建筑学专业英语课文翻译
建筑学课程英文翻译
素描Sketch画法几何Descriptive Geometry建筑设计初步Introduction of Architecture Design英语English高等数学A Advanced Mathematics A毛泽东思想概论Introduction of Mao Zedong's Thought试唱与练声Audition and Singing建筑设计Architecture Design法律基础Legal Basis邓小平理论概论Introduction of Deng Xiaoping’s theory建筑力学Engineering Mechanics室内设计Interior Design广告学Advertisement建筑结构选型Building Structure Selection城市规划原理Principles of Urban Planning中国古典园林Chinese Traditional Garden专业外语Professional English建筑节能Building Energy Saving建筑物理Architectural physics建筑施工技术经济管理Architectural Economics城市空间结构组织Spatial Structure of Urban Space建筑构造Architectural Construction工程测量Engineering Surveying中国古代建筑装饰Decorating Art of Traditional Chinese Architecture 室内设计发展史History of Interior Design高层建筑设计原理Principles of High Rising Buildings体育Physical Education思想品德修养Ideology and Morality of Accomplishment计算机基础Computer Basic马克思主义哲学原理Philosophy of Marxism阴影透视Shade Shadow Perspective形势与政策Situation and Policy马克思主义政治经济学原理Principles of Marxism Political Economics FORTRAN语言FORTRAN Language色彩Gouache Painting建筑材料Civil Engineering Materials建筑设计原理Principles of Building Design军训Military Training西方经济学概论Introduction of Western Economics中国建筑史History of Chinese Architecture美术史History of Art计算机辅助设计Computer Aided Design建筑结构Building Structure建筑构图原理Principles of Architectural Composition外国建筑史History of Foreign Architecture建筑美学Esthetics of Architecture建筑防火Building Fire Protection大学生心理卫生Students' Psychological Health建筑施工Civil Engineering Construction城市园林绿地规划Planning of Urban Garden and Park 建筑设备Building Equipment洁净建筑设计原理Renovation of Architecture Elevation 宗教建筑发展史History of Sacred Buildings室内空间设计方法Design method of Interior space近现代建筑人物与介绍Introduction of Modern Architects 城市经济Urban Economy。
建筑学专业英语翻译（共5篇）
建筑学专业英语翻译（共5篇）第一篇：建筑学专业英语翻译Hagia Sophia, Constantinople(532-7)with later partial reconstructions and additions(pp.301B-305), was Justinian's principal commission.The dedication to Hagia Sophia(Divine Wisdom)was really a dedication to Christ, and the church was also known simply as Megale Ecclesia(Great Church).It stood on the site of two earlier churches at one end of the ancient acropolis, alongside the principal square of the city-the Augusteion-and only a short distance from the imperial palace.The first church, founded by Constantius, was dedicated in 360 and burnt in 404.It was rebuilt under Theodosius Ⅱ rededicated in 415, and burnt in the Nika riot of January 532.Both these churches, were, almost certainly, basilicas with double aisles and galleries like the Martyrium Basilica in Jerusalem and S.Demetrius in Salonika, though larger than either.The second church, at least, was preceded by an atrium that was entered through a monumental propylaeum.As Constantinople increased in importance and its bishop became the patriarch of a large part of the Eastern Church, Hagia Sophia became not only the cathedral but also the patriarchal church.君士坦丁堡的圣索菲亚达大教堂，在建成之后有过局部重建和添加，是查士丁尼时期最重要的建筑。
建筑学中英文翻译
The sustainable development of architecture in the embodiment of a projectAll the civil engineering buildings and structures (including roads, bridges, ports, terminals, mines, tunnels, etc.) are made by materials according to certain requirements. The various materials used in civil engineering are collectively referred to as civil engineering materials.For a long time, human beings have been engaged in the various researches on civil engineering materials and constantly developing new materials. Almost all the materials in the world can be used as civil engineering materials. The project has adopted a variety of materials and here the following three types of materials are mainly analyzed.The first is steel, which is the collective name of iron alloy whose carbon content mass percentage is between 0.02% and 2.04%. The chemical composition of steel can have great changes and the steel only containing carbons is called carbon steel or common steel; in the actual production, steel often contains different alloy elements depending on the different applications. The preparation of steel is a high-cost and low-efficient work. Nowadays, the steel has become one of the most widely used materials in the world and an indispensable part of the building industry, manufacturing industry and people’s daily life for its low price and reliable performance.Steel structure work is the steel-manufacturing-based structure and is one of the main types of building structures. Steel is one of the common forms of structure in the modern construction works. Steel is characterized by high strength, light weight and rigidity, so it is particularly suitable for constructing long-span, super-high and super-heavy buildings; good homogeneity and isotropy, which make the material become ideal elastomer and mostly fit the basic assumption of the general engineering mechanics; good plasticity and toughness, which make the material able to deform largely and well subject to the dynamic loads; short construction period; high industrialization degree, which makes the specialized production of high mechanization level available; high machining precision, high efficiency and good air tightness. The disadvantages are the poor fire resistance and corrosion resistanceSteel structure can be divided into lightweight steel and heavyweight steel. The project mainly adopts lightweight steel structure. The roofing system inlightweight steel structure is composed of roof truss, structural OSB panel, waterproof layer and lightweight roofing tile, which is also named metal or asphalt tile. The appearance of the roofing in lightweight steel structure can have a variety of combinations. The materials are also various. On the premise of guaranteeing the technology of water proofing, the appearance has many alternatives. The wall of houses in lightweight structures is mainly composed of wall stud, top beam of the wall, the wall mudsill, wall support, wall panel and fastener. To ensure achieving the effect of heat insulation, the heat-insulating materials adopted in the external wall and roofing of buildings can be used for a long term, preserve