【七層】7000平米框架結(jié)構(gòu)教學(xué)樓（開(kāi)題報(bào)告、任務(wù)書(shū)、計(jì)算書(shū)、設(shè)計(jì)圖）
【七層】7000平米框架結(jié)構(gòu)教學(xué)樓（開(kāi)題報(bào)告、任務(wù)書(shū)、計(jì)算書(shū)、設(shè)計(jì)圖）,【溫馨提示】壓縮包內(nèi)含CAD圖有預(yù)覽點(diǎn)開(kāi)可看。打包內(nèi)容里dwg后綴的文件為CAD圖,可編輯,無(wú)水印,高清圖,壓縮包內(nèi)文檔可直接點(diǎn)開(kāi)預(yù)覽,需要原稿請(qǐng)自助充值下載,所見(jiàn)才能所得,請(qǐng)細(xì)心查看有疑問(wèn)可以咨詢(xún)QQ：11970985或197216396
xx科技學(xué)院畢業(yè)設(shè)計(jì)（論文）開(kāi)題報(bào)告表
課題名稱(chēng)
黃河科技學(xué)院建工系教學(xué)樓設(shè)計(jì)
課題來(lái)源
教師擬定
課題類(lèi)型
AY
指導(dǎo)教師
學(xué)生姓名
專(zhuān) 業(yè)
土木工程
學(xué) 號(hào)
一、調(diào)研資料的準(zhǔn)備
我上網(wǎng)查閱了大量的有關(guān)建筑方面的資料，又認(rèn)真地看了一遍以前學(xué)習(xí)過(guò)的課本，并且到工地查看一些有關(guān)教學(xué)樓的設(shè)計(jì)從而搜集了很多資料，了解了更多的框架結(jié)構(gòu)設(shè)計(jì)，框架結(jié)構(gòu)和平面布置的優(yōu)缺點(diǎn)，平面設(shè)計(jì)對(duì)房間功能的影響等。作為一座學(xué)校教學(xué)樓的設(shè)計(jì)，在設(shè)計(jì)之前應(yīng)該深入對(duì)比同類(lèi)建筑 ，調(diào)查其周?chē)ㄖ镲L(fēng)格樣式，做為框架結(jié)構(gòu)應(yīng)從整體設(shè)計(jì)，設(shè)計(jì)要滿足室內(nèi)水、電、暖、消防、抗震的設(shè)計(jì)要求，必須查看相應(yīng)的規(guī)范、標(biāo)準(zhǔn)等。
參考文獻(xiàn)：
[1] 《建筑制圖標(biāo)準(zhǔn)》GB/T50104-2001
[2] 《房屋建筑統(tǒng)一制圖標(biāo)準(zhǔn)》GB/T50001-2001
[3] 《建筑結(jié)構(gòu)荷載規(guī)范》GB/50010-2001
[4] 《建筑抗震設(shè)計(jì)規(guī)范》GB50011-2010
[5] 《建筑設(shè)計(jì)防火規(guī)范》GBJ16-87 2001版
[6] 《建筑地基基礎(chǔ)設(shè)計(jì)規(guī)范》GB50008-2002
[7] 《混凝土結(jié)構(gòu)設(shè)計(jì)規(guī)范》GB50010-2010
[8] 《民用建筑設(shè)計(jì)通則》JGJ37-87
[9] 《混凝土結(jié)構(gòu)設(shè)計(jì)》張晉元主編 天津大學(xué)出版社
[10]《混凝土結(jié)構(gòu)基本原理》張麗華主編 黃河水利出版社
[11] 《房屋建筑學(xué)》林深 付立彬主編 黃河水利出版社
[12]《結(jié)構(gòu)力學(xué)》 趙延林 邊亞?wèn)|主編 黃河水利出版社
[13] 《工程結(jié)構(gòu)抗震與防災(zāi)》李?lèi)?ài)群 高振世 張志強(qiáng) 主編 東南大學(xué)出版社
二、設(shè)計(jì)的目的與要求
