桥梁专业外文翻译--现代桥梁美学的发展空间

中文3877字
Expressing space force system and inheriting humanism —The Space For Modern Bridge Aesthetics Development
Pan Fang
Abstract The harmony of mechanics and aesthetics is the logical basis for the existence and the development of bridge aesthetics. When force-bearing properties of space force system are woven into bridge design, the spirits of sculpture are instilled into bridge structures. And the intervention of the tradition of humanities converts bridges into spatial-temporal sequences that embody local conventional character and recur to bridges’ genius loci. The combination of both provides many alternatives of the development of modern bridge aesthetics.
Keywords space force system the tradition of humanities bridge aesthetics
“We think our civilization near its meridian,
but we are yet only at the cock-crowing and the morning star.”
----Emerson, Ralph Waldo 1. Present status
Nowadays, there are two mainstreams in bridges development. One is the trend of extra long-span bridges, and another is the urbanization of middle-span or small-span bridges. These two trends exactly correspond to two features of bridges.
The first one is the cultural function of bridge serving as a symbol of critic or national character additional to its conventional function to support loads .The giant exposed elements of bridges inherently embody human’s strength, courage and will to conquer the river. And this is especially true in extra long-span bridges .Another obvious character of bridge is that it enables people to occupy the space owned by river. As a result ,on one hand, human attaches to the space where he originally belongs to, on the other hand he can move back and forth between banks. That makes him feel simultaneously interior and exterior, openness, freedom and protection. This
experience of passengers comes through the stream of complex interplay of structure itself and its surroundings.
Up to now, experience accumulated on space force systems guarantees the credibility of such complex structures as cable-arch structures and bridges subjected to gale. And advanced computer-aided design facilitates visualization of three-dimensional model of the structure under discussion. Technological restrains is loosening. At the same time, bridge aesthetics begin to thrive .Genius loci, namely, spirits of place, are desired, which are deeply rooted in the tradition of humanities. Different connects are well arranged to display a spatial-temporal sequences which arouse resonance of visitors.
The maturity of bridge design technique and the emphasis on humanism and tradition are prerequisites of progress of bridge aesthetics.
2. Potential space latent in space force system
2.1 Theoretical support
Admittedly, conventional procedures for bridge design have a deep influence on bridge aesthetics. Because the loads on bridges are more complex than that on buildings, in the concept design stage, architecture is involved much less. And before the introduction of computer-aided design software, almost all bridges were simplified into two-dimension structures in order to avoid the solution of large scale linear programming. Unfortunately, this artifice has its side-effect. It neglects bridge is a structure of three-dimension who has abundant expressive forces. Consequently, the similarity between different bridges and the stiffness in their appearance occur.
Then how to elicit the vigor inside bridges when we are liberated form calculation to some extent? Reverting to bridges’ original nature of a giant sculpture is an optimal choice. As a three-dimension structure, bridge demands designers not only mentally to visualize a complex form from all round itself, to identify its centre of gravity, its mass, its weight, to realize its volume, as the space that the shape displaces in the air, but also the accurate expression of the internal ways to transfer loads, where lies the difference between bridges and common sculptures. The critical step is weaving invisible load paths into the nature of bridge mold. The example below
illustrates that.
The oneness of aesthetics and mechanics is the logical basis for the concept advocated above. For designers, the work doesn’t rest on that primary level. Familiarity with the behavior of space force system is desired, which includes static loads distribution, structural dynamic response to winds, waves, and cozy extent for passengers.
Different results come out when bridges mainy resist different loads. If bridge is mainly subjected to static loads, for an instance, the structure weight, spectators passing through it will perceive the power and the frozen movement of it. And if dynamic, for example, wind, the security springs from bridge’s protection.
2.2 Analysis of examples
2.2.1 Cable-arch structure
Campo V olantin Footbridge, across River Nervion, in Bilbao, Spain, tells an exact story of how a leaning arch keeps stable in the weave of cables. The construction system is a steel inclined parabolic arch with glass decking. The tortuous
