【正文】 橋梁美學(xué)也是如此。在后現(xiàn)代社會(huì)應(yīng)該培養(yǎng)對人文傳統(tǒng)本質(zhì)的洞察力與對發(fā)展趨勢的把握能力。設(shè)計(jì)應(yīng)解決按層次結(jié)構(gòu)的重要性、存在的問題和因素應(yīng)涉及的不僅是力學(xué)和經(jīng)濟(jì)，而且也是美學(xué)與景觀。很長時(shí)間雙方獨(dú)立工作，合作也局限于小范圍。最近，在國內(nèi)城市河流附近的許多地區(qū)成為橋梁施工的熱點(diǎn)地區(qū)。這個(gè)通道被設(shè)計(jì)作為一個(gè)與周圍環(huán)境相協(xié)調(diào)并且能很好控制游覽者感情的序列，在這個(gè)序列中，一條共享的吊索在隧道和橋梁之間編織兩個(gè)單獨(dú)的元素。在他的設(shè)計(jì)中，一條蜿蜒的軌跡延伸到有一個(gè)狹窄入口的隧道，正如中國古代故事關(guān)于桃花源所述的洞。相反，這種傳統(tǒng)是現(xiàn)代文明扎根的充滿經(jīng)驗(yàn)、靈感和營養(yǎng)的土壤。所以精神場所復(fù)興是繼續(xù)妨礙橋梁美學(xué)發(fā)展的絆腳石。然而，隨著與日益增加的交通需求，這種平衡在Dabby時(shí)代被破壞了，其最終目標(biāo)是設(shè)計(jì)汽車的快速通道。此曲面也反射了水面變化的光線，形成一道美輪美奐的視覺效果。選擇最優(yōu)的曲面底部是為了讓氣流順利通過，因此提高了扭曲箱梁的效率。凹面的支撐板設(shè)置在橋面板邊緣。幸運(yùn)的是，熊本橋與其位置融為一體，并與它連接的島嶼完美的附和。更重要的是，大風(fēng)經(jīng)常在海灘出現(xiàn)，這些都應(yīng)隨預(yù)期的交通流量考慮在內(nèi)。漁業(yè)有著悠久的歷史，它創(chuàng)建了當(dāng)?shù)鼐用窈妥匀画h(huán)境的和諧關(guān)系。圖 3 所示。它是一個(gè)創(chuàng)建安裝更薄的跨越部件的里程碑。巴斯克語中分散的陽光投射在這些整潔的壓桿上產(chǎn)生連續(xù)變化的陰影，達(dá)到了意想不到的效果。力在拱的頂部形成曲線。圖 2 所示。結(jié)構(gòu)體系是玻璃蓋板鋼斜拋物線拱。不同的結(jié)果來自橋梁抵御不同的荷載。下面的示例展示了。因此，出現(xiàn)了不同的橋梁和在外觀上它們剛度之間的相似性。橋梁上的荷載在概念設(shè)計(jì)階段比建筑上的復(fù)雜多了，因?yàn)樗婕暗浇ㄖ?。精神場所，即精神的地方，是有必要的，這些精神的地方深深扎根于人文傳統(tǒng)。到目前為止，空間力系上積累的經(jīng)驗(yàn)保證這種復(fù)雜的結(jié)構(gòu)，如索拱結(jié)構(gòu)和橋梁承受大風(fēng)。橋梁的另一個(gè)明顯特征是它使人們能夠占有河邊固有的空間。這兩種趨勢準(zhǔn)確的與橋梁的兩個(gè)特征相符合。關(guān)鍵詞 空間力系 人文傳統(tǒng) 橋梁美學(xué)“我們自以為人類的文明已如日中天，但實(shí)際上我們?nèi)蕴幵谛U荒時(shí)代。 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 spectators are efficiently controlled by the sequence in which a shared brace between tunnel and bridge weaves two separate elements into one. Such an experience is exactly what the ancient fisherman had. Although the aesthetic reference is quite old, the means of acplishment is quite modern. Apparently, new thought dedicates in this critical change.Recently, many areas near rivers in domestic cities bee the hot spots of bridges construction. For example, in the planning petition for Huangpu River area, Shanghai, SOM, an American pany, provided four symbols for this site, among which three are bridges. And in another petition for Expo 2010, many designers choose bridges as the very fabrics between two banks and the symbols of Expo 2010. As such, there has been increasing pressure to develop bridge aesthetics. New relationship of engineers and architectsFor a long time, both sides worked separately, and the cooperation was confined to a small scope. Bridge design was degraded into a pure mechanic problem, and aesthetics was subject to mechanics. Apparently, this relationship limited exertion of architects’ ability of form design, material selection, and space creation.A new relationship requires both sides to break the limits of specialty, to step into opposite field in order to generate new values and new conceptive system of bridge design. The design should solve problems according the hierarchy of their importance, and the factors should involve not only mechanics and economy, but also aesthetics and landscape. All these should be treated equally. The single and prehensive solution is what we should pursuits, not the sum of a series of solutions at lower level. The sublimation of the tradition of humanitiesThe correct attitudes toward the tradition of humanities are not simple repetition or imitation, but viewing it as a process of sublimation. The clairvoyance of the essence in the tradition of humanities and the hold of the trend of development under postmodern society should be cultivated. It’s inevitable that our traditional culture has many conflicts to western civilization. It is conflict and not unquestioning inheritance that keeps humanism alive. Only in this way can our tradition of humanities continue to thrive. And so does the bridge aesthetics.References[1]Margaret Colquhoun. An exploration into the use of Goethean science as a methodology for landscape assessment: the Pishwanton Project. Agricu