建筑裝飾活動(dòng)在我國是一項(xiàng)既古老又新興的活動(dòng)。早在人類開始有建筑活動(dòng)的時(shí)候就有了建筑裝飾活動(dòng)，新中國成立以后，隨著我國經(jīng)濟(jì)的騰飛，當(dāng)代的建筑裝飾活動(dòng)日益繁榮，并逐漸形成了一個(gè)獨(dú)立的行業(yè)。下面是學(xué)習(xí)啦小編帶來的建筑類文章中英文對照，歡迎閱讀!

　　建筑類文章中英文對照1

　　Ecological building and rather well-known foreign architects

　　Abstract Generally stating the

　　concept and the expression of ecological buldings and comparing Thomas Herzog and Norman Foster'stheories and works of ecological buildings to learn and acknowledge ecological buildings，this articIe wants to stimuIate Chinese architect s’ attention and consideration of ecological buildings by the Outstanding achievement of the two masters.

　　Key Words Thomas Herzog，Norman Foster， EcologicaI building， Expressjon form of ecological building，Theory Of ecological bullding.Ecological esthetic

　　Now, with the people continue to enhance the prevention of environmental pollution and maintaining ecological balance awareness, as well as urban greening, increasing development, to create low energy, sustainable development of eco-building environment of the new building research, more and more attention and respected. So, what kind of building could be called eco-buildings?

　　The concept of eco-building The so-called eco-building, according to the local natural environment, the use of the principle of ecology, building technology, science and other relevant subject knowledge, reasonably arrange and organize the relationship between buildings and other relevant factors in the field and the environment form an organic combination ofoverall, and suitable for human dwelling. Ecological building must meet the following four points: first, to be coordinated with the surrounding environment, and has protective effects on the surrounding ecological environment; buildings must not be on the natural environment caused by pollution or destruction of buildings within the usercan better to enjoy nature and feel that conferred comfortable and pleasant;The interior design should try to return to nature, such as natural lighting,natural ventilation, use of solar energy, the ideal indoor green; Fourth, a variety of substances, the source within the building systems can be orderedcycle of conversion. To sum up is to achieve respect for the environment andreturn to nature Manifestations of ecological building.

　　For the above definition, the present ecological architecture instance,manifestations of ecological building can be summarized as follows:

　　2.1 building energy efficiency

　　View to the current architectural trend, low-power has become one of theimportant symbol of ecological building. The more common way to solar, wind, hydro, geothermal and other non-polluting energy, directly or throughtechnology transfer, building use form, to help the building to reduce energy consumption in lighting, ventilation, heating, etc..

　　2.2 Building pollution prevention and control

　　Pollution prevention and control of the building is an important part of the ecological construction. The core issue of environmental protection has always been one of the waste problem. People's concept of pollution controlto focus only on production, the life process in sewagmagradually turned to the building from construction to operation andmaintenance of pollution control in the process.

　　2.3 building re-use resources

　　In the entire world's energy consumption 50% in building construction,maintenance and use of consumption, so efficient use of resources,recycling and reduce the impact on the natural environment is the construction of resource use in ecological building to be rapidly improving link.

　　In recent years, the emergence of ecological building materials ③ alleviatethis problem. First of all the main characteristics of saving resources and energy, followed by reducing environmental pollution, and finally the easyrecovery and recycling.

　　Above discussion, a certain understanding of the ecological building.However, in order to further study the ecological building, is not enough torely on theoretical explanations, we need to analyze some examples, theory and practice, scientific research and understanding of ecological building.Below through the analysis and comparison of eco-building ideas and works of two masters (Thomas Herzog and Norman Foster), to further understanding and study of ecological architecture, and learn from themaster of thought and practice nutrition, explore the development and prospects of ecological construction in China.

　　3.Thomas Herzog

　　Thomas Herzog is a perfect combination of technology and the arts, have a deep sense of mission at the same time on the ecology and environment of the German masters of architecture. His architectural works have a high level of technology, the essential meaning of his work lies in its ecological concern, not only in his design, in the course of teaching, often exhibitions, a large number of works, in cooperation with other architects, he personally.He goes beyond the paradigm of modern architecture, and replaced with more eco-dumping Value orientation, and this orientation is bound to replace the old paradigm.

　　3.1 Thomas Herzog, ecological building thought

　　Thomas Herzog rarely impose their own creative aspirations on the environment above, but to speculate and listen to the change process and the cycle of the ecological environment, the spirit of participation and cooperation to complete his work. His ecological building human and artificial matter to a natural and man-made natural cordial and harmonious situation. He always adhere to the principle of "from ecology to architecture, from technology to nature", he has eco sublimated into a mental and spiritual, and throughout his life, the building design process.

