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建筑综合体与城市的融合与促进
[提要] 建筑综合体武汉新世界中心的设计过程中，不断融入了城市设计的理念，从总体布局，交通组织以及形象塑造上竭力创造出与城市环境相和谐又独树一帜的建筑群，以求达到建筑与城市相互促进的效果。

[关键词] 武汉新世界中心，城市设计，围城，交通立体化，平民的商业之都，二龙戏珠。

由香港新世界集团在武汉投资兴建的武汉新世界中心，是一座集商场、酒店与写字楼为一体，占地37234.76m2，总建筑面积达28.3万m2的城市建筑综合体，其规模在香港和北京已建成的同类型“新世界中心”中，位居第二。项目基地位于汉口解放大道与利济北路的交叉口，属武汉市中心区繁华地带。

建筑综合体是一种超大规模的建筑类型，它不是单体建筑的简单放大，而是城市社会生活与空间环境高度聚集的产物，从而成为建筑与城市的某种过渡形态。针对这一特点，我们在综合体设计中，除运用建筑设计原理外，还应引入城市设计的理念，采用建筑与城市一体化的设计方法，才能达到理想的目的。作者主持设计的建筑方案在有7家境内外设计单位参加的方案竞标中胜出，并成为实施方案。

以下是作者对方案设计中几个主要问题的思考与体会。

总体布局

目前国内流行的商业类建筑综合体一般采用“生日蛋糕式”的“塔楼+裙房”形式组成。那些被安插在大面积商业裙房上部的酒店、写字楼或公寓等高层建筑，数量多，体型杂乱，如不加以统一规划，势必造成综合体空间组织的困难，也难以形成完整的建筑景观。因此，对于这一类综合体的设计，首先应该从建筑群组的规划出发，做好总体布局。

根据业主的要求，武汉新世界中心由以下几部分组成：

商场11.45万m2，酒店3.17万m2，写字楼2.21万m2，公寓5.70万m2，及6.03万m2的地下建筑。显而易见，综合体组合单元的数量将会很大。

我们在设计时，首先确定了大的布局原则，既商业裙房满铺于基地中央，酒店与写字楼沿基地的北侧与东侧布置（临城市干道），规模较大的公寓群布置在基地的南侧与西侧（临小区级道路）。这种大布局原则反映了功能意义上的普遍合理性，但尚未体现设计的独创性。我们的创意主要表现在裙房四周高层建筑形式的选择与组合上。

关于酒店与写字楼的形式。我们认为不宜将两者叠合做成超高层形式，因为与本工程仅一路之隔的世贸商城（58层）和武汉广场（49层），都是体积庞大的超高层建筑，在高度上很难超过它们，形象上也难以突出自身的特点。同时也不宜做成并列的双塔。两者面积不等，层高不同，不能勉强做成对称的姐妹楼；况且两个既不对称又难分主次的塔楼是无法形成构图中心的，只会增添混乱。对此，我们另辟蹊径，选择一个板式建筑和一个基本等高的塔楼，沿主干道成断开的L型布置，其上部则用“飘带式”屋顶将两者连接一体，而建筑间的“缺口”处正好布置商场主入口。这种处理手法大大增强了沿街立面的整体性，有利于塑造完整的城市景观。

关于公寓的形式。我们也认为不宜选用常规的独立式塔式住宅类型，因为其单体数量较多（至少5~6幢），相互间距较大，必然带来总体布局的困难，造成综合体轮廓的凌乱。所以我们按照“化零为整”的原则，选用了两端可拼接的单元式高层住宅类型，将公寓群“板式化”，沿基地内侧成反向的L型布置。

这一正一反两个L型布局构成的建筑群组浑然一体、一气呵成；其“大而不高”的“围城”式体量，在高楼参差的周边环境中起到了一种平衡与稳定作用，对中心区建筑秩序的建立具有重要意义。

交通组织

综合体依其辐射能力的大小，吸收着来自城市各个方向和不同距离的人流，他们一般需借助各类交通工具才能到达，因此机动车辆的交通组织成为解决综合体外部交通的首要问题。总结国内外许多成功的经验，有效解决这一问题的办法是，采取立体化的交通手段，努力实现建筑与城市交通的一体化。

本工程位于城市干道交叉口，基地两侧只允许向市政干道各开一个机动车出入口。为了实现人车分流，我们通过这两个口部，组织一条基地内的地下车行环道，将进入基地的车流直接引达地下层，再分流至综合体各个组合单元的地下口部，或直接进入地下停车场（可停车720辆）。

在人车分流的基础上，地面层步行交通就变得安全、畅通与简单了。为了接纳来自城市公共交通的地面人流（主要是商场购物者），建筑临解放大道一侧后退红线22M，利济北路一侧后退15M，街角处（即商场主入口处）后退50M，并在三个方向相应设置了商场的三个入口广场。城市道路交叉口也是步行者穿越马路的位置，利济北路与解放大道各设过街地道，我们将其延伸，并通过自动扶梯将人流直接引入综合体室内，从而使城市交通设施与综合体人流组织有机结合起来。

商场内部交通组织颇具特色。商场每层建筑面积达1.82万m2，为了使这个巨大的室内空间做到“庞大而不迷乱”，我们参照“城市——街道——广场”的外部空间体系，建立起“商业城——步行街——中庭”的室内空间系统，目的是使空间有序化和趣味化。具体做法是，从商场沿两条主干道的入口设置一条穿越商场内部的弧形步行街，并在商场中心放大成一个直径30M的圆形中庭，组织整个室内交通网络。步行街在必要时可向消防车开放，成为室内消防通道。

形象塑造

商业建筑与市民日常生活的联系最为密切。它不单是一个方便、舒适的购物场所，还是都市生活体验与情感记忆的载体。所以商业建筑的外观造型与室内形象具有最为大众化“波普化”的特征。

我们为武汉新世界中心设计所确定的目标是，塑造“平民的商业之都”，营造一个属于武汉老百姓的大俗大雅的建筑形象。武汉作为中国近代开埠最早的商埠之一，至今保留着许多带有浓厚殖民色彩的“欧式建筑”，所以我们在设计中大胆调动古典与现代两种相对立的元素，让它们在既自由又规整、既夸张又严谨的氛围中，充分碰撞，创造出一种易于为大众解读的“现代巴洛克”风格。武汉老百姓可以在这里找到它们引以自豪的具有70年历史的老建筑“民众乐园”的影子，但更能真切地感受到自己是置身在一个全新的“乐园”之中。

对于综合体高层部分的住户来讲，裙房屋顶无疑是建筑形象极为重要的组成部分。位于屋顶中央的圆形玻璃穹顶，如同一颗明珠，与周边L形的建筑共同组成“二龙戏珠”的美丽图画。屋顶花园将成为综合体的“空中绿洲”，高层住户休闲与进行户外活动的场所，在一定程度上缓和了高容积率与高密度建设所带来的环境压力。为了避免在屋顶花园中产生坐井观天的感受，所有裙房以上的建筑一律架空5.4M，让视野更开阔，同时保证屋顶花园空气的流通。

建筑综合体的出现，为城市居民提供了一种新的生活方式，也提升了所在地区的城市功能，对提高城市土地的利用率尤其具有重大意义。但是，高强度的集中开发，也会对城市局部环境带来一定的负面影响，在环境与生态问题日益突出的今天，如何兼顾经济效益与环境效益的平衡，将是值得我们大家长久探讨的课题。

本工程在实施阶段，由我院徐维平总建筑师及他们领导的第二设计所的郑凌鸿等建筑师，对方案进行了深化与完善，在此向他们一并表示谢意。

Building complexes and urban integration and the promotion of

[Abstract] the construction of Wuhan New World Center complex design process, the continuing integration of the urban design concepts, from the overall layout, transportation organizations, as well as image-building on the efforts to create harmony with the urban environment has unique buildings, in order to to achieve mutual promotion of Architecture and Urban effect.

[Key words] Wuhan New World Center, urban design, city, transport three-dimensional, the commercial capital of civilians,二龙戏珠.

By the Hong Kong New World Group in Wuhan to invest in the construction of Wuhan New World Center, is a set shopping malls, hotels and offices as a whole, covering 37234.76m2, the total construction area of 283,000 m2 of the city construction complex, and its size in Hong Kong and Beijing have been completed and the same type of "New World Center," the second. Project base is located in Hankou Liberation Avenue and Lee Ji-North Road intersection, which is the central area of downtown Wuhan Strip.

Building complex is a kind of ultra-large-scale building types, it is not a single building to enlarge the simple, but the urban social life and the space environment, the product of a high degree of aggregation, thus becoming a kind of architecture and urban form of the transition. In response to the characteristics of our complex design, with the exception of the use of architectural design principles, we must also introduce the concept of urban design, the use of Architecture and Urban Design of integration methods, to achieve the desired objective. Author presided over the design of the building program in the design of units 7 and outside the family to participate in the program bid to win and become the implementation of the program.