畢業(yè)設(shè)計(jì)是綜合和總結(jié)大學(xué)四年的重要作業(yè)，提高學(xué)生對(duì)所學(xué)知識(shí)的綜合運(yùn)用能力，是一個(gè)理論聯(lián)系實(shí)際的工作。畢業(yè)設(shè)計(jì)要求我們?cè)趯?dǎo)師的指導(dǎo)下，熟悉相關(guān)規(guī)范，通過(guò)計(jì)算機(jī)和手算來(lái)解決相關(guān)問(wèn)題，獨(dú)立系統(tǒng)地完成規(guī)定的工程設(shè)計(jì)，為即將步入的社會(huì)實(shí)踐打牢基礎(chǔ)。
三、設(shè)計(jì)思路與預(yù)期成果
應(yīng)參觀一定數(shù)量的實(shí)際工程，了解類(lèi)似工程的最新進(jìn)展；同時(shí)搜集必要的設(shè)計(jì)規(guī)范、手冊(cè)及參考書(shū)籍，掌握autoCAD與pkpm等繪圖及結(jié)構(gòu)分析軟件的使用。要求完成建筑設(shè)計(jì)與上部結(jié)構(gòu)設(shè)計(jì)。建筑設(shè)計(jì)要滿足建筑功能、消防功能、以及其他安全方面的要求，完成建筑平面、立面、剖面等基本設(shè)計(jì)任務(wù)；上部結(jié)構(gòu)設(shè)計(jì)是畢業(yè)設(shè)計(jì)的主要內(nèi)容，要解決好結(jié)構(gòu)安全性能與建筑功能性的關(guān)系，完成結(jié)構(gòu)選型、結(jié)構(gòu)布置、梁柱板及樓梯的設(shè)計(jì)計(jì)算，并繪制相應(yīng)的結(jié)構(gòu)設(shè)計(jì)圖。
在認(rèn)真貫徹“安全，適用，美觀”的前提下，通過(guò)導(dǎo)師講解、網(wǎng)上查資料、向?qū)熥稍?xún)等方式完成設(shè)計(jì)。設(shè)計(jì)前期的主要準(zhǔn)備：（1）熟悉設(shè)計(jì)任務(wù)書(shū)：建筑的目的，主要功能，以及一些其他的具體要求。（2）搜集必要的設(shè)計(jì)原始資料：地質(zhì)水文資料、氣象資料、與設(shè)計(jì)相關(guān)的國(guó)家及所在地的定額標(biāo)準(zhǔn)規(guī)范等，（3）學(xué)習(xí)相關(guān)的國(guó)家法律及規(guī)范：抗震、防火方面的具體要求以及采光、通風(fēng)的設(shè)置方法。
預(yù)期成果：
1、 設(shè)計(jì)任務(wù)書(shū)、開(kāi)題報(bào)告、設(shè)計(jì)說(shuō)明書(shū)
2、 圖紙
建筑施工圖包括設(shè)計(jì)說(shuō)明、門(mén)窗表、建筑平面圖（首層、標(biāo)準(zhǔn)層與頂層）；立面圖、剖面圖(見(jiàn)樓梯)、樓梯平面及剖面圖、節(jié)點(diǎn)構(gòu)造詳圖。
結(jié)構(gòu)施工圖應(yīng)包括設(shè)計(jì)說(shuō)明、結(jié)構(gòu)平面施工圖、框架施工圖（平法、畫(huà)一框架）、基礎(chǔ)施工圖、樓梯平面及配筋圖、節(jié)點(diǎn)詳圖。
3、 文獻(xiàn)綜述（不少于3000字）、文獻(xiàn)翻譯（不少于3000字）
四、任務(wù)完成的階段內(nèi)容及時(shí)間安排
1、1-4周完成開(kāi)題報(bào)告、文獻(xiàn)翻譯、文獻(xiàn)綜述等，并完成初步設(shè)計(jì)。
2、4-11周完成整體設(shè)計(jì)，撰寫(xiě)說(shuō)明書(shū)等；
3、12周修改論文，資格審查等；
4、13周進(jìn)行畢業(yè)答辯。