　　Thomas Herzog's design is not considered an isolated internal and external form, on the contrary, his designs expanded to all aspects of the built environment and the relationship between the shape. In addition, he attaches great importance to work closely with other professionals to give greater freedom of architectural design activities through the development of new materials, new components, the new system and appropriate design tools, and ultimately to achieve the unity of the building and the natural environment coordination, as well as building its own sustainable development.

　　Thomas Herzog in the architectural activities in addition to transport

　　In a variety of new materials, new components, the new system, has been updated in the research and development, more ecological, more reasonable materials, components and systems. Such as: Peituo Kaposi external wall system, Fischer facade assembly system, solar grid system, and so on. Thomas Herzog is more concerned about the accuracy and efficiency of the buildings in harmony with their surroundings on the basis of their own energy-saving technology

　　Thomas Herzog rarely own creative desire to impose. Architectural detail through carefully designed to improve resource and energy use efficiency, and reduce the cost of non-renewable resources to focus on the ecological environment.

　　Thomas believes that architects should take advantage of the technology, because of high efficiency by using much less material than conventional practice materials to meet the same functional requirements. Of course, the introduction of new technology, they must be correct and proper. He also is very concerned about the flexibility of the design flexibility and architectural elements, not only emphasizes the flexibility of the building function, but also stressed that the flexibility and versatility of the architectural details.

　　4.1 Norman Foster ecological building thinking

　　The introduction of some of the ecological building exist today, and many architects of ecological building creative ideas, the vast majority focused on the use and adaptation of the material aspects of the construction of the external environment, such as solar energy, use of groundwater. These mostly belong to the understanding and use of building physics. Norman Foster building constructed as a space and place is established not merely meet the physical meaning of comfort should be a higher level of development to meet the cultural needs of the people, aesthetic orientation.His concern for the environment can be seen from the London Guildhall,and the transformation of modern technology and aesthetic orientation, theperfect combination of ecology and art is the perfect embodiment of a new aesthetic - Ecological Aesthetics.

　　In addition to the above concerns, Norman Foster also paid great attention to micro-climate inside the building, he can focus on buildingmicro-climate specific grouped into three areas: First, a suitabletemperature and humidity (to meet the thermal comfort and health requirements); as far as possible, the most access to natural light (reducingthe energy consumption of artificial lighting); maximize natural ventilation (to reduce air conditioning energy consumption). However, under different climatic conditions different focus and approach of the above three elements. Thus, by the most efficient artificial means to achieve these objectives, or to achieve a balance between the various elements of Foster's relentless pursuit direction. In the two works in the south of France:Cary Center for the Arts and the Frederick Eustace place middle vocational schools is the full performance of his raw state climate concept. His design not only runs through the concept of ecological design, but also fully embodies the attention and respect of traditional cultural and geographical culture, compared with the past completely self-centered high-tech school ",this change is undoubtedly is very profound. It makes high-tech school "goes beyond a simple external style and step into a deeper realm. It can be said at this point he pointed out the direction for the future of high-techschool ", but also provided valuable experience for our commitment to eco-building architects in the field. 5 comparison of two masters

　　Can be seen through the eco-building ideas and works of two masters of architecture:

　　5.1 in common

　　The two masters of architecture in the field of ecological building made outstanding contributions to advocate with the new materials, new technologies, new systems and the appropriate design tools to complete their ecological construction works; emphasized in man and nature,architecture and nature harmony on the basis of up to create a morecomfortable working and living environment of mankind; for the same target from different aspects of making unremitting efforts to create a better environment to human beings, more spiritual and material wealth to leave our future generations .

　　5.2 The difference

　　Thomas Herzog in ecological architecture is mainly from the overall environment of staff (including the surrounding environment and buildingtheir own environment), and ecological building design and research; he has been emphasized from the human point of view of sustainable development, rather than short when the viewpoint of local issues; he not only cares about the past and present, he is more concerned about the future; he not only cares about the local area, but also with relevant regionaland even the future may impact the area; him more is the use of new technologies, building detail and from different disciplines collaborate to reach the building and the surrounding environment and the people and the natural harmony and symbiosis; he stressed that eco-construction is not anarchitectural form, but Ecology as an attitude and spirit throughout the design process and its life;more comprehensive and thorough research in ecological construction,ecological building design in the true sense of the truly harmony with their surroundings, and the surrounding eco-environmental protection, respect for the environment and return to nature.

　　In ecological architecture, Norman Foster mainly to meet the cultural needs of the people's, aesthetic orientation to achieve the perfect combination ofecology and art; space creation through technical support and building internal and external body to respond to nature, integration of large natural.Ecological building design and works a greater degree of purpose to reach people yearning to nature and enjoy nature, the concept of micro-ecological climate to some extent, more in line with the ecological concept of "high-tech school" building. He is the use of ecological building epidermis and flexible, applicable to the internal space between the perfect combination to achieve the building itself and the coordination and integration of the surrounding environment.

