页数：47页文件大小：2.00 MB来源： 建筑工程专业英语ppt课件
本单元以“美学设计价值”为例讨论建筑设计的价值取向，说明上世纪建筑与工业设计语汇的扩张如何带来多元审美表达，以及这些表达与艺术界发展、建筑师个人风格之间的关系，阅读材料介绍建筑模型的分类与用途。
Unit 6 建筑设计（Building Design）
One of Architectural Design Values—Aesthetic Design Values One of Architectural Design Values—Aesthetic Design Values The expansion of architectural and industrial design ideas and vocabularies which took place during the last century has created a diverse aesthetic reality within these two domains. This pluralistic and diverse aesthetic reality has typically been created within different architectural and industrial design movements such as: Modernism, Postmodernism, De constructivism, Post structuralism, Neoclassicism, New Expressionism, Super modernism etc.
All of these aesthetic realities represent a number of divergent aesthetic values, in addition to differences in general values and theories found within these movements. Some of the stylistic distinctions found in these diverse aesthetic realities reflect profound differences in design values and thinking, but this is not the case for all stylistic distinctions, as some stylistic distinctions builds on similar thinking and values.
These aesthetic values and their diverse aesthetic expressions are to some degree a reflection of the development that has taken place in the art community. In addition, these diverse aesthetic expressions are also a reflection of individual architects and industrial designers personal expression, based on designers tendency to experiment with form, materials, and ornament to create new aesthetic styles and aesthetic vocabulary.
Changes in aesthetic styles and expressions have been, and still are, both syn chronic and dia chronic, as different aesthetic styles are produced and promoted simultaneously. Aesthetic Design Values contains even values.
Text AOne of Architectural Design Values—Aesthetic Design Values
Artistic Aspects and Self-expression It is characterized by a belief that individual self-expression—orone's inner spiritual self and creative imagination, inner resources and intuition—should be utilized and/or be the base used when designing. These sentiments are closely linked to a number of artistic values found in movements like Expressionism and the avant-garde art.
Thus, this design value is closely related to abstract forms and expression, personal creative liberty, elitism and being ahead of the rest of society. Text AOne of Architectural Design Values—Aesthetic Design Values
The Spirit of the Time Design Value This design value is based on the conception that every age has a certain spirit or set of shared attitudes that should be utilized when designing. The Spirit of the Times denotes the intellectual and cultural climate of a particular era, which can be linked to an experience of a certain worldview, sense of taste, collective consciousness and unconsciousness.
Thus “form expression” which can be found, to some extent in the “air” of a given time and each generation, should generate anaesthetic style that expresses the uniqueness related to that time. Text AOne of Architectural Design Values—Aesthetic Design Values
The Structural, Functional and Material Honesty Design Value Structural Honesty is linked to the notion that a structures hall display its “true” purpose and not be decorative etc. Functional honesty is linked to the idea that a building or product forms hall be shaped on the basis of its intended function, often known as “form follows function”.
Material honesty implies that materials should be used and selected on the bases of their properties, and that the characteristics of a material should influence the form it is used for. Thus, a material must not be used as a substitute for another material as this subverts the materials “true” properties and it is “cheating” the spectator.
Text AOne of Architectural Design Values—Aesthetic Design Values
The Simplicity and Minimalism Design Value This design value is based on the idea that simple forms, i. e.
aesthetics without considerable ornaments, simple geometry, smooth surfaces etc., represents forms which are both truer to “real” art and represents “folk” wisdom. This design value implies that the more cultivated a person becomes, the more decoration disappears.
In addition, it is linked to the notion that simple forms will free people from the everyday clutter, thus contribute to tranquility and restfulness. Text AOne of Architectural Design Values—Aesthetic Design Values
The Nature and Organic Design Value This design value is based on the idea that nature (i. e.
all sorts of living organisms, numerical laws etc) can provide inspiration, functional clues and aesthetic forms that architects and industrial designers should use as a basis for designs. Designs based on this value tend to be characterized by free-flowing curves, asymmetrical lines and expressive forms.
This design value can be summed up in “form follows flow” or “of the hill” as oppose to “on the hill”. Text AOne of Architectural Design Values—Aesthetic Design Values
The Classic, Traditional and Vernacular Aesthetics Design Value This value is based on a belief that a building and product should be designed from timeless principles that transcend particular designers, cultures and climates. Implicit in this design value is the notion that if these forms are used, the public will appreciate a structure's timeless beauty and understand immediately how to use a given building or product.
