Geomancy and Architecture

Unit1根据传说，伏羲生于中国西部，出生之前在其母腹中孕育了12年。

伏羲教会了人类打猎、捕鱼、驯养野兽、饲养家禽。

伏羲制定了人类的嫁娶制度，教会人们劈柴取火和烹煮食物；他还通过龟背上的裂纹创立了八卦，这些八卦成为数学、医学、占卜学和风水的基础。

此外，伏羲还创造了中华民族的图腾龙，被认为是中国历史上第一个真正的统治者。

Fuxi was born in the west part of China and, according to legend, he was carried in his mother’s womb for twelve years before birth. He taught people how to hunt, fish, domesticate animals and tend their flocks. He instituted marriage and taught people how to devise tools to split wood, kindle fire and cook food. He devised the Trigrams, which evolved from markings on tortoise shells. These trigrams served as the basis for mathematics, medicine, divination and geomancy. Furthermore, he created the Chinese dragon as the totem of the nation and was considered as the first real ruler.Unit2儒家的创始人是孔子（公元前551—479），他提出了一套道德规范，基于五种美德：仁、义、礼、智、信。

其中“仁”被认为是他的哲学理念的基石，代表着忠诚、孝道(filial piety)、宽容和善良。

全球化背景下建筑师个人风格与建筑的结合Architect’s Individual Styles Combined with Architectures under theBackground of Globalization格伦·马库特：作为来自澳大利亚的一个外国人，我觉得中国已经经历了多次改革。

改革中一个很难避免的问题就是遗忘传统，不想提及过去。

中国在高速往前发展，但是我认为回顾过去同样非常重要，这样才能更好更全面的朝着未来发展。

全球化的迅速发展使得全世界的建筑风格逐渐趋于相似，几百年以后，你会发现，这些建筑都没什么特色。

全球化的另一个弊端是削弱了世界各国的本土文化特色，比如现在肯塔基当地的一座标志性建筑可能跟全世界很多地方的建筑风格相似，这是个很严重的问题。

中国也需要多重视这个问题，要注意不要完全抛弃那么丰富的传统建筑文化，要更全面的进行现代化建设。

拉斯维加斯就是个值得大家关注的例子。

就我自己来说，和在座各位成功人士不同，我没有什么员工为我工作。

但是我也生活在这个多元化文化的社会，我的工作让我有机会向很多来澳大利亚游览的人介绍各种多元化的文化和建筑特色。

Glenn Murcutt：As a foreigner from Australia, I think China has already experienced reforms many times. In the reform, one unavoidableproblemisforgetting the traditions and mentioning no past. China’s development is in high-speed forward, but I think looking back into the past is also very important, only in this way can we develop towards the future better and more comprehensively. The rapid development of globalization makes the world’s architectural styles become more and more similar, after hundreds of years; you will find these architectures have no distinguishing features at all. Another disadvantage of globalization is that the local cultural features of countries around the world are weakened, for example, one local landmark building in Kentucky may be similar with the architectural style of many places around the world, which is a very serious problem. China needs to lay emphasis on this problem, keep in mind not to completely abandon the rich culture of traditional architectures, and carry out the modernization more comprehensively. Las Vegas is just the example worthy of our attentions. As for myself, I am different from you successful people present here, as I have no employees working for me. Nevertheless, I am also living in the multicultural society, and my work gives me an opportunity to introduce a variety of diversified cultures and architectural features to the tourists in Australia.黄艳：请问弗兰克·盖里先生，您的建筑包括您的个人的住宅，往往成为游客蜂拥而至的地方，据我所知在2010年世界建筑的调查中，认为您的这些作品是当代建筑中最重要的作品之一。

古人把东、北、西、南四方每一方的七宿想象为四种动物形象，叫作四象。

四象在中国传统文化中指青龙、白虎、朱雀、玄武，分别代表东西南北四个方向，源于中国古代的星宿信仰。

在二十八宿中，四象用来划分天上的星星，也称四神、四灵。

四象在春秋易传的天文阴阳学说中，是指四季天然气象。

四象的概念在古代的日本和朝鲜极度受重视，这些国家常以四圣、四圣兽称之。

The ancient Chinese people envisioned the seven mansions of the four directions as four animal figures called the Four Symbols. In Chinese traditions, stemmed from ancient Chinese belief in constellations, the Four Symbols refer to the Azure Dragon of the East, the White Tiger of the West, the Vermilion Bird of the South and the Black Turtle of the North. In the twenty-eight mansions, the Four Symbols are used to divide celestial stars, also known as the Four Gods or the Four Holy Animals. Each one of the Four Symbols, according to astronomy yin-yang theory in The Spring and Autumn annals and Book of Changes, represents a season. The concept of the Four Symbols was greatly appreciated in ancient Japan and Korea, known as the Four Saints or the Four Saint animals.“阴阳”是我国古代圣贤创立的哲学范畴。

Architecture is a fascinating field that combines art,science,and engineering to create functional and aesthetically pleasing structures.Here are some key points to consider when writing an essay about architecture:1.Historical Context:Start by discussing the historical development of architecture. Mention the different architectural styles that have emerged over time,such as Gothic, Renaissance,Baroque,Modernism,and Postmodernism.2.Cultural Influences:Explore how architecture is influenced by culture.Discuss how different societies and civilizations have unique architectural styles that reflect their values,beliefs,and ways of life.3.Materials and Techniques:Describe the various materials used in construction,such as stone,wood,concrete,and steel,and the techniques employed to create different architectural forms.4.Famous Architects:Mention some of the most influential architects in history,such as Frank Lloyd Wright,Le Corbusier,Zaha Hadid,and I.M.Pei,and discuss their contributions to the field.5.Sustainable Architecture:Address the importance of sustainable architecture in the modern world.Discuss how architects are incorporating ecofriendly materials and designs to reduce the environmental impact of buildings.6.Function and Form:Explain the balance between the functionality and aesthetic appeal of a building.Discuss how architects must consider the purpose of the structure and the needs of its users while also creating visually appealing designs.7.Innovation and Technology:Highlight the role of technology in modern architecture. Discuss how digital tools and software are used in the design process,and how advancements in construction technology are pushing the boundaries of what is possible in building design.8.Urban Planning and Architecture:Talk about the relationship between architecture and urban planning.Explain how architects work with urban planners to create cohesive and functional cityscapes.9.Case Studies:Include specific examples of buildings or architectural projects to illustrate your points.Analyze the design,purpose,and impact of these structures.10.Personal Reflection:Conclude your essay with a personal reflection on the importance of architecture in society.Discuss why you find the field interesting and what you hope to see in the future of architectural design.Remember to use clear and concise language,provide specific examples,and cite any sources you reference.An essay on architecture should not only inform but also inspire readers to appreciate the art and science of building design.。