The following is the author of the program design of several key issues in thinking and experience.

Overall layout

At present, the popular commercial building complexes generally use the "birthday cake" type of "Tower + podium," the form. Those who have been placed in the upper part of large-scale commercial podium hotels, office buildings or apartment, such as high-rise buildings, number, size messy, if not unified planning, is bound to create complex spatial organization of the difficulties, but also difficult to form the architectural integrity of the landscape. Therefore, this type of complex design, first of all should be from the group planning the construction starting, do a good job overall layout.

In accordance with the requirements of the owners, Wuhan New World Center from following parts:

Shopping malls 114,500 m2, the hotel 31,700 m2, office space 22,100 m2, apartment 57,000 m2, and 60,300 m2 of underground construction. Clearly, the complex combination of the number of units will be immense.

We design, first determine the layout of the big principles, not only commercial podium Man Shop in the central base for hotels and offices along the north side of the base and the eastern side of the layout (Pro city roads), the larger group arranged in the base of an apartment south and west side (Pro district level road). This principle reflects the major function of the layout of the sense of universal rationality, but has not yet reflect the original design. Our creative mainly manifested in the form of high-rise buildings around the podium of the selection and combination.

With regard to the form of hotels and offices. We do not consider it to be made between the two superimposed forms of super-high, because with this project all the way only separated Shanghaimart (58 storeys) and Wuhan Plaza (49 storeys), are large high-rise building, in the height difficult to exceed them, the image would still be difficult to highlight the characteristics of their own. At the same time and it is not tied into the Twin Towers. Both area ranging story can not be made symmetrical and sisters reluctantly floor; Moreover, the two both primary and secondary asymmetry also hard to distinguish the tower can not be formed composition center, it would only create more confusion. In this regard, we explore different avenues to choose a plate construction and a basic contours of the towers, along the main road into the L-type layout of disconnect, and its upper part is the "ribbon-style" roof of the two connected together, and building the so-called "gap "Service is the main entrance of mall layout. This approach greatly enhances the integrity of the street facade will help shape the integrity of the urban landscape.

With regard to the form of an apartment. We also do not consider it appropriate choice of conventional stand-alone residential tower type, because of its monomer in larger quantities (at least 5 ~ 6), a greater distance between each other, will inevitably bring about the overall layout of the difficulties caused by the messy complex contours. Therefore, we in accordance with the "zero for the whole of" principle, can be selected at both ends of the modular splicing high-rise residential type, to an apartment group "plate" and along the base of the medial into reverse L-type layout.

This is a reversal of the two L-type layout of the building constitute an integral whole group, at one go; its "big but not high" and "Besieged City"-style body mass, high-rise mixed in the surrounding environment play a role in balance and stability of the central area of the establishment of the construction order of great significance.

Traffic Organization

Complex depending on the size of radiation, absorption from the city in all directions and at different distances of people, they generally all types of transport to get to another, so the traffic of motor vehicles to solve complex organizations to become the primary problem of external traffic. Summing up the experience of many successful at home and abroad, effective solution to this problem is to take three-dimensional means of transportation, building and efforts to achieve the integration of urban traffic.

The project is located at the crossroads of urban roads, the base on both sides of the municipal roads to allow only the opening of a motor vehicle importers and exporters. In order to achieve separation of people and vehicles, we adopted the two mouth, organize an underground base Dealers Bay Road, will enter the base flow directly Tatsu basement, and then diverted to the synthesis of various modules of underground mouth, or direct access to underground car park (which can be 720 parking spaces).

In the separation of people and vehicles on the basis of the ground floor of the walk traffic becomes safe, smooth and simple. In order to accept from the urban public transportation ground flow (mainly shopping malls), the construction side of Jiefang Road Pro back red 22M, Lee Ji-North side back 15M, the corner (that is, the main shopping mall at the entrance) back 50M, three directions in the corresponding set of three shopping centers in the entrance plaza. Urban road intersection is also the location of pedestrians crossing the road, Lee Ji-North Road and Jiefang Road Road each street, we will be its extension, and escalators will flow through the direct introduction of the indoor complex, so that urban traffic facilities and complex flow organizations combine.

Traffic Organization within shopping malls characteristic. Shopping centers on each floor construction area of 18,200 m2, in order to make this huge indoor space to do "without a huge confusion", we refer to "the city - the streets - Square" of outer space system, establish a "Commercial City -- Walking Street - Atrium "indoor space systems to make the space of an orderly and interesting. Specifically, from the shopping centers along the two roads is the entrance to set up a shopping mall across the arc of internal pedestrian street, and in the commercial center of 30M to enlarge into a diameter circular atrium, organizations throughout the interior of transport networks. Walking Street, where necessary, to fire engines opened fire service channel.

Image-building

Commercial construction and daily lives of the people most closely associated. It is not only a convenient and comfortable shopping, or city life experience and emotional memory carrier. Therefore, the appearance of commercial buildings and interior design with the most popular image of "Pope" of characteristics.

Wuhan New World Center our design goal is to determine and shape the "civilian commercial capital" to create a people belonging to Wuhan, a large custom architectural image of Taiga. Wuhan, China's modern history as a trading port, one of the earliest, has retained many with a strong colonial color "European construction", so we boldly mobilization in the design of classical and modern elements opposed to two, to allow them both free Also structured both exaggerated also strict atmosphere, the full impact, to create an easy for the public reading of "Modern Baroque" style. Wuhan people can find them to be proud of a 70-year history of the old building "People's Paradise" shadow, but truly experience the better you are in a new "Paradise" are.

For complex high-level part of the household, the podium building the image of the roof is an extremely important component. Located in the roof of the central circular glass dome, like a jewel, with surrounding L-shaped building together, "二龙戏珠" beautiful picture. Roof garden will be a synthesis of the "Air Oasis", senior households are engaged in outdoor activities and leisure venue, to a certain extent eased the rate of high-volume and high-density construction brought about by pressure on the environment. In order to avoid roof garden produce feelings坐井观天, all podium building will be elevated above 5.4M, so that a broader perspective, while ensuring the flow of air roof garden.

The emergence of complex construction for urban residents and provides a new way of life, also helped improve the location of urban functions, to improve the utilization of urban land in particular, is of great significance. However, the concentration of high-intensity development, will also be partial to urban environment have a negative impact on the environment and ecological problems of today have become increasingly prominent, how to balance economic and environmental benefits of balance, it will be worth all of us a long time to explore the subject of .

During the implementation phase of this project, from our hospital XU Ping Chief Architect and their leadership of the second design, such as Cheng凌鸿architects, the program has been deepening and improvement of, take this opportunity to express my gratitude to them together.

China built environment the value of cultural significance

Abstract: This paper discusses the traditional Chinese culture in the built environment and value embodied in, and when the built environment and cultural traditions and modern analysis, elaborated on China built environment of the significance of cultural development for the traditional architectural culture and modern development of the bonding point. In the context of Chinese culture, China's built environment to show with the people and the natural environment for the financial - body balance each other.