　　Conclusion

　　Eco-building ideas and works of two masters of architecture to there velation: eco-building is not a fashionable style and labels, not just a slogan. In such an economic and technological levels in China are not very advanced countries, all aspects of the construction industry should carry out ecological architectural thinking. In fact, there are some to adapt to thenatural environment, building products, such as: the cave of the northwest -pure green buildings, low energy consumption, low pollution, cool and pleasant environment, as well as a yurt in the steppes, the wind tower inXinjiang and so on. China's future construction should not blindly follow the example of all the foreign genre, this simply from the formal transfer, is not conducive to the formation of China's architectural features and is also astifle the creativity of the construction workers. As Thomas Herzog said:"We can not simply develop an ecology of international standards in different countries have different conditions at different times, or should beaccording to national circumstances."

　　China is a populous country, the state of the environment It is worrying, the relative lack of resources in China. It is not possible in a short time with the developed countries havethe technology, materials, systems, and theoretical support, which we need to proceed from reality, with the experience of other countries seeking eco-construction of roads suitable for China.

　　At present, our research, practice and understanding of the ecological building there are many deficiencies, therefore, a targeted strategy is particularly necessary. Combined with our own situation, I believe that to try from the following points: First, strengthen the propaganda of ecologicalawareness and ecological building, in order to arouse the attention of the whole people, to cultivate ecological awareness; theb organization ofecological building research institutions, ecological building and its related areas of research and development, provide strong support for the practice of Chinese architects; outline of the college of Architecture Education to increase the proportion of eco-construction of knowledge and design courses; through the establishment of mechanisms to encourage and promote the development of eco-building . Many developed countries areor have already done so, and have achieved good results.

　　References

　　Diao Wenyi. Frankfurt Commercial Bank Building. Central building, 1999 (3):48-51. Xi Yu cheng. Construction, ecological building, digital eco-building. Huazhong Architecture, 2005 (5) :68-69.

　　3 jin cheng. Ecological studies of Mistakes Architecture, 2001 (5): 18

　　4 Zheng Wei mai the ecological high-tech construction. Huazhong Architecture 1999 5 wan yuan books of contemporary Western architectural aesthetics. Nanjing: Southeast University Press. 2 () 01.

　　6 for Thomas Herzog - Architecture +technology. Li Baofeng translated Beijing: China Architecture & Building

　　Publishing House. 2003

　　國外著名建筑師的生態(tài)建筑思想比較

　　[摘要]該文通過簡要闡述生態(tài)建筑的概念和表現(xiàn)形式，以及對托馬斯·赫爾佐格和諾曼·福斯特兩位建筑大師的生態(tài)建筑思想和作品的比較，來學(xué)習(xí)和理解生態(tài)建筑，最后希望借助兩位大師的突出成就來引起我國建筑師對生態(tài)建筑的重視和思考。

　　關(guān)鍵詞:

　　托馬斯·赫爾佐格 諾曼-福斯特 生態(tài)建筑 生態(tài)建筑的表現(xiàn)形式生態(tài)建筑思想 生態(tài)美學(xué)

　　目前，隨著人們對防治環(huán)境污染和保持生態(tài)平衡意識(shí)的不斷增強(qiáng)，以及城市綠化的日益發(fā)展，創(chuàng)造低能耗的、可持續(xù)發(fā)展的生態(tài)建筑環(huán)境這個(gè)嶄新的建筑研究方向，越來越受到重視和推崇。那么，什么樣的建筑可稱之為生態(tài)建筑呢?

　　生態(tài)建筑是將建筑作為一個(gè)生態(tài)系統(tǒng)，其內(nèi)部各種物質(zhì)能源有序的循環(huán)使用，因而獲得高效率、低能耗、少污染的建筑環(huán)境，并與自然相平衡，以此達(dá)到與自然的和諧共生。本文對同樣在生態(tài)建筑方面有突出貢獻(xiàn)的兩位國外建筑師(托馬斯·赫爾佐格&諾曼·福斯特)進(jìn)行分析和比較，希望能進(jìn)一步達(dá)對生態(tài)建筑的認(rèn)識(shí)和理解。

　　1 生態(tài)建筑的概念

　　所謂生態(tài)建筑，就是根據(jù)當(dāng)?shù)刈匀簧鷳B(tài)環(huán)境，運(yùn)用生態(tài)學(xué)、建筑技術(shù)科學(xué)的原理和其他相關(guān)學(xué)科知識(shí)，合理地安排并組織建筑與其他領(lǐng)域相關(guān)因素之間的關(guān)系，使其與環(huán)境形成一個(gè)有機(jī)結(jié)合的整體，且適合人類的棲居。生態(tài)建筑必須滿足以下四點(diǎn)：第一，必須與周圍環(huán)境協(xié)調(diào)，并且對周圍生態(tài)環(huán)境起到保護(hù)作用;第二，建筑物本身絕不可對自然環(huán)境造成污染或破壞，建筑物內(nèi)部的使用者能較好地享受大自然并感受到其賦予的舒適和愉快;第三.室內(nèi)設(shè)計(jì)應(yīng)盡量回歸自然，如天然采光、自然通風(fēng)、利用太陽能、理想的室內(nèi)綠化等;第四，各種物質(zhì)、源在建筑系統(tǒng)內(nèi)可以有序的循環(huán)轉(zhuǎn)換。歸納起來也就是要做到尊重環(huán)境和回歸自然。 2生態(tài)建筑的表現(xiàn)形式

