2023年全國(guó)碩士研究生考試考研英語(yǔ)一試題真題(含答案詳解+作文范文)_第1頁(yè)
已閱讀1頁(yè),還剩16頁(yè)未讀, 繼續(xù)免費(fèi)閱讀

下載本文檔

版權(quán)說明:本文檔由用戶提供并上傳,收益歸屬內(nèi)容提供方,若內(nèi)容存在侵權(quán),請(qǐng)進(jìn)行舉報(bào)或認(rèn)領(lǐng)

文檔簡(jiǎn)介

1、<p>  Expressing space force system and inheriting humanism</p><p>  —The Space For Modern Bridge Aesthetics Development</p><p><b>  Pan Fang</b></p><p>  Abstract

2、 The harmony of mechanics and aesthetics is the logical basis for the existence and the development of bridge aesthetics. When force-bearing properties of space force system are woven into bridge design, the spirits of s

3、culpture are instilled into bridge structures. And the intervention of the tradition of humanities converts bridges into spatial-temporal sequences that embody local conventional character and recur to bridges’ genius lo

4、ci. The combination of both provides many alternati</p><p>  Keywords space force system the tradition of humanities bridge aesthetics</p><p>  “We think our civilization near its meridian,&l

5、t;/p><p>  but we are yet only at the cock-crowing and the morning star.”</p><p>  ----Emerson, Ralph Waldo</p><p>  1. Present status</p><p>  Nowadays, there are two mai

6、nstreams in bridges development. One is the trend of extra long-span bridges, and another is the urbanization of middle-span or small-span bridges. These two trends exactly correspond to two features of bridges.</p>

7、;<p>  The first one is the cultural function of bridge serving as a symbol of critic or national character additional to its conventional function to support loads .The giant exposed elements of bridges inherentl

8、y embody human’s strength, courage and will to conquer the river. And this is especially true in extra long-span bridges .Another obvious character of bridge is that it enables people to occupy the space owned by river.

9、As a result ,on one hand, human attaches to the space where he originally </p><p>  Up to now, experience accumulated on space force systems guarantees the credibility of such complex structures as cable-arc

10、h structures and bridges subjected to gale. And advanced computer-aided design facilitates visualization of three-dimensional model of the structure under discussion. Technological restrains is loosening. At the same tim

11、e, bridge aesthetics begin to thrive .Genius loci, namely, spirits of place, are desired, which are deeply rooted in the tradition of humanities. Different c</p><p>  The maturity of bridge design technique

12、and the emphasis on humanism and tradition are prerequisites of progress of bridge aesthetics. </p><p>  2. Potential space latent in space force system</p><p>  2.1 Theoretical support</p>

13、;<p>  Admittedly, conventional procedures for bridge design have a deep influence on bridge aesthetics. Because the loads on bridges are more complex than that on buildings, in the concept design stage, architect

14、ure is involved much less. And before the introduction of computer-aided design software, almost all bridges were simplified into two-dimension structures in order to avoid the solution of large scale linear programming.

15、 Unfortunately, this artifice has its side-effect. It neglects bridge is a</p><p>  Then how to elicit the vigor inside bridges when we are liberated form calculation to some extent? Reverting to bridges’ or

16、iginal nature of a giant sculpture is an optimal choice. As a three-dimension structure, bridge demands designers not only mentally to visualize a complex form from all round itself, to identify its centre of gravity, it

17、s mass, its weight, to realize its volume, as the space that the shape displaces in the air, but also the accurate expression of the internal ways to transfe</p><p>  The oneness of aesthetics and mechanics

18、is the logical basis for the concept advocated above. For designers, the work doesn’t rest on that primary level. Familiarity with the behavior of space force system is desired, which includes static loads distribution,

19、structural dynamic response to winds, waves, and cozy extent for passengers.</p><p>  Different results come out when bridges mainy resist different loads. If bridge is mainly subjected to static loads, for

20、an instance, the structure weight, spectators passing through it will perceive the power and the frozen movement of it. And if dynamic, for example, wind, the security springs from bridge’s protection.</p><p&g

