实习报告文献翻译.doc

2011届建筑学专业毕业设计成果之一 班 级:07建筑学（1）班 姓 名：王志 学 号：07202010114 指导教师：鲍如昕建筑与规划学院建筑学系2012年 3月 23日18原 创 性 声 明本人声明所呈交的毕业设计成果是本人在指导老师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果。与我一同工作的同学对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。如果本人的成果中存在抄袭或严重不实，将自愿接受学院及毕业设计领导小组的处罚。毕业设计作者签名： 签字日期：2011年 月 日目录1.毕业实习报告正文.2.毕业实习任务书.3.文献翻译原文.4 译文.创意产业办公楼浅析 -毕业设计调研报告调研目的：创意产业办公楼区别于其它类型的办公楼，同时作为新旧建筑的替换以及地域文化的彰显，在设计时需要综合考虑各方面因素。新旧建筑的变换交替对城市空间的影响，建筑的地域性如何延续发展，形式与功能的对立矛盾与完美融合等，都是需要着重去研究分析的。通过此次调研，可以较好的了解办公楼建筑设计的基本原理与设计方法并且进一步学习室内外环境设计的相关知识，从而有力的去更好地完成毕业设计。调研对象：中软总部大楼方案、浙江大华商务中心、芜湖工艺美术场关键词：创意产业、建筑地域性、形式与功能正文：一、前言 创意产业，指那些从个人的创造力、技能和天份中获取发展动力的企业，以及那些通过对知识产权的开发可创造潜在财富和就业机会的活动。它通常包括广告、建筑艺术、出版业、软件及计算机服务、电视和广播等等。此外，还包括旅游、博物馆和美术馆、遗产和体育等。作为创意产业办公楼，对其所在的城市街区具有重要的影响，其往往以其宏伟的尺寸和巨大的体量，给观者以强烈的视觉感受，同时也决定和影响着所在城市区域的艺术风格和美学价值。不同的地域有着不同的历史文脉和建筑风格，因此对待的地域的研究和环境的分析是十分必要地。通过对基地环境细致的分析，来寻求既能体现现代化办公楼新颖独特的整体风范，还要与城市周边环境协调一致的建筑形象。强调环境与城市对存在于其中的建筑的重要性，探求空间形体与内在秩序的和谐统一，是方案设计的基点。可以达到城市景观界面的连续性，这是一个方案融入环境的前提；可以达到城市地域文化的彰显和延续，这是一个方案融入历史和成为经典的必要。建筑型体组合与结构选型是办公建筑设计中的重要环节，内部空间和外部体型是建筑造型艺术处理问题中的矛盾双方，是互为依存不可分割的。合乎逻辑的内部空间布局往往是成功建筑的共同特点，体两组合中的主从关系，不仅限于对称的布局，再不对称的体谅组合中依然可以运用体量的大小、高低、横竖、虚实以及材料的不同质感和色彩的处理手法，来强调其体量组合中的主从关系。空间的虚实、细部的疏密等手法，纵横交错、相互穿插的处理，从而使建筑形成丰富分韵律感。交通核的位置很大程度上左右空间的布局，若是位于中心位置，功能空间只能围绕中心布局，限制了大空间的形成；若是分开布置于建筑两侧，在同一面层上形成不同性质的使用单元，同时可以减少疏散的制约而最大限度地可以丰富建筑造型，成为塑造个性形象的有效途径。建筑的形式应该简洁而富有表现力，以突出建筑的时代感和标志性。建筑造型的处理是在满足功能后所应解决的首要问题，一个具有艺术感染力的外形是作为地标建筑的前提条件。采用高新技术和现代材料，可以增强建筑的表现力。“高层建筑的美往往和高新技术是相辅相成，或者说一种或多种高新技术的完美结合本身就是高层建筑美的体现。玻璃幕墙成为高层建筑的特点之一，而随之而来的光污染使得其应用得到很大质疑，而随着LOW-E玻璃幕墙等的出现以及双层幕墙的有效节能，玻璃幕墙这一技术将被继续沿用；顶升式建筑法在高层中的运用日益成熟，目前这一技术所需的主要部件和设备的承压能力都能达到很高的水平，使得高层建筑可以有更多的选择方式。二、调研实例中软总部办公楼中软总部办公楼是重新回归建筑基本规律性的尝试，设计过程依靠明确的建筑逻辑构建了建筑形式，并将诚实、理性的材料立场落实到建筑实践中，为形式本身找到了归宿。方案除了满足计算机软件研发行业所需要的封闭、安静的工作空间外，还提供了更多的视线开放点，每层办公空间配有观景的户外连廊或阳台，也是对大空间集中式办公吸烟人群吸烟权的尊重。1号楼、2号楼分别属于中软总公司和中软控股公司，两公司股权定义明确，产权分界必须明确。针对1、2号楼的面积和性质不同，平面上进行不对称的处理。两楼设备及停车区资源共享并能产权划分，投资效率较高；地面联系做较弱的连接，除架空廊道外，地产分界上无建筑、水池等跨越。建筑内部的办公空间分为两类，一类是集合式开放的大办公空间，另一类是封闭式的小办公室。大空间要求大进深，由于占地面积在设计上受到限制，因此自然形成建筑平面的出挑。出挑部分的立面处理为大窗，采用宽大的H型钢构建玻璃幕墙的骨架，大尺度的正方形钢构分格与后退部分的墙体产生对比，以抵消大窗或玻璃幕墙体积感表现不足的缺点。后退部分的墙体的窗我们则采用尺度小，与外墙平齐等的弱化处理的办法，以减少对完整界面的破坏。浙江大华商务中心浙江大华商务中心主楼呈长方形南北长轴布置。一、二层北部均为商业用房，结合解放路南侧桥头绿地设计商业广场，并通过过渡性的半下沉引导广场将人流引至与东河绿化带相隔合的下沉商业广场。同时在金鸡岭路边设踏步将人流引向地下商业空间。沿河的绿化自然渗透入下沉商业广场及休闲广场，广场中设计了点阵布置的高杆树种，人行其间，上有茂盛的树冠，东为秀丽的东河景观，西为精品商店，将是愉快的空间体验。在绿带与广场的渗透之间，还设计了一些透空花墙、构架、小品，用以引导人流和点缀活跃气氛。方案设计中没有采用常规的写字楼设计手法，而是从建筑本身品质出发，着力将建筑设计成如实反映功能、体现科技色彩、绿色融汇其中，通透、并富于力度的造型。期望能够以富于逻辑性的体块组合及细致立面设计融合到杭州城市肌理之中。植被绿化系统的引入是在追求一种努力与自然保持接近的生活，就如同很多热爱生命的人在居室的窗台前摆置“绿色”一样。芜湖工艺美术厂 芜湖铁画以锤为笔，以铁为墨，以砧为纸，锻铁为画，鬼斧神工，气韵天成。芜湖铁画以历史悠久、风格独特、工艺精湛、技艺高超闻名于世，但是历史以及经济原因，芜湖市缺少铁画博物馆及研究协会。本项目的建立可以构建芜湖铁画之都的基础，并且可以发展内外源科技文化经济，达到建设旅游型城市的需求。铁画博物馆及展览馆沿九华山路布置，主体建筑在玻璃墙面的内表皮中用线条型的、节节攀升的金属材料表现铁画的立体感和硬挺的艺术效果。地域性建筑的创作关键在于如何在时代的变迁中使地域性特征得以延续和发展。首先在建筑的创作中要遵守建筑适应性的移植和开拓，这其中包括对于民族性的尊重。本方案吸收当地风俗习惯、风土人情、宗教礼仪以及意识形态，从而重现芜湖的建筑地域特色。其次,地域性建筑往往给人一种生于斯长于斯的印象。这其中材料以及表现材料魅力的建筑技术的运用将会起到很重要的作用，本方案以铁画为依托，很好地展现了芜湖清秀娟丽的城市特点。第三，地域性和全球化特征是相互对立统一的，二者可以相互共存共同促进的,地域性的延续和发展也离不开全球化带来的资源共享。因此在建筑创作中应该开拓视野，博采众长。本方案不仅是吸收和采取芜湖当地的建筑形式和特点，还大胆地引如新技术和新设备，使得建筑既具有地域特色又具有时代气息。三、总结及感悟新旧建筑和谐是建筑文化发展的需求，是城市整体发展的需求，否定建筑的连续性是不对的，过分复旧也是片面的。合肥市老火车站是合肥市现代城市发展进程中的宝贵物质与文化遗存。它承载着这座城市太多的情感记忆，是阅读这座城市的重要物质依托之一。在这个区域进行创意产业楼的设计既需要如芜湖工艺美术厂那样注重地域特色并寻求新的品质，以达到地域文化的彰显和延续；又需要如浙江商务中心那样去照顾城市空间的有机统一，使得老城区在不破坏现有城市肌理的基础上焕发出新的生机；而且更需要如中软总部办公楼那样重视形式与功能的矛盾统一，以使得创意产业楼可以最大限度的服务城市。毕业实习指导任务书1、 实习目的：通过对经济发达地区城市建设的调研，了解现代建筑在中国的最新发展趋势，重点考察城市创意产业、科研、文化等综合性办公楼的设计现状与先进理念。