当代观演建筑形态的艺术性研究
|
摘要
观演建筑代表着一个城市,甚至一个国家的经济、文化、科技发展的最高水平,承担着传承民族文化的重任。近年来大量观演建筑如雨后春笋般出现在我国广阔的土地上。随着多元化及个性化创作在建筑设计领域的发展,观演建筑的艺术化创作也在不断完善,这势必影响、指导和改变观演建筑的设计思路和发展方向,因此对当代观演建筑的艺术化表达研究具有深远意义。
本文正是基于这一点,立足于当代,希望从观演建筑的形态入手,对观演建筑及其背后的社会现象进行观察和研究,对当代观演建筑国内外实例的分析和研究,通过对其基本概念、发展历程、艺术性内涵以及建筑表达的策略与手法的探讨,建构起一个较为全面的对当代观演建筑形态的艺术性表达的策略与设计手法体系。
本文以当代观演建筑形态设计研究为题,主要研究观演建筑这一建筑类型,针对其形态设计进行研究。全文主要内容可以概括为三个部分。绪论部分针对论文的研究背景,问题的提出,课题研究的意义及目的,研究内容及方法作了介绍。第二部分是相关理论和内容的进一步研究解析。主要介绍了观演建筑形态艺术性的发展历程,并阐述了其影响因素。着力探讨了当代观演建筑形态艺术性的内涵,为下文奠定了理论基础。第三部分结合了大量国内外的实际案例,对当代观演建筑形态艺术性的策略和手法进行研究。从观演建筑形态的建筑形体、结构技术、空间界面三个方面来宏观阐述策略研究。从观演功能、多元技术、自然环境、地域文化四个角度对设计手法进行了具体分析。
由于从目前笔者的资料统计来看,介绍关于观演建筑功能、观众厅设计、音质设计等方面的书籍虽然较多,但真正全面地阐述当代观演建筑形态艺术性的书籍和文献几乎没有。因此本文的研究成果可以为今后观演建筑的形态设计提供一定的参考价值。
Theatrical building represents the highest level of a city, even a country's economic, cultural, scientific and technological development. Assumes the responsibility of national culture heritage. From the early open-air theater to the present professional indoor places of performances, this particular type of construction has become a relatively independent branch of construction, and has a strong artistic, technical and comprehensive. In recent years, a large number of theatrical buildings have sprung up in the vast land of China. No matter economically developed cities, or little-known second-tier cities, are both willing to invest huge amounts of money, manpower and material resources in its constructions of theatrical building. Because of such special social positioning construction, lead to its function and shape are of equal importance. Many times the importance of its shape are more prominent.
This article is based on this point, from the start of the theatrical form, investigate the artistry, express meaning, influencing factors of theatrical building,to in-depth analysis of contemporary theatrical building artistic expression in performance trends and building design practices. In the introduction, the main motivation are the proposed project and the origin, purpose and significance; domestic appearance of the speech development process and current status of construction; the object definition and introduction of related concepts; research method and framework articles. Chapter 2 view on the art of building parse speech, including the history of theatrical building artistry: born era- solemn dignity, classical period - gorgeous, modern period - simple and rational. Influencing factors: changes of architectural trends, updates of audience demands, development of technologies, public aesthetic changes. Meaning interpretation of artistry: media performing arts, cultural carrier of plastic arts, emotional transference of visual arts.
Chapter 3 puts into the details of contemporary artistic theatrical building expression in performance strategies. Respectively, from the architectural form, structure technology, space interface described the three angles. Expression of architectural form of diversification strategy: free curve, deconstruction, pure simple geometric. Personal expression of structural technology strategy: flexible and complex, bionic symbolic simulation, beautiful architecture skin. Space emotional expression strategy: the classical tradition of the sacred, the flow of romantic poetry, topology of surreptitious bold. Chapter 4 elaborates the expression methods of contemporary theatrical building artistic. Use arts symbol and musical instrument metaphor based on the function. Media means, ecological technology and new material three methods based on the new technology. Topology of the shape simulation and the organic unity of the color two methods based on the natural environment. Contemporary interpretation of traditional building and re-creation of the regional flag two methods based on the local culture.
