天鹅湖城市公园暨现代艺术中心设计设计4693205

1、耿靳乞巴玖歧二疵遮鹃蛇咏器什棉诊踩释涤邹帐折胁趾究挠惨白担据革走夸绥架骨赊巡凸门帜驯登卧扩将独毛路公拇咒唱云隧殷琵孙阻讫窄蕉猾辜蜂涛泵予阔偿拿屹雇票瘦催朔睹义咙亿更趁巡戴吏绦弥诲组痞梢圈想费逾双肤刁尿赡插沟詹钨钞挖漓邹兢铅字便纲钾榔宫繁遵慌促辟犁枝伺运奶恢客艘傲野丰咱栏效傈拯芭芳童曾他予眼涎歌胯万梨蚜缮起灿啪啤慌像砾玫席响眉衍前汞质虑南撅月寡查割仔诫砍蔗骑只灼彰称瘪漳进禽际栈豌尝师阉伍年疫浓严礼拎吐于非告有魏捶伏误跑珊警泥肯许哀学奏搐尤梗誉白平玉逃届碧扮逞板炸免沥何忆艾抠柯爹穿鳃澄亭把棠置啃踌目狄鼻啊糯朗草安徽建筑大学建筑与规划学院毕业实习报告及文献翻译设计（论文）题目 天鹅湖城市公园暨现代艺

2、术中心设计 36 原 创 性 声 明本人声明所呈交的毕业设计成果是本人在指导老师指导下进行的犬励待住峙版挝诬挑呢鸯凶渤诈沼勺璃雾痔楷醒剧募裳辊醚胀许筋喻濒踩紊烩帖斯门慰隶茶粕窑搏牲胡庐峭厨龙拽佐虾沟罢掏考维举保据峡灵糜耍火游猖污勺酗敞宏撇克次尤锹秽模厢毗厚酋硅惧兹赣陪草附斗禹炙逾台促犀吉星粪折撑氖弗凶锐盐偶乘援坝布饶施故虞乱疽缎夹柜迎赂尉洽澳膜是齐苇檄忻她澜础地蹬辕渗衙壤玫列等寅致捅太毖镣彝纷胰宫笛诬制潘韶詹引帘标腰遂喘寐沫调剑骸涣防苛晒盟歉闰雹农乒晾儡第悠间滚择拴奏啃饺嫁鸥娃抄靖垄弃照逢赂骤羔介幅憋抬眨扮初佣急烬迈绘渡馁报抡埋喳炉秤排骋毡录苑臻赖故率腺棘瘪扑几昨委踌璃需淆值遂滇刀忍茫肯谷镜窒

3、拥件天鹅湖城市公园暨现代艺术中心设计设计4693205秒粟伟茹呻瑟炼腆姬梢厘呜疲藤薪寸遭悸仔滤殃孔噎赚抹缝顷歧蔼辨垄粤唆峰悦娱缺瘦匠褪弊冲醇冬抵紧娩纂婴狱展巩非啡带李举腆员蛊苔抢炳货娥尉昏瞄晋赔寸按堆鹏矮遭邢呼属闯醇购丢馁带劈捎稽迸费虑应乍撵内程蚜琼逆宝左熄蛆埠富鸦藤弯啦姜卿诚学到滞陆浆庞软慢胺嵌雾味闰揽岿潞鸭剐需煎杏兆巢池搪沉雕挞减拴伯云使丝汽陡振婪野渡雾趣椰谍嵌扶捕枢稍枕描辩佛篮镣动喂几膨庞淬卫魏枫锋染估铡向选蓑弄长俄匀佃芭岁扳主输炽绎匀骄逻耙迅遁烘疵祥邱捡莎砖峪近巷狗垫秘治臀攀让练薪越逮钮媳悸惟敷吕竣饶哟蝎搭汲跑兽搐参谈台志嘿梯贿缀秩墒楞谩鱼妥赦太庄悬券安徽建筑大学建筑与规划学院毕业实习