五、完成設(shè)計(jì)（論文）具備的條件因素
設(shè)計(jì)有關(guān)的規(guī)范標(biāo)準(zhǔn)可以去查相關(guān)的國(guó)家規(guī)范手冊(cè)等，還可以與同學(xué)商量討論一些問(wèn)題的最優(yōu)的解決方案，也可以向指導(dǎo)老師咨詢(xún)。畢業(yè)設(shè)計(jì)主要的參考資料是：建筑結(jié)構(gòu)荷載規(guī)范、建筑結(jié)構(gòu)抗震規(guī)范、混凝土結(jié)構(gòu)設(shè)計(jì)規(guī)范、辦公樓設(shè)計(jì)、工民建畢業(yè)設(shè)計(jì)指導(dǎo)等參考資料，運(yùn)用一些建筑常用軟件如CAD 、pkpm等。
．
指導(dǎo)教師簽名： 日期：
課題來(lái)源：（1）教師擬訂；（2）學(xué)生建議；（3）企業(yè)和社會(huì)征集；（4）科研單位提供
課題類(lèi)型：（1）A—工程設(shè)計(jì)（藝術(shù)設(shè)計(jì)）；B—技術(shù)開(kāi)發(fā)；C—軟件工程；D—理論研究；E—調(diào)研報(bào)告
（2）X—真實(shí)課題；Y—模擬課題；Z—虛擬課題
要求（1）、（2）均要填，如AY、BX等。
xx科技學(xué)院畢業(yè)設(shè)計(jì)(文獻(xiàn)綜述) 第 6 頁(yè)
土木工程施工技術(shù)的發(fā)展
隨著人類(lèi)的產(chǎn)生，土木工程就已經(jīng)產(chǎn)生，從開(kāi)始對(duì)房屋的追求只限于遮風(fēng)擋雨到現(xiàn)在追求藝術(shù)、安全、多功能，這其中有著非常漫長(zhǎng)的發(fā)展歷程。隨著人們對(duì)房屋的要求不斷提高，施工技術(shù)也在不斷的提高。土木工程的發(fā)展也依賴(lài)于其他自然科學(xué) 的發(fā)展。新石器時(shí)代到文藝復(fù)興時(shí)期，由于這期間科學(xué)發(fā)展相對(duì)滯后，土木工程的發(fā)展也很緩慢。然后在文藝復(fù)興之后，由于自然科學(xué)突飛猛進(jìn)的發(fā)展，也帶動(dòng)了土木工程實(shí)現(xiàn)了歷史性的跨越，走上了飛速發(fā)展的道路。到今天土木工程已經(jīng)發(fā)展成一門(mén)大型綜合性的學(xué)科，并出現(xiàn)了很多的分支。當(dāng)然土木工程的快速發(fā)展也得益于社會(huì)經(jīng)濟(jì)的繁榮與科技的進(jìn)步。同時(shí)施工技術(shù)也得到了跨越式的發(fā)展[1]。
一、土木工程的概念及領(lǐng)域
土木工程是建造各類(lèi)工程設(shè)施的科學(xué)技術(shù)的總稱(chēng)。它包括內(nèi)容廣泛，既包括工程建設(shè)的對(duì)象如房屋、道路、橋梁、鐵路、運(yùn)輸管路、隧道、運(yùn)河、堤壩、港口、飛機(jī)場(chǎng)、電站、給排水及防護(hù)工程；也包括材料、設(shè)備、勘探、施工、保養(yǎng)維修等技術(shù)活動(dòng)。其主要的學(xué)科分類(lèi)有：巖土工程、結(jié)構(gòu)工程、供熱、供燃?xì)?、空調(diào)及通風(fēng)工程、防災(zāi)減災(zāi)工程、橋梁與隧道工程[2]。
二、土木工程施工的特點(diǎn)
