建筑英语论文1000字

Built structure建筑结构A structure usually refers to any large, man-made object permanently fixed to Earth's surface or in its orbit, as a result of These are divided into buildings and nonbuilding structures, and make up the infrastructure of a human There are also animal-built structures, such as anthills and beaver 结构通常指固定于地球表面或绕地球轨道运行的大型人造建筑物体。分为房屋结构和非房屋结构，两者共同构成人类社会的基础设施。此外还有动物建造的结构，比如蚁冢和海狸水坝。Structures built by humans are broadly divided into categories because of their varying design approaches and standards:人类建造的结构根据不同设计方法和标准可大致分为以下几类：• Residential buildings住宅• Commercial buildings and complexes商用建筑及综合体• Industrial buildings, sites and installations工业建筑、场所及设施• Civil constructions民用建筑• Network infrastructure constructions网络基础设施以上的building structure 和nonbuilding structure,infrastructure及最后的几类结构都是建筑专业词汇。

（建筑专业英语文章内容）Architecture, the art of building in which human requirements and construction materials are related so as to furnish practical use as well as an aesthetic solution, thus differing from the pure utility of engineering As an art, architecture is essentially abstract and nonrepresentational and involves the manipulation of the relationships of spaces, volumes, planes, masses, and Time is also an important factor in architecture, since a building is usually comprehended in a succession of experiences rather than all at In most architecture there is no one vantage point from which the whole structure can be The use of light and shadow, as well as surface decoration, can greatly enhance a The analysis of building types provides an insight into past cultures and Behind each of the greater styles lies not a casual trend nor a vogue, but a period of serious and urgent experimentation directed toward answering the needs of a specific way of Climate, methods of labor, available materials, and economy of means all impose their Each of the greater styles has been aided by the discovery of new construction Once developed, a method survives tenaciously, giving way only when social changes or new building techniques have reduced That evolutionary process is exemplified by the history of modern architecture, which developed from the first uses of structural iron and steel in the mid-19th Until the 20th there were three great developments in architectural construction—the post-and-lintel, or trabeated, system; the arch system, either the cohesive type, employing plastic materials hardening into a homogeneous mass, or the thrust type, in which the loads are received and counterbalanced at definite points; and the modern steel-skeleton In the 20th new forms of building have been devised, with the use of reinforced concrete and the development of geodesic and stressed-skin (light material, reinforced) See also articles under countries, , American architecture; styles, , baroque; periods, , Gothic architecture and art; individual architects, , Andrea Palladio; individual stylistic and structural elements, , tracery, orientation; specific building types, , pagoda, apartment Architecture of the Ancient World In Egyptian architecture, to which belong some of the earliest extant structures to be called architecture (erected by the Egyptians before 3000 BC), the post-and-lintel system was employed exclusively and produced the earliest stone columnar buildings in The architecture of W Asia from the same era employed the same system; however, arched construction was also known and The Chaldaeans and Assyrians, dependent upon clay as their chief material, built vaulted roofs of damp mud bricks that adhered to form a solid After generations of experimentation with buildings of limited variety the Greeks gave to the simple post-and-lintel system the purest, most perfect expression it was to attain (see Parthenon; orders of architecture) Roman architecture, borrowing and combining the columns of