Chinese and foreign traditional architectural art is a comprehensive art that studies the relationship between architectural community, architectural form, architectural landscape, architectural regional structure, architectural sketches and architectural decoration. It covers sculpture, painting, arts and crafts and other arts. The following is what I arranged for you for your reference.

Fan: Comparison of environmental art education between China and foreign countries Abstract: This paper focuses on the comparison of environmental art education between China and foreign countries, compares the current situation of environmental art education at home and abroad with examples, makes a deep comparison in landscape design and education, and clearly discusses the development trend of modern and future environmental art education. I believe this article can play a role in attracting jade from comrades engaged in this work.

Keywords: Comparison of Environmental Art Design Education between China and Foreign Countries

First, Chinese and foreign environmental art design education

1. An example of the integration of Chinese and foreign environmental art design education

At the beginning of the 20th century, the interior design of China was mainly completed by architects. In the 1920s and 1930s, China architects designed a number of excellent architectural and interior design works with national traditions, such as the Nanjing Sun Yat-sen Mausoleum, Guangzhou Sun Yat-sen Hall and Sun Yat-sen Mausoleum designed by Lv Yanzhi. The interior is decorated with traditional octagonal caissons and Liang Fang colored paintings. The interior decoration of Zhongshan Hall is bright and full of traditional ethnic colors. At that time, under the influence of western architectural and decorative trends, there was also an eclectic design style combining Chinese and western styles. In the modern architectural structure and space, China ethnic decorative elements such as wood structure, colorful paintings and patterns have been properly used. For example, the interior design of China Bank in Shanghai was designed by Lu Qian at 1936, using China's traditional treatment methods and decorative element language, which achieved the combination of Chinese and Western, and brought out the best in each other. In the first half of the 20th century, the interior design of a large number of modern buildings absorbed the expressive techniques and decorative styles of western environmental art and reached the advanced level at that time.

With the large-scale development of national construction, not only the construction and decoration of high-end hotels, restaurants and office buildings have become a craze, but also large shopping malls and general shopping malls have begun to enter the decoration tide. With the acceleration of housing construction, the interior decoration of civil housing has gradually become the main field of decoration. Therefore, interior design moves from public places to people's daily life, which not only greatly expands the design scope, but also enables the general public to experience the value and aesthetic taste of artistic design from interior design. It can be said that interior design is the professional field with the widest coverage and the largest number of people in the whole art design. Environmental art education has also become an important way to fundamentally change the living environment and quickly improve the quality of life.

Modern interior design education in China began at 1957. First of all, the Central Academy of Arts and Crafts established the Interior Decoration Department, which was renamed as "Environmental Art Design" on 1988 due to the expansion of its specialty. In the same year, the Department of Architecture of Tongji University and the Department of Architecture of Chongqing Institute of Civil Engineering and Architecture established the Department of Interior Design. Up to now, more than 100 colleges and universities have opened this major, and the education of interior design has made unprecedented development, and the demand for graduates is in short supply.

China's environmental art design major has two characteristics: first, there is a lot of room for development; Second, the history is not long and the foundation is not thick. In the rapid development of the past 20 years, although there are a number of outstanding designers, driven by economic interests, a large number of non-professionals are engaged in this industry, resulting in a mixed field, and many designs are in the stage of plagiarism and imitation, especially those of Hong Kong, Taiwan, Japan, Europe and the United States, regardless of function or occasion. Some designers blindly cater to Party A's vulgar requirements, in order to seek personal economic interests, shoddy, cut corners; Some stacking materials pursue so-called luxury and high-grade, but lack real design. Compared with the development of international environmental art design, we are still in the primary stage, and it is urgent to give priority to the development of environmental art education, train more and better designers and further improve the quality of existing designers.