　　針對上述定義，結(jié)合目前國內(nèi)外生態(tài)建筑實(shí)例，可將生態(tài)建筑的表現(xiàn)形式歸納為以下幾點(diǎn)：

　　2.1建筑節(jié)能

　　以目前的建筑態(tài)勢來看，低能耗已經(jīng)成為生態(tài)建筑的重要標(biāo)志之一。較為常見的方式有太陽能、風(fēng)能、水能、地?zé)崮艿葻o污染能源，直接或通過技術(shù)轉(zhuǎn)換成為可被建筑利用的形式，幫助建筑在采光、通風(fēng)、采暖等方面降低能耗。

　　2.2建筑污染防治

　　建筑的污染防治是生態(tài)建筑的重要一環(huán)。三廢問題一直以來都是環(huán)境保護(hù)的核心問題之一。人們的治污觀念也從只注重生產(chǎn)、生活過程中排污的治理，逐漸轉(zhuǎn)向了建筑從建設(shè)到營運(yùn)、維護(hù)過程中的污染治理。

　　2.3建筑資源再利用

　　在整個(gè)世界的能源消耗中有50%是在建筑的建造、維護(hù)和使用中所消耗的，所以對資源的高效利用、循環(huán)利用和降低對自然環(huán)境的影響是建筑資源利用在生態(tài)建筑這一領(lǐng)域中有待迅速提高的一個(gè)環(huán)節(jié)。

　　近年來，生態(tài)建筑材料③的出現(xiàn)緩解了這一問題。其主要特征首先是節(jié)約資源和能源，其次是減少環(huán)境污染，最后是易于回收和循環(huán)利用。

　　通過以上的論述，對生態(tài)建筑有了一定的了解。然而要進(jìn)一步研究生態(tài)建筑，光靠理論闡述是不夠的，我們必須去分析一些實(shí)例，理論與實(shí)踐相結(jié)合，科學(xué)地研究和理解生態(tài)建筑。下文通過對兩位大師(托馬斯·赫爾佐格和諾曼·福斯特)的生態(tài)建筑思想和作品的分析和比較，來更進(jìn)一步地認(rèn)識(shí)和研究生態(tài)建筑，從大師的思想與實(shí)踐中汲取營養(yǎng)，探討生態(tài)建筑在我國的發(fā)展與前景。

　　3托馬斯·赫爾佐格(Thomas HerZoq)

　　托馬斯·赫爾佐格是一位將技術(shù)和藝術(shù)完美結(jié)合，同時(shí)對生態(tài)、環(huán)境等負(fù)有深深使命感的德國建筑大師。他的建筑作品具有很高的工藝技術(shù)水平，他工作的本質(zhì)意義在于其對生態(tài)的關(guān)注，這不僅體現(xiàn)在他的設(shè)計(jì)中，在教學(xué)當(dāng)中、在經(jīng)常舉辦的展覽中、在大量的著作中、在與其他建筑師進(jìn)行的合作當(dāng)中，他都身體力行。他超越了現(xiàn)代建筑的范式，并代之以更具生態(tài)傾 向的價(jià)值取向，而這種取向必然取代舊的范式。

　　3.1 托馬斯·赫爾佐格的生態(tài)建筑思想

　　托馬斯·赫爾佐格很少把自己的創(chuàng)作愿望強(qiáng)加于環(huán)境之上，而是推測和聽從生態(tài)環(huán)境的變化過程和循環(huán)，本著參與及合作的精神去完成他的工作。他的生態(tài)建筑思想是將人類和所有的人工制造物達(dá)到一個(gè)自然和人造自然的親切和睦的境地。他始終堅(jiān)持“從生態(tài)到建筑，從技術(shù)到自然”的原則，他已經(jīng)把生態(tài)升華成一種思想和精神，并以此貫穿他一生的建筑設(shè)計(jì)過程。 托馬斯·赫爾佐格的設(shè)計(jì)不僅僅考慮一個(gè)孤立的內(nèi)部工作和外在形式，相反，他的設(shè)計(jì)擴(kuò)大到對影響建筑環(huán)境的所有方面及相互關(guān)系的塑造。另外，他十分注重和其他各方面專業(yè)人士的緊密合作，通過對新材料、新構(gòu)件、新系統(tǒng)和合適的設(shè)計(jì)工具的發(fā)展給予建筑設(shè)計(jì)活動(dòng)更大的自由，并最終達(dá)到建筑與自然環(huán)境的統(tǒng)一協(xié)調(diào)，以及建筑自身的可持續(xù)發(fā)展。

