【正文】 order zone, Nouvel aims to reconcile the city and countryside. 參考文獻(xiàn) /References: ［ 1］ Jean Nouvel. 20xx. Catalogue Exhibition, Centre Gees Pompidou, Paris, 28 November 20xx 4 March 20xx. ［ 2］ Foucault, M. 1996 (1967). ‘ Of Other Spaces: Utopias and Heterotopias.’ In: Architecture Culture 19431968, ed. by Joan Ockman, New York: Columbia Books of Architecture, 419426. ［ 3］ Tschumi, B. 1996 (1978). ‘ The Pleasure of Architecture.’ In: Theorizing a New Agenda for Architecture, ed. by Kate Nesbitt, Princeton: Princeton Architectural Press, 530540. ［ 4］ Blanc, P. 20xx. Folies vegetales, Paris: Chene. ［ 5］ Lefebvre, H. 20xx (1974). The Production of Space, Oxford: Blackwell Publishers. ［ 6］ Le Corbusier. 1978 (1924). The City of Tomorrow, London: The Architectural Press. ［ 7］ Vidler, A. 1996 (1990). ‘ Theorizing the Unhomely.’ In: Theorizing a New Agenda for Architecture, ed. By Kate Nesbitt, Princeton: Princeton Architectural Press, 574576. ［ 8］ Forty, A. 20xx. Words and Buildings, London: Thames amp。 n and in his Gardens of Pleasure Bernard Tschumi writes in 1978: ‘ Built exclusively for delight, gardens are like the earliest experiments in that part of architecture that is so difficult to express with words or drawings: pleasure and eroticism.’［ 3］ Jean Nouvel’ s (unrealised) French Embassy project in Berlin (1997) conceived verdant spaces for working, an Edenic place in the midst of the whitish grey buildings of the Pariser Platz. (Fig. 1) Here the mineral is a mere structure supporting the vegetal that as vertical gardens entirely overwhelms the interior walls. Dilating space and extending perspectives, inside and outside are reversed and boundaries and limits erased. As well, trees planted in exterior and interior courtyards, on terraces and in interior spaces further the effect that landscape has conquered habitable space. Another example of an extraordinary garden is represented by the one integrated into the Quai Branly Museum that was pleted in 20xx and is located along the river Seine a few minutes walk from the Eiffel Tower. The concept of the vegetal is used to create a‘ sacred forest’ in the heart of Paris. Vegetation is used as the springboard for a kind of mythical thinking in which human mistakes of the past are redeemed and a contribution is made towards the salvation of ancestral underlying construct of employing the vegetal is not simply a design concept, but a cultural one. In fact, the main purpose of the garden is to recreate an appropriate setting for indigenous art. Conceived by the landscape architect Gilles Cl 233。所有的這些空間通過(guò)“連接空間”串聯(lián)起來(lái)，成為一個(gè)空間網(wǎng)，為博物館技術(shù)學(xué)科服務(wù)。 為了將基地島南側(cè)的公園擴(kuò)展開(kāi)，藍(lán)天組在一組動(dòng)態(tài)的空間序列中設(shè)計(jì)了一條景觀(guān)坡道將內(nèi)外空間的界限變得模糊，以此來(lái)擴(kuò)展城市空間。這一數(shù)字化設(shè)計(jì)結(jié)合低技建造方式實(shí)現(xiàn)數(shù)字化建造效果的思路正是我們將數(shù)字技術(shù)與本土建造材料和建造模式的結(jié)合。傘形結(jié)構(gòu)不過(guò)是一個(gè)非常個(gè)人化的選擇，它恰好可以解決一些問(wèn)題以及建筑師對(duì)空間的訴求，不同的建筑師肯定會(huì)有 不同的設(shè)計(jì)。在這里還要解決新的墻體最終如何形成一個(gè)大空間的問(wèn)題。 當(dāng)代藝術(shù)展覽空間 第一層 9 對(duì)于龍美術(shù)館的結(jié)構(gòu)和形式，大舍的柳亦春是這樣說(shuō)的： 建筑設(shè)計(jì)從來(lái)不是必然分析的結(jié)果，很多時(shí)候，有項(xiàng)目的具體情況，還有建筑師一段時(shí)間的思想，二者交織在一起，形成一個(gè)選擇。在市民公交路線(xiàn)上， 41 路 ,43 路 ,162 路， 166 路 ,128 路都直達(dá)西南地塊，四通八達(dá)的交通便利使西南地塊成為黃金要塞之地。 