoretical and practical underpinnings of the New Urbanism. His outspoken critique of the Modernist architectural establishment and architectural education has made him both a hero and a bete noire.




    bricks and mortarboards

    This is not the career Alexander envisioned when, as a young bricklayer's apprentice, he first set his sights on the profession.




    "I feel that in some ways I was like a little kid," he says. "I wanted to be an architect, I went to architecture school, I found out that what I learned in architecture school was nonsense." At Cambridge University in the 1950s, he remembers, "The air was thick with Van Doesburg" and a doctrinaire Modernism that struck Alexander, who also studied mathematics, as the height of absurdity.




    "I went through the Cambridge School of Architecture almost in a state of desperation," he says. At one point, assigned to design a house—and knowing that his notion of a proper building would provoke only ridicule—Alexander pulled what he remembers as a rather juvenile prank. Idly doodling "some Mondrian-esque lines" on paper, the thought occurred to him: "I'll just put a glass box around this and I'll call it a house." Summoned later to speak with the director of the department about his work, he feared he had earned himself a ticket home. But the director issued no reprimand. As Alexander remembers, "He walks up to me, puts his arm around my shoulder, and says, 'Chris, my boy, this is exactly what we want.'" When the meeting ended Alexander phoned his father and reported, "This is a lunatic asylum."




    Rather than destroy his interest in architecture, however, Alexander's architecture school experience only spurred him to dig more deeply into the matter. After graduating from Cambridge, he says, "I had kind of an instinct about the U.S. I decided, 'I'm going to go to the U.S. and I'm going to figure this thing out from scratch.' I went to Harvard with that goal: What is architecture? And I began with anthropology, because I knew that there were so many cultures around the world that had created so many beautiful things." The work Alexander began at Harvard led to a Ph.D. in architecture, a professorship at the University of California at Berkeley, and a career-long pursuit of the universal principles of life-sustaining design.




    building blocks

    Alexander's process was not merely to catalog what he saw, even the best of it. Rather, it was—and remains—to identify structures and environments that foster objectively measurable positive effects, distill from them the essential qualities that make them work, and develop systems to produce buildings that embody those qualities. It is a deceptively simple approach. Yet it has been remarkably effective at making explicit the unwritten rules that underlie generation upon generation of building around the world.




    His research also shed light on what remains perhaps the central paradox of architecture in the late 20th and early 21st centuries: why, with more and more trained architects in the world, we seem less and less effective in creating an environment in which people feel comfortable, whole, and happy. A period that has produced a wealth of inspired buildings has also brought a coarsening of the common fabric. Alexander's effort to decode the universal grammar of design was motivated by his sense that it was being flouted or ignored by an architectural profession that elevated individual artistic expression above all else.




    "The idea that a few people are sort of priests of architecture has wreaked havoc," Alexander says. "It has served architecture very badly indeed." From the second half of the 20th century, academic architecture has occupied many of the brightest minds in the field in a closed conversation among architects and critics. The result has been self-consciously avant-garde or ironic work that has drifted further and further from the straightforward needs of the people who will use it. "It is the desire to be remarkable that removes things continuously from our ordinary lives," Alexander says. And because the desire to be remarkable has come to rule our built environment, "we are constantly trapped in places where we cannot be ordinary human beings." Meanwhile, the public's desire for buildings they can relate to is served largely by mass-market kitsch traditionalism, the architectural equivalent of junk food. Skilled architects who wish to address the needs of their clients in a direct, unselfconscious way have often had to go outside their training to do so.




    In a day when architecture is viewed, taught, critiqued, and consumed primarily in the form of two-dimensional images—including photographs in magazines like this one—the photographic image exerts a tremendous influence on the actual design of buildings. But the qualities of a captivating graphic composition are quite different from those of a deeply livable environment. For more than 30 years, Alexander's work has challenged architects to delve deeper, to serve the needs of the body and spirit in a way that photography cannot capture, a way that must be experienced directly. Architects recognize this quality in the special places and buildings in their lives, Alexander says, "but for 60 or 80 years, it has not been on the agenda. It's a private feeling people have, but it's not an acknowledged 'this is what we ought to do when we build.' It's crazy, really, that the thing that is the core of all architecture should be, at least for our time, so elusive."




