去年我们公司给我们桥梁设计组的每人发了一本《欧美桥梁设计思想》，开始我们还以为是和作者和我们领导有关系。 后来，抽时间看了一下，就被深深的吸引了。昨天我基本这本书读了一边。 觉得确实写的很好，可以说其内容是博大精深。 首先觉得这本书写的特别的真实，而且有许多国外的桥梁大师级人物校核。 其次这本书写的很简洁，确实向作者写的那样：“使读者不仅在阅读历史，而且也在了解现实，不仅与历史沟通，也在与现实对话。”还有“让我们将欧美桥梁设计思想，赋予时代的精深，用新的手法去演绎传统”。这些语言有文彩，而且很有哲学思想。
后来，抽时间看了一下，就被深深的吸引了。昨天我基本这本书读了一边。
觉得确实写的很好，可以说其内容是博大精深。
首先觉得这本书写的特别的真实，而且有许多国外的桥梁大师级人物校核。
其次这本书写的很简洁，确实向作者写的那样：“使读者不仅在阅读历史，而且也在了解现实，不仅与历史沟通，也在与现实对话。”还有“让我们将欧美桥梁设计思想，赋予时代的精深，用新的手法去演绎传统”。这些语言有文彩，而且很有哲学思想。
12楼
我这里没有扫描仪，而且这本书里面很多是图，及时扫描了效果也未必好。
这本书我觉得对做桥梁总体设计非常有帮助，有收藏价值。 所以还是买本比较好。:lol :victory: :handshake
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13楼
下载了，谢谢啊！
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14楼
《欧美桥梁设计思想》
详细信息？作者？出版社？
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15楼
确实是一本非常好的桥梁书籍，非常好。了解了真实的桥梁设计是如何设计出来的。
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16楼
看来许多兄弟和我有同感啊！
从别的论坛摘录了一下资料，有空可以看一下！
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同济大学荣誉资深教授 项海帆
对本书的评价和序言
序 言
近代土木工程从十七世纪中叶到二十世纪中叶的约300年间，经历了最初以伽利略、牛顿和虎克所创建的力学理论为标志的“奠基时期”(1660-1765)和以英国工业革命为标志的“进步时期”(1765-1900)以及第一次世界大战前后包括20世纪30年代欧美各国大兴土木的“成熟时期”(1900—1945)，完成了近代土木工程的发展。相应地，在近代桥梁工程的发展中创造了钢桥、钢筋混凝土桥和各类深水基础三大主要成就以及相应的计算理论。
第二次世界大战结束后，世界进入了相对和平的建设时期。经过几年的战后恢复期，欧美各国陆续进入了以计算机和信息技术为标志的现代土木工程新时期，相应地，也开始了现代桥梁工程的新纪元。
欧美各国于50年代初相继开始实施高速公路建设和城市现代化的计划，创造了许多完全不同于近代桥梁工程的现代先进技术，其中预应力技术(包括各种梁式桥)和有关的施工工法、斜拉桥的复兴以及采用流线形扁平钢箱梁桥面的现代悬索桥的问世可以说是现代桥梁工程三项最重要的标志性成就，它们大都由法国、德国、英国、美国和瑞士的著名工程师和学者所发明和创造，大大推进了现代桥梁工程的飞速发展。
现代桥梁工程已经历了战后六十余年的发展历程。涌现了数十项重要的原创性发明成果和千百次成功应用和改进。我们可以仿照近代桥梁工程的分期，把最初的35年(1945—1980)称为现代桥梁的“奠基时期”，因为许多现代桥梁工程的创新技术都诞生于欧美各国在战后的建设高潮中。第二个30年(1980-2010)可称为现代桥梁工程的“进步时期”，在20世纪的最后20年中，日本和丹麦二个岛国完成了跨海联岛工程的壮举，加上中国桥梁的崛起，使现代桥梁技术在超大跨度桥梁的建设中得到了充分的应用和发展，并且在21世纪的第一个十年中又不断取得新的创造和进步，使得仍以钢材和水泥为基本结构材料的现代桥梁工程逐步走向成熟。
本书介绍自十八世纪初以来的300年间欧美各国著名的桥梁大师共44人，详细研究了他们在近代和现代桥梁工程发展中的重要贡献。其中法国11人、英国10人、德国6人、美国9人、瑞士2人，其他国家6人，基本涵盖了重要的发明和创新技术，这是十分难得的。作者希望通过对这些重要人物设计思想的分析去探索桥梁创新的真谛。
我期待着这本书的出版，并希望中国年轻一代的总工程师们能人手一册，经常翻阅和思考，沿着欧美桥梁大师的足迹去创造更好的技术，建造出美丽和耐久的桥梁。
只有了解历史才能更好的创造未来。我也希望有志于桥梁事业的年轻学子和未来的桥梁工程师能从本书中认识到中国和欧美发达国家的差距，懂得创新的艰辛。我们首先要努力学好现有的先进技术，才能站在巨人的肩上创造出更新、更好的中国现代桥梁技术，以不断推进现代桥梁向前发展，为中国从桥梁大国走向桥梁强国贡献力量。
中国工程院院士 国际桥梁与结构工程协会(IABSE )副主席 同济大学荣誉资深教授 项海帆
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18楼
国际预应力混凝土协会(FIP and fib)名誉主席
法国技术科学院院士 Michel Virlogeux 的序言和评语
Foreword by Michel VIRLOGEUX
Bridge design and construction were the essence of engineering in the old days; great engineers were famous in their times, like Jean Rodolphe Perronet in France – the "Premier Ingénieur du Roi" –, Thomas Telford and Isambart Kingdom Brunnel in Great Britain, Ottmar Ammann in the USA, Gustave Eiffel, Eugène Freyssinet …; and the erection of large bridges were national events as for the bridges crossing the Menai Straits and the Firth of Forth, for the Brooklyn and the Washington bridges in New York, for the Golden Gate Bridge …
But society lost interest in bridges about 80 or 100 years ago, when bridge construction became more industrial, when bridge design became more and more mastered and controlled. Bridge construction was no more an adventure, and, except perhaps for Fritz Leonhardt, engineers became anonymous partners in the large industry which had to rebuild road and railway networks after the Second World War, and later to develop them into the modern transport system of our time.
This has suddenly changed 15 or 20 years ago when some architects – beginning with Santiago Calatrava – introduced in the domain of bridges the ideas of the modern "free" architecture, which we can see, for an example, in the famous museum of Bilbao designed by Frank Gehry. Shapes come from fantasy, and no more from functional or structural needs.
