建筑学应掌握的23个著名建筑

01of23.The.Dessau.Bauhaus

格罗皮乌斯——德绍的包豪斯校舍

1926年在德国德绍建成的一座建筑工艺学校新校舍。设计者为包豪斯校校长、德国建筑师W.格罗皮乌斯。校舍总建筑面积近万平方米，主要由教学楼、生活用房和学生宿舍三部分组成。设计者创造性地运用现代建筑设计手法，从建筑物的实用功能出发，按各部分的实用要求及其相互关系定出各自的位置和体型。利用钢筋、钢筋混凝土和玻璃等新材料以突出材料的本色美。在建筑结构上充分运用窗与墙、混凝土与玻璃、竖向与横向、光与影的对比手法，使空间形象显得清新活泼、生动多样。尤其通过简洁的平屋顶、大片玻璃窗和长而连续的白色墙面产生的不同的视觉效果，更给人以独特的印象。该校舍以崭新的形式，与复古主义设计思想划清了界限，被认为是现代建筑中具有里程碑意义的典范作品。

格罗皮乌斯的包豪斯学校及校舍，令20世纪的建筑设计挣脱了过去各种主义和流派的束缚。它遵从时代的发展、科学的进步与民众的要求，适应大规模的工业化生产，开创了一种新的建筑美学与建筑风格。

1925年，德国着名建筑大师格罗皮乌斯在德国魏玛设立的"公立包豪斯学校"迁往德绍，4月1日在德国德绍正式开学。包豪斯是德语Bauhaus的译音，由德语Hausbau（房屋建筑）一词倒置而成。以包豪斯为基地，20世纪20年代形成了现代建筑中的一个重要派别──现代主义建筑，主张适应现代大工业生产和生活需要，以讲求建筑功能、技术和经济效益为特征的学派。包豪斯一词又指这个学派。

《包豪斯宣言》是这位包豪斯创办者兼校长格罗皮乌斯在1919年4月写的，它的主导思想是“我们都应该回到工艺上去”，他盼望着“未来的新结构，这种新结构将像一种新信念的水晶那样，通过工人的手伸向天空”。在格罗皮乌斯看来，艺术家和工匠之间并没有本质的不同，虽然艺术无法教会，不过工艺和手工技巧是能够传授的。他的学校是以工艺为基础的，是真实的劳作的世界中的一个组成部分;他把教师称为师傅，把学生称为学徒，把以往互不相乾的若乾学科和手段结合在一起，就能创造出一个综合的整体的艺术作品。格罗皮乌斯说:“未来几年将会显示出，手工艺将是我们这些艺术家的救星，我们将不再是手工艺的旁观者，我们将是他们的一部分。”

从1919年到1933年间，包豪斯的教师中在不同时期都有它的杰出人物。上个世纪20年代必不可少的事情是要维持包豪斯作为一个实验室的存在，在那里，任何一种观点和构想都能得到实践的检验——从大规模建造的住宅原型到奥斯卡·施列默尔设计的实验性芭蕾舞，从格罗皮乌斯在为德绍的包豪斯新大楼所作的透明包围式设计到莫霍利·纳吉往淡色的蒸汽云上投射电影图像的计划，或者还有康定斯基和保罗·克利从在画布上落下的圆点起再重新思考绘画过程……如今，可能任何一间可以称作现代的办公室都会有马塞尔·布鲁艾或者密斯·凡·德罗设计的椅子;每一所艺术院校之所以能给学生开课教授材料、色彩理论与三维设计的内容，都或多或少地要归功于多年以前德国的那场教育实验。钢管框架的椅子、可调节的台灯、住宅建筑里部分或全部采用的预制构件等，这些都是获益于包豪斯在设计领域掀起的革命。如果没有包豪斯，我们很难想象现代环境会是怎样的一番模样。

虽然格罗皮乌斯一直否认有所谓的包豪斯风格存在，强调他所追求的是一种对创造力的态度，目的就是要追求多样性。但在大众的想象中，包豪斯这个名字始终是和一种现代装饰风格相联系的，一种可以用“几何形的、功能主义的或者运用原色和现代材料”等字眼来描述的包豪斯风格。事实上，格罗皮乌斯希望的包豪斯是能够不断设计未来，建造包豪斯学校就是想囊括整个人类的活动范围——从最崇高和最神圣的到最平凡和最现实的。格罗皮乌斯试验着新的建筑形式或者日用品形式，任何一个人想要得到一个包豪斯衣橱、一张包豪斯信笺、一段包豪斯织物或者一卷包豪斯墙纸都有可能获得。尽管内部有许多分歧和矛盾，包豪斯希望给每个人、每个地方带来更加美好的生活。

今天看来，时代的发展已经证实了格罗皮乌斯极其出色的预见性——“在艺术家、工业家和技术专家之间建立一种伙伴关系，根据时代的精神把他们组织起来，他们最终有可能取代一切旧有的劳动要素。”

对于从事现代设计的人们，德绍的包豪斯已经不仅仅是一所学校，它是一座博物馆、一座殿堂，进去看看吧？

上述文字选自https://www.360docs.net/doc/004306454.html,/topics/136370/

02of23.The.Siza.School

西扎学校

SIZA ON THE FACULTY OF ARCHITECTURE

The building for the Faculty of Architecture at the University of Oporto is located in a sector of the university known as Pole 3. The area set out in the Master Plan is bounded to the north and south by the exits from the Arrabida Bridge and the Panoramica, to the east by the wall of the Quinta da Povoa and to the west by an access route to Campo Alegre.

The building, construction of which was based on the Preliminary Programme supplied by the Rectory of the University of Oporto, covers a total area of 87,000 m2. The different areas of the programme are distributed across two wings, each housing several volumes (designated A, B, C, D, E, F, G and H), which are interconnected in different ways: The structure converges westwards, clearly marking the main entryway to the triangular enclosure at the heart of the installations. The "Western Doorway" of this enclosure is situated at the vertex of a triangle oriented towards the parking area in the plan.The base of this triangle corresponds to the stone walls adjoining the Quinta da Povoa, which, just outside, regulate the area's complex topography. Small interventions organise the relationship between the Quinta da Povoa and the new building, leading towards the doorway at the entrance to the Carlos Ramos pavilion.

The fragmentation of the southern wing results in various openings with views over the river and its southern bank, without prejudicing the spatial density of the triangular enclosure. In the north wing, however, the structure is uninterrupted and acts as a noise barrier, helping to provide a degree of acoustic protection.

The first floor of the volumes in the south wing (E to H) corresponds, for topographical reasons, to a level three metres lower than the central enclosure (level 57.50). This floor is lit and ventilated via courtyards situated at the same level to the east and west of each volume. On the northern side, the four volumes are served by a continuous windowed gallery. The 24 professor's rooms are located on this first floor, with an office area in volume H, as well.

There is an interior connection between the two wings which, at the "Western Doorway", directly connects the professor's offices with the distribution atrium of the Secretary's Office and Management Department. The volumes in the north wing (A to D) are located at level 57.50 and interconnect in a more complex and complete manner, with the exception of volume A (canteen and social area). This is an isolated structure which precedes and prepares the access to the inner enclosure of the building, a privileged relationship sector with the exterior.