deck of the single-spanned footbridge is suspended on the leaning arch, and the very warp echoes to the stream of visitors from lower reaches of the river. Balance is achieved by properly setting leaning arch, which sustains most of the loads, and the horizontal curving deck. The arch is across the footpath, structurally supported by scattered cables, and at the same time, main beam is simplified into a steel well-proportioned tube.Fig.2 shows.
The record of design’s evolution
showed how the typical arch is gradually
weakened, and the geometrical form
become more and more complex, which
emphasize the impression of movement.
Along the interior side of its curving deck,
there is a series of low weight cables, each
of which links the arch and horizontal
deck, weaving a beautiful curve by
gradually changing the very angle. In a
vertical plane, all cables extend outward,
whose imaginary focus alludes a rotary trend different from the axis of the steel arch. The forces generate a curve at the top of arch. Additionally, straight side of arch and cables converging in the middle of the arch form a peculiar combination ultimately. The piers not only transfer the concentrated loads to the ground equably but also serve as circumscription between the location and the abstract space occupied by bridge itself.
An apparent disequilibrium or rather a sense of frozen movement is heightened by the lightness of the structure. Scattered sunlight of Basque casts continuously varied shadow on these neat compressed bars, achieving dramatic effect.
2.2.2 Truss
Another representative is Wettstein Bridge across Rhine, in Basel, Switzerland. The main arches secedes other auxiliary elements to express separately, who sustain the all weight of bridge. The oblique truss arch dramatically eliminates both its own
weight and the ponderosity of profile. It does reach one milestone of creating the opportunity to install thinner across section. In order to distribute the concentrated
load into the side-push load path
and to strengthen the compressed
arch, it is of structural
importance to reinforce the
longitudinal stiffness. This
desired stiffness is provided by a
pair of tetrahedrons, whose lower
chords, constituting an even curve, properly serve as foil to the outline of main arch. As a whole, the details of this bridge explain more on how loads are transferred through nodes and how nodes influence stress field.Fig.3 shows.
This design embodies a typical bridge aesthetic style of middle Europe. The bridge towers, the classical basic proportion and the details of steel structure all remind people of the ancient bridges in Vienna or Paris.
2.2.3 Slope and curved bridge
The giant volume of
Kumamoto Bridge connects three
islands of Amakusa-shoto in the
South Japan. Fishery has a long
history, which creates a
harmonious relationship between local inhabitants and natural environment. So this emotional need must be properly responded to. The curved line can meets this demand, but it will generate a rotary trend of movement. As an important connect among three islands, the higher traffic capacity is a vital factor. What’s more,gale often appears in beachfront, which should be considered along with the expected traffic flow.
The ultimate design is a slope and curved bridge with repetitive steel box section. The outlook is like a huge arch, which curves, contorts, and ascends. At the first glance, its appearance doesn’t measure up to the curve style highway engineers are
used to, which is imposed on natural topography and results in discordance with surroundings in many American freeways executed. Fortunately, Kumamoto Bridge blends well with its location and echoes to the islands it connects in space. And the simplicity in both structure and appearance resists the danger to become a daredevil manmade structure or to exaggeratedly express its mobility.Fig.4 show.
Full-depth box section is
good at being contorted, and
hence it can resist the rotary
trend of movement of the huge
prominent curve. The concave
defense boards are set along
the edge of deck. They have been adjusted according to wind tunnel results to make pavement and bikeway are in area where airflow stands almost still. Thus it protects passengers from the gale. Wind tunnel experiments are also used to improve section shape. The optimal curved surface of bottom is chosen in order to smooth airflow and consequently improve the efficiency of the contorted box.
The arrangement of suspending light-weight elements over large-scale structures reminds people of Japanese architectures in early stage, which use large block of stones as foundations and comparatively light timbers for superstructures. The piers are prisms with right angles, which add solemnity to the bridge and intensively contrast to gentle curved bottom. The steel beam is sustained on the spherical pillars, which activize strong vision impact. This curved surface also reflects changing light on water surface, generating an elegant optical illusion. At night, light hidden under the bridge bottom draws a graceful arch over the bay.
3.Potential space latent in humanism
