根特·班尼士的建筑形态构成研究
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摘要
根特·班尼士(Gunter Behnisch)是当今世界建筑领域中思想最为活跃,最具影响力的大师之一。如今已经82岁高龄的他仍然活跃在建筑创作领域的前沿。在其从事设计创作的几十年中,他的作品囊括了学校建筑、体育建筑、办公建筑以及商业建筑等多种建筑类型,这些建筑遍布欧美许多国家,使他成为享誉世界的知名建筑师。他的每一个建筑作品都极富独特的创意,给人留下无限想象和回味的空间。
本文主要以班尼士建筑创作的形态构成为研究对象,从创作思想、创作手法以及个性化表达三个方面全面深入的解析了蕴含在其作品中的思想内涵和手法彰显,进而形成对他的建筑观念的整体性把握。
首先,分析了班尼士建筑设计理念的产生和渊源。设计理念是对班尼士作品进行研究的核心所在,其作品反映出的复合性的时代信息是对班尼士设计生涯的一个缩影,贯穿于他创作的始末。同时,他的作品也反映出“非整体性”的多元化思想,这是班尼士设计思想中的精华所在,体现了他设计理念中“二元论”的思想。班尼士在生态建筑理念方面也有一定的建树,崇尚自然的人文关怀是他在生态建筑领域的一个重要体现,展现出他对自然有着自己独特的见解和表现方式,将自然引入建筑创作之中,使自然成为构成建筑的和谐因素之一。这些都是他的设计思想的集中表达,通过这些思想在建筑作品上的展现,深入论述他对建筑与时代、建筑与人、建筑与生态关系的深刻理解。
其次,解析了班尼士个性化设计手法的生成和运用。班尼士很注重建筑各个方面的和谐,在建筑功能的生成中,班尼士很注重平面、立面以及细部之间的关系,努力协调各方面的要素,完成既合理又富于变化的功能模式。同时,班尼士还继承了德国建筑师在建筑技术方面的固有传统,致力于生态技术、绿色技术在建筑创作中的利用,使用一些高技术材料与施工方法来达到可持续发展的生态目标,在生态建筑领域起到了积极推动的作用。在注重对生态建筑设计手法运用的同时,也寻求在建筑艺术中的探索,从而使得两者在形式和内容上达到完美的和谐统一性。这体现在把“隐喻”的手法与建筑创作过程结合起来,当作一种“隐喻化”创作模式来进行建筑设计,此模式以建筑形式中的隐喻之存在为基础,以对建筑本质的精神意义表达为创作目标。以上这些都很好的证明班尼士在建筑设计手法上非常注重各方面的协调运用,以创造出功能完善、技术生态、形式多义的建筑。
最后,总结了班尼士在设计过程中对各种元素的应用。这些元素包含空间元素、实体元素以及技术元素。可以说,对于这些元素的巧妙运用是其设计手法的一个延伸和彰显。其中,空间元素是建筑的核心元素,班尼士巧妙的运用界面的消解创造出内涵丰富的空间和场所;空间“蒙太奇”将不同的空间运用插叙或并叙的手法,创造出具有表现力和感染力的空间场所;利用倾斜的表皮创造出极其丰富的室内光影变幻。实体元素是班尼士建筑形态构成的最重要的元素,通过穿插、重复、叠加、附加等多种加法创作手法,共同构成了形态各异、富有创造力和感染力的建筑形体。结构支柱、楼梯、遮阳百叶都是最基本的建筑构件,班尼士巧妙的利用这些基本的建筑要素,创造出了极具内涵的建筑作品。这些都体现出班尼士灵活多变的建筑设计手法,形成体态优美、造型丰富的建筑形体。
Gunter Behnisch is one of the most active and the most influential masters in the world’s ideological field of architecture. He is still active in the forefront of the field of architectural creation, when he is 82 years old .In the several decades which he engaged in creative design, his works included many architectural types,such as school buildings, sports buildings, office buildings and commercial buildings and so on. These buildings spread all over many countries in Europe and the United States, making him as a well-known world-renowned architect.Each of his architectural works is very unique creativity, giving an unlimited imagination and memorable space to people.