and insult heat.Then is glass, which is a kind of transparent, high-strength and hardness, airtight material. Glass shows chemical inertness in the daily environment and does not react with living things, so it has extensive applications. Glass is generally insoluble in acid, but soluble in alkali, such as cesium hydroxide. Glass is an amorphous sub-cooled liquid. The melt glass cools rapidly and the molecules form glass as they do not have enough time to form crystals. In ancient times, glass refers to a kind of natural jade, also called talasite, not the present glass. Glass is solid at ordinary temperature and it is brittle. The hardness is 6.5mohs. Glass is, in deed, liquid. When the liquid cools, the originally turbulent and chaotic molecules will ultimately form ordered and regular crystal structure.In addition, according to its features, glass can be divided into: tempered glass, porous glass, i.e. foam glass, with an aperture of about 40 and mainly used in seawater desalination and virus filtering, etc., conductive glass, used as electrode and windshield glass, microcrystal glass, opaque glass, used in lighting and decorative items, etc., and hollow glass, used as door and window glass.Glass has many generalities. The first is the isotropy: the properties of homogeneous glass in all directions, such as refractivity, hardness, elastic modulus, coefficient of thermal expansion and so on are the same. Then is the metastability: when the melt cools to vitreous body, it can keep the structure in high temperatures at lower temperatures and does not change. Next is the reversible graduality: the transition from the melting state to the glass state is reversible and gradual. The last is the continuity: when the melting state transits to the glass state, the changes of the physical and chemical properties with temperature are continuous.The glass used in the project is tempered glass. It has high mechanical strength, good elasticity and thermal stability. It is not easy to wound people after broken and can be self-destructive.The last is wood, which is the lignified tissue formed by plants that can conduct secondary growth, such as trees and shrubs. After primary growth, the vascular cambium in the rhizome of these plants becomes active, develops bast outward and wood inward. Wood is the collective name of the plant tissues developed inwardly by the vascular cambium, including xylem and thin-wall radiation. Wood plays an important role in supporting human life. According to the different features of wood, people apply them to different uses.The tree trunk is composed of bark, cambium, xylem (i.e. timber) and pith. From the xylem on the trunk cross-section, we can see the annual ring around the pith. Each annual ring generally consists of two parts: the part in light color is called early wood (spring wood), which grows in the early season, has large cells and relatively loose material; the part in dark color is called late wood (autumn wood), which grows in the late season, has small cells and relatively dense material. The middle part of the tree trunk of some wood is in dark color, which is called heart wood; the side is in light color, which is called sapwood. The coniferous wood is mainly composed of tracheid, xylem ray and axial parenchyma, which are regularly arranged and the material is heterogeneous. The broad-leaved wood is mainly composed of vessel, wood fiber, axial parenchyma and xylem ray. The structure is complicated. As the cells making up the wood are directionally arranged, thus there is the difference between rift grain and cross grain. The rift grain can be distinguished from the radical direction coincident with the xylem ray; the chordwise vertical to the xylem ray. The coniferous wood generally has tall trunks and straight grain, is easy to be worked and dried, has small cracking and deformation and is suitable to be used as structural material. Some broad-leaved wood has hard texture, beautiful grain andThe flooring chosen for the interior finishing of the project is wooden floor. Wooden floor has various advantages. Firstly, it is beautiful and natural. The wood is natural and its annual ring and grain usually can make a beautiful picture, give people the feeling of returning to the nature and recovering original simplicity. Its texture has its own style and becomes a favorite among the masses. Then, it is a kind of material free of pollution. Wood is the most typical double-green product and it does not have source of pollution in itself. Some wood have tinctura aromatica, which gives off healthy and sedative smell; its sawdust is organic fertilizer that can be easily digested and absorbed by soil. In addition, it is light and strong and the general wood floats on the water, with few exceptions. Therefore, as a building material, wood is more convenient for transportation and laying compared to metal building materials and stones. Test results prove that, the tensile strength of pine wood is three times higher than that of iron and steel, 25 times higher than that of concrete and 50 times higher than that of marble; its compressive resistance is 4 times higher than that of marble. It can better embody its advantages especially asthe flooring (wooden floor). Then, it is easy to process. Wood can be sawed, shaved, whittled, cut and even nailed arbitrarily, so it can apply to the field of building materials in a more flexible way and play its potential role, while metal, concrete and stone do not have the function due to their hardness and they will cause waste or unrealistic circumstances. Next, it has good heat insulation. It is not easy for wood to conduct heat, while the heat conductivity of the concrete is very high. The heat conductivity of iron and steel is 200 times that of wood. There are many other advantages, such as adjusting temperature, strong durability, and easing the shock, etc.The executive director of the British ECOTECT company-Andrew Marsh thinks that “it is a moral obligation to design e nergy-saving and high-efficient buildings. If the client wants