Key words:Construction,Environment,Traditional,Modern,Culture

Chinese ancient architecture has a brilliant achievement, in the palace, gardens, construction of space processing, architectural art and material structure of harmony and unity, etc., have excellent creativity and contribution to the formation of the regression of other buildings in the West of special character, in the human construction played an important role in the history. Today, the nature of architectural culture more and more attracted attention. From the Great Hall of the People in Beijing after the founding of the end of the twentieth century buildings, hotels, and other Xiangshan inherited the traditional Chinese architectural art of the essence, but also a combination of modern Western art of architecture new concepts, new technologies, to become both fresh ethnic characteristics, strong characteristics of the times and the construction of cultural monument. China's urban construction regardless of the ancient and contemporary, are in a particular space in cultural phenomenon, its richness and complexity of all the researchers can not be avoided.
Since modern times, Chinese culture began the difficult process of change. From a traditional society to a modern social changes, but also depends on cultural change. If it is said that traditional Chinese culture in history and evolution of the track is more clear, then, the changes in modern times seem very complicated. China's vast territory, different parts of the larger cultural and economic differences.
In modern times, China and the western city undoubtedly follow a different path of development, not only to form their own political, economic and cultural systems, but also formed their own style of urban planning and architectural style. In modern times, with the intrusion of Western powers, as well as imported culture, including architectural culture of the Western urban culture, including the start of the Chinese have an enormous impact. Because of this, including the China Architectural Culture urban culture, but also the beginning of the transition from traditionalism to modernization profound transformation.
Today, in China's architectural theory and creative activity, people fond of tradition and modernity, inheritance and innovation, China and the West, such as a class of architectural culture and the phenomenon of comparison and controversy, it is necessary. But the debate of these issues should be made clear its purpose, that is, it should promote a culture of development and construction, and promote its progress, and not just be satisfied with the basis of these cultural phenomena to make objective and accurate description. Such as: During the discussion of traditional and modern, inheritance and innovation of the issue, many people keen on from the style, form or technology to argue their superiority, the wild, but it is not with the people from their survival and livelihood of the fundamental link go to explore their meaning. During the discussion of Chinese and Western architectural culture, people in the space of Chinese and Western concepts, behavior and attitude toward life and so a detailed comparison, based on the discovery and summed up the Chinese architectural concepts with Westerners differences and their respective characteristics, and then in creation and insufficient emphasis on theory and embody the characteristics of this, of course, is good. On the other hand, people are less human existence from the perspective of the state of traditional and modern, inheritance and innovation, Chinese and Western architecture to make further value judgments. Thus, the "tradition" of "modern" "inheritance" "innovation" "China" "Western" and so the purpose of turning themselves into. Building a culture of comparison and debate should therefore not achieve the purpose of architectural culture can not lead to real progress.
A long time, research in the field of architectural history, there is a "Western Center on" The view that the West is a historical tradition of urban construction, the East Building of non-historical traditions. In弗莱彻尔"comparative Architectural History" on the issue there is a "construction of the tree," with illustrations, the center of the tree trunk is marked with Greece, Rome, Lo Man-style, top of the six main branches are some European and American countries Gothic architecture, Renaissance architecture and modern construction. But Egypt, India, Mexico, China and so before the following number of delicate young branches, the United States on the center of the tree trunk on top, great image to express the author's construction of "Western-centered" thinking. There is no denying that the Western Urban Architecture in the past few centuries is indeed developing rapidly, both in content and form, or in technology and theory, aesthetics are taking shape on the forefront in the world. However, "Western Center on the" point of view is no doubt there is a problem with the development of world architectural history, not just the West, and no hall, which has become more and more consensus building and cultural historians. ① Western post-modernist theorists Architectural Culture Frampton that: traditional architecture, especially folk architecture is the formation of specific locations in the building system with a function and structure is reasonable. Especially in dealing with a number of specific factors, such as ventilation, lighting, insulation, etc. with excellent characteristics. Therefore, we can not simply deny according to the location, physical geography of the specific cultural environment and human development of the local style.

Traditional Chinese architectural culture research, is to open up a theoretical level, the health of Chinese architectural development. Building Cultural Studies is not confined to explain a variety of architectural culture phenomenon, it is to building a culture of value-oriented development. Therefore, the architectural culture should be critical and practice. To provide value-oriented, we must make a value assessment, it is necessary to establish one set of values. Human beings are different from their own cultural backgrounds, different building events are also a certain degree of architectural culture shadow. But culture is also a double-edged sword. On the one hand, are the essence of any culture coexist with the dross, even if it is the essence, but also often can not be separated from the specific conditions of time and space; On the other hand, both the traditional culture may be a heavy cross, stifle the creative potential of modern people can also be become a treasure house of wisdom and enrich our imagination, expand our scale of thinking.
Reality and future requirements of the complexity of life, far from being mechanically copy a certain kind of traditional methods, approaches, they can be met, we must absorb, draw upon their strengths needed to pick up my. In addition, the creation of the characteristics is still a serious topic, require a combination of specific locations, conditions, on the design requirements for specific analysis. Creative methods, the use of "abstract inheritance, moved like a wonderful" principle, may find a new way. Wu Liangyong, a so-called "abstract inheritance" means from the construction of traditional Chinese traditional architectural design principles and the basic theory of the essence of part of the development, applied to the reality created in the past. And the traditional image of the most distinctive part of extracted through abstract and concentrate to improve as a motif, be innovative and creative design in order to inspire the current Formal creation. At the same time, should touch the pulse of China's traditional culture, digging out of the traditional architectural art connotation of time and space, first of all, attention should be paid to the art of architecture and the restoration of cultural values and spiritual function, not only the architectural and artistic works as industrial products and daily necessities, more efforts should not only its immediate physical function. This kind of inheritance, is not a form of plagiarism or the old parts of the permutation and combination, both creative principle of the succession and development, and the image of the drawing and creativity. So that the design of both the spirit likeness seek, nor exclusive to some extent, the details of the shape of a key is based on the location, condition needs. And "want to move too wonderful," "move to" is to their own imagination into the image of the object to, "Miao was" refers to grasp the true expression of the target. ②
Extensive and profound traditional Chinese culture, architecture is the same culture. We should not only from the perspective of the form, and from culture to understand the depth of the traditional, such as: the first level, the traditional beauty of classical architecture in the roof, brackets, shapes portico features, poetry, calligraphy and technology combined with the fitting-out forms , as well as all kinds of doors and windows Prism Grid, decorative patterns; second level, the courtyard-style layout of the space rhythm, natural and architectural environment of complementary design, poetic, full of the humanistic spirit of gardening art, shape, number of paintings, azimuth the appearance of a symbol and metaphor practices; the third level, "harmony between man and nature" of the nature and focus on environmental effects of "feng shui" of thought, yin-yang confrontation, interaction, and the corresponding philosophical thinking and the "body, mind, and gas" competent a concept of health, and so on. Of them contains a wealth of content, deep philosophy and wisdom. ③ which states that the value of traditional to modern needs in our new building works to discover, to perception.
Therefore, we should try to find traditional, modern values, and carry forward in preserving the essence of their traditional at the same time, get rid of its backward, not suited to modern development of things, to seek traditional architectural culture and the modern development of the combination of points, reflect the traditional architecture and cultural respect Heaven and Earth,Humanistic, say the pro-and thinking of materialist dialectics. Carry forward the tradition of architectural culture are also available from traditional architecture design principles, spatial composition, composition methods, ideas have inspired the expression, etc., have to inherit and use the development of innovation, continuous exploration of thinking of traditional architecture and modern architecture thinking, traditional technologies with modern technology, traditional and modern aesthetic of a combination of aesthetic consciousness, the outstanding traditional architectural culture into modern architecture culture.

Notes
①Chen Lixu urban culture and the spirit of the city. Southeast University Press. 2002, p. 142
②Wu Liangyong broad architecture, Tsinghua University Press. 1989, the first 65-66 pages
③ Yang Yongsheng. Building 100 words, China Building Industry Press, 1998. No. 62

中国建筑环境文化的价值意义

内容摘要：本文论述了中国传统文化在建筑环境中的体现与价值，以及时建筑环境文化传统与现代的分析，阐明了中国建筑环境文化发展的意义，寻求传统建筑文化和现代发展的结合点。在中国的文化背景下，中国的建筑环境表现出了与人与自然环境融为—体，互为平衡。

关键词：建筑 环境 传统 现代 文化

中国古代建筑有着灿烂的成就，在宫室、园林、建筑空间的处理、建筑艺术与材料结构的和谐统一等方面，都有着卓越的创造与贡献，形成了迥别于西方建筑的特殊风貌，在人类建筑史上占有重要的地位。时至今日，建筑文化的特质愈来愈引起人们的重视。从建国后的北京人民大会堂到二十世纪末的香山饭店等建筑都继承了中国传统建筑艺术的精华，又融汇了西方现代建筑艺术的新观念、新技术，成为既有鲜活民族特色，又有强烈时代特征的建筑文化丰碑。中国的城市建筑无论古代、当代，都是在特定的空间中产生的文化现象，其丰富性与复杂性令所有研究者无法回避。
自近代以来，中国文化开始了艰难的转变过程。从传统社会向现代社会的转变，也是有赖于文化的转变。如果说中国传统文化的历史脉络和演变轨迹是较为清晰的话，那么，近代以来的转变似乎显得非常复杂。中国地域广阔，不同地区的文化和经济差异较大。
在近代以前，中国和西方城市无疑遵循着不同的发展道路，不仅形成了各自的政治、经济和文化制度，而且也形成了各自的城市规划风格和建筑风格。近代以来，随着西方列强的侵入以及文化的传入影响，包括建筑文化在内的西方城市文化，开始对中国产生巨大的影响。由此，包括建筑文化在内的中国城市文化，也开始了从传统到现代的深刻的转型。
当今，在我国的建筑理论和创作活动中，人们喜欢对传统与现代、继承与革新、中国与西方等一类建筑文化问题和现象进行比较和争论，这是必要的。但是争论这些问题应该明确它的目的，那就是它应当促进一种文化的发展和建构，推动它的进步，而不是仅仅满足于依据对这些文化现象做出客观、准确的描述。如：在讨论传统与现代、继承与革新的问题时，许多人热衷于从风格、形式或技术等方面去争论它们的高下、文野，却不是从它们与现代人的生存和生活的根本联系上去探讨它们的意义。在讨论中西方建筑文化时，人们在对中西方空间观念、行为方式和生活态度等等进行详尽比较的基础上，发现和总结出中国人同西方人建筑观念的差异和各自的特点，进而在创作和理论中充分强调和体现这种特点，这当然是好的。但是另一方面，人们却较少从人的存在状态的角度对传统与现代、继承与革新、中国与西方的建筑做出更进一步的价值判断。于是，“传统”“现代”“继承”“革新”“中国”“西方”等等本身变成了目的。建筑文化的比较和争论因此就没有达到应有的目的，不可能导致建筑文化的真正进步。
长期以来，在建筑史研究领域中，存在着一种“西方中心论”的观点，即认为西方城市建筑是历史传统，东方建筑是非历史传统。在弗莱彻尔的《比较建筑史》上刊有一幅“建筑之树”的插图，树的中心主干标明是希腊、罗马、罗蔓式，上端的6根主分枝分别是欧美一些国家哥特式建筑、文艺复兴建筑和近代建筑。却把埃及、印度、墨西哥、中国等都摆在下面一些纤弱的幼枝上，把美国放在这棵树的中心主干的顶端，极为形象地表达了作者的建筑“西方中心论”思想。无可否认，西方城市建筑在近几个世纪以来确实发展迅速，无论在内容和形式上，还是在科技和理论上、美学形态上都走在世界的前列。但是“西方中心论”的观点无疑是有问题的，世界建筑历史的发展，决不只此西方而别无殿堂，这已成为越来越多的建筑文化史家的共识。①西方后现代主义建筑文化理论家佛朗普顿认为：传统建筑特别是民俗建筑是在特定地点形成的建筑体系，具有功能和结构上的合理性。特别是在处理一些具体因素，如通风、采光、保温等方面具有优良的特点。所以，不能简单否定依地点、体具体的地理情况和人文文化环境发展起来的地方风格。

