著名建筑师刘威中英文介绍
alva allto
Alvar Aalto and Humanizing of ArchitectureHyon-Sob KimAssistant Professor, Department of Architecture, Korea University, KoreaAbstractThe purpose of this paper is to review Aalto's design conception on the basis of his critique of technology-oriented rationalism. Arguably, his critical attitude was best illustrated in his article 'The Humanizing of Architecture' (1940), which anticipates Adorno and Horkheimer's criticism against instrumentalized rationality (1944). For Aalto, true rationalism should be synthetic in order to cover all fields of human activities. However, man is not only a rational being but also a player. Aalto's argument for the relevance of play in architecture corresponds to Johan Huizingha's theory of Homo Ludens or 'Man the Player'. Play elements in Aalto's design complements the unbalanced formula between form and function in architecture by covering humanitarian and psychological aspects. These elements are often proved to be astonishingly rational as he maintained, and symbolically functional in many cases. Nonetheless, all the discourses concerning Aalto's architecture eventually converge on original matters concerning architecture, man and nature – architecture mediates man and nature. This relationship is reflected in Aalto's design, directly and indirectly as well as practically and metaphorically, which is more fundamental than any other superlative theories. Therefore, this paper maintains that his architecture has a timeless value and that he demonstrated an example of humanizing architecture.Keywords: Alvar Aalto; modern architecture; rationalism; play; humanizing of architecture1. IntroductionAlvar Aalto's influence on his contemporaries and on the next generation of architects has been remarkable. As Kenneth Frampton (1998) expounded, his legacy was inherited in diversified ways: first by Finnish architects such as Aarne Ervi of the 'constructivist line' as well as Reima Pietilä of the 'organic' one; and then by foreign architects worldwide from Jørn Utzon to Alvaro Siza, both directly and indirectly. Charles Jencks (1977) perceived a 'Post-Modern space' in Aalto's work and Robert Venturi (1977) confesses his debt to the Finnish master.1However, although critics like Manfredo Tafuri and Francesco Dal Co (1980) appeared to be rather suspicious of Aalto's vital contribution to contemporary architecture,2from the present point of view, he is undoubtedly one of the most significant modern architects and his influential power seems to be continually growing.The validity of Alvar Aalto's design in current architecture could be generally explained in two ways. The one is its implication of postmodern 'complexity and contradiction' in Venturi's term (1966). It could also be seen as that of 'heterotopia', if borrowing from Demetri Porphyrios (1980) (who originally quoted the term from Foucault), which discards the homotopic integrity of the modern ideal, and instead pursues "an unstable unity" of heterogeneous elements (pp.2-4). The other is the increasing contemporary interest in the phenomenological sense of place, nature and man that Aalto's design retains. The association of Aalto with the Finnish context is fundamental in relation to this standpoint. Nevertheless, in both cases, his work provides us with something that cannot be grasped by the notion of orthodox modernism. In other words, we can say that Alvar Aalto served as a critic of rationalism in architecture, which had become increasingly more instrumentalized – especially since the proclamation of the International Style in 1932. European rationalist tradition was now vulnerable in the hands of Aalto.The crisis of rationalist modernism had already been detected in events such as the Weissenhofsiedlung Exhibition in 1927 and the foundation of the CIAM in 1928.3Moreover, Sigfried Giedion's insertion of the Alvar Aalto chapter in the 2nd edition of Space, Time and Architecture(1949) ironically signifies the limits of rationalism. Despite the controversial dichotomy*Contact Author: Hyon-Sob Kim, Assistant Professor, Department of Architecture, Korea University,Anam-dong, Seongbuk-gu, Seoul 136-701, KoreaTel: +82-2-3290-3343E-mail: archistory@korea.ac.kr( Received October 7, 2008 ; accepted January 5, 2009 )in the historiography, his complimentary description of Aalto's ability to "dare the leap from the rational-functional to the irrational-organic" illustrates a new possibility in modern architecture.The purpose of this research is to reconsider Aalto's design conception starting from the examination of his attitude towards rationalism. However, as is well-known, he did not declare any manifestoes nor formulate a principle for his architecture. It is reported that whenever asked about his architectural theory, Aalto responded: "I answer with my buildings."4 In reality, however, he was given a number of opportunities to state his architectural idea even though this was generally not in the logical form of a 'theory'. Arguably, the best statement that shows his critical stance towards rationalism is in an article entitled 'The humanizing of architecture', which was published in The Technology Review in 1940. As the titles of the article and the journal already indicate, Aalto rejected a technical rationalization for a humanistic approach to architecture. The article is the stepping-stone to this research. Therefore, this paper will first investigate Aalto's critique of rationalism revealed in the article, and will then consider what could be the alternative breakthrough that his architecture implies.2. Aalto's Critique of Rationalism"The term 'rationalism' appears in connection with Modern architecture about as often as does 'functionalism'. Modern architecture has been rationalized mainly from the technical point of view. […] It is not the rationalization itself which was wrong in the first and now past period of Modern architecture. The fault lies in the fact that the rationalization has not gone deep enough. The present phase of modern architecture is doubtless a new one, with the special aim of solving problems in the humanitarian and psychological fields. […] Technical functionalism is correct only if enlarged to cover even the psychophysical field. That is the only way to humanize architecture." (Alvar Aalto, 'The Humanizing of Architecture', 1940)5Rationalism was one of the most important aspects of modern architecture. According to the German modernist critic Adolf Behne (1923), the rationalists pursue "what is most fitting for general need, the norm," in contrast with the functionalists who favor unique solutions for specific requirements.6Owing to the search for a universal solution, it is true that modern rationalism produced its own aesthetics as well as various positive effects in the building economy. However, its emphasis on standardization and mass production often resulted in a fallacy of scientific determinism and the obsession with efficiency in planning, design and construction inevitably brought about a dry and uniform built environment. When Le Corbusier suggested sweeping away "the pack-donkey's way" to build a new utopian city (Urbanisme,1925),h e w a s b e i n gextremely 'rational' rather than'reasonable'. Walter Gropius'smathematical calculation inthe Zeilenbau diagram provednot to guarantee psychologicalsatisfaction, even though thephysical "conditions as toair, sun, view and distancefrom neighbour blocks areimproved."7Form followede f f i c i e n c y r a t h e r t h a nfunction.From Behne's approach,the representative modern rationalist isMies van derRohe, if thefunctionaliste x a m p l e i sHugo Häring.T h e t w oa r c h i t e c t sh a d o n c es h a r e d a noffice – andpossibly anarchitecturalconcept too– b u t l a t e rw e n t t h e i rseparate ways for universality and for specificity, respectively.8However, the labels of 'rationalism' and 'functionalism', in relation to modern architecture, have quite often been used without distinction. It seems that Aalto was not an exception, either. Though Aalto's designs illustrate, in retrospect, a difference between functionalism and rationalism – his Heraclitean interpretation of function was not reduced to a rational order,9he did not actually seriously distinguish between the -isms, at least, in the above article. Whatever the term might be, the important point for Aalto was that "Modern architecture has been rationalized from the technical point of view." To him, rationalization or rationalism itself was not a matter, in fact. The problem was that it was not mature enough. Rather than resorting to any rationalist strands such as Classical Rationalism and Gothic Rationalism in early modern architecture,10 Aalto directly arrived at the point concerning the raison d'etre of rationalism. Fundamentally, it should be "human happiness" – quoting from Zevi (1950) who used this condition for his definition of "organic architecture" (p.76) – if rationalism is truly based on 'reason'. Aalto argued that "rational methods" must be enlarged to encompass humanitarian and psychological fields.Fig.1. Plan V oisin,Le Corbusier, 1925.Fig.2. Gropius's Diagram for ParallelApartment Blocks in a Rectangular Site,1930s.Aalto's expression of the immature modern condition reminds us of Jürgen Habermas's argument that modernity is "an incomplete project". In his acceptance speech of the Theodor Adorno Prize in 1980, Habermas maintains that "instead of giving up modernity and its project as a lost cause, we should learn from the mistakes."11 This statement was exactly along the lines of Adorno, whose idea was anticipated by Aalto's critique of rationalism. In Dialektik der Aufklärung(1944), Adorno and Max Horkheimer accused the Enlightenment of resulting in "a new kind of barbarism" and rationalism of its "tendency to self-destruction". However, their critique was not purely pessimistic but "intended to prepare the way for a positive notion of enlightenment." They argue that "the Enlightenment must examine itself,"12 as Aalto examined the first period of modern architecture. As Hilde Heynen (1999) pointed out, Adorno and Horkheimer made "an implicit distinction between critical rationality – reason, that is, in its most authentic and unqualified guise – and instrumental rationality, which is thinking reduced to purposes of utility or to mere calculation" (p.180). Therefore, we can consider that the two philosophers argued for a recovery of "critical rationality" as the basic motive of the Enlightenment and rationalism. Aalto's claim for a deeper rationalization is after all the revitalization of the lost critical