    Alexander's work has made this essential quality less elusive than it once was, and less likely to be dismissed as a historical artifact. "I think Christopher Alexander is probably the most important theoretician on architectural design of the present day," says architect and educator Edward Allen, author of the classic textbook Fundamentals of Building

    Construction. Alexander's analysis of past and current architectural practice, Allen says, has been "not only deep and important, but also largely correct. He doesn't bat a thousand, but he has undertaken such a vast scope of stuff, it's astonishing how well he does bat."








    archetype casting

    Alexander has done more than simply challenge architects to produce better work. In his books A Pattern Language, The Timeless Way of Building, and The Oregon Experiment, he offered subtle and powerful tools with which to do so. (An earlier book, Notes on the Synthesis of Form, and his soon-to-be-published The Nature of Order address the physical foundations of form and beauty.) New Urbanist planner Andrés Duany calls Alexander "one of the most influential people who has ever been in the design world. His influence on us, operationally, has been enormous." Sarah Susanka, whose popular books The Not So Big House and Creating the Not So Big House have appealed to both architects and homeowners in an effort to change the way Americans build, credits Alexander as the indispensable guiding light of her career.




    "I consider myself one of the first generation of architects brought up with A Pattern Language," she says. For Susanka, the book came along at a crucial moment. Early in her training she sensed that architecture had fallen victim to overspecialization. Architects were taught to believe that they held "special, private knowledge," which their clients could never fully grasp. Young architects lived under an oppressive standard of "doing something nobody has ever done before, for the sake of doing something that's never been done before." Meanwhile, generational continuity in the trades had broken down, scattering the cultural capital once invested in the hands of master craftspeople. "Things that were handed down from father to son and mother to daughter for hundreds of years no longer were." As a result, she says, "people lost their confidence."




    "Alexander put forth a completely new paradigm in architecture," Susanka says. Eschewing professionalist jargon and arcane theories, he spoke directly to the question of what kinds of places support vibrant human life. Refusing to turn his back on millennia of human experimentation, he sought answers in real buildings and real communities, and he employed a scientific approach to discerning their effects on people. "He was speaking a whole different language than anyone else had up until that point," Susanka says. It is a language that speaks with both authority and specificity about the constituents of a healthy built environment—green corridors into urban areas, small public squares, paths that connect houses without crossing car roads, houses with cave-like spaces for small children to play in, semi-independent spaces for teenagers—a suitable habitat, if you will. A Pattern Language gave architects and their clients a common ground, a vocabulary with which lay people could identify what they wanted in a building, even if they had never experienced it before. "What he was doing was giving back a certain confidence," Susanka says, "reminding people of what they had forgotten."




    Alexander's critics have long dismissed him as a nostalgist whose work has no contemporary relevance. But while his work is replete with elements banished from the Modernist palette—he champions the use of ornament, for example—he says, "I don't think it has anything in it that is a desire for the archaic. I view it very much as going forward." The quality he seeks—a quality amply in evidence in his own buildings—is not the province of any style or period. His description of a visitor center he built for West Dean College, West Sussex, U.K.—"You feel that you're in the presence of a traditional architecture of some uncertain type"—could apply to any of his buildings. But the fact that his architecture feels pre-Modern may say as much about Modernism as about Alexander. Modernism and its offshoots may someday come to be viewed as a subordinate branch of architecture's evolutionary tree; if so, returning to the main trunk to move ahead might well at first seem retrograde.




    In hindsight, this champion of timeless values in building seems to have been ahead of the avant-garde from his days at Cambridge. Modernism, Alexander notes, drew much of its inspiration from industrial mass production and the scientific theory, current during the early 20th century, that all matter could be reduced to identical repeating units. This gave rise to what Alexander calls the movement's "insane love affair with repetition." Decades later, the scientific vision of a neatly uniform underlying structure has fallen apart. "The idea of identical repeating units was a washout from the beginning," Alexander says. "All of this arose out of a scientific view of the world that was just wrong." The more closely scientists observe matter, the more they see not uniformity but uniqueness.




    countless possibilities

    Uniqueness is at the crux of Alexander's vision. But it is not the uniqueness of the avant-garde, of difference for the sake of being different.