21、t;  2.2 Analysis of examples</p><p>  2.2.1 Cable-arch structure </p><p>  Campo Volantin Footbridge, across River Nervion, in Bilbao, Spain, tells an exact story of how a leaning arch keeps sta

22、ble in the weave of cables. The construction system is a steel inclined parabolic arch with glass decking. The tortuous deck of the single-spanned footbridge is suspended on the leaning arch, and the very warp echoes to

23、the stream of visitors from lower reaches of the river. Balance is achieved by properly setting leaning arch, which sustains most of the loads, and the horizonta</p><p>  The record of design’s evolution sho

24、wed how the typical arch is gradually weakened, and the geometrical form become more and more complex, which emphasize the impression of movement. Along the interior side of its curving deck, there is a series of low wei

25、ght cables, each of which links the arch and horizontal deck, weaving a beautiful curve by gradually changing the very angle. In a vertical plane, all cables extend outward, whose imaginary focus alludes a rotary trend d

26、ifferent from the axis o</p><p>  An apparent disequilibrium or rather a sense of frozen movement is heightened by the lightness of the structure. Scattered sunlight of Basque casts continuously varied shado

27、w on these neat compressed bars, achieving dramatic effect.</p><p>  2.2.2 Truss</p><p>  Another representative is Wettstein Bridge across Rhine, in Basel, Switzerland. The main arches secedes

28、other auxiliary elements to express separately, who sustain the all weight of bridge. The oblique truss arch dramatically eliminates both its own weight and the ponderosity of profile. It does reach one milestone of crea

29、ting the opportunity to install thinner across section. In order to distribute the concentrated load into the side-push load path and to strengthen the compressed arch, it is o</p><p>  This design embodies

30、a typical bridge aesthetic style of middle Europe. The bridge towers, the classical basic proportion and the details of steel structure all remind people of the ancient bridges in Vienna or Paris. </p><p>  

31、2.2.3 Slope and curved bridge</p><p>  The giant volume of Kumamoto Bridge connects three islands of Amakusa-shoto in the South Japan. Fishery has a long history, which creates a harmonious relationship betw

32、een local inhabitants and natural environment. So this emotional need must be properly responded to. The curved line can meets this demand, but it will generate a rotary trend of movement. As an important connect among t

33、hree islands, the higher traffic capacity is a vital factor. What’s more, gale often appears in beachfront, whic</p><p>  The ultimate design is a slope and curved bridge with repetitive steel box section. T

34、he outlook is like a huge arch, which curves, contorts, and ascends. At the first glance, its appearance doesn’t measure up to the curve style highway engineers are used to, which is imposed on natural topography and res

35、ults in discordance with surroundings in many American freeways executed. Fortunately, Kumamoto Bridge blends well with its location and echoes to the islands it connects in space. And the simpli</p><p>  Fu

36、ll-depth box section is good at being contorted, and hence it can resist the rotary trend of movement of the huge prominent curve. The concave defense boards are set along the edge of deck. They have been adjusted accord

37、ing to wind tunnel results to make pavement and bikeway are in area where airflow stands almost still. Thus it protects passengers from the gale. Wind tunnel experiments are also used to improve section shape. The optima

38、l curved surface of bottom is chosen in order to smooth ai</p><p>  The arrangement of suspending light-weight elements over large-scale structures reminds people of Japanese architectures in early stage, wh

39、ich use large block of stones as foundations and comparatively light timbers for superstructures. The piers are prisms with right angles, which add solemnity to the bridge and intensively contrast to gentle curved bottom

40、. The steel beam is sustained on the spherical pillars, which activize strong vision impact. This curved surface also reflects changing light</p><p>  3.Potential space latent in humanism</p><p>

41、;  3.1 Theoretical support</p><p>  Our ancestors viewed bridges as divine places, while in middle ages, bridges were treated as human-oriented places. Both kept a better-balanced relationship between new br

42、idges and humanism. However, with the increasing traffic demands, this balance is undermined when the Dabby Time came, whose ultimate goal was designing rapid passageways for automobiles. As a result, the cultural functi