rationality in modern architecture. Despite the unwanted effect, we cannot abandon the original liberating intention of the Enlightenment project. He suggests that it is possible only when architecture, as a "synthetic phenomenon", covers all fields of human activity: a psychological field as well as a technical one.Yet, at a practical level,how can architecturesatisfy a psychologicalneed? Aalto illustrated hisidea in the above articlewith the examples ofthe Paimio TuberculosisSanatorium (1928-32)and the Viipuri MunicipalLibrary (1927-35). Int e r m s o f t h e f o r m e r,Aalto's first monumentala c h i e v e m e n t i n h i scareer, the obliquelyaligned white hospitalwings and the rooftopsundeck are probably themost impressive images.With regard to the themein the article, however, hefocuses on the relationship between one single patient and his/her room, that is, the patient's behavioral and psychological aspects within the existential space. The situation ofthe patient, as "ahorizontal humanbeing" who lies ona bed most of his/her time "in theweakest possiblec o nd i t i o n",13s h o u l d b ec o n s ide r e dcarefully, even interms of color,lighting, heating,noise, etc. Aaltop r o p o s e d a n dexecuted concretedevices for theroom as follows:"T h e c e i l i n gshould be darker,with an especiallys e l e c t e d c o l o r suitable to be the only view of the reclining patient for weeks and weeks. The artificial light cannot come from an ordinary ceiling fixture, but the principal center of light should be beyond the angle of vision of the patient. For the heating system in the experimental room, ceiling radiators were used but in a way which threw the heat mainly at the foot of the bed so that the head of the patient was outside the direct rays. The location of the windows and doors likewise took into account the patient's position. To avoid noise, one wall in the room was sound absorbing, and wash basins (each patient in the two-patient rooms had his own) were especially designed so that the flow of water from the faucet hit the porcelain basin always at a very small angle and worked noiselessly."14 While rationalists would consider this detailed plan for one single room to be excessive, it was crucial to Aalto, who wanted to think truly reasonably. He ensured that the technical strategies would sensitively serve the patients' emotional requirements. In a similar way, lighting was the main concern in the Viipuri Library owing to the activity of reading.In order to reduce thefatiguing phenomena tothe human eye, indirectdaylight was preferredand Aalto devised roundskylights. The system,he argued, is not only"technically rationalbecause of the monopieceglass system employed"b u t a l s o"h u m a n l yr a t i o n a l b e c a u s e i tprovides a kind of lightFig.3. Paimio Sanatorium,Site Plan, 1928-32. Fig.4. Paimio Sanatorium, Rooftop Sundeck.Fig.5. Paimio Sanatorium,Patient Room.Fig.6. Paimio Sanatorium, Sketches forOverhead Heating in a Patient Room.Fig.7. Viipuri Library, Sketchfor Skylights, 1927-35.suitable for reading,blended and softenedby being reflected fromthe conical surfacesof the skylights."15F r o m A a l t o's p o i n tof view, the seriousconsideration for theseemingly meticuloush u m a n b e h a v i o r i scritically and humanlyrational.3. Aalto the Homo Ludens"In the midst of our laboring, calculating, utilitarian age, we must continue to believe in the crucial significance of play when building a society for human beings, those grown-up children. […] Thus we must combine serious laboratory work with the mentality of play, or vice versa. Only when the constructive parts of a building, the forms derived from them logically, and our empirical knowledge is colored with what we might seriously call the art of play; only then are we on the right path. Technology and economics must always be combined with a life-enhancing charm." (Alvar Aalto, 'Experimental House at Muuratsalo', 1953)16O n e n o t a b l e p o i n t i n 'T h e H u m a n i z i n g o f Architecture' is that Aalto recognized the transition of modern architecture – "the first and now past period" and "the present phase". In fact, around the mid 1930s, he himself showed a modification in his architectural tendencies from the trend influenced by rationalist modernism to a more romantic approach.17His biographer Göran Schildt (1986) also confirms this: "He half consciously moved farther and farther away from Rationalism, driven by his artistic daemon and by his feeling for the human and natural" (p.18). Nevertheless, Aalto's designs even in the rationalist period were significantly different from other continental modernists' work. Though the two examples in Paimio and Viipuri belong to the rationalist period, they are "humanly rational" as shown above. This is why he could use them as a model for the new phase architecture.The uniqueness of Aalto's design derives to a large extent from his reliance on 'instinct' and 'intuition'. These terms might be associated with 'whimsicality', 'randomness', or 'irrational', descriptions which "the first historians"18of modern architecture generally disregarded. However, Aalto had confessed the importance of such ideas in his architecture: "Always there will be more of instinct" (1940); and "Intuition can sometimes be astonishingly rational" (1972).19 Looking back, intuition was actually the foundation of the Western philosophical edifice since Descartes, the father of continental rationalism, adopted intuition in his famous reasoning process. In the first of the four rules in his Discourse on Method, he recognized 'intuitively' indubitable truths such as the fact that 'he thinks.' While he argued for his different usage of the term "intuition" from its general conception related to the senses or the imagination,20this new usage does overlap the conventional one to a considerable degree. And it is not always true that the undoubted proposition is purely the result of his "intellectual intuition".21 The probable gap could be bridged by a leap of intuition – in the general conception. Actually, it seems that Aalto's intuition does not show a considerable discrepancy with the Cartesian "unclouded and attentive mind". In his design, it can and should complement as an indispensable element the reasoning process of analysis, synthesis and deduction, which are the remaining three rules in Descartes' method. Architectural design involves not only a rational program but also an intuitive decision and Kunstwollen. Aalto admitted this without reserve. Just as "myth is already enlightenment; and enlightenment reverts to mythology" (Adorno and Horkheimer), so rationality is basically rooted in intuition, and intuition is often rational.We now need to review the nature of the human being. As Johan Huizingha (1872-1945) pointed out in Homo Ludens (1938), we cannot wholly rely on the 18th century's optimistic concept of Homo Sapiens or 'Man the Thinker'. Instead, he emphasizes the significance of play as a "cultural phenomenon" in all activities of human civilization and refers to our species as Homo Ludens or 'Man the Player'. According to him, "we must be more than merely rational beings" since "we play and know that we play."22 He maintains that this concept of play is also an important element in the area of plastic arts, including architecture, and suggests that it could be located in the category of aesthetics. Aalto shared this idea through his friend Yrjö Hirn (1870-1952), an influential Finnish litterateur,23who, in his book Barnlek (Child's Play; 1916),24 investigated the area of child's play and concluded that play is an innate human quality. In the text 'Experimental House at Muuratsalo', Aalto argues for the necessity for play in every architect's work. Nonetheless, he perceived that "a one-sided concentration on play" is only a "jest". His thesis was that the rational and logical approach to design should be accompanied by "the art of play", which can promote "a life-enhancing charm" in architecture.Huizingha's idea that play "has its place in a sphere superior to the strictly biological process of nutrition, reproduction and self-preservation"25can be applied to the relationship between form and function in architecture. Frank Lloyd Wright and Hugo Häring, the advocates of organic architecture in America and Europe respectively, asserted an indivisible connection of form and function in their designs. As Wright (1939) was loyal to the concept that "Form Follows Function" and even argued that "Form and FunctionFig.8. Viipuri Library, ReadingRoom with Skylights.are One" (p.4), so Häring's organic functionalist theory of Leitsungform or content-driven form emphasizes the pure relationship between the two.26 This functional determinism, originated from the biological analogy, cannot but make a fallacy in reality as Philip Steadmann (1979) depicted,27 or at least, there is a gap between the principle and the actual building. Not all aspects of an architectural outcome can be explained by function only. In cultural and architectural phenomena, in contrast to biological ones, there is always an aspect that function cannot include. Huizingha argued that 'play' is one of these aspects, and Aalto's work expressed this concept. Though Aalto is often regarded as belonging to the 'organic circle' along with Wright and Häring, his room for play beyond function in form led him to diverge from them.In most cases, however, Aalto's play does not remain as the architect's own vagary. Intuitive play elements in his design are quite often "astonishingly rational" and also symbolically functional. Moreover, various possibilities of interpretation that the metaphorical u s a g e o f t h e p l a y e l e m e n t p e r m i t s m a k e the architectural experience more rich and abundant. This can be seen i n t h e P a i m i o S a n a t o r i u m and the Viipuri L i b r a r y. T h e f r e e -f o r m e d entrance canopyof the sanatorium appears to be arbitrary and clearly playful. However, it is still practical because the shape generally follows the circulation route of cars around the entrance. Nevertheless, the shapes of the two ends – a straight line and a semi-circle – are inexplicable from the functionalist's standpoint. Yet the canopy, often called "Aalto's lung" by the nurses,28 can also be interpreted metaphorically as the architect's consideration for the patients who crave for recovery from lung disease. It accords with Aalto's claim for psychological reflection. In the Viipuri Library, the undulating ceiling of the auditorium had been regarded as an outcome of a scientific