In this paper, in order to research the form constitute of Gunter Behnisch’s architectural creation, from the creative thinking,the creative techniques and the personal expression,we will in-depth and comprehensively analysis the ideological contents and methods which are implicited in his works, thus we will grasp his architectural concept integritily.
First, analysing the generation and origins of Behnisch’s design concepts in which his works manifest. The design concept is the heart in the study of Behnisch’buildings.The multiple informations era being refected from his works is a miniature of his design career, which is throughout the whole story in his creativity. At the same time, his works also reflect the "non-holistic" diversity of thought and this is the essence of Behnisch’s design ideas,which reflects his "dualism" thinking in his design philosophy. Behnisch has certain achievements in the ecological architectural concept.The human concerning about the respect for nature is an important manifestation in his field of ecological building, which to show that he has his own unique insight and expression to the nature and introduces the nature to his architectural creation, so it makes nature as one of the harmonious factors of the architectural constitute.These are all his design ideas to express concentratedly. Through these ideas are expressed in the constructed works, going into the discussion on the understanding of the relationships between buildings and times, architectures and people, architectures and ecology deeply.
Second, analyzing of the generation and application of Behnisch’s personalized design techniques. He attached great importance to all aspects of architectural harmony.In the generation of the architectural function, he attached great importance to the relationships among flat, vertical surface and detail, putting efforts to coordinate all aspects of the elements and completing both reasonable and varied functional model. Meanwhile, Behnisch also inherited the inherent traditions in the aspect of architectural technology of German architects, committing to the utilize of ecological technology and green technology in the architectural creation.Using some high-tech materials and constructed methods to achieve sustainable developments and ecological goals,he has played a positive role in the architectural ecological field promotedly. In focusing on the use of eco-building design practices, while also seeking to the explorations in architectural art, it allows to achieve the unity of perfect harmony both in forms and contents. This is reflected the "metaphor" approach combined with the creative process, which as a "metaphor " creative model for architectural design.The basis of this modeis is the existence of the metaphor and the expression of spiritual significance of architectural essece is the creative goals. These are all well proved that Behnisch attached great importance to the coordination of aspects in the architectura design means. in order to create fully functional, technical ecology, multi-meaning forms of buildings.
Finally, concluded the applications of various elements in the design process. These elements include space elements, entity elements, as well as component elements. It can be said that for the smart using of these elements is an extension and highlight of his design approach. Among them, spatial elements are the core elements of the building,and Behnisch use the digestion of the interface to create a richful space and place; the use of "Montage" to create the space sites which has expressiveness and appeal; the use of tilt skin to create extremely rich interior lighting changes. Physical elements are the most important elements in Behnisch’s architectural form constitute.Through a maze variety of addition of creative expression, such as interlude,duplication, overlay, and addition, together constitute different, creative and appealing architectural shape. Independent pillars, stairs, sun louvres are the basic building components, Behnisch used these basic architectural elements smartly and created a very meaningful architectural works. These are reflected Behnisch’s flexible architectural design techniques and created beautiful posture and richful architectural shapes.