Contemporary environmental art education is to transform the old city to meet the new needs of modern people with modern needs as the center. However, it is necessary to maintain the scale and appearance of the old city, including the appearance of the old buildings and the relationship between the old buildings, retain the complete appearance of the old city, and give it new functions to meet the new functional needs. Combining environmental art education in Europe and America with environmental protection, exploring an environmental art education model that not only protects the ecological environment, but also develops commercial potential has great development prospects.

2. Environmental art education.

In the field of environmental art design education, whether in practice or in theory, the propositions of "new" and "old" are always paid special attention to by people, and the pursuit of "new" itself is the "selling point" of design thinking. In most design fields, it is almost driven by the pursuit of "novelty". Its obsolescence should be attributed to traditional culture. If China wants new prosperity, it must be "new" and "modern", and its deep meaning is actually "internationalization".

The reality is often that the west feels old and the east feels new, because there is a river in the middle. All that is missing on this river is a bridge. Results the conclusion is quite different, which is as serious as the blind touching the elephant. In our life experience, isn't the essence of things in the world and its changing law even more so?

The educational thinking of technical design has become an obstacle to the development of design. The rapid development of economy constantly leads to new consumption patterns in society. Designers are exhausted or just meet the general requirements of customers, and China's modern design is repeated at a low level for a long time. Accordingly, modern design education also aims at cultivating design professionals needed by the market. China's environmental art design is too close to the market and lacks ideals and creativity, which leads to the stagnation of the most dynamic China design.

Combine the essential thinking of environmental art design education with the theme of human thinking about the social value and cultural value of "design", and bring the extensive contents of humanities into the design education discipline, so that environmental art educators can become healthy people with perfect personality, and then create designs that are beneficial to human beings today and in the future.

Second, the trend of modern environmental art education at home and abroad

Education should actively serve economic construction and social development, establish a student-centered education mechanism, and comprehensively implement the higher education reform project in the new century from the art and design education system. To seize the opportunity, we must achieve a breakthrough in the industrial chain and improve the overall level of art design and production. The key to industrial upgrading is talents, and the cultivation of talents is inseparable from education. It has built a continuous energy regeneration base for China's environmental art design to steadily enter the international stage.

Promote the development of disciplines and education, and create a platform for students to go to society, publicize themselves and improve their social influence. Through a series of activities, such as academic forums, large-scale competitions, master exhibitions, etc. Let the world know about the achievements of art design education in China, and introduce the best environmental design and education achievements in the world into China.

Through exhibitions and competitions, students can adapt to the market, integrate eastern and western cultures and fashions, promote the development of environmental art education in China, improve students' design level and competitive consciousness, explore and recommend talents, publish works in various professional directions, and show their talents to parents, schools, enterprises and all walks of life. Under the joint action of pressure and motivation, students' learning and creativity have been greatly encouraged.

Implement the credit system in the education mechanism. Students will truly become "gods" in choosing majors, courses and teachers, making it possible for students to study their own majors and learn what they want to learn. This move undoubtedly brought benefits to students, but it also brought great impact and challenge to the traditional educational concept model and school conditions. The implementation of the discipline elimination mechanism has greatly shocked students and teachers, and at the same time has played a "warning" and promoting role in the construction of various disciplines.

Implement a student evaluation system for teaching. Students evaluate teachers' teaching attitude and teaching quality in each course, and teachers who fail to pass the examination are promoted to professional titles within two years. If the circumstances are serious, it shall be transferred within a time limit. This evaluation system makes the management of teaching quality not only stay in the form, but really play a role in promoting. Basically form a close combination of scientific research and science, with the purpose of serving the discipline, and teachers plan according to functional research, ergonomics, museum construction and marketing. Each team forms a scientific research group in the form of young and middle-aged members of academic leaders. Science is innovation, and paying attention to the cultivation of students' innovative ability embodies the spirit of deepening the reform of environmental art design education.