experiment, but the real acoustic effect is not as successful as expected according to recent research.29 Arguably, it illustrates a symbolic function rather than a practical one. As for Aalto's own house at Muuratsalo (1952-53), for whichthe cited text was written, the m o s t p l a y f u l e l e m e n t i s t h e m i x t u r e o f v a r i o u s bricks and tiles o n t h e w a l l s that surround t h e c e n t r a l c o u r t y a r d .T h i s c o l l a g e i s e x t r e m e l y r a t i o n a l , c o n s i d e r i n g that through it he carried out experiments of t h e a e s t h e t i c e f f e c t a n d d u r a b i l i t y o ft h e d i f f e r e n t m a t e r i a l s i n t h e n o r t h e r ne n v i r o n m e n t.Nonetheless, the idea itself – utilizing the building walls as an experimental tool – was indeed play, which is not one-sided. Aalto's gesture of play reflects his humorous personality.4. Reviving Original MattersThe use of definitions for man, such as 'Homo Sapiens' or 'Homo Ludens', could be seen as our attempt to illuminate human nature deep-seated in our primitive mind. In a similar way, all of the discussions concerning a rational or functional matter as well as intuition or play are involved in architecture's primary concern. But it is beyond the dimension like the often-mentioned tripartite constituents in architecture of firmitas , utilitas and venustas from Vitruvius. Rather, it is more related to an original matter in architecture, that is, the basic motive of human dwelling. From this sense, the significance of Alvar Aalto is that his architecture ceaselessly reminds us of the fundamental relationship between architecture and m a n , w h i c h e v e n t u a l l y becomes associated with nature. As Viollet-le-Duc illustrated, the beginning of architecture was possibly a "primitive hut" woven from branches, grasses and mud. This shelter is a dwellingspace, in which man canescape from the driving rainFig.9. Paimio Sanatorium,Entrance Canopy.Fig.10. Viipuri Library, Sketch Showing AcousticEffect of the Undulating Ceiling.Fig.11. Viipuri Library, UndulatingCeiling of an Auditorium.Fig.12. Muuratsalo Experimental House, 1952-53: Collage on a Wall withDifferent Bricks and Tiles.Fig.13. Primitive Hut,Viollet-le-Duc (1875).and the threat of wild animals. He is protected there and feels safe. However, nature is not only a threat to man but is also an endless source of life. We take the breath of life from the earth, and nature nourishes us everyday. Architecture is a mediator between man and nature. That is to say, while architecture protects man from a fierce natural environment, it also leads him to the bosom of Mother Nature. This is the basic relationship between architecture and man. For Aalto, to reflect upon this relationship both consciously and unconsciously was more essential than merely adhering to a certain theory.Aalto's Muuratsalo house is appealing not only because of his gesture of play or the experimental attempt, but also because of the profundity assumed bythe enclosed c o u r t y a r d. This enclosed o u t d o o r space is the archetype of a l l h u m a n habitation. It gives us both physical and psychological c o m f o r t . T h e s p a t i a l i n w a r d n e s s e x p r e s s e s a m a n 's b a s i c i n s t i n c t f o r a s e n s e o f s e c u r i t y , which might originate from the forgotten m e m o r y o f a m o t h e r 's w o m b .Nevertheless,the Muuratsalo courtyard actually opens towards nature. Through a large opening in one side and a vertical trellis on the other; it is fused with the surrounding forest. As an intermediary space, it guides our transition from inside out to outside in. Wild nature is softened here and the carefree indoor mind prepares for the tough reality of the outside. And, the exact square form of the court does not become a stuffy geometry. Rather, it suggests the timeless value of the primary gestalt. Moreover, the fireplace at the heart of the court alludes to the primitive gathering around the fire. The glaring flame heats up the body and soul, and the shimmering light illuminates a spiritual aspect of the first community. This elemental image is touching at the level of deep human consciousness.Behind these characteristics of Aalto's architecture, there is the unique natural environment of Finland. Located in the extreme north of Europe, the country fights against severe coldness every winter, and so nature was always an object of both awe and adoration. The natural wonder of the aurora borealis appearing in the night sky of the arctic region inspires man, while forests and lakes that cover most of the country allow Finns to adhere to the motherly soil. The alluding image of a forest and nature in the Finnish national epic Kalevala 30 reveals the rapport with nature that is alive in their history and flesh. For Aalto, who grew up in "communion with nature" from his childhood onwards,31 it was obviously natural and fundamental to attempt to illustrate the Finnish natural environment through architecture. Arguably, one of the best examples that show a full association with nature is the forest image of the Villa Mairea (1937-39). N o t o n l y i s i t s i t e d amid a pine forest, but the building itself also discloses several layersof forests. Arriving at the house after passing t h r o u g h w o o d s , w ecome to face under the entrance canopy a screen of unbarked saplings, a sensitive intermediary betweenthe real forest of the outer world and the microcosmic forest inside the house. In t h e e n t r a n c e h a l l , sleekly finished poles appear to allude to trees in a wood. The main staircase is a miniature forest. Itspoles stand in line, densely but randomly. When the sun sets, the evening glow that comes through the large window splits into many fractions in the screen of the poles, as though amidst a thick forest. Richard Weston (1992) regardsthe "forest space" asa decisive conceptwith which to appreciate the house, and describes: "Wandering around the living room, one experiences […] something very much akin to the feeling of wandering through a forest in which spaces seem to form and re-form around us: in a forest, the individual feels himself to be the moving centre of its spaces." Finns, the children of a forest who were born in and educated by it, are awakened to the source oftheirFig.14. Muuratsalo Experimental House,Site Plan.Fig.15. Aalto Buring Twigs at the CentralFireplace of the Muuratsalo Courtyard.Fig.16. Villa Mairea AmidForest, Noormarkku, 1937-39.Fig.17. Villa Mairea, EntranceCanopy.Fig.18. Villa Mairea, Staircase inthe Living Room.。
建筑大师名言双语版
建筑大师名言双语版1.英文名言A house is made of walls and beams; a home is built with love and dreams.房子是由墙和梁构造而成；家是由爱和梦构造而成。
Architecture is the art of how to waste space.建筑学是浪费空间的艺术。
（Philip Johnson (1906 - 2005)，美国著名建筑学家）Architecture is one part science, one part craft and two parts art.建筑学的四分之一是科学，四分之一是技术，还有一半是艺术。
I call architecture frozen music.我称建筑为凝结的音乐。
（Goethe，歌德）A truly great book should be read in youth, again in maturity and once more in old age, as a fine building should be seen by morning light, at noon and by moonlight.一本好书应该年轻时读一遍，成年后读一遍，老年时再读一遍，正如一栋好的建筑，要在晨光中，在中午，和月光里欣赏。
（Robertson Davies，加拿大作家）The loftier the building, the deeper must the foundation be laid.楼房越高，地基越要打得深。
（Thomas Kempis，古罗马僧侣作家）We shape our buildings; thereafter they shape us.我们决定我们建筑的形状，而后它们影响我们。
（Winston Churchill，丘吉尔）The ornament of a house is the friends who frequent it.一栋房子（最好）的装饰便是来访的朋友。
中国著名建筑师贝聿铭全英文介绍Ieoh Ming Pei
•During World War Ⅱ, he served on the National defense Research Commission at Princeton, and from 1945 to 1948, taught at Harvard. In 1948 he accepted the newly created post of director of Architecture at Webb & Knapp, Inc., the real estate development firm, and this association resulted in major architectural and planning projects in Chicago, Philadelphia, Washington, Pittsburgh and other cities. In 1958, he formed the partnership of I. M. Pei & Associates, which became I. M. Pei & Parteners in 1966.
2003 National Design Award: Lifetime Achievement Award）
2003 Henry C. Turner Prize(for Innovation in Construction Technology）
2006 Orient und Okzident Preis 2009 英国RIBA皇家金质奖章
Study & Work
• He came to the United States in 1935 to study architecture at the Massachusetts Institute of Technology (B. Arch. 1940) and the Harvard Graduate School of Design (M. Arch. 1946).
建筑师名字中英文对照
建筑师名字中英文对照(一)勒·柯布西耶（Le Corbusier）安东尼奥·高迪（Antonio Gaudí）安托内·普雷多克（Antoine Predock）罗伯特·文丘里（Robert Venturi）阿尔瓦·阿尔托（Alvar Aalto）马里奥·博塔（Mario Botta）矶崎新（Arata Isozaki）彼德·埃森曼(Peter Eisenman)理查德·麦耶（Richard Meier）西萨·佩里（Cesar Pelli）罗伯特·斯特恩（Robert AM Stern）弗兰克·盖里（Frank Gehry）菲利普·约翰逊（Philip Johnson）路易·艾瑟铎·康（Louis Kahn）沃尔特·格罗佩斯(Walter Gropius)密斯·凡·德·罗（Mies van der Rohe）扎哈·哈迪德（Zaha Hadid）雷姆·库哈斯（Rem Koolhaas）安藤忠雄（Tadao Ando）贝聿铭（I.M. Pei）弗兰克·劳埃德·赖特（Frank Lloyd Wright）彼得·祖索尔（Peter Zumthor）诺伦佐·皮亚诺（Renzo Piano）黑川纪章（Kisho Kurokawa）丹下健三（Kenzo Tange）朱莉亚·摩根（Julia Morgan）盖·奥兰蒂（Gae Aulenti）巴里（M. H. Baillie）罗伯特·西吉尔（Robert Siegel）威廉·勒巴隆·詹尼（William Le Baron Jenney）库柏·西梅布芬事务所（Coop Himmelblau）罗伯特·亚当（Robert Adam）路易斯·巴拉干（Luis Barragan）杰弗里·鲍娃（Geoffrey Bawa）亨里克·彼图斯·伯拉吉（Henrik Petrus Berlage）乔凡尼·洛伦佐·贝尼尼（Giovanni Lorenzo Bernini）甘特·班尼奇（Gunter Behnisch）格尔顿·本夏夫特（Gordon Bunshaft）皮耶特罗·贝鲁斯基（Pietro Belluschi）贝特伦·古德西（Bertram Goodhue）槙文彦（Fumihiko Maki）丹尼斯·斯科特·布朗（Denise Scott Brown）格伦·默克特（Glenn Murcutt）理查德·诺伊特拉（Richard Neutra）弗雷德里克·劳·奥姆斯特德（Frederick Law Olmsted）安德烈亚·帕拉第奥（Andrea Palladio）约翰·拉斯金（John Ruskin）伯纳德·梅贝克（Bernard Maybeck）罗伯特·斯坦恩（Robert A. M. Stern）路易斯·沙利文（Louis Sullivan）苏珊娜·托雷（Susana Torre）菲利普·韦伯（Philip Webb）保罗·威廉（Paul Williams）克拉夫·威廉·埃利斯爵士（Sir Clough Williams-Ellis）阿道夫·卢斯（Adolf Loos）斯蒂芬·阿伦兹（Steffen Ahrends）格雷戈里·安（Gregory Ain）阿尔贝蒂（Leon Battista Alberti）加里亚佐·埃里希（Galeazzo Alessi）克里斯多夫·亚历山大（Christopher Alexander）威廉·范·阿伦（William Van Alen）阿门诺菲斯三世（Amenophis III）约翰·安德鲁斯（John Andrews）安西米奥斯（Anthemios）阿波洛道鲁斯（Apollodorus）阿顿（Arton）阿斯比（C. R. Ashbee）阿斯普朗德（Erik Gunnar Asplund）阿迪森·麦兹那（Addison Mizner）泰奥多尔·林克（Theodore Link）查尔斯·巴雷爵士（Sir Charles Barry）威廉·亨利·巴洛（William Henry Barlow）法尔克·巴莫（Falke Barmou）爱德华·巴恩斯（Edward Larabee Barnes）威廉·霍拉伯德（William Holabird）彼得·贝伦斯（Peter Behrens）贝尔吉欧加索、皮瑞瑟第和罗杰斯（Belgiojoso、Peressutti、Rogers）查尔斯·格瓦德梅（Charles Gwathmey）雅克·赫尔佐格（Jacques Herzog）威廉·勒巴隆·詹尼（William Le Baron Jenney）多米尼克斯·伯姆（Dominikus Bohm=Gottfried Bohm's father）迈克尔·格雷夫斯（Michael Graves）霍华德·戴维斯（Howard Davis）诺曼·福斯特爵士（Sir Norman Foster）皮埃尔·德默隆（Pierre de Meuron）。
中国著名建筑师贝聿铭全英文介绍Ieoh Ming Pei
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Pei wanted the open spaces and buildings of L‘Enfant Plaza to be “functionally and visually related” to one another.
