照片06建三作業(yè)設(shè)計

3）3）2，124）舞蹈室，標(biāo)準(zhǔn)（120）教室，1，120m；標(biāo)準(zhǔn)（80）教室，22，123．美術(shù)區(qū)（小計：270m2224．科技區(qū)（小計：830m22225．體育區(qū)（小計：880m222226．辦公區(qū)（小計：290m21）校 ，6個，共180222二、文化館（合計：1770m21． 廳，1個，800222 室，1個，1202222 會議室，1個，150人，200222211 服裝保管室，1個，302館（合計：1610m2 ，8002222，122222222 庫，1個，1002四、展覽館（合計：1000m222．館 ，1個，302，60222五、劇團(tuán)（教育文工團(tuán)（合計：1320m222．演 房，1個，8022222，802院2公司（合計：3748m222，250025．小影院2個座位，708周完成內(nèi)123456789完成和正式圖的繪制，畢業(yè)設(shè)計圖紙驗收，審閱畢業(yè)文指導(dǎo)教師簽 教研室意見教研室簽 年年月月日日綏棱縣文化中心是個功能復(fù)雜的大型公共建筑。方案概念來源于對綏棱引出黑陶。從黑陶身上提取出元素進(jìn)行重組而形成表皮并賦予建筑中的陶罐上,本上實現(xiàn)了題目所要求的內(nèi)容。TheculturalcenterofSuiLingisafeatureofmajorpublicbuilding.TheconceptoftheschemecomesfromtheresearchofSuiLing:theconceptof“Lane”comesfromtherulesofthetextureofthecityofSuiLingandtheconceptof“Blackpottery”comesfromthelocalcharacteristics.Restructtheelementsextractedfromtheblackearthenwareinordertocometobeingtheepidermisandputthemontheshelves,soitisjustthegreatestcharacteristicofthescheme.Inthisdesigning,thereisareasonablespace,clearstreamlineandaintensiveconsideraboutthesquarebeforetheculturalcenter.Inconclusion,itsatisfiestherequirementsoftheuseofpeopleandhistoricalandculturalintegrate.Basicallyitrealizestherequireofthesubject. texture;blackearthenware;elementrestricting; 1選題背 設(shè)計任務(wù)書概 國內(nèi)外發(fā)展現(xiàn)狀及趨 我國文化館發(fā)展現(xiàn)狀及趨 國外文化館發(fā)展現(xiàn)狀及趨 2計過程分概念生成分 黑陶概念分 坊概念分 黑陶之坊形 建筑生成過程分 3間構(gòu)平面功能布 與環(huán)境的關(guān) 廣場環(huán)境分 建筑建構(gòu)分 第4章結(jié) 附錄 附錄 參考文 致 1肥沃，素有“六山一水三分田”之稱。大自然的鬼斧神工造就了它動人的2450℃，降水量548071244238477630195102分發(fā)達(dá)。境內(nèi)有漢、朝、滿、回、蒙、苗、壯、鄂倫春、納西、達(dá)斡爾、錫伯侗等十二個民族縣內(nèi)有省地和等5個駐綏單位。的“綏棱黑陶”要顯得十分年輕稚樸。林業(yè)文化綏棱林區(qū)地上有森林及多種野生動植物資源有各種礦產(chǎn)資2；；；；我國文化館的發(fā)展現(xiàn)狀及趨建設(shè)與發(fā)展的重要課題國外文化館的發(fā)展現(xiàn)狀和趨第2章設(shè)計過程黑陶概念分把民間剪紙藝術(shù)巧妙融合在黑烏黑典雅，光潔如玉， 2-1綏棱黑為“中陶工藝品被省文化廳命名為非物質(zhì)文化遺產(chǎn)。綏棱陶器吸收了民間器物造型的精華,創(chuàng)造出新的風(fēng)格形體,也就是粗中見細(xì),獷中有精,它與民,經(jīng)過藝術(shù)再創(chuàng)造,把生活中常用的器物經(jīng)過藝術(shù)加工變型,成為欣賞適用的形體,這就把原來綏棱黑陶能夠被國內(nèi)外工藝界和用戶認(rèn)可,是它有著獨特的藝術(shù)風(fēng)格特點,更是被那種雅俗共賞的所吸引的結(jié)果綏棱土陶的藝術(shù)主要表現(xiàn)在色彩、的特色，具有“黑如漆、明如鏡、硬如瓷、聲如罄”的品質(zhì)。在不同光線下能呈現(xiàn)不同色澤，在光照下,呈現(xiàn)出一種黑中透紫、微妙融匯,互相滲閃的光澤,柔而不燥,妙趣橫生,有敲之欲鳴的金屬感?？袒ň?xì)、造型優(yōu)美，有極強(qiáng)鏤的孔洞與表面的亮度反差結(jié)合到一起形成統(tǒng)一的完整藝術(shù)形體，玲瓏剔透，渾、綏棱黑陶在汲取了民間傳統(tǒng)的剪紙、木雕、年畫等工藝美術(shù)中的精華基、坊概念分2-2（1）古代唐長安城坊 黑陶之坊4個幾何圖形最后將抽象出的圖形不斷形成了能夠代表綏棱黑陶的表皮化形象。2-344子穿過，留下圓形的洞。第3章空間構(gòu)整個建筑圍繞5個陶罐子來展開在大廳里的罐子作為一個巨大的采光中庭，3- 由于建筑的周圍都是如坊一般的而在灌木的選擇上則主要根據(jù)成年植物的高度分成三大類即5m左右、3m左右和1m左右。這樣再配合上高大的喬木，就能夠營造出富有層次和韻律的豎3-2圍護(hù)結(jié)構(gòu)建筑的是大面積的玻璃還能映射表皮的紋理。第四章 國內(nèi)外近期賓館建筑發(fā)展的與趨勢。本設(shè)計最后完成了11張圖紙，每張圖紙附錄譯業(yè) EllisWoodman從他們?yōu)槲挥趥惗啬喜恳凰袑W(xué)建造的體育館的成功嘗試中看到LandroomRainhamRSPB建筑物由回收再利用的貨運(yùn)集裝箱拼裝而成，成功傳達(dá)了一種每個對他們的設(shè)計有所了解的評價者都能從頭到尾認(rèn)同的鮮活的景象。