我们的故宫博物院建筑人类智慧英语作文全文共3篇示例，供读者参考篇1The Forbidden City, an architectural masterpiece that has withstood the test of time, stands as a testament to the ingenuity and craftsmanship of our ancestors. This vast complex, nestled in the heart of Beijing, is a living museum that narrates the tales of dynasties past and the grandeur of imperial rule. As a student of history and architecture, I am in awe of the remarkable feats achieved by the brilliant minds that conceived and executed this magnificent wonder.From the moment one steps through the gates of the Forbidden City, a sense of wonder and reverence pervades the air. The sheer scale and symmetry of the layout are enough to leave any visitor in a state of awe. The intricate design and meticulous attention to detail are evident in every aspect of the complex, from the meticulously carved wooden brackets to the ornate glazed tiles adorning the rooftops.One of the most striking features of the Forbidden City is its adherence to the principles of ancient Chinese cosmology andgeomancy. The entire complex is an embodiment of the celestial order, with its axial alignment running from north to south, symbolizing the divine connection between Heaven and Earth. The arrangement of buildings and courtyards is a reflection of the hierarchical structure of imperial society, with each component serving a specific purpose and adhering to a strict code of symbolism.The architectural brilliance of the Forbidden City lies not only in its grand structures but also in the intricate craftsmanship that adorns every inch of the complex. The intricate carvings, paintings, and calligraphic inscriptions that adorn the walls, pillars, and beams are a testament to the exceptional artistry and skill of the artisans who dedicated their lives to this monumental undertaking.One cannot fully appreciate the Forbidden City without acknowledging the engineering marvels that underpin its construction. The use of advanced techniques such as bracketing systems and ingenious drainage systems demonstrate the profound understanding of structural mechanics and environmental considerations possessed by the ancient architects and builders.Beyond its physical grandeur, the Forbidden City is a living embodiment of cultural heritage and tradition. Each building, each courtyard, and each sculpture tells a story, preserving the customs, beliefs, and values that shaped the lives of the imperial rulers and their subjects. The intricate symbolism woven into every aspect of the complex serves as a reminder of the rich tapestry of Chinese culture and the profound wisdom of our ancestors.As I wander through the halls and courtyards of this architectural wonder, I am struck by the sheer audacity and ambition of those who conceived and executed this monumental project. The Forbidden City stands as a testament to the boundless potential of human ingenuity and the enduring legacy of our ancestors' achievements.In an era where modernity often overshadows the past, the Forbidden City serves as a poignant reminder of the enduring value of our cultural heritage. It is a living museum that transcends the boundaries of time and space, inviting us to immerse ourselves in the grandeur of a bygone era while simultaneously inspiring us to contemplate the future of human endeavor.As a student, the Forbidden City has become a boundless source of inspiration and knowledge. Its architectural marvels have ignited my curiosity and fueled my passion for learning, encouraging me to delve deeper into the realms of history, art, and engineering. Each visit unveils new layers of understanding, revealing the intricate tapestry of human achievement woven into its very foundations.The Forbidden City stands as a testament to the resilience of the human spirit and the boundless potential of our collective ingenuity. It is a living embodiment of our ancestors' dreams and aspirations, a physical manifestation of their unrelenting pursuit of greatness. As we marvel at its grandeur, we are reminded of the profound impact that human creativity and determination can have on the world around us.In the words of the great philosopher Lao Tzu, "A journey of a thousand miles begins with a single step." The Forbidden City represents that first step, a bold and audacious undertaking that paved the way for countless other architectural and cultural marvels throughout history. It is a testament to the indomitable spirit of human ingenuity, a reminder that with courage, vision, and unwavering determination, we can achieve feats that transcend the boundaries of our imaginations.As I continue my journey of learning and growth, the Forbidden City will forever remain a beacon of inspiration, a constant reminder of the profound depths of human creativity and the enduring power of our cultural heritage. It is a living embodiment of the wisdom and ingenuity that have shaped our world, and a testament to the limitless potential that lies within each of us.篇2The Wonders of the Forbidden City: A Timeless Marvel of Human IngenuityAs a student fascinated by history and architecture, I have always been in awe of the Forbidden City, an iconic imperial palace that stands as a testament to the boundless creativity and ingenuity of human civilization. Nestled in the heart of Beijing, this UNESCO World Heritage site is a breathtaking masterpiece that has captivated visitors from all corners of the globe for centuries.The Forbidden City, or the Palace Museum as it is officially known, was the former imperial palace of the Ming and Qing dynasties. Constructed over a span of fourteen years, from 1406 to 1420, this architectural marvel is a true wonder of the ancientworld. Its sheer scale and grandeur are staggering, encompassing an area of over 720,000 square meters and boasting an incredible 9,999 rooms within its vermilion walls and imposing gates.As I wander through the vast courtyards and intricate pavilions, I am struck by the sheer brilliance of the design and construction. Every aspect of the Forbidden City is imbued with symbolic meaning, from the careful alignment of the buildings along the north-south axis to the intricate patterns and carvings adorning the walls and pillars. The harmonious blend of architectural styles, ranging from the imposing grandeur of the outer courts to the serene elegance of the inner palaces, is a true masterclass in engineering and aesthetics.One of the most striking features of the Forbidden City is its adherence to the principles of feng shui, the ancient Chinese practice of harmonizing structures with the natural world. The layout of the palace is meticulously planned, with each building, courtyard, and garden positioned in accordance with the principles of yin and yang, creating a sense of balance and harmony that permeates every corner of this magnificent complex.As I wander through the majestic halls and chambers, I am transported back in time, imagining the grandeur and opulence of imperial life. The lavish decorations, exquisite artworks, and intricate carvings that adorn the walls and ceilings are a testament to the skill and dedication of the countless artisans and craftsmen who contributed to this monumental undertaking. Each brushstroke, each delicate pattern, and each carefully sculpted detail speaks volumes about the extraordinary talent and creativity that went into creating this architectural masterpiece.Beyond its aesthetic beauty, the Forbidden City also serves as a powerful symbol of human ingenuity and resilience. Despite enduring centuries of tumultuous history, including invasions, fires, and even periods of neglect, this iconic palace has withstood the test of time, standing tall as a reminder of the enduring spirit of the Chinese people and their remarkable cultural heritage.As I explore the intricate network of courtyards, gardens, and halls, I am struck by the sheer complexity and sophistication of the engineering feats that made the Forbidden City possible. From the ingenious drainage systems that protected the palace from flooding to the innovative heating and ventilationtechniques that provided comfort to the imperial residents, every aspect of this architectural wonder is a testament to the ingenuity and problem-solving abilities of the architects and builders of the time.Furthermore, the Forbidden City is not merely a static monument to the past; it is a living, breathing embodiment of cultural exchange and cross-pollination. Throughout its history, the palace has been influenced by a rich tapestry of architectural styles and traditions, blending elements from various regions and cultures to create a truly unique and harmonious whole.As I stand in awe before the towering gates and imposing walls of the Forbidden City, I cannot help but feel a profound sense of gratitude for the visionaries and artisans who poured their hearts and souls into this monumental undertaking. Their unwavering dedication and relentless pursuit of perfection have given birth to a masterpiece that transcends time and space, inspiring awe and wonder in generations of visitors from around the world.The Forbidden City is more than just a physical structure; it is a living embodiment of human ingenuity, a testament to our ability to dream, create, and overcome seemingly insurmountable challenges. As a student, this architecturalmarvel serves as a powerful reminder of the limitless potential of human creativity and the enduring legacy that comes from pursuing excellence in all endeavors.As I bid farewell to the Forbidden City, I carry with me a renewed sense of appreciation for the marvels of human achievement and a deep respect for the rich cultural heritage that has shaped our world. This iconic palace is a true masterpiece, a timeless wonder that will continue to inspire and captivate visitors for generations to come, reminding us all of the incredible heights that human ingenuity can reach when fueled by passion, dedication, and an unwavering spirit of exploration.篇3The Architectural Marvel of the Forbidden CityThe Forbidden City, known as the Gū Gōng in Chinese, is an architectural masterpiece that stands as a testament to the ingenuity and craftsmanship of ancient Chinese builders. Situated in the heart of Beijing, this vast complex, which served as the imperial palace for 24 emperors during the Ming and Qing dynasties, is a true embodiment of human wisdom and architectural prowess.As a student of history and architecture, I have always been fascinated by the Forbidden City's grandeur and the intricate details that make it a true work of art. From the moment one steps through the majestic Meridian Gate, they are transported to a world of harmonious design, where every element has been meticulously planned and executed.The layout of the Forbidden City is a masterclass in symmetry and balance, reflecting the ancient Chinese philosophy of harmony between man and nature. The entire complex is arranged along a central axis, with the most important buildings situated along this line. The symmetrical arrangement of courtyards, halls, and gardens creates a sense of order and equilibrium, while also allowing for a seamless flow of movement and energy.One of the most striking features of the Forbidden City's architecture is the use of traditional Chinese building techniques and materials. The structures are primarily constructed of wood, with intricate carvings and detailed painted decorations adorning the beams, columns, and roofs. The use of wood not only showcases the incredible skill of the craftsmen but also demonstrates a deep respect for nature and the belief that buildings should be in harmony with their surroundings.The Forbidden City's buildings are also characterized by their vibrant colors and elaborate roof designs. The roofs, which are often adorned with intricate ridges, upturned eaves, and ceramic figurines, are a true testament to the creativity and attention to detail of the architects and artisans who built them. The use of colors, such as red, yellow, and green, not only adds visual interest but also holds symbolic meaning in Chinese culture.Beyond the physical structures, the Forbidden City's architecture is also a reflection of the philosophical and cultural beliefs of ancient China. The principles of Feng Shui, the ancient Chinese practice of harmonizing with the natural environment, are evident in the placement and orientation of buildings, as well as the integration of nature within the complex through gardens and courtyards.One of the most remarkable aspects of the Forbidden City's architecture is its ability to withstand the test of time. Despite facing numerous challenges, including fires, invasions, and natural disasters, the complex has remained largely intact, a testament to the durability and resilience of its construction.As a student, exploring the Forbidden City has been an invaluable learning experience. It has not only provided me with a deeper understanding of Chinese history and culture but hasalso instilled in me a profound appreciation for the ingenuity and dedication of the architects, builders, and craftsmen who created this architectural wonder.The Forbidden City stands as a reminder of the human capacity for creativity and innovation. Its architecture is a masterful blend of form and function, beauty and practicality, and tradition and modernity. Every detail, from the intricate carvings to the harmonious layout, speaks volumes about the wisdom and skill of those who conceived and constructed this magnificent complex.As I wander through the courtyards and halls of the Forbidden City, I am struck by a sense of awe and reverence. This architectural marvel is not merely a collection of buildings but a living embodiment of human genius, a testament to the enduring power of art and design to inspire and uplift the human spirit.In conclusion, the Forbidden City is a true architectural masterpiece that celebrates the ingenuity and creativity of the human mind. Its harmonious design, intricate details, and enduring legacy serve as a reminder that even in the face of adversity, the human spirit can create works of unparalleled beauty and significance. As a student, I am humbled and inspiredby this magnificent achievement, and I hope that future generations will continue to appreciate and preserve this invaluable treasure of human wisdom and architectural excellence.。

中国龙福泽四方的英文作文The Chinese dragon is a mythical creature that has been an integral part of Chinese culture for thousands of years. This magnificent being is revered as a symbol of power, strength, and good fortune, and its influence can be seen in various aspects of Chinese society, from art and architecture to folklore and traditions. The Chinese dragon's ability to bless all directions is a testament to its profound significance and the deep-rooted beliefs that have sustained its legacy over the centuries.At the heart of the Chinese dragon's symbolic power lies its association with the elements of the universe. In Chinese cosmology, the dragon is believed to be the embodiment of the yang, or the positive, masculine principle, and is often depicted as a serpentine creature with the ability to control the elements of water, wind, and thunder. This connection to the natural world has made the Chinese dragon a revered figure in traditional Chinese culture, as it is seen as a guardian and protector of the land and its people.One of the most striking aspects of the Chinese dragon's symbolismis its ability to bless all directions. This belief stems from the dragon's perceived dominion over the four cardinal directions – east, west, north, and south – as well as the four intermediate directions –northeast, northwest, southeast, and southwest. The dragon is believed to have the power to bring prosperity, fertility, and good fortune to all these directions, making it a crucial figure in traditional Chinese geomancy and feng shui practices.The Chinese dragon's ability to bless all directions is particularly evident in the way it is depicted in Chinese art and architecture. In many traditional Chinese buildings, the dragon is often featured prominently, with its intricate designs and patterns adorning the roofs, walls, and other architectural elements. These depictions are not merely decorative; they are believed to imbue the structure with the dragon's protective and auspicious powers, ensuring that the building and its occupants are blessed in all directions.Similarly, in Chinese art, the dragon is frequently depicted in a variety of media, including paintings, sculptures, and embroidery. These artistic representations often showcase the dragon's ability to control the elements, with images of the creature soaring through the skies or swimming through the seas. The inclusion of the dragon in these works is not simply a matter of aesthetics; it is a testament to the deep-rooted belief in the creature's power to bless and protect all directions.The Chinese dragon's ability to bless all directions is also evident in the way it is celebrated in traditional Chinese festivals and ceremonies. One of the most notable examples is the Dragon Boat Festival, which is celebrated annually on the fifth day of the fifth lunar month. During this festival, dragon boat races are held, and participants believe that the dragon's presence in the boats will bring them good luck and prosperity. Similarly, the Chinese New Year celebrations often feature elaborate dragon dances, where performers dressed as dragons weave through the streets, bringing the dragon's blessings to all who witness the spectacle.Beyond these traditional celebrations, the Chinese dragon's ability to bless all directions is also evident in the way it is incorporated into everyday Chinese life. For example, many Chinese businesses and homes feature dragon-themed decorations or talismans, which are believed to bring good fortune and protection to the occupants. Additionally, the dragon's image is often used in Chinese medicine and traditional healing practices, as it is believed to possess the power to balance the body's energies and restore harmony.In conclusion, the Chinese dragon's ability to bless all directions is a testament to its profound significance in Chinese culture. This mythical creature is not merely a symbol of power and strength; it is a revered figure that is believed to possess the ability to bringprosperity, fertility, and good fortune to all who acknowledge its presence. From the intricate designs that adorn traditional Chinese architecture to the elaborate celebrations that honor the dragon's legacy, the Chinese dragon's influence can be seen in every aspect of Chinese life, making it a truly remarkable and enduring icon of Chinese culture.。

致敬中国的建筑英文作文英文：I would like to pay tribute to the magnificent architecture of China. Chinese architecture is renowned for its unique style, exquisite craftsmanship, and profound cultural connotations. From the majestic Great Wall to the elegant Forbidden City, from the towering pagodas to the delicate gardens, Chinese architecture embodies the wisdom, creativity, and aesthetic sensibility of the Chinese people.One of the most distinctive features of Chinese architecture is the emphasis on harmony between humanbeings and nature. Chinese architects often use natural materials such as wood, stone, and clay to create buildings that blend seamlessly into the surrounding landscape. They also incorporate elements of feng shui, the ancient Chinese art of geomancy, to ensure that the buildings are in harmony with the flow of energy and the balance of yin and yang.Another hallmark of Chinese architecture is the emphasis on symbolism and metaphor. Many buildings are designed to convey a specific message or meaning, such as the Hall of Supreme Harmony in the Forbidden City, which represents the emperor's authority and power. The use of colors, patterns, and motifs also carries symbolic significance, such as the dragon and phoenix, which symbolize the emperor and empress, respectively.Chinese architecture is not only aesthetically pleasing but also functional and practical. For example, the design of the traditional courtyard houses in northern China is based on the principles of passive solar heating andnatural ventilation, which provide warmth in winter and coolness in summer. The use of dougong, a unique structural system of interlocking wooden brackets, also allows for flexibility and earthquake resistance.In conclusion, Chinese architecture is a treasure trove of cultural heritage and artistic excellence. It reflects the ingenuity, spirituality, and social values of theChinese civilization, and continues to inspire and influence architects and designers around the world.中文：我想向中国壮丽的建筑致敬。