43、on of bridge has been deserted.</p><p>  Apparently, such bridges contribute much to modern industrial civilization, but nothing to the history of bridge aesthetics. Bridges lost their affinity, and the site

44、s lost their spirits of place. So rehabilitating genius loci is a necessary step to continue the hampered bridge aesthetics. Every place has its invisible, ever-transforming and yet decidedly obvious characteristic, whic

45、h has been formed through the stream of a complex interplay of past and future events–all that evolved and develop</p><p>  There is no abyss and barrier between modern civilization and the tradition of huma

46、nities. On the contrary, this tradition is the soil filled with experience, inspiration, and nutrition where modern civilization roots in. No matter how old the aesthetic references are, modern techniques can be a proper

47、 receptacle to convey its nature.</p><p>  3.2 Analysis of example</p><p>  Miho Museum Footbridge is a concrete example, which is one of typical representatives of BeiYuming. Miho Museum is hid

48、den in the Shigaraki craggy terrain; hence a special inlet is desired.</p><p>  In his design, a sinuous trace paves the way to a narrow entrance of a tunnel, just as the hole described in ancient Chinese st

49、ory about Taohuayuan. A series of stain-steel bars decorates the wiggle tunnel, from the end of which a weak light is in sight. When spectators walk out of the tunnel, a footbridge across a deep valley displays in front

50、of them. At the final of bridge stands the museum. The passage is designed as a spatial-temporal sequence bending well to its surroundings, and the feeli</p><p>  4.Prospect</p><p>  Recently, m

51、any areas near rivers in domestic cities become the hot spots of bridges construction. For example, in the planning competition for Huangpu River area, Shanghai, SOM, an American company, provided four symbols for this s

52、ite, among which three are bridges. And in another competition for Expo 2010, many designers choose bridges as the very fabrics between two banks and the symbols of Expo 2010. As such, there has been increasing pressure

53、to develop bridge aesthetics.</p><p>  4.1 New relationship of engineers and architects</p><p>  For a long time, both sides worked separately, and the cooperation was confined to a small scope.

54、 Bridge design was degraded into a pure mechanic problem, and aesthetics was subject to mechanics. Apparently, this relationship limited exertion of architects’ ability of form design, material selection, and space creat

55、ion.</p><p>  A new relationship requires both sides to break the limits of specialty, to step into opposite field in order to generate new values and new conceptive system of bridge design. The design shoul

56、d solve problems according the hierarchy of their importance, and the factors should involve not only mechanics and economy, but also aesthetics and landscape. All these should be treated equally. The single and comprehe

57、nsive solution is what we should pursuits, not the sum of a series of solutions at lowe</p><p>  4.2 The sublimation of the tradition of humanities</p><p>  The correct attitudes toward the trad

58、ition of humanities are not simple repetition or imitation, but viewing it as a process of sublimation. The clairvoyance of the essence in the tradition of humanities and the hold of the trend of development under post-m

59、odern society should be cultivated. </p><p>  It’s inevitable that our traditional culture has many conflicts to western civilization. It is conflict and not unquestioning inheritance that keeps humanism ali

60、ve. Only in this way can our tradition of humanities continue to thrive. And so does the bridge aesthetics.</p><p>  References</p><p>  [1]Margaret Colquhoun. An exploration into the use of Goe

61、thean science as a methodology for landscape assessment: the Pishwanton Project. Agriculture, Ecosystems and Environment 63(1997)145-157</p><p>  [2]Dan Cruickshank. Sir Banister Fletcher’s A History of Arch

62、itecture. ARCHIETURAL PRESS.2000</p><p>  [3]楊春俠,耿慧志.營(yíng)造橋梁的場(chǎng)所特征——跨河地區(qū)城市設(shè)計(jì)對(duì)策探析.城市規(guī)劃匯刊,2002年第六期,pp29-32</p><p>  [4]韋爾斯著;張慧,黎楠譯.世界著名橋梁設(shè)計(jì).中國(guó)建筑工業(yè)出版社.2003年3月</p><p>  空間力系的表達(dá)和人文精神的傳承</