3.1 Theoretical support
Our ancestors viewed bridges as divine places, while in middle ages, bridges were treated as human-oriented places. Both kept a better-balanced relationship between new bridges and humanism. However, with the increasing traffic demands,
this balance is undermined when the Dabby Time came, whose ultimate goal was designing rapid passageways for automobiles. As a result, the cultural function of bridge has been deserted.
Apparently, such bridges contribute much to modern industrial civilization, but nothing to the history of bridge aesthetics. Bridges lost their affinity, and the sites lost their spirits of place. So rehabilitating genius loci is a necessary step to continue the hampered bridge aesthetics. Every place has its invisible, ever-transforming and yet decidedly obvious characteristic, which has been formed through the stream of a complex interplay of past and future events–all that evolved and developed there since the earth began in interplay with the ideas of those who transformed the land in the past and those who have intentions to change it in the future. Any bridge should comply with these characteristics, which are both the restrictions and qualifications for design.
There is no abyss and barrier between modern civilization and the tradition of humanities. On the contrary, this tradition is the soil filled with experience, inspiration, and nutrition where modern civilization roots in. No matter how old the aesthetic references are, modern techniques can be a proper receptacle to convey its nature.
3.2 Analysis of example
Miho Museum Footbridge is a concrete example, which is one of typical representatives of BeiYuming. Miho Museum is hidden in the Shigaraki craggy terrain;
hence a special inlet is desired.
In his design, a sinuous trace paves the way to a narrow entrance of a tunnel, just as the hole described in ancient Chinese story about Taohuayuan. A series of
stain-steel bars decorates the wiggle tunnel, from the end of which a weak light is in sight. When spectators walk out of the tunnel, a footbridge across a deep valley displays in front of them. At the final of bridge stands the museum. The passage is designed as a spatial-temporal sequence bending well to its surroundings, and the feelings of spectators are efficiently controlled by the sequence in which a shared brace between tunnel and bridge weaves two separate elements into one. Such an experience is exactly what the ancient fisherman had. Although the aesthetic reference is quite old, the means of accomplishment is quite modern. Apparently, new thought dedicates in this critical change.
4.Prospect
Recently, many areas near rivers in domestic cities become the hot spots of bridges construction. For example, in the planning competition for Huangpu River area, Shanghai, SOM, an American company, provided four symbols for this site, among which three are bridges. And in another competition for Expo 2010, many designers choose bridges as the very fabrics between two banks and the symbols of Expo 2010. As such, there has been increasing pressure to develop bridge aesthetics.
4.1 New relationship of engineers and architects
For a long time, both sides worked separately, and the cooperation was confined to a small scope. Bridge design was degraded into a pure mechanic problem, and aesthetics was subject to mechanics. Apparently, this relationship limited exertion of architects’ ability of form design, material selection, and space creation.
A new relationship requires both sides to break the limits of specialty, to step into opposite field in order to generate new values and new conceptive system of bridge design. The design should solve problems according the hierarchy of their importance, and the factors should involve not only mechanics and economy, but also aesthetics and landscape. All these should be treated equally. The single and comprehensive solution is what we should pursuits, not the sum of a series of solutions at lower level.
4.2 The sublimation of the tradition of humanities
The correct attitudes toward the tradition of humanities are not simple repetition or imitation, but viewing it as a process of sublimation. The clairvoyance of the
essence in the tradition of humanities and the hold of the trend of development under post-modern society should be cultivated.
It’s inevitable that our traditional culture has many conflicts to western civilization. It is conflict and not unquestioning inheritance that keeps humanism alive. Only in this way can our tradition of humanities continue to thrive. And so does the bridge aesthetics.
References
[1]Margaret Colquhoun. An exploration into the use of Goethean science as a
methodology for landscape assessment: the Pishwanton Project. Agriculture, Ecosystems and Environment 63(1997)145-157
[2]Dan Cruickshank. Sir Banister Fletcher’s A History of Architecture.
ARCHIETURAL PRESS.2000
[3]杨春侠，耿慧志.营造桥梁的场所特征——跨河地区城市设计对策探析.城市规
划汇刊，2002年第六期，pp29-32
[4]韦尔斯著；张慧，黎楠译.世界著名桥梁设计.中国建筑工业出版社.2003年3
月
空间力系的表达和人文精神的传承
——现代桥梁美学的发展空间
潘方
摘要力与美的统一是桥梁美学得以存在和发展的逻辑起点。

