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簡介：SCIENTIFICJOURNALOFLATVIAUNIVERSITYOFAGRICULTURELANDSCAPEARCHITECTUREANDART,VOLUME11,NUMBER1142DIGITALTOOLSINLANDSCAPEARCHITECTURENATALIJA?ITAVSKA,ARTūRSMENGOTS,LATVIAUNIVERSITYOFAGRICULTUREABSTRACTNOWADAYSPROFESSIONALTOOLSINLANDSCAPEARCHITECTUREAREMORERELATEDTODIGITALTOOLSLANDSCAPEARCHITECTS’HANDPOWEREDTOOLSHAVEBEENREPLACEDBYCOMPUTERSANDDIGITALTOOLSWHERETHETRADITIONALTECHNIQUESARESUPPLEMENTEDWITH3DMODELLINGANDANIMATIONFORLANDSCAPEPLANNINGINDIFFERENTSCALESANDFORDIFFERENTPROJECTSLEVELSTHEMAINAIMOFTHISPAPERISTOUNDERSTANDANDANALYSETHEUSEOFDIGITALTOOLSINLANDSCAPEARCHITECTUREANDPLANNINGINLATVIAFORTHECOLLECTIONOFDATAFORTHISSTUDYAQUESTIONNAIREWASDESIGNEDANDSENTTOLATVIANLANDSCAPEARCHITECTSANDPLANNERSTHEQUESTIONSITINCLUDEDWEREONHOWLANDSCAPEARCHITECTSANDPLANNERSUSEDIGITALTOOLSFORTHEREPRESENTATIONOFTHEIRSKETCHESANDIDEASANDONWHATKINDOFDIGITALTOOLSTHEYUSEINDIFFERENTLANDSCAPETYPESANDSCALESRESULTSSHOWEDTHATALLTHESURVEYEDLANDSCAPEARCHITECTSUSEDIGITALTOOLSINTHEIREVERYDAYPROFESSIONALPRACTICE–FORLANDSCAPEDESIGNORASSESSMENTMOSTOFTHEMALSOSTILLUSETHETRADITIONALDRAWINGSBYHANDFORDRAFTSKETCHESANDIDEAS,BUTFORCOMMUNICATIONWITHPUBLIC,PROJECTSANDDESIGNSELABORATEDBYDIGITALTOOLSAREUSEDLANDSCAPEARCHITECTSHAVEEMPHASIZEDTHEGREATPOTENTIALOFDIGITALTOOLSFORENHANCINGCOMMUNICATIONBETWEENTHELANDSCAPEARCHITECTANDTHEPOTENTIALUSERDIGITALTOOLSVISUALIZATIONS,ANIMATIONS,3DMODELS,ETCALLOWTHEPOTENTIALUSERTOPARTICIPATEINTHELANDSCAPEPLANNINGPROCESSANDEASILYIMAGINETHELANDSCAPEBEFOREITISCREATEDTODAYLANDSCAPEARCHITECTSUSEDIGITALTOOLSTOPRODUCETHEFINALPROJECTPRESENTATIONIMAGESVISUALIZATIONSINTHELANDSCAPEPLANNINGPROCESSESFORSELLINGOFTHEPROJECTHOWEVER,WEBELIEVETHATINFUTURETHEREISAPOTENTIALFORUSINGDIGITALTOOLSMOREASACOMMUNICATIONTOOL,WHICHCANHELPINCONTACTINGCLIENTSATVARIOUSLEVELSOFTHEPROJECTIMPLEMENTATION,ESPECIALLYINTHEEARLYSTAGESOFTHEDESIGNKEYWORDSDIGITALTOOLS,VISUALCOMMUNICATION,LANDSCAPEARCHITECTUREINTRODUCTIONTHELANDSCAPEARCHITECT’SDAILYWORKISASSOCIATEDWITHLANDSCAPINGPROJECTSOFVARYINGSCALES,SPECIFICSANDLEVELS,LANDSCAPERESEARCHORLANDSCAPEMANAGEMENTPLANNINGTHELANDSCAPEARCHITECTSPROFESSIONISCOMPARATIVELYNEW–DATINGBACKALITTLEOVERAHUNDREDYEARSAGO,WHENIN1863THEBOARDOFCENTRALPARKCOMMISSIONINNEWYORKCITYAPPROVEDALANDSCAPEARCHITECTSPOSITIONSINCETHEN,THISNEWPROFESSIONHADOFFICIALLYGAINEDMORESTABILITYANDRECOGNITIONINITSDEVELOPMENTINLANDSCAPEARCHITECTUREARTSANDPROFESSIONALKNOWLEDGEINTHEFIELDOFLANDSCAPEPLANNINGASWELLASSOCIAL,ECOLOGICALANDMENTALASPECTSARECLOSELYINTERTWINEDTHERESULTSOFDAYTODAYLANDSCAPEARCHITECT’SWORKAREOFTENSUBJECTTOPUBLICCRITICISMANDPERCEPTION,THUSINFLUENCINGTHEIVOLVEMENTOFTHERESIDENTSINTHEISSUESOFLANDSCAPECONSERVATION,PLANNING,DESIGNANDINSTALLATION1HOWDOINFORMATIONTRANSFERANDCOMMUNICATIONTAKEPLACEWHATTOOLSCANALANDSCAPEARCHITECTUSETOMOREEFFECTIVELYPREPAREQUALITYINFORMATION,SIMULTANEOUSLYMAKINGITEASIERFORTHERESIDENTSANDCLIENTSTOPERCEIVETHEIDEASNOWADAYSMOREANDMOREDIGITALTOOLSAREBEINGUSEDINTHEFIELDOFLANDSCAPEARCHITECTURE,WHICH,ONTHEONEHANDFACILITATESTHEPRESENTATIONOFTHERESULTSOFTHEREMOTELANDSCAPEARCHITECTSWORK,BUTONTHEOTHERHANDREDUCESTHEPOSSIBILITYOFUSINGTRADITIONALDRAWINGMETHODSWITHOUTADDITIONALPROCESSINGANDALSOLEAVESNOROOMFORDIRECTCOMMUNICATIONDIGITALTOOLSALLOWTHELANDSCAPEARCHITECTSTOUSENEWAPPROACHESANDMETHODSINPLANNINGANDCOMMUNICATINGABOUTLANDSCAPEPLANNING,CONSERVATION,RENOVATION,ORINSTALLINGISSUES2INSEVERALSTUDIESTHEUSEOFDIGITALTOOLSHASBEENPARTICULARLYEMPHASIZEDINLANDSCAPEARCHITECTUREANDPLANNINGINORDERTOIMPROVETHEPROJECTPERCEPTIONANDCOMMUNICATIONAMONGLANDSCAPEARCHITECTSANDPROFESSIONALS,RESIDENTS,CLIENTSASWELLASCOLLEAGUES3456THEUSEOFTHESEDIGITALTOOLSISDIVERSE,ANDITISADJUSTABLETOTHEPROJECTSOFDIFFERENTSCALESANDCOMPLEXITYINDIFFERENTSTAGESOFDEVELOPMENTILLUSTRATIVE,IMMERSIVE,INTERACTIVE,INTUITIVEANDINTENSIVE7SO,ONEOFTHEASPECTSISTHECOMMUNICATIONWITHCLIENTSANDRESIDENTSAPARTOFTHISCOMMUNICATIONISTHEEMOTIONALDESIGNWHICHDOESNOTDEPICTTHEREALFUNCTIONOFLANDSCAPEORREALPROPORTIONS,BUTINFLUENCETHECLIENTSANDRESIDENTSTHROUGHARTISTICTOOLSATTHEEMOTIONALLEVELTHEAUTHORSINTHEIRSTUDYCALLTHATKINDOFEMOTIONALDESIGNA“WOWEFFECT”WHICHWORKSNOTONLYINLANDSCAPEARCHITECTUREBUTALSOINALLTHEDESIGNFIELDSTHROUGHOUTTHEWORLDANDITISMOREORIENTEDTOWARDSSELLINGOFTHEPRODUCT8OVERALL,THERESULTOFTHELANDSCAPEARCHITECT’SWORK–APROJECTORANINSTALLEDOBJECT–INCLUDESTHEEMOTIONALASPECTOFART,THEREFOREITALWAYSINVOLVESASUBJECTIVEEVALUATIONEXACTLYWHATLANDSCAPEELEMENTSORPROJECTPARTSMUSTTHECLIENTSANDRESIDENTSMOSTOFTENEVALUATEORREADFROMTHEDESIGNSMADEBYLANDSCAPEARCHITECTSDOESTHEUSEOFVERSATILEDIGITALTOOLSMAKEITEASIERANDWITHHIGHERQUALITATYTOPERCEIVETHELANDSCAPEELEMENTSCOMMUNICATIONHASALWAYSBEENACKNOWLEDGEDTOBEONEOFTHEMOSTSIGNIFICANTASPECTSINTHEPROCESSOFLANDSCAPEDESIGNDOI1022616/JLANDARCHART20171105SCIENTIFICJOURNALOFLATVIAUNIVERSITYOFAGRICULTURELANDSCAPEARCHITECTUREANDART,VOLUME11,NUMBER1144FIG1THESTAGESOFTHEEVALUATIONPROCESSOFTHEPERCEPTIONASPECTSOFVISUALISATIONTYPESCREATEDBYTHEAUTHORS,2017THEVISUALMATERIALSWEREPREPAREDFORTRADITIONSQUAREOFTHETOWNOFPLAVINAS,INLATVIADURINGTHEDEVELOPMENTOFTHETECHNICALPROJECTINJANUARY/FEBRUARYOF2017THETERRITORYISLOCATEDINPLAVINASAMONGTIRGUS,RAINISANDDAUGAVASTREETSTHEPROJECTHASBEENDEVELOPEDWITHANAIMTOREGAINTHELOSTIDENTITYOFTRADITIONSQUAREANDCONNECTITWITHTHEBANKOFTHEDAUGAVARIVERACCORDINGTOTHEPROJECTTRADITIONSQUAREWILLBEDEVELOPEDASAMODERNPUBLICOUTDOORSPACE,INCORPORATINGBOTHAPLACEFORPEOPLETOGATHERANDFULFILTHEFUNCTIONOFAGREENZONEANDRECREATION,THUSRADICALLYCHANGINGTHESPATIALPLANNINGOFTHEEXISTINGTERRITORY–THENETWORKOFPATHWAYSANDLAYOUTOFAGREENZONE,ATTHESAMETIMESHOWINGRESPECTTOTHEEXISTINGVALUABLEPLANTINGSTOBEPRESERVEDINTOTAL,FOURVISUALMATERIALSWEREPREPARED–ATECHNICALPLAN,ANANIMATION,APOSTERANDANINTERACTIVE3600PANORAMAUSINGCAD,3DMODELLINGANDIMAGEPROCESSINGTOOLSDURINGTHEPROCESSOFDESIGNINGVISUALMATERIALS,SEVERALCOMPUTERSOFTWAREPROGRAMMESWEREUSED–AUTOCAD,SKETCHUP,ADOBEPHOTOSHOP,VRAYFORSKETCHUPANDLUMION3DTOHAVETHEOPINIONOFLATVIA’SLANDSCAPEARCHITECTSANDTHEPROFESSIONALSOFTHERESPECTIVEFIELDONTHEDESIGNEDVISUALMATERIALS,AQUEATIONNAIREWASCREATEDTHEONLINESURVEYWASCARRIEDOUTUSINGSYSTEMATICGATHERINGOFDATAFROMTHETARGETAUDIENCEPROFESSIONALSANDSTUDENTSOFTHELANDSCAPEARCHITECTURE,LATVIANCITIZENSCHARACTERIZEDBYTHEINVITATIONEMAILOFTHERESPONDENTSANDTHECOMPLETIONOFTHEQUESTIONNAIREOVERTHEWORLDWIDEWEB,USINGSOFTWAREGOOGLEFORMSFROMMARCH–APRILOF2017INTOTAL,81RESPONDENTSWEREINVOLVEDTHEQUESTIONNAIREINCLUDEDEIGHTQUESTIONSTHERESPONDENTSWEREASKEDTOEVALUATETHEFOLLOWINGPARAMETERSTHELAYOUTOFTHEELEMENTSINTHEPLANNEDLANDSCAPE,PERCEPTIONOFTHEDESIGNASAWHOLEANDTHEPROJECTIDEA,VEGETATION–THEEXISTINGANDPLANNEDWOODYPLANTS,THEINCLUSIONOFTHEOBJECTINANDHARMONIZINGITWITHTHEEXISTINGENVIRONMENT,LINKAGEWITHTHEADJOININGTERRITORIES,PERCEPTIONOFTHEPROPORTIONSOFTHESPACEANDELEMENTSANDTERRAINATTHEBEGINNINGOFTHEQUESTIONNAIRETHEDATAABOUTTHERESPONDENTS’PROFESSIONANDAGEWEREOBTAINED,WHEREASINTHEMIDDLEPARTTHERESPONDENTS’OPINIONSABOUTTHEPERCEIVINGCAPACITYOFTHEVISUALIZATIONTYPESWEREANALYSEDATTHEENDOFTHEQUESTIONNAIRETHERESPONDENTSWEREREQUESTEDTOEXPRESSTHEIROPINIONABOUTTHEVISUALIZATIONTYPESTHEYSAWMSEXCELSOFTWAREPROGRAMMEWASUSEDFORSUMMARIZINGTHEDATAANDINTERPRETINGTHERESULTSRESULTSTHERESULTSOFTHEEVALUATIONMETHODOFTHEUSEOFDIGITALTOOLSTHENUMBEROFTHERESPONDENTSTAKINGPARTINTHESURVEY–PROFESSIONALSENGAGEDINTHEFIELDOFLANDSCAPEARCHITECTURE–HAPPENEDTOBEEQUALLYDISTRIBUTEDREGARDINGTHERESPONSESGIVENTOTHEQUESTIONABOUTTHEIREXPERIENCEINLANDSCAPEARCHITECTURE–SIXOFTHEMRESPONDEDTHATTHEYHAVEHADFITTEENORMOREYEARSOFWORKEXPERIENCE,FOUROFTHERESPONDENTSHAVEHAD5–15YEARSOFEXPERIENCE,SEVENHAVEHAD3–5,BUTTHREEOFTHEM1–3YEARSOFWORKEXPERIENCEMOSTOFTHERESPONDENTS–1680OFTHEMRESPONDEDTHATTHEIRKNOWLEDGEISADEQUATE,WHEREAS315RESPONDEDTHATTHEYAREBEGINNERSINORDERTOFINDOUTABOUTTHEFREQUENCYOFTHEUSEOFDIGITALTOOLSINTHEDESIGNPROCESSOFLANDSCAPEARCHITECTUREINLATVIA,THERESPONDENTSWEREASKEDHOWOFTENTHEYUSETHESETOOLSINTHEIRPROJECTSTHEPROFESSIONALSINTHEFIELDOFLANDSCAPEARCHITECTUREUSEDIGITALTOOLSINEACHPROJECT85,WHICHINDICATESTHEPOPULARITYANDNECESSITYOFDIGITALTOOLSINTHEWORKOFLANDSCAPEARCHITECTSTHERESULTSALSOTESTIFYABOUTTHENEEDTOACQUIRETHEDIGITALTOOLSALREADYINTHESTUDYPROCESSSOTHATKNOWLEDGEANDSKILLSAREOBTAINEDFORTHEDESIGNINGPROCESSGIVINGTHERESPONSETOTHEQUESTIONWHETHERTHELANDSCAPEARCHITECTHIM/HERSELFUSESDIGITALTOOLSORAPROFESSIONALSISINVOLVED,1155RESPONDENTSACKNOWLEDGEDTHATTHEYBOTHUSEDIGITALTOOLSTHEMSELVESANDALSOENGAGEPROFESSIONALS,WHILE840RESPONDENTSUSETHESETOOLSTHEMSELVESWITHOUTANYPROFESSIONALS’ASSISTANCETHERESPONSESALLOWEDUSTOCONCLUDEABOUTTHELACKOFSKILLSINTHEUSEOFDIGITALTOOLS,SHOWINGALSOTHATTHEREISANEEDFORDEVELOPINGHIGHQUALITYVISUALMATERIALACCORDINGTOTHERESPONDENTS’ANSWERSTOTHEQUESTIONABOUTTHEMAINPREREQUISITESOFTHEUSE/NONUSEOFDIGITALTOOLSINTHEDESIGNPROCESS,MOSTOFTENFOURVARIANTSOFANSWERSWERECHOSEN–THEPOSSIBILITYOFDEPICTINGTHELANDSCAPE80,THETIMEFORPROJECTDEVELOPING75,QUALITATIVEEXCHANGEOFINFORMATIONWITHTHECUSTOMER70ANDDATAEXCHANGEPOSSIBILITIES55