Greece and the arches of Asia, produced a wide variety of monumental buildings throughout the Western Their momentous invention of concrete enabled the imperial builders to exploit successfully the vault construction of W Asia and to cover vast unbroken floor spaces with great vaults and domes, as in the rebuilt Pantheon (2d AD; see under pantheon) The Evolution of Styles in the Christian Era The Romans and the early Christians also used the wooden truss for roofing the wide spans of their basilica Neither Greek, Chinese, nor Japanese architecture used the vault system of However, in the Asian division of the Roman Empire, vault development continued; Byzantine architects experimented with new principles and developed the pendentive, used brilliantly in the 6th for the Church of Hagia Sophia in C The Romanesque architecture of the early Middle Ages was notable for strong, simple, massive forms and vaults executed in cut In Lombard Romanesque (11th ) the Byzantine concentration of vault thrusts was improved by the device of ribs and of piers to support The idea of an organic supporting and buttressing skeleton of masonry (see buttress), here appearing in embryo, became the vitalizing aim of the medieval In 13th-century Gothic architecture it emerged in perfected form, as in the Amiens and Chartres The birth of Renaissance architecture (15th ) inaugurated a period of several hundred years in Western architecture during which the multiple and complex buildings of the modern world began to emerge, while at the same time no new and compelling structural conceptions The forms and ornaments of Roman antiquity were resuscitated again and again and were ordered into numberless new combinations, and structure served chiefly as a convenient tool for attaining these The complex, highly decorated baroque style was the chief manifestation of the 17th-century architectural The Georgian style was among architecture's notable 18th-century expressions (see Georgian architecture) The first half of the 19th was given over to the classic revival and the Gothic New World, New Architectures The architects of the later 19th found themselves in a world being reshaped by science, industry, and A new eclecticism arose, such as the architecture based on the École des Beaux-Arts, and what is commonly called Victorian architecture in Britain and the United S The needs of a new society pressed them, while steel, reinforced concrete, and electricity were among the many new technical means at their After more than a half-century of assimilation and experimentation, modern architecture, often called the International style, produced an astonishing variety of daring and original buildings, often steel substructures sheathed in The Bauhaus was a strong influence on modern As the line between architecture and engineering became a shadow, 20th-century architecture often approached engineering, and modern works of engineering—airplane hangars, for example—often aimed at and achieved an undeniable More recently, postmodern architecture (see postmodernism), which exploits and expands the technical innovations of modernism while often incorporating stylistic elements from other architectural styles or periods, has become an international Forms（翻译文章）建筑，艺术的建设中，人类的需求和建筑材料有关，以提供实际使用以及审美的解决方案，从而不同于纯粹实用的工程建设。作为一门艺术，建筑基本上是抽象的，抽象的，涉及操纵的关系空间，数量，飞机，群众，空隙。时间也是一个重要因素在建筑，因为建设是通常理解中的经验继承，而不是一次。在多数建筑没有一个高度，从整个结构是可以理解的。利用光影，以及表面装饰，可以大大提高结构。 在分析建设类型提供了一个深入了解过去的文化和时代。背后的更大的风格是不是一种偶然，也不是一个流行趋势，但一个时期的严重和紧迫的实验针对回答需要具体的生活方式。气候，方法的劳动力，提供的材料，和经济的手段强加其要求所有。每一个更大的风格一直帮助下发现新的施工方法。一旦制订，顽强生存的方法，让位只有当社会的变化或新的建筑技术，减少它。这是进化过程中所体现的历史，现代建筑，它开发的第一个利用结构钢铁中期19美分。 直到20美分。有三个巨大的发展，建筑施工，后和门楣，或trabeated ，系统;拱系统，无论是一致的类型，采用塑料材料硬化成一个单一的质量，或类型的主旨，其中负载收到并在一定的平衡点;与现代钢骨架系统。在20以上。新形式的建设已制订，使用钢筋混凝土的发展和大地测量，并强调皮肤（轻型材料，钢筋）结构。 又见条款的国家，如美国的建筑;风格，如巴洛克;期间，如哥特式建筑和艺术;个别建筑师，如安德烈帕拉迪奥;个人风格和结构性因素，例如，窗格，方向;具体建设类型，例如，大观园，一栋公寓楼。 