建筑工程分析良好设计的前奏建筑工程专业策划经典文稿附英文原文.doc

建筑策划典型文稿（附英文原文）：*建筑分析良好设计前奏by William M. Pena and William W. Caudill - Caudill Rowlett and Scott，Architects 医生不也许按照病人规定开药。如果遮阳某些状况她要被关进监狱。建筑实践也是如此，其核心就在于辨识想要和需要。咱们设计了某些学校。咱们并没有特别天分或者经验来使咱们可以拿着铅笔和写字板去学校董事会成员说：你们要多少教室？你们咖啡厅要多大？你们要多少厕所？与否有个助理校长办公室？要多大？噢对了，你有无想让咱们设计到学校里面特殊房间？”相信我，没有一种成功学校是这样设计出来。一种简朴房间列表无法提供建筑实践中需要解决问题。就算表格把业主得规定和需求表达得无比精准，它依然无法使水平高超设计师从中获得灵感。固然咱们必要承认这样列表已经作了好近年了，但列表者没有引起业主去思考。列表者没有创立问题。咱们在学校那里拿到“策划”只是一张房间列表。也许这里存在者建筑学院最大缺陷太多策划却没有足够深度策划。那么策划是什么？难道不是拟定需求阶段？可是咱们如何分别想要和需求？这里是训练和经验必要发挥作用地方。并且咱们以为特殊天分也应当在这里派上用场。明显具备分析能力建筑师能做更好策划。本质上讲，她是一种建筑分析师。咱们经常疑惑为什么咱们建筑学校不给在团队工作中体现了卓越分析能力学生颁布一种特殊学位。在策划过程中咱们怎能分清她们想要和她们实际需要区别呢？咱们没有神奇方程式。因此必要仰仗分析能力配合良好判断。但咱们的确基于咱们经验，有一种办法纲要来进行建筑策划。在表述这个纲要之前，我现提交这些框架前提条件。A 策划开发了问题解决解决途径，由于是策划找到了问题所在。本质上，建筑分析是好设计前提。B 真正分析途径，必要与创造途径来共同构成用以产生良好设计成果。仅由建筑分析无做到。创造活动自身也无法创造一种好建筑。两者都是必要。C 建筑分析过程对所有建筑类型都是必要。因而，咱们相信，专业建筑分析师必要具备分析能力、吸取能力和创造能力。咱们同样相信不论项目规模大小一种谨慎建筑分析是非常必要。固然，功能越复杂，分析越复杂。下面是建筑分析师所用办法，有许各种，但这些看来最故意义：让你业主成为规划组一某些并并从群体户动中吸取长处。例如，在德州泰勒，咱们在策划一种高中时从这种思路获得莫大好处。那是咱们组织了一种会议，许多来自学校教职工工参加了这个会议，会议目是解决一种体育馆问题。开始时咱们听到都是负面批评：不要导致咱们原先那样，里面太热了。它很臭，灯光太差了，谁乐旨在一种桶里打篮球。所有咱们听到意见都是建议咱们不要做什么，然而随着会议继续，群体互动好处开始体现，一种教师开了头：如果咱们有一种与室外球场同样室内球场不挺好吗？这引起了咱们建设了咱们以为也许是全美第一种全玻璃体育馆。获得背景。通过文献调查和参加研究会，大会、吹风会、阅读、交谈、倾听建立一种背景。咱们形成了一种涉及咱们业主、居民，各式各样人诊所。这协助参加其中人们建立友善关系。学校诊所在Angelo，Texas，坐在Roanoke，Virginia，是公众参加案例。发展询问艺术你不必一定给你客户一张躺椅，但有话更好。辨别需要和想要是非常困难。咱们承认咱们对于质问懂得得非常少。咱们已经试图摘某些心理学家中得梨子，咱们学到得唯一同样东西是如何忍受不安全感并时时自重。她们没有告诉咱们如何忍受并与想要摘取月亮得业主共同生活。关于咱们需要提供得唯一东西是咱们巨量得经验。从中咱们相信1） 与甲方开会议越多越好2） 在初期咱们只谈问题不谈解决办法3） 非常重要是尝试一切努力，通过询问目的和程序办法去谋求规划概念不论项目是制造业，医疗服务，小朋友教诲，宗教信奉或者是一种简朴家居。4） 通过提问尽早确立某些大概念类似一种工厂规划中关于产业建筑机动灵活性，或者在学校规划中教诲建筑分散组织性，背面浮现大量故意义细节才不至于掩埋掉规划中真正问题。5） 重要是询问与人需求及设计成果有关问题而不是进行规划类型与建筑材料选取意愿民意测验。从头到脚地研究客户只询问业主最高层会得到问题地片面观点，工厂经理未必清晰工人操作规定，咱们需要对业主公司整个架构中各层次人进行全面调查以获得全面图景。单个层次没必要调查太多人，以免重复劳动。例如，近来设计一种工场中，管理层让建筑师考虑一种全面无阴影照明系统。产业工人没有询问到，她们也许会解释在仔细检查产品与否有裂缝时阴影是必要。咱们设计在一种高中设计了分散式食堂，因素是咱们理解到学生为什么不喜欢大型学校餐厅。不论建筑师就哪一类建筑已经积累了多少经验，参观和研究同类建筑总是明智做法，当咱们在策划德州一种乡村教堂时，咱们合伙人参观了美国十来个类似教堂咱们首要兴趣十找到问题，而不是解决办法。旧建筑比新建筑更好研究，它们不会那样禁锢思维。寻找到旧建筑如何在经年累月使用中适应功能变迁给咱们巨大教益。这是将是一种功能变迁研究构成某些。在咱们策划第一种学校之前咱们对30年历史Classen高中（在奥克拉荷马州）和40年历史奥林匹亚高中进行了一种认真研究。对这两个老建筑研究使转而强调灵活性概念，由于咱们看到一种无法灵活使用建筑物需要多么昂贵花销。这是一种例证为什么咱们禁止咱们每个职工参观新学校。咱们不想让仅有想象力被扼杀掉。照抄外壳会使咱们步入困境。提高客户建筑鉴赏力如果在进行策划后，业主没有提高对建筑理解能力和鉴赏力，那么这个建筑策划可以被以为是不成功。这样以为是由于所提出建筑概念没有超过业主认同和对建筑理解力。一种“受教益业主”是最佳成果。可是你怎能教诲一种业主？通过参照材料，参观和讨论让她接触好建筑。咱们以为好建筑能提高业主建筑鉴赏水平。测试条件研究基地，环境及其气候。咱们学习Bettes大厦招牌做法，由于其中包括赚钱涵义。看看业主钱包。说得足够充分了，研究本地构造办法和材料。（在蒙特雷，墨西哥，咱们找到了一种对咱们很重要生态建筑形式）将概念，需求和想法考虑记在纸上。咱们都坚信通过书写或绘画进行记录。经验告诉咱们通过记录你会将一种模糊思路澄清。咱们同步也相信通过运用简朴清晰词汇记录咱们思想可以提高咱们设计能力。它做到如下事情：a 它让我，作为一种建筑师，更加清晰业主问题。b 它让咱们业主理解到咱们如何思考问题。c 它产生了一种文献，通过这个文献业主能对项目如何成功作出必要评价。咱们也允许以加上第四点。书面报告使咱们团队可以与其她设计师分项咱们经验。只有通过交流想法和互相批评咱们才有但愿在建筑学方面真正专业化。概念草图是此外一种必要工作，例如流程表，协助业主和建筑师达到进程中所遇到问题理解。空间关系表将所需要空间之间复杂关系用简朴线条描绘清晰。一张业主活动方式和目插画好过一堆解决不存在问题草图。建筑实践是解决问题过程。这个过程中分析某些就是找到问题所在。图式语言有助于找到并认清她们。象你会做概念规划那样做建筑分析。当你感觉你完毕了建筑分析，咱们相信你会给业主一份高屋建瓴、激情洋溢及全面详细概念规划。事实上包装美丽是很重要。这里证明了确是一种专业全能建筑诊断师。咱们团队花了诸多努力去让咱们设计分析形象鲜明，同步让业主明白咱们以为她问题是什么以及如何解决这一问题。当咱们开始咱们工作时咱们使用惯用“雪卡”作为咱们报告图纸。每张卡15英寸x17英寸，将包括对问题简朴描述，或者一种流程表，或者一种投资考虑分析图，或者一种日照分析，或者某些解决问题图。然后，当业主更多头头过来找咱们时，咱们就使用“雪卷”让所有头头都能看到咱们附图。咱们将大卷棕色图纸帖满会议室来表达咱们想法。咱们当前已经超过了“雪卷”阶段了。咱们将每个概念分析画了一整面墙，这些草图都被画在5x8英寸卡上，然后用光学投影仪投到屏幕上。这些卡咱们去了一种并不太有想象力但有一点骄傲名称叫“分析卡”。在基本规划开始前，将一种建筑细则规定写出来。咱们都很熟悉建筑规定细则，尽管写这些条文艺术已经很重要，但其重要性仍在不断提高。建筑细则条文是什么？让咱们看看能否用这种方式来解释：设计师，不论她有无通过度析阶段（咱们以为固然），对于一张空间规定策划表，基本上不收到什么指引或者最重要不会有任何灵感。她工作是创造一种场合环境，美丽而好用而不是处处堆着超大号多米诺骨牌。人们在多米诺骨牌里工作和生活。设计者因而必要堆空间数量和质量饶有兴趣。写建筑细则规定是在纸上写明有质量空间规定。咱们经常疑惑为什么这些在建筑学校没有放到课程里去。人防工程没有被考虑到建筑里去直到人价值被认真考虑后。这是建筑设计必要关注外加因素。这个外加因素是写出建筑规定。让咱们把上述进行一种总结：1） 一种全面建筑分析是好设计前奏。2） 最重要是分清业重规定和真正需求。3） 找到真正规定，建筑师必要学会询问。4） 建筑分析涉及建筑数量和质量。