本文正是基于这一点,立足于当代,希望从观演建筑的形态入手,对观演建筑及其背后的社会现象进行观察和研究,对当代观演建筑国内外实例的分析和研究,通过对其基本概念、发展历程、艺术性内涵以及建筑表达的策略与手法的探讨,建构起一个较为全面的对当代观演建筑形态的艺术性表达的策略与设计手法体系。
本文以当代观演建筑形态设计研究为题,主要研究观演建筑这一建筑类型,针对其形态设计进行研究。全文主要内容可以概括为三个部分。绪论部分针对论文的研究背景,问题的提出,课题研究的意义及目的,研究内容及方法作了介绍。第二部分是相关理论和内容的进一步研究解析。主要介绍了观演建筑形态艺术性的发展历程,并阐述了其影响因素。着力探讨了当代观演建筑形态艺术性的内涵,为下文奠定了理论基础。第三部分结合了大量国内外的实际案例,对当代观演建筑形态艺术性的策略和手法进行研究。从观演建筑形态的建筑形体、结构技术、空间界面三个方面来宏观阐述策略研究。从观演功能、多元技术、自然环境、地域文化四个角度对设计手法进行了具体分析。
由于从目前笔者的资料统计来看,介绍关于观演建筑功能、观众厅设计、音质设计等方面的书籍虽然较多,但真正全面地阐述当代观演建筑形态艺术性的书籍和文献几乎没有。因此本文的研究成果可以为今后观演建筑的形态设计提供一定的参考价值。
Theatrical building represents the highest level of a city, even a country's economic, cultural, scientific and technological development. Assumes the responsibility of national culture heritage. From the early open-air theater to the present professional indoor places of performances, this particular type of construction has become a relatively independent branch of construction, and has a strong artistic, technical and comprehensive. In recent years, a large number of theatrical buildings have sprung up in the vast land of China. No matter economically developed cities, or little-known second-tier cities, are both willing to invest huge amounts of money, manpower and material resources in its constructions of theatrical building. Because of such special social positioning construction, lead to its function and shape are of equal importance. Many times the importance of its shape are more prominent.
This article is based on this point, from the start of the theatrical form, investigate the artistry, express meaning, influencing factors of theatrical building,to in-depth analysis of contemporary theatrical building artistic expression in performance trends and building design practices. In the introduction, the main motivation are the proposed project and the origin, purpose and significance; domestic appearance of the speech development process and current status of construction; the object definition and introduction of related concepts; research method and framework articles. Chapter 2 view on the art of building parse speech, including the history of theatrical building artistry: born era- solemn dignity, classical period - gorgeous, modern period - simple and rational. Influencing factors: changes of architectural trends, updates of audience demands, development of technologies, public aesthetic changes. Meaning interpretation of artistry: media performing arts, cultural carrier of plastic arts, emotional transference of visual arts.
Chapter 3 puts into the details of contemporary artistic theatrical building expression in performance strategies. Respectively, from the architectural form, structure technology, space interface described the three angles. Expression of architectural form of diversification strategy: free curve, deconstruction, pure simple geometric. Personal expression of structural technology strategy: flexible and complex, bionic symbolic simulation, beautiful architecture skin. Space emotional expression strategy: the classical tradition of the sacred, the flow of romantic poetry, topology of surreptitious bold. Chapter 4 elaborates the expression methods of contemporary theatrical building artistic. Use arts symbol and musical instrument metaphor based on the function. Media means, ecological technology and new material three methods based on the new technology. Topology of the shape simulation and the organic unity of the color two methods based on the natural environment. Contemporary interpretation of traditional building and re-creation of the regional flag two methods based on the local culture.