Promote the innovation of traditional education mechanism with international advanced education concept, improve the quality of education culture with scientific and technological progress, comprehensively improve the quality of personnel training, comprehensively promote the new era of quality education, and establish a new image of environmental art education in China. The educational model combining internationalization and marketization has built a sustainable human resource base for China's environmental art to take the brand road.

1. The present and future design needs to completely change the attitude towards the natural environment and the relationship with users and internal technology. Despite continuous attempts, the backwardness of ecology and technology in archery environment should not be an excuse to maintain the continuity of artistic methods in archery environment or adopt traditional expressions. It is necessary to clearly distinguish the truly suitable way that has been tested or can be regarded as "correct" in a longer concept of time from other phenomena and ways that are often accompanied by "correct" and are usually not questioned.

2. In the search for language suitable for contemporary and future environmental art design, we should break the traditional rigid design concept and replace it with a comprehensive interpretation of "engineering". Designers and engineers need the same ideas and multi-regional knowledge, such as textile processing, bionics, fashion and aircraft manufacturing. With thinking, care and concentration, we have completed many designs and recorded our achievements so far.

Third, the new concept of environmental art education at home and abroad

The comparison between Chinese and foreign environmental art teaching ideas, forms and results is not a comparison between China students and foreign students, but a phenomenon produced by China teachers and foreign teachers in environmental art teaching, and a comparison of the differences in environmental art education ideas, concepts, educational methods and forms. Ignorance of students' age and psychological characteristics and suppression of students' thinking, imagination and image creation is a kind of non-artistic design environment art education composed of non-artistic skill training, China's traditional copying and non-artistic design theory system, which cannot meet the demand of social development for talents' quality. Therefore, students can only passively and blindly reproduce the possibility, and there is little room for free play. More importantly, they are deprived of the space for thinking in images, creating and appreciating beauty.

Classroom teaching should not be blackboard * * * model painting * * *-students' eyes-students' hand-designed models. Although the technology of cloning is constantly improving, this process of getting it from the eyes without inner participation cannot express students' thoughts and feelings, but it is just a form. The core of environmental art education in the new century is to cultivate students' creativity, and creation and creation must be organically combined. The so-called "creation" is to break the routine, and the so-called "creation" is to produce something of practical significance on the basis of breaking the routine.

Environmental art teachers must respect unusual problems and ideas, show students that their ideas are valuable, and spontaneously provide opportunities and affirmation for students. Teachers should provide students with a relaxed practice or learning environment, which is generally not affected by external evaluation.

Teachers should seriously change their teaching ideas and concepts, and make clear the essential difference between the independent development mode of environmental art and perfusion, laissez-faire and participation. Teachers should make clear the difference between initiative and passivity, conscious and blind confusion, establishing a university and studying hard for low yield. On the issue of "how to guide students to learn independently", the key is that teachers should stand in the right position and play their role well. Standing in the right position means that teachers should stand on the side to guide students to develop independently, instead of standing in the front position, "talking without learning, asking without learning, and introducing without learning", which is offside. Don't stand behind and follow students, which is "not in place". Do "keep the position, make up the position in time, not offside" and reasonably grasp the "degree" of guidance. Teachers should be good at cultivating students' consciousness and ability to adhere to their own spontaneity and originality, instead of blindly feeding students or letting them form the consciousness of waiting for you to feed them. We can't use "unified standards" to train students. Cultivate students' imagination, personality, artistic creativity, democratic spirit and humanistic care spirit in art design, and increase students' self-confidence in adapting to social changes.

1. Students majoring in environmental art and design should be given some relaxed learning atmosphere. Curriculum design and evaluation criteria should be diversified, not single.

2. Expand the scope of elective courses, implement the concept of multicultural education, strengthen the integration with humanities and science and technology courses, pay attention to the infiltration and contact with other disciplines, and communicate with modern new disciplines, culture, region, history and life. Strengthen environmental art education and improve the creative thinking ability of the whole nation.