二．關(guān)鍵字 ：城市設(shè)計(jì) 藝術(shù)中心 景觀(guān)設(shè)計(jì) 城市公園 三．基地現(xiàn)場(chǎng)調(diào)研情況 ： 天鵝湖西南地塊位于合肥市政務(wù)區(qū)翡翠路與祁門(mén)路交口，占地約為 70 畝，東臨天鵝湖，南面為崔愷做的 APG 報(bào)業(yè)大廈，西邊為山水名城小區(qū)，北邊為天鵝湖畔小區(qū)，里面多為機(jī)關(guān)工作的國(guó)家公務(wù)員，所以西南地塊內(nèi)部的建筑天際線(xiàn)與疏密必然會(huì)對(duì)兩個(gè)小區(qū)的市民產(chǎn)生一定量的影響。 ３． 調(diào)研報(bào)告的資料獲取可為查閱、現(xiàn)場(chǎng)考察、訪(fǎng)談等方式。據(jù)我所知，除了文中特別加以標(biāo)注和致謝的地方外，論文中不包含其他人已經(jīng)發(fā)表或撰寫(xiě)過(guò)的研究成果。 成都蘭溪庭 ⑤國(guó)外 同類(lèi)或相關(guān)建筑類(lèi)型 調(diào)研情況 —— 第 14頁(yè) 標(biāo)題應(yīng)為三號(hào)黑體，正文采用小四號(hào)宋體 ，段落間距應(yīng)為 倍行距。在周邊，有萬(wàn)達(dá)、新地、銀泰中心這樣的大型商業(yè)綜合體，還有合肥八中，都是大量人流聚集之地，都會(huì)為西南地塊帶來(lái)非常大的人流沖擊。建筑的內(nèi)部空間也得以呈現(xiàn)一種原始的野性魅力，而有著大小調(diào)節(jié)的空間尺度以及留有模板拼縫和螺栓孔的清水混凝土表面又會(huì)帶來(lái)一種現(xiàn)實(shí)感。通常的美術(shù)館中，我們很容易想到用石膏板做展墻，但是這個(gè)時(shí)候我就想展墻能否與結(jié)構(gòu)性的墻體合二為一，這會(huì)不會(huì)是一件更好的事情？對(duì)于我來(lái)說(shuō)這個(gè)判斷是很直接的，也正是我所希望的。在整個(gè)設(shè)計(jì)的過(guò)程中，對(duì)于這種轉(zhuǎn)換的思考是有意識(shí)的，不過(guò) 也只有到了最后，才變得明確。設(shè)計(jì)的重點(diǎn)除了建筑的形態(tài)更重要的是合理的施工建造方式，現(xiàn)有的技術(shù)和施工條件不允許我們使用機(jī)械臂這類(lèi)數(shù)控加工設(shè)備來(lái)對(duì)不同錯(cuò)縫尺寸的磚進(jìn)行精確的表達(dá)，所有的青磚砌筑都必須由工人手工操作完成，而且必須 與苛刻的工期安排相符合。面對(duì)城市吸引著人們來(lái) 此。 16 重力井是整個(gè)結(jié)構(gòu)的核心元素，它為這個(gè)透明的雕塑造型的成功構(gòu)建提供了強(qiáng)有力的支撐。 以上這些無(wú)疑都是我們本次畢業(yè)設(shè)計(jì)設(shè)計(jì)中所要學(xué)習(xí)以及運(yùn)用的地方！ 七． 參考文獻(xiàn) 1.《中國(guó)當(dāng)代建筑大系 —— 博物館》；劉克成編；李嬋譯 2.《關(guān)于西岸龍美術(shù)館形式與空間的對(duì)談》；《建筑學(xué)報(bào)》 20xx 年 06 期 3.《蘭溪庭，成都，中國(guó)》；《世界建筑》 20xx 年 07 期 4.《文化建筑設(shè)計(jì)》 —— 王其鈞；王謝燕機(jī)械工業(yè)出 版社 19 外文文獻(xiàn)原稿 JEAN NOUVEL: CONTEXT AND THE CONCEPT OF THE VEGETAL In the last decade the enigmatic and charismatic French architect Jean Nouvel has received a number of the most prestigious prizes in architecture including the Pritzker Prize in 20xx. Although many of his buildings are presently being erected in many different countries, numerous projects have remained unbuilt. Even these unrealised projects, however, represent important milestones of Nouvel’ s architectural thinking. Despite the fact that the‘ unbuilt’ has been historically associated with the project of socalled utopian or visionary architecture, both Nouvel’ s realised and unrealised projects go beyond such boundaries and are‘ experimental, innovative and exuberant,’ as described by the Pritzker Prize jury. Like the architecture of his contemporaries Herzog amp。n River opposite the ancient core of the city. Nouvel’ s project evokes nearby Atapuerca where archaeological excavations are revealing the mystery of human origins as they uncover and investigate the remains of this prehistoric human habitat. The architectural project recalls a tumulus, a mound of earth or stones raised over a grave which was used as a burial monument in prehistoric times. Nouvel’ s strategic thinking in oppositions is evidenced in the project as a collision between modernity and the prehistoric. Inspired by the work of Anish Kapoor, the museum represents the most elementary kind of earthen shelter set into an artificial vegetated hill. Rocky materials and earth colours in the inside are set in contrast to scaffolding structures and modern technology housing shops, hotel, convention centre and theatre. In his project description he asserts that, ‘ It