The dimension, number of floors and implantation area of the different volumes vary according to the programme's articulation requirements and so as to control the profile defined by the new and old buildings of the Faculty.

álvaro Siza, Oporto, 1989

03of23.Family.Lodging.in.Guise

吉斯家族公寓

Jean-Baptiste Andr Godin (1817-1888), founder of the famous stove factory and a staunch Fourierist, dreamed of a communal society that would afford everyone "all the equivalents of wealth".

In the second half of the 19th century, he built the Familistère, also called the Social Palace, on the banks of the Oise near the Guise foundry. It comprised three residential complexes and annex facilities, including a pool and washhouse, cooperative stores, a recreational garden, schools and a theatre. To find out more about the Familistère in Guise, visitors can tour Godin's apartment, study a scale-model of the site, see a "show apartment," the inner courtyards, the recreational garden and view a multimedia presentation at the Familistère Theatre.

Being that the Familistère is still inhabited, and part of it is now private property, all tours must be conducted by authorized guides only.

Tour itinerary: (duration: about 1 h 30)

Meeting in the Reception area at the Drapery located at the entrance to the central building. Multimedia show at the Familistère Theatre (20 minutes): the history of the Familistère and its theatre.

Jean-Baptiste Andr Godin's apartment and a 3D plan of the Social Palace

An apartment in 1877

The interior and exterior courtyards of the Social Palace

Service facilities: stores, washhouse and pool, schools, bandstand, etc.

Unguided visit to the recreational garden.

Tours are targeted to meet the needs of different audiences and to cater when possible to visitor demands.

The guided tours are conducted by volunteers or by staff guides from the Godin Foundation Association. The itinerary may be modified without prior notice according to the number of visitors and activities at the site.

04of23.Nemausus 1 (Jean Nouvel)

让努维尔——奈默苏斯的集合住宅

奈默苏斯的集合住宅，尼姆，法国，让·努维尔和Jean－MarcIbos，1987年（NemaususHous－ing，Nimes，France，JeanNou－velandJean－MarcIbos，1987）这两幢全金属的体块，以与通往城市的乡间小路成直角的形式建立，就像某种形式的运输工具———不像轮船更像汽车或火车———它们处于乡村式的发展背景下，而非城市式的，与周围的环境惊人地和谐。这是由于我们已经对那些以每一个可想到的形状和尺度出现的，并在我们整个城市和景观中以递增的数量形成场景的金属盒变得遗忘了。但也确实是由于两幢建筑封闭出来的这条美妙的道路，它的两边是石子路，而夹道排列的悬铃树就像它们早就在那儿了。栽植纤长悬铃树的林阴路继续主宰着画面，两旁的住宅楼好像“盘旋”在由悬铃树构成的树柱上，树木本身更显得纤弱和安静。这里，勒·柯布西埃的主导原则（pilotisprinciple）被应用得如此令人信服，以至于每个人不能不改变固有的观点。

不同于马赛公寓，那里巨大的柱子几乎阻挡了视线，产生了一块冷漠无人的土地；这里的建筑坐落在桩柱上，处在挖掉的并因此而下陷的停车带上，所以停靠的车辆不会妨碍整个视线。

除了在底层平面上水平基准处的透明度外，这一效果也是对停车问题一个英明的自然解决办法，虽然办法本身并没有什么新奇之处，通过最小限度而且简单的回应，在这里它就像个客观存在的事物一样坦然，没有了阻挡视线的栏杆或是矮墙。

这一项目同样赞同做每一样东西都是为了提供最大的空间。它的入口走廊像站台一样宽广，从那你可以进入自己家而尽量避免纷扰，很像是进入地铁列车，高效而平静。仅仅是门前的擦鞋垫标明了入口，因为前门和这些垫子比从运输业衍生来的给公寓编号的明晰图形更为形象。

阳台采用了向前倾斜的穿孔薄钢拱形板，赋以建筑无可否认的幽雅外观，但是在它后面由于个人的使用而出现了完全不同的、更为多样的特征。每一个组成部分的尺寸都偏大，很少在公寓中遇到，这也许就是为什么它散发出了如此强烈的空间感。居民以一种非法国式的热情做出反应，赋予了它们的个人色彩。它可能是一种强加的限制，没有考虑到建筑的完美———例如建筑师对于艺术家那种对素混凝土墙加以修饰的禁忌和建在卧室和浴室之间的金属网格———处于一种大概是漫无目的的自我矛盾中，这正是为什么租客对他们房屋进行各种各样改造的真正原因。这些修饰附加品在关于建筑的文章中是无处可寻的，然而正是这些充分说明了空间是由建筑物展开。

05of23 The Georges Pompidou Centre

伦佐·皮阿诺——蓬皮杜艺术中心

同曾经广遭非议的艾菲尔铁塔一样，巴黎的国立蓬皮杜文化中心Pompidou Centre 也是人们争议的话题。有人说它像一个大工厂，有人会认为那里的工程尚未完工，其实，这里的外观原本就是这样奇特。红兰相间的柱子、螺旋式的楼梯、内侧裸露的天花板与管线，令人初次看上去感觉颇为怪异。

这座建筑是由喜好美术、音乐、电影等现代艺术的前总统蓬皮杜提议建造的。展览厅内的展品多以浮雕及立体艺术品为主，而且体积略大，由“工业创造中心”、“公共参考图

书馆”、“国家现代艺术博物馆”、“音乐声学协调研究所”四大部分组成，供人参观、学习，并从事研究。

“工业创造中心”主要通过各种展览会和图书资料向观众介绍有关市政建设、生活环

境及各种工艺产品的发明和创造情况。同时还向观众提供各种日常消费品的资料与咨询。

“公共参考图书馆”不是传统意义上的那种旧式图书馆，它拥有当代书籍30万卷，期

刊2400种，幻灯片20万张，微缩胶卷15000个，唱片1万张及各种电影、录像、地图、

磁带等。馆内设施一律开放，读者可随意翻阅开架图书；也可以通过录相机随意选看介绍

各国文学艺术、科技、民俗等情况的电影、录像；音乐爱好者可以戴上耳机自由欣赏自己

挑选的唱片。馆内到处都设有放大阅读机和复印机，读者可随时用以查阅微缩胶卷和复制

资料。该馆还附设有语言学习室，共有40个小房间和40种语言的有关教材、资料，人们

在此可以听录音、看教材，选学各种语言。

“国家现代艺术博物馆”集中突出了“现代”二字，旧的艺术博物馆不同。这里专门

介绍20世纪以来的西方各种造型艺术。包括立体派、抽象派、超现实主义派、结构派、概

念艺术及流行艺术等各种流派的2000幅作品。馆内藏品的陈列方法也是现代的：一条主要

线路按时间顺序排列着各个流排艺术的代表作，周围分设许多小展室，分别介绍某流派某

作家的作品，使观众既可以了解现代西方艺术的概貌，又可以对某一感兴趣的流派或作家

进行深入的研究。馆内还设有可以升降移动的板架，挂有那些未出展的作品，一按动电钮，这些自动板架便可将那些观众所需而未展出的藏品展示在人们面前。

“音乐声学协调研究所”为避免噪音乾扰修建于大厦旁边的地下，其主要功能是让音

乐工作者能够利用现代的设备和技术来从事创造。此外，它还从事研制新乐器和各种音响

设备的工作。

国立蓬皮杜文化中心不仅内部设计、装修、设备、展品等新颖、独特、具有现代化水平，它的外部结构也同样独到、别致、颇具现代化风韵。这座博物馆一反传统的建筑艺术，将所有柱子、楼梯及以前从不为人所见的管道等一律请出室外，以便腾出空间，便于内部