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Pei felt that his design for the Bank of China Tower in Hong Kong needed to reflect "the aspirations of the Chinese people"
1996 Premio Internazionale Novecento La Rosa d'Oro
1996 Jacqueline Kennedy Onassis Medal
1994 Bezalel Academy 1997 Independent
of Art and Design
Award
Award
1979 AIA Gold Medal
1976 The Thomas 1981 La Grande
Jefferson Memorial
Médaille d'Or The
Medal for distinguished contribution to the field of architecture
1978 Elsie de Wolfe
Mayor's Award of Honor for Art and Culture
1981 Gold Medal of Honor
Award
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1983 Pritzker Architecture Prize
介绍一个著名建筑师的英语作文
The Genius of Frank Gehry: Shaping the World with Curves and ColorsIn the realm of architecture, few names stand as tall as Frank Gehry. A renowned figure in contemporary design, Gehry's work has revolutionized the face of modern architecture, bringing a unique blend of innovation, functionality, and aesthetics to the world. His buildings, often characterized by their dynamic forms and vibrant color palettes, are instantly recognizable as Gehry's, a testament to his exceptional talent and vision.Born in Toronto, Canada, in 1929, Gehry's journey to architectural fame was not a traditional one. He initially studied fine arts, painting specifically, before finding his calling in architecture. This eclectic background is reflected in his work, which often defies the conventional boundaries of design. Gehry's buildings are not just structures; they are works of art, designed to evoke emotion and inspire wonder.One of Gehry's most famous works is the Bilbao Guggenheim Museum, a structure that single-handedly put the city of Bilbao on the map. The museum, with its undulatingforms and vibrant exterior, is a testament to Gehry'sability to create spaces that are both visually arresting and functional. The interior, designed to showcase the museum's extensive collection of modern art, is a maze of interconnected galleries and spaces, each unique and designed to enhance the visitor's experience.Gehry's design philosophy is rooted in the belief that architecture should not just serve a practical purpose but also enhance the quality of life. He believes thatbuildings should be extensions of their surroundings, blending into their environments while also standing out as works of art. This philosophy is evident in all of his projects, from the residential complexes he has designed in Los Angeles to the performing arts centers he has built in Europe.Gehry's influence extends beyond the world of architecture, touching various disciplines such as interior design, furniture design, and even product design. His collaborations with other artists and designers have resulted in a range of innovative and beautiful products that are as functional as they are aesthetically pleasing.Despite his numerous accolades and achievements, Gehry remains unpretentious and committed to his craft. Heremains passionate about designing buildings that are not just visually appealing but also contribute positively tothe lives of the people who interact with them. His legacyis not just in the buildings he has designed but also inthe way he has changed the perception of what architecture can be.Frank Gehry is not just an architect; he is a cultural icon, a visionary, and a true artist. His work has transformed the face of architecture, making it more inclusive, dynamic, and vibrant. His legacy will continueto inspire generations of architects and designers to push the boundaries of what is possible, creating beautiful and functional spaces that enhance our lives.**弗兰克·盖里的天才之作：用曲线和色彩塑造世界** 在建筑界，弗兰克·盖里（Frank Gehry）的名字可谓如雷贯耳。
著名设计师刘威的不寻常艺术道路
刘威的建筑师之路
可能每一个成功人士在成功前都会经历一段迷茫彷徨期，CAA设计联合的创始人―著名建筑师刘威在自己的事业发展阶段也经历了这样一个过程。
刘威在年仅14岁时，就从家乡武汉来到北京求学，之后考入中央美术学院建筑学院深造。
2005年，刘威在北京CBD商务区创办了自己的工作室CAA设计联合（Core of Architecture & Art Associates/建筑与艺术的核心联合），开启了自我事业发展的新航程。
作为创始人与首席建筑师，刘威努力在创作理念和风格上下足功夫，在空间创作中逐渐形成了独特的兼备建筑感与艺术感的风格，并且引起了广泛关注和反响，很多海内外客户慕名而来。
如今刘威的设计作品广泛涵盖了城市、建筑、时尚、艺术、生活等不同领域。
华丽的背后是他倾注的对空间与艺术的深刻理解，以及对时尚走向的准确把握，他的作品无不具有浓郁的艺术气息与生命力。
道路虽是曲折的，前途却是光明的，刘威和他的CAA设计联合正是凭着坚韧的意志和对艺术的执着开创了一片属于自己的天空。
世界著名建筑设计师中英名对照
著名建筑设计师中英文名对照Abalos＆HerrerosAIvaro Siza阿尔瓦罗·西扎Will Alsop威尔·艾尔索普Archigram阿基格拉姆Arquiteotonica阿奎泰克托尼克Ashton Raggatt McDougall艾西顿·雷加特·麦克杜加尔Asymptote渐进线设计组Arthur Erickson阿瑟·埃里克森Arata Isozaki矶崎新Antoine Predock安东尼·普雷多克Balkrishna Doshi柏克瑞斯·多西Bernard Tschumi伯纳德·屈米Caruso St John卡鲁索与圣约翰Claudio Sllvestrin克劳迪奥·塞博斯丁Charles Correa查尔斯·柯利亚Christian de Portzamparc克里斯丁·德·鲍赞巴克Coop Himmelb[1]au蓝天组Cedric JPrice塞德里克·普莱斯dohn Pawson约翰·波森David Chipperfield戴维·齐普菲尔德Daniel libeskind丹尼尔·里伯斯金德De B1aoam＆MeagherDenton Corker Marshall登顿·科克·马歇尔Diener＆DienerDiller+Scofidio迪勒+斯考菲迪奥Domindue Perrault多米尼克·佩劳Eduard0 Souto de M0ura爱德华多·索托·莫拉Eva diricna伊娃·吉里克纳Eric Owen Moss埃里克·欧文-摩斯FatFuture Systems未来系统Frank O.Gehry弗兰克·盖里Foreign Office ArchitectsFuminhiko Maki桢文彦Gtinter Behnisch冈特·本尼契Giancarlo de Carlo吉卡罗·德·卡罗Greg Lynn格雷格·林恩Glen Murcutt格伦·马库特Gtinther Domenig冈瑟·多米尼希Henri Ciriani亨利·希哈尼Hans Hottein汉斯·霍莱因Herzog＆de Meuron赫尔佐格与德·梅隆Harry Seidler哈里·塞德勒Itsuko Hasegawa长谷川逸子Imre Makovecz伊姆雷·马科韦茨Jorn Utzon伍重j.M.Pei贝聿铭Jean Nouvel让·努维尔KenYeang杨经文Kenzo Tange丹下健三Kees Christiaanse基斯·克里斯蒂安Kisho Kurokawa黑川纪章L60n Krier利昂·克里尔Lucien Krott卢西恩·克罗尔Lab Architecture Studio实验建筑工作室Lacaton Vassal拉卡东与瓦萨尔Lebbeus Woods利伯乌斯·伍茨MBM建筑师事务所Maya Lin林璎Mario Botta马里奥·博塔Michael Graves迈克尔·格雷夫斯Massimiliano Fuksas马西米里亚诺·福克萨斯Morphosis墨菲西斯Miralles Tagliabue米拉耶斯·达侠布耶Moshe Safdie摩西·萨夫迪MVRDV工作室Nigel Coates奈杰尔·科茨Neil Denari尼尔·丹尼瑞Nicholas Grimshaw尼古拉斯·格雷姆肖Norman Foster诺曼·福斯特Nishizawa妹岛和世+西泽立卫Neutelings Riedijk诺特林·里丁克Odlie Decq Benoit Cornette伯努瓦·科尔内特Oscar Niemeyer奥斯卡·尼迈耶O’Donnell＆TuomeyOrtner＆Ortner奥特纳与奥特纳od Williams Bitiie TsienO.M.Ungers奥斯维德·迈西斯·安格斯Peter Eisenman彼得·艾森曼Philip Johnson菲利普·约翰逊Peter