to save a very small part of the construction cost, but huge energy cost is caused in the 80 to 100 years’ service life of the building, then the architect has the obligation to prevent this fr om happening”. I am not surprised at all that Andrew holds a bachelor degree in architecture.Sustainable construction refers to the constructions planned and built following the principle of sustainable development, pursuing reducing environmental load, integrating with the environment and conducive to the health of residents.The sustainability of the project is shown in the following two aspects:First of all, modeling and material:Firstly, the modeling should be compact and try to control the contact area between the building and air. Secondly, adopt materials of low heat conductivity. The external wall adopts a large number of logs and some people think that only the construction adopting renewable materials like wood can be regarded as sustainable construction. Of course, there are people holding opposite opinions. Thirdly, the inner court is closed; the windows toward the inner court can be opened freely like traditional windows, but the windows in the external wall can not be opened freely, and its opening is controlled by the control center of the whole building, to ensure the orderly flow of the air. The three measures are taken to reduce the heat exchange between the skin wall and the air.In the second place, reduce the air heat exchange:Firstly, keep proper air tightness in the building; the inner court is closed, the windows in the external wall can not be opened freely, to ensure the orderly flow of the air. Then, make use of the ground-source heat exchange system to heat up the gases entering the building in winter and cool down the gases entering the building in summer. The ground-source heat exchange systemutilizes the characteristics of soil that the temperature is stable all the year round, takes the soil energy as the heat source of heat pump heating in winter and cold source of air conditioning in summer, that is, extract the heat sources indoors and release them to the soil with the temperature lower than the ambient temperature. The system is not complicated in technology and has great promotional value. According to the news from the network, the pilot of the technology has been launched in Tianjin and other cities of China. Finally, reuse the heat discharge. Use the air-conditioning heat recovery system that has quite mature modern technology, to conduct heat recovery to the hot air discharged outside the building.SummaryWith the constant advancement of the social civilization, the growing population and the increasing demand for resources of human society, the conflict between human and natural environment is becoming increasingly prominent. In the sixties of last century, scientists have proposed the concept of “sustainable development”. More and more people have realized that if we do not control the behavior of blindly taking resources from the natural world, not only the development of our descendants will be affected, but even the production and life of contemporary people will be affected. Therefore, this theory has been accepted by most countries and peoples in the world, and has received unprecedented attention.Building is one of the most important factors affecting the survival and development of human beings and it consumes a lot of resources. In the life cycle of a building, the proportion of energy consumed is the greatest portion of the energy consumed by human beings during the same period. Therefore, it is of great significance to promote the sustainable development of buildings for boosting the sustainable development of the whole human society.建筑的可持续发展在某项目中的体现任何土木工程建（构）筑物（包括道路、桥梁、港口、码头、矿井、隧道等）都是用材料按一定的要求打造成的，土木工程中所使用的各种材料都统称为土木工程材料。
建筑学专业英语翻译
翻译一The environmental crisis and sustainable developmentIt has been suggested that the publication of Silent Spring by Rachel Carson in 1962 was the start of the modern environmental movement (Dobson, 1991). However, the roots of environmentalism may be muchdeeper. Farmer (1996) has traced the development of ‘Green Sensibility’ in architecture back to folk buildings and the cult of the cottage through the nineteenth century in the writings of Ruskin, the work of the Arts and Crafts movement to the twentieth century and the organic ideas inModern Architecture. The planning profession could also cite its list of planners with green credentials. Amongst these father figures of the planning world would be Geddes (1949), Howard and the Garden City Movement (1965), and Mumford (1938) with his analysis of the ‘Rise and Fall of Megalopolis’. No doubt other disciplines could legitimately cite their own lists of people with deep concerns for the environment, many of them working long before the term ‘sustainable development’was coined. While it is not the intention to downgrade these fine scholarly traditions, nevertheless, for the purpose of this study,and for convenience, the beginnings of the modern environmental movement will be placed in the 1960s. The mood of environmentalism quickened with Rachel Carson’s analysis of the inevitable damage caused by large-scale and indiscriminate use of chemical pesticides, fungicides and herbicides. Carson’s influence was widespread, affecting pressure groups such as Friends of the Earth, in addition to the stimulus she gave to the development of green politics and philosophy. From the USA, Ian McHarg, the Scottish e´migre´, published his seminal work Design with Nature in 1969, seven years after Carson’s warning cry. McHarg’s ecological thesis spans the disciplines of landscape, architecture and planning: he is one of the founding fathers of sustainable development.McHarg argued that human development should be planned in a manner that took full account of nature and natural processes. Design with Nature in addition to articulating a philosophical position also provided atechnique for landscape analysis and design using overlays, a technique which now forms the basis of GIS, Geographic