对桥梁结构空间受力特性的精确把握促使将结构力线转化成为桥梁形式内在本质的一部分，从而赋予其强烈的雕塑感。

而人文传统的介入，使桥梁转型成为象征地域性格特征的时空组合序列，再现桥梁的场所精神。

两者的结合，为现代桥梁美学的发展提供了广阔的发展空间。

关键词空间力系人文传统桥梁美学
“我们自以为人类的文明已如日中天，但实际上我们仍处在蛮荒时代。

”
——爱默生拉尔夫·沃尔多1.现状
当今，在桥梁的发展上有两个流派。

一个是超大跨度桥梁的趋势，另一个是城市化的中小跨度桥梁。

这两种趋势准确的与桥梁的两个特征相符合。

第一种是作为附加到其传统功能上，以支持负载桥梁服务而作为一个批判或民族特征符号的文化功能。

桥梁的巨大显而易见的形象本身就体现了人类征服河流的力量，勇气和意志。

而这在超大跨度桥梁中尤其如此。

桥梁的另一个明显特征是它使人们能够占有河边固有的空间。

因此，一方面，人们重视本来属于他的地盘，另一方面他们可以来回移动于河岸之间。

这就使人们同时有内在和外在、公开、自由和保险的感觉。

乘客的这种体验来自接二连三的错综复杂的结构本身及其周边环境。

到目前为止，空间力系上积累的经验保证这种复杂的结构，如索拱结构和桥梁承受大风。

先进的计算机辅助设计便于讨论下结构的三维模型的可视化。

技术的约束放松。

同时，桥梁美学开始蓬勃发展。

精神场所，即精神的地方，是有必要的，这些精神的地方深深扎根于人文传统。

不同连接被很好地排列用于呈现引起观众共鸣的时空序列。

桥梁设计技术的成熟和以人为本与传统的重点是桥梁美学发展的先决条件。

2.潜在空间隐藏于空间力系
2.1 理论支持
不可否认，桥梁设计的常规程序已深深影响了桥梁美学。

桥梁上的荷载在概念设计阶段比建筑上的复杂多了，因为它更涉及到建筑。

在计算机辅助设计软件的问世之前，几乎所有的桥梁被简化为两个维度结构，这样是为了避免考虑大规模线性规划问题的解决方案。

不幸的是，这种技巧有其弊端。

它忽略桥是一种有丰富表现力的三维结构。

因此，出现了不同的桥梁和在外观上它们刚度之间的相似性。

那么当我们在某种程度上采用解放的形式计算时又如何探知桥梁内部受力呢？恢复到桥的原始自然的巨型雕塑是最佳的选择。

作为一种三维结构，桥要求设计师不只是头脑中想象它所有的复杂形式，以确定其中心的重力、质量、重量，确定其作为该形状将取代在空气中空间的体积，而且准确表达其内部荷载如何传递，这就是桥梁和公共雕塑的区别。

