¿Ü±¹µµ¼
½Ç¿ë/¿¹¼ú
°ÇÃàµðÀÚÀÎ
2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.
Á¤°¡ |
90,050¿ø |
---|
87,350¿ø (3%ÇÒÀÎ)
2,630P (3%Àû¸³)
ÇÒÀÎÇýÅÃ | |
---|---|
Àû¸³ÇýÅà |
|
|
|
Ãß°¡ÇýÅÃ |
|
À̺¥Æ®/±âȹÀü
¿¬°üµµ¼
»óÇ°±Ç
ÀÌ»óÇ°ÀÇ ºÐ·ù
¸ñÂ÷
Acknowledgments | |
Kevin Lynch: His Life and Work | p. 1 |
The Form of Cities | |
The Form of Cities | p. 35 |
The Pattern of the Metropolis | p. 47 |
The Visual Shape of the Shapeless Metropolis | p. 65 |
The City as Environment | p. 87 |
Experiencing Cities | |
The Travel Journals | p. 103 |
Notes on City Satisfactions | p. 135 |
Some Childhood Memories of the City | p. 154 |
Growing Up in Cities | p. 174 |
A Walk Around the Block | p. 185 |
The Urban Landscape of San Salvador: Environmental Quality in an Urbanizing Region | p. 205 |
Nanjing | p. 226 |
Foreword to Environmental Knowing | p. 233 |
Environmental Perception: Research and Public Policy | p. 239 |
Reconsidering The Image of the City | p. 247 |
Analysis of Visual Form | |
A Process of Community Visual Survey | p. 263 |
An Analysis of the Visual Form of Brookline, Massachusetts | p. 287 |
Development and Landscape: Martha's Vineyard | p. 316 |
Analyzing the Look of Large Areas: Some Current Examples in the United States | p. 338 |
City Design: Theory | |
A Theory of Urban Form | p. 355 |
Environmental Adaptability | p. 379 |
The Openness of Open Space | p. 396 |
Open Space: Freedom and Control | p. 413 |
Where Learning Happens | p. 418 |
Quality in City Design | p. 430 |
City Design: Education and Practice | |
City Design and City Appearance | p. 465 |
The Immature Arts of City Design | p. 498 |
Urban Design | p. 511 |
City and Regional Planning | p. 535 |
Sensuous Criteria for Highway Design | p. 563 |
Designing and Managing the Strip | p. 579 |
On Historic Preservation: Some Comments on the Polish-American Seminar | p. 617 |
The Image of Time and Place in Environmental Design | p. 628 |
Some Notes on the Design of Ciudad Guayana | p. 634 |
Comments: A Manual for Site Development for Columbia, Maryland | p. 641 |
Controlling the Location and Timing of Development | p. 646 |
City Design: What It Is and How It Might Be Taught | p. 652 |
City Design: Projects | |
Government Center and the Waterfront, Boston | p. 665 |
Community Revitalization Plan for Columbia Point | p. 674 |
Boston Tomorrow: Draft Development Policies | p. 679 |
Performance Zoning: The Small Town of Gay Head Tries It | p. 692 |
University Circle Area Planning Project, Cleveland | p. 701 |
The Rio Salado Development Plan | p. 710 |
Temporary Paradise? A Look at the Special Landscape of the San Diego Region | p. 721 |
Utopias and Cacotopias | |
The Possible City | p. 771 |
Grounds for Utopia | p. 789 |
What Will Happen to Us? | p. 811 |
Coming Home: The Urban Environment After Nuclear War | p. 823 |
Fantasies of Waste | p. 834 |
Index | |
Table of Contents provided by Blackwell. All Rights Reserved. |
Ã¥¼Ò°³
Kevin Lynch's books are the classic underpinnings of modern urban planning and design, yet they are only a part of his rich legacy of ideas about human purposes and values in built form. City Sense and City Designbrings together Lynch's remaining work, including professional design and planning projects that show how he translated many of his ideas and theories into practice. An invaluable sourcebook of design knowledge, City Sense and City Designcompletes the record of one of the foremost environmental design theorists of our time and leads to a deeper understanding of his distinctively humanistic philosophy. The editors, both former students of Lynch, provide a cogent summary of his career and of the role he played in shaping and transforming the American urban design profession during the 1950s, the 1960s, and the 1970s. Each of the seven thematic groupings of writings and projects that follow begins with a short introduction explaining their content and their background. The essays in part I focus on the premises of Lynch's work: his novel reading of large-scale built environments and the notion that the design of an urban landscape should be as meaningful and intimate as the natural landscape. In part II, excerpts from Lynch's travel journals reveal his early ideas on how people perceive and interpret their surroundings--ideas that culminated in his seminal work, The Image of the City. This part of the book also presents Lynch's experiments with children and his assessment of environmental-perception research. The examples of both small-scale and large-scale analysis of visual form in part III are followed by three parts on city design. These include Lynch's more theoretical works on complex planning decisions involving both functional (spatial and structural organization) and normative (how the city works in human terms) approaches, articles discussing the principles that guided Lynch's teaching and practice of city design, and descriptions of Lynch's own projects in the Boston area and elsewhere. The book concludes with essays written late in Lynch's career, fantasy pieces describing utopias and offering new design freedoms and scenarios warning of horrifying "cacotopias."