　　托馬斯·赫爾佐格在從事建筑設(shè)計(jì)活動(dòng)中除了運(yùn)

　　用各種新材料、新構(gòu)件、新系統(tǒng)之外，也一直在研究和開發(fā)更新、更生態(tài)、更合理的材料、構(gòu)件和系統(tǒng)。如：佩托卡波那外墻體系、菲舍爾立面組裝系統(tǒng)、日光柵格系統(tǒng)等。托馬斯·赫爾佐格更關(guān)注的是建筑物在與周圍環(huán)境協(xié)調(diào)基礎(chǔ)上自身的節(jié)能程度、技術(shù)的精確性和高效 托馬斯·赫爾佐格很少把自己的創(chuàng)作愿望強(qiáng)加于性。通過精心設(shè)計(jì)的建筑細(xì)部提高資源和能源的利用效率，減少不可再生資源的耗費(fèi)，來達(dá)到對生態(tài)環(huán)境的關(guān)注。

　　托馬斯認(rèn)為，建筑師應(yīng)該利用高效率的技術(shù)，因?yàn)榭梢酝ㄟ^采用比常規(guī)做法少得多的物質(zhì)材料，滿足同樣的功能要求。當(dāng)然，采用新技術(shù)的前提是它們必須是正確、恰當(dāng)?shù)?。他同時(shí)非常關(guān)注設(shè)計(jì)的靈活性和建筑元素的靈活性，不僅強(qiáng)調(diào)建筑功能的靈活性，還強(qiáng)調(diào)建筑細(xì)部的靈活性和多功能性。

　　4.1諾曼·福斯特的生態(tài)建筑思想

　　在現(xiàn)今存在的一些對生態(tài)建筑的介紹以及許多建筑師對生態(tài)建筑的創(chuàng)作思路上，絕大多數(shù)集中在對建筑外部環(huán)境的物質(zhì)層面的利用和適應(yīng)上，如太陽能、地下水的利用等等。這些大都屬于建筑物理方面的理解和運(yùn)用。而諾曼·福斯特則認(rèn)為建筑作為空間的建構(gòu)和場所的確立不應(yīng)僅僅停留在滿足人的物理意義的舒適度上，而應(yīng)向更高的層次上發(fā)展，以滿足人的文化需求、審美取向等。從他的倫敦市政廳可以看出他對環(huán)境的關(guān)注以及對現(xiàn)代技術(shù)利用和審美取向的轉(zhuǎn)變，其生態(tài)與藝術(shù)的完美結(jié)合是一種新的美學(xué)——生態(tài)美學(xué)的完美體現(xiàn)。

　　諾曼·福斯特除了以上關(guān)注點(diǎn)外還十分注重建筑物內(nèi)部的微觀氣候，他對建筑微觀氣候的關(guān)注可以具體歸納為三方面：一是適宜的室內(nèi)溫度和濕度(滿足人體熱舒適及健康的要求);二是盡可能最多地獲得自然采光(減少人工照明的能耗);三是最大限度地獲得自然通風(fēng)(減少空調(diào)能耗)。但在不同氣候條件下對以上三要素的側(cè)重點(diǎn)和處理方式又有所不同。因此，通過最高效的人工技術(shù)手段來實(shí)現(xiàn)以上目標(biāo)或達(dá)到各要素之間的平衡就成為福斯特不懈追求的方向。他在法國南部的兩個(gè)作品：卡里藝術(shù)中心和弗雷尤斯地方中等職業(yè)中學(xué)就是對他生的態(tài)氣候觀的充分表現(xiàn)。他的設(shè)計(jì)中不僅貫穿著生態(tài)設(shè)計(jì)的理念，同時(shí)也充分體現(xiàn)了對傳統(tǒng)文脈和地域文化的關(guān)注和尊重，與過去的完全以自我為中心的“高技派”相比，這一轉(zhuǎn)變無疑是十分深刻的。它使得“高技派”超越了一種簡單的外在風(fēng)格而步入更深層次的境界。在這一點(diǎn)上可以說他為“高技派”的未來指明了方向，同時(shí)也為我國致力于生態(tài)建筑領(lǐng)域的建筑師提供了寶貴的經(jīng)驗(yàn)。 5兩位大師的對比

　　通過以上兩位建筑大師的生態(tài)建筑思想和作品可以看出：

　　5.1共同點(diǎn)

　　兩位建筑大師都在生態(tài)建筑領(lǐng)域做出了突出的貢獻(xiàn)，都提倡借助新材料、新技術(shù)、新系統(tǒng)和合適的設(shè)計(jì)工具來完成他們的生態(tài)建筑作品;都強(qiáng)調(diào)在人與自然、建筑與自然和諧共生的基礎(chǔ)上