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簡介：中文中文7500字文獻出處文獻出處NOVAKOVICK,PARKERJCATALYSTINITIATIONINTHEOSCILLATORYCARBONYLATIONREACTIONJINTERNATIONALJOURNALOFCHEMICALENGINEERING,2011,2011HINDAWI發(fā)表于公司化學工程的國際版2011卷，文章編號518592,11頁索引號101155/2011/518592/研究類文章在振動中羰基化反應的催化起始階段在振動中羰基化反應的催化起始階段KATARINANOVAKOVINC，JUICEPAKER（化學工程和先進材料學派，NEWCASTLE大學，NEWCASRLEUPONTYNENE17RU，英國，可發(fā)送郵件至KARATARINANOVAKOVICNCLACUK和KATARINANOVAKOVIC聯(lián)系）2011年3月16收到文章；2011年4月21日修訂；2011年4月26日完成學術編輯DYUMURZIN版權?2011KNOVAKOVIC和JPARKER。這是一篇發(fā)表于創(chuàng)造共同的貢獻許可的開發(fā)性權限的文章，允許無限制、傳播和在任意的媒體上再發(fā)表，提供的原始文章可以被引用。碘化鈀（Ⅱ）可以用作苯乙炔氧化羰基化反應的催化劑。這種羰基化反應已經證明了振蕩器在PH和反應熱中的行為。一種目的在于提取反應網(wǎng)，因為這種反應中振蕩器的性質。這個系統(tǒng)可以分為更小的部分并且能夠研究它們。本文主要研究這種反應網(wǎng)，因為碘化鈀（Ⅱ）在這種振蕩器的反應中才的起始反應。研究對象包括甲醇、碘化鈀（Ⅱ）、碘化鉀和一氧化碳。一些化學反應可以認為并且能夠用作模型研究。這些研究表明，通過在HPLC標準下水的示蹤，甲醇使用的階段表現(xiàn)的重要角色。1引言引言這種鈀催化的苯乙炔氧化羰基化反應（PCPOC）在很多方面突出。這種反應在一個攪拌釜反應器操作中提供了一個異常的PH振子18。此外，在一個振動體系高產物選擇性下操作PCPOC體系的時間可以和在無振動模型條件下的相比較6。在工程反應當中，用這種方法去成功實現(xiàn)選擇性產物方程的能力是新且顯著的成果。這種反應工程是一旦被掌握，可能可以強加在工業(yè)上重要的反應并能開發(fā)的。另外，PCPOC反應代表了由相關的簡單反應物在一個振動模型的催化系統(tǒng)中合成復雜分子的第一個例子?？茖W地說，這是重要的，正如全部其他的振動過程，包括那些由非均相催化劑驅動的，包含氧化、還原或者復雜分子的毀壞3。另外，振蕩器在PH方面，PCPOC反應有能力去長時間（如，數(shù)天）產生重要的振蕩器心臟的搏動（如，600J/振蕩器），這通過反應條件可以調節(jié)5,6,8。因為這些原因，由于PH和溫度調控“敏感物質”PCPOC反應的重要性和它們未來的應用是可預見的，例如，在藥物傳送方面9。為了利用觀察到的現(xiàn)象和把這些知識應用到獲得其他反應網(wǎng)絡體系（如，在一個化學反應機理方面決定性反應速率），前面提到的結果闡述了基本理解PCPOC反應的需要，因為振蕩中PCPOC反應的性質。PCPOC反應體系的性質在開始有7種物質CH3OH，PDI2，KI，NAOAC，CO，空氣和C8H6。導電機理模型研究是困難的，因為物質種類太多。在這樣的研究中，一個減少復雜性的方案是需要的。對于一系列至少由兩種物質組成的子的。實驗操作如下碘化鉀（2G）溶于25ML甲醇之后添加碘化鈀（II）。在PDI2添加83分鐘之后，二氧化碳的量（6ML/MIN）開始減少。溶液的顏色是深黃棕色的并且觀察不到沉淀。記錄的PHAPP體現(xiàn)在圖表1。正如圖表1所體現(xiàn)的，超過25分鐘后，當CO開始減少，PHAPP從68一個急速轉折至5。這個PHAPP開始下降之后，從5一直更加緩慢持續(xù)下降至29大約75分鐘。這說明PHAPP從29平穩(wěn)的下降至23約超過2個小時，直至PHAPP值達到23。PH在CO添加物上的下降表明一個產生氫離子的化學反應。在這個實驗系統(tǒng)中，氫離子有2個來源甲醇和水（因為在干燥條件下這個實驗中不會產生）。在下面的溶液中，研究甲醇和水實驗的角色水，無水甲醇，標準HPLC梯度甲醇和無水丙酮。23水作為溶劑。在這個實驗中，水代替甲醇用作溶劑。KI（2G）溶于25ML去離子水中，然后添加24MGPDI2。添加碘化鈀（II）約1小時后，二氧化碳的量（6ML/MIN）開始減少。溶液的顏色開始是棕色，然后因為實驗的原因開始褪色并且出現(xiàn)黑色沉淀。PH結果如圖表2所示。

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