    He draws his parallels from biological systems and computer science, each of which employs simple sets of instructions—genetic codes or software scripts—to produce infinitely varied and unique responses to data inputs or environmental circumstances. The same genetic material for, say, a tree will give rise to a distinctly different organism in each different environment in which a tree might grow. The same spreadsheet will give a different set of output figures for every set of inputs. In the realm of architecture and planning, this means that a single set of governing principles—a pattern language—can give rise to an infinite variety of design solutions, each appropriately unique to its unique circumstances.




    Today's architectural avant-garde relies on computer technology to envision and engineer increasingly self-referential and abstractly sculptural buildings—dubbed "blobs" by architect Greg Lynn, a practitioner in the new genre. Alexander has embraced computer science and computer technology in a more profound way, as both metaphor and the medium with which to advance his vision of "rebuilding the earth."Alexander's application of computer technology to architecture—to the fundamental work of design, not merely to imaging or drafting—began in the 1960s. In its structure, A Pattern Language bears much in common with the scripts that computer programs employ to carry out complex functions. Indeed, software engineers have adopted the book as a structural model with applications in their own field. In its nesting structure and links between patterns, the book anticipated the structure of the World Wide Web.




    With the current widespread use of the Internet and computer-controlled production of made-to-order building materials, the world may have at last caught up with A Pattern Language. Alexander has responded to these developments with a Web site, patternlanguage.com, which offers the content of A Pattern Language—in the form of "generative sequences" for the creation of spaces—as a kind of open source code of environmental design. Anyone with an Internet connection can access the site for guidance in planning and building a variety of spaces: a garden, a small addition, a house, a neighborhood, an office building.




    Web-based architecture may yet sound a bit ethereal, but Alexander's theory—and his own practice—are deeply rooted in the nitty-gritty of construction. For more than 30 years, his Center for Environmental Structure has served as both a laboratory for his theories and an active architecture and construction firm. From its base in Berkeley, Calif., CES has undertaken projects ranging from town and community plans to individual houses in the U.S. and as far afield as Peru, Austria, and Japan. From this experience Alexander has derived one iron-clad imperative: The architect must direct the construction process. "The unification of design and construction—the willingness of the architect to take responsibility for construction and not just drawing—is probably the single most critical issue," he says. He has pursued this approach in crafting a series of buildings that express, even through the limited medium of photography, a rare emotional depth. "The architect as artist is the core of our activity," Alexander says, "and I mean an artist in the sense of making beautiful things." For architects to realize their full potential as artists, he maintains, "the love of buildings has to become a love of building."


    It is the love of both buildings and creating them that has animated Alexander's career. But while every love bears a core of mystery, Alexander has been unwilling to let the mystery rest. By delving deeper into how the things we build can support us, enlighten us, move us, make us better, he has both enlarged and enriched his profession.
    Bruce D. Snider writes for residential architect's sister publication CUSTOM HOME.


    2013年4月10日 星期三

    Campus of the University of Oregon /The Oregon Experiment/ THE ARCHITECTURE OF THE UNIVERSITY OF OREGON

    THE ARCHITECTURE OF THE UNIVERSITY OF OREGON

    A HISTORY, BIBLIOGRAPHY, & RESEARCH GUIDE


    This resource documents the history of the built environment of the University of Oregon and identifies basic resources for researching the architectural heritage of Oregon's flagship university. The digital collection Building Oregon: Architecture of Oregon & the Pacific Northwest complements this guide with hundreds of images of campus buildings and associated documentation spanning several decades of UO's history.
     