使用。整座大厦看上去犹如一座被五颜六色的管道和钢筋缠绕起来的庞大的化学工厂厂房，在那一条条巨形透明的圆筒管道中，自动电梯忙碌地将参观者迎来送往。这座备受非难的“庞大怪物”，今朝已为巴黎人开始接受并渐渐地喜爱起来。

如果说卢浮博物馆代表着法兰西的古代文明，那麽蓬皮杜中心便是现代化巴黎的象征。本段文字转载自https://www.360docs.net/doc/004306454.html,/topics/136472/

06of23.The.Vienna.Savings.Bank.

瓦格纳——维也纳储蓄银行

维也纳邮政储蓄银行位于奥地利，由建筑师O·瓦格纳设计。瓦格纳(1841～1918)原来擅长设计文艺复兴样式的建筑。19世纪末，他的思想开始转变，提出新建筑要来自当代生活，表现当代生活。维也纳邮政储蓄银行高6层，立面对称，墙面划分严整，仍然带有文艺复兴式建筑的敦实风貌，但细部处理新颖，表面的大理石贴面板就用铝制螺栓固定，螺帽坦率地露在外面，产生奇特的装饰效果。银行内部营业大厅做成满堂玻璃天花，由细窄的金属框格与大块玻璃组成。两行钢铁内柱上粗下细，柱上铆钉也袒露出来。大厅白净、简洁、新颖。这座建筑物建于20世纪初，具有开创性。

This article is about the ?sterreichische Postsparkasse building. For the institution itself, see ?sterreichische Postsparkasse.

The Austrian Postal Savings Bank building (German language: ?sterreichische Postsparkasse) is a famous Jugendstil building in Vienna, designed and built by the architect Otto Wagner. The building is regarded as an important early work of modern architecture, representing Wagner's first move away from Art Nouveau and Neoclassicism. It was constructed between 1904 and 1906 using reinforced concrete.

The building houses the headquarters of the ?sterreichische Postsparkasse (P.S.K.) bank, formerly the k.k. Postsparcassen-Amt (Imperial-Royal Postal Savings Office). It is located at Georg-Coch-Platz 2, in the first district Innere Stadt, next to the Ringstra?e boulevard.

Exterior

Main facade of the ?sterreichische Postsp arkasse (P.S.K.) building in ViennaUp to six stories high, the building occupies an entire city block. The massively simplified facade of the bank clearly owes something to classicism. Wagner's key idea was to celebrate modern materials by developing new forms. The entire facade is covered with square marble plates. These are attached to the main structure by aluminum rivets or bolts, which themselves form a pattern. The building's harmonious synthesis between form and functionality was highly acclaimed by critics. The metal rivets do not obstruct the facade but resemble decorative elements. The use of marble also makes the maintenance and cleaning of the facade very easy and inexpensive, another important functional element in Wagner's design. The architect kept the design very minimalistic and simple; his aim was to convey the sense of a strong, impenetrable bank in which customers would know their money was safe.

Only at the upper part of the exterior, near the roof, did Wagner add more elaborate decorations, such as statues of female angels holding laurels in both hands. These were sculpted by frequent Wagner collaborator and fellow Secessionist Othmar Schimkowitz.

Interior

Main hall in the ?sterreichische Postsparkasse building in ViennaThrough the main entrance at Georg-Coch-Platz the visitor ascends a flight of stairs to the grand Kassenhalle, where customer services are located. The main hall is thus effectively on the first floor. The hall is designed like an atrium, with a large glass skylight allowing natural light to enter the heart of the building at all times. Natural light is not used only for stylistic reasons, but also to reduce the cost of electric lighting. Even the floor of the main hall is constructed of glass tiles, allowing natural light to reach further down to the floor below, where the Post Office boxes and mail sorting rooms are located. Wagner kept decoration in the main hall to a constrained minimum, using only glass and polished steel as materials. The decorative effect is created by the simple but elegant use of the material itself. The frosted glass skylight is pierced by steel columns, their slim design making them as unobstructive

to the falling light as possible. The hall is one of Otto Wagner's most famous masterpieces, and one of the finest examples of the Viennese Jugendstil.

The building's office space is divided according to the axis of the outside windows, again making use of natural light as much as possible.

The interior walls are non-load-bearing, and can therefore be re-arranged according to need, a feature that has become standard in modern office buildings.

Spared any damage during World War II, the building is still in its original state and includes a museum devoted to its creator, Otto Wagner

since 2005.

07Of23 Frank Lloyd Wright-Johnson Wax Administrative Building 莱特—约翰逊制蜡公司

威斯康星州，雷辛，约翰逊制蜡公司办公楼室内，1936-1939年住宅中纤

细的蘑菇形柱子支撑的覆盖系统取代了传统的天棚，表达了一种自然的情趣，而

这种自然性与有节制的机械主义令人吃惊地共生在一处，暗示着“美国风”式住

宅不再延续圣马克斯塔楼所表达的那种与城市文明冲突的特性。

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Administration Building and Research Tower, S.C. Johnson Company

U.S. National Register of Historic Places

U.S. National Historic Landmark

Exterior, viewed towards the east, of the Johnson Wax Headquarters building

Location: Racine, Wisconsin

Coordinates: 42°42′48.64″N 87°47′26.55″W/ 42.7135111°N 87.7907083°W /

42.7135111; -87.7907083

Built/Founded: 1936

Architect: Frank Lloyd Wright; Peters,Wesley W.

Architectural style(s): Late 19th and Early 20th Century American Movements,

Other

Governing body: Private

Added to NRHP: December 27, 1974

Designated NHL: January 7, 1976[1]

NRHP Reference#: 74002275 [2]

Johnson Wax Headquarters (1936-1939), the world headquarters and administration building of S.C. Johnson & Son, Inc. in Racine, Wisconsin was designed

by American architect, Frank Lloyd Wright, for the company's president, Herbert F. "Hib" Johnson. It was designated a National Historic Landmark in 1976 as Administration Building and Research Tower, S.C. Johnson and Son.

An example of streamlined design, the Johnson Wax Administration Building, as

it is also known, has over 200 types of curved red bricks making up the exterior and interior of the building, and Pyrex glass tubing from the ceiling and clerestories to let in soft light. The colors that Frank Lloyd Wright chose for the Johnson Wax building are cream (for the columns and mortar) and "Cherokee Red" for the floors, bricks, and furniture. The furniture, also designed by the architect, and manufactured by Steelcase, Inc., echoes the curving lines of the building.