5） 要达到这样建筑分析师必要学会写建筑细则艺术。附原文：ARCHITECTURAL ANALYSIS - PRELUDE TO GOOD DESIGN by William M. Pena and William W. Caudill - Caudill Rowlett and Scott，Architects First published in ARCHITECTURAL RECORD，May 1959 A doctor doesnt necessarily give his clients what they want. In some cases he could be jailed for that，A doctor gives his clients what he thinks they need. So it should be with the practice of architecture，But the trick is to distinguish between wants and needs. We design a lot of schools. It takes no special talents or great experience for us to take pencil and tablet in hand and go to a school board client (the seven-headed kind) and say，How many classrooms do you want?And how large do you want your cafeteria to be?And how many toilets do you want?Will there be an assistant principals office?How large should it be?Oh yes，do you have any special place you would like us to locate the building on the site? Believe us，no school plant worth its salt has ever been produced this way. A mere list of spaces has little to offer in the problem solving approach to architectural practice. Even if the list represents approximately what the client needs as well as what he wants it is a very poor source for competent designers to go to for inspiration. Of course we must admit that each of us has been listing (just what it implies) for years. But a lister does not provoke the client to think. Listers are not creative questioners. The program we got in school was generally mere listing of spaces. Perhaps here lies the greatest weakness of our architectural schools-too much program and not enough programming. What is programming?Isnt it the process of determining needs?But how can we distinguish between wants and needs?Heres where training and experience do come into play. And we think special talents，too. Obviously the architect with the analytical mind can do the best job of programming. In essence，he is an architectural analyst. We often wonder why our architectural schools do not have degrees towards a specialization in architectural analysis in this age of architectural teamwork. How can we distinguish during this programming process between what our clients think they want and what their true needs are?We have no magic formula. So much depends on the ability to analyze combined with good judgment. But we do have here an outline of the methods based on our own experience，which we hope may give greater significance and breadth to the programming process. Before presenting the outline，we submit to you these premises on which they are based: (a) Programming initiates the problem-solving approach because actually it is finding out what the problem is. In essence，architectural analysis (we think this is a better term) is the prelude to good design. (b) The pure analytical approach，however，must be complemented with the creative approach before a really good architecture is produced. Architectural analysis alone cant do it. Nor can creativity alone produce a great building. It takes both. (c) The process of architectural analysis is the same for any building type.It is our belief，therefore，that the proficient architectural analyst must have a mind that is analytical，assimilative，and creative. It is also our belief that regardless of the size of the project a careful architectural analysis is essential. Of course，the more complex the function the more comprehensive the analysis must be. Now for the methods used by the architectural analyst. There are many，but these seem to have prime significance：Make your clients part of the planning team and reap the benefits of group interaction. An example of this paying off came about when we were programming the