This design value is also linked to regional differences i. e.
varying climate etc. and folklore cultures, which creates distinctive aesthetic al expressions.
Text AOne of Architectural Design Values—Aesthetic Design Values
The Regionalism Design Value This design value is based on the belief that building—and to some degree products—should be designed in accordance with the particular characteristics of a specific place. In addition, it is linked to the aim of achieving visual harmony between a building and its surroundings, as well as achieving continuity in a given area.
In other words, it strives to create a connection between past and present forms of building. Finally, this value is also often related to preserving and creating regional and national identity.
Text AOne of Architectural Design Values—Aesthetic Design Values
说明：源文件音标采用专用字体编码，无法无损还原，此处保留单词、词性与中文释义。
1.... different architectural and industrial design movements such as: Modernism, Postmodernism, De constructivism, Post structuralism, Neoclassicism, New Expressionism, Super modernism etc.
这句话提到了建筑设计的各个流派：现代主义，后现代主义，解构主义，后解构主义，新古典主义，新表现主义和超现代主义等，不同的流派对建筑设计产生了深远的影响。2.... but this is not the case for all stylistic distinctions, as some stylistic distinctions builds on similar thinking and values.
句中 as 引导的是原因状语从句，通常置于句首。
3.... based on designers tendency to experiment with form, materials, and ornament to create new aesthetic styles and aesthetic vocabulary.
to experiment with form, materials, and ornament 做后置定语，修饰 tendency，to create new aesthetic styles and aesthetic vocabulary 做目的状语，to 相当于 in order to.
II. Translate the follows terms into Chinese.–aesthetic reality——美学现实–architectural and industrial design movements——–建筑和工业设计运动–aesthetic expression——审美表达–individual self-expression——个体的自我表现–avant-garde art——先锋派艺术–collective consciousness——集体意识–a structure’ s timeless beauty——一种结构永不衰退的美–visual harmony between a building and its surroundings——建筑与周围环境的视觉和谐
建筑设计观之美学设计观上世纪，建筑和工业设计理念的提高及词汇的丰富在这两个领域已创造了一个丰富多样的美学现实。这种多元化的美学现实在不同的建筑和工业设计运动如现代主义、后现代主义、解构主义、后结构主义、新古典主义、新表现主义、超现代主义等中已被典型地创造出来。所有这些美学现实体现了诸多相异的美学观和差异，这些差异表现在上述运动的总体理念和理论中。美学现实中的一些风格差异也反映了设计观和设计思想的截然不同，但是，对于所有的风格，情况并非如此，因为一些风格差异是以相似的思想和价值观为基础。
此类美学观及其审美表现在某种程度上是艺术领域发展的一种反映。另外，这些多样的审美表现也是建筑师和工业设计师自我表达的一种反映，这种表达以设计师的倾向性为基础，即，他们倾向于尝试各种形式、材料和装饰以创造新的审美风格和美学词汇。不同审美风格的产生和提升是同时发生的，所以审美风格和审美表达的变化一直是共时和历时的。美学设计观有以下七种：
艺术面和自我表现这种价值观的特征是人们坚信应该利用个体的自我表现或者内在精神的自我、创造性想象、内在资源和直觉力，并/或者在设计时以此为基础。这些观点与表现主义、先锋派等运动中倡导的众多艺术观紧密相连，因此，这种设计观与抽象形式、表现方式、个人创作自由、精英意识及社会中其它超前的东西密不可分。
时代精神设计观这种设计观以此观念为基础，即每个时代都有可用于设计的特定精神和一系列共同看法。时代精神为特定时期的思想和文化风气，与一定的世界观、品味、集体意识和无意识相连。因此，在某种程度上，在某个特定时代氛围中和每代人身上所体现的“形式表达”应该表现一种与时俱进的独一无二的审美风格。
结构、功能和材料真实性设计观结构真实性与此理念相联系，即结构应体现其真实的目的而非是装饰等。功能真实性连接的理念是建筑物或产品形式的构造应以原有的功能为基础，这通常称之为“形式随功能”。材料真实性意味着材料的使用和选择应该以其特性为基础，材料的特征应影响其所构建的形式，因此，某一种材料决不能替代其它材料，因为这样会破坏材料的真实特性，并会欺骗观众。
极简派艺术设计观这种设计观认为简洁的形式，即没有大量装饰的美学要素、简单的几何形体、光滑的表面等所代表的形式更接近于“真正”的艺术，也能体现“民众”智慧。这种设计观暗示了一个人越有教养，装饰就越少。此外，还认为简洁的形式会使人远离喧闹，归于宁静。
自然有机的设计观这种设计观的思想基础是自然（所有生物有机体和用数字表示的法则等）能为建筑师和工业设计家提供用于设计基础的灵感、功能线索和审美形式，基于这种观念的设计常以灵动的曲线、不对称的线条和表现形式为特征。这种设计观可概括为“如水随形”或融为一体而非脱离整体。
古典、传统及民间风格设计观这种设计观的基础是人们坚信建筑和产品的设计应不受时间影响，可超越特定的设计师、文化和风气。在这种设计观中隐含着这样的理念，如果这些形式被采用，公众会欣赏到结构永不衰退的美并懂得如何运用既定的建筑或产品。这种设计观也与创造独特审美表达的地域差异（即不同的气候条件等）和民间文化相联系。
本土设计这种设计观的基础是建筑和产品应当因地制宜设计。此外，这也要达到建筑与周围环境的视觉和谐及取得特定区域的延续性。换句话说，这在努力创造建筑物过去和现在形式上的关联性。最后，这种设计观也常与地区和民族身份的保留及创造相联系。
Model Types Model Types Models are referred to in a variety of ways, and terms maybe used interchangeably in different settings. Although there is no standard, the definitions in the following lists are commonly used.
All of the model types discussed (sketch, massing, development, etc.) are considered to be study models, including those used for formal presentations. As such, their purpose is to generate design ideas and serve as vehicles for refinement.