Zumthor皮特·卒姆托Ralph Erskine拉夫·厄斯金Rem Koolhaas瑞姆·库哈斯Richard Meier理查德·迈耶Rafael Moneo拉菲尔·莫奈欧Renzo Piano伦佐·皮亚诺Robbrecnt＆Daem罗伯里奇与丹姆Richard Rogers理查德-罗杰斯Rafael Viooly拉菲尔·维诺里Shigeru Ban坂茂S antiago Oalatrava圣地亚哥·卡拉特拉瓦Steven HolI斯蒂文·霍尔Sverre Fehn斯韦尔·费恩SANAA／Kazuy0 Sejima+RyueSnohettaSOMSauerbruch Hutton索布鲁赫与胡顿Tadao Ando安藤忠雄Terry Farrell泰瑞·法雷尔Thomas Herzog托马斯·赫尔佐格TEN Arquitectos托德·威廉姆斯与比利·齐思所Toyo Ito伊东丰雄Tony Fretton托尼·弗莱顿UN Studio联合工作室Ushida FindtayVittoriE Gregotti维多利欧·格里高蒂Venturi，Scott Brown＆Associates文丘里、斯科特·布朗及其合伙人建筑师事务所Wiel Arets威尔·阿瑞兹West 8工作室Xaveer de GeyterZaha Hadid扎哈·哈迪德Zvi Hecker泽维·赫克勒·柯布西耶（Le Corbusier）安东尼奥·高迪（Antonio Gaudí）安托内·普雷多克（Antoine Predock）罗伯特·文丘里（Robert Venturi）阿尔瓦·阿尔托（Alvar Aalto）马里奥·博塔（Mario Botta）矶崎新（Arata Isozaki）彼德·埃森曼(Peter Eisenman)理查德·麦耶（Richard Meier）西萨·佩里（Cesar Pelli）罗伯特·斯特恩（Robert AM Stern）弗兰克·盖里（Frank Gehry）菲利普·约翰逊（Philip Johnson）路易·艾瑟铎·康（Louis Kahn）沃尔特·格罗佩斯(Walter Gropius)密斯·凡·德·罗（Mies van der Rohe）扎哈·哈迪德（Zaha Hadid）雷姆·库哈斯（Rem Koolhaas）安藤忠雄（Tadao Ando）贝聿铭（I.M. Pei）弗兰克·劳埃德·赖特（Frank Lloyd Wright）彼得·祖索尔（Peter Zumthor）诺伦佐·皮亚诺（Renzo Piano）黑川纪章（Kisho Kurokawa）丹下健三（Kenzo Tange）朱莉亚·摩根（Julia Morgan）盖·奥兰蒂（Gae Aulenti）巴里（M. H. Baillie）罗伯特·西吉尔（Robert Siegel）威廉·勒巴隆·詹尼（William Le Baron Jenney）库柏·西梅布芬事务所（Coop Himmelblau）罗伯特·亚当（Robert Adam）路易斯·巴拉干（Luis Barragan）杰弗里·鲍娃（Geoffrey Bawa）亨里克·彼图斯·伯拉吉（Henrik Petrus Berlage）乔凡尼·洛伦佐·贝尼尼（Giovanni Lorenzo Bernini）甘特·班尼奇（Gunter Behnisch）格尔顿·本夏夫特（Gordon Bunshaft）皮耶特罗·贝鲁斯基（Pietro Belluschi）贝特伦·古德西（Bertram Goodhue）槙文彦（Fumihiko Maki）丹尼斯·斯科特·布朗（Denise Scott Brown）圣地亚哥·卡拉特拉瓦（Santiago Calatrava）里查德·巴克明斯行·福勒（R. Buckminster Fuller）维廉姆·莫里斯（William Morris）格伦·默克特（Glenn Murcutt）弗雷德里克·劳·奥姆斯特德（Frederick Law Olmsted）安德烈亚·帕拉第奥（Andrea Palladio）伯纳德·梅贝克（Bernard Maybeck）路易斯·沙利文（Louis Sullivan）理查德·诺伊特拉（Richard Neutra）苏珊娜·托雷（Susana Torre）亚瑟·埃里克森（Arthur C. Erickson）菲利普·韦伯（Philip Webb）保罗·威廉（Paul Williams）克拉夫·威廉·埃利斯爵士（Sir Clough Williams-Ellis）阿道夫·卢斯（Adolf Loos）斯蒂芬·阿伦兹（Steffen Ahrends）格雷戈里·安（Gregory Ain）阿尔贝蒂（Leon Battista Alberti）加里亚佐·埃里希（Galeazzo Alessi）克里斯多夫·亚历山大（Christopher Alexander）威廉·范·阿伦（William Van Alen）阿门诺菲斯三世（Amenophis III）约翰·安德鲁斯（John Andrews）安西米奥斯（Anthemios）阿波洛道鲁斯（Apollodorus）阿顿（Arton）阿斯比（C. R. Ashbee）阿斯普朗德（Erik Gunnar Asplund）阿迪森·麦兹那（Addison Mizner）泰奥多尔·林克（Theodore Link）查尔斯·巴雷爵士（Sir Charles Barry）威廉·亨利·巴洛（William Henry Barlow）法尔克·巴莫（Falke Barmou）爱德华·巴恩斯（Edward Larabee Barnes）威廉·霍拉伯德（William Holabird）彼得·贝伦斯（Peter Behrens）贝尔吉欧加索、皮瑞瑟第和罗杰斯（Belgiojoso、Peressutti、Rogers）查尔斯·格瓦德梅（Charles Gwathmey）雅克·赫尔佐格（Jacques Herzog）威廉·勒巴隆·詹尼（William Le Baron Jenney）多米尼克斯·伯姆（Dominikus B·hm）迈克尔·格雷夫斯（Michael Graves）霍华德·戴维斯（Howard Davis）诺曼·弗斯特爵士（Sir Norman Foster）皮埃尔·德默隆（Pierre de Meuron）格特弗里德·伯姆（Gottfried B·hm）布瓦洛（L. A. Boileau）佛朗西斯科·博洛米尼（Francesco Borromini）卡斯·吉尔伯特（Cass Gilbert）布雷（Etienne-Louis Boullee）多纳托·布拉曼特（Donato Bramante）锡安与布林（Zion & Breen）马塞尔·布劳耶（Marcel Breuer）米歇尔·布林克曼（Michiel Brinkman）约翰尼斯·布林克曼（Johannes Brinkman）尼弗·布朗（Neave Brown）布鲁内尔（Isambard Kingdom Brunel）菲利波·布鲁内莱斯基（Filippo Brunelleschi）埃里克·布里格曼（Erik Bryggman）查尔斯·布尔芬奇（Charles Bulfinch）桑顿·拉特罗布·布尔芬奇（Thornton-Latrobe-Bulfinch）贝特伦·古德西（Bertram Goodhue）柏林顿爵士（Lord Burlington）丹尼尔·伯纳姆（Daniel Burnham）伯顿（Decimus Burton）威廉·巴特菲尔德（William Butterfield）加利克提士（Callicrates）伊克蒂诺（Ictinus）阿诺尔弗·迪·坎比奥（Arnolfo di Cambio）费利克斯·坎德拉（Felix Candela）科拉·达·卡普拉洛拉（Cola da Caprarola）道格拉斯·卡迪纳尔（Douglas Cardinal）吉卡罗·德·卡罗（Giancarlo de Carlo）卡雷尔与哈斯丁（Carrere and Hastings）理查德·卡索耳（Richard Castle）塞佛留斯与塞勒（Severus and Celer）威廉·钱伯斯（William Chambers）希达纳（G. P. Chedanne）塞吉·希玛耶夫（Serge Chermayeff）马里奥·西安姆皮（Mario J. Ciampi）亨利·斯里安尼（Henry Ciriani）亨利·考伯（Henry N. Cobb）康泰明与都特（Contamin and Dutert）卢西奥·科斯塔（Lucio Costa）查尔斯·柯里亚（Charles Correa）科托纳（Domenico da Cortona）基斯·柯蒂耶（Keith Cottier）贾斯特斯·达辛登（Justus Dahinden）帕奥尼斯与达弗尼斯（Paeonis and Daphnis）汤与戴维斯（Town and Davis）查尔斯·戴维斯（Charles Davis）帕奥尼斯与德米特里奧斯（Paeonius and Demetrios）约翰·都布森（John Dobson）EHDD 彼得·道奇（Peter Dodge）图密善（Domitian）阿德里安·多兹曼（Adrien Dortsman）多什（Balkrishna Doshi）道尔（A. E. Doyle）杜埃尼与普莱特·柴伯克（Duany and Plater-Zyberk）杜多克（Willem Marinus Dudok）毕吉特与杜伊柯（Bijvoet and Duiker）查尔斯与蕾·伊默斯（Charles and Ray Eames）卡尔·恩（Karl Ehn）古斯塔夫·埃菲尔（Gustave Eiffel）斯达·艾尔登（Sedad Eldem）克雷格·埃尔伍德（Craig Ellwood）卡尔·路德维格·恩格尔（Carl Ludvig Engel）科伯里·恩舒（Kobori Enshu）约翰·拉斯金（John Ruskin）<br>费舍·冯·埃尔拉赫（Johann Fisher von Erlach）约瑟夫·埃谢瑞克、埃谢瑞克·霍姆赛、道奇·戴维斯（Joseph Esherick, Esherick Homsey Dodge Davis, EHDD）拉尔夫·欧司金（Ralph Erskine）约瑟夫·埃谢瑞克（Joseph Esherick）奥尔多·凡·艾克（Aldo van Eyck）哈桑·法特希（Hassan Fathy）斯维尔·费恩（Sverre Fehn）亨利·弗利克洛弗特（Henry Flitcroft）欧尼尔·福特（O'Neil Ford）尤金·弗雷赛纳特（Eugene Freyssinet）弗兰克·弗内斯（Frank Furness）雅克·加布里（Ange-Jacques Gabriel）查尔斯·加尼叶（Charles Garnier）罗伯特·加特耶（Robert Gatje）唐纳德·基里斯皮（Donald Gellespie）欧文·吉尔（Irving Gill）罗马尔多·朱尔格拉（Romaldo Giurgola）布鲁斯·葛夫（Bruce Goff）伯特兰·戈德堡（Bertrand Goldberg）SOM迈龙·葛史斯（Myron Goldsmith）阿尔多·西扎（Alvaro Siza）格罗索夫（I. P. Golosov）SOM布鲁斯·格雷姆（Bruce Graham）格林兄弟（Greene and Greene）沃尔特·贝理·格里芬（Walter Burley Griffin）尼古拉斯·格雷姆萧（Nicholas Grimshaw）加里诺·加里尼（Guarino Guarini）赫克多·吉玛德（Hector Guimard）格瓦思梅·西格尔（Gwathmey-Siegel）哈德良（Hadrian）劳伦斯·哈普林（Lawrence Halprin）汉默尔、格林与阿布拉汉森（Hammel, Green & Abrahamson）哈迪·霍尔兹曼·弗夫尔事务所（Hardy Holzman Pfeiffer Associates）哈里斯（Harwell Hamilton Harris）华莱士·哈里逊（Wallace K. Harrison）杰西·哈特利（Jesse Hartley）哈特曼·考克斯（Hartman-Cox）尼古拉斯·霍克斯穆尔（Nicholas Hawksmoor）泽维·霍克（Zvi Hecker）约翰·海杜克（John Hejduk）亨利·赫伯特（Henry Herbert）让·托雷多与让·赫里拉（Juan Bautista de Toledo, Juan de Herrera）赫尔曼·赫兹伯格（Hermann Hertzberger）库柏·西梅布芬（Coop Himmelblau）约瑟夫·霍夫曼（Josef Hoffmann）汉斯·霍莱因（Hans Hollein）EHDD 乔治·霍姆塞（George Homsey）让·吉尔德·亨塔南（Juan Gil de Hontanon）雷蒙德·胡德（Raymond Hood）迈克尔·霍普金斯（Michael Hopkins）亨利霍尔二世（Henry Hoare II）维克多·霍尔塔（Victor Horta）伊克蒂诺、加利克提士与菲迪亚斯（Ictinus and Callicrates with Phidias）伊姆贺特普（Imhotep）伊西多罗斯（Isidoros）阿纳·雅格布森（Arne Jacobsen）胡·纽威尔·詹克布森（Hugh Newell Jacobsen）沙·吉汗皇帝（Emperor Shah Jahan）赫尔穆特·雅恩（Helmut Jahn）托马斯·杰斐逊（Thomas Jefferson）约翰·M·约翰森（John M. Johansen）约翰逊/伯奇（Johnson/Burgee）费依·琼斯（Fay Jones）伊尼戈·琼斯（Inigo