本文主要以班尼士建筑创作的形态构成为研究对象,从创作思想、创作手法以及个性化表达三个方面全面深入的解析了蕴含在其作品中的思想内涵和手法彰显,进而形成对他的建筑观念的整体性把握。
首先,分析了班尼士建筑设计理念的产生和渊源。设计理念是对班尼士作品进行研究的核心所在,其作品反映出的复合性的时代信息是对班尼士设计生涯的一个缩影,贯穿于他创作的始末。同时,他的作品也反映出“非整体性”的多元化思想,这是班尼士设计思想中的精华所在,体现了他设计理念中“二元论”的思想。班尼士在生态建筑理念方面也有一定的建树,崇尚自然的人文关怀是他在生态建筑领域的一个重要体现,展现出他对自然有着自己独特的见解和表现方式,将自然引入建筑创作之中,使自然成为构成建筑的和谐因素之一。这些都是他的设计思想的集中表达,通过这些思想在建筑作品上的展现,深入论述他对建筑与时代、建筑与人、建筑与生态关系的深刻理解。
其次,解析了班尼士个性化设计手法的生成和运用。班尼士很注重建筑各个方面的和谐,在建筑功能的生成中,班尼士很注重平面、立面以及细部之间的关系,努力协调各方面的要素,完成既合理又富于变化的功能模式。同时,班尼士还继承了德国建筑师在建筑技术方面的固有传统,致力于生态技术、绿色技术在建筑创作中的利用,使用一些高技术材料与施工方法来达到可持续发展的生态目标,在生态建筑领域起到了积极推动的作用。在注重对生态建筑设计手法运用的同时,也寻求在建筑艺术中的探索,从而使得两者在形式和内容上达到完美的和谐统一性。这体现在把“隐喻”的手法与建筑创作过程结合起来,当作一种“隐喻化”创作模式来进行建筑设计,此模式以建筑形式中的隐喻之存在为基础,以对建筑本质的精神意义表达为创作目标。以上这些都很好的证明班尼士在建筑设计手法上非常注重各方面的协调运用,以创造出功能完善、技术生态、形式多义的建筑。
最后,总结了班尼士在设计过程中对各种元素的应用。这些元素包含空间元素、实体元素以及技术元素。可以说,对于这些元素的巧妙运用是其设计手法的一个延伸和彰显。其中,空间元素是建筑的核心元素,班尼士巧妙的运用界面的消解创造出内涵丰富的空间和场所;空间“蒙太奇”将不同的空间运用插叙或并叙的手法,创造出具有表现力和感染力的空间场所;利用倾斜的表皮创造出极其丰富的室内光影变幻。实体元素是班尼士建筑形态构成的最重要的元素,通过穿插、重复、叠加、附加等多种加法创作手法,共同构成了形态各异、富有创造力和感染力的建筑形体。结构支柱、楼梯、遮阳百叶都是最基本的建筑构件,班尼士巧妙的利用这些基本的建筑要素,创造出了极具内涵的建筑作品。这些都体现出班尼士灵活多变的建筑设计手法,形成体态优美、造型丰富的建筑形体。
Gunter Behnisch is one of the most active and the most influential masters in the world’s ideological field of architecture. He is still active in the forefront of the field of architectural creation, when he is 82 years old .In the several decades which he engaged in creative design, his works included many architectural types,such as school buildings, sports buildings, office buildings and commercial buildings and so on. These buildings spread all over many countries in Europe and the United States, making him as a well-known world-renowned architect.Each of his architectural works is very unique creativity, giving an unlimited imagination and memorable space to people.
In this paper, in order to research the form constitute of Gunter Behnisch’s architectural creation, from the creative thinking,the creative techniques and the personal expression,we will in-depth and comprehensively analysis the ideological contents and methods which are implicited in his works, thus we will grasp his architectural concept integritily.
First, analysing the generation and origins of Behnisch’s design concepts in which his works manifest. The design concept is the heart in the study of Behnisch’buildings.The multiple informations era being refected from his works is a miniature of his design career, which is throughout the whole story in his creativity. At the same time, his works also reflect the "non-holistic" diversity of thought and this is the essence of Behnisch’s design ideas,which reflects his "dualism" thinking in his design philosophy. Behnisch has certain achievements in the ecological architectural concept.The human concerning about the respect for nature is an important manifestation in his field of ecological building, which to show that he has his own unique insight and expression to the nature and introduces the nature to his architectural creation, so it makes nature as one of the harmonious factors of the architectural constitute.These are all his design ideas to express concentratedly. Through these ideas are expressed in the constructed works, going into the discussion on the understanding of the relationships between buildings and times, architectures and people, architectures and ecology deeply.