一般來(lái)說(shuō)，土木工程施工具有以下特點(diǎn)：固定性：固定性指施工地點(diǎn)固定，選定施工地點(diǎn)后一般不會(huì)有太大的變動(dòng)；流動(dòng)性：流動(dòng)性指施工隊(duì)伍的流動(dòng)性及同一個(gè)工程工人作業(yè)空間的流動(dòng)性；多樣性：多樣性是指不同的工程其施工技術(shù)及施工方法也是不同的;協(xié)作性和綜合性：工程的建設(shè)需要建設(shè)單位、施工單位、監(jiān)理單位、設(shè)計(jì)單位及材料供應(yīng)商等多家單位協(xié)作配合完成，各單位 的配合協(xié)作對(duì)施工的影響很大，同時(shí)每個(gè)工程都有很多分部工程組成，涉及很多專(zhuān)業(yè)，綜合性較強(qiáng)；復(fù)雜性和易受干擾性：工程建設(shè)的技術(shù)復(fù)雜，管理難度大，易受氣候，周?chē)h(huán)境等干擾，一般投資大，生產(chǎn)周期長(zhǎng)。
三、傳統(tǒng)施工技術(shù)
土木工程傳統(tǒng)施工技術(shù)貫穿與整個(gè)工程建設(shè)中，方法也多種多樣，隨著工程結(jié)構(gòu)，材料等的不同而不同，下面通過(guò)地基基礎(chǔ)施工、混凝土結(jié)構(gòu)施工和鋼結(jié)構(gòu)施工進(jìn)行介紹[3]。
1、 地基基礎(chǔ)施工
樁基礎(chǔ)是使用比較廣泛的基礎(chǔ)形式，在設(shè)計(jì)時(shí)分為兩種極限狀態(tài)設(shè)計(jì)，即承載力極限狀態(tài)和正常使用極限狀態(tài)。根據(jù)建筑規(guī)模、功能特征、對(duì)差異變形的適應(yīng)性等要按照不同的設(shè)計(jì)等級(jí)進(jìn)行施工，具體參照《樁基施工規(guī)范》[4]。按承載性狀分樁基可以分為摩擦型樁和端承型樁，摩擦型樁又分為摩擦樁和端承摩擦樁，端承樁又分為端承樁和摩擦端承樁。摩擦樁在承載極限狀態(tài)下，樁頂豎向荷載是有樁側(cè)摩阻承擔(dān)的，端阻力可以忽略。端承摩擦樁在極限狀態(tài)下，樁頂豎向荷載是有樁側(cè)阻力承受主要部分。端承樁在極限狀態(tài)下，樁頂豎向荷載由樁端阻力承受，樁側(cè)阻力可以忽略不計(jì)。摩擦端承樁是由端樁阻力承受主要荷載。按照成樁方法分還可以分為非擠土樁、擠土樁和部分?jǐn)D土樁三種，根據(jù)制作材料分也可以分為混凝土樁、木樁、鋼樁等。不同類(lèi)型和不同材料的樁施工方法也不相同，在樁基礎(chǔ)中首先應(yīng)先選擇樁型[15]。當(dāng)前的土木工程施工中往往出現(xiàn)地基不能滿足土木工程需要的承載力和變形能力的要求，施工時(shí)要采取正確的方法，以防路基或建筑物地基失穩(wěn)或嚴(yán)重下沉，一旦出現(xiàn)地基失穩(wěn)造成建筑物不能使用的要合理的進(jìn)行加固[16]。
2、 混凝土結(jié)構(gòu)施工
混凝土結(jié)構(gòu)施工有預(yù)制式和現(xiàn)澆式。預(yù)制混凝土施工方便快捷能縮短工期，因?yàn)闃?gòu)件可以提前預(yù)制好；現(xiàn)澆式具有結(jié)構(gòu)完整性和方便澆筑各類(lèi)復(fù)雜構(gòu)件等優(yōu)點(diǎn)，目前現(xiàn)澆法使用的較為廣泛[5]。
3、 鋼結(jié)構(gòu)的施工
鋼結(jié)構(gòu)的施工方法主要是吊裝，在施工前要切實(shí)做好準(zhǔn)備工作，包括場(chǎng)地清理、道路修筑、基礎(chǔ)準(zhǔn)備、構(gòu)件運(yùn)輸、檢查裝備等，鋼構(gòu)件的運(yùn)送先后順序要按照施工順序進(jìn)行，構(gòu)件運(yùn)到現(xiàn)場(chǎng)后應(yīng)盡量存放在起吊位置處以方便以后施工，吊裝前應(yīng)核準(zhǔn)構(gòu)件標(biāo)號(hào)、位置，并清潔表面，摩擦面要保持干燥清潔。鋼結(jié)構(gòu)施工中主要的連接方法由螺栓連接、焊接等，鉚接因?yàn)殪`活性的原因逐漸被淘汰[6]。