对中国传统建筑文化的研究，是为了在理论层面上开拓一条中国建筑的健康发展之路。建筑文化学并不局限于解释各种建筑文化现象，它是要为建筑文化的发展提供价值导向。因此，建筑文化应该是批判的与实践的。要提供价值导向，先要作出价值评判，所以必须树立一种价值观。不同的人类都各有自己的文化背景，不同的建筑事件也都有一定的建筑文化影子。然而文化也是一柄双刃剑。一方面，任何文化都是精华与糟粕并存，即便是精华，也往往离不开具体的时空条件；另一方面，传统文化既可能成为一副沉重的十字架，扼杀现代人的创造潜能，也可以成为一座智慧的宝库，丰富我们的想象，扩大我们思维的尺度。
现实及未来生活的复杂要求，远非机械地搬用某一种传统方法、途径，就可以得到满足的，必须博采所长，取我所需。另外，对于本特色的创造仍然是一个严肃的课题，需要结合具体地点、条件，对设计要求作具体分析。在创作方法上，采用“抽象继承、迁想妙得”的原则，可能会找到一条新途径。吴良镛提出所谓“抽象继承”是指从建筑传统中，将传统建筑的设计原则和基本理论的精华部分加以发展，运用到现实创作中来。并且把传统形象中最有特色的部分提取出来，经过抽象，集中提高，作为母题，予以新意，以启发当前设计创作形式美的创造。同时应当摸到中国传统文化的脉搏，挖掘出传统建筑艺术的时间和空间内涵，首先是要重视和恢复建筑艺术的文化价值和精神功能，不能只把建筑艺术作品当作工业产品和生活用品，更不应当只抓其眼前的物质功能。这样的继承，并非形式的抄袭或旧零件的排列组合，既有创作原理的继承与发展，又有形象的借鉴与创造。使设计既求神似，也不排斥某种程度、某一细节的形似，关键是根据地点、条件的需要。而“迁想妙得”，“迁想”是将自己的想象力深入到对象的形象中去，“妙得”是指把握对象的真正神情。②
中国传统文化博大精深，建筑文化也是同样。我们应不仅从形式的角度，而且从文化的深度来理解传统，譬如：属于第一层面的，传统建筑中古典美的屋顶、斗拱、柱廊的造型特征，诗文、书画与工艺结合的装修形式，以及各式门窗菱格、装饰纹样；第二层面的，庭院式布局的空间韵律、自然与建筑互补的环境设计，诗情画意、充满人文精神的造园艺术，形、数、画、方位的表象与隐喻的象征手法；第三层面的，“天人合一”的自然观和注重环境效应的“风水”思想，阴阳对立、互动、相应的哲学思维和“身、心、气”合一的养生观，等等。它们之中蕴含着丰富的内涵、深邃的哲理和智慧。③这些都阐明，传统对现代的价值还需要我们在新建筑的创作中去发掘，去感知。
因此，我们应当努力去寻找传统的现代价值，在保存和发扬其传统精华的同时，摒弃其落后的，不适应现代发展的东西，寻求传统建筑文化和现代发展的结合点，体现传统建筑文化尊天地、重人本、讲亲和的唯物辩证思想。弘扬传统建筑文化还可从传统建筑的设计原理、空间组合、构图手法、意念表达等方面有所启迪、有所继承和运用、有所发展创新，不断探索传统建筑思维与现代建筑思维、传统技术与现代技术、传统审美与现代审美意识的结合方式，把优秀的传统建筑文化结合到现代建筑文化之中。

注释
①陈立旭都市文化与都市精神．东南大学出版社．2002 第142页
②吴良镛，广义建筑学，清华大学出版社．1989，第65—66页
③杨永生．建筑百家言，中国建筑工业出版社，1998． 第62页