needs of a junior high school in Tyler，Texas. At that time we had set up conferences with various people of the teaching staff to try to pin down the problems of a gymnasium. At first about all we got were negative criticisms. Dont make it like the one we have；its too hot. And it smells. The lighting is terrible. And who wants to play basketball in the bottom of a barrel? About all we were getting out of this bunch were some suggestions on what not to do. However，as our conferences continued，the benefit of group interaction was brought about when one teacher said，Wouldnt it be nice if we could have an inside court nearly as good as an outside one, This triggered what we believe to be the first all glass gymnasium in the U.S. Obtain a background. Develop a background through library research and by attending seminars，conventions，and conferences，read，talk，and listen. We have conducted clinics involving our clients，townspeople，everybody in the planning team. This helps in establishing rapport between the many people involved. School clinics at San Angelo，Texas，and at Roanoke，Virginia，were cases of a public function. Develop the art of interrogation. You dont have to have a couch for your client，but it might help. It is a very difficult job to determine the difference between wants and needs. We confess we know very little about the art of interrogation. Weve tried to pick up a few pearls from the psychiatrists，but the only thing we learned was how to tolerate insecurity and live with ourselves. They did not tell us how to tolerate and live with clients who want the moon. About the only thing we have to offer is the result of our meager experience. From this we believe: (a) the more conferences with the client the better; (b) in the early stages it is best never to talk about solutions-only problems; (c) and it is still more important to try to seek out the big planning concepts by asking questions about the aims and methods of the process-whether it is manufacturing，medical treatment，educating children，worshipping，or simply family living; (d) by asking questions early in the game to establish some big concepts-such as in factory planning the industrial -architectural concept of flexibility，or in school planning the educational-architectural concept of decentralization-the flood of insignificant details later to come will not cover up what is real in planning; (e) questions relating to people and products are much more relevant than an opinion poll on the desirability of certain plan types or building materials.Study the client from bottom to top. Interrogating only the top people in an organization may lead to an incomplete view of the problems. A plant manager is not always aware of the workers functional requirements. A study through interviews of a vertical section of people is necessary to get the complete picture. You dont have to include large numbers of people at any one level if this leads to duplication of efforts. For example，in the design of a recent factory，management led the architect to specify an over-all shadowless illumination system. Production people were not consulted；they could have explained that shadows were necessary in the close inspection for flaws in their product. We arrived at a system of decentralized dining in a junior high school after finding out from students why they did not patronize the large school cafeteria. Make visitations to see plants with similar function. Regardless of how many projects of any specific building type an architect has done，it is always wise for him to visit and study the functions of similar types. When we were programming the needs of the Brazes County Courthouse in