For well over a century, Chinese fengshui--or "geomancy"--has interested Western laymen and scholars. Today, hundreds of popular manuals claim to use its principles in their advice on how people can increase their wealth, happiness, longevity. Chinese structure is based on the principle of balance and symmetry. And its location and layout all dues to fengshui.Feng means wind and Shui means water. Fengshui is a Chinese traditional discipline which studies the way in which human beings co-exist in harmony with nature. In ancient times, our Chinese ancestors were aware of the existence of Qi in nature, the natural rules discerned by them during their long labors. To be specific, Qi is seen as a mystical drive greatly influencing people's daily life. At first, they used the rules of Qi simply to choose the locations of their houses and graves. By following these rules, they believed well-being would knock at the door, otherwise bad luck would befall. There are three principles of Fengshui: The unity of human beings with nature, the balance of Yin and Yang, and the attraction and repulsion of five elements - metal, wood, water, fire and earth. These principles are set up to help people pursue good fortune and avoid disaster, thus improving their living standard.Fengshui gives people many suggestions on how and where to build houses. For example, houses should have their backs to the north and fronts to the south. Because when they face south, houses can easily absorb sunshine and avoid cold north winds in winter. This is a benefit to people's health. So this tradition has come down to the present, especially in rural areas. Also, the size of a house must be moderate, neithertoo big nor too small. A small house with too many people living in it is not recommended; neither is a large house with a few people. This is in accord with the doctrine of the Mean.Fengshui has strict requirements on the proper positioning of the central axis in building cities. Generally speaking, the central axis should run from north to south, with its north end pointing directly to a mountain running from east to west. The mountain is regarded as the guardian of the city. A winding river around the city is believed to be an auspicious feature. The Forbidden City was built strictly abiding by these rules.Nowadays, Fengshui still plays an important role in people's lives. To improve their quality of life, many people decorate their houses according to Fengshui rules. For example, beds shouldn't be put too close to windows because beams of light would directly affect the quality of sleep. Mirrors should not be hung on walls opposite beds in case you may be scared by reflections at night. And beds should not be put directly opposite doors, otherwise you may feel unsafe.Fengshui is a great treasure of Chinese traditional culture. It embodies a simple recognition of nature by our Chinese ancestors. Though there are many people who believe it's a kind of superstition, its wisdom can be made use of to enhance our lives.The basic feature of Chinese architecture is rectangular-shaped units of space joinedtogether into a whole. The Chinese style by contrast combines rectangular shapes varying in size and position according to importance into an organic whole with each level and component clearly distinguished. Traditional buildings are sited in order to be in harmony with nature and to receive qi from auspicious. Fengshui in Chinese architecture represents a willing of ancient Chinese they pray for fortune and peace, and they believe through this way, they can get what they want. Maybe with the developing of fengshui, more and more parlance were created, Taoists practice fengshui according more tools, but how mysterious they are, fengshui just a way for people to pray for lucky.The basic feature of Chinese architecture is rectangular-shaped units of space joined together into a whole. The Chinese style by contrast combines rectangular shapes varying in size and position according to importance into an organic whole with each level and component clearly distinguished. As a result traditional Chinese style buildings have an imposing yet dynamic and intriguing exterior. The combination of units of space in traditional Chinese architecture abides by the principles of balance and symmetry. The main structure is the axis and the secondary structures are positioned as two wings on either side to form the main rooms and yard. Residences official buildings temples and palaces all follow these same basic principles. Home of the Emperor the Forbidden City also known as Palace Museum was constructed in accordance with the laws of geomancy or fengshui. Every element was taken into consideration the most essential being the construction of the palace along a north-south axis. Emphasis is also focused on the construction of a heavy platform and a large roof that floats over this base. Most of Chinese ancient royal buildings stand on marble terrace. The white marble terraces not only support and magnify the single building on it but also protect the wood structure from dampness. It also reflects the higher rank of the building. Take Hall of Supreme Harmony for example .The building is raised on a triple marble terrace 8 m 26 ft high enclosed by marble balustrades whilst thosearound the same courtyard were kept lower so as to display the magnificence of the hall. Chinese architecture stresses the visual impact of the width of the buildings. This contrasts Western architecture which tends to grow in height and depth. The halls and palaces in the Forbidden City for example have rather low ceilings when compared to equivalent stately buildings in the West but their external appearances suggest the all-embracing nature of imperial China. Another important feature is its emphasis on symmetry which connotes a sense of grandeur. The three main halls Hall of Supreme Harmony Hall of Central Harmony Hall of Preserving Harmony in outer court are constructed along the axis flanked by Wenhua Literary Brilliance and Wuying Military Valor halls . So are another three main halls Hall of Heavenly Purity Hall of Celestial and Terrestrial Union and Hall of Terrestrial Tranquility in Inner Court which is complemented by six courtyards in the east and another six in the west. The buildings face south because the north tends to be attacked by cold wind. The importance of the East the direction of the rising sun in orientation is a form of solar worship found in many ancient cultures where the notion of Ruler is associated with the Sun. Numerology plays a significant part in the palaces architecture. The Forbidden City is comprised of 9999 rooms -just short of the mythical 10000 rooms in heaven.Odd numbers are often connected with masculinity and even ones femininity consequently the number nine the quotultimate masculinequot number stands for supreme imperial power. A case in point in point is Taihe Hall Hall of Supreme Harmony. It rests on a three-tiered terrace of white marble. It is 11 bays wide five bays deep and 35 meters high covering 2377 square meters. It is the tallest structure in the Forbidden City and largest wooden architecture in China. Likewise the towers guarding the four corners of the palace each have nine beams and eighteen columns. Only the gates used by the Emperor can have five arches with the centre one of course beingreserved for the Emperor himself. For this reason the number quotninequot or its multiples is often employed in palace structures and designs. A noticeable example is the number of studs on palace gates. The studs are usually arranged in nine rows of nine each totalling eighty-one. This is even true of the marble gates of the quot underground palacequot of the Dingling Mausoleum in Beijing: 81 or 9 X 9 studs carved out of the stone. If visitor goes to the Temple of Guan Yu in Luoyang he will also find on the red gate nine rows of nine wooden studs each. Ancient palaces generally consist of nine courtyards or quadrangles which are the same as Temple of Confucius in Qufu. Shandong Province - a magnificent architectural complex worthy of an imperial household and testifying to the importance attached to the great sage by the courts of various dynasties. There is a seventeen-arched bridge in the Summer Palace of Beijing. This too has much to do with quotninequot. Count the arches from either end and you will find that the largest span in the middle is the ninth. An extreme example of the quotgame of ninequot is perhaps the Circular Mound Altar Huanqintan in the Temple of Heaven. Site for the Ming and Qing emperors to worship Heaven the altar is arranged in three tiers. The upper terrace is made up of nine rings of slabs. The first ring or the innermost circle consists of nine fan-shaped slabs the second ring 18 2 X 9 slabs the third 27 3 X 9. . . until the last or ninth ring which is made up of 81 or 9 X 9 slabs. The number quotninequot is not only used on buildings. The New Year dinner for the imperial house was composed of 99 dishes. To celebrate the birthday of an emperor the stage performances must comprise of 99 numbers as a sign of good luck and longevity. A further element differentiating palace architecture from other traditional Chinese forms includes the specific designation of colored glazed tiles. While these were applied to the roofs of many aristocratic homes the use of yellow tiles was exclusively reserved for Imperial palaces mausoleums gardensand temples. The association of the color yellow with the Emperor originated with the idea that the great Yellow River was the cradle of Chinese civilization. As a result yellow also represents the concept of earth in the Chinese occult universe. Green was used on palace buildings reserved for court officials while red signifying happiness and solemnity was generally used on doors. One difference between palace architecture and other traditional Chinese buildings includes the application of colored glazed tiles. Yellow tiles are exclusively utilized for Imperial palaces mausoleums gardens and temples. Yellow roof tiles still adorn most of the buildings within the Forbidden City. The association of the color yellow with the Emperor originates with the idea that the great Yellow River is the cradle of Chinese civilization. As a result yellow also represents earth in Chinese culture . Green was designated color for court officials in palace while red signifying happiness and solemnity was generally used on doors. The roofs are almost invariably supported by brackets quotdougongquot a feature shared only with the largest religious buildings. The wooden columns of the buildings as well as walls are painted in red as well. Prevalent throughout the palace is the symbolism of animal decoration. The most frequently used images are dragon and phoenix symbols of the emperor and empress. The Chinese dragon an emblem reserved for Imperial China is heavily used on Imperial architecture - on the roofs on the beams and pillars and on the doors. The dragon and the phoenix are chief decorative designs on buildings clothing and articles of daily use in the imperial palace. The throne hall is supported by columns decorated with gilded dragons the central ramps on marble steps were paved with huge slabs carved in relief with dragon and phoenix and screen walls display dragons in brilliant colours. The names in the Chinese language for nearly all the things connected with the emperor or the empress were preceded by the epithet quotdragonquot or quotphoenixquot. Thus quotdragonseatquot for the throne quotdragon robequot for the emperors ceremonial dress quotdragon bedquot for him to sleep on and quotphoenix carriagequot quotphoenix canopiesquot and so on were used for imperial processions. The national flag of China under the Qing Dynasty was emblazoned with a large dragon. The earliest postage stamps of China were called quotdragon-headsquot because they showed a dragon in their designs. The imaginary animal can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on it became more and more embellished in the minds of the people acquiring the antlers of the deer the mane of the horse and the claws of the eagle. In short it obtained the distinctive features of other creatures until it became what we see today in the imperial palaces. Likewise the Chinese phoenix also exists only in legends and fairy tales. It has the head of the golden pheasant the beak of the parrot the body of the mandarin duck the wings of the roe the feathers of the peacock and the legs of the crane. Gloriously beautiful it reigns over the feathered world. An early design of the phoenix can be seen on the silk painting discovered in a tomb of the Warring States Period 475-221 B. C. near Changsha in Hunan Province. The dragon and the phoenix serve in classical art and literature as metaphors for people of high virtue and rare talent. Together the two symbolize happiness and love in marriages. As an important part of folk art dragon lanterns dragon boats dragon and phoenix dances are still highly popular during Chinese festivals. A pair of marble ornamental pillars Hua Biao decorated with exquisite clouds and entwined dragons carvings can be often found in front of most large royal complexes. Originallymade of wood they are used to solicit public opinions from the people and also treated as landmarks or road signs. But later they are only applied to decorate important buildings.The most famous Huabiaos are located at Tiananmen two in front of the gate of Tiananmen and two behind the gate. On top of the Huabiaos there sits a mythical animal called Hou. It is believed that the positioning of the Hous heads is a reminder to the emperor of the hopes of the people. The two behind the gate looking at the palace north mean expecting the emperor to go out often and to understand the life of the people better. The two in front facing south express longing for the emperors return to run state affairs when he is absent from the palace for too long. These legendary animals have been found on objects dating back three thousand years. Another animal is the lion who guards various gates. Always found in a pair the lion on the left is male and holds a ball symbolic of imperial unity. The one on the right is female and plays with a lion cub symbolic of fertility. The ruler of the animal kingdom lion symbolizes power and prestige. Interesting are also the animal ornaments found on imperial rooftops.Roofs are very important to Chinese architecture. Palaces had particularly impressive elaborate roofs. The distinctive roof of Chinese architecture involves a great deal of symbolism. Symbolism is present in the colors and tiers of the eaves roofing materials and roof top decorations. Watch carefully you will find the ridges of each roof are topped with figures of mythical creatures. Fierce and formidable it looks as if they are ready to devour the whole ridge so they are also known as tunjishou or the ridge-devouring beast.What are they used for For decorative purposes only According to architects these strange-looking creatures can prevent the roof from sliding. Moreover the number and the size of the creatures on the eaves indicate the importance of the building. When visiting the imperial palace it can be very interesting to count the animals on the eaves and get to know exactly howimportant the building is .Chinese roofs are typical hip roof with small gables. Variant styles can be seen in Chinese temples and have spread to the rest of East Asia and parts of Southeast Asia.At the outermost tip is the son of the Dragon King-ruler of the sea. This animal guards the palace buildings against fire. Along the roof edges are various smaller animals the sizes and numbers of which differ according to the rank and status of the residents within. Highest level’s imperial roof decoration has such images - man riding bird nine beasts immortal figure and dragon. Placed near the corner are a row of small figures which are often made of glazed ceramic and form an outward marching procession. Here you can see the imperial yellow glaze exclusive for the emperor. At the tail of the procession is a dragon symbolizing the authority of the emperor.At the head of the procession is a man riding a phoenix. One legend suggests that this represents a subordinate of the emperor who grew greedy for power and was hanged from the roof gable for treason. Another version of this figurine is an immortal riding a phoenix or qilin Chinese unicorn.Yet another intrepretation is that this is a servent serving the emperor being watched by the following beasts.In between are mythical beasts with odd number. The mythical beasts are set to pounce upon the man and devour him should he fail to perform his duties faithfully.At the top there is only one beast the number of beasts indicates the importance of the duties performed within the building or within the courtyard protected by a gate. The maximum number of beasts is nine including evil-dispelling bull courageous goat-bull 獬豸wind- and storm-summoning fish 狎鱼mythical lion 狻猊auspicious seahorse heavenly horse lion and chiwen 鸱吻 a son of dragon. The maximum number is seen at the Hall of Supreme Harmony. An immortal guardian 行什xingshe is placed in front of the dragon holding a sword like a cane. Structural pattern A traditional Chinese building rests on a platform of beaten earth brick or stone slabes. The timber columns raised on theplatform rest on stone bases. The heads of columns are tied together by beams in both transverse and longitudinal directions. The roof construction is different fron the rigid truss normally used in the West. In a Chinese roof a series of beams of different lengths are placed one above the other each resting on short posts raised on the beams below. The purlins are placed at the ends of these beams and the rafters go from purlin to purlin.This construction makes it natural to curve the roof. The roof is coverd by semicircular tiles in two interlocking layers. Frequently this is the most impressive section of the house. Traditionally different roof shapes are applied in acccordance with the importance of the building. Building of higher status enjoy hipped roofs and then hip-and–gable roofs whereas insignificant buildings have simple gabled roofs. The most important buildings face the south east and west usually have no openings. The southern side is open with doors latticed windows covered with translucent paper and carved wooden panels. The overhanging eaves protect the light walls let the winter sun in and keep the summer sun out . The eaves were carried by a series of bracket sets placed on top of the columns or on lintel. They consisted of bearing blocks which carried the bracket arms. The arms are intersected into the blocks and into each other at right angles. Series of arms and blocks placed one above the other at increasing width transfers the weight of roof to the column. The most ingenious member of a bracket set is the lever a pole placed obliquely over the column or lintel the lower end of which carries the eave the upper end abutting a purlin . All these construction members are dovetailed into each other. There is a striking harmony between between plan section and elevation. The application of brackets set inside a building makes a flexible floor plan possible. What were the advantage and disadvantage of the Chinese system Timber as a materia.。