建筑的古代世界 在埃及的建筑，其中一些属于最早的现存结构，被称为架构（竖立的埃及人在公元前3000年） ，后与门楣系统被完全和生产最早的石柱状建筑物的历史。该架构的W亚洲来自同一时代雇用同一系统，但拱形建筑也被称为和使用。该Chaldaeans和亚述人，取决于粘土为主要材料，建造拱形屋顶潮湿的泥土砖坚持以形成一个坚实的外壳。 经过几代人的实验与有限的各种建筑物的希腊人给的简单桩门楣系统最纯净，最完美的表达这是实现（见神庙;订单架构） 。古罗马建筑，借款，结合栏希腊和拱门亚洲，产生了各种各样的纪念性建筑在整个西方世界。他们的重大发明的具体启用帝国建设者利用成功的墓穴建造的W亚洲和覆盖广阔的完整楼空间巨大拱顶和穹顶，在重建先贤祠（二维的。广告;见先贤祠） 。 风格的演变中的基督时代 罗马和早期基督教还使用了木桁架的跨度屋面广泛的教堂大厅。无论是希腊，中国，日本建筑，也使用了跳马制度建设。然而，在亚洲司的罗马帝国，跳马发展继续;拜占庭建筑师尝试新的原则和发展了pendentive ，用出色的第6次以上。教会的圣索菲亚君士坦丁堡。 古罗马建筑的早期中世纪值得注意的是强有力的，简单的，大规模的形式和墓穴执行削减石头。在伦巴德罗马（第11次左右。 ）拜占庭浓度跳马重点是提高设备的肋骨和码头，以支持他们。这个想法的一个有机的支持和支撑骨架的砖石（见支撑） ，在这里出现的胚胎，成为振兴目标的中世纪建筑。在13世纪的哥特式建筑出现了完善它的形式，如在亚眠和沙特尔大教堂。 文艺复兴时期诞生的架构（第15次左右。 ）成立的时期数百年的西方建筑在此期间，多重的和复杂的建筑物现代世界开始出现，同时没有任何新的和令人信服的结构概念出现。饰品的形式和古代罗马人一次又一次复苏和被命令到无数新的组合，结构送达主要作为一种方便的工具实现这些效果。复杂的，高度是巴洛克风格装饰的主要体现17世纪的建筑美学。格鲁吉亚是建筑风格的显着18世纪的表现形式（见格鲁吉亚架构） 。上半年的19美分。给出了经典的哥特复兴和振兴。 新世界，新的体系结构 建筑师后19美分。发现自己的世界正在改变的科学，工业，和速度。一种新的折衷主义出现，如建筑的基础上高等美术学院，以及所谓的维多利亚式建筑在英国和美国。需要一个新的社会压力，同时钢铁，钢筋混凝土，电力中有许多新的技术手段，它们所掌握的。 经过超过半个世纪的同化和实验，现代建筑，通常被称为国际风格，产生了惊人的各种大胆和原始建筑，往往钢子护套在玻璃。包豪斯是一个强有力的影响，现代建筑。随着之间的界线建筑和工程成为一个影子， 20世纪建筑往往接近工程和现代工程的工程飞机机库，例如，通常都瞄准了，取得了一个不可否认的美感。最近，后现代建筑（见后现代主义） ，其中的漏洞，并扩大了技术创新的现代风格，而往往把内容从其他建筑风格或时期，已成为一项国际形式。能够帮到你吗！

China built environment the value of cultural significanceAbstract: This paper discusses the traditional Chinese culture in the built environment and value embodied in, and when the built environment and cultural traditions and modern analysis, elaborated on China built environment of the significance of cultural development for the traditional architectural culture and modern development of the bonding In the context of Chinese culture, China's built environment to show with the people and the natural environment for the financial - body balance each Key words:Construction,Environment,Traditional,Modern,CultureChinese ancient architecture has a brilliant achievement, in the palace, gardens, construction of space processing, architectural art and material structure of harmony and unity, , have excellent creativity and contribution to the formation of the regression of other buildings in the West of special character, in the human construction played an important role in the Today, the nature of architectural culture more and more attracted From the Great Hall of the People in Beijing after the founding of the end of the twentieth century buildings, hotels, and other Xiangshan inherited the traditional Chinese architectural art of the essence, but also a combination of modern Western art of architecture new concepts, new technologies, to become both fresh ethnic characteristics, strong characteristics of the times and the construction of cultural China's urban construction regardless of the ancient and contemporary, are in a particular space in cultural phenomenon, its richness and complexity of all the researchers can not be Since modern times, Chinese culture began the difficult process of From a traditional society to a modern social changes, but also depends on cultural If it is said that traditional Chinese culture in history and evolution of the track is more clear, then, the changes in modern times seem very China's vast territory, different parts of the larger cultural and economic In modern times, China and the western city undoubtedly follow a different path of development, not only to form their own political, economic and cultural systems, but also formed their own style of urban planning and architectural In modern times, with the intrusion of Western powers, as well as imported culture, including architectural culture of the Western urban culture, including the start of the Chinese have an enormous Because of this, including the China Architectural Culture urban culture, but also the beginning of the transition from traditionalism to modernization profound Today, in China's