【正文】 tent 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 bination of points, reflect the traditional architecture and cultural respect Heaven and Earth,Humanistic, say the proand thinking of materialist dialectics. Carry forward the tradition of architectural culture are also available from traditional architecture design principles, spatial position, position 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 bination of aesthetic consciousness, the outstanding traditional architectural culture into modern architecture culture.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 world39。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, plement each other, affect each other and mon 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 .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 bination of modern Western art of architecture new concepts, new technologies, to bee both fresh ethnic characteristics, strong characteristics of the times and the construction of cultural monument. China39?！　”疚乃劷ㄖ幕沫h(huán)境與交融只是初步探討，許多深層理論問題還須進一步研究。正如吳裕容先生在評價法國工程師古斯塔夫。　　早在20世紀20年代，中國近代出國留學歸國的建筑師，大多數(shù)是留美的學者，他們受當時西方學院派建筑文化觀念和中國國粹主義建筑文化觀念的雙重影響，強調(diào)中西建筑文化交融的重點在建筑風格上，第一次創(chuàng)造性地設(shè)計出了一批精品，開創(chuàng)了中外建筑文化交融的新紀元。③這些都闡明，傳統(tǒng)對現(xiàn)代的價值還需要我們在新建筑的創(chuàng)作中去發(fā)掘，去感知。并且把傳統(tǒng)形象中最有特色的部分提取出來，經(jīng)過抽象，集中提高，作為母題，予以新意，以啟發(fā)當前設(shè)計創(chuàng)作形式美的創(chuàng)造。要提供價值導向，先要作出價值評判，所以必須樹立一種價值觀。無可否認，西方城市建筑在近幾個世紀以來確實發(fā)展迅速，無論在內(nèi)容和形式上，還是在科技和理論上、美學形態(tài)上都走在世界的前列。如：在討論傳統(tǒng)與現(xiàn)代、繼承與革新的問題時，許多人熱衷于從風格、形式或技術(shù)等方面去爭論它們的高下、文野，卻不是從它們與現(xiàn)代人的生存和生活的根本聯(lián)系上去探討它們的意義。從傳統(tǒng)社會向現(xiàn)代社會的轉(zhuǎn)變，也是有賴于文化的轉(zhuǎn)變。地域、民族性的建筑文化在一定條件下可以轉(zhuǎn)化為國際性建筑文化，國際性建筑文化也可吸收、融合新的地區(qū)與民族性建筑文化。歐洲國家、美洲國家、亞洲與非洲等發(fā)展中國家，國度不同，宗教信仰不同，經(jīng)濟發(fā)展狀況不同，各地區(qū)的文化習俗也不同?！　≡谥衼?、西亞，在中國的西部高寒地區(qū)，人們用石塊壘砌、依山就勢蓋起了石板建筑，避風、擋雪、保溫、御寒，筑成了高原山地建筑?！　≡跂|南亞和南亞各國，在中國的海南島和臺灣島，椰林茂密，氣候炎熱，人們用椰樹葉、棕櫚葉蓋起了適應熱帶雨林的茅草房、小木樓，通風、涼爽、輕盈、簡潔，建起了熱帶雨林建筑?！　∩鐣r空環(huán)境差異造成建筑文化的多元化　　不同的地域、不同的國家、不同的民族，有不同的社會歷史形態(tài)。　　建筑文化在一定條件下是可以轉(zhuǎn)化的。 自近代以來，中國文化開始了艱難的轉(zhuǎn)變過程。但是爭論這些問題應該明確它的目的，那就是它應當促進一種文化的發(fā)展和建構(gòu)，推動它的進步，而不是僅僅滿足于依據(jù)對這些文化現(xiàn)象做出客觀、準確的描述。卻把埃及、印度、墨西哥、中國等都擺在下面一些纖弱的幼枝上，把美國放在這棵樹的中心主干的頂端，極為形象地表達了作者的建筑 “西方中心論”思想。因此，建筑文化應該是批判的與實踐的。吳良鏞提出所謂“抽象繼承”是指從建筑傳統(tǒng)中，將傳統(tǒng)建筑的設(shè)計原則和基本理論的精華部分加以發(fā)展，運用到現(xiàn)實創(chuàng)作中來。它們之中蘊含著豐富的內(nèi)涵、深邃的哲理和智慧。但是，佛教的內(nèi)容，佛祖的像貌，佛廟的形制與中國文化交融，形成和發(fā)展了獨特的中國佛教建筑文化。這些質(zhì)的變化是社會制度、生產(chǎn)技術(shù)、生活習慣、工作方式、文化觀念、建筑材料在建筑領(lǐng)域引發(fā)的必然結(jié)果。經(jīng)過反復摸索的艱難曲折以后，中國建筑師開始走繼承傳統(tǒng)，適應功能，采用高新技術(shù)，探索古今交融，實現(xiàn)建筑創(chuàng)作現(xiàn)代化的正確之路。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, deeprooted. 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 today39。 second level, the courtyardstyle layout of the space rhythm, natural and architectural environment of plementary design, poetic, full of the humanistic spirit of gardening art, shape, number of paintings, azimuth the appearance of a symbol and metaphor practices。s opendoor once again, the introduction of Western economic management model