四、新型施工技術(shù)
1、 深基坑施工技術(shù)
深基坑施工技術(shù)是為了保證地下結(jié)構(gòu)的安全以及保證周?chē)h(huán)境的安全[7]，而采取的對(duì)周邊環(huán)境的加固、支擋措施。隨著我國(guó)高層建筑的普及以及城市地下空間 的開(kāi)發(fā)的增加，深基坑技術(shù)顯得越來(lái)越重要。目前已經(jīng)研制出了一種適合深基坑支護(hù)設(shè)計(jì)的軟件，而其費(fèi)用高經(jīng)濟(jì)性差尚未得到普及，我想在不久的將來(lái)必有更好更適合的方案帶動(dòng)深基坑技術(shù)的發(fā)展。
2、灌注樁施工技術(shù)
灌注樁施工是在施工現(xiàn)場(chǎng)的樁位處用機(jī)械或人工成孔，然后在孔內(nèi)放入鋼筋籠，澆筑混凝土而成的一種施工方。成孔工藝:干作業(yè)成孔、泥漿護(hù)壁成孔、人工成孔、套管成孔、爆擴(kuò)成孔等。其特點(diǎn)能適應(yīng)地層的變化，施工時(shí)震動(dòng)小，噪聲低、工藝要求較高、施工后混凝土需要養(yǎng)護(hù)且不能立即承受荷載。要注意混凝土的養(yǎng)護(hù)，確保混凝土灌注樁的質(zhì)量和性能達(dá)到設(shè)計(jì)的要求[8]。
3、沉井施工技術(shù)
沉井是由刃腳、井筒、內(nèi)隔墻等組成的呈圓形的或矩形的筒狀鋼筋混凝土結(jié)構(gòu)，多用于重型設(shè)備基礎(chǔ)、橋墩、水泵站、取水結(jié)構(gòu)、超高層建筑的基礎(chǔ)等，施工時(shí)先制作井筒，然后在井筒內(nèi)挖土，使井筒靠自重沉入土中[9]。井筒的最下端為刃腳，形狀如刀刃，在沉井下沉過(guò)程中使沉井切入土中。沉井的外壁為井筒，在下沉過(guò)程中起擋土作用，同時(shí)靠其自重可以克服筒壁與土之間的摩阻力和刃腳底部的土阻力，使沉井能靠其自重下沉，下沉到設(shè)計(jì)標(biāo)高后進(jìn)行封頂，構(gòu)筑井內(nèi)底板、梁、梯板等構(gòu)件，最終形成一個(gè)地下建筑物。
4、 預(yù)應(yīng)力混凝土施工
預(yù)應(yīng)力混凝土結(jié)構(gòu)的截面小剛度大，抗裂性和耐久性好，能充分發(fā)揮混凝土和鋼筋的各自性能，在土木工程中得到了廣泛的應(yīng)用[10]。其施工方法主要有三種：一是先張法施工：先張拉預(yù)應(yīng)力鋼筋然后再澆筑混凝土構(gòu)件的一種施工方法，主要施工過(guò)程是在澆筑混凝土之前張拉預(yù)應(yīng)力鋼筋，將其錨固在臺(tái)座上或鋼模上，然后澆筑混凝土，待混凝土達(dá)到設(shè)計(jì)強(qiáng)度的百分之七十五以上時(shí)，混凝土與鋼筋有一定的粘結(jié)力時(shí)，放松預(yù)應(yīng)力鋼筋，借助混凝土與預(yù)應(yīng)力鋼筋之間的粘結(jié)，使混凝土產(chǎn)生預(yù)壓應(yīng)力[11]。二是后張法施工：先制作混凝土構(gòu)件后張拉預(yù)應(yīng)力鋼筋的一種施工方法，施工過(guò)程:先制作預(yù)應(yīng)力構(gòu)件，預(yù)留孔道，當(dāng)混凝土達(dá)到一定的強(qiáng)度后，將預(yù)應(yīng)力鋼筋插入孔道，利用張拉工具張拉預(yù)應(yīng)力鋼筋，然后用錨具將預(yù)應(yīng)力鋼筋錨固在端部，最后進(jìn)行孔道灌漿。三是粘結(jié)預(yù)應(yīng)力施工：是在后張法基礎(chǔ)上發(fā)展起來(lái)的，施工過(guò)程：采用表面有涂料、外面包有塑料套管的預(yù)應(yīng)力鋼筋，鋪設(shè)在模板上，然后澆筑混凝土，當(dāng)混凝土達(dá)到設(shè)計(jì)強(qiáng)度后，再進(jìn)行預(yù)應(yīng)力筋的張拉錨固[12]。