仅供参考，请自借鉴

希望对您有帮助

　　Building a culture rooted in the natural environment of Habitat
　　Different geographical They certainly have different natural environment: topography, sunshine point of view, sun and tides, currents and winds, temperature, pressure, food, land, water, vegetation and so on. As an intermediary between man and nature of the construction, the external should be conducive to the formation of district external environment should be conducive to the protection of the domestic indoor environment Habitat. These buildings, like plants, the roots, making a day, or geographical areas of the natural environment suitable for the requirements of integration with nature.
　　In Southeast Asia and South Asia, in China's Hainan Island and Taiwan Island, Coconut Grove dense, hot weather, people with palm leaves, palm-leaf built to adapt to the tropical rainforest of thatched rooms, small, ventilation, cool, lightweight, simple , built a tropical rain forest building.
　　In Central Asia, West Asia, in China's western alpine region, people with stones, the mountain has been built on the powerful stone building, take shelter from the wind, blocking snow, heat, warm, building construction has become plateaus. Such as China, Tibet, Qinghai, Sichuan and other ethnic minorities in China's western mountains and on the potential to build a wide variety of mountain building.
　　Loess Plateau in China, the Gobi Mobei, low rainfall, dry climate, people use the hillside slopes built tunneling room, built with distinct characteristics of immature soil construction. Gansu Dunhuang Art Exhibition Hall of the building buried in the hillside, the semi-open entrance connected hillside retaining wall, construction features of immature soil is very obvious.
　　In the eastern part of the United States, in Australia, in China's south, rainfall, mild climate, people use wood, brick and mountains on the potential, in line with local conditions, build a shade shelter from the rain, ventilation, styling and unique architectural humid areas.
　　These architectural forms, of various styles, suitable for different regions of the natural environment, with the landscape, vegetation, terrain together, forming a natural environment is rooted in a variety of architectural culture. Building both rooted in the natural environment, but also subject to the natural environment, this is the architects must follow a basic principle.
　　Second, the social space-time caused by environmental differences in the diversification of architectural culture
　　Different regions, different countries, different nations have different social and historical patterns. European countries, the Americas, Asia and Africa and other developing countries, land of different religious beliefs, economic development of the different regions have different cultural practices. Habitat in different parts of the social differences in time and space environment, resulting in the architectural culture and the diversity of time and space, resulting in ancient or modern Chinese architectural culture, the Russian architectural culture, architectural culture in Southeast Asia, Europe and the United States Architectural Culture, the African Architectural Culture and so on. Ancient Greek architecture in Europe, North Africa, the ancient Egyptian architecture, the South Asian Association for the ancient Indian architecture, ancient Chinese architecture is the world's architectural and cultural history of ethnic origins. Catholic, Jesus taught, Hinduism, Islam, Buddhism, such as the formation and development of religion, a profound impact on the religious beliefs of countries and regions, but also a profound impact on those areas of construction, forming a rich and colorful culture of religious architecture.
　　China several thousand years long history, has followed so far, both ancient and extensive, since ancient times by Confucianism, Taoism, Buddhism, Zen, such as the impact of ethical thinking. Especially Confucianism ruled China for 2 000 years, deep-rooted. To this culture of Confucianism, Taoism, Buddhism and Zen eclectic variety of ideas, together brilliant, independent nations of the world.
　　Architectural Culture under certain conditions, can be transformed. Geographical, ethnic and cultural construction under certain conditions, can be transformed into international architectural culture, and international architectural culture can also be absorbed, the integration of the region and the national character of the new architectural culture. In today's world, building a culture of development and progress, both the transformation of the former to the latter, which also includes the absorption and integration of the former. The two also both opposing reunification, complement each other, affect each other and common development, only the protection and development of a variety of architectural culture of all ethnic groups, the promotion of world architectural culture of pluralism, and ultimately to create a "different and" the human society .
　　Three Chinese and foreign construction and cultural development and blend
　　Architectural Culture in the global "big culture" systems, all nationalities, all geographical construction symbiotic culture in this form the world's architectural culture Symphony. Social process of globalization has brought to the cultural collision with the rendezvous, conflict and blend.
　　For thousands of years, the Chinese culture to external sources of long. Buddhist culture have originated in India, Zhang Qian as envoy to the Western Regions of the Western Han Dynasty, Tang Dynasty Master Xuan Zang went to India to learn from their experience Chuan-by, the impact of China's 2,000 years of Buddhism. However, the contents of Buddhism, Buddha, like Maung, the shapes with the Chinese Buddhist temple in cultures, the formation and development of a unique Chinese Buddhist architectural culture.
　　As early as the 20th century, 20 years, China's modern architects returned from studying abroad, most of whom are scholars in the United States, they are building at the time of Western academic and cultural concepts and China Architectural Culture nationalistic concept of the double impact, emphasizing cultural exchange between Chinese and Western architecture focused on the architectural style for the first time a creative way to design a number of products, creating a cultural exchange between Chinese and foreign construction of a new era. For example, the first batch of U.S. architect Mr. Lv Yanzhi Canton 20's design Zhongshan Memorial Hall, Dr. Sun Yat-sen in Nanjing and so on, in the Chinese construction industry has played a really ground-breaking effect in stimulating the Chinese and foreign architectural culture of the integration process.
　　The early founding of New China, the Chinese government, mechanisms copied the Soviet model, the Chinese all over the building of a group of Russian cultural identity building construction, the formation and development of China's 50's "socialism" of architectural culture. Since reform and opening up, China's open-door once again, the introduction of Western economic management model to imitate, "European style", RTHK construction, post-modernism almost swept the country, the formation and development of China's 80's "reform and opening-up" construction culture. It goes without saying that all countries in the world of architectural culture at that time are subject to local political systems, economic conditions, technical level of restraint, in conflict with each other, mutual exchanges, mutual influence, mutual integration. However, what kind of fusion and exchange with vitality, stand the test of time and space? Only those who learned the essence of eastern and western cultures, integration-oriented areas of national culture and national character of the construction only has great vitality.
　　Fourth, cultural exchange between old and modern architectural exploration and the pursuit of
　　Ancient and modern cultures, the past serve the present, what? Need to analyze the "ancient" and "today" in the construction of content changes that have taken place. These qualitative change is the social system, production technology, living habits, work, cultural values, building materials in the construction sector caused by the inevitable result. As Mr. Wu Yurong in the evaluation of the French engineer Gustave. Eiffel designed the Eiffel Tower noted: "People are trying to adapt to every human life an art form the new direction of development and to make all the human activities and the rapidly changing era of emotion caused by the new suit."
　　To explore ancient and modern blend of traditional architecture and modern architecture combining problem. China's traditional architectural culture has many features, such as the overall layout of buildings, in line with local conditions, and be full of change; architectural style, rich and colorful; space separated, flexible and diverse; interior decoration, pay attention to the connotation; color to use, colorful; garden green, it is implicitly lively, changeable, unique in the world. In the creation of modern architecture, the contemporary architects should learn from ancient architecture and cultural wealth of nutrition, according to the modernization of a wide range of requirements, from the analysis of the various contradictions in the exploration and pursuit of people's lives to adapt to the new direction of development and people's construction activities and the rapid caused by the changing times adapt to new emotions.
　　Since the founding of New China, focusing on the succession of Chinese tradition, carry forward the, creative architectural art of the problems the United States experienced a number of exploration and discussion. Experienced the liberation of the early to imitate the "big roof" retro nostalgia period; experienced a critical retro, and copy the Soviet "model" dogmatism stage; experienced the Cultural Revolution, servility to foreigners critical philosophy, the implementation of "dry-base hit," the poor during the transition; experienced early advocate of reform and opening up the West, the popular "Hong Kong style" period. After exploring the difficulties and setbacks, China began to follow the traditional architect, to adapt to function, the use of high-tech, to explore ancient and modern cultures, the realization of the modernization of architectural creation of the correct way.
　　In this paper, talking about building a culture of environment and blend only preliminary study, many deep theoretical issues need further study. Our generation of architects should be firmly established the "scientific concept of architectural culture" to the Chinese culture as the main body, to accelerate the construction of culture and environment, and the nation, and society, and the blending process with the times.

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　　一 建筑文化根植于人居自然环境之中
　　不同的地域自然有不同的自然环境：地形地貌、日照角度、日月潮汐、水流风势、气温、气压、食物、土地、水质、植被等等。作为人与自然中介的建筑，对外应有利于形成小区外部环境，对内应有利于保障人居的室内环境。这些建筑像植物一样，落地生根，合天时，合地利，适宜于地区自然环境的要求，与大自然融为一体。
　　在东南亚和南亚各国，在中国的海南岛和台湾岛，椰林茂密，气候炎热，人们用椰树叶、棕榈叶盖起了适应热带雨林的茅草房、小木楼，通风、凉爽、轻盈、简洁，建起了热带雨林建筑。
　　在中亚、西亚，在中国的西部高寒地区，人们用石块垒砌、依山就势盖起了石板建筑，避风、挡雪、保温、御寒，筑成了高原山地建筑。如中国的西藏、青海、四川等少数民族在中国西部依山就势建起了各式各样的山地建筑群。
　　在中国的黄土高原，漠北戈壁，雨量稀少，气候干燥，人们利用山边、土坡挖洞筑房，建起了具有鲜明特色的生土建筑。甘肃敦煌艺术陈列馆把建筑埋入山坡下，半开敞式入口，山坡挡墙甬道，生土式建筑特征十分明显。
　　在美国的东部，在澳大利亚，在中国的南方，雨量充沛，气候温和，人们用木材、砖瓦依山就势，因地制宜，盖起了遮阳避雨、通风透气、造型别致的湿热地区建筑。
　　这些建筑形式多样，风格各异，适宜于不同地区自然环境，与风景、林木、地形融为一体，形成了根植于自然环境的各种建筑文化。建筑既要根植于自然环境，又要服从于自然环境，这是建筑师必须遵循的一条基本原则。
　　二 社会时空环境差异造成建筑文化的多元化
　　不同的地域、不同的国家、不同的民族，有不同的社会历史形态。欧洲国家、美洲国家、亚洲与非洲等发展中国家，国度不同，宗教信仰不同，经济发展状况不同，各地区的文化习俗也不同。不同地区的人居社会时空环境的差异，造成了建筑文化的时空性和多元性，因而产生了古代的或现代的中国建筑文化、俄罗斯建筑文化、东南亚建筑文化、欧美建筑文化、非洲建筑文化等等。欧洲的古希腊建筑、北非的古埃及建筑、南亚的古印度建筑、古代中国建筑是世界民族建筑文化的历史源流。天主教、耶稣教、印度教、伊斯兰教、佛教等宗教的形成和发展，深刻地影响到信仰宗教的国家和地区，也深刻地影响到这些地区建筑，形成了丰富多彩的宗教建筑文化。
　　中国几千年悠久的历史文化，沿袭至今，既古老又博大，自古以来受到儒家、道家、佛教、禅宗等思想伦理的影响。特别是儒教统治中国2 000多年，根深蒂固。这种文化把儒、道、佛、禅各种思想观念兼收并蓄，融为一体，光辉灿烂，独立于世界民族之林。
　　建筑文化在一定条件下是可以转化的。地域、民族性的建筑文化在一定条件下可以转化为国际性建筑文化，国际性建筑文化也可吸收、融合新的地区与民族性建筑文化。在当今世界里，建筑文化的发展和进步，既包含前者向后者的转化，也包含后者对前者的吸收与融合。这两者既对立又统一，相互补充，彼此影响，共同发展，只有保护和发展丰富多彩的各民族建筑文化，促进世界建筑文化的多元化构成，最终才能建立一个 “和而不同”的人类社会。
　　三 中外建筑文化的发展与交融
　　建筑文化处于全球“大文化”系统之中，各民族、各地域的建筑文化在此共生共荣，组成了世界建筑文化的交响曲。全球化的社会进程给文化交流带来了碰撞与会合，冲突与交融。
　　几千年来，中国受外来文化的影响渊源流长。佛教文化本来发源于印度，随着西汉张骞出使西域，唐代玄奘法师赴印度取经传经，佛教影响中国2000多年。但是，佛教的内容，佛祖的像貌，佛庙的形制与中国文化交融，形成和发展了独特的中国佛教建筑文化。
　　早在20世纪20年代，中国近代出国留学归国的建筑师，大多数是留美的学者，他们受当时西方学院派建筑文化观念和中国国粹主义建筑文化观念的双重影响，强调中西建筑文化交融的重点在建筑风格上，第一次创造性地设计出了一批精品，开创了中外建筑文化交融的新纪元。例如由第一批留美建筑大师吕彦植先生20年代设计的广州中山纪念堂、南京中山陵等等，在当时中国建筑界的确起到了石破天惊的影响，推动了中外建筑文化的融合进程。
　　新中国建国初期，中国政体、机制照搬苏联模式，中国各地建设了一批具有俄罗斯建筑文化特征的建筑，形成和发展了中国50年代“社会主义”建筑文化。改革开放以来，我国又一次打开国门，引入西方经济管理模式，模仿“欧陆风格”、港台建筑，后现代主义几乎风靡全国，形成和发展了中国80年代“改革开放”建筑文化。不言而喻，世界各国的建筑文化均要受到当时当地政治体制、经济状况、技术水平的约束，相互冲突，相互交流，相互影响，相互融合。然而，什么样的交融和交流具有生命力，经受得起时空的考验？只有那些吸取了东西方文化精髓，融合为本民族的地区与民族性建筑文化，才具有强大的生命力。
　　四 古今建筑文化交融的探索和追求
　　古今交融，古为今用，用什么？必须分析“古”与“今”在建筑内容上所发生的变化。这些质的变化是社会制度、生产技术、生活习惯、工作方式、文化观念、建筑材料在建筑领域引发的必然结果。正如吴裕容先生在评价法国工程师古斯塔夫。艾菲尔设计的艾菲尔铁塔时指出的：“人们试图让每一种艺术适应人类生活发展的新方向，并且使所有的人类活动与迅速变化中的时代所造成的新情感相适应。”
　　古今交融探索的是传统建筑与现代建筑相结合的问题。我国传统建筑文化有着许多特点，如建筑群的总体布局，因地制宜，富于变化；建筑造型，丰富多彩；空间分隔，灵活多样；室内装饰，讲究内涵；色彩运用，五彩缤纷；庭园绿化，更是含蓄活泼，变化万千，在世界上独树一帜。在创作现代建筑当中，当代建筑师应吸取古代建筑文化丰富的营养，按现代化多方面的要求，从分析各种矛盾中探索和追求适应人们生活发展的新方向，并且使人们的建筑活动与迅速变化中的时代造成的新情感相适应。
　　新中国成立以来，围绕继承中国传统，发扬民族形式，创作建筑艺术美的问题经历过多少次探索和讨论。经历了解放初期模仿“大屋顶”的怀旧复古时期；经历了批判复古主义，照搬苏联“模式”的教条主义阶段；经历了文革批判洋奴哲学，推行“干打垒”穷过渡的年代；经历了改革开放初期崇尚西方，风靡“欧陆风情”时期。经过反复摸索的艰难曲折以后，中国建筑师开始走继承传统，适应功能，采用高新技术，探索古今交融，实现建筑创作现代化的正确之路。
　　本文所谈建筑文化的环境与交融只是初步探讨，许多深层理论问题还须进一步研究。我们这一代建筑师应当牢固地树立起“科学的建筑文化观”，以中国文化为主体，加速建筑文化与环境、与民族、与社会、与时代的交融进程。