引文
1建筑设计资料集4.武汉理工大学出版社, 1999: 55
2 Natasha Ruiz-Gomez. The (Jean) Nouvel Other: Primitivism and the Musee du Quai Branly. Modern & Contemporary France. 2006, (11): 32
3李道增.西方戏剧·剧场史.北京:清华大学出版社, 1999: 43
4 Persephone Sextou. Drama and Theatre in Education in Greece: past achievements, present demands and future possibilities. Research in Drama Education. 2002,3: 56
5魏大中.敦煌壁画净土变中的歌舞场.伸出式舞台设计. 1992: 68
6 Hugh Denard. The Pompey Project: Digital Research and Virtual Reconstruction of Rome's First Theatre. Richard Beacham, Computers and the Humanities. 2003, (2): 24
7 Melissa Ann Reed. Shakespeare's Poetics of Play-Making and Therapeutic Action in The Tempest. Journal of Poetry Therapy. 2000, (9): 31
8 Matthew Rendall. Russia, the concert of Europe, and Greece, 1821-29: A test of hypotheses about the Vienna system. Security Studies. 2000: 20
9 http://trip.byecity.com/article-10331.html
10刘振亚.现代剧场设计.中国建筑工业出版社, 2000: 65
11郑姗姗.柏林爱乐音乐厅入口大堂,柏林,德国.世界建筑. 2009, (3):36
12崔晶;金路.设计与运行——巴黎巴士底歌剧院二十年回顾.演艺科技. 2010, (2):47
13彭坡.沃特·迪斯尼音乐厅巡礼.音响技术. 2006, (1):26
14 Terry Smith. The Sydney Opera House and the World Trade Center. Architectural Theory Review. 2002, (11): 30
15 http://www.aaart.com.cn/CN/news/show.asp?news_id=12728
16 Zaha Hadid. Zaha Hadid Space for Art.科学出版社, 2007, 12: 4
17 http://bbs.xiangshu.com/read.php?tid=1952705
18 Kari Skarholt. Communicating Through Theatre: How Organizational Theatre Engages Researchers and Industrial Companies. Systemic Practice and Action Research. 2006, (11): 47
19曲全岳.对比·统一·地域性——解读河南艺术中心的设计构思.建筑. 2010, (10):38
20于一平.与蝶共舞河南艺术中心建筑设计.建筑学报. 2009, (10)
21 ]Noever Peter, Ruby Andreas. Zaha Hadid. Distributed Art Pub Inc.2005, (7): 77
22王鹤.数字时代下的建筑形式研究.合肥工业大学硕士学位论文. 2009: 54
23李万林.当代非线性建筑形态设计研究.重庆大学硕士学位论文. 2008: 7
24 I. M. Valakos, M. S. Ntipteni, I. K. Nikolos. Structural optimization of a centrifugal impeller using differential evolution in CATIA. Operational Research. 2007, (5): 53
25 Michael Leyton. Group Theory and Architecture. Nexus Network Journal. 2001, (9): 15
26 Thomas P. Hughes. MIT architecture and values: Gehry's Stata and Holl's Simmons. History and Technology. 2008, (9): 5
27 Casey CM.Mathewson. Frank O. Gehry 1969-Today.北京科文图书业信息技术有限公司. 2006, (9): 8
28 http://www.newadvent.org/cathen/03149d.htm
29 Ana G. Canizares. Great New Buildings of the World Works. 2005, (1): 20
30 http://design.itfensi.com/jz/121867876127850.html
