【七層】7000平米框架結(jié)構(gòu)教學樓（開題報告、任務書、計算書、設計圖）

【七層】7000平米框架結(jié)構(gòu)教學樓（開題報告、任務書、計算書、設計圖）,【溫馨提示】壓縮包內(nèi)含CAD圖有預覽點開可看。打包內(nèi)容里dwg后綴的文件為CAD圖,可編輯,無水印,高清圖,壓縮包內(nèi)文檔可直接點開預覽,需要原稿請自助充值下載,所見才能所得,請細心查看有疑問可以咨詢QQ：11970985或197216396 Are we architects free? Are we architects free from society ? Can we exist out of any specific time and space , in another expression? Questions such as these set the tone of our inquiry into Ito’s architecture. After all , unless we look into his architectural characteristics in close relation to the subject of time and space ,we will end up grasping only the surface of the content .Toyo Ito is an architect whose practice is based in Japan at the dawn of a new millennium. Like most of the well-known Janpanese architects, he did not study abroad but went to School of Architectural Engineering at Tokyo University. He set up his own office after working at an architectural firm for a few years upon graduation. He has been in private practice based in Tokyo since then .I am not sure whether it is necessary to recall you the statement of EH.Carr’s,”What is history ?” as the process of design in architecture could be an outcome of concersations carried out continuously with his surroundings. I am not here to remind you that an architect is a product of his generation that represents the spirit of the era but to point out that a study of an architect’s work without full comprehension of the period and time he has led his life is pointless. But then ,a series of mistakes we commit during our study on an architect ,Toyo Ito ,and his work very ofen stems directly from the very outset. Such errors that we easily for apply to Japanese architecture in general not simply limited to him alone. One of them is our presumption that we live in the same period as he does and the other is come from our misled conception that life in Tokyo or Japan is almost identical to that in Seoul Korea. These are nothing more than our gesture of guessing the content of a big filled only with misconceptions so long as our knowledge of Japanese architecture is only skin deep. Despite the proximity of the two countries , what believe is that Japan and Korea are two completely different countries in reality. We acknowledge discrepancies of customs and culture of a country in Africa, taken as an example, without any resistance because we accept as facts from the very beginning that they belong to the people don’t look like us at all. But then, just for the reason that they look alike and live near us, we start right from the start with a false assumption that these of Japan would be similar to ours if not identical. I dare to say that Japan, I know of, is a country as foreign as any country in Africa. Of course, it doesn’t mean that I disapprove or disregard similarities in so many areas but simply says the fact that both similarities and disparities exist. Architecture as a part of our life, is bound to reflect our life and therefore, architecture of the two countries will produce different products so long as there is even a single dissimilarity between them. It is right here that we cannot escape from making an error when we see the formal or technical aspects of Japanese architecture. In Korea , a house is one of the primary commodities in most families , a subject of our speculation ,and a place to relax but that is not the case in Japan. To them , a house is only a space to sleep in, a sort of a restaurant to have mills, or a place to stop by. Such disparity of the two countries has something to do with how Japan was modernized. Space they never could own has become a temporary shelter only and such a view drives them to look for the functions used to be those of their homes outside their homes including symbolical one of traditional homes. And therefore, it turns into a process of having those functions realized in imagination or reality. Also just because we live the same era doesn’t mean that we share the time together. Who could dare to say that people on the earth today live in the same era? After all, we occupy different time and space, although we live nearby. Therefore, knowing the architecture of Ito must be accompanied by comprehension of the time and space he leads his life at the same time. Beyond year 2000 A new millenium is right at the corner. To many architects as well as I who have been anxious to the beginning of the next millenium , it is a point that demands changes in our thought. As important as ，‘now’is the ‘next’. Mediatheque project in Sendai is one that falls into this category of the future. I cannot wait for the day of its completion that is under construction right now. Scheduled to be open next year that the new millenium commences, this building has aroused the interest of many architects and critiques since the day it won the competition .They finally witnessed a new solution to the issues that the field of architecture has challenged for thousands of years without success such as the boundaries in space between structure and architecture and the internal layout of building plans. Actually, mediatheque project in Sendai was conceived from a very straightforward and simple concept. Viewed