Information Systems, an important tool for current planning and design. While McHarg was writing in the 1960s, the thrust of his argument still applies today in the twenty-first century. ‘It is their (the merchant’s)ethos, with our consent, that sustains th e slumlord and the land rapist, the polluters of rivers and atmosphere. In the name of profit they pre-empt the seashore and sterilize the landscape, fell the great forests, fill protective marshes, build cynically in the flood plain. It is the claim of convenience – or – its illusion – that drives the expressway through neighbourhoods, homes and priceless parks, a taximeter of indifferent greed’.Small is Beautiful by Schumacher (1974) is another milestone in the analysis of the causes of environmental problems and in the development of green principles. One cause of environmental problems according to Schumacher is the notion that we can continue to produce and consume atever-increasing rates in a finite planet. Schumacher warned that the planet which is our stock of capital is being threatened by overproduction: in effect, the human race is consuming its capital at an alarming rate, endangering the tolerance margins of nature, and so threatening the life support systemsthat nurture humankind. A further landmark in green analysis was ‘The Trage dy of the Commons’ (Hardin, 1977). Hardin argued that if everyone maximized his or her own gain from commonly held property, whetherland, sea or air (the commons), the result would be the destruction of those commons. Where populations are comparatively small the ‘commons’ are not under great threat. With rising world populations, the commons now under threat include the air we breathe, the ozone layer that protects us from the sun’s rays, and the ecological systems that deal with the waste we cause. How far The Limits to Growth (Meadows et al., 1972) for the Club of Rome’s Project on ‘The Predicament of Mankind’ progressed the aims of the environmental movement is problematical. It attempted to plot the depletion of resources and to warn of the danger of exponential growth, to the ultimate destruction of a global environment fit for human occupation. The book has been described as mechanistic and non-scientific. It has also been criticized for overstating the case, therefore damaging the environmental or green cause. To some extent these criticisms have been addressed in Beyond the Limits (Meadows et al., 1992). The Limits to Growth did attempt, however, to study some aspects of the global environment holistically, concentrating on linkages and adopting a systems approach to environmental analysis, all being common features of a ‘green method’.THE ‘SKEPTICAL ENVIRONMENTALIST’The publication by Lomborg, in Danish, of his book, Verdens Sande Tilstand (1998) –later translated into English as The Skeptical Environmentalist (2001) – was a further landmark in the environmental debate. Acc ording to Lomborg’s assessment, conditions on earth are generally improving for human welfare: furthermore, future prospects are not nearly as gloomy as environmental scientists predict. Those working in the field of sustainable deve lopment cannot ignore Lomborg’s thought-provoking analysis, even though most reputable environmental scientists have rebutted his complacent view of the global environment (see Bongaarts, Holdren, Lovejoy and Schneidr in Scientific American, January, 2002). Like Meadows in his Limits to Growth, Lomborg may have overstated his case. Unfortunately, his thesis has given credence to the views of those advocating an environmental ‘free for all’, par ticularly those to the right of American poli tics (see ‘Bush bending science to his p olitical needs’; Guardian, 19th February, 2004).翻译二POPULATIONAn important contributory factor affecting the deterioration of the environment is population growth. According to Bongaarts (2002), Lomborg’s assertion that the number of pe ople on this planet is not ‘the problem’, is simply wrong. The population of the planet was approximately 0.5 billion in the mid-seventeenth century. It was then growing at approximately 0.3 per cent per annum, which represented a doubling of population every 250 years. By the beginning of the twentieth century, the population was 1.6 billion but growing at 0.5 per cent per annum, which corresponds to a doubling time of 140 years. In 1970, the global population was 3.6 billion, with a growth rate of 2.1 per cent per annum. Not only was the population growing exponentially but the rate of growth was increasing. From 1971 to 2000 the population grew to about 6 billion, but the growth rate fell to 1.5 per cent per annum. This change in population growth rate is a significant improvement and means a reduction in the rate at which total world population grows. The population growth rate is expected to fall further to about 0.8 per cent per annum by 2030. Despite this fall in population growth rate, the absolute growth will remain nearly as high as levels in the last decades of the twentieth century, simply because the population base rate keeps expanding: the global population is expected to be about 8 billion by 2030 and to reach about 10 billion by 2050. These global figures mask details of unprecedented demographic change, which are highly significant for the impact they may have on the environment. The world’s poorest nations of Africa, Asia and Latin America have rapidly growing and young populations, while in the wealthy nations of Europe, North America and Japan, population growth is zero or in some cases negative. By 2030, over 85 per cent of the world’s population will live in these poorer nations of the developing world. Three- quarters of global population growth occurs in the urban centres of these poorer nations, and half of this increase is by natural growth within cities. This urban growth in, and rural-urban migration to, the cities of the poor ‘South’ is occurring in a context of far higher absolute population growth, at extremely low income levels, very little institutional and financial capacity, and few opportunities to