    SECTIONS

    Annotated chronology, organized by decades, that describes UO's building history
    Descriptive and resource information about campus buildings and landscape
    Information about the architects, artists, builders, and other contributors to UO's architecture
    Information (text and image) about the outdoor sculpture, architectural decoration, and memorial plaques that embellish the campus
    Orientations to campus architecture through walking tours, maps, videos, and other media.
    A guide to research resources useful for further exploration.
    Left: Knight Library stairwell mural, detail. This year 2012 marked the  75th anniversary of the opening of Knight Library. View the presentation Ghosts of Knight (UO Channel) for a history of the Depression era masterpiece.

    UO's BUILDING TIMELINES

    This annotated chronology surveys the architectural history of the University of Oregon.. It is organized by the time periods listed below. Within the chronology, buildings and individuals are linked to pages that contain more information.
    19th c 1900-09 1910-19 1920-29 1930-39 1940-49 1950-59 1960-69 1970-7s 1980-89 1990-99 2000-09 2010s

    INDIVIDUAL BUILDINGS & LANDMARKS

    For information about specific buildings or topics, consult the list below. Note: The most recent building name is used for a work that has had several names. An asterisk * indicates buildings that are no longer extant. This search identifies cataloged UO Library holdings about University of Oregon buildings.
    THE CAMPUS PAST

    Campus of the University of Oregon

    From Wikipedia, the free encyclopedia
    Jump to: navigation, search
    The campus of the University of Oregon is located in Eugene, Oregon and includes some 80 buildings and facilities, including athletics facilities such as Hayward Field, which was the site of the 2008 Olympic Track and Field Trials, and McArthur Court, and off-campus sites such as nearby Autzen Stadium and the Riverfront Research Park. An online guide to the university's built environment, Architecture of the University of Oregon, 無法連接 published by the University of Oregon Libraries, describes campus buildings and provides timelines of key architectural events linked with campus history.

    Main sign at the Agate Street entrance to the University.

    Contents

    The Oregon Experiment

    The university is known for being the site of a pioneering participatory planning experiment known as the Oregon Experiment (which is also the subject of a book of the same name). The two major principles of the project are that buildings should be designed, in part, by the people who will ultimately use them (usually with the help of an 'architect facilitator'), and that construction should occur over many small projects (as opposed to a few large ones).

    List of buildings on campus

    This list includes all buildings currently in use on the University of Oregon campus.

    Old Campus


    Villard Hall, the second building on campus.

    Plaque dedicating the Memorial Quad

    Memorial Quadrangle

    The Memorial Quad was designed by architect Ellis F. Lawrence as the "main university quadrangle." Lawrence designed many of the buildings that make up the quad, including Peterson and Gilbert Halls, now part of the Lillis Business Complex, which lie at the very end of the Quad, across 13th street. Plaques designate the walkways of the quadrangle to be the gift of Chaplain William S. Gilbert, as a memory to those from the university who served their country in time of war.

    View of the quad facing south, toward Gerlinger Hall.

    Women's Memorial Quad

    Also designed by Lawrence, the Women's Memorial Quadrangle featured only dormitories and the Women's Gymnasium. The Pioneer Mother statue, commemorating Tabitha Brown, is also located here.

    Southwest Campus


    View of the Erb Memorial Union from the East Lawn, a popular concert and event venue.

    Central Campus

    The "Heart of Campus," at 13th and University Streets, is the site of the Erb Memorial Union (EMU) and a few academic buildings. The EMU Amphitheater is also a popular venue for student demonstrations, performances, and gatherings.

    East Campus

    Science Complex


    Courtyard between buildings in the science complex. The Science Library (below street level) can be seen through the opening in the middle.

    Riverfront Area

    University Housing

    Athletics

    Off Campus Buildings and Infrastructure

    Chronology

    The following is a list of important dates and events leading to the creation of the buildings present on the University campus today.

    19th century

    • 1873 - Construction begins on Deady Hall, the first building on the University of Oregon campus.
    • 1876 - Deady Hall opens as the State University Building
    • 1886 - Collier House is completed at the corner of 13th and University Streets, as the personal residence of Physics professor George Collier.
    • 1886 - Villard Hall opens as the second building on campus.
    • 1893 - Friendly Hall, the first dormitory, is completed near Collier House.
    • 1896 - Collier House purchased by the University from George Collier's estate.