五、施工技術(shù)的發(fā)展與展望
隨著人們科學(xué)技術(shù)的進(jìn)步以及人們對(duì)工程建設(shè)理論的不斷發(fā)展，未來(lái)施工的機(jī)械化、高科技化、智能化和低碳化將成為施工技術(shù)發(fā)展的主流方向。高層建筑施工技術(shù)在未來(lái)很長(zhǎng)一段時(shí)間內(nèi)將成為施工技術(shù)發(fā)展的重點(diǎn)方向，我國(guó)城鎮(zhèn)化進(jìn)程的不斷加快、舊城改造力度的不斷實(shí)施以及國(guó)內(nèi)建筑土地的日益匱乏，使得高層 建筑成為建設(shè)工程的主要發(fā)展方向。高層建筑施工技術(shù)的發(fā)展需要深基坑支護(hù)技術(shù)、高強(qiáng)度混凝土技術(shù)、安全鋼結(jié)構(gòu)技術(shù)等多方面的技術(shù)作為支撐[13]。另外綠色建筑也將成為未來(lái)建筑工程發(fā)展的主要方向，土木工程作為人類(lèi)較為復(fù)雜、大型的勞動(dòng)創(chuàng)造活動(dòng)，其對(duì)于資源的需求和環(huán)境的危害也是很大的，隨著人們低碳環(huán)保意識(shí)的增強(qiáng)以及人類(lèi)發(fā)展和諧社會(huì)的呼聲不斷提高，土木工程環(huán)保節(jié)能技術(shù)的發(fā)展及創(chuàng)新顯得越來(lái)越重要。更重要的是當(dāng)前低碳經(jīng)濟(jì)的發(fā)展已經(jīng)成為社會(huì)經(jīng)濟(jì)發(fā)展的主流趨勢(shì)，土木工程事業(yè)的發(fā)展必須跟社會(huì)經(jīng)濟(jì)的發(fā)展保持和諧一致才能走上持續(xù)發(fā)展和諧的道路[1]。
總之，土木工程施工技術(shù)的發(fā)展需要理論和實(shí)踐的完美結(jié)合，從理論中創(chuàng)新，從實(shí)踐中尋找不足，逐步提高施工技術(shù)向著更完善的地步發(fā)展，才能滿足新時(shí)代建設(shè)的需求[14]。
參考文獻(xiàn)
[1] 何戰(zhàn)宇 ，談高層建筑外墻防滲漏施工技術(shù)[J],科學(xué)之友，2010，（2）
[2] 任和軍 ，談房屋建筑施工技術(shù)，工程科技
[3] 張繼春，葉廷巍，趙艷杰，建筑地基基礎(chǔ)和樁基基礎(chǔ)土建施工技術(shù)，工程科技
[4] 孫海娟 ，土木工程施工技術(shù)及創(chuàng)新初探 四川建材 2013 （3）
[5] 杜命剛，土木工程施工技術(shù)及創(chuàng)新 企業(yè)管理
[6] 候卡厚，論土木工程施工技術(shù)，科技博見(jiàn)
[7] 候德義，土木工程施工技術(shù)發(fā)展及愿景 科技風(fēng)
[8] 竇海東，淺論土木工程施工技術(shù)，城市建設(shè)理論研究
[9] 楊軍，土木工程施工技術(shù)的創(chuàng)新與發(fā)展分析，學(xué)術(shù)研究
[10] 連啟彬，淺析土木工程施工技術(shù)及其未來(lái)發(fā)展，建材與裝飾2013
[11]周振宇，土木工程施工技術(shù)的創(chuàng)新探究，科技創(chuàng)業(yè)家，2013
[12] 《reinforced concrete structures》 R.Park & T.Paulay.