expand into new frontiers, foreign or domestic. ‘While urban poverty exists and is indeed growing in all cities of the world, it characterizes aspects of the rapidly growing cities of the developing countries. There, urban poverty disproportionately affects women and children; fuels ethnic and racial tensions; and condemns large sections, and sometimes the majority of urban dwellers to a downward spiral of marginalization, social and economic exclusion and unhealthy living environments’(United Nations, Habitat, 2001). Over 1 billion people live in absolute poverty, living on less than $1 per day. A total of 420 million people live in countries that no longer have enough cropland on which to grow their own food, and 500 million people live in regions prone to chronic drought: by 2025, this number is likely to be 2.4 to 3.5 billion people. Clearly, population pressures will induce migratory movements throughout the world, so that in Europe – including Britain –we can expect to see a continuing influx of economic migrants: some – but not all –in this country would see this immigration of young economically active people as essential to sustain our aging population (Observer, 25 January, 2004). Suchpopulation movements will not be without conflict.‘Poverty and environmental degradation are closely interrelated. While poverty results in environmental stress, the major cause of environmental deterioration is an unsustainable pattern of consumption and production, particularly in the industrialised countries, which aggravates poverty and imbalances’ (UN, 1992b). The cause of the problem does not lie in the poor South, but in the ‘over-consumption’in the rich North: over-consumption being a euphemism for the much shorter and more accurate word ‘greed’, as used by McHarg. Nevertheless, a reduction in population growth rates through education and family planning is of great importance in establishing a sustainable future for humankind: alone, however, it is insufficient. It is worth noting that one child born in Europe or the USA will usethe same resources and be responsible for using the same energy and producing the same waste as perhaps thirty or forty born in less advantaged countries. The problems are ‘increasingly international, global and potentially more life-threatening than in the past’ (Pearce, 1989). Fifteen years on from the time when Pearce wrote those words, global conditions have, if anything, deteriorated. The development of a global environment of quality, in addition to the reduction in population growth in the Developing World, is dependent upon establishing sustainable patterns of consumption and production in the Developed World, which in part is related to the way in which we build and use cities.FOOD PRODUCTIONBarring catastrophe, the global population over the next thirty years will grow from 6 billion to 8 billion people. Most of this growth will be in cities of the Developing World. Bongaarts (2002) believes that the demand for feeding this extra population, will be a g reat challenge: ‘The ability of agriculturists to meet this challenge remains uncertain’. He goes on to say that, ‘. . . the technological optimists are probably correct in claiming that the overall food production can be increased substantially over the next few decades’. This agricultural expansion will be costly. The expansion will probably take place on soils of poor quality, located in places less favourable for irrigation, than existing intensively farmed land. Water – as we read constantly in our daily newspapers – is in increasingly short supply, while its demand grows not only for purposes of irrigation.翻译三CLIMATE CHANGEMost weeks we read in the press, that climate change is upon us and that matters can only get worse. The re is even a ‘suspicion abroad’ that conditions are worse than we think. Recently, official pronouncements reported in the press added to the concern: they have led to headlines such as: ‘End of the World is nigh –it’s official’; ‘Human race is killing the planet says Meacher’; and ‘Risk to the environment poses the same dangers as terror, wa rns Blair’ (The Guardian, March 2003). Scientists are, however, more circumspect. As Pearce pointed out as far back as 1989, ‘. . . there is uncertainty about the nature and effect of these changes to climate. For example, there is uncertainty about the exact trace gas emissions which will enter the atmosphere and the precise fuel mix which will be used in the future. There is also uncertainty about the nature and extent of the ecological changes which will be brought about by pollution; in particular, there is uncertainty about the ways in which the climate will respond, either at a global or in a regional context. There is also uncertainty about environmental thresholds–that is, points at which an environmental catastrophe occurs or where particular processes cannot be reversed. Above all, there is great uncertainty about the ways in which man will respond to any changes to the environment that may occur. Human response to a real or perceived environmental threat may be part of a natural adaptation process and include responses at a personal, institutional or governmental level. The response may range from the small-scale installation in the home of more thermal insulation to a process of mass migration from areas of drought or flooding’. More recently, Schneider (2002) also stressed the uncertainty surrounding the whole vexed question of climate change:‘Uncertainties so infuse the issue of climate change that it is impossible to rule out either mild or catastrophic outcomes’. Temperatures in 2100 may increase by 1.4 degrees Celsius or by 5.8 degrees. The first would mean relatively easy adaptable change: the larger figure would induce very damaging changes. The most creditable international assessment body in this field, The Intergovernmental Panel on Climate Change (IPCC) endorse this range of possibilities so that we could be lucky and see a mild effect or unlucky and get catastrophic outcomes. Since a large body of the scientific community believe that climate change in part is due to human activities, a reasonable behaviour would be for humankind to take preventative measures. As Schneider (2002) points out, ‘It is precisely because the responsible scientific community cannot rule out such catastrophic outcomes at a high level of confidence that climate mitigation policies are seriously proposed.’ U ntil the Scientific community, acting on its research findings, advises otherwise, it would seem prudent to propose development strategies, which reduce, as far as possible, the pressures on a fragile global environment. Here it is intended to continue to advocate ‘the precautionary pri nciple’ as a guide for environmental design: this principle is fundamental to the theory of sustainable development, which advocates a cautious approach to the use of environmental resources, particularly those which result in the pollution of the atmosphere with greenhouse gases.SUSTAINABLE DEVELOPMENTThere seems to be widespread agreement that solving global problems means the adoption of policies and programmes that lead to sustainable development. Sustainable development, however, has many different meanings (Pearce, 1989). The shades of meaning given to sustainable development closely mirror –or perhaps match – the writer’s intellectual or emotional position along the spectrum of green philosophy. There is also a great danger that the concept will become meaningless, or simply be used as another wordy panacea instead of action for dealing with the environmental ills that befall the planet. The pursuit of a sustainable future for the human race in an environment of quality will require the design of effective policies and programmes which directly address the related problems of unsustainable activities and environmental degradation; they must also be politically acceptable in the jurisdiction where they are proposed. If these policies and programmes are grouped beneath the generic term ‘sustainable development’, then that term must have a generally accepted meaning which does not reduce it to an anodyne instrument for political obfuscation. A generally accepted definition of sustainable development, and a good point to begin an exploration of this concept, is taken from the Brundtland Report:‘Sustainable development is development that meets the needs of the present generation without compromising the ability of future generations to meet their own needs’ (World Commission on Environment and Development, 1987). This definition contains three key ideas: development, needs, and future generations. According to Blowers (1993), development should not be confused with growth. Growth is a physical or quantitative expansion of the economic system, while development is a qualitative concept: it is concerned with cultural, social and economic progress. The term ‘needs’ introduces the ideas of distribution of resources: ‘meeting the basic needs of all and extending to all the opportunity to satisfy their aspirations for a better life’ (World Commission on Environment and Development, 1987). These are fine sentiments, but in reality the world’s poor are unable to achieve their basic needs of life, while the more affluent effectively pursue their aspirations, many luxuries being defined by such groups as needs. There will naturally be environmental costs if the standards of the wealthy are maintained while at the same time meeting the basic needs of the poor. These environmental costs, furthermore, will increase dramatically if the living conditions in developing countries improve, let alone if the aspiration is to bring those conditions in line with the more affluent developed world. A choice may be inevitable: meeting needs therefore is a political, moral and ethical issue. It concerns the redistribution of resources both within and between nations.翻译四SUSTAINABLE DEVELOPMENT: OFFICIAL RESPONSESSustainable development was placed on the political agenda in 1987 with the publication of Our Common Future: The Brundtland Report (World Commission on Environment and Development, 1987). In Britain, the Government commissioned a report by Pearce et al. (1989) called Blueprint for a Green Economy. Pearce suggested ways in which the constraints could be introduced into the economic system of the United Kingdom. Later, the Government published a White Paper called This Common Inheritance, B ritain’s Environmental Strategy(Department of the Environment, 1990). While full of fine sentiment, the White Paper paid little attention to the argument developed in the Pearce Report. Consequently, no new lead was given in this policy area. The environmental movement was given a European dimension when the European Commission published its Green Paper on the Urban Environment (Commission for the Economic Communities, 1990). The early 1990s in Britain saw the publication of a number of official documents addressing environmental issues. Development Plans: A Good Practice Guide (Department of the Environment, 1992a) has a section on Environmental Issues which attempts to show how concerns about environmental issues can be reflected in a Development Plan. It discusses: ‘achieving a balance between economic growth, technological development and environmental considerations’. It does not attempt to define the point of balance, nor does it enter the thorny argument about development versus growth. The section on energy goes a little further, incorporating some of the ideas on energy-efficient urban form that appear in Energy Conscious Planning (Owens, 1991), a report prepared for the Council for the Protection of Rural England, 1992 saw the publication of Planning Pollution and Waste Management, which formed the basis of planning guidance (Department of the Environment, 1992b), while in 1993 Reducing Transport Emissions Through Planning was published: this was a document prepared jointly by the Department of the Environment and the Department of Transport (1993a). The document states that: In recognition of the problem of global warming the UK Government has signed the Climate