31天顶音乐厅,斯特拉斯堡.法国.世界建筑. 2008, (4): 26
32 http://www.jiaodong.net/news/system/2010/09/13/010954285.shtml
33 S. Saikumar;M. S. Shunmugam.Parameter Selection Based on Surface Finish in High-Speed End-Milling Using Differential Evolution. Materials and Manufacturing Processes. 2006, 7: 74
34 http://photo.zhulong.com/proj/photo_view.asp?id=12007&s=6
35马林斯基第二歌剧院,圣彼得堡.俄罗斯.世界建筑. 2004, (3): 43
36 Ben Van Berkel, Caroline Bos. UN Studio. Rizzoli. 2006, 9: 54
37汪孝安;鲁超;田园;涂宗豫.面向未来2010上海世博会世博演艺中心设计.时代建筑. 2009, (7):26
38王玲.基于结构形态的建筑造型研究.重庆大学硕士学位论文. 2007: 4
39 http://www.qqhru.ddfchina.com/index.php?option=com_content&view=article&id=
145:artid139&catid=12:article-classics&Itemid=29
40 http://photo.zhulong.com/proj/detail5595.htm
41 http://news.eastday.com/eastday/sh/node462/node8370/index11.html
42陈晶.结构仿生方法及其在大型公共建筑设计中的应用研究.华中科技大学硕士学位论文. 2008: 13
43 http://hi.baidu.com/ieunet/album/item/543050ec73355b24279791cd.html
44 http://photo.zhulong.com/proj/detail42942.htm
45 http://www.hw01.com/3217/3283/3658/20081104093359.htm
46 http://www.jianzhu01.com/Museum1007292003.htm
47普西尼剧场.德尔卢卡.意大利.世界建筑. 2000, (12): 59
48 http://www.nipic.com/show/1/62/2bab7e5efcd8e157.html
49佟华.表皮建筑研究.北京交通大学硕士学位论文. 2010: 90
50 http://photo.zhulong.com/proj/photo_view.asp?id=4225&s=34&c=201035
51沈轶.伊东丰雄形式语言分析背景、转变与启示.大连理工大学硕士学位论文. 2004: 41
52 Werner Herzog. Herzog & De Meuron. Springer Verlag. 2005,6:56
53大师系列丛书编辑部.弗兰克?盖里的作品与思想.中国电力出版社, 2006: 19
54 http://www.piaowutong.com/web/hall/hall_theater.aspx?id=18
55 http://www.piaowutong.com/web/hall/hall_theater.aspx?id=18/tdsh
56 http://www.news365.com.cn/wxpd/tp/jj/200709/t20070918_1582372_1.htm
57 http://www.artron.net/
58唐大为.解读哈迪德.东南大学硕士学位论文. 2005: 104
59 http://www.artron.net/hadid
60 http://gd.ent.sina.com.cn/news/2010/09/29/638264.html
61 http://photo.zhulong.com/proj/photo_view.asp?id=42942&s=2&c=201545
62 Kristien Werck, Bruno Heyndels. Programmatic choices and the demand for theatre: the case of Flemish theatres. Kluwer Academic Publishers-Plenum Publishers. 2007, 1: 74
63聂建鑫,陈向清.澳大利亚墨尔本RMIT斯托雷厅.中国建筑装饰装修. 2003, (1): 30
64刘欣.常州大剧院.城市建筑. 2010, (9): 25
65魏敦山,乐音,马烨.跳动的音符,流动的乐章常州大剧院设计构思.城市建筑. 2006, (4): 60
66 Barkhofen, Eva-maria. GMP. Distributed Art Pub Inc. 2005, 7: 38
67吴博.青岛大剧院建筑设计.山西建筑. 2009, (8): 25
68陈邦贤,张玮.欧阳予倩大剧院.建筑学报. 2008, (2): 42
69 http://tupian.hudong.com/a2_53_06_01300000237386122421069761770_jpg.html