One approaches the building by walking underneath the 14-story tall Johnson Wax Research Tower (1944-1951) and through a low parking lot, which is supported by steel-reinforced "dendriform" (tree-shaped) concrete columns. The parking lot ceiling creates a compression of space, and the dendriform columns are echoed inside the building, where they rise over two stories tall, supporting the structure's roof. This rise in height when one enters the administration building creates a release of spatial compression. Compression and release of space were concepts that Wright used in many of his designs, including the playroom in his Oak Park Home and Studio, the Unity Temple in Oak Park, Illinois, the Solomon R. Guggenheim Museum in New Y ork City, and many others. The largest expanse of space in the Johnson Wax building is the Great Workroom, as Wright called it. This open area has no internal walls and was intended for secretaries of the Johnson Wax company, while a mezzanine holds the administrators.

Interior, "Great Workroom", of the Johnson Wax Headquarters buildingThe construction of the Johnson Wax building created controversies for the architect. In the Great Workroom, the dendriform columns are 9 inches (23 cm) in diameter at the bottom and 18 feet (550 cm) in diameter at the top, on a wide, round platform that Wright termed, the "lily pad." This difference in diameter between the bottom and top of the column did not accord with building codes at the time. Building inspectors required that a test column be built and loaded with twelve tons of material. The test column, once it was built, was loaded with sixty tons of materials before the "calyx", or part of the column that meets the lily pad, cracked (crashing the 60 tons of materials to the ground, and bursting a water main 30 feet underground). After this demonstration, Wright was given his building permit.

Additionally, it was very difficult to properly seal the glass tubing of the clerestories and roof, thus causing leaks. This problem was not solved until rubber gaskets were placed between the tubes, and corrugated plastic was used in the roof to seal it, while mimicking the glass tubes. And finally, Wright's chair design for Johnson Wax originally had only three legs, supposedly to encourage better posture (because one would have to keep both feet on the ground at all times to sit in it). However, the chair design proved too unstable, tipping very easily. Herbert Johnson, needing a new chair design, purportedly asked Wright to sit in one of the three-legged chairs and, after Wright fell from the chair, the architect designed new chairs for Johnson Wax with four legs; these chairs, and the other office furniture designed by Wright, are still in use.

Despite these problems, Johnson was pleased with the building design, and later commissioned the Research Tower, and a house from Wright known as Wingspread. The Research Tower is no longer in use because of the change in fire safety codes. The

Johnson Wax buildings are on the National Register of Historic Places, and the Administration Building and the Research Tower were each chosen by the American Institute of Architects as two of seventeen buildings by the architect to be retained as examples of his contribution to American culture. In addition, the Administration Building and Research Tower were both designated National Historic Landmarks in 1976. In 2008, the U.S. National Park Service submitted the Johnson Wax Headquarters and the Research Tower, along with nine other Frank Lloyd Wright properties, to a tentative list for World Heritage Status. The 10 sites have been submitted as one, total, site. The January 22, 2008 press release from the National Park Service website announcing the nominations states that, "The preparation of a Tentative List is a necessary first step in the process of nominating a site to the World Heritage List."[3] Popular culture

In the anime series TEXHNOLYZE, the "Great Workroom" is featured in episode 19 and onward. It serves as a work place for the character Sakimura and other members of the surface world. In the film Men In Black, the main atrium in the MIB's headquarters bears a striking resemblance to the office floor in the factory, particularly the pilotis throughout the space and the balconies around the perimeter. This design ties in with the pseudo-modernist appearance of much of the headquarters building.

https://www.360docs.net/doc/004306454.html,.Galleria.Umberto.I.

那不勒斯的翁贝托一世走廊

翁贝托一世走廊（la Galleria Umberto I）就在圣卡尔洛歌剧院的对面，建于1887年，它的建筑与米兰的维克托埃马努埃莱二世走廊异曲同工，也是以漂亮的大理石地面和巨大的铁架和彩色玻璃拱顶为特色的，大走廊拱顶空间广阔，很有气派。走廊中满布丰富的新文艺复兴风格的装饰，大理石地面上还有星象和罗盘的图案。这个有100多年历史的购物中心曾经是美术家、音乐家、作家和才子佳人聚会的地方，也曾让欧洲其它城市的王公贵妇羡慕不已。现在这里还是有很多高档商店，咖啡店当然也不可缺少，仍是市民聚会最喜欢去的地方之一。

翁贝托长廊（Galleria Umberto）是意大利南部城市那不勒斯的购物商场，位于圣卡尔洛剧院的对面，面向城市主街道托莱多路。它建于1887–1891年，得名于翁贝托一世，有类似米兰艾玛奴爱雷二世拱廊的透明玻璃屋顶，十字形平面，中间为穹顶。翁贝托长廊既是一个购物中心，也是那不勒斯人社会生活的中心。

09of23.Santiago.Calatrava.Satolas.TGV

卡拉特拉瓦—TGV车站

Gare de Lyon Saint-Exupéry

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Aéroport Lyon-Saint-Exupéry TGV

Station Information

Services TGV Rh?ne-Alpes

Tracks 4

Opened 1994

Location

Région Rh?ne-Alpes

Départment Rh?ne

Commune Colombier-Saugnieu

Gare de Saint-Exupéry TGV (formerly Gare de Satolas) is a railway station near Lyon, France, directly attached to Lyon-Saint Exupéry Airport. The station was an addition to the airport built to serve TGV trains on the LGV Rh?ne-Alpes, part of the main line running from Paris to Marseille. It is situated about 20 km east of Lyon city centre.

Saint-Exupéry station was designed by Santiago Calatrava, cost 750 million Francs and opened on 3 July 1994, at the same as the high speed line to Saint-Marcel-lès-V alence. The building is mostly a combination of concrete and steel.

Interior of the stationThe station has six tracks laid in a cutting. The two central tracks are isolated to permit trains to traverse the station at full speed (300 km/h). Both sets of two tracks have platforms 500 m long. To the west, a small piece of land has been put aside for future expansion. Above the tracks, a 300 m long passenger concourse gives easy access to the platforms and is equipped with several travelators.

The railway station is linked to Lyon-Saint Exupéry Airport by a footbridge equipped with a travelator. This airport is historically the first to be served by a high speed station. Unfortunately, this proximity to the airport has not helped the station and it sees little use as passengers mainly use Lyon-Perrache and Lyon Part-Dieu.

Lack of interconnexion with Lyon's urban transport network is frequently cited for the station's low usage. The arrival of the LESLYS express tram in 2009 might help this situation.

Previous Station SNCF Next Station

Lyon-Part-Dieu (off-LGV)

Mac?n-Loché TGV TGV

LGV Rh?ne-Alpes V alence TGV

Coordinates: 45°43′16″N 5°04′34″E/45.721°N 5.076°E/45.721; 5.076

This French railway-related article is a stub. Y ou can help Wikipedia by expanding it.