Second, analyzing of the generation and application of Behnisch’s personalized design techniques. He attached great importance to all aspects of architectural harmony.In the generation of the architectural function, he attached great importance to the relationships among flat, vertical surface and detail, putting efforts to coordinate all aspects of the elements and completing both reasonable and varied functional model. Meanwhile, Behnisch also inherited the inherent traditions in the aspect of architectural technology of German architects, committing to the utilize of ecological technology and green technology in the architectural creation.Using some high-tech materials and constructed methods to achieve sustainable developments and ecological goals,he has played a positive role in the architectural ecological field promotedly. In focusing on the use of eco-building design practices, while also seeking to the explorations in architectural art, it allows to achieve the unity of perfect harmony both in forms and contents. This is reflected the "metaphor" approach combined with the creative process, which as a "metaphor " creative model for architectural design.The basis of this modeis is the existence of the metaphor and the expression of spiritual significance of architectural essece is the creative goals. These are all well proved that Behnisch attached great importance to the coordination of aspects in the architectura design means. in order to create fully functional, technical ecology, multi-meaning forms of buildings.
Finally, concluded the applications of various elements in the design process. These elements include space elements, entity elements, as well as component elements. It can be said that for the smart using of these elements is an extension and highlight of his design approach. Among them, spatial elements are the core elements of the building,and Behnisch use the digestion of the interface to create a richful space and place; the use of "Montage" to create the space sites which has expressiveness and appeal; the use of tilt skin to create extremely rich interior lighting changes. Physical elements are the most important elements in Behnisch’s architectural form constitute.Through a maze variety of addition of creative expression, such as interlude,duplication, overlay, and addition, together constitute different, creative and appealing architectural shape. Independent pillars, stairs, sun louvres are the basic building components, Behnisch used these basic architectural elements smartly and created a very meaningful architectural works. These are reflected Behnisch’s flexible architectural design techniques and created beautiful posture and richful architectural shapes.
引文
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76施国平.动态建筑——多元时代的一种新型设计方向.时代建筑.2005.6
77叶蔚冬,魏春雨.从平面构成到建筑造型——关于建筑造型的一种思维方式的再认识.华中建筑.2002.4
78李保峰.尊重功能、不拘形式、创造个性.华中建筑.1990.3
79徐卫国.非线性建筑设计.建筑学报.2005.12
80张炯.弗兰克·盖里的解构建筑创作.时代建筑.1999.4
81戎安.德国现代建筑运动中新建筑思潮的寻源.建筑师.2004.2
82李保峰.生态建筑的思与行.新建筑.2001.5
83周健平.解构不是一种风格.世界建筑.1997.4
84吴焕加.当代审美意识的变异.世界建筑.1990.2
85刘先觉.从普利茨凯奖看世界建筑文化趋势.华中建筑.2000.4
86高岩.晰释复杂性—与扎哈·哈迪德建筑师事务所合伙人帕特里克·舒马赫的访谈.世界建筑.2006.4
87曾坚,邹德侬,张玉坤.开创21世纪建筑与文化的新纪元.建筑学报.1999.6
88张在元.建筑创作的非建筑性.建筑创作.2002.1
89肯尼斯·弗莱普顿.千年七题:一个不适时的宣言——国际建协第20届大会主旨报告.建筑学报.1999.8