70 http://www.hubei.gov.cn/xwzx/hbwh/wh01/200711/t20071116_38808.htm
71楚歌乐舞,激情飞扬武汉琴台大剧院设计.新建筑. 2008, (2): 48
72 http://www.photo0086.com/ShowWork.aspx?id=45642
73 Kennedy C. Chinyowa. Emerging paradigms for applied drama and theatre practice in African contexts. Research in Drama Education. 2009, (8): 37
74徐婵婵.当代观演建筑形态生成原则初探.大连理工大学硕士学位论文. 2010: 94-95
75程锐.视觉文化介入的当代建筑造型手法初探.合肥工业大学硕士学位论文. 2009: 76-77
76 http://suzhou.cncn.com/photo/154730/
77苏州科技文化艺术中心.建筑学报. 2009, (7): 29
78麦哈德·冯-格康;克劳斯·棱茨; Hans Georg Esch.重庆大剧院.建筑技艺. 2010, (2): 23
79 http://www.hinews.cn/news/system/2008/12/28/010384876.shtml
80上海世博会演艺中心主体建筑.重庆建筑. 2010, (5): 38
81汪孝安.中国2010年上海世博会演艺中心.世界建筑. 2009, (6): 63
82 http://bbs2.zhulong.com/forum/dispbbs.asp?rootid=1516986&p=1
83福冈市ACROS福冈台阶状屋顶花园.工程质量. 2007, (14): 55-56
84 http://scenery.becod.com/scenerylist_area=1879_keyword=_page=5.html
85董铁鑫.材料在建筑表皮设计中的表达.内蒙古工业大学硕士学位论文. 2009: 35-36
86廖扬.巴尔的摩6号码头音乐厅,美国.世界建筑. 2000, (9): 52
87 http://bbs.poco.cn/topic_photo.htx&fid=18&tid=5316660&view=new
88 http://www.my0832.com/bbs/topic-85085.html
89 http://hi.baidu.com/neverkim/album/item/79811837239e61ba184cff66.html
90 http://hn.rednet.cn/c/2007/02/09/1129533.htm
91耿洋帆.基于自然形态的建筑创作研究.重庆大学硕士学位论文. 2006: 37-39
92 http://gd.yahtour.com/news/tuijian/196464.shtml
93张桂玲,黄捷.圆润双砾广州歌剧院设计.新建筑. 2006, (4): 43
94 http://hi.baidu.com/270122496/album/item/6d48812a3f9a9d81023bf64a.htm
95项秉仁,程翌.内在理性和外在逻辑合肥大剧院建筑和室内设计.时代建筑. 2010, (9): 39
96陈海津.广州白云国际会议中心.建筑创作. 2007, (1):50
97陈小珉,林竹.政务型观演建筑的思考:广州白云国际会议中心参建感想.建筑创作. 2008, (8): 59
98 http://bbs.ziling.com/thread-597485-1-1.html
99斯宾塞表演艺术剧院.阿尔托.新墨西哥州.世界建筑. 2008, (10): 32
100 http://tieba.baidu.com/f?kz=706207648
101贺建红.地域性建筑研究.西安建筑科技大学硕士学位论文. 2004: 90-91
102什切青交响音乐厅.什切青市.波兰.世界建筑. 2009, (11): 30
103 http://zc85.com/News/NewsDetails_622.htm
104项秉仁,程翌.现代与历史的对话西安大唐不夜城文化交流中心设计.城市建筑. 2007, (9): 46
105蔡鹤年.打造中国的京剧剧场:梅兰芳大剧院创作随笔之一.建筑创作. 2006, (9): 54
106贾玉洁,孙宗列.传统文化的缩影梅兰芳大剧院.建筑与结构设计. 2009, (7): 14
107张鹏举,弓志刚.内蒙古鄂尔多斯影剧院改造扩建设计.新建筑. 2007, (6): 38
108 http://www.e0575.cn/read.php?tid=2810257
109蔡镇钰,邹一挥.乌篷船的情结绍兴大剧院创作.新建筑. 2006, (1): 41
110 http://dgtime.timedg.com/html/2008-07/17/content_176462.htm
111玉兰大剧院:东莞的文化标签.小康. 53: 37
112 http://www.nxnews.net/4590/2008-10-23/37@335366.htm
113宁夏大剧院设计方案.建筑创作. 2008, (8): 42
114李敏茜,梁耀昌.观演建筑设计的地域性思考长春净月潭保利大剧院建筑设计.建筑创作. 2009, (3): 32