Jones）艾伯特·康（Albert Kahn）路易斯·康（Louis I. Kahn）赫克·卡普曼（Hack Kampmann）迈克·德·克拉克（Michael de Klerk）卡尔曼、米基奈与诺尔斯（Kallmann, McKinnell and Knowles）卡尔曼、米基奈与伍德（Kallmann McKinnell & Wood）科纳特·库特森（Knut Knutsen）皮埃尔·科恩格（Pierre Koenig）亨利·拉布鲁斯特（Henri Labrouste）菲利斯·兰伯特（Phyllis Lambert）本杰明·亨利·拉特罗布（Benjamin Henry Latrobe）卢西亚诺·洛拉纳（Luciano Laurana）约翰·劳特纳（John Lautner）克劳德·尼古拉斯·勒杜（Claude Nicholas Ledoux）里卡多·理格瑞塔（Ricardo Legorreta）曼弗雷德·兰布鲁克（Manfred Lehmbruck）豪与莱斯卡兹（Howe and Lescaze）皮埃尔·雷斯科（Pierre Lescot）西格德·劳伦兹（Sigurd Lewerentz）尼尔·利贝斯金德（Daniel Libeskind）林璎（Maya Lin）戈特哈德·林茨（Gotthard Linz）贝特洛·莱伯金（Berthold Lubetkin）埃德温·路特恩斯（Edwin Lutyens）摩尔、林顿、特恩布与惠特克（Moore, Lyndon, Turnbull & Whitaker, MLTW）MLTW威廉·特恩布（William Turnbull）佩德罗·马舒卡（Pedro Machuca）查尔斯·雷尼·马金托什（Charles Rennie Mackintosh）贝奈德托·达·迈亚诺（Benedetto da Maiano）罗伯特·马亚尔（Robert Maillart）阿杜恩·孟莎（Jules Hardouin Mansart）马多雷、伯希加斯和麦凯（Martorell/Bohigas/Mackay, MBM）苏珊·马可西曼（Susan Maxman）库尼奥·马耶卡瓦（Kunio Mayekawa）威廉·麦克多诺（William McDonough）彼特·多米尼克（Peter Dominick）麦基姆、米德与怀特（McKim, Mead and White, MMW）汤姆·梅恩-莫尔福西斯（Thom Mayne - Morphosis）梅尔尼科夫（Konstantin Melnikov）埃里希·门德尔松（Erich Mendelsohn）吉塞皮·曼哥尼（Giuseppe Mengoni）亨利·马歇尔（Henry Mercer）米开朗基罗（Michelangelo）罗伯特·米尔斯（Robert Mills）姆奈西克里（Mnesicles）拉菲尔·莫尼奥（Rafael Moneo）查尔斯·穆尔（Charles Moore）卡斯帕尔·姆斯布鲁格（Kaspar Moosbrugger）格伦·默科特（Glen Murcutt）C. F. 墨菲事务所（C. F. Murphy Associates）皮埃尔·奈尔维（Pier Luigi Nervi）朱利安与巴巴拉·内斯基（Julian and Barbara Neski）SOM 沃尔特·纳什（Walter Netsch）纽曼（Johann Balthasar Neumann）卢西奥·科斯塔与奥斯卡·尼迈耶（Lucio Costa and Oscar Niemeyer）奥斯卡·尼迈耶（Oscar Niemeyer）让·诺威尔（Jean Nouvel）珍·奥高曼（Juan O'Gorman）约瑟夫·玛丽亚·奥布里奇（J. M. Olbrich）拉格纳·奥斯特伯格（Ragnar Ostberg）弗雷·奥托（Frei Otto）奥德（J. J. P. Oud）安托尼·勒·保特利（Antoine le Pautre）约瑟夫·帕克斯顿（Joseph Paxton）奥古斯特·贝雷特（Auguste Perret）巴尔达萨雷·佩鲁齐（Baldassare Peruzzi）菲迪亚斯（Phidias）罗杰斯与皮亚诺（Rogers and Piano）雷玛·彼迪利亚（Reima Pietilia）汉斯·珀尔茨希（Hans Poelzig）韦利斯·波克（Willis Polk）鲍利克莱托斯（Polykleitos）约翰·拉塞尔·波普（John Russell Pope）德拉·波尔塔（Giacomo Della Porta）克里斯蒂安·德·保桑巴克（Christian de Portzamparc）雅可布·普兰道尔（Jakob Prandtauer）布鲁斯·普莱斯（Bruce Price）威廉·普莱斯（William Price）阿方索·雷迪（Affonso Reidy）拉兹·里华尔（Raj Rewal）罗伊科斯（Rhoikos）亨利·霍伯桑·理查森（Henry Hobson Richardson）格里特·里特维尔德（Gerrit Rietveld）罗希·丁克洛（Roche-Dinkeloo）西蒙·罗迪阿（Simon Rodia）约翰·奥古斯塔斯·罗布林（John Augustus Roebling）理查德·罗杰斯（Richard Rogers）朱利欧·罗马诺（Giulio Romano）伯纳姆与鲁特（Burnham and Root）阿尔多·罗西（Aldo Rossi）保罗·鲁道夫（Paul Rudolph）阿尔诺·卢瑟瓦里（Aarno Ruusuvuori）西姆·范·德·莱思（Sim van der Ryn）艾罗·萨里南（Eero Saarinen）伊利尔·萨里南（Eliel Saarinen）束基·萨达奥（Shoji Sadao）摩西·萨夫迪（Moshe Safdie）让佐·萨卡库拉（Junzo Sakakura）安东尼奥·达·桑加罗（Antonio da Sangallo）桑迪尼·艾希尔（Jan Blazej Santini-Aichel）卡洛·斯卡帕（Carlo Scarpa）汉斯·夏隆（Hans Scharoun）鲁道夫·辛德勒（Rudolf M. Schindler）谢普利与布尔芬奇（Shepley and Bulfinch）卡尔·弗里德里希·辛克尔（Karl Friedrich Schinkel）弗拉基米尔·舒科夫（Vladimir G. Schuchov）史莱夫、兰布与哈蒙（Shreve, Lamb and Harmon）希温弗斯（A. C. Schweinfurth）乔治·吉尔伯特·斯科特（George Gilbert Scott）塞那莫特（Senenmut）约瑟夫·路西·塞特（Joesph Lluis Sert）默罕默德·沙（Muhammad Shah）理查德·诺曼·肖（Richard Norman Shaw）希南（Sinan）杰·辛格二世（Maharaja Sawai Jai Singh II）赫基·塞伦（Hekki Siren）赫基与凯伊加·塞伦（Heikki and Kaija Siren）斯基德莫尔、奥因斯与梅里尔（Skidmore, Owings and Merrill, SOM）SOM戈登·邦沙夫特（Gordon Bunshaft）诺玛·斯科拉里克（Norma Sklarek）罗伯特·史墨克爵士（Sir Robert Smirke）彼得与埃里森·史密森（Peter & Alison Smithson）彼得·史密森（Peter Smithson）罗伯特·史密森（Robert Smythson）约翰·索恩爵士（Sir John Soane）保罗·索列里（Paolo Soleri）拉斯·斯诺克（Lars Sonck）雅克斯·苏弗洛（Jacques Germain Soufflot）亚历山德罗·斯贝奇（Alessandro Specchi）强·奥托·旺·斯普里克森（Johann Otto von Spreckelsen）鲁道夫·斯坦纳（Rudolf Steiner）斯塔夫·斯蒂克利（Gustav Stickley）詹姆斯·斯特林（James Stirling）爱德华·斯通（Edward D. Stone）菲利普·古德温与爱德华·斯通（Philip S. Goodwin and Edward D. Stone）威廉·斯特瑞兰德（William Strickland）休·斯塔宾斯（Hugh Stubbins）苏哥（Suger）莫里斯·德·绪利（Maurice de Sully）乌拉迪莫·塔特林（Vladimir Tatlin）布鲁诺·陶特（Bruno Taut）菲利普·考克斯、理查森与泰勒（Philip Cox, Richardson and Taylor）约瑟夫·埃西勒（Joseph Eichler）托马斯·特尔福德（Thomas Telford）吉塞皮·特拉尼（Giuseppe Terragni）海因里希·特森诺（Heinrich Tessenow）克洛林多·特斯塔（Clorindo Testa）本杰明·汤普森（Benjamin Thompson）斯坦利·泰格曼（Stanley Tigerman）哈里森·汤森（C. Harrison Townsend）伯纳德·屈米（Bernard Tschumi）理查德·特纳（Richard Turner）拉尔夫·特维希尔（Ralph Twitchell）耶恩·阿特森（Jorn Utzon）亨利·凡·德·费尔德（Henry van de Velde）贾科莫·维尼奥拉（Giacomo Vignola）拉菲尔·比尼奥利（Rafael Vinoly）查尔斯·佛依谢（Charles F. A. V oysey）阿尔弗雷德·沃特豪斯（Alfred Waterhouse）巴克马与韦伯尔（Bakema and Weeber）克里斯蒂安·维尔德曼（Christian Wiedemann）欧文·威廉斯爵士（Sir Owen Williams）杨·维尔斯（Jan Wils）约翰·伍德（John Wood）克里斯多夫·雷恩爵士（Sir Christopher Wren）威廉·沃斯特（William Wurster）乔治·怀曼（George H. Wyman）雅马萨奇（Minoru Yamasaki）藤原赖通（Fujiwara Yorimichi）森田芳光（Yoshimitsu）约翰与多米尼克斯·齐默尔曼（Johan and Dominikus Zimmerman）。
吐根哈特别墅分析 密斯
1、一大坑玱璃墙犹如风景可变的镜面壁纸把四 季色彩丌同的景物借入到室内中来，使他的设备 充满色彩不生活的生机。这里密斯还留给人们以 很大的惊喜，整片的玱璃外皮额借助升降机降到 半地下层中，以达到彻底消除边界物质性，创造 物差别的室内外空间流动的效果。
结构形式
同时结构系统在流动空间的诠释中也是十分重要的， 吏根哈特规则别墅的下层有一个规则的矩形框架十 字形柱网，它的跨数和规模也超过了先前密斯在巴 塞罗那德国馆中使用的钢框架，更清楚的显示了在 新的结构条件下迚行流动空间设计的可能。
二 层
空间布局
佣人房 浴室 卧室 储藏室 厨房 宴会厅 书房 庭 院
餐厅
露台
起车库 客卧 门 厅 浴室 主卧 儿童房 儿童房
服务间
二 层 平 面 图
主卧
庭院
平立面分析
东 立 面 图
平立面分析
吏根哈特别墅对地形的处理非常精彩。他的上层，有着 直通公路的出入口，沿公路斱吐看它像是“底层”，它 的下层，敢于半地下室的基座上，有着一个比上层入口 更为庄重气派的大台阶降吐山坡，造成一种“在上层” 的错觉。
结构形式
在吏根哈特别墅中，密斯明确将起居室的流动空间已清晰 完整的玱璃体量呈现，吏根哈特住宅在其一侧设立了条形 庨院，然而它是透明的在外观上被整合到统一的玱璃体量 中，丌再是利用封闭的石材墙面来作为建筑外观，从而最 大限度地使室内外空间的边界弱化甚至消除。
卧室
宴会厅
起居室
空间布局
流动性
一 层
空间布局
流动空间
流动空间的概念，即对人的空间心理的限定和释放，运用 一些对空间分割重组的斱法，以及用分割的线条给人一种 空间导吐。错觉后拥有一种无限的感觉。 密斯· 德· 范· 罗运用直线特征的风格迚行设计，但在很大程 度上视结构和技术而定。在公共建筑和博物馆等建筑的设 计中，他采用对称、正面描绘以及侧面描绘等斱法迚行设 计；而对于居民住宅等，则主要选用丌对称、流动性以及 连锁等斱法迚行设计。
介绍名人的故居作文英文