　　去為人類創(chuàng)造更為舒適的工作和生活環(huán)境;都在為同一目標(biāo)從不同層面做著不懈的努力，給人類創(chuàng)造美好的環(huán)境，給子孫后代留下更多的精神和物質(zhì)財(cái)富。

　　5.2不同點(diǎn)

　　托馬斯·赫爾佐格在生態(tài)建筑方面主要是從整體環(huán)境人手(包括周圍環(huán)境和建筑物自身環(huán)境)，去進(jìn)行生態(tài)建筑的設(shè)計(jì)和研究;他一直強(qiáng)調(diào)要從人類持續(xù)發(fā)展的角度，而非短時(shí)、局部的視點(diǎn)看問題;他不僅關(guān)心過去和現(xiàn)在，他更關(guān)心未來;他不僅關(guān)心本地區(qū)域，而且關(guān)心相關(guān)區(qū)域甚至將來可能會(huì)產(chǎn)生影響的區(qū)域;他更多的是借助與新技術(shù)、建筑細(xì)部以及不同學(xué)科的協(xié)作來達(dá)到建筑物和周圍環(huán)境以及人與自然的和諧與共生;他所強(qiáng)調(diào)的生態(tài)建筑不是一種建筑形式，而是 將生態(tài)作為一種態(tài)度和精神貫穿于他的設(shè)計(jì)過程及其一生;他在生態(tài)建筑方面的研究更加全面和徹底，是真正意義上的生態(tài)建筑設(shè)計(jì)，真正做到了與周圍環(huán)境協(xié)調(diào)，并且對周圍生態(tài)環(huán)境起到保護(hù)作用，尊重環(huán)境和回歸自然。

　　諾曼·福斯特在生態(tài)建筑方面主要是以滿足人的文化需求，審美取向來達(dá)到生態(tài)與藝術(shù)的完美結(jié)合;通過技術(shù)支持以及建筑物內(nèi)部的空間創(chuàng)作和外部形體來回應(yīng)大自然、融合大自然。他的生態(tài)建筑設(shè)計(jì)和作品更大程度的是達(dá)到人對大自然的向往和享受大自然的目的，他的微觀生態(tài)氣候觀在一定程度上更加符合“高技派”建筑的生態(tài)觀。他是運(yùn)用生態(tài)的建筑表皮和靈活、適用的內(nèi)部空間兩者的完美結(jié)合來達(dá)到建筑物自身與周圍環(huán)境的協(xié)調(diào)和融合。

　　結(jié) 語

　　兩位建筑大師的生態(tài)建筑思想和作品給我們以啟示：生態(tài)建筑不是一種時(shí)髦的風(fēng)格和標(biāo)簽，也不是一個(gè)口號。在中國這樣一個(gè)經(jīng)濟(jì)和技術(shù)水平都不十分先進(jìn)的國家里，建筑業(yè)的各個(gè)環(huán)節(jié)更應(yīng)該貫徹的是生態(tài)建筑思想。其實(shí)，中國也不乏適應(yīng)自然環(huán)境的建筑精品，如：西北的窯洞——純粹的綠色建筑，低能耗、低污染、冬暖夏涼、環(huán)境宜人，還有大草原上的氈房、新疆的風(fēng)塔等等。中國的未來建筑不應(yīng)再盲目地效仿外國的種種風(fēng)格流派，這種單純從形式上的移植，不利于中國自身建筑特色的形成，對于建筑工作者的創(chuàng)造性也是一種扼殺。正如托馬斯·赫爾佐格所說：“不能簡單地制定一個(gè)生態(tài)的國際標(biāo)準(zhǔn)。不同的國家在不同的時(shí)期會(huì)有不同的條件，還是應(yīng)該根據(jù)國情去定。”我國是一個(gè)人口大國，環(huán)境狀況令人堪憂，中國的資源相對匱乏。因此，我們不可能在短時(shí)間內(nèi)擁有發(fā)達(dá)國家所具有的技術(shù)、材料、系統(tǒng)以及理論支持，這就需要我們從實(shí)際出發(fā)，借助國外的經(jīng)驗(yàn)尋求適合中國國情的生態(tài)建筑道路。

　　目前，我國對生態(tài)建筑的研究、實(shí)踐以及認(rèn)識(shí)還存在著許多不足，因此，一些針對性的相關(guān)策略的研究顯得尤為必要。結(jié)合我國自身的情況，筆者認(rèn)為可以從以下幾點(diǎn)去嘗試：一是加強(qiáng)生態(tài)意識(shí)及生態(tài)建筑的宣傳，從而喚起全民的重視，培養(yǎng)生態(tài)意識(shí);二是組織生態(tài)建筑科研機(jī)構(gòu)，進(jìn)行生態(tài)建筑及其相關(guān)領(lǐng)域的研究和開發(fā)，為中國建筑師的實(shí)踐提供有力的支持;三在高校建筑學(xué)教育的大綱中增加生態(tài)建筑知識(shí)和設(shè)計(jì)課程的比重;四是通過建立機(jī)制來鼓勵(lì)和推動(dòng)生態(tài)建筑的發(fā)展。許多發(fā)達(dá)國家正在或已經(jīng)這樣做了，并取得了很好的成績。

　　■ 參考文獻(xiàn)

　　刁文怡.法蘭克福商業(yè)銀行大廈.華中建筑，1999(3)：48—51.