2 Natasha Ruiz-Gomez. The (Jean) Nouvel Other: Primitivism and the Musee du Quai Branly. Modern & Contemporary France. 2006, (11): 32
3李道增.西方戏剧·剧场史.北京:清华大学出版社, 1999: 43
4 Persephone Sextou. Drama and Theatre in Education in Greece: past achievements, present demands and future possibilities. Research in Drama Education. 2002,3: 56
5魏大中.敦煌壁画净土变中的歌舞场.伸出式舞台设计. 1992: 68
6 Hugh Denard. The Pompey Project: Digital Research and Virtual Reconstruction of Rome's First Theatre. Richard Beacham, Computers and the Humanities. 2003, (2): 24
7 Melissa Ann Reed. Shakespeare's Poetics of Play-Making and Therapeutic Action in The Tempest. Journal of Poetry Therapy. 2000, (9): 31
8 Matthew Rendall. Russia, the concert of Europe, and Greece, 1821-29: A test of hypotheses about the Vienna system. Security Studies. 2000: 20
9 http://trip.byecity.com/article-10331.html
10刘振亚.现代剧场设计.中国建筑工业出版社, 2000: 65
11郑姗姗.柏林爱乐音乐厅入口大堂,柏林,德国.世界建筑. 2009, (3):36
12崔晶;金路.设计与运行——巴黎巴士底歌剧院二十年回顾.演艺科技. 2010, (2):47
13彭坡.沃特·迪斯尼音乐厅巡礼.音响技术. 2006, (1):26
14 Terry Smith. The Sydney Opera House and the World Trade Center. Architectural Theory Review. 2002, (11): 30
15 http://www.aaart.com.cn/CN/news/show.asp?news_id=12728
16 Zaha Hadid. Zaha Hadid Space for Art.科学出版社, 2007, 12: 4
17 http://bbs.xiangshu.com/read.php?tid=1952705
18 Kari Skarholt. Communicating Through Theatre: How Organizational Theatre Engages Researchers and Industrial Companies. Systemic Practice and Action Research. 2006, (11): 47
19曲全岳.对比·统一·地域性——解读河南艺术中心的设计构思.建筑. 2010, (10):38
20于一平.与蝶共舞河南艺术中心建筑设计.建筑学报. 2009, (10)
21 ]Noever Peter, Ruby Andreas. Zaha Hadid. Distributed Art Pub Inc.2005, (7): 77
22王鹤.数字时代下的建筑形式研究.合肥工业大学硕士学位论文. 2009: 54
23李万林.当代非线性建筑形态设计研究.重庆大学硕士学位论文. 2008: 7
24 I. M. Valakos, M. S. Ntipteni, I. K. Nikolos. Structural optimization of a centrifugal impeller using differential evolution in CATIA. Operational Research. 2007, (5): 53
25 Michael Leyton. Group Theory and Architecture. Nexus Network Journal. 2001, (9): 15
26 Thomas P. Hughes. MIT architecture and values: Gehry's Stata and Holl's Simmons. History and Technology. 2008, (9): 5
27 Casey CM.Mathewson. Frank O. Gehry 1969-Today.北京科文图书业信息技术有限公司. 2006, (9): 8
28 http://www.newadvent.org/cathen/03149d.htm
29 Ana G. Canizares. Great New Buildings of the World Works. 2005, (1): 20
30 http://design.itfensi.com/jz/121867876127850.html
31天顶音乐厅,斯特拉斯堡.法国.世界建筑. 2008, (4): 26