This is certainly not my own philosophy of design, nor even of architecture, but we must recognize that they helped changing the minds in such a way that, in the same time as architecture more generally, bridges attract very much attention today.
I started designing bridges much before this evolution, almost 40 years ago now, following a more traditional line. For me the bridge design must directly come from a purely structural flow of forces, aiming at an efficient balance of loads and forces, from the point where they are applied to the foundations; the bridge elegance must come from the proportions, the shapes, which have to evidence and express this flow of forces; slenderness and transparency will come from a minimal – and thus efficient – use of construction materials, steel and concrete.
Because designers are also responsible for the cost of their constructions, almost always paid by public money; aesthetics and ethics cannot be separated; the designer must achieve architectural perfection in a full respect of functional, financial and structural needs. Not forgetting maintenance, which command to concentrate the materials in a limited number of strong elements.
We cannot escape from the three goals of architecture given by Vitruvius Pollio, the great Roman engineer, twenty centuries ago:
– utilitas, which means in the same time public utility, functional needs and economy;
– firmitas; of course the structure has to be safe and easily maintainable;
– and venustas, at the end, beauty, elegance.
To achieve these goals, I have always worked with an architect, since I consider that I am not able to develop alone shapes which could perfectly express the structural concept that
I created. And also because confronting ideas is always fruitful. Not forgetting the other engineers who have worked with me, "my" structures owe much to Auguste Arsac – who has been my Professor of Architecture when I was student – Philippe Fraleu, Bertj Mikaelian, Alain Spielmann, Jean-Vincent Berlottier, and Aymeric Zublena. With a special mention for Charles Lavigne: many of my best bridges have been designed with him, and many of his with me. The Normandy Bridge, designed with Charles, and even more the Millau Viaduct, designed with Lord Foster, have received a world wide reputation, an enormous mediatic attention which show that elegance can be achieved in full respect with functional, economical and structural needs, in the line of what David Billington calls the structural art.
And then, which connection with this book written by Mr. Yingliang Wang and Zongyu Gao? It is very clear in fact, since this book will show the works of many engineers, evidencing their creations among which many very good structures; it will convince engineers that it is not any more acceptable to design heavy, inelegant and boring structures which, by reaction, push some architects and some engineers to design crazy and expensive bridges; it will also demonstrate, specially for the younger engineers who will take our place in the years to come, that there are so many structural solutions that variety – which is a clear need in our modern world – can be achieved without deviating from a cartesian, logical and economical approach.
It will also show, I hope, that elegance does not need unnecessary complexity and can be produced, on the contrary, by simple and pure lines.