architectural theory and creative activity, people fond of tradition and modernity, inheritance and innovation, China and the West, such as a class of architectural culture and the phenomenon of comparison and controversy, it is But the debate of these issues should be made clear its purpose, that is, it should promote a culture of development and construction, and promote its progress, and not just be satisfied with the basis of these cultural phenomena to make objective and accurate Such as: During the discussion of traditional and modern, inheritance and innovation of the issue, many people keen on from the style, form or technology to argue their superiority, the wild, but it is not with the people from their survival and livelihood of the fundamental link go to explore their During the discussion of Chinese and Western architectural culture, people in the space of Chinese and Western concepts, behavior and attitude toward life and so a detailed comparison, based on the discovery and summed up the Chinese architectural concepts with Westerners differences and their respective characteristics, and then in creation and insufficient emphasis on theory and embody the characteristics of this, of course, is On the other hand, people are less human existence from the perspective of the state of traditional and modern, inheritance and innovation, Chinese and Western architecture to make further value Thus, the "tradition" of "modern" "inheritance" "innovation" "China" "Western" and so the purpose of turning themselves Building a culture of comparison and debate should therefore not achieve the purpose of architectural culture can not lead to real A long time, research in the field of architectural history, there is a "Western Center on" The view that the West is a historical tradition of urban construction, the East Building of non-historical In弗莱彻尔"comparative Architectural History" on the issue there is a "construction of the tree," with illustrations, the center of the tree trunk is marked with Greece, Rome, Lo Man-style, top of the six main branches are some European and American countries Gothic architecture, Renaissance architecture and modern But Egypt, India, Mexico, China and so before the following number of delicate young branches, the United States on the center of the tree trunk on top, great image to express the author's construction of "Western-centered" There is no denying that the Western Urban Architecture in the past few centuries is indeed developing rapidly, both in content and form, or in technology and theory, aesthetics are taking shape on the forefront in the However, "Western Center on the" point of view is no doubt there is a problem with the development of world architectural history, not just the West, and no hall, which has become more and more consensus building and cultural ① Western post-modernist theorists Architectural Culture Frampton that: traditional architecture, especially folk architecture is the formation of specific locations in the building system with a function and structure is Especially in dealing with a number of specific factors, such as ventilation, lighting, insulation, with excellent Therefore, we can not simply deny according to the location, physical geography of the specific cultural environment and human development of the local Traditional Chinese architectural culture research, is to open up a theoretical level, the health of Chinese architectural Building Cultural Studies is not confined to explain a variety of architectural culture phenomenon, it is to building a culture of value-oriented Therefore, the architectural culture should be critical and To provide value-oriented, we must make a value assessment, it is necessary to establish one set of Human beings are different from their own cultural backgrounds, different building events are