Change Convention. This calls for measures to reduce CO2 emissions to 1990 levels by 2000. If the transport sector is to contribute to this reduction, there are three mechanisms through which this could be achieved:(1) Through reductions in overall travel demand;(2) Through encouraging the use of more emissions-efficient modes of travel; and(3) Through changes in the emissions efficiency of transport.Item (1) is simply advocating more energy-efficient urban form, and item (3) is also without political pain –it is the straightforward suggestion to improve transport technology. Item (2) was – and still remains – the area with the greatest potential for short-term reduction in CO2 emissions.This course of action, however, causes the most difficulty for a conservative Government with a prejudice in favour of the road lobby and a propensity to support a roads solution to transport problems.Favoring public transport rather than support for the building of more roads has proved equally problematic for the present Labour Government. Item (2) in essencemeans the development of an efficient, cheap and effective integrated public transport system. The development of such a public transport system means the transfer of resources from the car user to those who use public transport. The transfer of resources may take two forms. First, it may mean higher costs for the motorist in terms of petrol prices, road taxes and road pricing: this will make motoring more costly. Second, the transfer of resources takes the more direct form of the development of costly public transport infrastructure at the expense of road improvements. Competition between our political parties means that no Government, of whatever political persuasion, can afford to alienate too many voters. Most of us living in Britain own a car: we use it daily and with it we conduct a long and tender love affair. How many voters in ‘Middle England’ will gladly accept the undoubted pain accompanying any restriction in car use? One simple and effective way in which the car user in this country was asked to pay for the environmental damage caused by too much petrol consumption was through the mechanism of the ‘price accelerator’: this was introduced by the last Conservative Government in the mid-1990s as a clever procedure to increase the price of petrol annually at each budget by an amount in excess of inflation. The Labour Government of 1997 accepted the ‘accelerator’, but as a policy it floundered with the threatened‘petrol strike’ and the blockading of petrol stations in 1999. The Conservative opposition Party denounced the ‘accelerator policy’of the Government, despite having introduced it during their period in office. The public anger about petrol prices threatened the Gove rnment’s commanding lead in the polls, which caused a re-think of a perfectly reasonable, environmentally friendly, petrol- taxing policy. The Labour Government’s declared moratorium on road building soon after coming to power in 1997 has taken a setback with recent announcements for further motorway-widening and other major road-building projects. For those who believe that it is impossible to build your way out of the present traffic chaos these announcements, along with transport plans, appear to weaken the resolve to tackle the apparently intractable problem of strategic transport. The introduction of road pricing in London however – and its apparent success – has made it more likely that this innovation will be introduced more widely throughout the country. A Framework for Local Sustainability (1993) was a response by UK local government to the UK Government’s first strategy for sustainable development. The report was prepared by the Local Government Management Board setting a framework for considering Local Agenda 21 for the United Kingdom: it built upon Agenda 21 signed by 178 nations (including the UK) at the United Nations Conference on Environmental Development, Rio de Janeiro in 1992. It is closer to the Brundtland report than earlier documents originating in the UK, discussing equity in these terms: ‘Fairness to people now living must accompany sustainabi lity’s concern for fairness to future generations’.翻译五POLITICS AND SUSTAINABLE DEVELOPMENTThe meaning of ‘sustainable development’ is largely determined by an individual’s ideological viewpoint. The present Labour Government in this country – and its Conservative predecessor, along with many major parties in Europe, on discovering the environment as a political issue –would consider itself steward rather than master. This vi ew of man’s relationship to the environment and the difficulties the world community faces is shared by the United Nations, the European Union and most of the scientific community, including many in the city planning and design professions. The stewardship perspective is the one that, in the main, has been presented so far in this chapter. It represents the views of those who believe that environmental problems can be solved within the present political and economic system. It is not the only viewpoint. Dobson (1990) distinguishes two diametrically opposed views on sustainability and the environment. The establishment viewpoint he l abels ‘green’ with a lower-case‘g’, while those who believe that sustainability depends on the system being fundamentally changed he describes as ‘Green’ with a capital ‘G’. The literature on the topic however, would indicate a spectrum of greens rather than a strict dichotomy: the ideology of all those shades along the spectrum of greenness is determined by their attitude to the environment. The ‘Green’ ideology or ‘ecologism’ takes The Limit s to Growth (Meadows, 1972) as an axiom: ‘Greens will ad mit that the report’s estimates as to the likely life expectancy of various resources are over-pessimistic and they will agree that the Club of Rome’s worl d computer models were crude, but they will subsc ribe to the report’s conclusion that the days of uncontrolled growth . . . are numbered’ (Dobson, 1991). Green ideology also questions the current dominant paradigm