3. If China's environmental art education wants to keep pace with the world's environmental art education, it should start with strengthening the research of environmental art education and promote the exchange of research results of environmental art education among schools, regions and countries, so as to accelerate the development of environmental art education research in China.

4. Attach importance to the relationship between arts and crafts design and social development, expand the content and means of expression of environmental art education, and formulate diversified environmental art education objectives corresponding to lifelong learning and information society.

5. Pay attention to cross-cultural humanistic quality education. Because the cultural influence after birth has a decisive influence on everyone, and everyone is the product of his mother culture. In this process, everyone should gradually broaden their horizons, cultivate an attitude of respecting themselves and others, and treat all cultures in the world equally from a cultural perspective, regardless of the old and new.

6. Open schools. Establish environmental art design center in high-tech industrial zone. This design center is mainly responsible for holding exhibitions, setting up design awards, arranging design reports, organizing design seminars, publishing design monographs, magazines and so on. And hire relevant enterprises as part of the teaching force of technical majors. Only in this way can we keep a leading position in teaching. The environmental art design center should also keep close contact with the surrounding building planning, real estate and other departments, directly grasp the pulse of the times, and cultivate talents with international standards. Encourage students to practice in enterprises for a long time, so that students can choose projects purposefully and the students majoring in environmental art and management engineering can complete the projects together. In mutual cooperation, we can understand every process of consumer adjustment, market analysis, product positioning, product development and design and marketing in the specific operation of enterprises and institutions, so as to obtain the greatest success rate in the market business competition.

With the rapid development of science and technology, the increasingly extensive cross-discipline and the in-depth exploration of basic disciplines, brand-new disciplines are constantly being discovered ... These all pose a very clear problem to teachers, and the speed of knowledge updating is getting faster and faster! Teachers have to establish the view of lifelong learning and lifelong education, keep learning, and at the same time continue to teach and educate people, and use their life energy to be a good inheritor for the next generation.

Teachers are not only imparting knowledge and skills, but also shaping students' complete personality, and enlightening and cultivating students' innovative ability. It is necessary to stimulate students' interest in environmental art and enthusiasm for learning, stimulate students' thirst for knowledge, develop students' intelligence and creative imagination, enrich their spiritual life and cultivate their aesthetic level.

References:

[1] Schulman's Science and Technology Civilization and the Future of Mankind Oriental Publishing House 1995

[2] Jean rattle, The Challenge of Science and Technology to Culture, The Commercial Press 1997.

Fan Wener: Comparative Study on Visual Design of Subway Environment at Home and Abroad Abstract: The earliest subway sign in the world was officially used in London in 19 18, and it is still in use today. With the development of subway, the subway pathfinding system is developing continuously. The countries with a long history of subway have accumulated many years of design, which makes the visual design of subway environment more reasonable. Nowadays, the visual design of subway environment not only plays a guiding and indicating role, but also becomes a part of urban cultural landscape. This paper selects four cities, London, Mexico, Beijing and Nanjing, and makes a comparative study on the visual design of subway environment in each city from the perspective of urban culture.

Keywords: visual design of subway environment: comparison of urban culture

Environmental visual design is called environmental graphic design by American SEGD*** Environmental Graphic Design Association. It is a design category with strong complexity and comprehensiveness, which involves many design disciplines, including plane, architecture, interior, landscape, industrial design and all visual forms related to guidance, information and feature transmission and environmental shaping. Because this design category takes vision as the main media, it is also called environmental visual design by many people. The visual design of subway environment mainly involves the wayfinding system, signs, logo graphics, dynamic environment, image design, murals in the station, theme environment and so on.