Honorary President of FIP and fib
Member of the French Academy of Technology
Member of the Indian Academy of Engineering Michel Virlegoux
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19楼
序 言
Michel VIRLOGEUX (翻译稿):victory:
以前设计和修建桥梁就是工程学的主体。伟大的工程师在那个时代非常出名，例如法国的让-洛多罗夫佩罗内是皇家首席工程师，英国的托马斯·泰尔福特和依桑巴顿·金顿·布鲁内尔，美国的奥斯玛·阿曼，法国的古斯塔夫·艾菲尔, 尤金·弗奈西奈等。建造大桥曾经是国家大事，例如梅奈海峡桥和福斯桥，纽约的布鲁克林桥和华盛顿桥，旧金山的金门大桥等。
但是大约在100年或80年前，社会对桥梁失去了兴趣，当桥梁建造成为工业化，当桥梁变得越来越被掌握和控制，修建桥梁不再是一种冒险的经历。在第二次世界大战以后不得不重新修建公路和铁路网，后来发展成为现代的运输系统的大工业中，桥面工程师变为匿名的合伙人。但弗瑞兹·莱昂哈特也许是个例外。
大约在15到20年以前，当建筑师圣地亚哥×卡拉特拉瓦在桥梁领域开始引入现代“自由”建筑的思想时，这种情况突然发生了变化，例如弗兰克×盖里设计的西班牙毕尔巴鄂的著名的博物馆。造型源自想象，而不再来自功能和结构的需要。
这的确不是我自己的设计思想，也不是建筑。但是我们必须认识到，是他们在用这样一种方式帮助我们改变思维方式；同时，和建筑一样，桥梁在今天也得到了很大的关注。
我在这场革命开始之前就开始设计桥梁。大约40年以前，沿着比较传统的方式。对我来说，桥梁设计必须直接源于纯粹的结构传
力，让作用在基础上的荷载和地基反力平衡。优美的桥梁必须源于其比例、造型，必须明确表现力的传递。纤细和透明度，来自钢
和混凝土等材料用量的极小化。
因为设计师必须对他们建造的总造价负责，而造价几乎是全由公众买单，美学和道德不能割裂开来。设计师在关注功能、经济和结构需要的同时，必须达到完美的美学效果。也不要忘记维修，这要求将建筑材料集中在个数有限的粗壮构件内。
我们不能脱离2000多年前伟大的罗马工程师Vitruvius Pollio给出的建筑的三个目标：
实用：是指在公众使用，功能需要和经济；
安全：是指结构要安全和易于维修；
美观：最后要漂亮、优雅。
为了达到这几个目的，我常和一位建筑师一起工作，因为自己知道我不能单独地使自己所提的结构观念完美地表达成形。我也知道反面的观点经常是富有成效的。令人难忘的是那些和我并肩工作的工程师。“我”的结构，大部分要感谢我的老师－建筑教授Auguste Arsac，还要感谢Philippe Fraleu, Bertj Mikaelian, Alain Spielmann, Jean-Vincent Berlottier和Aymeric Zublena。要特别提到Charles Lavigne；我的许多桥都是和他一起设计的，而他的设计也有我的一份。诺曼底桥和Charles一起设计，米约高架桥和Lord Foster合作比较多，在全世界获得了荣誉，优美的造型与功能、经济和结构需求的完美融合，使其获得了广泛的媒体关注。David Billington先生称之为结构艺术。
那么，王应良和高宗余先生的这本书和这之间有什么联系呢？实际上非常清楚，因为这本书展示了一些工程师的作品，其中有许多非常好的结构展示了他们的创造性。它将使工程师确信笨拙、不优美和令人厌烦的结构，以及与他们相反的另一些奇怪和昂贵的桥梁都是不能接受的。特别是对那些未来要代替我们的年轻工程师，它也论证了，结构方案的多样性(这是我们现代世界明确需要的)不能采用偏离笛卡尔坐标、逻辑和经济的手段而获得。
这本书也展示出，优雅并不需要不必要的复杂性来展示，相反是简单和纯粹的线条。这也正是我希望的。
国际预应力混凝土协会(FIP and fib)名誉主席
法国技术科学院院士
印度工程院院士
Michel VIRLOGEUX 2007年10月22于博内勒
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20楼
国际壳体和空间结构协会(IASS)主席
国际桥梁与结构工程协会(IABSE )副主席
美国科学与艺术院外籍院士
德国斯图加特大学教授 Jörg Schlaich 序言好评价
Foreword by Jörg Schlaich
Variety in Bridge Design － ON THE CONCEPTUAL DESIGN OF BRIDGES
By designing with only the functional purpose of structures in mind today and not caring for their holistic quality, the multitude and pride of early bridge construction, especially that after the industrial revolution and even up to the 1960s, comprising names the sound of which makes our eyes shine, were replaced by monotony and timidity! In those days a street bridge was quite different from a railway bridge in material and shape; an inner-city bridge from a river-bridge in the open country; the entire canon of shapes in bridge construction was applied. Nowadays all are alike, clumsy monotonous girders made of prefabricated units or box-girders of constant structural height even if spans vary, with longitudinal or transversal joints, resting on bearings – flat pots – such that each superstructure fits on any pier, interchangeable and exchangeable.