10of23.Peter.Zumthor.The.Thermae.of.Stone

彼得卒姆托—石头温泉浴场

也称瓦尔斯温泉 (Vals Spa)

瓦尔斯是在阿尔卑斯山区一个遥远的小山村，温泉和岩石是当地唯一的自然资源，瓦尔斯的泉眼中每天都涌出大量的泉水，这些泉水的一半提供给矿泉水公司，剩下的部分留在瓦尔斯的温泉中，多年以来，温泉一直被看作是一种天然保健资源。

瑞士建筑师彼得．卒姆托用当地的石英石重新修建了瓦尔斯温泉。建筑师用了近4万片大小不同的瓦片将温泉的池壁装点的别具一格。它的内部结构使人拥有进入一个原始寺庙的

感觉。两年以后温泉成为了瓦尔斯的标志，它精湛的建筑结构和有康复作用的温泉吸引了前所未有的来访者。建筑师的设计初衷是将温泉浴与天然能量及山区自然景观之间的特殊关联体现出来。

上两段文字选自https://www.360docs.net/doc/004306454.html,/training.asp?classid=5&SmallID=15&ii=9

永恒的春天也许并不存在，但是在阿尔卑斯山区一个遥远的小山村瓦尔斯却可以找到这样的地方。

温泉和岩石是当地唯一的自然资源，就是这一资源给山村人带来着生息。瓦尔斯的泉眼中每天都涌出大量的泉水，这些泉水的一半提供给矿泉水公司，剩下的部分留在瓦尔斯的温泉中，多年以来，温泉一直被看作是一种天然保健资源。1996年瓦尔斯村开设了一个新温泉，从此瓦尔斯村对外界有了更多的吸引。

瑞士建筑师彼得．卒姆托用当地的石英石重新修建了瓦尔斯温泉。建筑师用了近4万片大小不同的瓦片将温泉的池壁装点的别具一格。它的内部结构使人拥有进入一个原始寺庙的感觉。两年以后温泉成为了瓦尔斯的标志，它精湛的建筑结构和有康复作用的温泉吸引了前所未有的来访者。建筑师的设计初衷是将温泉浴与天然能量及山区自然景观之间的特殊关联体现出来。他的创作为瓦尔斯村带来了巨大的福利，为经济的发展提供了帮助。当温泉和旅店被官方买下之后，项目发起人决定将这一纯健康性温泉改建成一个趣味横生的乐趣公园。

彼得．卒姆托的设计成为瑞士现代建筑史上一个的里程碑。

以上文字选自https://www.360docs.net/doc/004306454.html,/topics/136477/

1996年 Hotel Therme Vals, Vals, Graubunden, 瑞士

方案名称：温泉旅馆

方案位置：Vals, Graubünden, Switzerland 瑞士

建筑师：Peter Zumthor

完成：1996

关于卒姆托的作品参见https://www.360docs.net/doc/004306454.html,/?action-viewthread-tid-5216 11of23.Felix.Duban.School.of.the.Beaux.Arts

菲利斯?杜邦——工艺美术学校

建筑师菲利斯?杜邦(Felix Duban) From Wikipedia, the free encyclopedia (Redirected from Felix Duban)

view of the école des Beaux-Arts courtyardJacques Félix Duban (October 14, 1798, Paris - October 8, 1870, Bordeaux) was a French architect, the contemporary of Jacques Ignace Hittorff and Henri Labrouste.

Duban won the Prix de Rome in 1823, the most prestigious award of the école des Beaux-Arts. He was much was influenced by his five-year stay in Italy, particularly his sense of color, influenced by the polychrome paintings of ancient Pompeii, newly uncovered Etruscan tombs, and the tradition of the great decorations painted in the Renaissance.

By far Duban's most visible work is the main building of the école, undertaken in 1830. The main building, the Palace of Studies, was designed with integral paintings and interior sculpture for artists' education. His redesign and alignment of the entire campus frames the main building from the entrance on Rue Bonaparte. With other expansions towards the Seine, this work was completed around 1861.

Duban was elected as member of the Academy of Fine Arts in 1854.

Work

Restoration of the castles of Chateau de Blois, Chateau de Gaillon, and Chateau de Dampierre Completion and restoration of the Apollo Gallery in the Louvre, beginning in 1848. It reflects and reinforces its structure and repairs coverage that protects the valuable decorated barrel vault, built in 1661 on the orders of the young Louis XIV.

Restoration of the Sainte-Chapelle, with Jean-Baptiste Antoine Lassus and a young Eugène Viollet-le-Duc.

Restoration of various historical monuments and private monuments

12of23.Daniel.Libeskind.Jewish.Museum.Berlin

丹尼尔里博斯金——柏林犹太人纪念馆

柏林犹太人博物馆

柏林犹太人博物馆馆设计的时代背景：

二战之后，德国从未停止对历史的反省，德国对历史的态度，使德国人、法国人甚至整个欧洲的人民都感到轻松和安全。为了表示"勿忘历史"的决心，德国还为犹太人修建了一座大屠杀纪念馆。2005年12月15日，柏林犹太人纪念馆最终落成。

丹尼尔·列别斯基（D.Libeskind）设计的“柏林博物馆（犹太人博物馆）”建筑，称得上是浓缩着生命痛苦和烦恼的稀世作品：反复连续的锐角曲折、幅宽被强制压缩的长方体建筑，像具有生命一样满腹痛苦表情、蕴藏着不满和反抗的危机。

该纪念馆最具特色的主体部分是一个占地2万平方米的露天广场，地面由2711块高矮不等、刻有请愿书的水泥板铺成，远看就像是一片被微风拂过的麦田，而走近了则像是步入一个巨大的迷宫。负责设计纪念馆的美国建筑师彼得·埃森曼表示，他的设计将强迫人们面对过去。

广场上还将竖起一个扬声器，昼夜不停地播放400万记录在册的大屠杀遇难者的姓名。而在广场地下还有一个特别的资料中心，为前往参观的人提供服务。

反复连续的锐角曲折、幅宽被强制压缩的长方体建筑，像具有生命一样满腹痛苦表情、蕴藏着不满和反抗的危机，令人深感不快。丹尼尔。里伯斯金设计的“柏林博物馆（犹太人博物馆）”的整个建筑，可以称得上是浓缩着生命痛苦

和烦恼的稀世作品。

丹尼尔·列别斯基（D.Libeskind）称该博物馆为“线状的狭窄空间”。理由是在这座建筑中潜伏着与思想、组织关系有关的二条脉络。其一是充满无数的破碎断片的直线脉络。其二是无限连续的曲折脉络。这二条脉络虽然都有所限定，却又通过相互间的沟通，而在建筑和形式上无限地伸展下去。

依据相互离散、游离的处理手法，形成了贯穿这座博物馆整体的不连续的空间。这二条脉络是“犹太人博物馆”的特征，同时又是里伯斯金所特有的“二元对立，二律背反”的观点。

柏林的痕迹，不仅仅是物理的，据说其中还有说不清因果关系的根源，或者是既往性夹杂在里面。从德国人和犹太人的外在关系来观察，他下了这样的结论。他执着地追求曾对犹太人的传统和日尔曼文化做出贡献的作家、音乐家和艺术家们的生活踪迹，并将其模式化。