also a certain degree of architectural culture But culture is also a double-edged On the one hand, are the essence of any culture coexist with the dross, even if it is the essence, but also often can not be separated from the specific conditions of time and space; On the other hand, both the traditional culture may be a heavy cross, stifle the creative potential of modern people can also be become a treasure house of wisdom and enrich our imagination, expand our scale of Reality and future requirements of the complexity of life, far from being mechanically copy a certain kind of traditional methods, approaches, they can be met, we must absorb, draw upon their strengths needed to pick up In addition, the creation of the characteristics is still a serious topic, require a combination of specific locations, conditions, on the design requirements for specific Creative methods, the use of "abstract inheritance, moved like a wonderful" principle, may find a new Wu Liangyong, a so-called "abstract inheritance" means from the construction of traditional Chinese traditional architectural design principles and the basic theory of the essence of part of the development, applied to the reality created in the And the traditional image of the most distinctive part of extracted through abstract and concentrate to improve as a motif, be innovative and creative design in order to inspire the current Formal At the same time, should touch the pulse of China's traditional culture, digging out of the traditional architectural art connotation of time and space, first of all, attention should be paid to the art of architecture and the restoration of cultural values and spiritual function, not only the architectural and artistic works as industrial products and daily necessities, more efforts should not only its immediate physical This kind of inheritance, is not a form of plagiarism or the old parts of the permutation and combination, both creative principle of the succession and development, and the image of the drawing and So that the design of both the spirit likeness seek, nor exclusive to some extent, the details of the shape of a key is based on the location, condition And "want to move too wonderful," "move to" is to their own imagination into the image of the object to, "Miao was" refers to grasp the true expression of the ② Extensive and profound traditional Chinese culture, architecture is the same We should not only from the perspective of the form, and from culture to understand the depth of the traditional, such as: the first level, the traditional beauty of classical architecture in the roof, brackets, shapes portico features, poetry, calligraphy and technology combined with the fitting-out forms , as well as all kinds of doors and windows Prism Grid, decorative patterns; second level, the courtyard-style layout of the space rhythm, natural and architectural environment of complementary design, poetic, full of the humanistic spirit of gardening art, shape, number of paintings, azimuth the appearance of a symbol and metaphor practices; the third level, "harmony between man and nature" of the nature and focus on environmental effects of "feng shui" of thought, yin-yang confrontation, interaction, and the corresponding philosophical thinking and the "body, mind, and gas" competent a concept of health, and so Of them contains a wealth of content, deep philosophy and ③ which states that the value of traditional to modern needs in our new building works to discover, to Therefore, we should try to find traditional, modern values, and carry forward in preserving the essence of their traditional at the same time, get rid of its backward, not suited to modern development of things, to seek traditional architectural culture and the modern development of the combination of points, reflect the traditional architecture