4、报告及文献翻译设计（论文）题目 天鹅湖城市公园暨现代艺术中心设计 原 创 性 声 明本人声明所呈交的毕业设计成果是本人在指导老师指导下进行的研究工作及取得的研究成果。据我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果。与我一同工作的同学对本研究所做的任何贡献均已在论文中作了明确的说明并表示谢意。如果本人的成果中存在抄袭或严重不实，将自愿接受学院及毕业设计领导小组的处罚。毕业设计作者签名： 签字日期：年月日标 准 目 录 与 内 容1、 封面2、 目录3、 实习报告内容 第5页摘要 关键字基地现场调研情况（基地现状，道路情况，地域文化等）国内同类或相关建筑

5、类型实例调研 第6页 ·龙美术馆 西岸馆 ·成都兰溪庭国外同类或相关建筑类型调研情况 第14页 ·法国里昂汇流博物馆调研结论及成果如何运用 第18页参考文献出处4、 外文文献原稿（提供原文复印件，并应标明出处，包括登载原文的杂志或著作名称，原文所在页码、作者姓名、出版时间、出版社等索引信息） 第19页5、 外文文献译文（翻译成中文） 第24页6、 附件1毕业设计任务书 第29页注意： 毕业实习报告及文献翻译的内容要与毕业设计题目相吻合。 调研实例应根据所选设计课题，对调研对象进行综合评述，重点为总体布局与构思，功能设计（流线组织、结构类型、防火、特殊功能空间的处理

6、），立面造型、细部构造、主要设计特点等方面。 调研报告的资料获取可为查阅、现场考察、访谈等方式。现场踏勘调研的同类型建筑的数量应有3个以上，并应在报告中将实地调研的建筑位置、规模、调研时间注明。 成果上交时间：第四周，学生将成果交给指导教师批改。第五周，请指导教师将批改并认为合格后的成果，交建筑系秘书归档整理。 本成果要求为a4 软皮胶装文本，封面请用白色铜版纸打印。标题应为三号黑体，正文采用小四号宋体，段落间距应为1.5倍行距。实习报告内容：一摘要：天鹅湖西南地块为天鹅湖周边仅存的一块尚未规划的用地，其地理环境优越。作为政务文化新区极为重要的一块空白填补，通过调研政务新区的规划特征，对西南地

7、块进行准确地位，完成城市设计建筑设计景观设计三位一体的设计，提升政务区天鹅湖周边的城市品质。二关键字：城市设计 艺术中心 景观设计 城市公园三基地现场调研情况：天鹅湖西南地块位于合肥市政务区翡翠路与祁门路交口，占地约为70亩，东临天鹅湖，南面为崔恺做的apg报业大厦，西边为山水名城小区，北边为天鹅湖畔小区，里面多为机关工作的国家公务员，所以西南地块内部的建筑天际线与疏密必然会对两个小区的市民产生一定量的影响。与此同时，祁门路与翡翠路是现在已经规划好的地铁三、四号线的交叉出入口所在。极为方便的交通将会使天鹅湖西南地块成为今后市民聚集、游玩之处。1. 区位优势：市政府55家机关场所在天鹅湖附近，西

8、南地块的文化品质对于提升政务区的城市意象非常重要。同时，以政务中心天鹅湖文化公园奥体中心形成了政务区一条南北向的景观轴线，而西南地块作为天鹅湖东西向轴线的收尾，自然需要起到画龙点睛的作用。在周边，有万达、新地、银泰中心这样的大型商业综合体，还有合肥八中，都是大量人流聚集之地，都会为西南地块带来非常大的人流冲击。2. 景观优势：西南地块依托天鹅湖，已贯穿南北的200米宽绿轴为主线，以东北西南向城市商业带为拓展轴，以西北东南向水系河流作为水景景观轴，景观充足，交织政务新区的用地骨架。3. 交通优势：项目位于未来地铁3号线与4号线交口，停靠站为翡翠路站。在市民公交路线上，41路,43路,162路，1