柏林犹太人博物馆的四个主要表现：

其一是内容。该博物馆共有4个隐喻情结。

其二是根据作曲家阿诺德。施昂拜格未完成的歌剧“摩西和阿龙”的脚本而构成的。在此处，表现了由于歌的存在，而歌词不清，相反，歌不存在，而能帮助对歌词的理解的不合情理性。

其三，在大屠杀年代被驱逐出柏林，在里加和乌其的强制收容所中死亡人的名字和死亡地名。第四，是以瓦特。本杰明的“一侧通行路”形成的。沿着曲折型建筑，引入了60个连续的断面。如此一览“犹太人博物馆”的话，正如街谈巷议所说，里伯斯金充满晦涩的形而上学的超俗的思考，对我们一般人来说是难以接近的。

其四，存在与不存在的概念，他从自身的体验，给予了非常明确的解释。

双重自相矛盾的逻辑，是符合“犹太人博物馆”所体现的观点。一种艺术，由于作为其核心的主体的丧失，例如像没有情节的文学，没有旋律的音乐那样的没有展示品的博物馆，其不存在性、非在的存在性的缘由，好像已是新型文化形式的一种倾向。

充满被驱逐、遭受屠杀的（成为不存在）犹太人的悲痛与苦恼的“犹太人博物馆”，仅仅超越了设计的特异性和观念的前卫性，将作为一个民族的悲惨命运的历史封印。同是一个犹太系的音乐家古斯塔瓦·马勒，所内含的如在第九交响曲所奏出的旋律那样深沉暗淡的精神才是杰出的。

柏林犹太人博物馆设计者：

建筑师：丹尼尔·列别斯基（D.Libeskind）

丹尼尔·列别斯基（D.Libeskind）简介：故乡波兰，从6岁起学弹钢琴，后来移居以色列，成为精通钢琴的音乐名人。曾经赢得美国-以色列文化基金会举办的著名的音乐竞赛（同赛的有伊萨克。帕尔曼、P。祖克尔曼、巴伦伯伊姆）。后来其音乐天才移向了建筑设计。

柏林犹太人博物馆英国媒体报道资料：

英国媒体12月16日报道，这个纪念馆是为祭奠当年在纳粹大屠杀中不幸遇难的600万无辜犹太人而兴建的，馆址位于柏林市中心象征德国统一的勃兰登堡门和联邦议院大厦之间，而二战结束时希特勒自杀的总理府地下室就在旁边。

关于修建纪念大屠杀死难者纪念馆的提议早在1988年就已提出，并在地点、设计、费用等方面引发了激烈争论。前柏林市长艾伯哈·迪根在批评这项提议时说："这岂不是要把柏林变成悼念之都？"而其他人则认为，在如此抢手的黄金地

段修建一座大型"集体墓地"，简直是不可思议的奢侈之举。据了解，纪念馆所在地的地价的确贵得惊人，粗粗估算一下约值2亿英镑；另外，纪念馆本身的造价也高达1800万英镑。

支持这项计划的人强调：柏林应该成为全世界哀悼二战遇难者、尤其是犹太人的地理和精神中心；几百年后，这座纪念馆仍会向后人警示那段令人发指的历史。另外，修建这座富有历史意义的建筑也将向世人展示当代德国推行民主改革的信心和成就。经多年反复斟酌，德国政府决定在2003年8月16日动工兴建这座犹太人大屠杀纪念馆。

以上文字载自https://www.360docs.net/doc/004306454.html,/Article/hysj/jzsj/200605/9819.html

13of23.Charles.Garnier.The.Opera.Garnier

巴黎的琼—路易斯·加尼尔歌剧院

巴黎的琼—路易斯·加尼尔歌剧院，即所谓的巴黎歌剧院，法国的巴黎歌剧院。这个歌剧院，因为它的复杂结构和长久的历史，本身就充满了神秘的气氛。该剧院有2531个门，7593把钥匙，六英里长的地下暗道，整个歌剧院占地三公顷，有七层之高。而且，更惊人的是，在歌剧院的最地层，有一个容量130663.55立方尺、深6公尺的蓄水池。如果观众走到地下室的最下面一层，就可以看到它漆黑黏稠的水面。歌剧院每隔十年左右就要把这里的水全部抽出，换上清洁的水。据说这个水池是当年在修建歌剧院，发掘地下室的时候，不小心碰到地下水形成的。当时的建筑师Charles Garnier花了八个月的时间把所有的水抽干，但是为了使建筑物的地基坚固，他设计的地下室的墙和地板都是用双层的防水结构。之后，他把最后一层充水，让水把墙的缝隙填满，使更结实。本来只是偶然设计的结构，但是在层层的地下室之下，忽然出现水池，竟然为电影造出了摇曳的灯光和形状古怪的小船。不管怎么说，如果考究起巴黎歌剧院的建筑结构和它的传奇历史（据说真的有人曾经在里面发现过人的骷髅）的话，这将是一个相当长（也相当有意思）的话题。

歌剧院的楼梯，巴黎，CharlesGarnier，1874年；交响乐厅的楼梯，柏林，汉斯·夏隆，1963年（StairofOperaHouse，Paris，CharlesGarnier，1874）（图618）；（StairofPhilharmonie，Berlin，HansScharoun，1963）

Garnier的“老”歌剧院反映了一种已不再采用的剧院建筑形式。它也有层层叠叠瀑布般的楼梯，只是因为巨大的尺度形成了那样一个大规模的楼梯井，并将建筑容入自身。当观众踏上了这些台阶时，其本身就成为了一个剧院，从各方面而言都是独一无二的空间体验。周围宽阔的空间提供了环视四周和向上的视野，比单独一层楼面的视野广阔得多，使观众可以看与被看。

https://www.360docs.net/doc/004306454.html,.Tourette

柯布西耶——拉图雷特修道院

拉图雷特修道院为一百具躯体和一百颗心灵创造一个宁静的居所

拉图雷特修道院是勒·柯布西耶的后期作品，在他职业生涯的成熟时期建造。

修道院坐落在山丘的陡峻斜坡上，由四个沉重的建筑体块围合出一块矩形

区域，构成一座中央“回廊”的框架。严谨的平面秉承了古代中世纪修道院一贯

的简洁作风，却又通过架空支柱、楼梯、坡道和“管道”的复杂穿插，与原始的静止秩序形成对比，从而使绝对的肃穆气氛略微放松。

在这里我们看到了柯布关于光与空间的处理——侧礼拜堂和圣器室采光的独特设计。侧礼拜室以曲线平面为基础，外墙是婉转曲折的，“光炮”将它们截短的炮筒瞄向天空，徒劳地，扭曲地指向太阳。阳光通过头顶的“光炮”倾泻下来，使得呆在侧礼拜室的人仿佛能够与上帝进行交流，感受神秘的力量，这种处理的方式强化了对话的形式。圣器室的采光同样是运用屋顶的类似于机关枪的东西。