如果在另一個項目中也借用這種技術(shù)，但是以一種截然相反的表現(xiàn)目的又會怎樣呢？這次我們的位于倫DunravenStreatham2建筑師Scabal設(shè)計的總體改造60Dunraven18個月里開始動工DunravenScabal法——或許是唯一的法——來達(dá)成這種富有的要求。廢舊集裝箱市空 在歐洲的任何一個主要的港口你會發(fā)現(xiàn)只要幾千鎊你就可以挑一個經(jīng)濟(jì)原理——遑論環(huán)保理念——認(rèn)為這種技術(shù)的采用勢在必行在這育館的實例中，一個經(jīng)專業(yè)承包商估算用傳統(tǒng)方法需要花費225150以實現(xiàn)這個的。EricReynolds于1971年成立了城市空間管理企業(yè)，早期Camden碼頭的光觸裝置就是這個公司早期的成功案例。2001年，這個公司致力于首都遠(yuǎn)東地區(qū)TrinityBuoy碼頭的集裝箱城的發(fā)展。這個項目引領(lǐng)了英國建筑界對集裝箱的使用熱潮。項目的成功是Reynolds又開發(fā)出了新的計劃并成為承包界這方面的專家。Scabal使集裝箱技術(shù)成為一種適宜的建造方法的關(guān)鍵在于它類型學(xué)上的簡單幾何形態(tài)。DunravenScabal的設(shè)計引人注目之處在于他沒用使用任何式。實踐的第一步這些形象就像一幕在運(yùn)動殿堂里為了這種非競爭性活動而舉辦的另類典 經(jīng)DavidHockney設(shè)計者的某種邏輯其實是建立在一種玩笑的基礎(chǔ)上的——有些考證認(rèn)為建筑師是在人為捏造一些反構(gòu)造法則的形式。這種強(qiáng)加的變形方式一次次的出現(xiàn)在這些多種多樣的巨型集裝箱以及顏色上這種效應(yīng)的結(jié)果是復(fù)雜的它的處理與大廳地面圖案的尺度和華美程度保持了和諧一致。它有幾分像是精美的紀(jì)為了這種非競爭性活動而舉辦的另類慶典。這種有機(jī)構(gòu)成更清晰的力還表現(xiàn)在Scabal的總體規(guī)劃上，它仔細(xì)的27%的英國兒童有超重的情況存在，那么尋找一個廣泛有效的方法去推廣英國學(xué)校提供的久被忽視的活動顯得非常必要。附錄ShipCouldrecycledshipcontainersbethefutureoflow-cost,fast-buildstructures?EllisWoodmanlooksattheirsuccessfuladoptiontocreateasportshallforasouthLondonsecondaryschoolRegularreadersofthesepagesmayrememberthatacoupleofmonthsagowefeaturedabeautifullittleensembleofbirdhide,classroomandtoiletblockwhichthearchitectLandroomhasdesignedfortheRSPBatRainhamMarsh(WorksApril17).Thebuildingswereassembledfromreclaimedshipcontainersandcommunicatedavividsensethateveryjudgementthathadinformedtheirdesignwasdirectlypredicatedonthatprimarydecision.Whatthentomakeofanotherprojectthatemploystheverysametechnologybutputsittoquiteradicallypposedexpressivepurposes?ThistimeweareinthesouthLondonsuburbofStreatham,atDunraven,asecondaryschoolinlinefora￡20millionoverhaulunderLambethCouncil’sBuildingSchoolsfortheFutureprogramme.ThemasternforthattransformationhasbeendevelopedbythearchitectScabalandanticipatesthepreservationofafinegroupofsixtiesbuildingsandtherecementofmuchofthedrossbuiltsubsequently.LambethhassplititsBSFprogrammeintotwophasesandhasdesignatedtheredevelopmentofDunravenaspartofthesecondtranche,withtheeffectthatworkonsiteisonlylikelytostartinanotherHowever,inestablishingtheprogramme,thelocalauthoritydidsetasidefundingtoallowschoolsinthesecondphasetoundertakelimitedprojectsinadvanceofthatdate,wheretheymightrelievepressingissuesofcapacity.Dunraven’snewsportshallisonesuchscheme.WhenScabalwasaskedtodesignthebuildingitsoondiscoveredthatthisdeliverystructurehadgeneratedadilemma.Whiletheschoolwasadamantthat,asaseedprojectforthelargertransformationtocome,thenewbuildingshouldbeathingofarchitecturaldistinction,thepatch-and-mendfundingthathadbeenmadeavailablebarelystretchedtothemostbasicoff-theshelfshed.Thedecisiontoconstructthebuildingoutofreclaimedshipcontainersofferedoneway—perhaps,indeed,theonlyway—ofmeetingthesecompetingThemarketinreclaimedcontainers—knownas“deadheads”withinthe—isaproductofthetradeimbalancethatexistsbetweenthedeveloworldandthewest.ThenumberofcontainersbeingshippedfromtheFarEasttoEuropeissignificantlymorethanthatrequiredbythereturntrafficandtheeconomicsofshipemptiesisprohibitive.AskatanymajorEuropeanportandyouwillfindthatforacoupleofthousandpoundsyoucanpickupacontainerthatmighthaveundergonejustasinglejourneyfromShenzhenorMumbai.Theeconomic—letalonethegreen—argumentforthetechnology’sadaptationisthereforecompelling.Inthecaseofthesportshall,abuildingthatthecontractorestimateswouldhavecost￡2.25millionhaditbeenbuiltbyconventionalmethodshasbeenrealisedfor￡1.5Thatcontractorwas,however,arguablytheonlyoneinBritainthatcouldpulloffsuchacoupEricReynoldsfoundedUrbanSpaceManagementin1971,initiallyasadevelopmentfirmgearedtowardstheintroductionofshortandmediumtermusesinunderemployedsites.Theinformallight-touchoccupationofLondon’sCamdenLockandGabriel’sWharfwerebothearlysuccessstoriesforthe.In2001itembarkedonthedevelopmentofContainerCityatTrinityBuoyWharfinthefareastendofthecapital.Thisprojectpioneered，the architecturalreuseofcontainersintheUK.ItssuccessledReynoldstodevelopfurtherschemesonthesamebasisandalsototakeontheroleofspecialistcontractorforexternalprojects.Scabalchosetodevelopitsdesignindiscussionwithhisandultimaypersuadeditstonegotiatethecontractdirectlywiththefirm.Whatmakescontainertechnologyaparticularlyappropriateconstructionalmethodforasportshallisthesimplegeometryinherenttothetypology.TheDunravenhalliscircumscribedonthreesidesbyastackofcontainers,whichwereerectedinthecourseofjustafewdays.Amonopitchedroofspansthemonsteeltrusses,whiletheelevation—whichaddressestheroadtothenorthoftheschool—isformedbyawalloftranslucentolycarbonate.Theuppermostofthethreelayersofcontainersservesapurelystructuralrolebuttheloweronesareoccupied.Changingroomshavebeensitedatgroundlevel—requiringadouble-widthbandofcontainersonthesouthandeastelevations—whilethesecondlevelhasbeengivenovertoaviewinggallery-cum-gym.Sofar,sorational.Howthoughtoturnthisdumbpropositionintoaworkofarchitecture?Thereare,perhaps,twodiametricallyopposedmodesofexpressionthatimmediaysuggestthemselves:ontheonehand—andasaschemelikeContainerCityamplydemonstrates—theconstructiontechniqueoffersthepotentialforanadditive,lego-likearchitecture,inwhicharecognitionoftheindividualcontainerisupheldatalltimes.Ontheother,onemightseektoconsolidatethebuilding’sfundamentallyshed-likenature,whichistosaydramatiseitsqualitiesasasingularsculpturalmass.WhatisimmediaystrikingabouttheScabalschemeisthatitdoesneither.Theractice’sfirstmovehasbeentointroduceanintermediaryscalebetweenthatoftheindividualbuildingblockandthatofthebuildingasawholebypaintingtheoutsideofthecontainersinfourcolours—oystergrey,skyblue,midnightblueandkick-you-in-theballschartreuse.Thesebreaktheelevationsdownintodistinctzones,eachofwhichwrapsaroundoneofthebuilding’scorners.Theresultantorderoffersnoreflectionofthehall’sinternalorganisationandhasnodirectrelationshiptothesurroundingcontext,butitdoeslendthebuildingamoreapproachablescale,asifitwerecomposedoffourindependentstructuresthathadbeenclusteredtogether.Theeconomic—letalonethegreen—argumentforcontainertechnology’sadaptationiscompelling.Thesecomplicationsareexacerbatedbytheopeningsthathavebeencutintothecontainers.Thebuildingpresentstwoindependentelevationaltreatments—thatextendsarounditsexteriorandanotherthathasbeenappliedtotheinternalsurfaceswhichaddressthehallitself.Bothsetsofopeningsareofahighlyfigurativenatureand—inanamusinglylatein-the-daynodtothedemandsofcontext—havebeenconceivedas representationsofobjectstobefoundinthegardensoftheneighbouringhouses.Externallywearepresentedwithwhatare,ineffect,thegableendsoffiveenormousgreenhouses.Thismotifhasbeensubjectedtovaryingdegreesof ingparticularlymangledwhereithasbeenwrappedaroundthebuilding’scorners.Itsmostexplicitexpressionisonthenorthelevation.Here,inordertocombattheattentionsofanydubiouslurkers,theschoolinsistedontheuseofmirrorglass.Onemightthinkthisasomewhatparanoidstipulationbutitisonethatthisfull-bodiedandgleefullycontrarianarchitecturefindsnodifficultyinincorporating.AcoupleofenormousScotspinesaregrowingimmediayinfrontofthisfacadeandfeelverymuchpartofthecomposition.Theblankwallofpolycarbonate,thecartoonishmirroredopeningandthemajestictreesstakeoutdifferentpositionsonaslidingscale iontofigurationratherliketheimprobablyco-existingpartsofanearlyDavidHockneyInternally,thegreenhousesareexchangedfortrowelsandsourcematerialhasbeen edtothepointthatyoumightstruggletopickupthereferencebut,intruth,itisofnogreatconcernifthejokeislost.Thedesign’ssemiologicalfoundationsarereallysomethingofatease—analibithathasallowedthearchitecttoconcoctformsthatruncountertotheinheritedtectonicorder.Theimposedcut-outsareagainatsuperscale,spanningmultiplecontainersandindeedrunningacrossthedifferentbandsofcolour.Theeffectiscomplicatedstillfurtherbythefactthattheopeningsrevealtheinsidesofthecontainerstobepaintedindifferentcoloursfromthoseusedexternally.Thewholefeelsverymuchofapiecewiththescaleandgaudinessofthehall’sfloorgraphics.Ithassomethingofthequalityofamonumentalfriezeand,ifyoudopickupontheimagery,onethatcanbeinterpretedasacelebrationofthejoys petitiverecreationinthistempletoTheimagerycanbeinterpretedasacelebrationofthejoysofpetitiverecreationinthistempletosportAmoreexplicitacknowledgementofthelimitedappealoforganisedgamescanbefoundinScabal’smastern,whichiscarefultomakespaceforentrylevelsportssuchasskatingandFrenchcricket.Giventhat27%ofBrit