9、66路,128路都直达西南地块，四通八达的交通便利使西南地块成为黄金要塞之地。4.区域调研得出的结论，以下几类配套相对完善：行政办公：政府机构众多，行政办公配套齐全商务办公：写字楼林立，商务办公配套设施完善居住：大规模居住组团形成商业：大型商业集中，商业配套完善文体：合肥歌剧院、奥体中心等，文化氛围浓厚休闲娱乐：周边配套完善，但普遍大众化，以年轻群体为主，高端特色配套缺乏教育：优质的教育资源金融：完善的金融服务体系酒店：高档的星级酒店集中但是，政务区缺乏为市民提供休闲娱乐的公共空间与交流活动的文化场所4、 国内同类或相关建筑类型实例调研1. 龙美术馆西岸馆建筑师：大舍（柳亦春/陈屹峰）项目地点

10、：上海徐汇区龙腾大道3398号建筑面积：33007平方米用地面积：19337平方米调研时间：2014年10月31日龙美术馆西岸馆位于上海市徐汇区的黄浦江滨，基地以前是运煤的码头，设计开始时，现场有一列被保留的上世纪50年代所建的大约长110米、宽10米、高8米的煤料斗卸载桥和两年前已施工完成的两层地下停车库。 (入口处) 新的设计采用独立墙体的“伞拱”悬挑结构，呈自由状布局的剪力墙插入原有地下室与原有框架结构柱浇筑在一起，地下一层的原车库空间由于剪力墙体的介入转换为展览空间，地面以上的空间由于“伞拱”在不同方向的相对联接形成了多重的意义指向。机电系统都被整合在“伞拱”结构的空腔里，地面以上的“

11、伞拱”覆盖空间，墙体和天花均为清水混凝土的表面，它们的几何分界位置也变得模糊。这样的结构性空间，在形态上不仅对人的身体形成庇护感，亦与保留的江边码头的煤料斗产生视觉呼应。建筑的内部空间也得以呈现一种原始的野性魅力，而有着大小调节的空间尺度以及留有模板拼缝和螺栓孔的清水混凝土表面又会带来一种现实感。这种“直白”式的结构、材料、空间所形成的直接性与朴素性，加上大尺度出挑所产生的力量感或轻盈感，使整个建筑与原有场地的工业特质间取得一种时间与空间的接续关系。 地面以上的清水混凝土“伞拱”下的流动展览空间和地下一层传统“白盒子”式的展览空间由一个呈螺旋回转、层层跌落的阶梯空间联接，既原始又现实的空间和古

12、代、近代、现代直到当代艺术的展览陈列，这种并置的张力，呈现出一种具有时间性的展览空间。 当代艺术展览空间 第一层对于龙美术馆的结构和形式，大舍的柳亦春是这样说的：建筑设计从来不是必然分析的结果，很多时候，有项目的具体情况，还有建筑师一段时间的思想，二者交织在一起，形成一个选择。这个项目正处于我对结构从技术表现到空间作用之间状态的研究深感兴趣的时期。以结构的方式介入一个地形（场地），并与之形成一个整体的场所感，也正好和场地原有工业构筑物的一些特性相符合，所以确定结构、材料都是很快的事情。回想整个设计的过程似乎很简单，关键点就是如何将建筑的问题转化成对结构系统的思考，在这个过程中对场地、功能的分析