32 http://www.jiaodong.net/news/system/2010/09/13/010954285.shtml
33 S. Saikumar;M. S. Shunmugam.Parameter Selection Based on Surface Finish in High-Speed End-Milling Using Differential Evolution. Materials and Manufacturing Processes. 2006, 7: 74
34 http://photo.zhulong.com/proj/photo_view.asp?id=12007&s=6
35马林斯基第二歌剧院,圣彼得堡.俄罗斯.世界建筑. 2004, (3): 43
36 Ben Van Berkel, Caroline Bos. UN Studio. Rizzoli. 2006, 9: 54
37汪孝安;鲁超;田园;涂宗豫.面向未来2010上海世博会世博演艺中心设计.时代建筑. 2009, (7):26
38王玲.基于结构形态的建筑造型研究.重庆大学硕士学位论文. 2007: 4
39 http://www.qqhru.ddfchina.com/index.php?option=com_content&view=article&id=
145:artid139&catid=12:article-classics&Itemid=29
40 http://photo.zhulong.com/proj/detail5595.htm
41 http://news.eastday.com/eastday/sh/node462/node8370/index11.html
42陈晶.结构仿生方法及其在大型公共建筑设计中的应用研究.华中科技大学硕士学位论文. 2008: 13
43 http://hi.baidu.com/ieunet/album/item/543050ec73355b24279791cd.html
44 http://photo.zhulong.com/proj/detail42942.htm
45 http://www.hw01.com/3217/3283/3658/20081104093359.htm
46 http://www.jianzhu01.com/Museum1007292003.htm
47普西尼剧场.德尔卢卡.意大利.世界建筑. 2000, (12): 59
48 http://www.nipic.com/show/1/62/2bab7e5efcd8e157.html
49佟华.表皮建筑研究.北京交通大学硕士学位论文. 2010: 90
50 http://photo.zhulong.com/proj/photo_view.asp?id=4225&s=34&c=201035
51沈轶.伊东丰雄形式语言分析背景、转变与启示.大连理工大学硕士学位论文. 2004: 41
52 Werner Herzog. Herzog & De Meuron. Springer Verlag. 2005,6:56
53大师系列丛书编辑部.弗兰克?盖里的作品与思想.中国电力出版社, 2006: 19
54 http://www.piaowutong.com/web/hall/hall_theater.aspx?id=18
55 http://www.piaowutong.com/web/hall/hall_theater.aspx?id=18/tdsh
56 http://www.news365.com.cn/wxpd/tp/jj/200709/t20070918_1582372_1.htm
57 http://www.artron.net/
58唐大为.解读哈迪德.东南大学硕士学位论文. 2005: 104
59 http://www.artron.net/hadid
60 http://gd.ent.sina.com.cn/news/2010/09/29/638264.html
61 http://photo.zhulong.com/proj/photo_view.asp?id=42942&s=2&c=201545
62 Kristien Werck, Bruno Heyndels. Programmatic choices and the demand for theatre: the case of Flemish theatres. Kluwer Academic Publishers-Plenum Publishers. 2007, 1: 74
63聂建鑫,陈向清.澳大利亚墨尔本RMIT斯托雷厅.中国建筑装饰装修. 2003, (1): 30
64刘欣.常州大剧院.城市建筑. 2010, (9): 25
65魏敦山,乐音,马烨.跳动的音符,流动的乐章常州大剧院设计构思.城市建筑. 2006, (4): 60
66 Barkhofen, Eva-maria. GMP. Distributed Art Pub Inc. 2005, 7: 38
67吴博.青岛大剧院建筑设计.山西建筑. 2009, (8): 25
68陈邦贤,张玮.欧阳予倩大剧院.建筑学报. 2008, (2): 42
69 http://tupian.hudong.com/a2_53_06_01300000237386122421069761770_jpg.html
70 http://www.hubei.gov.cn/xwzx/hbwh/wh01/200711/t20071116_38808.htm