修道院走廊像迷宫一样的围绕着起居区，内有庭院。在餐厅、教室、图书室等空间采用了大面积的波纹窗。墙壁的立面是玻璃面板层，混凝土的直棂以不等的间距沿墙面排列，由这些“波纹”从而产生了搏动的效果。修道院的走廊一面是白墙，另一面则是“波纹”效果的玻璃窗。

对修道院最感兴趣的地方在于它独特的波纹窗，在于它的搏动效果。我国自汉代就有这种直棂窗，但是往往直棂的分布都是及其均匀的，因此给人的感觉很平淡。修道院的波纹窗上的直棂确是以不同的间距排列，因此疏密有致。当人穿过走廊时，不断“压迫”“放松”的转换，似乎跟人的呼吸规律相适应，因此我们可以说这是一个可以搏动，可以呼吸的窗，从而使得建筑也是可以呼吸的有生命力的物体。这样一来，建筑不再是冰冷的而是拥有了温度。

如果说朗香教堂是一种声音，它似乎有些势单力薄．那么拉图雷特修道院的落成则确定无疑地标志着宗教建筑的一个新的阶段，因此，这也成为柯布西耶最具意义的创作之一．在此之前，柯布西耶很少有机会充分展现他对光与空间的卓越驾驭＿不可言语的空间；于此回应的不仅仅是物质的需求，还有精神的需求，这是对隐修传统的尊重．拉图雷特修道院构成一处真正的精神的居所，一个活的有机体，迥然相异的各个部分紧密地联系在一起．

早上，总算赶上了去里昂的特快。2个小时后，我们到达里昂站。坐地铁到地区长途车站，我们转乘区域小火车到柯布的晚年力作。拉·土雷特修道院（Couvent de La Tourette）。这座除了建筑师，无人光顾的修道院，坐落在Eveux （里昂西北近郊）寂静的山风上。我们很幸运地选择了这个时候，因为盛夏的法国南部乡村正值金黄时节。我们在正午到达Eveux车站。沿着乡村小路直接上山。山脚是乡村住宅，外观朴素，但却鲜花锦簇。到山腰的时候，就是大片的牧场和麦田。不时看到金黄的草垛。向山下俯瞰，世外桃源的感觉。虽然这里离阿尔勒还有一端距离，但与梵高绘画中的景象己经十分近似的。我们沿着婉蜒的路前行，牛群在正午的烈日下，纷纷躲进树荫。我们走了半小时，在一座古宅旁边迷失了方向。顺着一条路又走了一会，指示牌又出现了。在一片高大的乔木林荫路尽头，混凝土的建筑终于现身。

虽然在12点半就到了，可是有讲解的导游要到3点多。而我们还要赶回巴黎；坐南下西班牙的夜车。因此我们就在建筑周围参观、建筑的基地为一片向西的斜坡林地。大部分建筑都是用片状的柱体架空的、拉土雷特修道院整体显得异常肃静，只有窗户有一些特别之处，整个修道院绝大多数的玻璃扇是不可开启的固定扇。而可开启的则是一块实心木板。这些木板被涂成红黄蓝等鲜艳的颜色。由于这些可开启的部分很窄，所以尽管是落地或非常低的窗台，人也不会有跌落的危险。

柯布在这修道院将建筑物的量体维持其水平带状的方式，并不因为地形的的倾斜而有转变，这样的处理手法也似乎维持著柯布在不同时期创作的形式。底

部的支撑比马赛公寓更进一步，显示出混凝土定型的高潮技术柯布在小教堂设计中，运用了了简单朴素的建筑量体，也同时反衬出柯布精心发展的一些细部模式，像是神殿区上面的三个采光井，让自然的光线进入到神殿当中，来传达空间的神秘的宗教特质，这样光线的运用，也成为在路径上一特殊的视觉的参考点三个采光井，在这个案子中，如同三个采光的容器，个有不同的方向性，随着阳光的移动角度而在室内产生不同的表情。

量体配置。我本身对这建筑爱好有限，大概是不喜欢修士，但是这里的自然风光，让我明白了普罗旺斯为什么那么吸引文人墨客。这里的色彩浓烈，纯净。这里的女人们也温润如玉。我们在小火车上询问的一位法国少女，她恬静端庄的举止让我记忆深刻。 3点钟导游修士大人来了，废话连篇了半个小时。我们一行10人，看来这真不是世俗之人消遣的地方,10个人全是外国人。因此这里的宣传册都是英文。我们由于要赶火车，只好在建筑里匆匆走过，之后就飞快地下山。

https://www.360docs.net/doc/004306454.html,a

高迪——米拉公寓

在西班牙巴塞罗那的帕塞奥.德格拉西亚大街上，坐落着一座纯粹现代化风格的楼房-米拉公寓（Casa Milà），又名“采石场”（La Pedrera),。它以怪异的造型而闻名于世，是由西班牙建筑设计师安东尼.高迪（Antoni Gaudí）专门为实业家佩德罗.米拉设计建造的。

米拉公寓位于街道转角，地面以上共六层（含屋顶层），这座建筑的墙面凸凹不平，屋檐和屋脊有高有低，呈蛇形曲线。建筑物造型仿佛是一座被海水长期浸蚀又经风化布满孔洞的岩体，墙体本身也像波涛汹涌的海面，富有动感。米拉公寓的阳台栏杆由扭曲回绕的铁条和铁板构成，如同挂在岩体上的一簇簇杂乱的海草。米拉公寓的平面布置也不同一般，墙线曲折弯扭，房间的平面形状也几乎全是“离方遁圆”，没有一处是方正的矩形。

高迪在建筑艺术探新中是勇于开辟新道路的人，他以浪漫主义的幻想极力使塑性艺术渗透到三维空间的建筑中去。在米拉公寓设计中，他发挥想象力，将伊斯兰建筑风格与哥特式建筑结构相结合，采取自然的形式精心去探索其独特的塑性建筑楷模。和它风格相似的还有巴特娄宫（Casa Batlló）。

巴特罗公寓（Casa Batllo，1904~1906）和米拉公寓（Casa Mila1，1906~1910）都以造型怪异而闻名于世，由西班牙建筑师高迪设计。

巴特罗公寓的入口和下面二层的墙面都故意模仿溶岩和溶洞，上面几层的阳台栏杆做成的假面舞会的面具模样，屋脊如带鳞片的兽类脊背，屋顶上的尖塔及其他突出物体都各有其怪异形状，表面贴以五颜六色的碎瓷片。

安东尼奥?高迪1852年6月25日生于西班牙巴塞罗那，素有巴塞罗那“建筑之父”之称，是浪漫建筑风格的代表人物。他曾就读于巴塞罗那省立建筑学校，毕业后初期的作品近似华丽的维多利亚式，后采用历史风格，属哥特复兴的主流。高迪最早接受的主要委托项目是巴塞罗那圣家堂（Sagrada Familia），那是一座极有个性和感染力的建筑物（去世时仅完成一个耳堂和四个塔楼之一）、巴特罗公寓（Casa Batlo）、米拉公寓（Casa Mila）和桂尔公园（Guell Park）。1926年6月10日，高迪在巴塞罗那逝世。