介绍名人的故居作文英文英文：As a traveler and history buff, I have had the pleasure of visiting many famous people's former residences. One of my favorite stops was at the home of Ernest Hemingway in Key West, Florida.Hemingway's house, now a museum, is a beautiful Spanish colonial-style building with lush gardens and a swimming pool. It was here that Hemingway wrote some of his most famous works, including "A Farewell to Arms" and "For Whom the Bell Tolls."One of the most interesting things about the house is that it is home to dozens of six-toed cats, descendants of Hemingway's own beloved pet. These cats are a popular attraction for visitors and are often seen lounging on the furniture or exploring the gardens.Another famous person's home I visited was ElvisPresley's Graceland in Memphis, Tennessee. The mansion is a stunning example of Southern colonial architecture and is filled with memorabilia from the King's life and career.The most memorable part of my visit was seeing the Jungle Room, a quirky and elaborate space decorated with shag carpeting, animal prints, and a waterfall. It was here that Elvis recorded some of his later hits, including "Moody Blue" and "Way Down."Overall, visiting these famous people's homes was a fascinating experience that allowed me to step into thelives of some of history's most influential figures.中文：作为一名旅行爱好者和历史迷，我有幸参观了许多名人的故居。
介绍一个著名建筑师的英语作文
介绍一个著名建筑师的英语作文Frank Lloyd Wright, a renowned American architect, is widely considered one of the greatest architects of the 20th century. His innovative designs and visionary approach to architecture have left a lasting impact on the field, inspiring generations of architects and designers.Born in 1867 in Wisconsin, Frank Lloyd Wright showed an early interest in architecture and design. He began his career working for various architects in Chicago before establishing his own practice in 1893. Wright's early work was heavily influenced by the Prairie School movement, which emphasized horizontal lines, flat roofs, and open interior spaces. One of his most famous early designs is the Robie House in Chicago, which showcases his signature style.Throughout his career, Wright continued to push the boundaries of architecture, incorporating new materials and technologies into his designs. One of his most iconic works is the Fallingwater house in Pennsylvania, which is built over a waterfall and seamlessly integrates with its natural surroundings. Another notable project is the Guggenheim Museum in New York City, with its spiraling ramp and distinctive shape.Wright was known for his attention to detail and his belief that architecture should be in harmony with its environment. He often used local materials and took inspiration from nature in his designs. His concept of "organic architecture" sought to create buildings that were in tune with their surroundings and reflected the natural world.In addition to his architectural work, Wright was also a prolific writer and educator. He published several books on architecture and design, and he taught at the Taliesin Fellowship, a school he founded for aspiring architects. His influence extended beyond his own work, as he mentored many young architects who went on to make significant contributions to the field.Frank Lloyd Wright's legacy continues to inspire architects and designers around the world. His innovative designs, commitment to craftsmanship, and dedication to creatingharmonious spaces have left an indelible mark on the world of architecture. Wright's work serves as a reminder of the power of creativity and the importance of pushing boundaries in pursuit of excellence.。
刘威 一切设计都应以人为本
刘威：一切设计都要以人为本文苏楠成立于2004年的CAA设计联合是国内新锐的空间设计事务所，是中国本土新生代设计力量。
它植根于北京的空间创意组合，由建筑设计师刘威发起，致力建筑设计与空间艺术相联合并在各个领域的推广，并提出了将空间艺术推向主流的美好构想。
近年，该公司成功完成了东田造型无锡店、京沪高铁整体室内空间设计等知名作品，获得了“金外滩奖”等诸多重量级奖项。
此次本站记者特地对话该公司创始人刘威，一起感受空间设计的内涵和趣味。
记者：首先请介绍一下CAA设计联合这一名称的由来和其中深意。
刘威：CAA( Core of Arch.&Art Association)，直译过来是建筑与艺术核心的联合体。
我之所以将公司命名为CAA是缘于7、8年前我大学刚毕业时，看到中国的设计行业还是很落后的，存在很多抄袭现象，观念也没有放开。
另外，我毕业于中央美院，在我周围有很多对设计、艺术或建筑抱有很多梦想和理想的年轻人，他们能做好的设计，但却不太懂得商业规则。
这两点让我感触很深，从那时起，我就希望中国有一天能有这样一间事务所：既能在商业上获得成功，又能让有理想的年轻人的设计想法付诸实际。
也正因为如此，我将我自己公司的名字定为建筑与技术的核心联合。
其核心思想就是，不管是做建筑设计还是室内设计，要能把我们的理想变成现实。
更通俗一点地说，就是在商业市场和艺术概念以及设计理想上达到平衡。
因为设计师不是纯粹的艺术家，也是要产生生产力，要体现价值。
记者：您在将这种建筑和艺术联合的设计理念运用到实践中时遇到了哪些困难？刘威：当初遇到的困难很多，例如，人们当初认为设计就是画图，还有人认为设计不值钱，觉得给设计师提供了做工程的机会就应该免设计费，这些观念在早些年在很多人脑海中是根深蒂固的。
而现在在中国，随着人们的视野以及市场不断的打开，观点开始慢慢转变。
我们现在的一些客户，不管是集团负责人、商业决策人还是私人客户，他们都有着一定的国际专业背景或国外的生活经历，所以他们明白创意是一种价值。
介绍一个著名建筑师的英语作文
介绍一个著名建筑师的英语作文Frank Lloyd Wright is one of the most famous architects in the history of modern architecture. 弗兰克·劳埃德·赖特是现代建筑史上最著名的建筑师之一。
He was born on June 8, 1867, in Richland Center, Wisconsin, USA. 他于1867年6月8日出生在美国威斯康星州的里士满德中心。
Wright's architectural philosophy was centered around the concept of organic architecture, which emphasized the harmony between human habitation and the natural world. 赖特的建筑理念围绕有机建筑的概念展开，强调人类居住和自然界之间的和谐。
One of Wright's most famous works is the Fallingwater house, located in rural Pennsylvania. 赖特最著名的作品之一是位于宾夕法尼亚州农村地区的“雨岩之居”。
Fallingwater is renowned for its integration with the natural environment, as the house appears to be seamlessly integrated intothe rocky landscape and overlooks a waterfall. “雨岩之居”以其与自然环境的融合而闻名，整座房屋似乎与岩石景观无缝衔接，并俯瞰着瀑布。
Another iconic work by Frank Lloyd Wright is the Guggenheim Museum in New York City, known for its unique spiraling ramp design. 弗兰克·劳埃德·赖特的另一个标志性作品是纽约的古根海姆博物馆，以其独特的螺旋坡道设计而闻名。
中国十大建筑奇迹英文简介
The total investment：¥ 500000000
Qintai culture & arts centre is spreading to No. 1 Han River Bridge in the east, to Yuehu Lake in the west, to Qintai Road in the west and Yuehu Avenue in the North, covering 2.15 km2 in total, building area of scenic spot is up to 500 thousand m2, it is the greatest culture park of Wuhan City, the area of which exceeds the total area of five Hongshan Plaza. Drawing near the Han River, resting the head on Yuehu Lake and backing on Meizi Mountain, here is crowned as “the most beautiful parlor of Wuhan”.
批注本地保存成功开通会员云端永久保存去开通
物流工程：李德宏 于 振
Nanning Diwang International Commerce Center
The building is the tallest building in Guangxi province，it is 276 meters high,in other words ,it has 58 storeys high,and include 3 basement floors. The center covers an area of 132130 square meters,and it founded in 2003, finished in 2006.The building is the only one 5A office building in Nanning.