    1900 to 1909

    • 1901 - Mechanical Hall is completed (now incorporated into the modern Lawrence Hall).
    • 1906 - Fenton Hall opens as the Library.

    1910s


    Administration Building circa 1920
    • 1914 - Architecture Building opens, facing Franklin Boulevard. The building was renovated and now forms part of Lawrence Hall.
    • 1914 - Addition to Fenton Hall provides stacks for the library.
    • 1915 - Johnson Hall is opened as the Administration Building.
    • 1916 - Peterson Hall is completed, called the Education Building.
    • 1918 - The women's dormitory, Hendricks Hall, opens on University Street.
    • 1919 - The east grandstand is built at Hayward Field.

    1920s

    The firm Lawrence & Holford designed all University buildings in the 1920s.
    • 1921 - Gerlinger Hall opens as Woman's Memorial Hall.
    • 1921 - The Education Building is completed, along with the adjoining University High School.
    • 1921 - Commerce Hall (now Gilbert Hall) opens directly facing Peterson Hall.
    • 1921 - Susan Campbell Hall is completed, and together with Gerlinger and Hendricks Halls forms Women's Memorial Quadrangle.
    • 1923 - Journalism Building opens near the modern Allen Hall (later incorporated into the Journalism School when Allen Hall was built).
    • 1923 - Architecture and Allied Arts Building completed (would later form much of Lawrence Hall).
    • 1924 - The School of Music is completed near 18th Street.
    • 1924 - The Power Plant and University Depot are built along Franklin Boulevard (the plant is now part of Lawrence Hall).
    • 1925 - Condon Hall is completed on the corner of 13th and Kincaid Streets.
    • 1925 - The West Grandstand is constructed at Hayward Field.
    • 1926 - McArthur Court is erected.
    • 1928 - John Straub Memorial Building (Men's Dormitory) is completed, now called Straub Hall.

    1930s

    • 1932 - Museum of Art opens after lying empty for two years.
    • 1936 - Fenton Hall is again renovated, this time to expand it for use as the Law School.
    • 1936 - Construction ends on the new Physical Education Building, now called Esslinger Hall.
    • 1937 - The Library, now called Knight Library, is completed near 15th and Kincaid Streets.
    • 1939 - Chapman Hall is completed to mirror Condon Hall, along 13th Street.

    1940s

    1950s

    • 1950 - Addition to Knight Library completed.
    • 1950 - Erb Memorial Union opens at 13th and University.
    • 1952 - Science Building (now Pacific Hall) opens.
    • 1954 - Allen Hall opens.
    • 1955 - Virgil D. Earl Hall (now Earl Complex) opens to house University students.
    • 1957 - Additions to the Architecture and Allied Arts Building are completed; building is renamed Lawrence Hall in honor of the late architect.
    • 1958 - First units of Walton Hall (later Walton Complex) are completed near Agate Street.
    • 1959 - Five units are added to Walton.
    • 1959 - Leighton Pool opens at 13th and University, where Columbia Hall stands today.

    1960s

    1970s

    1980s

    1990s

    21st century

    • 2003 - Lillis Business Complex opens, including Lillis Hall, Chiles Center, Peterson Hall, and Gilbert Hall.
    • 2005 - New Many Nations Longhouse opens near the Law School.
    • 2006 - Living Learning Center opens, the first new dormitory in over 40 years.
    • 2008 - Lorry I. Lokey Laboratories, an underground nanotechnology research facility, opens.
    • 2009 - Jaqua Center, a dedicated academic facility for student athletes, opens.
    • 2009 - The construction of Matthew Knight Arena begins on February 9[3]
    • 2011 - First basketball game is played at Matthew Knight Arena on January 13.
    • 2012 - The Global Scholars Hall is expected to open in the fall of 2012.
    • 2012 - The Lewis Integrative Science Building is expected to open in the fall of 2012.
    • 2012 - Allen Hall is expected to reopen after an extensive renovation and expansion project in late 2012.