90刘丛红,赵婉.反叛与创新.世界建筑.2006.3
91彭怒.美国的有机建筑及有机建筑释义.时代建筑.1996.4
92贺勇.界面的消解——建筑创作中的一种手法初探.建筑学报.2003.10
93张建涛,王霞.自由、开放与统合力——德国建筑师冈特·本尼奇的创作思想及建筑作品分析.世界建筑.1998.6
94李韵,李毅.德国芬因克与约赫事务所作品析.On the Works of Fink+Jocher.中外建筑.2004.4
95邹威,付瑶,王宁.自然主义与理性主义的完美交织.城市建筑.2006.5
96李峰.建筑表皮材质与形体的互动分析.四川建筑科学研究.2004.9
97 [意]加布里埃尔·卡佩拉托.符号,形式,设计.张利译.世界建筑.2001.9
98 http://www.anupark.net/chinese/web/architect/gunter_main.htm
99 http://www.mtime.com/person/1496605/
100 http://www.greatbuildings.com/architects/Gunter_Behnisch.html
101 http://en.wikipedia.org/wiki/G%C3%BCnter_Behnisch
102 http://www.uboat.net/men/commanders/65.html
103 http://www.flixster.com/actor/gunter-behnisch
104 http://eng.archinform.net/arch/28.htm
105 http://www.artnet.com/library/00/0073/T007341.asp
106 http://www.designcommunity.com/discussion/4722.html
2 Peter Blundell Jones.Gunter Behnisch.Publishers for Architecture.2000:5~25
3 Birkhauser. Behnisch, Behnisch&Partner. Publishers for Architecture.2000
4班尼士·班尼士及其合伙人建筑师事务所.安纪国际有限公司.2004:55~124
5 http://www.behnisch.com/
6 http://www.behnisch.com/site_files/index_flash.html
7 http://www.anupark.net/chinese/web/cn_a06-14.htm
8曾坚.《当代世界先锋建筑的设计观念——变异软化背景启迪》.天津大学出版社.1995.12
9万书元.当代西方建筑美学.东南大学出版社.2001.7
10 http://www.anupark.net/italiano/web/it_a09-14.htm
11 http://da.velux.com/Achitechts_Projects/Discourse/Issue1/
12赵巍岩.当代建筑美学意义.东南大学出版社.2001.8
13 [美]鲁道夫·阿恩海姆著.藤守尧,朱疆源译.《艺术与视知觉》.四川人民出版社.2001
14 Patrik Schumacher.Robotic Fields:Spatialising the Dynamics of Corporate Organization Designing for a Digital World.
15 Bruce Lindsey .Digital Gehry:Material Resistance/Digital Construction.Birkh user-Publishers for Architecture,2001
16 Pevsner N.Pioneers of Modern Design.Harmondsworth:Penguin Books,1975
17郑时龄.建筑批评学.中国建筑工业出版社.2001.2
18 Bernard Tschumi(1983).“Spaces and Events”.in Bernard Tschumi(1996).Architecture and disjunction(First paperback edition).(London,Cambridge Mass:The MIT Press),139
19王受之.世界现代建筑史.中国建筑工业出版社.2003.7: 267~324
20刘先觉.现代建筑理论.中国建筑工业出版社.1999.9
21 Hugh Pearman. Contemporary world Architecture. Phaidon Press Limited,1998
22 The Phaidon Atlas of Contemporary World Architecture. Phaidon.2004
23吴焕加.20世纪西方建筑史.河南科学技术出版社.1998:187,189,190
24 Behnisch & Partner 50 Year of Architecture Dominique GauzinPublisher Academy Editions, London, 1997
25张锦秋.从传统走向未来——一个建筑师的探索.陕西科学技术出版社. 1992. 12
26 Bill Lacy,Susan de Menil.Angels&Franciscans:Innovative Architecture from Los Angels and San Francisco.Rizzoli International Publication.Inc,1992
27 Kate Nesbitt.Theorizing a New Agenda For Architecture-An Anthology Of Architectural Theory 1965-1995.2 edition.Princeton Architectural Press.1996
28 Venturi R.The Architecture of Deconstruction:Derrida’s Haunt.Cambridge:The MIT Press,1993
29 Peter Noever.Visionary Clients for New Architecture.Prestel Verlag.Munich and the MAK~Austr an Museum of Applied Arts.Vienna,2000
30 [英]彼得·柯林斯著.英若聪译.《现代建筑设计思想的演变》.中国建筑工业出版社.2003
31 [美]肯尼斯·弗兰姆普顿著.张钦楠等译.《现代建筑:一部批判的历史》.生活.读书.新知三联书店,2007.2:157,269
32 http://www.archiplanet.org/wiki/Gunter_Behnisch
33 http://www.film.com/celebrities/gunter-behnisch/14504576
34 Kein Abschied von der Moderne: Architekten und ihre Visionen : Gunter Behnisch, Hans Hollein, Winy Maas, Peter Eisenman, Jacques Herzog, Christoph Ingenhoven, Hilde Leon (German Edition) (Perfect Paperback)
