A few people in this generation of architects and designers may recall the knell of post modernism precipitated by the Deconstructivist Architecture exhibition at MoMA in 1988. The cohort of design students educated before that time were introduced to topics in humanistic design by their instructors who were educated in the 1960s. Those instructors were in turn influenced by the countercultural Whole Earth Catalog and the environmental design movement, the educational leadership and writings of Charles Moore, the neo-rationalist Tendenza movement (typologies and the ripple effect of Christopher Alexander, Sara Ishikawa and Murray Silverstein’s A Pattern Language), and Edward T. Hall’s work on proxemics in The Hidden Dimension. Also on those instructors’ reading lists were works by Merleau-Ponty from the embodied branch of phenomenology, and Gaston Bachelard’s seminal The Poetics of Space that introduced the phrase ‘intimate immensity,’ which validated the interior as an arena for exploration. In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 8. 14 86 08 8

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介绍

这一代建筑师和设计师中的一些人可能还记得 1988 年 MoMA 的解构主义建筑展览为后现代主义敲响的丧钟。 在此之前接受教育的这批设计专业学生被他们受过教育的导师介绍了人文设计主题在 1960 年代。这些教师反过来又受到反文化的全球目录和环境设计运动、查尔斯·摩尔的教育领导力和著作、新理性主义 Tendenza 运动（克里斯托弗·亚历山大、萨拉·石川和默里·西尔弗斯坦的 A Pattern 的类型学和涟漪效应）的影响语言），以及 Edward T. Hall 在 The Hidden Dimension 中的 proxemics 工作。在这些教师的阅读清单上还有梅洛-庞蒂来自现象学具身分支的作品，和 Gaston Bachelard 的开创性《空间诗学》引入了“亲密无边”一词，这证实了内部是探索的舞台。在 DOI 期间：10 .1 08 0/ 20 41 91 12 .2 01 8. 14 86 08 8