刘翔 英文介绍
China’s First Spaceman---Yang LiweiYang Liwei was born in an ordinary family in Liaoning Province in 1965. He became a pilot in Chinese Air Force in 1987, spending 1,350 hours in the air. He has spent 5 years training to become a spaceman.Yang Liwei wa s sent into space at 9 a.m on October 15th by China’s Shenzhou V spacecraft, which orbited the earth 14 times. He landed safely at 6:23 a.m the next day, making China the third country successfully sending a person into space after the former Soviet Union and the USA.Yang Liwei came back to the earth after a 21-hour trip to space. In space Yang recorded everything he saw and showed China’s national flag and the United Nations’ flag to the people watching on TV at home.All of the Chinese are proud of our first spaceman---Yang Liwei回答时间：2007-6-4 18:35The photo depicts an exciting scene: the famous athlete Liu Xiang striding forward in the Olympics Games in Athens. Determination is universally regarded asa highly praised quality. It is neither genius nor extraordinary ability that gives us power to deal with and overcome whatever hardship one is confronted with. It is this kind of spirit that enables us to endure the difficult moments and attain our goals.The determined spirit gives us light when we are in dark moments and encourages when we are frustrated. With this quality, no enemy can overwhelm us, and noobstacles can stand in our way. There are many examples of success being achieved solely through the strong will of the spirit. As in the picture, the athlete is running, with a determined spirit, towards the finishing line in order to obtain the gold medal, considered as the symbol ofsuccess for any sportsman. It is determination that leads to success.It is not easy to cultivate this determined spirit. To do this, we must establish a firm faith in our actions and be ready to devote ourselves to them. We must boldly go through trials and hardships to train our will so as to get rid of the weak points of our moral character. Around us, there are quite a few people with this intense determination and spirit and set a good example for us to follow.译文：这幅照片描绘了一个动人的画面：著名运动员刘翔在雅典奥林匹克赛场上奋力拼搏。
人物：刘昊威——CAA希岸联合建筑设计事务所创始人
人物：刘昊威——CAA希岸联合建筑设计事务所创始人事务所介绍CAA（Core of Architecture & Art Associates）希岸联合建筑设计事务所，前身为CAA设计联合，由著名建筑师刘昊威于2005年创立，现已发展成为具有国际运作管理模式，思维活跃，崇尚独创精神的建筑与空间设计事务所。
CAA始终注重各类空间形态对城市以及环境的改变和未来的发展，探索人们新的生存可能性。
其创意团队囊括了来自不同国家、不同行业背景的建筑师、设计师，显示出了丰富的经验和独特的创造力，作品横跨洛杉矶、北京、上海、深圳等国内外一线城市，涵盖城市规划、公共设施、文化建筑、商业建筑、景观设计、住宅设计、办公设计、零售和工业设计等，同时还从事家具及产品设计。
CAA的作品在建筑、室内及艺术领域产生广泛影响，获得国内外各种重要奖项，并出版发表和展览。
项目列表公共项目京沪高铁车厢室内空间设计，2009年-2012年汉能控股集团总部及会所整体空间设计，北京，2012年嫣然天使儿童医院空间及家具定制设计，北京，2012年东田造型全系列品牌整体空间设计，中国东田造型无锡店，无锡，2008年伊美尔幸福医院，北京，2011年新元素摄影学院，北京，2009年麻雀瓦舍演出中心，北京，2012年大连御翠园售楼处，大连，2011年中环广场售楼处，石家庄，2012年中环广场艺术中心，石家庄，2012年邦文艺术中心，杭州，2011年切尔西•杨画廊，北京，2009年成龙耀莱国际电影院，郑州，2011年东申童画办公室，北京，2010年漫动时空文化传播办公室，北京，2009年KINO俱乐部，北京，2010年H&H私人俱乐部，北京，2008年思格玛咖啡厅，北京，2008年般若国际美容会所，北京，2008年无锡时尚造型，无锡，2011年木北造型，北京，2009年私人项目比华利山庄园，洛杉矶，2010年陈曼家，北京，2010年林丹家，北京，2007年许晴家，北京，2007年李东田家，北京，2006年概念项目城市进化，2012年浮游，2011年香港停车楼建筑设计竞赛，2011年民工集合住宅，2004年未来虚拟银行，2004年居住机器，2004年第三千禧年住宅，2003年艺术展览艺术北京博览会，中国农业展览馆，北京，2012年5月“城市戏剧”艺术家邀请展，东三环乐城中心，北京，2011年11月相关报导刘昊威尊重城市的记忆刘昊威：一切设计都要以人为本荣誉2011年，亚太室内设计双年精英大赛“中国最佳新锐设计师”2011年，亚太室内设计双年精英大赛优秀奖2011年，亚太室内设计双年精英大赛优秀奖2011年，亚太室内设计双年精英大赛优秀奖2011年，“中国年度十大设计师”2009年，中国空间设计领域奥斯卡的“金外滩奖”的“最佳商业空间”奖2009年，金外滩奖“最佳色彩运用”奖2008年，亚太室内设计双年大奖赛优秀奖刘昊威2005年至今，创建CAA设计联合并任首席建筑师2004年–2005年，中国国家博物馆空间设计师1999年–2004年，中央美术学院建筑学院1995年–1999年，中央美术学院附中刘昊威，中国新生代建筑师代表。
介绍一个著名建筑师的英语作文
The Genius of Frank Gehry: Shaping theFuture of ArchitectureFrank Gehry, a renowned architect of the 21st century, revolutionizes the field of architecture with hisinnovative designs and unique aesthetic. Born in Toronto, Canada, in 1929, Gehry has established himself as one ofthe most influential architects of his time, renowned forhis bold, unconventional, and often whimsical designs.Gehry's journey to becoming a renowned architect wasnot a traditional one. He attended the University of Southern California, where he initially studied industrial design before switching to architecture. This cross-disciplinary approach to design is evident in his work, which often blurs the lines between architecture, sculpture, and interior design.One of Gehry's most famous works is the Bilbao Guggenheim Museum in Spain. Completed in 1997, thebuilding's titanium-clad exterior and undulating forms have become iconic, attracting millions of visitors from around the world. Gehry's design for the museum challenges traditional notions of architecture, embracing nonlinearityand asymmetry, while still maintaining a strong sense of functionality and spatial dynamism.Gehry's other notable projects include the Walt Disney Concert Hall in Los Angeles, the Geffen Contemporary at the Museum of Contemporary Art in Los Angeles, and the Transportation Building at the Los Angeles County Museum of Art. Each of these buildings体现了Gehry's unique design philosophy, which强调创新、实验性和与环境的和谐共存。
梁思成英文介绍作文
梁思成英文介绍作文Liang Sicheng, also known as S.C. Liang, was aprominent Chinese architect and scholar. He was born in1901 in Tokyo, Japan, and later moved to the United Statesto study architecture at the University of Pennsylvania. After returning to China, he became known for his work in preserving and documenting traditional Chinese architecture.Liang Sicheng was a key figure in the architectural preservation movement in China. He was instrumental in the protection of many important historical sites, includingthe Great Wall and the Forbidden City. His efforts helpedto raise awareness about the importance of preservingChina's architectural heritage.In addition to his work in preservation, Liang Sicheng was also a prolific writer and educator. He co-authored the influential book "History of Chinese Architecture" with his wife, Lin Huiyin, and taught at several universities in China. His writings and teachings had a significant impacton the study and practice of architecture in China.Liang Sicheng's legacy continues to be celebrated in China and beyond. His contributions to the fields of architecture and preservation have left a lasting impact, and he is remembered as a pioneer in the effort to protect China's cultural heritage.。
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中国 北京 朝阳区 东三环中路39号 建外SOHO16号楼2303
著名建筑师刘威简介
毕业于中央美术学院建筑学院，受过优秀的建筑与艺术的专业教育与训练，作为CAA 的创始人与工作核心，在空间创作中逐渐形成独特的兼备建筑感与艺术感的空间风格，表现出对艺术表现形式与空间情感的极强的掌控能力，他主持的团队作品涵盖广泛的城市，建筑，时尚，艺术，生活设计领域，均获得很高评价。
2004年，在他26岁时，就为中国顶级时尚品牌“东田造型”设计了首家旗舰店，之后带领CAA 与其建立了战略合作关系，很好的将时尚与建筑相融合在一起，成为东田造型集团全系列品牌的合作空间设计师。
2005年，创立CAA 设计联合（Core of Arch. & Art Association/建筑与艺术的核心联合）。
2008年“东田造型无锡店” 获得被誉为中国空间设计领域奥斯卡的“金外滩奖”的最佳商业空间奖和最佳色彩运用奖。
2008年，他受美国CH 集团邀请赴美，主持设计在洛杉矶比华利山的超大型私人豪宅和在南加州数十万平米的葡萄酒庄园。
2009年起，他受中国国家铁道部的委托，主持2011年启运行的京沪高铁列车车厢的整体室内空间设计。
同时他也曾受邀为许晴、陈坤、郑钧、李东田、张亚东、林丹、陈曼等众多名星名流设计住宅、艺术工作室及商业投资项目。
Liu Haowei
Liu Haowei was graduated from Affiliated Middle School and the Department of Architecture at Central Fine Art Academy, he established CAA（Core of Arch. & Art Association）in the year of 2005.
Haowei received professional education and training of outstanding architecture and art, as the founder and core of CAA, he formed the unique style gradually both architectural and artistic in the process of space design,showed strong control ability to art form and emotional space, he presided over the team works cover a wide range of city, building, fashion, art, life design field, all got a high value.
In 2004,when Haowei was 26 years old, he designed the first flagship store for chinese top fashion brand Tony Studio, since then leaded CAA established a strategic partnership with them. He made fashion and architecture fused together, became all series of brand group cooperation space designer.His design masterpiece the Tony Studio Wuxi Store was awarded best commercial space and best colour solution by “Golden Beach Award” in 2008.
Haowei was invited to visit USA in 2008 by CH Group, to chair the design project of private chateau in Beverley Hills in Los Angeles, and the wine yards in South California.
In 2009,Haowei was entrusted by the State Ministry of Railway to undertake the mission of interior design for the new generation train cabins,Beijing-Shanghai High-Speed railway. Haowei has meanwhile been invited to design studios and residences for celebrities and elites from all social circles including Xuqing, Chenkun, Zhengjun, Li Dongtian, Zhang Yadong, Lindan, Chenman etc..
中国北京朝阳区东三环中路39号建外SOHO16号楼2303。