35 Behnisch Architekten . Portfolio Jovis.
36 Behnisch & Partners:Buildings 1952-1992(German Only)by Gunter Behnisch(Hardcover–Oct 2,1992)
37 Behnisch & Partners:A Walk Through the Exhibition by Gunter Behnisch (Hardcover - Jun 2, 1994)
38 Der Pariser Platz: Die Akademie der Kunste (German Edition) by GunterBehnisch (Perfect Paperback - 1997)
39 Berlin: Pariser Platz (German Edition) by Gunter Behnisch and Werner Durth (Hardcover - Aug 15, 2005)
40 Frei Otto. Complete Works: Lightweight Construction Natural Design byWinfried Nerdinger, Irene Meissner, Eberhard M?ller, and Mirjana Grdanjski (Hardcover - Jun 1, 2009)
41弗兰克.欧.盖里大卫.奇珀菲尔德埃里克.范.埃格莱特.河南科学技术出版社.2004.1
42 [英]尼古拉斯·佩夫斯纳, J M·理查兹、丹尼斯·夏普著.邓敬等译.反理性主义者与理性主义者.中国建筑工业出版社.2003
43李鸽.弗兰克·盖里的建筑形态语言创作研究.哈工大硕士论文.2006.6
44朱莹.诺曼·福斯特建筑创作的技术理念研究.哈工大硕士论文.2006.6
45庄薇.圣地亚哥·卡拉特拉瓦建筑创作的艺术化技术理念研究.哈工大硕士论文. 2008.5
46耿洋帆.基于自然形态的建筑创作研究.重庆大学硕士论文. 2006.6
47倪晶衡.美国建筑师汤姆·梅恩的建筑“矛盾性”研究.浙江大学硕士论文.2006.5
48白鑫.源于自然的建筑观.同济大学硕士论文. 2007.3
49王芳.建筑形式中的隐喻.郑州大学硕士论文. 2004.5
50唐炎潮.界面的消解——基于场所的建筑生成方法研究.2006.6
51徐成涛.建筑形态创作中加法形式的研究.哈工大硕士论文. 2007.7
52任磊.百年奥运建筑.同济大学博士论文.2006.9
53范虹,崔彤.建筑蒙太奇.ARCHICREATION.2005.12
54纪雁.特伦斯·唐纳里细胞与生物分子研究中心.城市建筑.2007.5
55纪雁,沙永杰.房子里的房子.时代建筑.2008.3
56陆绍明,王伯伟.空间蒙太奇.世界建筑.2005.7
57李正刚.楼梯与空间.建筑创作.2002.7
58丁晓斐.浅谈仿生建筑创作方法.华中建筑.2007.1
59张祖刚.走向自然的建筑发展趋势.建筑学报.2002.6
60陈镌,莫天伟.无处不在的细部.时代建筑.2005.3
61郑东军,黄华.隐喻:对建筑语言的释义.新建筑.1998.4
62阮忠.从边缘说起——略论当代建筑立面设计的几种手法.世界建筑. 2006.6
63罗文媛,赵明耀.色彩对建筑形象的调节与再创造.华中建筑.1997.3
64李博.功能和形式的边缘性.建筑设计.2005.2
65韩江陵.论建筑师的创作个性.新建筑.1997.4
66杨宁.宽容与矛盾——对多元文化下建筑的认识与思考.华中建筑.2006.2
67李卫.《建筑的复杂性与矛盾性》思想评析.华中建筑.2006.3
