【文章內(nèi)容簡(jiǎn)介】 timate design is a slope and curved bridge with repetitive steel box section. The outlook is like a huge arch, which curves, contorts, and ascends. At the first glance, its appearance doesn’t measure up to the curve style highway engineers are used to, which is imposed on natural topography and results in discordance with surroundings in many American freeways executed. Fortunately, Kumamoto Bridge blends well with its location and echoes to the islands it connects in space. And the simplicity in both structure and appearance resists the danger to bee a daredevil manmade structure or to exaggeratedly express its show. Fulldepth box section is good at being contorted, and hence it can resist the rotary trend of movement of the huge prominent curve. The concave defense boards are set along the edge of deck. They have been adjusted according to wind tunnel results to make pavement and bikeway are in area where airflow stands almost still. Thus it protects passengers from the gale. Wind tunnel experiments are also used to improve section shape. The optimal curved surface of bottom is chosen in order to smooth airflow and consequently improve the efficiency of the contorted box. The arrangement of suspending lightweight elements over largescale structures reminds people of Japanese architectures in early stage, which use large block of stones as foundations and paratively light timbers for superstructures. The piers are prisms with right angles, which add solemnity to the bridge and intensively contrast to gentle curved bottom. The steel beam is sustained on the spherical pillars, which activize strong vision impact. This curved surface also reflects changing light on water surface, generating an elegant optical illusion. At night, light hidden under the bridge bottom draws a graceful arch over the bay. space latent in humanism Theoretical support Our ancestors viewed bridges as divine places, while in middle ages, bridges were treated as humanoriented places. Both kept a betterbalanced relationship between new bridges and humanism. However, with the increasing traffic demands, this balance is undermined when the Dabby Time came, whose ultimate goal was designing rapid passageways for automobiles. As a result, the cultural function of bridge has been deserted. Apparently, such bridges contribute much to modern industrial civilization, but nothing to the history of bridge aesthetics. Bridges lost their affinity, and the sites lost their spirits of place. So rehabilitating genius loci is a necessary step to continue the hampered bridge aesthetics. Every place has its invisible, evertransforming and yet decidedly obvious characteristic, which has been formed through the stream of a plex interplay of past and future events–all that evolved and developed there since the earth began in interplay with the ideas of those who transformed the land in the past and those who have intentions to change it in the future. Any bridge should ply with these characteristics, which are both the restrictions and qualifications for design. There is no abyss and barrier between modern civilization and the tradition of humanities. On the contrary, this tradition is the soil filled with experience, inspiration, and nutrition where modern civilization roots in. No matter how old the aesthetic references are, modern techniques can be a proper receptacle to convey its nature. Analysis of example Miho Museum Footbridge is a concrete example, which is one of typical representatives of BeiYuming. Miho Museum is hidden in the Shigaraki craggy terrain。 hence a special inlet is desired. In his design, a sinuous trace paves the way to a narrow entrance of a tunnel, just as the hole described in ancient Chinese story about Taohuayuan. A series of stainsteel bars decorates the wiggle tunnel, from the end of which a weak light is in sight. When spectators walk out of the tunnel, a footbridge across a deep valley displays in front of them. At the final of bridge stands the museum. The passage is designed as a spatialtemporal sequence bending well to its surroundings, and the feelings of spe