关于塑胶体育场地施工图在设计上应注意的问题

着重对塑胶体育场施工图在设计上经常出现的问题进行了讨论、说明。     

斜二测椭圆画法初探

椭圆的近似画法是制图学和画法几何学中很重要的组成部分.文章在对原有的两种近似画法进行研讨的基础上,推出一种新的斜二测椭圆近似画法.并对这三种斜二测椭圆近似画法及作图结果同标准斜二测椭圆进行比较.通过使用AUTOCAD14(计算机制图)的比较可以看出,新的斜二测近似椭圆与斜二测椭圆的图形更接近、画法更简洁.     

In‐Place and In‐Time

This article presents parallel and collaborative research and teaching practices that expand approaches to encountering site through the lenses of observation and performative drawing. These drawing practices record phenomena, whilst in their presence, through a designed temporal framework. This asks the drawer to observe over a duration of time and to record the world in motion. By spending an extended period of time in the presence of the phenomenon of our study, with active receptivity, our capacity to see shifts. Rather than the drawn outcomes of this observation recording a past time, the notion of experiential time – and an expanded present – is embedded in the act of drawing. These processes of observation and performative drawing allude to Edmund Husserl’s expression of a ‘thickened present’. The outcomes of this drawing practice demonstrate that observational techniques are embodied, relational, temporal and generative and so offer an alternative approach to site analysis. How this approach sits within the larger domain of spatial temporal relationships and forms of drawing are also considered.     

Catastrophes and primary school drawing course design for moral education in China

Abstract

This paper examines how drawing classes can contribute to moral education in primary schools. This paper uses class observation, interviews with teachers and students, and analysis of students’ work to highlight how the students articulate moral concerns by drawing and designing future-oriented architectures, which aims at preventing natural and social catastrophes. It suggests that the design of this drawing class provides new possibilities of doing moral education in China’s primary schools. The drawing class made possible the articulation of becoming moral subjects, which is able to integrate ‘harmony’ into the younger generation’s value system, world views and the possibilities they envision for themselves and human-nature relationships.     

自调匀整装置及其在棉纺设备上的应用

本介绍自调匀整装置的组成与分类、基本原理，并对自调匀整装置在棉纺设备上的应用、效果进行简要分析。     

中国画之"画味"摭谈

中国画之“画味”在于它能表现出笔、墨、气、神、韵的有机结合，诗、书、画、印的和谐统一，从而使人产生各种美感的体验。其展现的“风味”则因时因人而异，或气韵生动传神，或工整艳丽丰腴，或怪诞丑美变形，或天然情趣盎然，丰富多彩，气象万千，能充分体现出中国画这一国粹的独特之“味”的内在美。     

CAI课件在数学教学中运用之浅探

以《几何画板》为工具，通过多个具体实例介绍其在数学教学中的应用及对于改造传统教学方式的作用。     

画法几何与工程制图课程教学改革研究

随着计算机技术的介入,手工制图逐渐淡出图学舞台。但绘图理论作为画法几何与工程制图课程的核心内容为许多工科专业的课程奠定坚实的基础。在当前新工科建设及工程专业认证两大政策导向下,如何在有限的课时内改革制图课程,使之更能向培养新工科应用型人才方向迈进,是授课教师亟待思考的重要问题。     

《褶》的创作谈

本文通过阐述《褶》的立意、构思及创作过程,从一个具象的题目可以表达一个抽象的概念、一种具象的形可体现整个人类的生存状态、内容和表现形式的结合可深化主题三个方面说明对比与谐调、矛盾与统一的美学观点,强调美的最高境界是艺术作品的意蕴美,进而论述了人与人之间的互敬、互爱、互融、互纳、互兴、互扬,也是一种做人的美学。     

论文人画的"人文精神"

长期以来，在有关传统人画的研究中，往往是谈形式的多，论内涵的少，这极不利于对人画的全面认识，也不利于对传统艺术的继承和发扬。其实，人画的本质和灵魂只有从人画家的身上才能找到它的根源，尤其是人画家深厚的学养和举世高标的人格魅力，充分展示了中国古代人、学的人精神和审美理想，也造就了人画所特有的超逸的艺术风格。