and cultural respect Heaven and Earth,Humanistic, say the pro-and thinking of materialist Carry forward the tradition of architectural culture are also available from traditional architecture design principles, spatial composition, composition methods, ideas have inspired the expression, , have to inherit and use the development of innovation, continuous exploration of thinking of traditional architecture and modern architecture thinking, traditional technologies with modern technology, traditional and modern aesthetic of a combination of aesthetic consciousness, the outstanding traditional architectural culture into modern architecture Notes ①Chen Lixu urban culture and the spirit of the Southeast University P 2002, 142②Wu Liangyong broad architecture, Tsinghua University P 1989, the first 65-66 pages ③ Yang Y Building 100 words, China Building Industry Press, N 62中国建筑环境文化的价值意义内容摘要：本文论述了中国传统文化在建筑环境中的体现与价值，以及时建筑环境文化传统与现代的分析，阐明了中国建筑环境文化发展的意义，寻求传统建筑文化和现代发展的结合点。在中国的文化背景下，中国的建筑环境表现出了与人与自然环境融为—体，互为平衡。 关键词：建筑 环境 传统 现代 文化 中国古代建筑有着灿烂的成就，在宫室、园林、建筑空间的处理、建筑艺术与材料结构的和谐统一等方面，都有着卓越的创造与贡献，形成了迥别于西方建筑的特殊风貌，在人类建筑史上占有重要的地位。时至今日，建筑文化的特质愈来愈引起人们的重视。从建国后的北京人民大会堂到二十世纪末的香山饭店等建筑都继承了中国传统建筑艺术的精华，又融汇了西方现代建筑艺术的新观念、新技术，成为既有鲜活民族特色，又有强烈时代特征的建筑文化丰碑。中国的城市建筑无论古代、当代，都是在特定的空间中产生的文化现象，其丰富性与复杂性令所有研究者无法回避。 自近代以来，中国文化开始了艰难的转变过程。从传统社会向现代社会的转变，也是有赖于文化的转变。如果说中国传统文化的历史脉络和演变轨迹是较为清晰的话，那么，近代以来的转变似乎显得非常复杂。中国地域广阔，不同地区的文化和经济差异较大。 在近代以前，中国和西方城市无疑遵循着不同的发展道路，不仅形成了各自的政治、经济和文化制度，而且也形成了各自的城市规划风格和建筑风格。近代以来，随着西方列强的侵入以及文化的传入影响，包括建筑文化在内的西方城市文化，开始对中国产生巨大的影响。由此，包括建筑文化在内的中国城市文化，也开始了从传统到现代的深刻的转型。 当今，在我国的建筑理论和创作活动中，人们喜欢对传统与现代、继承与革新、中国与西方等一类建筑文化问题和现象进行比较和争论，这是必要的。但是争论这些问题应该明确它的目的，那就是它应当促进一种文化的发展和建构，推动它的进步，而不是仅仅满足于依据对这些文化现象做出客观、准确的描述。如：在讨论传统与现代、继承与革新的问题时，许多人热衷于从风格、形式或技术等方面去争论它们的高下、文野，却不是从它们与现代人的生存和生活的根本联系上去探讨它们的意义。在讨论中西方建筑文化时，人们在对中西方空间观念、行为方式和生活态度等等进行详尽比较的基础上，发现和总结出中国人同西方人建筑观念的差异和各自的特点，进而在创作和理论中充分强调和体现这种特点，这当然是好的。但是另一方面，人们却较少从人的存在状态的角度对传统与现代、继承与革新、中国与西方的建筑做出更进一步的价值判断。于是，“传统”“现代”“继承”“革新”“中国”“西方”等等本身变成了目的。建筑文化的比较和争论因此就没有达到应有的目的，不可能导致建筑文化的真正进步。 长期以来，在建筑史研究领域中，存在着一种“西方中心论”的观点，即认为西方城市建筑是历史传统，东方建筑是非历史传统。在弗莱彻尔的《比较建筑史》上刊有一幅“建筑之树”的插图，树的中心主干标明是希腊、罗马、罗蔓式，上端的6根主分枝分别是欧美一些国家哥特式建筑、文艺复兴建筑和近代建筑。却把埃及、印度、墨西哥、中国等都摆在下面一些纤弱的幼枝上，把美国放在这棵树的中心主干的顶端，极为形象地表达了作者的建筑“西方中心论”思想。无可否认，西方城市建筑在近几个世纪以来确实发展迅速，无论在内容和形式上，还是在科技和理论上、美学形态上都走在世界的前列。但是“西方中心论”的观点无疑是有问题的，世界建筑历史的发展，决不只此西方而别无殿堂，这已成为越来越多的建筑文化史家的共识。①西方后现代主义建筑文化理论家佛朗普顿认为：传统建筑特别是民俗建筑是在特定地点形成的建筑体系，具有功能和结构上的合理性。特别是在处理一些具体因素，如通风、采光、保温等方面具有优良的特点。所以，不能简单否定依地点、体具体的地理情况和人文文化环境发展起来的地方风格。 对中国传统建筑文化的研究，是为了在理论层面上开拓一条中国建筑的健康发展之路。建筑文化学并不局限于解释各种建筑文化现象，它是要为建筑文化的发展提供价值导向。因此，建筑文化应该是批判的与实践的。要提供价值导向，先要作出价值评判，所以必须树立一种价值观。不同的人类都各有自己的文化背景，不同的建筑事件也都有一定的建筑文化影子。然而文化也是一柄双刃剑。一方面，任何文化都是精华与糟粕并存，即便是精华，也往往离不开具体的时空条件；另一方面，传统文化既可能成为一副沉重的十字架，扼杀现代人的创造潜能，也可以成为一座智慧的宝库，丰富我们的想象，扩大我们思维的尺度。 现实及未来生活的复杂要求，远非机械地搬用某一种传统方法、途径，就可以得到满足的，必须博采所长，取我所需。另外，对于本特色的创造仍然是一个严肃的课题，需要结合具体地点、条件，对设计要求作具体分析。在创作方法上，采用“抽象继承、迁想妙得”的原则，可能会找到一条新途径。吴良镛提出所谓“抽象继承”是指从建筑传统中，将传统建筑的设计原则和基本理论的精华部分加以发展，运用到现实创作中来。并且把传统形象中最有特色的部分提取出来，经过抽象，集中提高，作为母题，予以新意，以启发当前设计创作形式美的创造。同时应当摸到中国传统文化的脉搏，挖掘出传统建筑艺术的时间和空间内涵，首先是要重视和恢复建筑艺术的文化价值和精神功能，不能只把建筑艺术作品当作工业产品和生活用品，更不应当只抓其眼前的物质功能。这样的继承，并非形式的抄袭或旧零件的排列组合，既有创作原理的继承与发展，又有形象的借鉴与创造。使设计既求神似，也不排斥某种程度、某一细节的形似，关键是根据地点、条件的需要。而“迁想妙得”，“迁想”是将自己的想象力深入到对象的形象中去，“妙得”是指把握对象的真正神情。② 中国传统文化博大精深，建筑文化也是同样。我们应不仅从形式的角度，而且从文化的深度来理解传统，譬如：属于第一层面的，传统建筑中古典美的屋顶、斗拱、柱廊的造型特征，诗文、书画与工艺结合的装修形式，以及各式门窗菱格、装饰纹样；第二层面的，庭院式布局的空间韵律、自然与建筑互补的环境设计，诗情画意、充满人文精神的造园艺术，形、数、画、方位的表象与隐喻的象征手法；第三层面的，“天人合一”的自然观和注重环境效应的“风水”思想，阴阳对立、互动、相应的哲学思维和“身、心、气”合一的养生观，等等。它们之中蕴含着丰富的内涵、深邃的哲理和智慧。③这些都阐明，传统对现代的价值还需要我们在新建筑的创作中去发掘，去感知。 因此，我们应当努力去寻找传统的现代价值，在保存和发扬其传统精华的同时，摒弃其落后的，不适应现代发展的东西，寻求传统建筑文化和现代发展的结合点，体现传统建筑文化尊天地、重人本、讲亲和的唯物辩证思想。弘扬传统建筑文化还可从传统建筑的设计原理、空间组合、构图手法、意念表达等方面有所启迪、有所继承和运用、有所发展创新，不断探索传统建筑思维与现代建筑思维、传统技术与现代技术、传统审美与现代审美意识的结合方式，把优秀的传统建筑文化结合到现代建筑文化之中。 注释 ①陈立旭都市文化与都市精神．东南大学出版社．2002 第142页 ②吴良镛，广义建筑学，清华大学出版社．1989，第65—66页 ③杨永生．建筑百家言，中国建筑工业出版社，1998． 第62页 仅供参考，请自借鉴希望对您有帮助