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Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Taking the waterfront public space connection project of Jing'an section of Suzhou River in Shanghai as an example, this paper summarizes the practical problems and construction needs of the urban waterfront space renewal, providing reference for the regeneration of the waterfront space in other urban centers. [ABSTRACT FROM AUTHOR]

This paper researches the practices of Trompe l'oeil on the surfaces of buildings, extending and rebuilding architectural spaces from three aspects: the disappeared walls, the opening ceilings and the falling floors. This topic is seldom involved in the history of architecture or art. It hopes to provide a new insight into the domestic design practice fields such as architecture design, interior design, public art, and landscape design. [ABSTRACT FROM AUTHOR]

Since 2005, the Korean government has been actively conducting urban regeneration projects concerning art as a major part. Research shows that art in most cases promotes city renewals by re-branding visual identities or reshaping public infrastructures. This paper examines how art is involved in the urban regeneration of Korea as community archives by investigating 'Taepyeong empty house project: Reamaing 1' as an example. Although urban archives in Korea are often considered as administrative records, in recent years they have been translated into 'social memories', 'local documentations', 'cultural proofs', and 'community archives'. Those terminologies show a new perspective and tendency of urban archiving which indicate the transition of the main subject group. 'Taepyoung Empty house' emphasizes the significance of community archives for creative urban regeneration through site-specifc records and the reconstruction of personal memories. [ABSTRACT FROM AUTHOR]

"Community Art Museum" is a new theory and attempt in China. With the initial development of the innovative system of public cultural services and the community art museum, it is very necessary to look into the relevant practices of the community art museum and social aesthetic education, which not only involves the professional requirements of art museums, but also involves the interdisciplinary practices in the fields of museology and sociology. This paper analyzes the community practices of "Su Shanghai Community Art Museum" and "Community Interchange Station", and theoretically discusses the issues of community art museum, social aesthetic education and public cultural innovation. [ABSTRACT FROM AUTHOR]

Urban renewal in the United States is oriented by individualism and economic model, advocating the "invisible hand" of the market determines the direction and speed of the regeneration of old urban areas. Regarding the motivation and resource, urban regeneration in US resorts to two models: from government to public (top to bottom) and from community engagement to government support (bottom to top), resulting in two models including public--private partnerships and community activism and engagement. Public art plays a signifcant role in both engaging urban regenerations. This paper examines the history of urban regeneration in US, the definition and development of the two models, and the case study of how public art works for urban regeneration. [ABSTRACT FROM AUTHOR]

The departure of Chinese art from the ivory tower to return to society is a manifestation of the current Chinese cultural rejuvenation and social revitalization, and also the final cause for the restoration of the national society and the return to simplicity. And where should the practical exercise of specific art return to? This answer depends on how individuals interact with the currently changing public space and the micro-scene of the modernization of social governance- urban and rural communities. This paper takes the ecological community with the art- joint construction of Sichuan Academy of Fine Arts to discuss- how art action can truly participate in the value construction, behavior common and ecological symbiosis of grass- roots communities, so as to question the life source of art. [ABSTRACT FROM AUTHOR]

Since the urban planning transformed from the scale expansion to an emphasis on stock renewal, improving spatial environment quality and promoting the development of urban connotation, the design mode concerning local conditions, times and residential needs can excavate and reshape more the charm of the residual space between the functional blocks in the city. This paper analyzes the design strategy and essential elements of the activation and utilization of such space with three cases of the renewal design and practice in Shanghai. [ABSTRACT FROM AUTHOR]

Focusing on the topic of urban organic renewal of Shanghai and the successful cases there in recent years, this paper analyzes the basic needs, quality needs and spiritual needs in the renewal process, as well as the strategies and methods to improve people's life experience and shape the cultural spirit of the city. It summarizes the characteristics of Shanghai urban renewal at the present stage, and puts forward innovative propositions. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Design educators often faced with the challenge of teaching both fundamental and advanced design skills to prepare students for complex real-world design problems. Essential design skills are often taught within the context of constrained assignments to target a particular skill. Such tasks may frame the problem and specify the required deliverables. Necessary advanced design skills involve problem finding, formulating, strategizing, and implementation solutions. In this paper, we analyze case studies of the public art and digital innovation Lab for the graduate students to discuss how advanced design skills, in other words, design agility, can be taught. Such issues are often practical but valuable to the public and pose great innovation challenges. These new ideas inspire reform in the course content and teaching methods, for the reference of the relevant colleges and universities at home and abroad. [ABSTRACT FROM AUTHOR]

This paper combs the course of the disciplinary development of the public art major in the Central Academy of Fine Arts, and summarizes the purpose and idea of the public art education of the Academy, with an emphasis on the orientation of the disciplinary frontier development, taking the significant national and regional development needs as the driving force, as well as focusing on the open-minded teaching methods in disciplinary construction to build a platform with innovative mechanisms to form a resource aggregation. The core of the teaching is the construction of the public art teaching system based on the concept of AUD (Art-oriented Urban Design), serving the future design education, streaming the tide of the development of public art in China, and empowering the development of public art in the country. [ABSTRACT FROM AUTHOR]