    Future campus development

    The small size of the campus presents many hurdles for future campus development. However, the UO has plans for 40 construction projects totaling an estimated $2 billion. Among the various projects there are plans to do the following:
    • A $161 million renovation and expansion of the EMU and SRC. This plan includes a 1500 seat concert hall.
    • Replace Onyx Bridge with a new science building.
    • Build at least one new building on the Memorial Quad. Additionally, renovate and expand existing buildings on the Quad.
    • Riverfront lands development. This plan includes a pedestrian crossing over Franklin Blvd.
    • Add capacity and modernize existing residence halls in order to accommodate 25% of all undergraduates.[4]

    See also

    References

    1. ^ a b "University of Oregon Cultural Resources Survey: Agate Hall". University of Oregon.
    2. ^ "Howe Field". sportshistory.uoregon.edu/.
    3. ^ "Ducks Break Ground for the Matthew Knight Arena". goducks.com.
    4. ^ "Facilities White Paper Draft". UO Planning. Retrieved 16 March 2012.

    External links






     此書有漢譯

    The Oregon Experiment

    From Wikipedia, the free encyclopedia
    Jump to: navigation, search
    The Oregon Experiment
    Cover
    Author(s) Christopher Alexander
    Publisher Oxford University Press
    Publication date 1975
    Pages 190
    ISBN ISBN 978-0-19-501824-0
    OCLC Number 1976594
    Preceded by The Timeless Way of Building
    The Oregon Experiment is a 1975 book by Christopher Alexander and collaborators Murray Silverstein, Shlomo Angel, Sara Ishikawa, and Denny Abrams. It describes an experimental approach to campus community planning at the University of Oregon, in Eugene, Oregon which resulted in a theory of architecture and planning described in the group's later published and better-known volumes A Pattern Language and The Timeless Way of Building.
    In the late 1960s and early 1970s, students and faculty at the University of Oregon protested against log trucks driving through campus; against the destruction of a 19th century cemetery; against the military draft and the invasions and occupations in Southeast Asia; and against the idea that the University was acting in loco parentis, in place of students' parents. On top of this, buildings created since the end of World War II were increasingly Brutalist and dystopian[citation needed].
    The campus community wanted more control over their lives, and their environment. The University administration took the conciliatory measure of hiring an award-winning, radical, professor from University of California, Berkeley to design a process by which the community of the university could create its own space. The University of Oregon became the experimental testbed for material that later became the bestselling book A Pattern Language.
    The book prescribed that "feeling" should be the primary criteria used for making changes to any place. Improvements to the campus should be made first to those places that needed the most help. Patterns, or good solutions to generic problems, should be available in a community encyclopedia. Care should be taken to curb the economic and political power of large monolithic projects. Places should be shaped for people, to make them feel more whole, and to nourish them. And people should be involved in the construction of their community.

    Today

    Most new campus buildings at the University of Oregon reflect the influence of participation by user groups. Documentation related to the building of the University of Oregon science complex in the late 1980s describes 'pattern language' planning principles in process.

    References

    The three books in the series are:
    Additional references:
    • "New Science Complex: Into the Twenty-First Century." Inquiry; Special Issue of Old Oregon (January 1987): 33-35 il.
    • "Interview with Charles Moore.." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Bloomer, Kent. "The Confounding Issue of Collaboration Between Architects and Artists." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Campbell, Robert. "Knight's Moves." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Coffin, Christie Johnson. "Making Places for Scientists." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Harby, Stephen. "Using New Buildings to Solve Old Problems." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Mosely, John. "From Participation to Ownership: How Users Shape the Science Complex." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 16-21.
    • Pally, Marc. "Finding a Place for Collaboration." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Rowe, J. David. "The Roots of Oregon's Planning Tradition." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Streisinger, Lotte. "People, Place and Public Art." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Wingwall, Alice. "Cascade Charley." Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.
    • Yudell, Buzz. "Building Unity Through Participation" Places; A Quarterly Journal of Environmental Design 7 no. 4 (1992): 8-15.

    External links