（建筑专业英语文章内容）
Architecture, the art of building in which human requirements and construction materials are related so as to furnish practical use as well as an aesthetic solution, thus differing from the pure utility of engineering construction. As an art, architecture is essentially abstract and nonrepresentational and involves the manipulation of the relationships of spaces, volumes, planes, masses, and voids. Time is also an important factor in architecture, since a building is usually comprehended in a succession of experiences rather than all at once. In most architecture there is no one vantage point from which the whole structure can be understood. The use of light and shadow, as well as surface decoration, can greatly enhance a structure.
The analysis of building types provides an insight into past cultures and eras. Behind each of the greater styles lies not a casual trend nor a vogue, but a period of serious and urgent experimentation directed toward answering the needs of a specific way of life. Climate, methods of labor, available materials, and economy of means all impose their dictates. Each of the greater styles has been aided by the discovery of new construction methods. Once developed, a method survives tenaciously, giving way only when social changes or new building techniques have reduced it. That evolutionary process is exemplified by the history of modern architecture, which developed from the first uses of structural iron and steel in the mid-19th cent.

Until the 20th cent. there were three great developments in architectural construction—the post-and-lintel, or trabeated, system; the arch system, either the cohesive type, employing plastic materials hardening into a homogeneous mass, or the thrust type, in which the loads are received and counterbalanced at definite points; and the modern steel-skeleton system. In the 20th cent. new forms of building have been devised, with the use of reinforced concrete and the development of geodesic and stressed-skin (light material, reinforced) structures.

See also articles under countries, e.g., American architecture; styles, e.g., baroque; periods, e.g., Gothic architecture and art; individual architects, e.g., Andrea Palladio; individual stylistic and structural elements, e.g., tracery, orientation; specific building types, e.g., pagoda, apartment house.

Architecture of the Ancient World

In Egyptian architecture, to which belong some of the earliest extant structures to be called architecture (erected by the Egyptians before 3000 B.C.), the post-and-lintel system was employed exclusively and produced the earliest stone columnar buildings in history. The architecture of W Asia from the same era employed the same system; however, arched construction was also known and used. The Chaldaeans and Assyrians, dependent upon clay as their chief material, built vaulted roofs of damp mud bricks that adhered to form a solid shell.

After generations of experimentation with buildings of limited variety the Greeks gave to the simple post-and-lintel system the purest, most perfect expression it was to attain (see Parthenon; orders of architecture). Roman architecture, borrowing and combining the columns of Greece and the arches of Asia, produced a wide variety of monumental buildings throughout the Western world. Their momentous invention of concrete enabled the imperial builders to exploit successfully the vault construction of W Asia and to cover vast unbroken floor spaces with great vaults and domes, as in the rebuilt Pantheon (2d cent. A.D.; see under pantheon).

The Evolution of Styles in the Christian Era

The Romans and the early Christians also used the wooden truss for roofing the wide spans of their basilica halls. Neither Greek, Chinese, nor Japanese architecture used the vault system of construction. However, in the Asian division of the Roman Empire, vault development continued; Byzantine architects experimented with new principles and developed the pendentive, used brilliantly in the 6th cent. for the Church of Hagia Sophia in Constantinople.

The Romanesque architecture of the early Middle Ages was notable for strong, simple, massive forms and vaults executed in cut stone. In Lombard Romanesque (11th cent.) the Byzantine concentration of vault thrusts was improved by the device of ribs and of piers to support them. The idea of an organic supporting and buttressing skeleton of masonry (see buttress), here appearing in embryo, became the vitalizing aim of the medieval builders. In 13th-century Gothic architecture it emerged in perfected form, as in the Amiens and Chartres cathedrals.

The birth of Renaissance architecture (15th cent.) inaugurated a period of several hundred years in Western architecture during which the multiple and complex buildings of the modern world began to emerge, while at the same time no new and compelling structural conceptions appeared. The forms and ornaments of Roman antiquity were resuscitated again and again and were ordered into numberless new combinations, and structure served chiefly as a convenient tool for attaining these effects. The complex, highly decorated baroque style was the chief manifestation of the 17th-century architectural aesthetic. The Georgian style was among architecture's notable 18th-century expressions (see Georgian architecture). The first half of the 19th cent. was given over to the classic revival and the Gothic revival.

New World, New Architectures

The architects of the later 19th cent. found themselves in a world being reshaped by science, industry, and speed. A new eclecticism arose, such as the architecture based on the École des Beaux-Arts, and what is commonly called Victorian architecture in Britain and the United States. The needs of a new society pressed them, while steel, reinforced concrete, and electricity were among the many new technical means at their disposal.

After more than a half-century of assimilation and experimentation, modern architecture, often called the International style, produced an astonishing variety of daring and original buildings, often steel substructures sheathed in glass. The Bauhaus was a strong influence on modern architecture. As the line between architecture and engineering became a shadow, 20th-century architecture often approached engineering, and modern works of engineering—airplane hangars, for example—often aimed at and achieved an undeniable beauty. More recently, postmodern architecture (see postmodernism), which exploits and expands the technical innovations of modernism while often incorporating stylistic elements from other architectural styles or periods, has become an international Forms

（翻译文章）
建筑，艺术的建设中，人类的需求和建筑材料有关，以提供实际使用以及审美的解决方案，从而不同于纯粹实用的工程建设。作为一门艺术，建筑基本上是抽象的，抽象的，涉及操纵的关系空间，数量，飞机，群众，空隙。时间也是一个重要因素在建筑，因为建设是通常理解中的经验继承，而不是一次。在多数建筑没有一个高度，从整个结构是可以理解的。利用光影，以及表面装饰，可以大大提高结构。
在分析建设类型提供了一个深入了解过去的文化和时代。背后的更大的风格是不是一种偶然，也不是一个流行趋势，但一个时期的严重和紧迫的实验针对回答需要具体的生活方式。气候，方法的劳动力，提供的材料，和经济的手段强加其要求所有。每一个更大的风格一直帮助下发现新的施工方法。一旦制订，顽强生存的方法，让位只有当社会的变化或新的建筑技术，减少它。这是进化过程中所体现的历史，现代建筑，它开发的第一个利用结构钢铁中期19美分。