With the development of scientific technology, there is an increasing number of interactive works of art in public spaces. The Vivid Sydney, which has been held for over a decade, undoubtedly serves as a successful model of interactive artworks in public spaces. It uses brilliant lights to transform the spaces and residents of the entire city into a part of the work. Therefore, this paper takes some recent interactive artworks from the Vivid Sydney as examples, and discusses the development of interactive art from three aspects including the background, the status quo of interactive art and how to effectively evaluate it. It aims to serve as a reference for other cities or regions to transform the public space with art. [ABSTRACT FROM AUTHOR]

With the progress of the times and society, the "place-making for people" has gradually become the mainstream concept of contemporary urban public space design. In line with this, the public art curriculum began to be introduced into the teaching system of environmental design in China in the early 1990s. This paper starts from the author's public art teaching practice under this discipline system, sorts out the characteristics and existing problems of this course, in order to provide a diversified research sample for the development of public art teaching in colleges and universities in China. [ABSTRACT FROM AUTHOR]

This paper analyzes the problems existing in the development of public art education in China, and puts forward the ideas of the curriculum system construction and knowledge framework of public art teaching system. It is pointed out that public art is not only a new contemporary art major, training scarce professionals for the soft power construction to build our country one of the cultural powers, but also changes the track of art development, from a niche to the public, from sensation to interference, to problem-solving. Such transformation expands the aesthetic attributes of art, changing and promoting the development of society in an aesthetic way. It is necessary to fully realize that the public art plays both a social and historical role in the construction of public art major. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Qitang Experimental Field is a rural public art practice project in Qitang Town, Chongqing. Through the art practice of Qitang Experimental Field, the artistic works go out of the art gallery, into the field, and associate with Qitang in different creative ways, which reflects the experimental, sitespecific and participatory nature of the works. This paper summarizes the creation methods of rural public art, and expounds the creative experience of artists in rural public art from four aspects. [ABSTRACT FROM AUTHOR]

The US-Mexico border wall is a symbol of strict political isolation on the border of the two countries, and it also has many influences on the social, economic, cultural and ecological issues of the two countries. The American architect, public artist Ronald Rael and his team have carried out a lot of enlightening practices with the US-Mexico border wall as the research and experimental object. This paper attempts to sort out his practice in this case to explore the "border" as a specific public space, which might be extended to some positive possibilities. [ABSTRACT FROM AUTHOR]

This paper expounds the original intention of the public welfare team of "Seeing the Mountains" in Suzhou University, and analyzes the major pattern, characteristics and experiences of the project in the work of its representative practical cases, and discusses the advantages and active roles of colleges and universities in participating in the practice of rural support. [ABSTRACT FROM AUTHOR]

The construction of workstation is a new practice to revitalize the Chinese traditional handicraft. Based on the cases and experiences of the Guizhou workstation in the following aspects as the traditional craft personnel training, the intangible cultural heritage fostering and researching, the traditional craft theory research, traditional craft product design and manufacture, traditional craft product promotion and exhibition, and the strength of the traditional craft in overcoming poverty and rural rejuvenation, this paper analyzes the practice and its inspiration, in the hope of providing reference for the construction of traditional craft workstation and the Chinese traditional craft rejuvenation program. [ABSTRACT FROM AUTHOR]

In the process of revitalization of rural handicraft, it is already the general trend that the professional design teams engage in the transformation of traditional ethnic minorities craft to meet the market demand, which can effectively promote the development of an industry in a short term. But if we want to realize the long-term sustainable development of local culture and economy, we need to stimulate the initiatives of local people. With the theoretical support of Capability Approach, this paper takes the "Huayaohua" intangible cultural heritage poverty alleviation project of Hunan University as an example, analyzing the process of design innovation to stimulate the initiatives of the craftsmen and to empower the local people from the aspects as the internal ability stimulation and external capacity building of craftsmen and the use of new technology for "ability sensitive design". [ABSTRACT FROM AUTHOR]

Guoluo is a typical Tibetan plateau grassland pastoral culture, with the intangible cultural heritage item of distinctive ethnic characteristics. This paper introduces the practical ways of helping Guoluo's poverty alleviation by Shanghai from four aspects: teaching, fostering and researching the local intangible cultural heritage; revitalizing traditional handicraft; providing market platform and multi-party cooperation in order to create an "external support" for Guoluo's cultural development. Guoluo inheritors came to Shanghai University to participate in training, and opened a new chapter for colleges and universities to participate in poverty alleviation. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a case study of Beijing "Dashilar Project", this paper makes an attempt to draw out the disciplinary boundary between public art and architecture from their study objects and contents. It defines such a boundary as a "double intersection" instead of a "subcollection" and also elaborates on their respective study focus of the two disciplines in the intersecting regions. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a basic measure of intangible cultural heritage protection, propagation plays an indispensable role in the process of contributing to targeted poverty alleviation. With an emphasis on the relationship between "intangible cultural heritage propagation", " poverty alleviation with intangible cultural heritage" and "intangible cultural heritage protection", this paper analyzes some functions of "intangible cultural heritage propagation" in "poverty alleviation with intangible cultural heritage". Targeted poverty alleviation is often linked with rural revitalization, and information communication can promote resource docking, complementary advantages and flow of factors between urban and rural areas. The presentation and propagation of local intangible cultural heritage projects can be transformed into characteristic resources of tourism and related industries, so as to upgrade the rural tourism, and pave the way for poverty alleviation by tourism. The popularity of intangible cultural heritage products can also help local communities with their cultural identification, promote the value recognition of intangible cultural heritage among the general public, and stimulate the social atmosphere of participating in the heritage protection and poverty alleviation through sharing the achievements. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)