1. the origin of visual design of subway environment

The visual design of subway environment originated in the early days of subway. In 1960s, in order to relieve the pressure of ground traffic, the subway was born in London, which has been one of the most developed subway networks in the world. London is also called "the city built on the subway". In order to help passengers identify the location of subway stations, subway signs have become the starting point of visual design of subway environment in many cities. The subway signs of the four cities introduced in this paper have their own characteristics and adopt different symbol elements. The signs of the subway in Mexico and Nanjing are designed by combining the letter M in "Metro" with the urban characteristics, while the signs of the subway in Beijing are composed of the pinyin initials of "Beijing", "subway" and "track", while the signs of the subway in London are the earliest and most telling. Influenced by the British modernism movement in the early 20th century, geometric figures with the characteristics of large-scale industrial production have become the elements used by many designers. Frank Bi Ke * * * Frank Pique * *, Director of London Metro Operation, organized and planned the London Metro logo based on the characteristics of transportation, combined with the modernist design style, and with the simple small disc ***Roundel*** as the main element. At that time, he hired the famous font designer Edward Johnston * * * edward johnson * * to incorporate his "subway body" into the small disc logo. The red ring of the London underground symbol is like the wheels of the subway and the circular tunnel, which highlights the characteristics of the London underground. Subsequently, the small disc logo changed the text in the blue bar and became a station name brand quickly recognized by passengers; Become a symbol of different means of transportation in London by changing colors. Today, the small disc symbol has completely become a symbol of London and even Britain.

Another precedent of visual design of subway environment initiated by London Underground is the map of London Underground. 1933, electronic engineer henry beck * * * Henry C. Baker * * broke through the constraints of actual spatial location and designed the world-famous London subway map. He not only simplified the winding lines into standard balanced horizontal lines, vertical lines and 45-degree broken lines, but also distinguished each line with different bright colors, and combined with the station name of "Metro Body" to help passengers quickly identify each station and line, and formed a more accurate understanding of the distribution of London subway stations. The standardized visual identification design of London subway map has created a new model of modern map design and become the earliest model of environmental visual design.

2. Comparison of cultural characteristics of subway environmental visual design.

2. 1 Cultural Features of London Underground

The London Underground is not only an important means of transportation in London, but also a temple of culture and art. Since 1908 first launched the subway poster project, the London Underground has been attracting many artists and designers to create. From exquisite pocket subway map covers, event posters, site posters, murals to unique cultural souvenirs, the London subway is known as the perfect combination of visual communication design and aesthetics. Steven Heller * * * Steven Heller * * and Louise Feili * * * commented in their book "British Modernity between Wars-Graphic Design" that modern graphic design in Britain began with the London Underground System. Modern English graphic design began to advance with Surger underground. [1] Due to the long span of construction years, the London Underground has different design styles in different periods, even in the architectural image and decoration of the station, which provides great help for passengers to identify the station. The early masonry arch structure, the later pure steel structure, and now the tempered glass platform seem to lack unity with each other, but they well show the development course of London Underground in the past 150 years. From the environmental visual design of each line, we can not only see the traces of London culture and history, but also see the development history of British visual communication design.

2.2 the cultural characteristics of the Mexican subway

The first subway line in Mexico City was built in 1969. In the visual design of subway environment, Mexico City adopted a unique urban cultural design concept. The Mexican subway station name symbol designed by Lance Wyman, a famous American space-oriented system designer, pioneered the use of underground traffic space-oriented symbols. Each station is designed graphically according to the special history, culture or appearance of the station, forming a unique station name symbol, which is deeply impressed by the subway map. For example, the logo of Polytechnic Station is the school emblem of the National Institute of Technology not far away, while the logo of Zapata Station is the head of Zapata, the leader of Mexican peasant movement in 19 10.

Figure 3 Unique station signs of Mexico City subway.

Another feature of the Mexico City subway is its rich cultural atmosphere. 1984, Mexico * * * launched the "Metro Cultural Space" program, which regularly held exhibitions and cultural activities with different themes and forms in the subway station, making the station an important window to reflect various Mexican cultures. The subway reading program, which began in 2004, has also become a unique subway cultural feature of the Mexican subway. The subway provides free books to passengers during the peak hours of operation, which not only helps passengers pass the boring ride time, but also helps to improve the cultural level of citizens.

