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首页> 外文学位 >Art and the built landscape in the central business district of Dallas: Influences from an identifiable era in the late twentieth century.
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Art and the built landscape in the central business district of Dallas: Influences from an identifiable era in the late twentieth century.

机译：达拉斯中央商务区的艺术与建筑景观：二十世纪后期可识别时代的影响。

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In the mid to late 1970s, Dallas' emergence as a center of culture and art became outwardly evident in the urban landscape. International and local designers were commissioned to make their mark on the gridded environment; Dallas City Hall was the first major development during this period. Internationally acclaimed architect I.M. Pei's inverted pyramidal structure and ceremonial plaza were soon followed by Carpenter Park with its noteworthy environmental art piece 'Portal Park Slice' by Robert Irwin.;Significant human communities typically have a collection of spaces that are both private and public, mostly privately funded but publicly used. In the sites' development a group of financiers, developers, designers, artists and in some cases, city officials and individual citizens outlined the usage by defining the purpose and function of the site in order to aesthetically achieve their means. Behind this collaboration, amass a series of stories; narratives that explain the who, why and what in the development of each project. In this paper, historical backgrounds are presented making the user aware of the inner makings of these urban spaces.;This study revealed the collaborations of the individuals involved in the development of the sites and the specifics behind the projects. Publications from both the defined era and present provided vital recorded facts. Site inventories confirmed inclusion of art and offered photographic documentation.;Through the use of research methodology, literature review, artists' comments and critics' response, this research details how eight selected built landscapes within the Central Business District (CBD) of Dallas that include art as a significant feature were a direct result of the construction boom in the later part of the twentieth century.
机译：在1970年代中期至后期，达拉斯作为文化和艺术中心的崛起在城市景观中逐渐显现出来。委托国际和本地设计师在网格化环境中留下自己的印记；达拉斯市政厅是这一时期的第一个主要发展。享誉国际的建筑师贝Pe铭的倒金字塔结构和礼仪广场很快被卡彭特公园（Carpenter Park）以及罗伯特·欧文（Robert Irwin）著名的环境艺术作品“门公园切片”（Portal Park Slice）吸引；重要的人类社区通常都有私人和公共场所，大部分都是私人和公共场所私人资助但公开使用。在站点的开发过程中，一群金融家，开发商，设计师，艺术家，在某些情况下，市政官员和个人公民通过定义站点的目的和功能来概述使用，以从美学上实现其目的。在这次合作的背后，积累了一系列故事；描述每个项目的开发人员，原因和内容的叙述。本文介绍了历史背景，使用户了解这些城市空间的内部结构。该研究揭示了参与场地开发的个人之间的协作以及项目背后的细节。既定时代和现在的出版物都提供了重要的事实记载。场地清单证实其中包括艺术品并提供了摄影文件。通过研究方法，文献综述，艺术家的评论和评论家的回应，本研究详细介绍了达拉斯中央商务区（CBD）内八种选定的建筑景观，其中包括艺术是一个重要特征，是二十世纪下半叶建筑业蓬勃发展的直接结果。

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