　　奚于成.建筑·生態(tài)建筑·數(shù)字生態(tài)建筑.華中建筑，2005(5)：68—69.

　　3 金武.生態(tài)研究的誤區(qū)華中建筑，2001(5)：18

　　4 鄭煒邁向生態(tài)的高技術(shù)建筑.華中建筑，1999(1)：105—110.

　　5 萬書元當(dāng)代西方建筑美學(xué).南京：東南大學(xué)出版社.2()01.

　　6 英格伯格·弗拉格等著托馬斯·赫爾佐格——建筑+技術(shù).李保峰譯北京：中國建筑工業(yè)出 版社。2003

　　建筑類文章中英文對照2

　　建筑專業(yè)名詞中英文對照

　　1. acoustic design of auditorium 廳堂音質(zhì)設(shè)計(jì)

　　2. architectural ensemble 城市建筑群

　　3. boulevard 林蔭道(美)

　　4. curtain wall 幕墻

　　5. floor finishing 地面

　　6. green wedge 楔形綠地

　　7. earth construction 生土建筑

　　8. electro-magnetic shielding in builing 建筑電磁屏蔽

　　9. conurbation 城鎮(zhèn)積聚區(qū)

　　10.broadacre city 廣畝城市

　　11. insulation against air-borne sound 空氣聲隔聲

　　12. hollow bond wall 空斗墻

　　13. building complex 綜合體建筑

　　14. modular co-ordination in building 建筑模數(shù)協(xié)調(diào)

　　15. aseismic construction 建筑防震

　　16. auditorium balcony 觀眾廳挑臺(tái)

　　17. baroque architecture 巴洛克建筑

　　18. eclectic architecture 折衷主義建筑

　　19. habitable space standard 居住面積標(biāo)準(zhǔn)

　　20. illumination on building facade 建筑夜景照明

　　21. light steel construction 輕型鋼結(jié)構(gòu)建筑

　　22. building line 建筑紅線

　　23. bundle-structure construction 筒體結(jié)構(gòu)建筑

　　24. classical architectural order 古典柱式

　　25. column-and-tie construction 穿斗式構(gòu)架

　　26. corbel 疊澀(以磚或石料層層向外出跳跨空的砌筑方法，也指用此法砌筑成的構(gòu)件)

　　27. damp-proofing for outer envelope 外圍護(hù)結(jié)構(gòu)防潮

　　29. daylight calculation 采光計(jì)算

　　30. decorated wall 花墻

　　31. deformation joint 變形縫

　　32. ekistics 人類聚居學(xué)

　　33. entourage 建筑環(huán)境設(shè)計(jì)

　　34. flower bed 花壇

　　35. functionalism architecture 功能主義建筑

　　36. habitable space standard 居住面積標(biāo)準(zhǔn)

　　37. high-rise 高層建筑

　　38. housing estate 居住小區(qū)

　　39. intercities traffic 城市對外交通

　　40. plot ratio 用地容積率

　　41. post-and-lintel construction 抬梁式構(gòu)架

　　42. prefabreicated construction 裝配式建筑

　　43. quota for public open space 城市公共綠地定額

　　44. radiation-proof in building 建筑輻射防護(hù)

　　45. ramp 坡道

　　46. revetment in garden 園林駁岸

　　47. scaffolding 搭材作

　　48. simulated boat 舫

　　49. social amenity 生活服務(wù)設(shè)施

　　50. solar building 太陽能建筑

　　51. assembly hall 會(huì)堂

　　52. rucoco style 洛可可風(fēng)格

　　53. resort town 修養(yǎng)城市

　　54. sound-insulating criterion 隔聲標(biāo)準(zhǔn)

　　55. skylight 天窗

　　56. urban sewerage system 城市排水系統(tǒng)

　　57. water storage roof 蓄水屋頂

　　58. visual property of light 光的視覺性質(zhì)

　　59. space sound absorber 空間吸聲體

　　60. theory of organic decentralization 有機(jī)疏散論

　　(注：芬蘭建筑師E??沙里寧為緩解由于城市過分集中所產(chǎn)生的弊病而提出的關(guān)于城市發(fā)展及其布局結(jié)構(gòu)的理論)

　　61.column-and-tie construction 穿斗式構(gòu)架

　　62.log cabin construction 井斡式結(jié)構(gòu)