16of23.Sullivan.And.Adler.Auditorium.Building.Chicago 沙利文——芝加哥会堂大厦

路易斯·亨利·苏利文（Louis Henri Sullivan，1856-1924年），美国建筑师，被称为20世纪建筑学之父。他摒弃了折衷主义（混合以往各种风格）并创立了一种同时体现建筑结构和功能的建筑风格。苏利文的功能主义理论按他原话来说，是“形式遵从功能”，对20世纪建筑学和设计产生了重大影响。芝加哥的芝加哥百货公司大楼（1904年）被认为是他的杰作。

苏利文出生于波士顿，曾在麻省理工学院进行短暂进修。在就读于巴黎艺术学院之前，他在芝加哥与威廉·勒巴隆·詹尼一起工作。1879年苏利文加入了丹克马尔·阿德勒在芝加哥的事务所，并于1881年成为合伙人。他们的作品——10层楼高的芝加哥会堂大厦（1889年，现属于罗斯福大学），给事务所带来全国性声誉。

阿德勒和苏利文设计了大约25栋重要建筑，并成为芝加哥建筑学派的领袖。圣路易斯的温莱特大楼（1891年；现为温莱特州立办公楼群）以及布法罗的保证大厦（1895年），为摩天大楼的设计确立了技术标准。在上述建筑和其它建筑中，苏利文通常使用精心制作的熟铁和赤陶装饰，以突出整体架构。1895年阿德勒和苏利文散伙以后，苏利文只接到寥寥几笔大项目。他写有《幼儿园闲谈》（Kindergarten Chats）（1901年）及《“思想”的自传》（The Autobiography of an Idea）（1924年）。苏利文最著名的学生是弗兰克·劳埃德·莱特。

Auditorium Building From Wikipedia, the free encyclopedia

Auditorium Building

U.S. National Register of Historic Places

U.S. National Historic Landmark

Chicago Landmark

The Auditorium Building was designed by Dankmar Adler and Louis Sullivan (1886–90).

Location: 430 S. Michigan Ave.

Chicago, Illinois 60605

Coordinates: 41°52′33.95″N 87°37′30.62″W / 41.8760972°N 87.6251722°W / 41.8760972; -87.6251722

Built/Founded: 1889

Architect: Dankmar Adler; Louis Sullivan

Architectural style(s): Late 19th and Early 20th Century American Movements

Governing body: Private

Designated CL: September 15, 1976

NRHP Reference#: 70000230

The Auditorium Building of Roosevelt University in Chicago, Illinois is one of the best-known designs of Dankmar Adler and Louis Sullivan. The building is located on South Michigan Avenue, at the northwest corner of Michigan Avenue and Congress Parkway. It was declared a National Historic Landmark in 1975.

Exterior detail of the theatre from Congress Parkway.The Auditorium Theatre, a Chicago Landmark, is part of the Auditorium Building and located at 50 East Congress Parkway. The theatre was the first home of the Chicago Civic Opera and the Chicago Symphony Orchestra. Today the Auditorium Building is the home of Roosevelt University. It was designated a Chicago Landmark on September 15, 1976.[3] In addition, it is a historic district contributing property for the Chicago Landmark Historic Michigan Boulevard District.

Origin and purpose

Ganz Hall capitol.Ferdinand Peck, a Chicago businessman, incorporated the Chicago Auditorium Association in December 1886 to develop what he wanted to be the world's largest, grandest, most expensive theater that would rival such institutions as the Metropolitan Opera House in New York City. He was said to have wanted to make high culture accessible to the working classes of Chicago.

The building was to include an office block and a first class hotel. Peck persuaded many Chicago business tycoons to go on board with him, including Marshall Field, Edson Keith, Martin Ryerson, and George Pullman. The association hired the renowned architectural firm of Dankmar Adler and Louis Sullivan to design the building. At the time, a young Frank Lloyd Wright was employed at the firm as draftsman.

Design

Auditorium Hotel - detail of the grand stairs.Adler and Sullivan designed a tall structure with load-bearing outer walls, and based the exterior appearance partly on the design of H.H. Richardson's Marshall Field Warehouse, another Chicago landmark.[4] The Auditorium is a heavy, impressive structure externally, and was more striking in its day when buildings of its scale were less common. When completed, it was the tallest building in the city and largest building in the United States.[5] One of the most innovative features of the building was its massive raft foundation, designed by Adler in conjunction with engineer Paul Mueller. The soil beneath the Auditorium consists of soft blue clay to a depth of over 100 feet, which made conventional foundations impossible. Adler and Mueller designed a floating mat of crisscrossed railroad ties, topped with a double layer of steel rails embedded in concrete, the whole assemblage coated with pitch.

The resulting raft distributed the weight of the massive outer walls

over a large area. However, the weight of the masonry outer walls in relation to the relatively lightweight interior deformed the raft during the course of a century, and today portions of the building have settled as much as 29 inches. This deflection is clearly visible in the theater lobby, where the mosaic floor takes on a distinct slope as it nears the outer walls. This settlement is not because of poor engineering but the fact the design was changed during construction. The original plan had the exterior covered in lightweight terra-cotta, but this was changed to stone after the foundations were under construction. Most of the settlement occurred within a decade after construction, and at one time a plan existed to shorten the interior supports to level the floors but this was never carried out.

In the center of the building was a 4,300 seat auditorium, originally intended primarily for production of Grand Opera. In keeping with Peck's democratic ideals, the auditorium was designed so that all seats would have good views and acoustics. The original plans had no box seats and when these were added to the plans they did not receive prime locations.

Housed in the building around the central space were an 1890 addition of 136 offices and a 400-room hotel,[5][6] whose purpose was to generate much of the revenue to support the opera. While the Auditorium Building was not intended as a commercial building, Peck wanted it to be self-sufficient. Revenue from the offices and hotel was meant to allow ticket prices to remain reasonable. In reality, both the hotel and office block became unprofitable within a few years.

History

Auditorium building interior from the balcony

Interior detail of the theatre

Auditorium Hotel - dining hall from the SouthOn October 5, 1887, President Grover Cleveland laid the cornerstone for the Auditorium Building. The 1888 Republican National Convention was held in a partially finished building where Benjamin Harrison was nominated as a presidential candidate. On December 9, 1889 President Benjamin Harrison dedicated the building and Adler and Sullivan opened their offices on the 16th and 17th floors of the Auditorium tower.

The Chicago Symphony Orchestra debuted on October 16, 1891 and made its home in the Auditorium Theatre until moving to Orchestra Hall in 1904. Theodore Roosevelt gave his famous Bull Moose speech in 1912 at the Auditorium and was nominated for President of the United States by the independent National Progressive Party.

The opera company renting the accommodation moved to the Civic Opera House in 1929, and the Auditorium Theatre closed during the Great Depression. In 1941, it was taken over by the city of Chicago to be used as a World War II servicemen's center. By 1946, Roosevelt University moved into the Auditorium Building, but the theater was not restored to its