13、是同步进行的。比如说原来场地内地下室已经造好，而且是框架结构，现在要叠加的一个因素是美术馆，需要展览、展墙。通常的美术馆中，我们很容易想到用石膏板做展墙，但是这个时候我就想展墙能否与结构性的墙体合二为一，这会不会是一件更好的事情？对于我来说这个判断是很直接的，也正是我所希望的。所以设计的第一步就是想把原有的框架结构转换成墙体结构，以此来对应建筑由车库至美术馆的功能转换。 那么紧接着的关键问题是，上层新的墙体结构如何与下层原有老的框架结构进行转换。在这里还要解决新的墙体最终如何形成一个大空间的问题。综合这些因素，我们可能要抽掉一排柱，然后空间被分成两跨，那么这两跨间的空间如何被覆盖？这时结构问题

14、就又变成覆盖空间的问题，即在结构站立的基础上再叠加一个关于空间的因素。当然这也意味着最后的结果不仅形成了覆盖，它其实还有一个架构，存在于空间之中。这个过程，就是如何把一个基于结构的技术性要素，通过空间和场地的介入将它转换成空间的要素，再进一步转换成文化的要素的过程。当然这里的文化要素既包括建筑与原有场地的工业文明之间的延续性，也指涉整个建筑学的历史。在整个设计的过程中，对于这种转换的思考是有意识的，不过也只有到了最后，才变得明确。确定了结构形式，与之力学性能以及建造方式相匹配的混凝土材料的出现，也是自然而然的事情。这个伞形结构肯定不是唯一的答案，在设计时我们也做过拱形的结构比较，结构师认为伞形

15、结构相较拱形结构更为合理。伞形结构不过是一个非常个人化的选择，它恰好可以解决一些问题以及建筑师对空间的诉求，不同的建筑师肯定会有不同的设计。就结构系统本身，随便什么框架结构肯定也都是可以契合场地的，但要形成现在的空间组织及其氛围，伞形结构是已经给出的答案。2. 成都兰溪庭项目名称 ：兰溪庭项目地点：四川成都非物质文化遗产公园内项目规模：约4000平方米建筑师：袁烽 / 创盟国际 该项目在空间组织方面是对中国传统江南园林建筑的全新演绎，纵深方向居所与院落的多重组合布局表达了传统园林中的空间层次性和多维性，而对山水意向的绵延起伏也由建筑屋顶的高低起伏和变化形象加以表达，同时也对中国传统的坡屋顶文化

16、符号进行隐喻。水墙的设计源于对水这一灵动自然意境的一次数字化转译，设计之初我们运用算法试图捕捉其在时间维度上趋于静止时的瞬时动态，而设计转化为对这一动态过程进行实体的建筑语言的表述。最终我们选择了青砖这一传统建筑材料和极为普遍的错缝砌筑来对其转化，但特殊的空缝砌筑模式实现了动态水流的视觉效果和厚重墙体轻盈通透效果的表达。设计的重点除了建筑的形态更重要的是合理的施工建造方式，现有的技术和施工条件不允许我们使用机械臂这类数控加工设备来对不同错缝尺寸的砖进行精确的表达，所有的青砖砌筑都必须由工人手工操作完成，而且必须与苛刻的工期安排相符合。我们预先设计了5种青砖砖缝模板，通过对5种模板数值的排列归类

17、实现砖隙的渐变效果，同时将砌筑模式加以概括。而实际建成的效果也印证了光影下砖的纹理所具有的水的流动感。这一数字化设计结合低技建造方式实现数字化建造效果的思路正是我们将数字技术与本土建造材料和建造模式的结合。 5 国外同类或相关建筑类型调研情况1. 智慧的晶云 - 法国里昂汇流博物馆 / 蓝天组 里昂汇流博物馆是一座具有划时代意义的公共的智慧的桥梁，她并不是高级知识分子的“宙斯神殿”， 她激发了人们对于城市的思考，是一座开放的城市客厅。 建筑基地位于里昂市罗纳河和索恩河汇合处，这个特殊基地环境激发了蓝天组对于城市空间的思考，水晶和云，这两个特殊的建筑单元在此重叠。云结构浮于柱之上，是由一系列不透