ÁÖ°£·©Å·
´õº¸±â»óÇ°Á¤º¸Á¦°ø°í½Ã
À̺¥Æ® ±âȹÀü
½Ç¿ë/¿¹¼ú ºÐ¾ß¿¡¼ ¸¹Àº ȸ¿øÀÌ ±¸¸ÅÇÑ Ã¥
ÆǸÅÀÚÁ¤º¸
»óÈ£ |
(ÁÖ)±³º¸¹®°í |
---|---|
´ëÇ¥ÀÚ¸í |
¾Èº´Çö |
»ç¾÷ÀÚµî·Ï¹øÈ£ |
102-81-11670 |
¿¬¶ôó |
1544-1900 |
ÀüÀÚ¿ìÆíÁÖ¼Ò |
callcenter@kyobobook.co.kr |
Åë½ÅÆǸž÷½Å°í¹øÈ£ |
01-0653 |
¿µ¾÷¼ÒÀçÁö |
¼¿ïƯº°½Ã Á¾·Î±¸ Á¾·Î 1(Á¾·Î1°¡,±³º¸ºôµù) |
±³È¯/ȯºÒ
¹ÝÇ°/±³È¯ ¹æ¹ý |
¡®¸¶ÀÌÆäÀÌÁö > Ãë¼Ò/¹ÝÇ°/±³È¯/ȯºÒ¡¯ ¿¡¼ ½Åû ¶Ç´Â 1:1 ¹®ÀÇ °Ô½ÃÆÇ ¹× °í°´¼¾ÅÍ(1577-2555)¿¡¼ ½Åû °¡´É |
---|---|
¹ÝÇ°/±³È¯°¡´É ±â°£ |
º¯½É ¹ÝÇ°ÀÇ °æ¿ì Ãâ°í¿Ï·á ÈÄ 6ÀÏ(¿µ¾÷ÀÏ ±âÁØ) À̳»±îÁö¸¸ °¡´É |
¹ÝÇ°/±³È¯ ºñ¿ë |
º¯½É ȤÀº ±¸¸ÅÂø¿À·Î ÀÎÇÑ ¹ÝÇ°/±³È¯Àº ¹Ý¼Û·á °í°´ ºÎ´ã |
¹ÝÇ°/±³È¯ ºÒ°¡ »çÀ¯ |
·¼ÒºñÀÚÀÇ Ã¥ÀÓ ÀÖ´Â »çÀ¯·Î »óÇ° µîÀÌ ¼Õ½Ç ¶Ç´Â ÈÑ¼ÕµÈ °æ¿ì ·¼ÒºñÀÚÀÇ »ç¿ë, Æ÷Àå °³ºÀ¿¡ ÀÇÇØ »óÇ° µîÀÇ °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·º¹Á¦°¡ °¡´ÉÇÑ »óÇ° µîÀÇ Æ÷ÀåÀ» ÈѼÕÇÑ °æ¿ì ·½Ã°£ÀÇ °æ°ú¿¡ ÀÇÇØ ÀçÆǸŰ¡ °ï¶õÇÑ Á¤µµ·Î °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀÇ ¼ÒºñÀÚº¸È£¿¡ °üÇÑ ¹ý·üÀÌ Á¤ÇÏ´Â ¼ÒºñÀÚ Ã»¾àöȸ Á¦ÇÑ ³»¿ë¿¡ ÇØ´çµÇ´Â °æ¿ì |
»óÇ° Ç°Àý |
°ø±Þ»ç(ÃâÆÇ»ç) Àç°í »çÁ¤¿¡ ÀÇÇØ Ç°Àý/Áö¿¬µÉ ¼ö ÀÖÀ½ |
¼ÒºñÀÚ ÇÇÇغ¸»ó |
·»óÇ°ÀÇ ºÒ·®¿¡ ÀÇÇÑ ±³È¯, A/S, ȯºÒ, Ç°Áúº¸Áõ ¹× ÇÇÇغ¸»ó µî¿¡ °üÇÑ »çÇ×Àº¼ÒºñÀÚºÐÀïÇØ°á ±âÁØ (°øÁ¤°Å·¡À§¿øȸ °í½Ã)¿¡ ÁØÇÏ¿© ó¸®µÊ ·´ë±Ý ȯºÒ ¹× ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó±Ý Áö±Þ Á¶°Ç, ÀýÂ÷ µîÀº ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀǼҺñÀÚ º¸È£¿¡ °üÇÑ ¹ý·ü¿¡ µû¶ó ó¸®ÇÔ |
(ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º´Â ȸ¿ø´ÔµéÀÇ ¾ÈÀü°Å·¡¸¦ À§ÇØ ±¸¸Å±Ý¾×, °áÁ¦¼ö´Ü¿¡ »ó°ü¾øÀÌ (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º¸¦ ÅëÇÑ ¸ðµç °Å·¡¿¡ ´ëÇÏ¿©
(ÁÖ)KGÀ̴Ͻýº°¡ Á¦°øÇÏ´Â ±¸¸Å¾ÈÀü¼ºñ½º¸¦ Àû¿ëÇÏ°í ÀÖ½À´Ï´Ù.
¹è¼Û¾È³»
±³º¸¹®°í »óÇ°Àº Åùè·Î ¹è¼ÛµÇ¸ç, Ãâ°í¿Ï·á 1~2Àϳ» »óÇ°À» ¹Þ¾Æ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.
Ãâ°í°¡´É ½Ã°£ÀÌ ¼·Î ´Ù¸¥ »óÇ°À» ÇÔ²² ÁÖ¹®ÇÒ °æ¿ì Ãâ°í°¡´É ½Ã°£ÀÌ °¡Àå ±ä »óÇ°À» ±âÁØÀ¸·Î ¹è¼ÛµË´Ï´Ù.
±ººÎ´ë, ±³µµ¼Ò µî ƯÁ¤±â°üÀº ¿ìü±¹ Åù踸 ¹è¼Û°¡´ÉÇÕ´Ï´Ù.
¹è¼Ûºñ´Â ¾÷ü ¹è¼Ûºñ Á¤Ã¥¿¡ µû¸¨´Ï´Ù.