空间、建构和设计—建构作为一种设计的工作方法顾大庆【摘要】本文是关于香港中文大学建筑学系的建构工作室在过去的几年就建构这个课题所作的一个设计教学研究。

其基本理念在于把建构问题归结为一种设计的态度和方法，并且相信这种设计的态度和方法是可以通过一系列结构有序的和严谨的练习来传授的。

文章从四个方面来阐述.首先是对建构这个教学命题的一些理论思考，其次是教案设计的基本思路.再次是设计练习的简要介绍。

最后是有关这个教学研究对当今建筑教育的意义的几点讨论。

【关键词】建构空间设计教学法研究Abstract:ThisPaPerPresentsacaseofstudioteachingbytheTectonicStudiooftheDePartmentofArchitec tureattheChineseUniversityofHongKongItaddressestectOnicStudyasanattitudeofdesignandamethod ofworkthateanbeeffectivelytaughtinastructuredandr【gorousmanner.ThePaPerexPlainsthisteachingresearehin4Par-ts:firsttheformationofthetheoreticPr oPositionoftectonicStudy;secondthedesignoftheteCtonjeProgram;thenexercisesandtheirimPlement ation;andthelastits imPlieationsofthisPedagogicresearchontoday’5arehi-tectura!education KeyWords:tectonics，sPaee，design Pedagogy .research建构“是这几年建筑学界的一个热门话题，其主轴无疑是肯尼斯·弗兰姆普顿(Kennet卜FramPton)的巨著(建构文化研究)(StudiesinTeetonieCultu「e).弗氏为我们划定了一个学究式的探索建构本质内涵的路径。

IntroductionTraditional Chinese gardens stand as exquisite testaments to the profound cultural heritage and aesthetic sensibilities of China. These meticulously designed landscapes embody a unique fusion of art, nature, and philosophy, transcending mere recreational spaces to become immersive microcosms that reflect the harmony sought in human existence. This essay delves into the multifaceted aspects of these horticultural masterpieces, exploring their historical origins, design principles, symbolic elements, and the profound philosophical underpinnings that render them enduringly captivating.Historical Origins and EvolutionThe roots of Chinese garden design can be traced back over 3000 years to the Shang Dynasty (c.1600-1046 BCE), where enclosed royal hunting parks known as "Yuan" were established. Over time, these evolved into more ornamental gardens during the Zhou Dynasty (1046-256 BCE) and reached a zenith during the Tang (618-907 CE), Song (960-1279 CE), Ming (1368-1644 CE), and Qing (1644-1911 CE) Dynasties. Each period contributed distinctive elements, techniques, and styles, reflecting societal changes, artistic trends, and the prevailing philosophical thought of the time.Design Principles: Yin-Yang, Feng Shui, and the Five ElementsAt the core of traditional Chinese garden design lies the harmonious interplay of fundamental Taoist and Confucian principles. Chief among these is the concept of Yin-Yang, which posits the complementary duality of opposing forces in the universe. In the garden context, this translates into the balanced juxtaposition of light and shade, water and rock, movement and stillness, openness and seclusion.Feng Shui, the ancient Chinese practice of geomancy, further guides garden layout, ensuring the flow of auspicious 'Qi' energy. Key considerations include the orientation of buildings, water features, and pathways, as well as the use of strategic barriers or screens to deflect negative energies.The Five Elements theory (Wood, Fire, Earth, Metal, Water) provides aframework for selecting materials, colors, and plant species, each representing a specific element and its associated attributes. These elements interact and transform, symbolizing the cyclical nature of life and fostering an environment of vitality and balance.Spatial Organization and the Principle of Borrowed SceneryTraditional Chinese gardens are characterized by a highly nuanced spatial organization that encourages exploration and discovery. They often comprise several distinct yet interconnected zones, such as the entrance court, the central lake, the scholar's studio, and the bamboo grove, each with its unique mood and function.A key design technique employed is "Jing Tuo Shanshui," or "borrowed scenery." This involves strategically situating openings, windows, or pavilions to frame external views, integrating distant landscapes into the garden as if they were part of the composition. This not only expands the visual boundaries of the garden but also creates a sense of continuity between the man-made and natural worlds, echoing the Taoist principle of unity between humanity and nature.Symbolic Elements: Water, Rock, Plants, and ArchitectureWater is a vital element in Chinese gardens, symbolizing life, purification, and renewal. It is often featured in various forms – tranquil ponds, meandering streams, cascading waterfalls, or reflective pools – and serves both aesthetic and functional purposes, providing habitats for aquatic life and cooling the surrounding environment.Rockeries, crafted from limestone or granite, represent the immutable strength and endurance of nature. Their shapes, textures, and placements are carefully chosen to evoke mountains, caves, or islands, creating miniature landscapes within the garden. The juxtaposition of rugged rocks and delicate flora underscores the concept of Yin-Yang.Plants play a crucial role in evoking seasonal change, poetic allusions, and moral virtues. Bamboo, for instance, symbolizes resilience and integrity;plum blossoms, perseverance in adversity; and lotus, purity amidst turmoil. Trees, flowers, and herbs are selected for their fragrance, color, and medicinal properties, enriching the sensory experience and fostering a connection with nature.Architecture in Chinese gardens is characterized by elegant simplicity, blending seamlessly with the surrounding landscape. Pavilions, bridges, pagodas, and verandas serve as vantage points, resting spots, or venues for cultural activities. Their designs often incorporate intricate latticework, calligraphy, and paintings, adding layers of meaning and cultural reference.Philosophical Underpinnings: Taoism, Confucianism, and BuddhismThe essence of traditional Chinese gardens lies in their embodiment of profound philosophical and spiritual concepts. Taoism's emphasis on naturalness, spontaneity, and the unity of opposites finds expression in the garden's organic forms, asymmetrical layouts, and the interplay of contrasting elements. The garden becomes a tangible manifestation of the Tao, inviting contemplation and inspiring a return to one's innate harmony with the cosmos.Confucian ideals of order, propriety, and self-cultivation are reflected in the structured spatial arrangements, the integration of scholarly pursuits such as poetry, painting, and calligraphy, and the use of symbolic elements that evoke moral virtues. Gardens often feature the "Scholar's Studio," a serene retreat for intellectual and artistic endeavors, reinforcing the connection between nature and wisdom.Buddhist influences, particularly Zen Buddhism, are evident in the emphasis on meditation, mindfulness, and the appreciation of transience. The garden's carefully choreographed vistas, the soothing sounds of water, and the changing seasonal flora encourage visitors to slow down, reflect, and cultivate inner peace.ConclusionTraditional Chinese gardens are not mere green spaces but living expressions of China's rich cultural heritage, philosophical depth, and artistic genius.Through their masterful integration of natural elements, architectural features, and symbolic motifs, they transcend physical boundaries, offering visitors a transcendent journey through time, space, and the human spirit. These verdant sanctuaries continue to inspire awe and contemplation, serving as timeless reminders of our innate connection to nature and the eternal quest for harmony and enlightenment.(Word Count: 1494)。

