Research On The Using Of City Bulding Facades Of The Traditional Pattern Of Inner Mongolia’s Three Little Nation

In the21st century, China’s economy has entered a period of rapid growth, the urban constructionin also has entered a stage of rapid development. City building appeared diversified situation.As be a major factor in the city’s architectural style, facade decoration can improve urban regional culture and enhance the living environment of urban human settlement environment.Also,it can reflects the city’s spirit and meet the people’s growing spiritual and cultural pursuits. It is the contrast of the city architectural characteristics and other aspects. With the construction of the city constantly changing, each city’s unique geographical and cultural characteristics quietly faded. Putting the traditional minority ethnic characteristics design elements into building facades decorative is new topic to improve the nation building situation.The traditional designs and patterns of Ewenki, Oroqen, Daur and Mongolian are important parts of the national art.They are inseparable with the respective national traditional culture and history. Due to the existence of the national culture of openness and integration, makes the design patterns of Ewenki, Oroqen,Daur interact each other, also influenced by Mongolian culture and Han culture. Whether Ewenki, Oroqen, Daur design patterns compatible with many other ethnic and cultural elements, Its core is still derived from the character of hunting, nomadic culture.The author has long lived in Hulun Buir City and is interested in building on the city. Due to study art design to pursue postgraduate study, the author dedicated to research in Inner Mongolia,"three little people" and the artistic value of Mongolian traditional patterns in symbolic form. Using successful case studies of building facades in the city’s, the author further research in traditional patterns of cultural minorities implication aesthetics and art design the perfect combination of theoretical ideas. By analyzing the unique regional decorative appearance of Hulunbeir’s building facades, it’s able to bring some inspiration for other forms of urban architecture of China’s ethnic minority areas. At the same time the author is hoping to have a role in promoting for the tourism and cultural industry development Hulunbeir.