63、p><p>  ——現(xiàn)代橋梁美學(xué)的發(fā)展空間</p><p><b>  潘方</b></p><p>  摘 要 力與美的統(tǒng)一是橋梁美學(xué)得以存在和發(fā)展的邏輯起點(diǎn)。對(duì)橋梁結(jié)構(gòu)空間受力特性的精確把握促使將結(jié)構(gòu)力線轉(zhuǎn)化成為橋梁形式內(nèi)在本質(zhì)的一部分,從而賦予其強(qiáng)烈的雕塑感。而人文傳統(tǒng)的介入,使橋梁轉(zhuǎn)型成為象征地域性格特征的時(shí)空組合序列,再現(xiàn)橋梁的場(chǎng)所精神。

64、兩者的結(jié)合,為現(xiàn)代橋梁美學(xué)的發(fā)展提供了廣闊的發(fā)展空間。</p><p>  關(guān)鍵詞 空間力系 人文傳統(tǒng) 橋梁美學(xué)</p><p>  “我們自以為人類的文明已如日中天,但實(shí)際上我們?nèi)蕴幵谛U荒時(shí)代。”</p><p>  ——愛默生拉爾夫 · 沃爾多</p><p><b>  1.現(xiàn)狀</b></p>

65、;<p>  當(dāng)今,在橋梁的發(fā)展上有兩個(gè)流派。一個(gè)是超大跨度橋梁的趨勢(shì),另一個(gè)是城市化的中小跨度橋梁。這兩種趨勢(shì)準(zhǔn)確的與橋梁的兩個(gè)特征相符合。</p><p>  第一種是作為附加到其傳統(tǒng)功能上,以支持負(fù)載橋梁服務(wù)而作為一個(gè)批判或民族特征符號(hào)的文化功能。橋梁的巨大顯而易見的形象本身就體現(xiàn)了人類征服河流的力量,勇氣和意志。而這在超大跨度橋梁中尤其如此。橋梁的另一個(gè)明顯特征是它使人們能夠占有河邊固有的空

66、間。因此,一方面,人們重視本來屬于他的地盤,另一方面他們可以來回移動(dòng)于河岸之間。這就使人們同時(shí)有內(nèi)在和外在、公開、自由和保險(xiǎn)的感覺。乘客的這種體驗(yàn)來自接二連三的錯(cuò)綜復(fù)雜的結(jié)構(gòu)本身及其周邊環(huán)境。</p><p>  到目前為止,空間力系上積累的經(jīng)驗(yàn)保證這種復(fù)雜的結(jié)構(gòu),如索拱結(jié)構(gòu)和橋梁承受大風(fēng)。先進(jìn)的計(jì)算機(jī)輔助設(shè)計(jì)便于討論下結(jié)構(gòu)的三維模型的可視化。技術(shù)的約束放松。同時(shí),橋梁美學(xué)開始蓬勃發(fā)展。精神場(chǎng)所,即精神的地方,是

67、有必要的,這些精神的地方深深扎根于人文傳統(tǒng)。不同連接被很好地排列用于呈現(xiàn)引起觀眾共鳴的時(shí)空序列。</p><p>  橋梁設(shè)計(jì)技術(shù)的成熟和以人為本與傳統(tǒng)的重點(diǎn)是橋梁美學(xué)發(fā)展的先決條件。</p><p>  2.潛在空間隱藏于空間力系 </p><p><b>  2.1 理論支持</b></p><p>  不可否認(rèn),橋

68、梁設(shè)計(jì)的常規(guī)程序已深深影響了橋梁美學(xué)。橋梁上的荷載在概念設(shè)計(jì)階段比建筑上的復(fù)雜多了,因?yàn)樗婕暗浇ㄖ?。在?jì)算機(jī)輔助設(shè)計(jì)軟件的問世之前,幾乎所有的橋梁被簡(jiǎn)化為兩個(gè)維度結(jié)構(gòu),這樣是為了避免考慮大規(guī)模線性規(guī)劃問題的解決方案。不幸的是,這種技巧有其弊端。它忽略橋是一種有豐富表現(xiàn)力的三維結(jié)構(gòu)。因此,出現(xiàn)了不同的橋梁和在外觀上它們剛度之間的相似性。</p><p>  那么當(dāng)我們?cè)谀撤N程度上采用解放的形式計(jì)算時(shí)又如何探知橋