The Splendor of Chinese Architecture: A Bridge to Cultural UnderstandingIn the vast and diverse landscape of global architecture, Chinese architecture stands as a unique and enduring testament to the rich cultural heritage of the East. Spanning across thousands of years, from the ancient temples of the Forbidden City to the modern skyscrapers of Shanghai, Chinese architecture has evolved and adapted, yet retained its distinctive aesthetic and philosophical values. This essay aims to celebrate the beauty and depth of Chinese architectural culture, serving as a bridge for greater cultural understanding and appreciation.The essence of Chinese architecture lies in its harmonious blend of form and function, nature and manmade. The principles of feng shui, or geomancy, have shaped the layout and design of buildings, emphasizing balance, symmetry, and connectivity with the surrounding environment. This is evident in the meticulous planning of ancientcities like Beijing, where the Forbidden City stands at the center, surrounded by symmetrical alleys and courtyards.The use of materials and colors also reflects the unique aesthetic of Chinese architecture. Wood, brick, and tile are commonly used, with each material chosen for its durability, practicality, and aesthetic value. The color palette, often dominated by red, yellow, and black, is both vibrant and elegant, symbolizing prosperity, stability, and respectability.The roof is a particularly distinctive feature of Chinese architecture. With its characteristic curves and tiles, the roof not only serves as the architectural climax but also functions to redirect water, symbolizing the flow of life and the cycles of nature. This attention to detail and functionality is a hallmark of Chinese architecture, where every element serves a purpose while contributing to the overall aesthetic.In modern times, Chinese architecture has continued to innovate and evolve. Skyscrapers and contemporary buildings in cities like Shanghai and Shenzhen blend traditional elements with modern design, creating a unique visual language that is both contemporary and deeply rooted in history. These buildings, such as the Shanghai Tower or theChina Central Television Headquarters, are not just structures; they are testaments to the enduring spirit of Chinese culture.The beauty and depth of Chinese architecture are notjust visual; they are also philosophical. The principles of yin and yang, the harmonious balance of opposing forces,are evident in the design of Chinese buildings. This philosophy extends to the interior spaces as well, wherethe flow of energy and the creation of serene environments are paramount.In conclusion, Chinese architecture is not just a style; it is a way of life, a reflection of a rich cultural heritage, and a continuous quest for harmony with natureand the universe. As we celebrate the splendor of Chinese architecture, we also open ourselves to a deeper understanding of a culture that has shaped the world in countless ways.**中国建筑文化的辉煌：文化理解与交流的桥梁**在全球建筑景观的广阔与多样性中，中国建筑以其独特且持久的魅力，展现了东方丰富的文化遗产。

用五句话介绍一下故宫英文版作文The Forbidden City: A Timeless TreasureThe Forbidden City, a majestic architectural masterpiece, stands as a testament to China's rich cultural heritage. This awe-inspiring palace, nestled in the heart of Beijing, has captivated the world with its grandeur and historical significance. As the former imperial residence of the Ming and Qing dynasties, the Forbidden City offers a glimpse into the opulent lives of China's ancient rulers, and it continues to inspire awe and wonder in all who visit.Spanning an impressive 72 hectares, the Forbidden City boasts a staggering 980 buildings, each one meticulously designed and constructed to reflect the architectural principles and aesthetic sensibilities of its time. The intricate details and intricate carvings adorning the structures are a true feast for the eyes, showcasing the remarkable craftsmanship and artistry of the Chinese people.One of the most striking features of the Forbidden City is its symmetrical layout, which exemplifies the principles of Chinese geomancy and the harmonious balance between heaven and earth. The central axis, running from the Meridian Gate to the Gate ofDivine Might, serves as the backbone of the complex, guiding visitors through a series of grand courtyards and ornate pavilions.As visitors explore the Forbidden City, they are transported back in time, immersed in the rich history and cultural traditions that have shaped China's past. The grand throne room, where emperors once held court, is a testament to the power and grandeur of the imperial dynasty, while the private living quarters offer a glimpse into the intimate lives of the royal family.Beyond its architectural and historical significance, the Forbidden City is also a hub of cultural activity, hosting a variety of exhibitions, performances, and educational programs that celebrate the enduring legacy of Chinese civilization. From the intricate calligraphy and paintings adorning the walls to the captivating stories that echo through the corridors, the Forbidden City truly embodies the essence of China's cultural identity.In conclusion, the Forbidden City stands as a true marvel of human achievement, a testament to the ingenuity, artistry, and cultural richness of the Chinese people. Whether you are a history buff, an architecture enthusiast, or simply someone in awe of the world's great wonders, a visit to the Forbidden City is an experience that will leave a lasting impression on your heart and mind.。