central Texas，our partners visited a dozen or so courthouses throughout the U.S. Our prime interest was to seek out problems，not solutions. Old buildings are much better to study than new ones because the temptation to crib is minimized. A great lesson can be learned in finding out how these old buildings have responded to changing function throughout the years. This can be part of a study of the trends in function. Before we did our first high school we made a serious study of the 30-year-old Classen High School in Oklahoma and the 40-year-old high school in Olympia) Washington. The study of these two old timers converted us to the concept of flexibility，because we saw how expensive in the long run a nonflexible building can get. Here was a case where we forbade any of our planning staff to visit new schools. We didnt want what little imagination we had to be snuffed out. You can get into trouble with cribbing the shell. Raise the architectural appreciation level of your client. If，after programming，the client does not have a better understanding and appreciation of architecture，this phase of a specific architectural project might well be considered unsuccessful. This we believe，because a building conception cannot be much better than the clients sympathy and understanding of architecture. An educated client makes the best kind. But how can you educate a client?Expose him to good architecture through reference material，visitation，and discussions. We know for a fact that good architects raise the architectural appreciation level of their clients. Examine the facts. Study the site，its surrounds and its climate. For the Bettes Building we studied the signboard approach because of its money-making implications. Look into the clients pocketbook. Enough said. Investigate local construction methods and materials. (At Monterey，Mexico，we found the ecology of form to be very important to us.) Put concepts，needs，and ideas for consideration down on paper. Both of us are firm believers in putting things down on paper，either graphically or in words. It has been our experience that you get the fuzz off of a fuzzy idea if you write about it. We also believe that our design ability improves when we learn to organize our thoughts in simple，clear words. Therefore we consider that it is imperative that the architectural analysis be put down on paper. This does these things: a. it makes us，as architects，become more articulate concerning our clients problems; b. it lets our client know how we are thinking; c. it provides a document by which our client can make the necessary evaluations required for a successful project. We might add a fourth. The written report allows our firm to share our experiences with other architects. Only through an interchange of ideas and criticisms can we hope to have a true profession in architecture. The graphic outline is another necessity. The flow chart，for example，helps both client and architect to arrive at an understanding of the problem of movement. The space relation diagram pictures in a few simple lines the complicated relationships of needed spaces. An illustration of purposes and methods of the clients activities often does more good than a bushel of meaningless sketches of solutions of nonexisting problems. Architectural practice is problem solving. The analysis portion of this practice is simply finding out what the problems are. The graphic language helps to locate and identify them. Present the architectural analysis as you would preliminary plans. Once you feel that you have completed the architectural analysis，we believe it should be presented to your client with the same fanfare，enthusiasm，and thoroug