2.3 Beijing subway cultural characteristics

As the earliest subway opened in China, Beijing Metro has a certain demonstration effect on the environmental visual design of Chinese subways. The majestic cultural characteristics of the capital city are also vividly reflected in the visual design of its subway environment. In addition to exquisite murals, perfect pathfinding system and signs, Beijing Metro now pays great attention to the architectural design of the station and the shaping of the theme environment in environmental visual design, and there are many thoughts from details to the creation of the overall style and cultural atmosphere. For example, in the design of the subway exit building, the Lama Temple Station can combine the cultural characteristics of the station and adopt the antique architectural form of red walls and blue tiles. The red columns and white marble railings of the station hall and platform all reflect the elegant royal style. The subway Olympic branch line completed in 2008 takes "one stop, one theme" as the design concept, which represents the perfect combination of traditional elements and modern design style in China. The "White Forest" in Forest Park Station, the "Water World" in Olympic Park Station and the "Blue and White Porcelain" in Beitucheng Station all carry out environmental visual design in the form of theme environmental design to show the cultural characteristics of the site. 2.4 Nanjing subway cultural characteristics

The concept of "humanistic subway" was put forward at the beginning of Nanjing subway construction, and cultural walls with different styles and rich historical and cultural characteristics were built on the south extension of Metro Line 2 and Line 1. The cultural wall in the station echoes the surrounding environment and plays the role of cultural guide. Passengers can understand the regional environment where the station is located through intuitive visual impression. For example, the sanshanjie station mural near Confucius Temple takes the Lantern Festival of Confucius Temple as the theme, and uses traditional New Year pictures to show traditional festival scenes with regional cultural characteristics, naming the geographical location and regional culture of the site. The creation of the cultural wall of Nanjing Metro Line 2 has broken the previous visual design mode of "one stop, one scene" in the subway environment. The theme is connected with the historical context, environmental characteristics or major events of the station, and the design theme is Chinese traditional festivals. By combining traditional festivals and station names to produce homophonic meaning, or combining festivals and regional characteristics, the overall planning and design of the whole line of murals are carried out. For example, Xinglong Street Station designed a huge mural, with 56 national figures singing and dancing as elements corresponding to the National Day; Alfalfa Garden Station tells the story of Cowherd and Weaver Girl's Tanabata. Mochou Lake Station is the Dragon Boat Festival.

summary

Because the subway construction in many cities in China is relatively late, it is not as good as the subway with a history of more than 100 years in London, which has a strong visual culture accumulation of subway environment. However, because of this, the visual design of subway environment in China has a high starting point and developed rapidly after learning from excellent cases in many cities. With the changes of the times, designers have begun to realize the importance of urban culture to the visual design of subway environment. Therefore, on the basis of pursuing the effective realization of the functions of pathfinding and information transmission, cities begin to think about shaping a more humanized subway environment with certain urban cultural characteristics. Many cities put forward the proposition of "culture" at the beginning of subway line construction, and carried out the environmental visual design of urban subway from the perspectives of station architectural design, theme environment, public art, pathfinding system, logo and APP.

In fact, the visual design of subway environment has become an important factor in shaping subway culture. It not only naturally introduces urban culture into subway space, but also becomes an important part of urban culture and even a symbol of a city and a country.

References:

Steven Heller, Louis Feili. The war between British modernity and graphic design [M]. San Francisco: Chronicle Book Company, 1998:58

[2] Ma Lingling, Li Dewei. The characteristics of Mexico City subway and its enlightenment to Beijing subway [J]. Urban bus rapid transit, 2012,2 * * * 5 * *:139-142.

[3] thank you. Comparative Study on Visual Communication Design of London and Nanjing Subway [J]. Art Hundred Schools, 2008,105 * * * 06 * *:140-150.