For well over a century, Chinese fengshui--or "geomancy"--has interested Western laymen and scholars. Today, hundreds of popular manuals claim to use its principles in their advice on how people can increase their wealth, happiness, longevity. Chinese structure is based on the principle of balance and symmetry. And its location and layout all dues to fengshui.Feng means wind and Shui means water. Fengshui is a Chinese traditional discipline which studies the way in which human beings co-exist in harmony with nature. In ancient times, our Chinese ancestors were aware of the existence of Qi in nature, the natural rules discerned by them during their long labors. To be specific, Qi is seen as a mystical drive greatly influencing people's daily life. At first, they used the rules of Qi simply to choose the locations of their houses and graves. By following these rules, they believed well-being would knock at the door, otherwise bad luck would befall. There are three principles of Fengshui: The unity of human beings with nature, the balance of Yin and Yang, and the attraction and repulsion of five elements - metal, wood, water, fire and earth. These principles are set up to help people pursue good fortune and avoid disaster, thus improving their living standard.Fengshui gives people many suggestions on how and where to build houses. For example, houses should have their backs to the north and fronts to the south. Because when they face south, houses can easily absorb sunshine and avoid cold north winds in winter. This is a benefit to people's health. So this tradition has come down to the present, especially in rural areas. Also, the size of a house must be moderate, neithertoo big nor too small. A small house with too many people living in it is not recommended; neither is a large house with a few people. This is in accord with the doctrine of the Mean.Fengshui has strict requirements on the proper positioning of the central axis in building cities. Generally speaking, the central axis should run from north to south, with its north end pointing directly to a mountain running from east to west. The mountain is regarded as the guardian of the city. A winding river around the city is believed to be an auspicious feature. The Forbidden City was built strictly abiding by these rules.Nowadays, Fengshui still plays an important role in people's lives. To improve their quality of life, many people decorate their houses according to Fengshui rules. For example, beds shouldn't be put too close to windows because beams of light would directly affect the quality of sleep. Mirrors should not be hung on walls opposite beds in case you may be scared by reflections at night. And beds should not be put directly opposite doors, otherwise you may feel unsafe.Fengshui is a great treasure of Chinese traditional culture. It embodies a simple recognition of nature by our Chinese ancestors. Though there are many people who believe it's a kind of superstition, its wisdom can be made use of to enhance our lives.The basic feature of Chinese architecture is rectangular-shaped units of space joinedtogether into a whole. The Chinese style by contrast combines rectangular shapes varying in size and position according to importance into an organic whole with each level and component clearly distinguished. Traditional buildings are sited in order to be in harmony with nature and to receive qi from auspicious. Fengshui in Chinese architecture represents a willing of ancient Chinese they pray for fortune and peace, and they believe through this way, they can get what they want. Maybe with the developing of fengshui, more and more parlance were created, Taoists practice fengshui according more tools, but how mysterious they are, fengshui just a way for people to pray for lucky.The basic feature of Chinese architecture is rectangular-shaped units of space joined together into a whole. The Chinese style by contrast combines rectangular shapes varying in size and position according to importance into an organic whole with each level and component clearly distinguished. As a result traditional Chinese style buildings have an imposing yet dynamic and intriguing exterior. The combination of units of space in traditional Chinese architecture abides by the principles of balance and symmetry. The main structure is the axis and the secondary structures are positioned as two wings on either side to form the main rooms and yard. Residences official buildings temples and palaces all follow these same basic principles. Home of the Emperor the Forbidden City also known as Palace Museum was constructed in accordance with the laws of geomancy or fengshui. Every element was taken into consideration the most essential being the construction of the palace along a north-south axis. Emphasis is also focused on the construction of a heavy platform and a large roof that floats over this base. Most of Chinese ancient royal buildings stand on marble terrace. The white marble terraces not only support and magnify the single building on it but also protect the wood structure from dampness. It also reflects the higher rank of the building. Take Hall of Supreme Harmony for example .The building is raised on a triple marble terrace 8 m 26 ft high enclosed by marble balustrades whilst thosearound the same courtyard were kept lower so as to display the magnificence of the hall. Chinese architecture stresses the visual impact of the width of the buildings. This contrasts Western architecture which tends to grow in height and depth. The halls and palaces in the Forbidden City for example have rather low ceilings when compared to equivalent stately buildings in the West but their external appearances suggest the all-embracing nature of imperial China. Another important feature is its emphasis on symmetry which connotes a sense of grandeur. The three main halls Hall of Supreme Harmony Hall of Central Harmony Hall of Preserving Harmony in outer court are constructed along the axis flanked by Wenhua Literary Brilliance and Wuying Military Valor halls . So are another three main halls Hall of Heavenly Purity Hall of Celestial and Terrestrial Union and Hall of Terrestrial Tranquility in Inner Court which is complemented by six courtyards in the east and another six in the west. The buildings face south because the north tends to be attacked by cold wind. The importance of the East the direction of the rising sun in orientation is a form of solar worship found in many ancient cultures where the notion of Ruler is associated with the Sun. Numerology plays a significant part in the palaces architecture. The Forbidden City is comprised of 9999 rooms -just short of the mythical 10000 rooms in heaven.Odd numbers are often connected with masculinity and even ones femininity consequently the number nine the quotultimate masculinequot number stands for supreme imperial power. A case in point in point is Taihe Hall Hall of Supreme Harmony. It rests on a three-tiered terrace of white marble. It is 11 bays wide five bays deep and 35 meters high covering 2377 square meters. It is the tallest structure in the Forbidden City and largest wooden architecture in China. Likewise the towers guarding the four corners of the palace each have nine beams and eighteen columns. Only the gates used by the Emperor can have five arches with the centre one of course beingreserved for the Emperor himself. For this reason the number quotninequot or its multiples is often employed in palace structures and designs. A noticeable example is the number of studs on palace gates. The studs are usually arranged in nine rows of nine each totalling eighty-one. This is even true of the marble gates of the quot underground palacequot of the Dingling Mausoleum in Beijing: 81 or 9 X 9 studs carved out of the stone. If visitor goes to the Temple of Guan Yu in Luoyang he will also find on the red gate nine rows of nine wooden studs each. Ancient palaces generally consist of nine courtyards or quadrangles which are the same as Temple of Confucius in Qufu. Shandong Province - a magnificent architectural complex worthy of an imperial household and testifying to the importance attached to the great sage by the courts of various dynasties. There is a seventeen-arched bridge in the Summer Palace of Beijing. This too has much to do with quotninequot. Count the arches from either end and you will find that the largest span in the middle is the ninth. An extreme example of the quotgame of ninequot is perhaps the Circular Mound Altar Huanqintan in the Temple of Heaven. Site for the Ming and Qing emperors to worship Heaven the altar is arranged in three tiers. The upper terrace is made up of nine rings of slabs. The first ring or the innermost circle consists of nine fan-shaped slabs the second ring 18 2 X 9 slabs the third 27 3 X 9. . . until the last or ninth ring which is made up of 81 or 9 X 9 slabs. The number quotninequot is not only used on buildings. The New Year dinner for the imperial house was composed of 99 dishes. To celebrate the birthday of an emperor the stage performances must comprise of 99 numbers as a sign of good luck and longevity. A further element differentiating palace architecture from other traditional Chinese forms includes the specific designation of colored glazed tiles. While these were applied to the roofs of many aristocratic homes the use of yellow tiles was exclusively reserved for Imperial palaces mausoleums gardensand temples. The association of the color yellow with the Emperor originated with the idea that the great Yellow River was the cradle of Chinese civilization. As a result yellow also represents the concept of earth in the Chinese occult universe. Green was used on palace buildings reserved for court officials while red signifying happiness and solemnity was generally used on doors. One difference between palace architecture and other traditional Chinese buildings includes the application of colored glazed tiles. Yellow tiles are exclusively utilized for Imperial palaces mausoleums gardens and temples. Yellow roof tiles still adorn most of the buildings within the Forbidden City. The association of the color yellow with the Emperor originates with the idea that the great Yellow River is the cradle of Chinese civilization. As a result yellow also represents earth in Chinese culture . Green was designated color for court officials in palace while red signifying happiness and solemnity was generally used on doors. The roofs are almost invariably supported by brackets quotdougongquot a feature shared only with the largest religious buildings. The wooden columns of the buildings as well as walls are painted in red as well. Prevalent throughout the palace is the symbolism of animal decoration. The most frequently used images are dragon and phoenix symbols of the emperor and empress. The Chinese dragon an emblem reserved for Imperial China is heavily used on Imperial architecture - on the roofs on the beams and pillars and on the doors. The dragon and the phoenix are chief decorative designs on buildings clothing and articles of daily use in the imperial palace. The throne hall is supported by columns decorated with gilded dragons the central ramps on marble steps were paved with huge slabs carved in relief with dragon and phoenix and screen walls display dragons in brilliant colours. The names in the Chinese language for nearly all the things connected with the emperor or the empress were preceded by the epithet quotdragonquot or quotphoenixquot. Thus quotdragonseatquot for the throne quotdragon robequot for the emperors ceremonial dress quotdragon bedquot for him to sleep on and quotphoenix carriagequot quotphoenix canopiesquot and so on were used for imperial processions. The national flag of China under the Qing Dynasty was emblazoned with a large dragon. The earliest postage stamps of China were called quotdragon-headsquot because they showed a dragon in their designs. The imaginary animal can be traced back to primitive society when certain prehistoric tribes in China adopted the dragon among other totems as their symbol and guardian god. Some of the recently unearthed bronze vessels of the Yin Dynasty are decorated with sketches of dragons of a crude form. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. As time went on it became more and more embellished in the minds of the people acquiring the antlers of the deer the mane of the horse and the claws of the eagle. In short it obtained the distinctive features of other creatures until it became what we see today in the imperial palaces. Likewise the Chinese phoenix also exists only in legends and fairy tales. It has the head of the golden pheasant the beak of the parrot the body of the mandarin duck the wings of the roe the feathers of the peacock and the legs of the crane. Gloriously beautiful it reigns over the feathered world. An early design of the phoenix can be seen on the silk painting discovered in a tomb of the Warring States Period 475-221 B. C. near Changsha in Hunan Province. The dragon and the phoenix serve in classical art and literature as metaphors for people of high virtue and rare talent. Together the two symbolize happiness and love in marriages. As an important part of folk art dragon lanterns dragon boats dragon and phoenix dances are still highly popular during Chinese festivals. A pair of marble ornamental pillars Hua Biao decorated with exquisite clouds and entwined dragons carvings can be often found in front of most large royal complexes. Originallymade of wood they are used to solicit public opinions from the people and also treated as landmarks or road signs. But later they are only applied to decorate important buildings.The most famous Huabiaos are located at Tiananmen two in front of the gate of Tiananmen and two behind the gate. On top of the Huabiaos there sits a mythical animal called Hou. It is believed that the positioning of the Hous heads is a reminder to the emperor of the hopes of the people. The two behind the gate looking at the palace north mean expecting the emperor to go out often and to understand the life of the people better. The two in front facing south express longing for the emperors return to run state affairs when he is absent from the palace for too long. These legendary animals have been found on objects dating back three thousand years. Another animal is the lion who guards various gates. Always found in a pair the lion on the left is male and holds a ball symbolic of imperial unity. The one on the right is female and plays with a lion cub symbolic of fertility. The ruler of the animal kingdom lion symbolizes power and prestige. Interesting are also the animal ornaments found on imperial rooftops.Roofs are very important to Chinese architecture. Palaces had particularly impressive elaborate roofs. The distinctive roof of Chinese architecture involves a great deal of symbolism. Symbolism is present in the colors and tiers of the eaves roofing materials and roof top decorations. Watch carefully you will find the ridges of each roof are topped with figures of mythical creatures. Fierce and formidable it looks as if they are ready to devour the whole ridge so they are also known as tunjishou or the ridge-devouring beast.What are they used for For decorative purposes only According to architects these strange-looking creatures can prevent the roof from sliding. Moreover the number and the size of the creatures on the eaves indicate the importance of the building. When visiting the imperial palace it can be very interesting to count the animals on the eaves and get to know exactly howimportant the building is .Chinese roofs are typical hip roof with small gables. Variant styles can be seen in Chinese temples and have spread to the rest of East Asia and parts of Southeast Asia.At the outermost tip is the son of the Dragon King-ruler of the sea. This animal guards the palace buildings against fire. Along the roof edges are various smaller animals the sizes and numbers of which differ according to the rank and status of the residents within. Highest level’s imperial roof decoration has such images - man riding bird nine beasts immortal figure and dragon. Placed near the corner are a row of small figures which are often made of glazed ceramic and form an outward marching procession. Here you can see the imperial yellow glaze exclusive for the emperor. At the tail of the procession is a dragon symbolizing the authority of the emperor.At the head of the procession is a man riding a phoenix. One legend suggests that this represents a subordinate of the emperor who grew greedy for power and was hanged from the roof gable for treason. Another version of this figurine is an immortal riding a phoenix or qilin Chinese unicorn.Yet another intrepretation is that this is a servent serving the emperor being watched by the following beasts.In between are mythical beasts with odd number. The mythical beasts are set to pounce upon the man and devour him should he fail to perform his duties faithfully.At the top there is only one beast the number of beasts indicates the importance of the duties performed within the building or within the courtyard protected by a gate. The maximum number of beasts is nine including evil-dispelling bull courageous goat-bull 獬豸wind- and storm-summoning fish 狎鱼mythical lion 狻猊auspicious seahorse heavenly horse lion and chiwen 鸱吻 a son of dragon. The maximum number is seen at the Hall of Supreme Harmony. An immortal guardian 行什xingshe is placed in front of the dragon holding a sword like a cane. Structural pattern A traditional Chinese building rests on a platform of beaten earth brick or stone slabes. The timber columns raised on theplatform rest on stone bases. The heads of columns are tied together by beams in both transverse and longitudinal directions. The roof construction is different fron the rigid truss normally used in the West. In a Chinese roof a series of beams of different lengths are placed one above the other each resting on short posts raised on the beams below. The purlins are placed at the ends of these beams and the rafters go from purlin to purlin.This construction makes it natural to curve the roof. The roof is coverd by semicircular tiles in two interlocking layers. Frequently this is the most impressive section of the house. Traditionally different roof shapes are applied in acccordance with the importance of the building. Building of higher status enjoy hipped roofs and then hip-and–gable roofs whereas insignificant buildings have simple gabled roofs. The most important buildings face the south east and west usually have no openings. The southern side is open with doors latticed windows covered with translucent paper and carved wooden panels. The overhanging eaves protect the light walls let the winter sun in and keep the summer sun out . The eaves were carried by a series of bracket sets placed on top of the columns or on lintel. They consisted of bearing blocks which carried the bracket arms. The arms are intersected into the blocks and into each other at right angles. Series of arms and blocks placed one above the other at increasing width transfers the weight of roof to the column. The most ingenious member of a bracket set is the lever a pole placed obliquely over the column or lintel the lower end of which carries the eave the upper end abutting a purlin . All these construction members are dovetailed into each other. There is a striking harmony between between plan section and elevation. The application of brackets set inside a building makes a flexible floor plan possible. What were the advantage and disadvantage of the Chinese system Timber as a materia.。