直到20美分。有三个巨大的发展，建筑施工，后和门楣，或trabeated ，系统;拱系统，无论是一致的类型，采用塑料材料硬化成一个单一的质量，或类型的主旨，其中负载收到并在一定的平衡点;与现代钢骨架系统。在20以上。新形式的建设已制订，使用钢筋混凝土的发展和大地测量，并强调皮肤（轻型材料，钢筋）结构。

又见条款的国家，如美国的建筑;风格，如巴洛克;期间，如哥特式建筑和艺术;个别建筑师，如安德烈帕拉迪奥;个人风格和结构性因素，例如，窗格，方向;具体建设类型，例如，大观园，一栋公寓楼。

建筑的古代世界

在埃及的建筑，其中一些属于最早的现存结构，被称为架构（竖立的埃及人在公元前3000年） ，后与门楣系统被完全和生产最早的石柱状建筑物的历史。该架构的W亚洲来自同一时代雇用同一系统，但拱形建筑也被称为和使用。该Chaldaeans和亚述人，取决于粘土为主要材料，建造拱形屋顶潮湿的泥土砖坚持以形成一个坚实的外壳。

经过几代人的实验与有限的各种建筑物的希腊人给的简单桩门楣系统最纯净，最完美的表达这是实现（见神庙;订单架构） 。古罗马建筑，借款，结合栏希腊和拱门亚洲，产生了各种各样的纪念性建筑在整个西方世界。他们的重大发明的具体启用帝国建设者利用成功的墓穴建造的W亚洲和覆盖广阔的完整楼空间巨大拱顶和穹顶，在重建先贤祠（二维的。广告;见先贤祠） 。

风格的演变中的基督时代

罗马和早期基督教还使用了木桁架的跨度屋面广泛的教堂大厅。无论是希腊，中国，日本建筑，也使用了跳马制度建设。然而，在亚洲司的罗马帝国，跳马发展继续;拜占庭建筑师尝试新的原则和发展了pendentive ，用出色的第6次以上。教会的圣索菲亚君士坦丁堡。

古罗马建筑的早期中世纪值得注意的是强有力的，简单的，大规模的形式和墓穴执行削减石头。在伦巴德罗马（第11次左右。 ）拜占庭浓度跳马重点是提高设备的肋骨和码头，以支持他们。这个想法的一个有机的支持和支撑骨架的砖石（见支撑） ，在这里出现的胚胎，成为振兴目标的中世纪建筑。在13世纪的哥特式建筑出现了完善它的形式，如在亚眠和沙特尔大教堂。

文艺复兴时期诞生的架构（第15次左右。 ）成立的时期数百年的西方建筑在此期间，多重的和复杂的建筑物现代世界开始出现，同时没有任何新的和令人信服的结构概念出现。饰品的形式和古代罗马人一次又一次复苏和被命令到无数新的组合，结构送达主要作为一种方便的工具实现这些效果。复杂的，高度是巴洛克风格装饰的主要体现17世纪的建筑美学。格鲁吉亚是建筑风格的显着18世纪的表现形式（见格鲁吉亚架构） 。上半年的19美分。给出了经典的哥特复兴和振兴。

新世界，新的体系结构

建筑师后19美分。发现自己的世界正在改变的科学，工业，和速度。一种新的折衷主义出现，如建筑的基础上高等美术学院，以及所谓的维多利亚式建筑在英国和美国。需要一个新的社会压力，同时钢铁，钢筋混凝土，电力中有许多新的技术手段，它们所掌握的。

经过超过半个世纪的同化和实验，现代建筑，通常被称为国际风格，产生了惊人的各种大胆和原始建筑，往往钢子护套在玻璃。包豪斯是一个强有力的影响，现代建筑。随着之间的界线建筑和工程成为一个影子， 20世纪建筑往往接近工程和现代工程的工程飞机机库，例如，通常都瞄准了，取得了一个不可否认的美感。最近，后现代建筑（见后现代主义） ，其中的漏洞，并扩大了技术创新的现代风格，而往往把内容从其他建筑风格或时期，已成为一项国际形式。