69、梁內(nèi)部受力呢?恢復(fù)到橋的原始自然的巨型雕塑是最佳的選擇。作為一種三維結(jié)構(gòu),橋要求設(shè)計(jì)師不只是頭腦中想象它所有的復(fù)雜形式,以確定其中心的重力、質(zhì)量、重量,確定其作為該形狀將取代在空氣中空間的體積,而且準(zhǔn)確表達(dá)其內(nèi)部荷載如何傳遞,這就是橋梁和公共雕塑的區(qū)別。關(guān)鍵是弄清交織在橋梁模型中無形的傳力路徑的性質(zhì)。下面的示例展示了。</p><p>  力學(xué)與美學(xué)的統(tǒng)一性是支持以上概念的邏輯基礎(chǔ)。作為設(shè)計(jì)師,設(shè)計(jì)工作不能停留在

70、初級(jí)水平。熟悉空間力系的表現(xiàn)是必須的,其中包括靜態(tài)負(fù)載分布,風(fēng)、浪和乘客舒適程度的結(jié)構(gòu)動(dòng)態(tài)響應(yīng)。</p><p>  不同的結(jié)果來自橋梁抵御不同的荷載。如果橋主要承受的靜態(tài)負(fù)荷,例如結(jié)構(gòu)重量,通過它的觀眾將感知它的力量和冷凍的運(yùn)動(dòng)。如果是動(dòng)態(tài)的,例如風(fēng),安全源自橋的保護(hù)。</p><p><b>  2.2 示例分析 </b></p><p>

71、  2.2.1 索拱結(jié)構(gòu)</p><p>  在西班牙畢爾堡,橫跨內(nèi)維翁河的坎波沃蘭汀人行天橋,準(zhǔn)確的告訴我們傾斜的拱是如何在交織的索下保持穩(wěn)定的。結(jié)構(gòu)體系是玻璃蓋板鋼斜拋物線拱。單跨彎曲的天橋面板懸掛在傾斜的拱上,而且這道弧線恰好回顯到河下游的游客流的眼中。正確設(shè)置傾拱是為了維持大部分的負(fù)載和水平彎曲橋面板達(dá)致平衡。拱跨越了由分散的索支撐的整個(gè)行人路結(jié)構(gòu),同時(shí),主梁是簡(jiǎn)化成均勻的鋼管拱。圖 2 所示。</

72、p><p>  設(shè)計(jì)演化的記錄顯示了典型的拱門如何在逐漸減弱,并變成越來越復(fù)雜的幾何形狀,其中特別強(qiáng)調(diào)運(yùn)動(dòng)的印象。沿著彎曲的橋面板內(nèi),有一系列能通過逐漸改變其合適角度而交織成一條美麗曲線的低重量纖維,其中每根都連接著拱和水平的橋面。在垂直的平面上的所有拉索,都向外擴(kuò)展其虛焦點(diǎn)暗示一個(gè)不同于鋼拱軸線旋轉(zhuǎn)的趨勢(shì)。力在拱的頂部形成曲線。此外,拱的直邊和拱拉索匯聚的中間最終形成奇特的組合。橋墩不僅均勻地將集中荷載傳遞到地面,

73、而且可作為橋梁位置與其本身所占用的抽象空間之間的區(qū)域。</p><p>  明顯的不平衡或而凝固的動(dòng)感被結(jié)構(gòu)的亮度增強(qiáng)了。巴斯克語(yǔ)中分散的陽(yáng)光投射在這些整潔的壓桿上產(chǎn)生連續(xù)變化的陰影,達(dá)到了意想不到的效果。</p><p><b>  2.2.2 桁架</b></p><p>  另一個(gè)代表是在瑞士巴塞爾跨越萊茵河的Wettstein 橋。支撐