　　63.bracket system 斗拱

　　64.upturned roof-ridge 翼角

　　65.pitch and curvature of roof 舉架

　　66.tile-roofing 瓦作

　　67.orientation and levelling 取正定平

　　68.Romanesque architecture 羅曼建筑

　　69.Gothic architecuture 哥特式建筑

　　70.reinforced concrete and brick construction 磚混結(jié)構(gòu)建筑

　　71.Hippodamus System 希波丹姆規(guī)劃模式

　　注：公元前5世紀(jì)希臘建筑師希波丹姆規(guī)劃的一種以棋盤式道路網(wǎng)為骨架的城市布局形式。

　　72.new town movement 新城建運(yùn)動(dòng)

　　73.neighbourhood unit 鄰里單位

　　74.segregation green belt 衛(wèi)生防護(hù)地帶

　　75.integrated design for surgrade piping system 城市工程管線綜合設(shè)計(jì)

　　76.street furniture 城市建筑小品

　　77.cross-section of urban road 城市道路斷面

　　78.functional zoning 城市功能分區(qū)

　　79.self-waterproofing roof 構(gòu)件自防水屋頂

　　80.pitched roof 坡屋頂

　　81.multi-family building 多戶住宅

　　82.architrave 額

　　83.classical architectural order 古典柱式

　　84.skeleton construction 骨架結(jié)構(gòu)建筑

　　85.movable partition 活動(dòng)隔斷

　　86.code of thermal technique in building 建筑熱工規(guī)范

　　87.De Architectura Libri Decem 《建筑十書》(維特魯威著)

　　88.pitch and curvature of roof 舉架

　　89.criterion of permissible building noise 建筑噪聲容許標(biāo)準(zhǔn)

　　90.view borrowing 借景

　　91. joist 托梁

　　92. cast stone 鑄石

　　93. colour glazed earthenware 琉璃制品

　　94. double course glass 中空玻璃

　　95. grout 灌漿材料

　　96. prestressed strand 鋼絞線

　　97. building hardware 建筑小五金

　　98. solid-web girder bridge 實(shí)腹梁橋

　　99. cable-strayed bridge 斜張橋

　　100.combined-system bridge 組合體系橋

　　101.slab-column structure 板柱結(jié)構(gòu)

　　102.undermining method 暗挖法

　　103.shallow compaction 表面夯實(shí)法

　　104.paper wall and paper ceiling 裱糊施工

　　105.underground diaphragm wall 地下連續(xù)墻

　　106.jacking 頂升

　　107.shield method 盾構(gòu)法

　　108.reverse osmosis 反滲透

　　109.high alumina cement 高鋁水泥

　　110.lime clay foundation 灰土基礎(chǔ)

　　121.nonlinear mechanics 非線性力學(xué)

　　122.rheology 流變學(xué)

　　123.finite element method 有限元法

　　124.dead load 恒載

　　125.live load 活荷載

　　126.wind load 風(fēng)荷載

　　127.safety factor 安全系數(shù)

　　128.plain concrete structure 素混凝土結(jié)構(gòu)

　　129.prestressed concrete structure 預(yù)應(yīng)力混凝土結(jié)構(gòu)

　　130.bent frame 排架

　　111.mechanical properties of material 材料的力學(xué)性能

　　112.stress state and strain state 應(yīng)力狀態(tài)和應(yīng)變狀態(tài)

　　113.fracture mechanics 斷裂力學(xué)

　　114.principle of statical equilibrium 靜力平衡原理

　　115.principle of virtual work 虛功原理

　　116.displacement of structure 結(jié)構(gòu)位移

　　117.method of force 力法

　　118.moment distribution method 力矩分配法

　　119.influence line 影響線

　　120.statical analysis of framed structure 桿系結(jié)構(gòu)的靜力分析

　　131.shear wall 剪力墻

　　132.folded-plate structure 折板結(jié)構(gòu)

　　133.spatial grid structure 網(wǎng)架結(jié)構(gòu)

　　134.pneumatic structure 充氣結(jié)構(gòu)

　　135.slab-wall structure 墻板結(jié)構(gòu)

　　136.masonry structure 砌體結(jié)構(gòu)

　　137.engineering survey 工程測量

　　138.bulk material 散裝物料

　　139.urban topographic survey 城市地形測量

　　140.alllowable stress design method 容許應(yīng)力設(shè)計(jì)法

　　141.neibourhood 里

　　142.fortified mannor house 塢壁

　　143.screen wall 影壁

　　144.terraced building 臺(tái)榭

　　145.stone Dhanari column 石幢

　　146.niche and cabinet 龕櫥

　　147.coffer 藻井

　　148.clinker less cement 無熟料水泥

　　149.water glass binder 水玻璃膠結(jié)料

　　150.inorganic coating 無機(jī)涂料