同时对现代城市更新过程中，有关城市记忆的留存与新生的建筑实践予以关注。此外，可走访有关主管部门、专家和技术人员，收集实际设计资料，为毕业设计做好充分的准备。2、 实习要求：实习过程中，学生应运用多种手段对所调研的对象和内容做详细的记录，结合所学的知识，独立观察，独立思考，综合分析和评价建筑物、建筑群及相关建筑环境。学习和掌握从事实际工程设计的有关思路、程序、方法及表现手段。3、 推荐实习目的地：北京、青岛、西安、长三角地区、珠三角地区等，学生根据具体情况自定。4、 实习成果要求：实习结束后一周内完成不少于3000字的实习报告。报告应包括至少两个建筑实例的详细考察内容，并应有自己的研究与总结。报告应图文并茂，杜绝罗列与报告无关的图片及文字。 建筑系 鲍如昕 2011年12月1日New Conception Of Art Center as a Forum for Participation and Awareness Abstract: As an art form, performance is highly collaborative. It is a social interaction and dialogue between the artist and viewer, where the exchange of ideas is unique to each event. Traditional auditoriums provide a space for the performers as well as the audience, but cultural exchange isnt necessarily limited to a traditional performances stage. Classrooms, hallways and lobbies provide a similar opportunity for communication. Moreover, it is in these unconventional spaces that the artist and the audience are not separated by the usual layout of the theater. In outside plazas and lobbies everyone can be the performer, and everyone can experience the work. As such, cultural centers can transform their community by offering a forum for participation, and striving to make cultural experiences a part of everyday life.Text: With increasing density we have become more individualized than ever. We are solitary islands, living alongside each other and only rarely connect or come together as a community. However, what we continue to share are cultural activities. These events arent discriminatory; they dont question our beliefs or background, but welcome us to a public world. They act as a connecting net, in which we can connectively surrender and let ourselves fall. For a short while, were not concerned with our own lives, and can come together to experience an exterior scene.As a art form, performance is highly collaborative. It is a social interaction and dialogue between the artist and viewer, where the exchange of ideas is unique to each event. Auditoriums provide a space for the performers as well as the audience, but cultural exchange isnt necessarily limited to a traditional performances stage. Classrooms, hallways and lobbies provide a similar opportunity for communication. Moreover, it is in these unconventional spaces that the artist and the audience are not separated by the usual layout of the theater. Accessing outside plazas and lobbies doesnt require a ticket, and here, there is no assigned seating. Everyone can be performer, and everyone can experience the work. As such, cultural centers, such as theaters and art centers can transform their community, offering a forum for participation and awareness.The Tower of Arts in Les Herbiers, France has become a cultural icon for its community. Traditionally two main towers, one belonging to the church and the other one marking the town hall, dominate European cities. These towers have a presence in daily life. They are visible from any part of the city and remind its inhabitants of their civic and more duty. With the new music school, the city of Les Herbires created for a third tower, a cultural symbol, this time.The Town of Arts, designed by Forma 6 and completed in 2010, sits on the Place des Droits de lHomme, as square dedicated to human rights. It houses an arts academy with a music department, dance rehearsal spaces, and a auditorium. A tall tower rises six stories on its western faade, which faces the public square. Juxtaposed