If engineers reduce themselves to technocrats, to mere aids or slaves of their clients or architects, they should not be surprised about their profession’s bad public image, the little financial support they receive for their research and the scant attraction to young creative talent. Students today ask for professions which are either creative and artistic or hightech. Concluding from our products, structural engineering is neither. Therefore, students either turn to hightech electronics and aeronautics, or towards architecture and fine arts. However, with high quality structures we could demonstrate that structural engineering, more than any other profession, asks for both simultaneously, for knowledgeable and creative talent.
Structural engineers must resume their cultural responsibility: Buildings and structures are part of our living space at the expense of nature. The only equivalent to nature man can and must create is culture!
The conceptual design is the birth of a structure or building. The knowledge and diligence combined with intuition and care as well as openness for cooperation and advice, the designer invests in this initial phase, defines the characteristics and quality of the outcome.
The ultimate goal of structural design is to provide the adequate aesthetical expression for the most perfect and the most efficient technical solution.
Imagine, for the visual design of such transient products as cars or drilling machines or cutlery there is an own profession, the product designer. These products have to suit any place on the world but their customers are specified: young – old, modern – old-fashioned, male – female, rich – modest. With bridges it is just the opposite: Their characteristic is their specific, their unique scene and they have to be accepted by everybody. Since apart from some exceptions such as highway overpasses all places or sites of our bridges are different, each bridge should be designed individually – a wide scope for more variety in bridge design.
This book by Yingliang Wang and Zongyu Gao describes the wonderful world of bridges and conceptual design of bridges. May it find a positive and wide resonance.
President of International Association of Shell and Spatial Structures (IASS)
Vice President of International Association of Bridge and Structural engineering (IABSE )
Foreign Member American Academy of Arts and Sciences
Professor of Stuguart University , Germany
Jörg Schlaich
Stuguart, September, 2007
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21楼
一些专家评价意见摘要：
本书将使工程师确信笨拙、不优美和令人厌烦的结构，以及与它们相反的另一些奇怪和昂贵的桥梁都是不能接受的。特别是对那些未来要代替我们的年轻工程师，它也论证了，结构方案的多样性(这是我们现代世界明确需要的)不能采用偏离笛卡尔坐标、逻辑和经济的手段而获得。这本书也展示出，优雅并不需要不必要的复杂性来展示，相反是简单和纯粹的线条。这也正是我希望的。
国际预应力混凝土协会名誉主席、法国技术科学院院士 Michel VIRLOGEUX
本书带领我们进入一个精彩的桥梁及其概念设计的世界。希望能给我们带来分享和共鸣。
国际桥梁与结构工程协会副主席、美国科学与艺术院外籍院士 Jörg Schlaich 阅读本书您可以通晓桥梁设计、建造思想，从近代桥梁开始富有创造性和想象力桥梁创造者。书中的文字、例子对任何图书馆作为桥梁艺术，科学和工程技术的资料都是有益的，对学生也是很好的学习材料。
欧洲科学院院士、塞尔维亚科学院院长 Nikola Hajdin
本书基本涵盖了重要的发明和创新技术，是十分难得的。我期待着这本书的出版，并希望中国年轻一代的总工程师们能人手一册，经常翻阅和思考，沿着欧美桥梁大师的足迹去创造更好的技术，建造出美丽和耐久的桥梁。
中国工程院院士 国际桥梁与结构工程协会副主席 项海帆
本书填补了我国在欧美卓越桥梁家设计思路方面的研究空白。所介绍的信息对我国桥梁界的发展极为有益，而这些信息则是国内文献至今还不曾有哪位作者提供过的。因此，十分可贵。就其所涉及的时间之长、地域之广讲，国外国内还没有同类图书可与比较。就学术水平讲，应列为国内领先水平。发表之后，可以惊动我国桥梁界，使大家逐步明白国外现代桥梁发展轨迹，其科技水平和美学造诣表现在哪些方面，他们的历次创新是怎样搞出来的，我国桥梁界应该在哪些方面迎头赶上。就出版价值讲，在推动我国桥梁发展方面，它的意义将很深远，很难预测。
西南交通大学资深教授 钱冬生
本书内容丰富、真实，对工程技术界的有志之士在技术思想方面具有启迪作用。
中国工程设计大师 杨进
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