关键是弄清交织在桥梁模型中无形的传力路径的性质。

下面的示例展示了。

零点取代
力学与美学的统一性是支持以上概念的逻辑基础。

作为设计师，设计工作不能停留在初级水平。

熟悉空间力系的表现是必须的，其中包括静态负载分布，风、浪和乘客舒适程度的结构动态响应。

不同的结果来自桥梁抵御不同的荷载。

如果桥主要承受的静态负荷，例如结构重量，通过它的观众将感知它的力量和冷冻的运动。

如果是动态的，例如风，安全源自桥的保护。

2.2 示例分析
2.2.1 索拱结构
在西班牙毕尔堡，横跨内维翁河
的坎波沃兰汀人行天桥，准确的告诉我们倾斜的拱是如何在交织的索下保持稳定的。

结构体系是玻璃盖板钢斜抛物线拱。

单跨弯曲的天桥面板悬挂在倾斜的拱上，而且这道弧线恰好回显到河下游的游客流的眼中。

正确设置倾拱是为了维持大部分的负载和水平弯曲桥面板达致平衡。

拱跨越了由分散的索支撑的整个行人路结构，同时，主梁是简化成均匀的钢管拱。

图 2 所示。

设计演化的记录显示了典型的拱门如何在逐渐减弱，并变成越来越复杂的几何形状，其中特别强调运动的印象。

沿着弯曲的桥面板内，有一系列能通过逐渐
改变其合适角度而交织成一条美丽曲线
的低重量纤维，其中每根都连接着拱和
水平的桥面。

在垂直的平面上的所有拉
索，都向外扩展其虚焦点暗示一个不同
于钢拱轴线旋转的趋势。

力在拱的顶部
形成曲线。

此外，拱的直边和拱拉索汇
聚的中间最终形成奇特的组合。

桥墩不
仅均匀地将集中荷载传递到地面，而且
可作为桥梁位置与其本身所占用的抽象
空间之间的区域。

明显的不平衡或而凝固的动感被结
构的亮度增强了。

巴斯克语中分散的阳光投射在这些整洁的压杆上产生连续变化图2-2 设计
的阴影，达到了意想不到的效果。

2.2.2 桁架
另一个代表是在瑞士巴塞尔跨
越莱茵河的Wettstein 桥。

支撑桥梁
所有重量的主要拱门和其他辅助元
素分开表达。

斜桁拱极大地削弱了它
本身的重量和笨拙的轮廓。

它是一个
创建安装更薄的跨越部件的里程碑。

将集中荷载分散到侧推传力路径上，
并加强压缩的拱，是加强纵向刚度的结构重要性。

这种刚度需要由一对较低的连续构成曲线的弦，恰好作为主拱轮廓陪衬的部分提供。

作为一个整体，这座桥的详细信息较全面的介绍荷载通过节点的传输方式及节点对应力场的影响。

图 3 所示。

这种设计体现了中欧典型的桥梁美学风格。

桥塔、经典的基本比例和钢结构的详细信息，全都让我们想起在维也纳和巴黎的古代桥梁人。

2.2.3 斜坡曲线桥
巨卷的熊本桥连接着日本
南部的天草诸岛三个岛屿。

渔业
有着悠久的历史，它创建了当地
居民和自然环境的和谐关系。

所
以这种情感的需要必须适当回应。

曲线可以满足这种需求，但它将产生一种旋转运动的趋势。

作为三个岛屿之间的重要连接，更高的交通流量是一个至关重要的因素。

更重要的是，大风经常在海滩出现，这些都应随预期的交通流量考虑在内。

最终的设计是由重复的钢箱梁截面构成的斜坡曲线桥。

它外观上就像巨大的拱形，呈逐渐上升而且扭曲的曲线。

乍看之下，它的外观不会达到高速公路工程师们过去的曲线风格，这更显得自然地形和环境与许多美国高速公路实施的不一致。

幸运的是，熊本桥与其位置融为一体，并与它连接的岛屿完美的附和。

简单的结构和外观都与变得绚丽的人造结构或夸张表达其流动性的危险相抗拒。

图
4图3 桥梁全景
所示。

全深度箱梁截面部分被
扭曲，因此它可以抵抗巨大
突出曲线的回转运动趋势。

凹面的支撑板设置在桥面板
边缘。

根据路面的风洞实验
结果，支撑板被调整便于那
些气流几乎仍然存在区域的
人行道和非机动车道的修建。

因此，它在大风下能确保乘客安全。

风洞实验还用于改善截面形状。

选择最优的曲面底部是为了让气流顺利通过，因此提高了扭曲箱梁的效率。

大尺度结构悬吊轻元素排列唤起早期阶段日本体系结构中以大块石头用作基础，上部结构采用较轻的木材的人们。