74、橋梁所有重量的主要拱門和其他輔助元素分開表達(dá)。斜桁拱極大地削弱了它本身的重量和笨拙的輪廓。它是一個(gè)創(chuàng)建安裝更薄的跨越部件的里程碑。將集中荷載分散到側(cè)推傳力路徑上,并加強(qiáng)壓縮的拱,是加強(qiáng)縱向剛度的結(jié)構(gòu)重要性。這種剛度需要由一對(duì)較低的連續(xù)構(gòu)成曲線的弦,恰好作為主拱輪廓陪襯的部分提供。作為一個(gè)整體,這座橋的詳細(xì)信息較全面的介紹荷載通過節(jié)點(diǎn)的傳輸方式及節(jié)點(diǎn)對(duì)應(yīng)力場(chǎng)的影響。圖 3 所示。</p><p>  這種設(shè)計(jì)體現(xiàn)了

75、中歐典型的橋梁美學(xué)風(fēng)格。橋塔、經(jīng)典的基本比例和鋼結(jié)構(gòu)的詳細(xì)信息,全都讓我們想起在維也納和巴黎的古代橋梁人。</p><p>  2.2.3 斜坡曲線橋</p><p>  巨卷的熊本橋連接著日本南部的天草諸島三個(gè)島嶼。漁業(yè)有著悠久的歷史,它創(chuàng)建了當(dāng)?shù)鼐用窈妥匀画h(huán)境的和諧關(guān)系。所以這種情感的需要必須適當(dāng)回應(yīng)。曲線可以滿足這種需求,但它將產(chǎn)生一種旋轉(zhuǎn)運(yùn)動(dòng)的趨勢(shì)。作為三個(gè)島嶼之間的重要連接,更高

76、的交通流量是一個(gè)至關(guān)重要的因素。更重要的是,大風(fēng)經(jīng)常在海灘出現(xiàn),這些都應(yīng)隨預(yù)期的交通流量考慮在內(nèi)。</p><p>  最終的設(shè)計(jì)是由重復(fù)的鋼箱梁截面構(gòu)成的斜坡曲線橋。它外觀上就像巨大的拱形,呈逐漸上升而且扭曲的曲線。乍看之下,它的外觀不會(huì)達(dá)到高速公路工程師們過去的曲線風(fēng)格,這更顯得自然地形和環(huán)境與許多美國(guó)高速公路實(shí)施的不一致。幸運(yùn)的是,熊本橋與其位置融為一體,并與它連接的島嶼完美的附和。簡(jiǎn)單的結(jié)構(gòu)和外觀都與變得

77、絢麗的人造結(jié)構(gòu)或夸張表達(dá)其流動(dòng)性的危險(xiǎn)相抗拒。圖4所示。</p><p>  全深度箱梁截面部分被扭曲,因此它可以抵抗巨大突出曲線的回轉(zhuǎn)運(yùn)動(dòng)趨勢(shì)。凹面的支撐板設(shè)置在橋面板邊緣。根據(jù)路面的風(fēng)洞實(shí)驗(yàn)結(jié)果,支撐板被調(diào)整便于那些氣流幾乎仍然存在區(qū)域的人行道和非機(jī)動(dòng)車道的修建。因此,它在大風(fēng)下能確保乘客安全。風(fēng)洞實(shí)驗(yàn)還用于改善截面形狀。選擇最優(yōu)的曲面底部是為了讓氣流順利通過,因此提高了扭曲箱梁的效率。</p>

78、<p>  大尺度結(jié)構(gòu)懸吊輕元素排列喚起早期階段日本體系結(jié)構(gòu)中以大塊石頭用作基礎(chǔ),上部結(jié)構(gòu)采用較輕的木材的人們。直棱柱的橋墩為整座橋添加了莊重氣息,與緩和弧形的底面形成鮮明對(duì)比。鋼梁由給人以強(qiáng)烈視覺沖擊的球形支座支撐。此曲面也反射了水面變化的光線,形成一道美輪美奐的視覺效果。在夜間,隱藏在橋底的光線在海灣繪制優(yōu)美的拱。</p><p>  3.潛在空間隱藏于人文 </p><p&g