from the exterior of the building , it is typical cubic－shaped building overall. However, on a closer look, we find the three elements that compose the building. The three elements are as follow：I）Plans, not two of them identical, with their own functions.2）Thirteen steel tubes playing the role of vertical cores, structural supports, and shafts for mechanical ducts.3）The glazing layer or the skin of the building which wraps the content around while linking the interior to the exterior. The building is made up of seven floors that contain all the function elements of the building are piled up on top of one another and the thirteen tubes penetrates them. Boundaries among structure, mechanical elements, and functions of the building are obliterated but intermingled in this building. Each floor plate is given its own spatial character accord- ing to the sizes and locations of tubes, and functions. The ceiling height of each floor corresponds to its functional requirements while maintaining flexibility and accommodating changes in functions and time.The outer skin doesn't simply sets the boundary of the building but works as a filter that exchanges all kinds of information while linking the interior to the exterior. It is worth comparing the building to Rem Koolhaas's proposal for the Library of University of Paris, a project unrealized. Both schemes are viable answers to our challenge to the concept on plans and sections that we architects have been trying relentlessly to overcome throughout history. If Mediatheque was able to set itself from gravity with its plan composed of simple diagrams, Rem's library scheme created a series of space in succession by breaking down the concept of floors stacked up one after another (Think of it as countless columns in a domino). Despite both design founded on two totally different conceputs in terms of space and mass, they are very much alike in the fact that both are places offering information in vertical oriented urban environment of today. Floor plates piled up on top of one another and continuous urban landscape are probably where architecture of the new century starts. Those who study architettural style of Ito's from the point of formal order say that oval or curve-linear lines what characterizes his design. And as a matter of fact, such lines have been appeared in his design in a wide variety and even, I, myself, also have confirmed such tendencies. In his book, `Transfiguration wind', he already expressed that 'architecture of the wind' is the type of form that the buildings in our society should possess. Then, what does he mean by 'architecture of the wind? The wind in a city implies the movement or flow and it is said to be a metaphor for a part of the city he lives. In the city, man as well as information flows and therefore, what's left are places for transit not for settlement 'Architetture of the wind' embarks from such defnition of built objects among the innumerable flows of people, vehicles, and images in Shinjuk. Buildings in the age of electronics are no longer stationery objects withstanding the test of time but transform and respond to the changes in surroundings. This is an interaction not interfering with other flows in urban and natural environment. The Crystal Ballpark submitted as a proposal for a soccer stadium of one of the Korean conglomerates reacts to the flow of the city ,while the dome in Otate surrounded in a natural setting responds to the physical wind. This dome perhaps based on the crystal palaces of England at the end of 19th Century ,is designed to hold up to one hundred thousand spectators in a metropolis, Seoul .Isn’it architecture of the wind that he is referring to as the glass dome looks to be flowing seen from the flows of Han River and the streets around? The line that draws the territories of the exterior and the interior is defined by the glass dome. The outside and the inside are continuously expanded and exchanged divided only by glass that maintains shear transparency and minimum structure . Even if his formal order in architecture evolves from oval to something else, what stays deep inside his mind is architecture that keeps reacting to the wind both physical and abstract in character. No restricting nature simply to trees, grass, or soil but creating the court of sound, the court of light, and the court of images and adding them to it are his attempts to expand the boundaries of nature. I am anxious to see where his design that diversifies, further divides, and studies the relations between architecture and nature is heading. We criticize or praise an architect by reviewing his path as an architects. We are used to classifying and judging him with the similarities and discrepancies found on comparative studies with other architects. But my eyes are firmly set to his next project. Right at this memont, countless architects are doing their best to present new path to us. What he has accomplished over the last 25-years has deeply affected other architects and expand their horizons in though .That’s why I am so anxious to see the next one in my belief that he will become another milestone leading the field of architecture today.