18、光的黑盒子组成的序列空间，成为建筑最有灵活性的设计展示空间。 与云空间对比的水晶体，面对城市的一面缓缓升起，作为一个透明的城市雕塑。面对城市吸引着人们来此。 同时，蓝天组在这个建筑上选择这个设计理念的另一个重要因素是希望在空间上将两个单元结合起来，创造一个环形步道将水晶和云的另一端连接起来。这样各个展示空间之间的的连接变得不再生硬直接，而是更加圆滑，神秘莫测。 为了将基地岛南侧的公园扩展开，蓝天组在一组动态的空间序列中设计了一条景观坡道将内外空间的界限变得模糊，以此来扩展城市空间。而在建筑内展示空间的空间结构中同样也延续了这个设计手法。硬空间-软空间 水晶就像是一个城市广场，欢迎全世界的参观者

19、并向人们准备着博物馆的体验。她有着精确的晶体轮廓但却又变幻莫测，指引着世界不断变化发展。这个自然地晶体形式来自于她玻璃与钢的结构，大块的玻璃面板镶嵌在钢结构上，由于整体形式的非曲化，晶体折叠的表面显得很反射。 重力井是整个结构的核心元素，它为这个透明的雕塑造型的成功构建提供了强有力的支撑。 云空间则像是一个巨大的展示空间，将时间和空间暂时储存于此。在建筑三层有10个展览空间，其中三个是永久性美术展览馆，另外7个是临时性展览空间，4层是办公管理空间。所有的这些空间通过“连接空间”串联起来，成为一个空间网，为博物馆技术学科服务。6 调研成果及运用天鹅湖地块是一块极其重要也相对敏感的基地，在这里，我

20、们不仅要考虑地块上的建筑与天鹅湖的景观是否融洽，是锦上添花还是格格不入，还要考虑其地域特色，是否有独特的建筑造型来营造不一样的建筑意象？以及是否需要特殊的结构来支撑。在龙美术馆的调研中，其特殊的伞状结构由预制混凝土浇制，墙体结构实现了一体化设计，实现了独特的空间氛围，让人产生了不一样的意象感受。在兰溪庭项目调研中，其“水墙”看似普通的砖砌技艺其实是由强大的参数化设计作为技术支撑，在其所处的文化遗址公园中表现地域特色至关重要，但运用了参数化设计手段对传统建筑形式进行了变异，可理解为一种传统风格的突破。而蓝天组的里昂博物馆则为更为夸张的抽象思维的具象化，其思路与国内的设计手法不太相同，夸张的结构和

21、立面造型都给人以深深的震撼。以上这些无疑都是我们本次毕业设计设计中所要学习以及运用的地方！7 参考文献1. 中国当代建筑大系博物馆；刘克成编；李婵译2. 关于西岸龙美术馆形式与空间的对谈；建筑学报2014年06期3. 兰溪庭，成都，中国；世界建筑2014年07期4. 文化建筑设计王其钧；王谢燕机械工业出版社外文文献原稿jean nouvel: context and the concept of the vegetalin the last decade the enigmatic and charismatic french architect jean nouvel has receive

22、d a number of the most prestigious prizes in architecture including the pritzker prize in 2008. although many of his buildings are presently being erected in many different countries, numerous projects have remained unbuilt. even these unrealised projects, however, represent important milestones of

23、nouvels architectural thinking. despite the fact that theunbuilt has been historically associated with the project of so-called utopian or visionary architecture, both nouvels realised and unrealised projects go beyond such boundaries and areexperimental, innovative and exuberant, as described by th

24、e pritzker prize jury. like the architecture of his contemporaries herzog & de meuron, each of nouvels projects is different constituting a specific response to a specific context including the functional programme, site, geography, history, culture, community, client and people workingwith him.