79、t;<b>  3.1 理論支持</b></p><p>  我們的祖先把橋看作為神圣的地方,而在中世紀(jì),橋被視為以人為本的地方。這都保持了新的橋梁和以人為本的平衡關(guān)系。然而,隨著與日益增加的交通需求,這種平衡在Dabby時(shí)代被破壞了,其最終目標(biāo)是設(shè)計(jì)汽車的快速通道。這又導(dǎo)致橋的文化功能都被忽視了。</p><p>  顯然,雖然橋梁為現(xiàn)代工業(yè)文明作了很多貢獻(xiàn),卻沒有

80、橋梁美學(xué)的歷史。橋梁失去了它們的特點(diǎn)就像建筑失去了精神的地方。所以精神場(chǎng)所復(fù)興是繼續(xù)妨礙橋梁美學(xué)發(fā)展的絆腳石。</p><p>  每個(gè)地方都有其看不見的,不斷轉(zhuǎn)變的,又尚未明顯的特點(diǎn),這些特點(diǎn)通過一系列過去和未來的復(fù)雜事件的相互影響形成了——所有這些都是自地球形成之初,那些改變了過去的土地和那些打算在未來改變它的人的思想的相互作用的演變和發(fā)展。任何橋梁都應(yīng)遵守設(shè)計(jì)資格和約束這些特點(diǎn)。</p>&l

81、t;p>  人文的傳統(tǒng)與現(xiàn)代文明之間沒有深淵和屏障。相反,這種傳統(tǒng)是現(xiàn)代文明扎根的充滿經(jīng)驗(yàn)、靈感和營(yíng)養(yǎng)的土壤。不管審美的引用有多古老,現(xiàn)代技術(shù)可以傳達(dá)其性質(zhì)的適當(dāng)手段。</p><p><b>  3.2 示例分析</b></p><p>  美穗博物館人行天橋是一個(gè)具體的例子,它是BeiYuming的典型代表之一。美穗博物館隱藏在長(zhǎng)崎的崎嶇地形中;因此需要特別

82、的入口。</p><p>  在他的設(shè)計(jì)中,一條蜿蜒的軌跡延伸到有一個(gè)狹窄入口的隧道,正如中國(guó)古代故事關(guān)于桃花源所述的洞。一系列的著色鋼筋裝飾著起伏的隧道,要不然連盡頭微弱的光也看不見。當(dāng)觀眾走出隧道時(shí),一座橫跨深谷的人行天橋展現(xiàn)在他們的面前。博物館聳立在天橋的盡頭。這個(gè)通道被設(shè)計(jì)作為一個(gè)與周圍環(huán)境相協(xié)調(diào)并且能很好控制游覽者感情的序列,在這個(gè)序列中,一條共享的吊索在隧道和橋梁之間編織兩個(gè)單獨(dú)的元素。這種感受正是古

83、代漁夫所體驗(yàn)到的。雖然對(duì)審美的引用方式很老套,但實(shí)現(xiàn)手段卻現(xiàn)代感十足。顯然,新的思想賦于了這種關(guān)鍵的變化。</p><p><b>  4.展望</b></p><p>  最近,在國(guó)內(nèi)城市河流附近的許多地區(qū)成為橋梁施工的熱點(diǎn)地區(qū)。例如,上海市黃浦江工業(yè)區(qū)規(guī)劃爭(zhēng)奪中,一家美國(guó)名叫SOM的公司,在這個(gè)區(qū)域建造了四個(gè)標(biāo)志性建筑,其中三個(gè)是橋梁。而且在2010年世博會(huì)的另一

84、場(chǎng)競(jìng)爭(zhēng)中,很多設(shè)計(jì)師選擇橋梁作為2010年世博會(huì)兩岸聯(lián)系的媒介和符號(hào)。為此,發(fā)展橋梁美學(xué)的壓力正日益增加。</p><p>  4.1工程師和設(shè)計(jì)師的新關(guān)系</p><p>  很長(zhǎng)時(shí)間雙方獨(dú)立工作,合作也局限于小范圍。橋梁設(shè)計(jì)降級(jí)到純機(jī)械的問題,而且美學(xué)也受到力學(xué)的影響。顯然,這種關(guān)系就限制了建筑師對(duì)形式設(shè)計(jì)、選材和空間創(chuàng)造能力的運(yùn)用。</p><p>  一種新