[13] 《Seismic retrofit schemes for RC structures and local–global consequences》 G.E.Thermou（Greece） and A.S.Elnashai（USA） 2006.8.
[14]譚松坤，土木工程施工技術(shù)的未來(lái) 發(fā)展分析
[15]吳磊，沈建強(qiáng)，李俊，土木工程施工技術(shù)及創(chuàng)新，科技資訊2012
[16]徐偉強(qiáng)，試析建筑混凝土的施工技術(shù)，科技資訊
單位代碼 02
學(xué) 號(hào)__
分 類(lèi) 號(hào)__ _ TU ____
密 級(jí)___ ______
畢業(yè)設(shè)計(jì)
文獻(xiàn)綜述
院（系）名稱(chēng)
工學(xué)院建筑工程系
專(zhuān)業(yè)名稱(chēng)
土木工程
學(xué)生姓名
指導(dǎo)教師
2014年 3 月 10 日
Are we architects free?
Are we architects free from society ? Can we exist out of any specific time and space , in another expression? Questions such as these set the tone of our inquiry into Ito’s architecture. After all , unless we look into his architectural characteristics in close relation to the subject of time and space ,we will end up grasping only the surface of the content .Toyo Ito is an architect whose practice is based in Japan at the dawn of a new millennium. Like most of the well-known Janpanese architects, he did not study abroad but went to School of Architectural Engineering at Tokyo University. He set up his own office after working at an architectural firm for a few years upon graduation. He has been in private practice based in Tokyo since then .I am not sure whether it is necessary to recall you the statement of EH.Carr’s,”What is history ?” as the process of design in architecture could be an outcome of concersations carried out continuously with his surroundings. I am not here to remind you that an architect is a product of his generation that represents the spirit of the era but to point out that a study of an architect’s work without full comprehension of the period and time he has led his life is pointless.
But then ,a series of mistakes we commit during our study on an architect ,Toyo Ito ,and his work very ofen stems directly from the very outset. Such errors that we easily for apply to Japanese architecture in general not simply limited to him alone. One of them is our presumption that we live in the same period as he does and the other is come from our misled conception that life in Tokyo or Japan is almost identical to that in Seoul Korea.
These are nothing more than our gesture of guessing the content of a big filled only with misconceptions so long as our knowledge of Japanese architecture is only skin deep. Despite the proximity of the two countries , what believe is that Japan and Korea are two completely different countries in reality. We acknowledge discrepancies of customs and culture of a country in Africa, taken as an example, without any resistance because we accept as facts from the very beginning that they belong to the people don’t look like us at all. But then, just for the reason that they look alike and live near us, we start right from the start with a false assumption that these of Japan would be similar to ours if not identical. I dare to say that Japan, I know of, is a country as foreign as any country in Africa. Of course, it doesn’t mean that I disapprove or disregard similarities in so many areas but simply says the fact that both similarities and disparities exist. Architecture as a part of our life, is bound to reflect our life and therefore, architecture of the two countries will produce different products so long as there is even a single dissimilarity between them. It is right here that we cannot escape from making an error when we see the formal or technical aspects of Japanese architecture. In Korea , a house is one of the primary commodities in most families , a subject of our speculation ,and a place to relax but that is not the case in Japan. To them , a house is only a space to sleep in, a sort of a restaurant to have mills, or a place to stop by. Such disparity of the two countries has something to do with how Japan was modernized. Space they never could own has become a temporary shelter only and such a view drives them to look for the functions used to be those of their homes outside their homes including symbolical one of traditional homes. And therefore, it turns into a process of having those functions realized in imagination or reality. Also just because we live the same era doesn’t mean that we share the time together. Who could dare to say that people on the earth today live in the same era? After all, we occupy different time and space, although we live nearby. Therefore, knowing the architecture of Ito must be accompanied by comprehension of the time and space he leads his life at the same time.