with the board angled volume of the tower is the buildings entrance, which is defined by a rectangular concrete cube. A sloping terracotta-red ceiling highlights glass doors through which visitors enter. Inside the doors lies a seating area for anyone who comes in and wants to spend some time in the large double height lobby.The rehearsal rooms are located in the south half of the building, and the classrooms are housed in the north. Each of the rooms is assigned to a specific musical instrument or group in order to create a stronger sense of identity. Each type of music has its home, whether it is African percussion or “World Music”, but they work together as a community of sounds.The spaces between the educational rooms form a circuit of social exchange. The architects accentuated this negative space with spare finishes. The bare concrete that was first seen in the entry cube extends through the building like ivy, reaching to all floors and into every corner. The natural spread of this space is made literal by introducing an arborescent theme, both in structure as well as decoration. The interior walls of the central atrium are punctured to create concrete “trees”, that branch up to the ceiling and provide a partial separation from stairs that lead up to the second floor. Three white boxes, rehearsal studios, hang like tree houses from the structural latticework and give the space a childlike playfulness. Further ornamentation is minimal. The architects designed a rhythmic pattern of perforations that decorate the white rehearsal boxes in the lobby and the use of primary-red fabric emphasizes the entrance to the schools auditorium. This bright color is continued on the exterior, where a broad gash in the faade of the tower creates an unexpected break in the copper cladding. The combination of the metallic facade with the theatrical red accents reminds visitors that this building is an educational institution first, but that is also has more to offer and strives to create a rich cultural community.The LAtlantida Performing Arts Center in Vic, Spain, is a new extension to an existing music school. The older building, the “Can Serratosa”, now houses the common areas of the new school, while new construction adds a theater, an auditorium and a restaurant, transforming this area into a larger artistic campus. With the building, architect Josep Llinas has merged various programmatic volumes under one faceted zinc roof. The complex is located between the proper boundaries of Vic on the north and an area of the south. Llinas has used the bulidings shape to create a bridge between two neighborhoods. Along the outside perimeter of Vic, part of the program has been buried in the ground and the new roof adheres to the height limit of the city. As it moves towards the Meder River that separates the old city from the area of future expansion, the roof level increases to allow for a new faade that will become a front for cultural center when new urban construction surrounds it.The undulating roof plane shapes unexpected courtyards that allow for natural light to rach the music school and restaurant, while spaces that dont require natural light, like the auditorium rooms, are fit into the interior areas. The intimacy of the courtyard spaces is heightened by the use of the copper-aluminum alloy, TECU Gold. Its gold color creates rich inner spaces that are dramatically different from the exterior walls of the