85、的關(guān)系需要雙方打破專業(yè)限制,走進(jìn)對(duì)方的領(lǐng)域以產(chǎn)生新的價(jià)值和新概念系統(tǒng)的橋梁設(shè)計(jì)。設(shè)計(jì)應(yīng)解決按層次結(jié)構(gòu)的重要性、存在的問題和因素應(yīng)涉及的不僅是力學(xué)和經(jīng)濟(jì),而且也是美學(xué)與景觀。所有這些都應(yīng)得到同等對(duì)待。我們想要追求是一個(gè)綜合性的解決方案,而不是一系列較低級(jí)別解決方案的總和。</p><p>  4.2 升華傳統(tǒng)的人文傳統(tǒng)</p><p>  對(duì)待人文傳統(tǒng)的正確態(tài)度不是簡(jiǎn)單的重復(fù)和模仿,而是將它

86、看作是一個(gè)升華的過程。在后現(xiàn)代社會(huì)應(yīng)該培養(yǎng)對(duì)人文傳統(tǒng)本質(zhì)的洞察力與對(duì)發(fā)展趨勢(shì)的把握能力。</p><p>  我們的傳統(tǒng)文化和許多西方文明的沖突是不可避免的。讓以人為本的思想繼續(xù)存在著的是沖突并不是絕對(duì)的繼承。只有以這種方式我們的人文傳統(tǒng)可以繼續(xù)蓬勃發(fā)展。橋梁美學(xué)也是如此。</p><p><b>  參考文獻(xiàn)</b></p><p>  [1

87、]Margaret Colquhoun. An exploration into the use of Goethean science as a methodology for landscape assessment: the Pishwanton Project. Agriculture, Ecosystems and Environment 63(1997)145-157</p><p>  [2]Dan

88、 Cruickshank. Sir Banister Fletcher’s A History of Architecture. ARCHIETURAL PRESS.2000</p><p>  [3]楊春俠,耿慧志.營(yíng)造橋梁的場(chǎng)所特征——跨河地區(qū)城市設(shè)計(jì)對(duì)策探析.城市規(guī)劃匯刊,2002年第六期,pp29-32</p><p>  [4]韋爾斯著;張慧,黎楠譯.世界著名橋梁設(shè)計(jì).中國(guó)建筑工

溫馨提示

  • 1. 本站所有資源如無特殊說明,都需要本地電腦安裝OFFICE2007和PDF閱讀器。圖紙軟件為CAD,CAXA,PROE,UG,SolidWorks等.壓縮文件請(qǐng)下載最新的WinRAR軟件解壓。
  • 2. 本站的文檔不包含任何第三方提供的附件圖紙等,如果需要附件,請(qǐng)聯(lián)系上傳者。文件的所有權(quán)益歸上傳用戶所有。
  • 3. 本站RAR壓縮包中若帶圖紙,網(wǎng)頁(yè)內(nèi)容里面會(huì)有圖紙預(yù)覽,若沒有圖紙預(yù)覽就沒有圖紙。
  • 4. 未經(jīng)權(quán)益所有人同意不得將文件中的內(nèi)容挪作商業(yè)或盈利用途。
  • 5. 眾賞文庫(kù)僅提供信息存儲(chǔ)空間,僅對(duì)用戶上傳內(nèi)容的表現(xiàn)方式做保護(hù)處理,對(duì)用戶上傳分享的文檔內(nèi)容本身不做任何修改或編輯,并不能對(duì)任何下載內(nèi)容負(fù)責(zé)。
  • 6. 下載文件中如有侵權(quán)或不適當(dāng)內(nèi)容,請(qǐng)與我們聯(lián)系,我們立即糾正。
  • 7. 本站不保證下載資源的準(zhǔn)確性、安全性和完整性, 同時(shí)也不承擔(dān)用戶因使用這些下載資源對(duì)自己和他人造成任何形式的傷害或損失。

評(píng)論

0/150

提交評(píng)論