能够帮到你吗！

关于“绿色建筑”和适宜技术
“绿色建筑”也称为生态建筑、可持续建筑，最早是在1992年联合国环境与发展大会上明确地提出来的。用建设部仇保兴副部长的总结——“绿色建筑”就是指为人们提供健康、舒适、安全的居住、工作和活动的空间，同时在建筑全生命周期(物料生产、建筑规划、设计、施工、运营维护及拆除、回用过程)中实现高效率地利用资源(能源、土地、水资源、材料)、最低限度地影响环境的建筑物。可见，绿色建筑理念的提出，就是为了使得建筑在满足人类不断提高的健康、舒适、安全的需要基础上。对环境、资源影响最小，最终做到可持续发展．前提都是为了人类的永久利益。社会上有一些观点把绿色建筑看得很片面、绝对化，要不就是极端限制人的合理需求，以保护环境为唯一目的；而另一些观点就是把绿色建筑当成是仅仅是为人类的眼前利益、健康或舒适(像绿色建材、绿色蔬菜一样看待)而不怎么从整体上、长期上考虑对环境的影响。这两种观点可能都不利于“绿色建筑”的健康发展和推广。绿色建筑最终的目标是以“绿色建筑”为基础，进而扩展至“绿色社区”、 “绿色城市”层面。达到促进建筑永续发展的目标。这意味着建筑不仅被作为非生命元素来对待，更被视为自然生态循环系统的一个有机组成部分。
中国的国情
中国作为最大的发展中国家，二氧化碳排放居第二位，根据《京都议定书》的要求，中国要采取一系列减少温室气体排放的政策和措施，包括努力提高能源利用效率，改善能源结构，促进新能源和可再生能源的利用等。
就能源消费而言，在我国化石能源资源探明储量中，90％以上是煤炭，人均储量也仅为世界平均水平的二分之一；人均石油储量仅为世界平均水平的1 1％；天然气仅为4 5％；而目前我国单位建筑面积能耗水平是发达国家的2～3倍以上。就土地的情况而言，我国人均耕地只有世界人均耕地的1／3，水资源仅是世界人均占有量的1／4；实心黏土砖每年毁田12万亩；物耗水平与发达国家相比，钢材消耗高出10％～25％，每拌和1立方米混凝土要多消耗水泥80公斤；卫生洁具的耗水量高出30％以上，而污水回用率仅为发达国家的25％。严峻的事实表明，中国不仅要走可持续发展道路，发展节能与绿色建筑也刻不容缓。
我们应该认识到我国不仅经济上“穷”，在资源和环境上更“穷”，但要想做到可持续发展的目标就要摆脱狭隘的“唯经济穷论”，全面在“四节一环保”上提高标准，用强有力的税收、金融、土地政策鼓励有条件的地区或开发绿色建筑项目，走在地区、国内甚至国际的前列。同时，强制要求经济发达地区和大型城市的节约标准，提到一个和自身地区资源相符合的程度。
成本问题
从全国范围里来讲。绝大多数普通的民用建筑在节能等方面存在巨大的缺陷和不足，因此需要我们进行综合的设计来增加建筑这些方面的品质和性能，每一方面的改善基本上都需要增加一定的成本，比如成本增加10％以上，是必然的。 就住宅而言，一说到因为“节能要增加成本”，就有许多人说会增加购房人的负担，好像以后使用过程中的使用成本对老百姓无关紧要一样。因此，我们不仅要关注建造的经济成本，更要关注今后使用中的经济成本以及生态成本和社会成本。就生态成本来讲，今天对环境的污染今后需要花费更大的代价去治理；就社会成本来说，绿色建筑由于改善了室内的环境，使人的疾病发生率大幅度下降，因为人有80％的时间是在室内活动，这样疾病发生率将会大幅度下降．寿命将会延长，生存质量也大大提高，这就是另一方面的节约；同时，在建筑数十年的使用过程中．使用成本将高于建造成本数倍以上。，因此，我们应该把注意力放在生态成本、社会成本和全寿命周期的经济成本上，况且现在的房价即使没有技术含量和“四节”，性能的提高也在不断的增加，这种价格的增加加大了房地产泡沫的可能性，因此房地产价格的理性回归应该是建立在价值的增加基础上的。我认为可以鼓励各个地方的高档住宅或其他民用建筑通过适当的高投入，带来项目的内外环境质量、提升“绿色”性能，从而提高房子的品质，以品质来支撑高于其他普通房子的价格，让这些高价房成为“绿色建筑”的榜样，以此带动地方住宅技术及产业化的发展，最终让更多的普通房子更容易实现“绿色”梦想。
绿色建筑需要什么样的技术?
在探索绿色建筑的技术路线时．经常会听到一些专家主张应该采用“低技术”，有些认为应该采用“适宜技术”，还有些认为应该采用“适宜技术结合高技术”等等不同的观点，我个人认为这种争论没有意义。技术是用来解决我们所面临的具体问题的，应该根据具体项目的具体情况和实际需求来选择。更多技术选择的可能性一方面能够满足建筑师的创造需要，另一方面能够满足市场的需求。。在我们国家目前普遍技术非常落后的今天，如果不是大力去发展高新技术而一味强调低技术，只能是更落后，离我们自己的标准也会越来越远。
在技术选择上，我们应该从所需要的建筑性能和全寿命周期的观点去分析、判断、计算、选择。汪光焘部长说过，要充分认识资源环境问题已成为国民经济和社会发展的重大制约因素。，我们当前在经济增长方式方面主要还存在“高投入、高消耗、高排放、不协调、难循环、低效率”的问题。这些问题如果低技术能够解决还需要拖到今天吗?高低是相对的，适宜不适宜也是相对的，如果站在国际的水平上看，我们国内有些专家认为的“高技术”早已经是“低技术”和“适宜技术”了。所以根据我们的国情，恰恰需要去大力鼓励开发绿色高新技术甚至是自主知识产权的高新技术，同时去大力鼓励使用高新技术，工程实践能促使技术的发展，使之变成适宜技术。只有这样．到2020年我们的住宅和公共建筑的能源资源消耗水平才有可能接近或达到现阶段中等发达国家的水平，这是我们国家建筑发展的总目标。
总之，绿色建筑的发展建设需要正确看待卫生、安全、健康、舒适的问题和当地资源情况，目前各地的节能标准里面所假定的舒适度，前提是小康标准的，是最基本的，不能完全体现今后的发展方向。随着生活水平的提高，舒适度的标准也会提高，能源等资源的消耗也将会大幅提高。因此应该根据当地气候和生活习惯、经济水平分级，适应不同收入阶层和满足不同的需求，要有一定的前瞻性。同时，绿色建筑的设计需要将有关今后使用费用(如采暖制冷等)或能耗等定量化，要具体到单位使用者，这样有利于老百姓的选择权、知情权和监督。有了老百姓的参与，绿色建筑才会更加迅速和健康地发展。
On the "green building" and appropriate technology
"Green building" also known as eco-architecture, sustainable construction, was first at the 1992 United Nations Conference on Environment and Development clearly put forward. With the Ministry of Construction Qiu Baoxing, vice minister of the summing up - "green building" refers to provide people with healthy, comfortable, safe living, work and activities in space, while the entire life cycle in the construction (of material production, construction planning, design, construction, operational maintenance and dismantling, reuse process) to achieve efficient use of resources (energy, land, water, materials), the minimum impact on the environment of buildings. This shows that green building concept proposed, is to allow construction to meet the ever-increasing human health, comfort, safety needs basis. On the environment, resources, the least impact, and ultimately to achieve sustainable development. Premised on the permanent interests of mankind. That there are some points to green building can see that very one-sided, absolutized, or is the extreme limit of a reasonable person needs to protect the environment for the sole purpose; while others point of view is that as a green building is only for human eyes interests, health or comfort (such as green building materials, look like green vegetables) instead of how a whole, to consider the long-term impact on the environment. These two views may not be conducive to "green building" the healthy development and promotion. The ultimate goal of green building is "green building" as the basis, and then extended to the "green communities" and "Green City" level.The promotion of sustainable development to achieve the goal of building. This means that the building not only as a non-life element to treat, but also be seen as the natural ecology of the circulatory system an integral part.
China's national conditions
As the largest developing country, ranked second in carbon dioxide emissions, according to the "Kyoto Protocol", China should adopt a series of reducing greenhouse gas emissions policies and measures, including efforts to improve the efficiency of energy use, improve energy structure, promote the development of new and renewable sources of energy use, such as.
On energy consumption, in China's proven reserves of fossil energy resources, 90% of which is coal, the per capita reserves are only half the world average; oil reserves per capita world average is only 1 1 percent; natural gas only 4 5%; and the current construction area of China's unit energy consumption levels in developed countries more than 2 ~ 3 times.On the land's case, China's per capita arable land per capita cultivated land is only the world's 1 / 3, is the world's water resources per capita is only 1 / 4; solid Clay eradication 12 million mu each year; material level with the developed countries, steel consumption has risen by 10% to 25%, every one cubic meters of concrete mixing more cement consumption of 80 kilograms; sanitary water consumption by more than 30% higher, while the wastewater reuse rate was only 25 percent in developed countries. The grim fact that China has not only take the road of sustainable development, development of energy-saving and green building is also urgent.
We should be aware that our country not only economically "poor" in terms of resources and the environment more "poor", but in order to achieve the goal of sustainable development will be out of narrow "Only the poor economic theory", fully in the "4 A environmental protection "to improve standards, with strong revenue, finance, land policy to encourage the development of regional or conditional green building projects in the region, domestic and even international forefront. At the same time, mandatory for economically developed areas and large cities, saving standards, referring to a region and their own resources in line with the degree.
Cost
From across the country in terms of.The vast majority of ordinary civil construction in such areas as energy saving was greatly flawed and inadequate, so we need an integrated design to increase the quality of construction in these areas and performance improvement in every aspect of almost all the need to increase some costs, such as increase the cost of more than 10%, are inevitable
Residential is concerned, I said because "energy-saving to increase the cost", there are many people that will increase the burden on home buyers who, like later use in the process of using the cost of ordinary people as irrelevant. Therefore, we must not only concern the construction of the economic cost, but also concerned about the future use of the economic costs and ecological costs and social costs.On the ecological cost is concerned, the pollution of the environment today, the future will take an even higher price to governance; on social costs, green building as a result of improved indoor environment in which the significant decline in the incidence of disease, because 80 % of the time in indoor activities, so that the incidence of disease will fall significantly． Life will be extended, which has greatly improved the quality of life, that is, on the other hand, savings; At the same time, in the construction for several decades the use of the process. Cost will be higher than the construction costs over several times. Therefore, we should focus our attention on the ecological costs, social costs and the whole life-cycle economic costs Besides, now that housing prices even in the absence of technical content and "4", performance improvement has been an increase in such The increase in prices has increased the possibility of the real estate bubble, real estate prices is therefore rational regression should be based on the value of the increase on the basis of.I think we can encourage each of the local high-end residential or other civil construction through appropriate high input, internal and external environment brought about by the project quality, and enhance the "green" performance, thereby enhancing the quality of the house, to support quality higher than that of other ordinary house prices to enable thesebecome a "green building" an example to stimulate local technology and industrialization of residential development, and ultimately allow more ordinary house easier to achieve "green" dream.
Green building what kind of technology?
Green Building in exploring the technical routes. Often heard some experts advocate should adopt a "low-tech", and some think we should adopt "appropriate technology", and some think we should adopt "appropriate technology combines high-tech" and so on different points of view, I personally think that this argument no meaning. Technology is used to solve our specific problems faced by, and should be based on the specific circumstances of specific projects and the actual demand to choose. More on the one hand, the possibility of technical options to meet the needs of architects to create, on the other hand to meet the needs of the market.In our country is now generally very backward technology today, if not vigorously to develop high-tech and low-skilled blindly emphasizes, can only be even more backward, away from our own standards will become farther and farther.
Technology choice, we should be required for building performance and life-cycle perspective to analyze, judge, calculated choice. Wang Guangtao, minister said, should fully understand the resources and the environment has become a national economic and social development of the major constraints. Our current mode of economic growth in the main there are still "high input, high consumption, high emission, lack of coordination, difficult cycle, low-efficiency" issue. These problems can be solved if the low-skilled today also need to drag it? Is relative low, and suitable for inappropriate relative, if the level of standing on the international point of view, our domestic and some experts believe that the "high-tech" have been "low Technology "and" appropriate technology "has been. Therefore, in accordance with our national conditions, it needs to vigorously encourage the development of green and even their own intellectual property rights of high-tech high-tech, at the same time to strongly encourage the use of high technology, engineering practice to promote technological development, make the appropriate technology. Only in this way. By 2020, our residential and public buildings of energy resource consumption level will it be possible to approach or reach the level of moderately developed countries at this stage, this is our country's overall goal of building development.
In short, the development of green building-building needs a correct view of health, safety, health, comfort issues and local resources, the current energy efficiency standards around the inside of the supposed comfort, the premise that a well-off standard, is the most fundamental and can not be fully reflected the future direction of development. With the improvement of living standards, comfort of the standards will also increase the consumption of energy and other resources will also be greatly improved.And should therefore be based on local climate and living habits, economic level of classification, to adapt to different income groups and to meet different needs, it must be forward-looking.At the same time, green building design needs to be used for future costs (such as heating refrigeration, etc.) or the quantification of energy consumption to specific units of the user, so that is conducive to people's right to choose, the right to information and supervision. With the participation of ordinary people, green building will be more rapid and healthy development.