They can range from quick, rough constructions to resolved models. Whatever state they are in, the term study model implies that they are always open to investigation and refinement.
Study models can be considered to belong to two different groups: primary models and secondary models. The primary set has to do with the level or stage of design evolution, and the secondary set refers to particular sections or aspects of the project under focus.
A secondary model maybe built as a primary model type, depending on the level of focus. For example, a model used to develop interior spaces would be thought of as an interior model but would also be a sketch model, development model, or presentation model, depending on its level of focus.
Reading Material Model Types
Primary Models Primary models are abstract in concept and are employed to explore different stages of focus. Sketch Diagram Concept Massing Solid/Void Development Presentation/Finish Reading Material Model Types
Secondary Models Secondary models are used particular building or site components. Site Contour Site Context/Urban Entourage/Site Foliage Interior Section Facade Framing/Structure Detail/Connections Reading Material Model Types
Sketch Models Sketch models constitute the initial phase of study models. They are like three-dimensional drawing and sketching—a medium for speed and spontaneity.
Sketch models generally are not overly concerned with craft but with providing a quick way to visualize space. They are intended to be cut into and modified as exploration proceeds.
These models may also be produced as a quick series to explore variations on a general design direction. Although many of the models shown throughout the book are produced as expressive explorations, sketch models are also valuable when built with greater precision and used to explore qualities of alignment, proportion, and spatial definition.
Reading Material Model Types
Earth Berm-house is first built on flat land or a small hill, and then buried, leaving a wall or roof open for light. Elevation al-house is built into the side of a hill with the front of the home left open.
Atrium-also called courtyard homes, the rooms are built below the ground around a sunken garden or courtyard that lets light in. Reading Material Model Types
Sketch models are generally built at relatively small scales from inexpensive materials such as chip board or poster board. Several examples of sketch models are shown, ranging from small building propositions to ideas of space and site relationships.
Reading Material Model Types
Model Types Fig. 6.1 Sketch modelⅠ
Small sketches can be made early in the design phase to explore basic building organizations and reflect general relationships of program circulation and architectural concerns. Sketch models can explore the3Drelationshipbetweenoverlappingspaces.
Reading Material Model Types
Model Types Fig. 6.2 Sketch modelⅡ
Site Contour Models Site models, or contour models, are built to study topography and the building's relationship to the site. They typically reproduce the slope of the land, or grade, by employing a series of scaled layers that represent increments of rise and fallin the landscape, as shown in Fig.
6.3. As study constructions, they can be modified to fit the building to the site, control water, and implement landscape design.
Reading Material Model Types
Model Types Fig. 6.3 Site contourⅠ
Model Types Atypical contour model displays site grades at regular intervals. Grade increments may represent anywhere from6″to5ft., depending on the size of the site and the size of the model.
Steep site contours maybe modeled as a section of property limited to the area of focus.
Model Types Fig. 6.4 Site contourⅡ
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