71楚歌乐舞,激情飞扬武汉琴台大剧院设计.新建筑. 2008, (2): 48
72 http://www.photo0086.com/ShowWork.aspx?id=45642
73 Kennedy C. Chinyowa. Emerging paradigms for applied drama and theatre practice in African contexts. Research in Drama Education. 2009, (8): 37
74徐婵婵.当代观演建筑形态生成原则初探.大连理工大学硕士学位论文. 2010: 94-95
75程锐.视觉文化介入的当代建筑造型手法初探.合肥工业大学硕士学位论文. 2009: 76-77
76 http://suzhou.cncn.com/photo/154730/
77苏州科技文化艺术中心.建筑学报. 2009, (7): 29
78麦哈德·冯-格康;克劳斯·棱茨; Hans Georg Esch.重庆大剧院.建筑技艺. 2010, (2): 23
79 http://www.hinews.cn/news/system/2008/12/28/010384876.shtml
80上海世博会演艺中心主体建筑.重庆建筑. 2010, (5): 38
81汪孝安.中国2010年上海世博会演艺中心.世界建筑. 2009, (6): 63
82 http://bbs2.zhulong.com/forum/dispbbs.asp?rootid=1516986&p=1
83福冈市ACROS福冈台阶状屋顶花园.工程质量. 2007, (14): 55-56
84 http://scenery.becod.com/scenerylist_area=1879_keyword=_page=5.html
85董铁鑫.材料在建筑表皮设计中的表达.内蒙古工业大学硕士学位论文. 2009: 35-36
86廖扬.巴尔的摩6号码头音乐厅,美国.世界建筑. 2000, (9): 52
87 http://bbs.poco.cn/topic_photo.htx&fid=18&tid=5316660&view=new
88 http://www.my0832.com/bbs/topic-85085.html
89 http://hi.baidu.com/neverkim/album/item/79811837239e61ba184cff66.html
90 http://hn.rednet.cn/c/2007/02/09/1129533.htm
91耿洋帆.基于自然形态的建筑创作研究.重庆大学硕士学位论文. 2006: 37-39
92 http://gd.yahtour.com/news/tuijian/196464.shtml
93张桂玲,黄捷.圆润双砾广州歌剧院设计.新建筑. 2006, (4): 43
94 http://hi.baidu.com/270122496/album/item/6d48812a3f9a9d81023bf64a.htm
95项秉仁,程翌.内在理性和外在逻辑合肥大剧院建筑和室内设计.时代建筑. 2010, (9): 39
96陈海津.广州白云国际会议中心.建筑创作. 2007, (1):50
97陈小珉,林竹.政务型观演建筑的思考:广州白云国际会议中心参建感想.建筑创作. 2008, (8): 59
98 http://bbs.ziling.com/thread-597485-1-1.html
99斯宾塞表演艺术剧院.阿尔托.新墨西哥州.世界建筑. 2008, (10): 32
100 http://tieba.baidu.com/f?kz=706207648
101贺建红.地域性建筑研究.西安建筑科技大学硕士学位论文. 2004: 90-91
102什切青交响音乐厅.什切青市.波兰.世界建筑. 2009, (11): 30
103 http://zc85.com/News/NewsDetails_622.htm
104项秉仁,程翌.现代与历史的对话西安大唐不夜城文化交流中心设计.城市建筑. 2007, (9): 46
105蔡鹤年.打造中国的京剧剧场:梅兰芳大剧院创作随笔之一.建筑创作. 2006, (9): 54
106贾玉洁,孙宗列.传统文化的缩影梅兰芳大剧院.建筑与结构设计. 2009, (7): 14
107张鹏举,弓志刚.内蒙古鄂尔多斯影剧院改造扩建设计.新建筑. 2007, (6): 38
108 http://www.e0575.cn/read.php?tid=2810257
109蔡镇钰,邹一挥.乌篷船的情结绍兴大剧院创作.新建筑. 2006, (1): 41
110 http://dgtime.timedg.com/html/2008-07/17/content_176462.htm
111玉兰大剧院:东莞的文化标签.小康. 53: 37
112 http://www.nxnews.net/4590/2008-10-23/37@335366.htm
113宁夏大剧院设计方案.建筑创作. 2008, (8): 42
114李敏茜,梁耀昌.观演建筑设计的地域性思考长春净月潭保利大剧院建筑设计.建筑创作. 2009, (3): 32
© 2004-2018 中国地质图书馆版权所有 京ICP备05064691号 京公网安备11010802017129号 地址：北京市海淀区学院路29号 邮编：100083 电话：办公室：(+86 10)66554848；文献借阅、咨询服务、科技查新：66554700 |