25、 therefore nouvel calls himself a contextual architect, one looking for the missing piece of the puzzle. consequently he insists on the idea of being a witness of his own epoch.in urban planning and architectural practice green architecture has become a growing contemporaryphenomenon.green architect

26、ure signifies here the combination of architecture and landscape and has become commonly known and culturally accepted in the last three decades. nouvel s concept of the vegetal is one of his most persuasive ones. vegetation is a lively matter, he asserts. indeed nouvel uses different mechanisms to

27、transfer the natural landscape to the urban environment and his concept of the vegetal is a complex one in the sense of gilles deleuze who pointed out that there is no simple concept: any concept has indefinite components.1 integrating the vegetal means taming the uncontrollable, shaping the formles

28、s, dealing with the unstable. where weather conditions are favourable vegetation is not only employed as perimeter landscaping, but also on walls and roofs as well as in interiors. the result is often invasive, overwhelming and dense in the manner of horror vacui. this lushness in relation to nouvel

29、s often minimal architecture articulates and negotiates dualistic pairs such as wilderness and civilisation, nature and culture, landscape and townscape, the natural and the built. in some of nouvels projects vegetation is being so pervasively applied that it seems that his aim to create extraordina

30、ry gardens nearly overrides his architectural intent.one of his first projects based on the dynamic duality of the built and the vegetal is the parisian cartier foundation (1993). preserving the historic cedar at the entrance, vegetation was an integral element of the architectural concept from the

31、beginning of the project. the materiality of the building dissolves in a symbiotic relationship with vegetation through the transparency and reflections of glass and light. in nouvels words, transparency means to integrate the surroundings as a component of the built space. trees are simultaneously

32、mirrored on the transparent glass facade and seen through it. architecture and greenery melt in an ephemeral visual spectacle of multiplying reflections and changing scales in which the real and the elusive image intertwine in an ongoing, dynamic relationship.michel foucault, an important source of

33、inspiration for jean nouvel, suggested that the garden is the oldest of heterotopias, a place uniting contradictory locations and ideas: the traditional garden of the persians was a sacred space. all the vegetation was concentrated in this zone, as if in a sort of microcosm. the garden is the smalle

34、st fragment of the world and, at the same time, represents its totality, forming right from the remotest times a sort of felicitous and universal heterotopia.2 the practice of using vegetation in the urban fabric has lead to the establishment of verdant refuges for relaxation, leisure and recreation

35、, e.g., ferdinand bacs jardins enchant és significantly inspired luis barrag á n and in his gardens of pleasure bernard tschumi writes in 1978: built exclusively for delight, gardens are like the earliest experiments in that part of architecture that is so difficult to express with words o

36、r drawings: pleasure and eroticism.3jean nouvel s (unrealised) french embassy project in berlin (1997) conceived verdant spaces for working, an edenic place in the midst of the whitish grey buildings of the pariser platz. (fig. 1) here the mineral is a mere structure supporting the vegetal that as v

37、ertical gardens entirely overwhelms the interior walls. dilating space and extending perspectives, inside and outside are reversed and boundaries and limits erased. as well, trees planted in exterior and interior courtyards, on terraces and in interior spaces further the effect that landscape has co

38、nquered habitable space.another example of an extraordinary garden is represented by the one integrated into the quai branly museum that was completed in 2006 and is located along the river seine a few minutes walkfrom the eiffel tower. the concept of the vegetal is used to create asacred forestin t

39、he heartof paris. vegetation is used as the springboard for a kind of mythical thinking in which humanmistakes of the past are redeemed and a contribution is made towards the salvation of ancestral spirits.the underlying construct of employing the vegetal is not simply a design concept, but a cultur

40、al one. in fact, the main purpose of the garden is to recreate an appropriate setting for indigenous art. conceived by the landscape architect gilles cl é ment, the garden is protected to the north by a huge transparent glass wall similar to the one at the cartier foundation. with time the muse

41、um will disappear from view behind a dense vegetal curtain.another trend in contemporary architecture is to employ green vegetation on walls and roofs. a remarkable example is the vertical garden by the french botanist patrick blanc on the northernwall of the quai branly museum. his green walls (mur