project, which are finished in black concrete. The gold is continued on the interior, where it lines the walls of the theater spaces. As is seen in the Town of Arts, the use of gold with the red color of the audience seating makes for a traditional theater experience. However, by continuing this color combination outside, Llinas has proven that communal gathering spaces can also lend themselves to cultural interaction, and visiting this complex will give more than a traditional experience.The Tower of Arts and the LAtlantida Performing Arts Center have added to the academic and artistic culture of their cities. They represent the educational value of the arts and leisure. Just like art centers, theaters can greatly enrich a communitys culture. The Infanta Leonor Theater by Mrpr Arquitectod is located in the south of Spain, four hours south of Madrid, where the theater sits along the old city walls of a small town called jaen. As one of the oldest cities of the lberian Peninsula, the town preserves an important archeological heritage. Remnants of urban settlements dating back to Roman times remain throughout the city and in the Middle Ages, jaen was the border between Moorish Granada and the Christian Kingdoms of the rest of Europe. Today, it can be interpreted as a landscape of these multiple layers of development, blurring the distinction between its rich history and the present. The Infanta Leonor Theater design was selected as the winner in a competition that called for a theater that would integrate remains of the historic Puerta del Aceituno, one of the ten original gates in the old city wall. In their proposal Mrpr Arquitectos stated two main intentions for historical integration and enhancement.First, they requested for access to all visitors. And second, they set out to transform the remains of the portal into a metaphorical gateway for the community to experience and learn about the regions history and culture.Mrprs building is made up of three distinct volumes, housing the main lobby and two auditoriums. Service spaces such as parking, offices, rehearsal spaces and dressing rooms are located on lower level. The remnants of the Puerta del Aceituno were incorporated into the architecture and are covered by a screened porch that is publically accessible from the street that marks the north border of the site.The forms of the three programmatic boxes are left distinct on the exterior. Their angular plans are carefully arranged to fill the irregular shape of this site in the heart of the historic city. The elongated double height lobby sits as the central form between the two auditoriums and extends out towards the exterior plaza. This public terrace surrounds the building on all sides and gives a continuous contrast between the old city walls and the new limestone clad exterior of the theater. Visitors are guided in from the street as they pass high stone walls that decline along a steep slope to meet the sidewalk, gradually revealing a view of theater. These lines mirror the sharp forms in the bulidings exterior. In addition, they are visible on the inside of the building, where the containment walls of the theater boxes lean towards the bulidings center at a slight angle. Carrying through the motif of these subtle shifts in to the interior makes the experience of the space, from outside to inside particularly dynamic and emotional. There is a strong attraction from the street into the public