探索故宫英文作文Exploring the Forbidden City。

The Forbidden City, located in the heart of Beijing, China, is a historical and architectural marvel that has captivated visitors from around the world for centuries. Steeped in rich history and cultural significance, this imperial palace complex served as the home of Chinese emperors and their households for nearly 500 years, spanning the Ming and Qing dynasties. Today, it stands as a UNESCO World Heritage Site and one of China's most visited attractions, offering a glimpse into the opulent lifestyle of ancient Chinese royalty.The Forbidden City, known as "Gu Gong" in Chinese, spans over 180 acres and is comprised of nearly 1,000 buildings, making it the largest imperial palace complex in the world. Its construction began in 1406 during the Ming Dynasty and was completed 14 years later. Surrounded by high walls and a moat, the Forbidden City was designed tobe a secluded sanctuary for the emperor, his family, and his court, inaccessible to the general public without permission.One of the most striking features of the Forbidden City is its remarkable architectural design, which reflects the principles of traditional Chinese geomancy and feng shui. The layout of the complex follows a precise north-south axis, with a series of grand halls, pavilions, courtyards, and gardens arranged symmetrically along this central axis. Each building is adorned with intricate carvings, colorful paintings, and ornate rooftops adorned with glazed tiles, showcasing the finest craftsmanship of the time.As visitors enter the Forbidden City through the Meridian Gate, they are greeted by vast courtyards and imposing halls, each with its own unique significance and function. The Hall of Supreme Harmony, the largest and most important building in the complex, was where the emperor held court ceremonies and state occasions. Its grandeur and scale symbolized the supreme power and authority of the emperor.Adjacent to the Hall of Supreme Harmony is the Hall of Central Harmony and the Hall of Preserving Harmony, which served as venues for imperial examinations, banquets, and other official functions. Further into the complex lies the Inner Court, where the emperor's living quarters, the Palace of Heavenly Purity, and the Palace of Earthly Tranquility are located. These lavishly decorated chambers offer a glimpse into the private life of the imperial family.Beyond its architectural splendor, the Forbidden City also houses a vast collection of cultural relics and artifacts, including ancient paintings, calligraphy, ceramics, jade, and imperial treasures. The Palace Museum, established in 1925, now showcases these priceless treasures to the public, allowing visitors to immerse themselves in the rich cultural heritage of China.Exploring the Forbidden City is not only a journey through China's imperial past but also an opportunity to appreciate the enduring legacy of Chinese civilization.From its majestic architecture to its storied history, the Forbidden City continues to inspire awe and wonder, reminding us of the ingenuity and creativity of the ancient Chinese people. As visitors wander through its hallowed halls and tranquil gardens, they are transported back in time to a world of emperors, concubines, and eunuchs, experiencing firsthand the grandeur and opulence of China's imperial era.。

大道至简--托马斯斯密特教授的建筑和教育思想解析陈子荣【摘要】托马斯·斯密特教授总结他在德国和中国多年的成功的建筑设计和教学经验，撰写了《建筑形式的逻辑概念》一书。

此书是少有的论述建筑设计逻辑的入门书。

围绕书内主要章节，解析了建筑设计逻辑的思想背景和意义。

%Prof. Thomas Schmid summarizes his long time successful architecture design and education experience in his book “Architektur? Von der Logik zur Optik ”. It is a rare book that provides architecture design logic for beginners. This paper explores the ideas and meanings behind the architecture logic alongwith the key chapters in this book.【期刊名称】《南方建筑》【年(卷),期】2015(000)002【总页数】2页(P56-57)【关键词】建筑教育;建筑设计;设计逻辑;设计方法论【作者】陈子荣【作者单位】加拿大卡尔加里市政府【正文语种】中文【中图分类】TU-021德国著名的建筑图书出版社卡尔·克来姆（Karl Kraemer）于1998年出版了托马斯·斯密特教授（Prof. Thomas Schmid）写的“Architektur? Von der Logikzur Optik（建筑？从逻辑到视觉）”，此书在国内由华南理工大学肖毅强教授翻译为中文，书名为《建筑形式的逻辑概念》，由中国建筑工业出版社出版。

托马斯以他在华南理工大学教学时为学生编写的课本“Textbook for Beginners（建筑入门课本）” 为基础发展为书，讲的是做设计的逻辑和思维过程，此书基本反映了他核心的建筑思想以及他在德国和中国20多年的教学经验。

故宫的英语作文50Title: The Forbidden City: A Jewel of Chinese Culture。

The Forbidden City, located in the heart of Beijing, is a masterpiece of Chinese architecture and a symbol of the country's rich history and culture. Covering an area of 180 acres and boasting over 9,000 rooms, it served as the imperial palace for almost 500 years, from the Ming dynasty to the end of the Qing dynasty. This iconic landmark is not only a national treasure but also a UNESCO World Heritage Site, attracting millions of visitors from around the globe each year.One of the most striking features of the Forbidden City is its architectural design, which embodies the traditional principles of Chinese geomancy and Feng Shui. The layout of the palace complex reflects the ancient Chinese belief in the harmony between heaven and earth, with its precise orientation, symmetrical structures, and carefully planned gardens. Each building within the Forbidden City is adornedwith intricate carvings, colorful paintings, and elaborate roof decorations, showcasing the exquisite craftsmanship of the artisans who built it.Moreover, the Forbidden City serves as a living museum of Chinese history and art, housing a vast collection of cultural artifacts, imperial treasures, and historical relics. From priceless porcelain vases to ancient calligraphy scrolls, from ornate jade carvings to majestic thrones, the artifacts on display offer a glimpse into the opulent lifestyle of China's emperors and the grandeur of the imperial court.In addition to its architectural and cultural significance, the Forbidden City also played a crucial role in shaping the political and social landscape of China. As the political center of the empire, it was the seat of power from which emperors ruled over their vast realm and conducted state affairs. It was also the stage for important ceremonies, rituals, and diplomatic events, where foreign dignitaries were received and alliances forged.However, the Forbidden City is not merely a relic of the past; it continues to resonate with significance in the modern era. In recent decades, efforts have been made to preserve and restore this architectural marvel, ensuring that future generations can appreciate its beauty and historical value. Today, the Forbidden City stands as a symbol of China's enduring cultural heritage and its commitment to preserving its legacy for posterity.In conclusion, the Forbidden City is more than just a historical site; it is a testament to the ingenuity, creativity, and artistic excellence of the Chinese people. As a symbol of imperial power and cultural achievement, it continues to captivate the imagination of visitors and scholars alike, offering a window into the splendor of China's imperial past. Whether admiring its magnificent architecture, exploring its rich collections, or pondering its historical significance, one cannot help but be awed by the majesty of the Forbidden City.。