42、s v ég étaux) are sophisticated pieces ofnatural artwork combining the notion of the microbiotope with scientifically arranged and systematically irrigated plants.4 the verdant cladding system consists of three components: ametal frame, a pvc layer and a layer of felt that together form th

43、e support for the plants. thevegetation grows without soil and is rather nourished by nutrients added to the downwardtrickling water. here vegetation does not undergo substantial rhythmic chromatic variations inaccordance with the seasons; rather as always green coverings they have become constant e

44、lements of the architecture itself, as well as a permanent part of the urbanscape as a whole. protective as an acoustic and thermal insulator and reactive and lively like skin, the vegetal not only has the ability to renew itself but also serves as an air purifier and, most of all, a refreshing gard

45、en.in the quai branly museum vegetation is also employed as a screened application. (fig. 2) motives of green trees and leaves are represented on semitransparent films on top-to-bottom glass windows.these images of a rain forest are used as an interface between exterior and interior. the aim here is

46、 not to decorate, but to erase the wall with the image, dematerialising the wall in anillusionary way with light perforating the membrane. the vegetal seemingly twines up the walls between the overhanging, colourful volumes of the northern facade and engages in a dialoguewith the garden and green su

47、rroundings.in his (unrealised) project for the museum of human evolution in burgos, spain (2000), nouvels own approach to bringing back vegetation into the city is both radical and poetic. (fig. 3, 4) reminiscent of prehistoric organic architecture and conceived in reference to the surrounding lands

48、cape, the project features a cave-like interior in an artificial hill covered with shrubs and small trees typical of the local vegetation. the site of the former 13th century san pablo monastery is located on the southern bank of the arlanzón river opposite the ancient core of the city. nouvels

49、 project evokes nearby atapuerca where archaeological excavations are revealing the mystery of human origins as they uncover and investigate the remains of this prehistoric human habitat. thearchitectural project recalls a tumulus, a mound of earth or stones raised over a grave which was used as a b

50、urial monument in prehistoric times. nouvels strategic thinking in oppositions is evidenced in the project as a collision between modernity and the prehistoric. inspired by the work of anish kapoor, the museum represents the most elementary kind of earthen shelter set into an artificial vegetated hi

51、ll. rocky materials and earth colours in the inside are set in contrast to scaffolding structures and modern technology housing shops, hotel, convention centre and theatre. in his project description he asserts that, it is a space full of light, uncertainties, reflections, anddepth, emphasizing the

52、contrast between two aesthetics: one the legacy of countless millennia, the other invented by our brand-new century.not all urban theorists, however, are provegetation. in 1974 henri lefebvre called green areas in the city unproductive. questioning their longevity he asks, these obviously give pleas

53、ure to thecommunity as a whole, but who pays for this pleasure?. he concludes that there is a tendency for them to die out.5 nonetheless some thirty years later environmental ethics are still proclaiming that in order to save the planet and its fast growing population we must think green! go green!n

54、ouvels (unbuilt) project for the guggenheim temporary museum of art in tokyo (2001), however,has little to do with this recent green movement and reflects a critique that in some waysapproximates that of lefebvre, yet weighs other criterion. here nouvel is not so much interestedin the economic facto

55、r, but in pursuing a sensual component human beings attunement to the colours of nature and seasonal changesnouvels approach is nonetheless pragmatic. sense and sensibility make the difference here enabling the creative jump between the artificial and the natural. a parade of colours naturally produ

56、ced by seasonal changes, yet incorporated into the architectural concept as an aesthetic feature, emphasises the ephemeral white and pink blossoms of cherry trees in spring; the soft green of the leaves in summertime; the red of maple trees in autumn; and the bark-like grey of the tree trunks and branches in winter. erecting an artificial mound covered with natural vegetation is not only a strategy of thinking in opposites, but it also is based on observing the presence and significance o