space and into the interior of the theater, inviting all to come together for the theaters performances, and to learn about the citys history. With their design, the architects have successfully achieved both of the goals they set for themselves.A few hours west of jaen likes another new theater, which opened in 2009. Architect Enrique Krahe consolidated old buildings in a new skin to form the Municipal Theater of Zafra. The vernacular style is recognizable site, located between the old city and new construction on its outskirts. To smoothly merge these two neighborhoods, public accessibility was particularly important, and the outdoor spaces are highlighted as pedestrian zones with cobblestones and terraces.The theater has been designed to be easily visited by the community, but also to provide them more than just its shows. Simple design elements, such as lighting used as way-finding, turn the attention of visitors to the communal spaces. The audience can spend time watching the performances in the auditorium, but the building also invites the visitors to be an actor. Small humorous elements in unexpected place, such as a mustache painted on the bathroom mirror or an eye revealed in the colors of the audience chairs, make for a comic experience. But more importantly, the building offers its public an unusual thought the importance of a theater isnt limited to the building with a stage and audience seating. Here, the stage walls can open to the outside, making the shows a city-wide experience. In addition, small binocular windows pierce the bulidings exterior wall, even above the urinals in the bathroom, to give visitors views to the landscape outside, as if to remind them that anyone can consider him or herself as an actor and part of a larger culture, anywhere and at any time.As cultural and artistic centers, all of these projects strive to make cultural experiences a true part of our everyday life. They highlight the social significance of public spaces that invite locals and visitors into the community and provide important communal dialogue. The buildings offer a stage for reflection, but also a platform for discussion. They are spaces where everyone can be a performer, a participant, or a viewer, making its visitors as well as the buildings themselves valuable additions to their neighborhoods social life.文博建筑-MUSEUM ART CENTER大连理工出版社（page128-133）翻译： 艺术中心的新概念：作为参与和感知的平台摘要：作为一种艺术，表演讲究高度协作，它为艺术家和观众之间提供了针对每一件事物不同思想交流和互动对话的平台。传统的礼堂为观众和演员之间提供了空间，但是文化的交流不应该仅限于舞台表演，例如教室、门廊和大厅等空间也能提供类似的交流机会。不仅如此，艺术家和观众在这些自由的空间里不会被传统的影剧院模式隔离开。在室外大厅和广场，每个人都能参与表演并且享受乐趣。文化中心通过提供参与和交流的平台，努力使文化体验成为人们日常生活的一部分。正文：随着人口密度的不断增加，个性化的张扬比以前任何时间都要明显。我们虽然住在一起但却不经常联系也不聚会，就像一个个孤独的岛屿一般。然而，文化活动的交流一直被延续着。它们没有歧视，也不会质疑我们的信仰和背景，而且还会非常支持我们进入公共的环境当中。它们扮演着可以让我们完全放弃坠入其中的一张交错的网，这一刻我们暂时放下了自己的喜怒哀乐，走到一起去体验外部的场景。作为一种艺术，表演讲究高度协作，它为艺术家和观众之间提供了针对每一件事物不同思想交流和互动对话的平台。传统的礼堂为观众和演员之间提供了空间，但是文化的交流不应该仅限于舞台表演，例如教室、门廊和大厅等空间也能提供类似的交流机会。不仅如此，艺术家和观众在这些自由的空间里不会被传统的影剧院模式隔离开。在室外广场既不需要买票又没有固定座位，任何人都能参与表演并享受乐趣。通过停工参与和交流的平台，剧院和艺术中心改变着它们所在的社区。法国莱赛比耶的艺术之塔已经成为该区的文化标志。在这里存在两座可以俯瞰欧洲城市的塔，它们历史悠久，一座属于教堂，另一座属于市政厅。人们在这座城市的任何角落都可以看见这两座塔，它们已经成为日常生活的一部分，时刻提醒着人们的公民道德与义务。与新音乐学院一起，莱赛比耶建造了同样成为文化标志的第三座塔。艺术之塔由Forma 6 设计并于2010年完工，它位于Place des Droits de lHomme的人权广场。这是一所设有音乐系、舞蹈排练室和礼堂的学院，主体建筑6层西面朝向广场。入口是一个长方形的混领土方块，与塔楼巨大的倾斜体量相呼应。倾斜的红色的天花板映衬着入口的玻璃幕墙。步入室内，两层高的大厅里设置了可以供人么打发时间的座位区。排练厅和教室分别布置在南北两侧，每间教室通过特定乐器或演奏组营造出更加明显的特征。不同音乐有着不同的特质与归属，然而它们互相配合成为一体，无论是非洲的打击乐还是“世界音乐”。教室之间的空间形成了社交环形区。建筑师用少量的抛光漆来凸显这个