68陈帆,高蔚.思维模糊性与建筑抽象性.华中建筑.2008.10
69刘阳.体验与交融——领悟建筑空间.华中建筑.2005.3
70胡一可,宋睿琦.慕尼黑奥林匹克公园规划与城市生活.建筑师.2008.6
71崔霖.底层架空的哲学意蕴.华中建筑.2001.1
72范东晖,张玉坤.复杂形态与开放建筑——评析蓝天组的“复杂学”建筑.建筑师.2004.12
73魏皓严,郑曦.从并置到重叠.建筑师.2004.6
74曹康,郭馥保.建筑中穿插的运用.华中建筑.2001.3
75李辰琦,张伶伶.“杂乱”中的“动态有序”——解构主义建筑的动态性秩序.建筑师.2004.2
76施国平.动态建筑——多元时代的一种新型设计方向.时代建筑.2005.6
77叶蔚冬,魏春雨.从平面构成到建筑造型——关于建筑造型的一种思维方式的再认识.华中建筑.2002.4
78李保峰.尊重功能、不拘形式、创造个性.华中建筑.1990.3
79徐卫国.非线性建筑设计.建筑学报.2005.12
80张炯.弗兰克·盖里的解构建筑创作.时代建筑.1999.4
81戎安.德国现代建筑运动中新建筑思潮的寻源.建筑师.2004.2
82李保峰.生态建筑的思与行.新建筑.2001.5
83周健平.解构不是一种风格.世界建筑.1997.4
84吴焕加.当代审美意识的变异.世界建筑.1990.2
85刘先觉.从普利茨凯奖看世界建筑文化趋势.华中建筑.2000.4
86高岩.晰释复杂性—与扎哈·哈迪德建筑师事务所合伙人帕特里克·舒马赫的访谈.世界建筑.2006.4
87曾坚,邹德侬,张玉坤.开创21世纪建筑与文化的新纪元.建筑学报.1999.6
88张在元.建筑创作的非建筑性.建筑创作.2002.1
89肯尼斯·弗莱普顿.千年七题:一个不适时的宣言——国际建协第20届大会主旨报告.建筑学报.1999.8
90刘丛红,赵婉.反叛与创新.世界建筑.2006.3
91彭怒.美国的有机建筑及有机建筑释义.时代建筑.1996.4
92贺勇.界面的消解——建筑创作中的一种手法初探.建筑学报.2003.10
93张建涛,王霞.自由、开放与统合力——德国建筑师冈特·本尼奇的创作思想及建筑作品分析.世界建筑.1998.6
94李韵,李毅.德国芬因克与约赫事务所作品析.On the Works of Fink+Jocher.中外建筑.2004.4
95邹威,付瑶,王宁.自然主义与理性主义的完美交织.城市建筑.2006.5
96李峰.建筑表皮材质与形体的互动分析.四川建筑科学研究.2004.9
97 [意]加布里埃尔·卡佩拉托.符号,形式,设计.张利译.世界建筑.2001.9
98 http://www.anupark.net/chinese/web/architect/gunter_main.htm
99 http://www.mtime.com/person/1496605/
100 http://www.greatbuildings.com/architects/Gunter_Behnisch.html
101 http://en.wikipedia.org/wiki/G%C3%BCnter_Behnisch
102 http://www.uboat.net/men/commanders/65.html
103 http://www.flixster.com/actor/gunter-behnisch
104 http://eng.archinform.net/arch/28.htm
105 http://www.artnet.com/library/00/0073/T007341.asp
106 http://www.designcommunity.com/discussion/4722.html