摘要
在委托方与建筑师良好的互动关系之下,一种“壮美学”成为伴随着建筑师早期构思的潜在因素。从美学来到设计,文章首先聚焦于吉首美术馆在“博物馆-桥”类型上所实施的场地策略。此外,基地选址令该建筑在结构上须将混凝土桥与钢桥在垂直方向上叠加,这增加了结构设计的难度。通过以“整合式结构设计”作为核心词汇,文章分析该作品在结构选型及优化过程里的创新点及细节,并评述它对中国当下建筑实践的意义。
In a good interrelation of client-architect,an aesthetics of heaviness seems to emerge as a lurking force beneath the preliminary design.In the first part,this paper dissects the design strategies in the siting of Jishou Art Museum as a building type of museum-bridge.It increases the design difficulty when the two bridges,one in concrete and the other in steel,find themselves to be put overlapped vertically.By adopting Integrated Structural Design as a core concept,this paper analyzes the innovations and details in the selection and optimization of structures,and reviews its role in the practical circumstance in China.
出处
《时代建筑》
2019年第6期64-71,共8页
Time + Architecture
基金
科技部“十三五”重大专项课题“工业化建筑一体化标准化集成设计规则研究”(2016YFC0701501-1)
关键词
壮美学
整合式结构设计
博物馆-桥
风土建筑
系杆拱桥
Aesthetics of Heaviness
Integrated Structural Design
Museum-bridge
Vernacular Architecture
Tied-arch Bridge