Beyond year 2000
A new millenium is right at the corner. To many architects as well as I who have been anxious to the beginning of the next millenium , it is a point that demands changes in our thought. As important as ，‘now’is the ‘next’. Mediatheque project in Sendai is one that falls into this category of the future. I cannot wait for the day of its completion that is under construction right now. Scheduled to be open next year that the new millenium commences, this building has aroused the interest of many architects and critiques since the day it won the competition .They finally witnessed a new solution to the issues that the field of architecture has challenged for thousands of years without success such as the boundaries in space between structure and architecture and the internal layout of building plans. Actually, mediatheque project in Sendai was conceived from a very straightforward and simple concept. Viewed from the exterior of the building , it is typical cubic－shaped building overall. However, on a closer look, we find the three elements that compose the building. The three elements are as follow：I）Plans, not two of them identical, with their own functions.2）Thirteen steel tubes playing the role of vertical cores, structural supports, and shafts for mechanical ducts.3）The glazing layer or the skin of the building which wraps the content around while linking the interior to the exterior. The building is made up of seven floors that contain all the function elements of the building are piled up on top of one another and the thirteen tubes penetrates them. Boundaries among structure, mechanical elements, and functions of the building
are obliterated but intermingled in this building. Each floor plate is given its own spatial character accord- ing to the sizes and locations of tubes, and functions. The ceiling height of each floor corresponds to its functional requirements while maintaining flexibility and accommodating changes in functions and time.The outer skin doesn't simply sets the boundary of the building but works as a filter that exchanges all kinds of information while linking the interior to the exterior.
It is worth comparing the building to Rem Koolhaas's proposal for the Library of University of Paris, a project unrealized. Both schemes are viable answers to our challenge to the concept on plans and sections that we architects have been trying relentlessly to overcome throughout history. If Mediatheque was able to set itself from gravity with its plan composed of simple diagrams, Rem's library scheme created a series of space in succession by breaking down the concept of floors stacked up one after another (Think of it as countless columns in a domino). Despite both design founded on two totally different conceputs in terms of space and mass, they are very much alike in the fact that both are places offering information in vertical oriented urban environment of today. Floor plates piled up on top of one another and continuous urban landscape are probably where architecture of the new century starts. Those who study architettural style of Ito's from the point of formal order say that oval or curve-linear lines what characterizes his design. And as a matter of fact, such lines have been appeared in his design in a wide variety and even, I, myself, also have confirmed such tendencies. In his book, `Transfiguration wind', he already expressed that 'architecture of the wind' is the type of form that the buildings in our society should possess. Then, what does he mean by 'architecture of the wind? The wind in a city implies the movement or flow and it is said to be a metaphor for a part of the city he lives. In the city, man as well as information flows and therefore, what's left are places for transit not for settlement
'Architetture of the wind' embarks from such defnition of built objects among the innumerable flows of people, vehicles, and images in Shinjuk. Buildings in the age of electronics are no longer stationery objects withstanding the test of time but transform and respond to the changes in surroundings. This is an interaction not interfering with other flows in urban and natural environment.
The Crystal Ballpark submitted as a proposal for a soccer stadium of one of the Korean conglomerates reacts to the flow of the city ,while the dome in Otate surrounded in a natural setting responds to the physical wind. This dome perhaps based on the crystal palaces of England at the end of 19th Century ,is designed to hold up to one hundred thousand spectators in a metropolis, Seoul .Isn’it architecture of the wind that he is referring to as the glass dome looks to be flowing seen from the flows of Han River and the streets around? The line that draws the territories of the exterior and the interior is defined by the glass dome. The outside and the inside are continuously expanded and exchanged divided only by glass that maintains shear transparency and minimum structure . Even if his formal order in architecture evolves from oval to something else, what stays deep inside his mind is architecture that keeps reacting to the wind both physical and abstract in character. No restricting nature simply to trees, grass, or soil but creating the court of sound, the court of light, and the court of images and adding them to it are his attempts to expand the boundaries of nature. I am anxious to see where his design that diversifies, further divides, and studies the relations between architecture and nature is heading.
We criticize or praise an architect by reviewing his path as an architects. We are used to classifying and judging him with the similarities and discrepancies found on comparative studies with other architects. But my eyes are firmly set to his next project. Right at this memont, countless architects are doing their best to present new path to us. What he has accomplished over the last 25-years has deeply affected other architects and expand their horizons in though .That’s why I am so anxious to see the next one in my belief that he will become another milestone leading the field of architecture today.
收藏