直棱柱的桥墩为整座桥添加了庄重气息，与缓和弧形的底面形成鲜明对比。

钢梁由给人以强烈视觉冲击的球形支座支撑。

此曲面也反射了水面变化的光线，形成一道美轮美奂的视觉效果。

在夜间，隐藏在桥底的光线在海湾绘制优美的拱。

3.潜在空间隐藏于人文
3.1 理论支持
我们的祖先把桥看作为神圣的地方，而在中世纪，桥被视为以人为本的地方。

这都保持了新的桥梁和以人为本的平衡关系。

然而，随着与日益增加的交通需求，这种平衡在Dabby 时代被破坏了，其最终目标是设计汽车的快速通道。

这又导致桥的文化功能都被忽视了。

显然，虽然桥梁为现代工业文明作了很多贡献，却没有桥梁美学的历史。

桥梁失去了它们的特点就像建筑失去了精神的地方。

所以精神场所复兴是继续妨碍桥梁美学发展的绊脚石。

每个地方都有其看不见的，不断转变的，又尚未明显的特点，这些特点通过一系列过去和未来的复杂事件的相互影响形成了——所有这些都是自地球形成之初，那些改变了过去的土地和那些打算在未来改变它的人的思想的相互作用的演变和发展。

任何桥梁都应遵守设计资格和约束这些特点。

人文的传统与现代文明之间没有深渊和屏障。

相反，这种传统是现代文明扎根的充满经验、灵感和营养的土壤。

不管审美的引用有多古老，现代技术可以传达其性质的适当手段。

3.2 示例分析
美穗博物馆人行天桥是一个具体的例子，它是BeiYuming 的典型代表之一。

美穗博物馆隐藏在长崎的崎岖地形中；因此需要特别的入口。

在他的设计中，一条蜿蜒的轨迹
延伸到有一个狭窄入口的隧道，正如中国古代故事关于桃花源所述的洞。

一系列的着色钢筋装饰着起伏的隧道，要不然连尽头微弱的光也看不见。

当观众走出隧道时，一座横跨深谷的人行天桥展现在他们的面前。

博物馆耸立在天桥的尽头。

这个通道被设计作为一个与周围环境相协调并且能很好控制游览者感情的序列，在这个序列中，一条共享的吊索在隧道和桥梁之间编织两个单独的元素。

这种感受正是古代渔夫所体验到的。

虽然对审美的引用方式很老套，但实现手段却现代感十足。

显然，新的思想赋于了这种关键的变化。

4.展望
最近，在国内城市河流附近的许多地区成为桥梁施工的热点地区。

例如，上海市黄浦江工业区规划争夺中，一家美国名叫SOM 的公司，在这个区域建造了四个标志性建筑，其中三个是桥梁。

而且在2010年世博会的另一场竞争中，很多设计师选择桥梁作为2010年世博会两岸联系的媒介和符号。

为此，发展桥梁美学的压力正日益增加。

4.1工程师和设计师的新关系
很长时间双方独立工作，合作也局限于小范围。

桥梁设计降级到纯机械的问
题，而且美学也受到力学的影响。

显然，这种关系就限制了建筑师对形式设计、图5-1 桥梁全景
选材和空间创造能力的运用。

一种新的关系需要双方打破专业限制，走进对方的领域以产生新的价值和新概念系统的桥梁设计。

设计应解决按层次结构的重要性、存在的问题和因素应涉及的不仅是力学和经济，而且也是美学与景观。

所有这些都应得到同等对待。

我们想要追求是一个综合性的解决方案，而不是一系列较低级别解决方案的总和。

4.2 升华传统的人文传统
对待人文传统的正确态度不是简单的重复和模仿，而是将它看作是一个升华的过程。

在后现代社会应该培养对人文传统本质的洞察力与对发展趋势的把握能力。

我们的传统文化和许多西方文明的冲突是不可避免的。

让以人为本的思想继续存在着的是冲突并不是绝对的继承。

只有以这种方式我们的人文传统可以继续蓬勃发展。

桥梁美学也是如此。

参考文献
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[3]杨春侠，耿慧志.营造桥梁的场所特征——跨河地区城市设计对策探析.城市规
划汇刊，2002年第六期，pp29-32
[4]韦尔斯著；张慧，黎楠译.世界著名桥梁设计.中国建筑工业出版社.2003年3
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