天鹅湖城市公园暨现代艺术中心设计毕业设计(编辑修改稿)

天鹅湖城市公园暨现代艺术中心设计毕业设计(编辑修改稿)内容摘要：

further the effect that landscape has conquered habitable space. Another example of an extraordinary garden is represented by the one integrated into the Quai Branly Museum that was pleted in 20xx and is located along the river Seine a few minutes walk from the Eiffel Tower. The concept of the vegetal is used to create a‘ sacred forest’ in the heart of Paris. Vegetation is used as the springboard for a kind of mythical thinking in which human mistakes of the past are redeemed and a contribution is made towards the salvation of ancestral underlying construct of employing the vegetal is not simply a design concept, but a cultural one. In fact, the main purpose of the garden is to recreate an appropriate setting for indigenous art. Conceived by the landscape architect Gilles Cl 233。 ment, the garden is protected to the north by a huge transparent glass wall similar to the one at the Cartier Foundation. With time the museum will disappear from view behind a dense vegetal curtain. Another trend in contemporary architecture is to employ green vegetation on walls and roofs. A remarkable example is the ‘ vertical garden’ by the French botanist Patrick Blanc on the northern wall of the Quai Branly Museum. His ‘ green walls’ (murs v 233。 g 233。 taux) are sophisticated pieces of natural artwork bining the notion of the microbiotope with scientifically arranged and systematically irrigated plants.［ 4］ The verdant cladding system consists of three ponents: a metal frame, a PVC layer and a layer of felt that together form the support for the plants. The vegetation grows without soil and is rather nourished by nutrients added to the downward trickling water. Here vegetation does not undergo substantial rhythmic chromatic variations in accordance with the seasons。 rather as ‘ always green’ coverings they have bee constant elements of the architecture itself, as well as a permanent part of the urbanscape as a whole. Protective － as an acoustic and thermal insulator－ and reactive and lively like skin, the vegetal not only has the ability to renew itself but also serves as an air purifier and, most of all, a refreshing garden. In the Quai Branly Museum vegetation is also employed as a screened application. (Fig. 2) Motives of green trees and leaves are represented on semitransparent films on toptobottom glass images of a rain forest are used as an interface between exterior and interior. The aim here is not to decorate, but to erase the wall with the image, dematerialising the wall in an illusionary way with light perforating the membrane. The vegetal seemingly twines up the walls between the overhanging, colourful volumes of the northern facade and engages in a dialogue with the garden and green surroundings. 21 In his (unrealised) project for the Museum of Human Evolution in Burgos, Spain (20xx), Nouvel’ s own approach to bringing － back － vegetation into the city is both radical and poetic. (Fig. 3, 4) Reminiscent of prehistoric anic architecture and conceived in reference to the surrounding landscape, the project features a cavelike interior in an artificial hill covered with shrubs and small trees typical of the local vegetation. The site of the former 13th century San Pablo Monastery is located on the southern bank of the Arlanz243。 n River opposite the ancient core of the city. Nouvel’ s project evokes nearby Atapuerca where archaeological excavations are revealing the mystery of human origins as they uncover and investigate the remains of this prehistoric human habitat. The architectural project recalls a tumulus, a mound of earth or stones raised over a grave which was used as a burial monument in prehistoric times. Nouvel’ s strategic thinking in oppositions is evidenced in the project as a collision between modernity and the prehistoric. Inspired by the work of Anish Kapoor, the museum represents the most elementary kind of earthen shelter set into an artificial vegetated hill. Rocky materials and earth colours in the inside are set in contrast to scaffolding structures and modern technology housing shops, hotel, convention centre and theatre. In his project description he asserts that, ‘ It is a space full of light, uncertainties, reflections, and depth, emphasizing the contrast between two aesthetics: one the legacy of countless millennia, the other invented by our brandnew century.’ Not all urban theorists, however, are provegetation. In 1974 Henri Lefebvre called green areas in the city ‘ unproductive’ . Questioning their longevity he asks, ‘ These obviously give pleasure to the munity as a whole, but who pays for this pleasure?’ . He concludes that ‘ ⋯ there is a tendency for them to die out.’［ 5］ Noheless some thirty years later environmental ethics are still proclaiming that in order to save the pla and its fast growing population we must ‘ Think green! Go green!’ Nouvel’ s (unbuilt) project for the Guggenheim Temporary Museum of Art in Tokyo (20xx), however, has little to do with this recent ‘ Green Movement’ and reflects a critique that in some ways approximates that of Lefebvre, yet weighs other criterion. Here Nouvel is not so much interested in the economic factor, but in pursuing a sensual ponent － human being’ s attunement to the colours of nature and seasonal changes－ Nouvel’ s approach is noheless pragmatic. Sense AND sensibility make the difference here enabling the ‘ creative jump’ between the artificial and the natural. A parade of colours ‘ naturally’ produced by seasonal changes, yet incorporated into the architectural concept as an aesthetic feature, emphasises the ephemeral white and pink blossoms of cherry trees in spring。 the soft green of the leaves in summertime。 the red of maple trees in autumn。 and the barklike grey of the tree trunks and branches in winter. Erecting an ‘ artificial’ mound covered with ‘ nat。