with its foundation in The Enlightenment, science, technology and the objective of rational analysis (Capra, 1985). The Gree n’s world view removes man from centre stage: Green politics explicitly seeks to decentre the human being, question mechanistic science and its technological consequences, to refuse to believe that the world was made for human beings –and it does this because it has been led to wonder whether dominant post-industrial ism’s project of material affluence is either desirable or sustainable. (Dobson, 1990) Ecologism goes beyond human- instrumental or paternalistic care for the natural world, and argues that the environment has an independent value that should guarantee its existence. Green ideology puts forward the idea that a new paradigm is necessary for solving the problems now faced by mankind. Such a paradigm should be based upon holism –a systems view of the world –and interconnectedness rather than the present mechanistic and reductionist view of nature. Two most interesting books – Greening Cities, edited by Roelofs (1996) and Design for Sustainability by Birkeland et al. (2002) – move the tone and content of the discussion of design for sustainable development along the spectrum of greens from the paler tints associated with the establishment view towards the full-bodied saturated hue of Green associated with ‘Eco-f eminism’: ‘Feminist theory delves into the reasons for this marginalisation of people and nature in environmental design. Feminists . . . have explained how physical and social space is shaped by dichotomies in Western thought. Mind, reason, spirit order, public and permanence have been。
建筑专业英语课文1.4(华中科技大学出版社)
SECTION 1: ARCHITECTURE 11.4 Great Architects and Their Masterpieces1.4.1 Zaha Hadid — Space for Art①Architectural expectations for a museum are always high because of the aspirationthat the structures themselves might be works of art. But hopes were especially elevatedat the CAC②, where the building would effectively become the only artifact permanentlyowned by a museum that pointedly does not collect. The CAC was not only commissioning a structure but also committing itself to an image that might affirm itslong-standing record as an innovative, risk-taking institution. On several occasions—most famously in its support of a controversial exhibition of photographs byRobert Mapplethorpe—the CAC took stands that attracted national attention. With thechoice of London architect Zaha Hadid, the museum affirmed its own traditions of“innovation and free inquiry” by hiring an architect with a comparable record of uncompromising integrity.Hadid’s building is quietly complicit③with its surroundings because it growsindirectly out of the city. Sited opposite large-scale modern structures, but adjacent toolder buildings in a more finely grained urban fabric, Hadid’s design pivots④the newer neighborhood to the older, suturing⑤two sides of a split boulevard. The architect recallsthe scale of the adjacent older section because, conceptually, she tooktraditionally-scaled building volumes, laid them on their sides, and then rolled themtoward Sixth Street like so many Cleopatras in a rug: the volumes stack lengthwise alongthe street, and the carpet turns up the back wall of the site. By looking at the urbancontext broadly and transforming buildings in the older city into abstract after-images,she automatically inherits the scale of the city in her stacked cluster. The materiality ofthe volumes, surfaced mostly in precast concrete panels left raw, refers to the newer①This text is from Joseph Giovannini: Zaha Hadid Space for Art, 1st Edition, Switzerland: LarsMuller Publishers, 2004.②CAC：Contemporary Arts Center, Cincinnati, USA③complicit a. having complicity④pivot v. axis consisting of a short shaft that supports something that turns⑤suture v. an immovable joint2建筑专业英语concrete structures across the street. Like the older building neighbors, all slightlydifferent, the volumes are variously sized and shaped, and displaced in what appears tobe a Rubik’s Cube rocked slightly out of regularity. Hadid’s building, then, does notstand aloof in detached aesthetic object-hood. Without being literal, Hadid derived herbuilding from the surrounding context and then wove her building back into the fabricthrough plays of scale and material. One of the most formally gifted architectspracticing today, Hadid is also a dedicated urbanist. She believes in dense, intense citiesas a forum and springboard①for lively democratic societies, and in downtownCincinnati, she invites the streetscape into the building via what she calls an “urbancarpet”. The architect simply extends the idea of the sidewalk into the building, throughthe lobby, to the back, where the concrete floor curves up to form the rear wall of theseven-story structure. In the canyon between this verticalized sidewalk and the volumesstacked along the street, long steel channels of stairs scissor their way past the galleriesand administrative floors up to the children’s Museum on the sixth floor.Hadid’s dancing flight of angled stairs is a successor of the ramp of Frank Lloyd Wright’s Guggenheim. Both handle the verticality of a tight city site, encouragingvisitors onto an architectural promenade②instead of ushering③them through a mazeof white spaces or an enfilade of doors in a line-up of rooms. The stairwell is notremoved from the museum experience but plays an active role in shaping it. Hadid’sstairs, however, improve on the Guggenheim ramp. They lead visitors to expansivelandings in Piranesian atria④that double as galleries opening into other galleries,located within the stacked volumes at the front of the building. Hadid keeps herramp-like stairs detached from the galleries, so that visitors never feel they are lookingat works of art from a traffic lane. The stacked gallery volumes and elevator banks areseparated, creating flows of interior space that climb through a porous interior. Naturallight washes down and through the interior from skylights above the stairs.……The CAC competition brief originally called for adaptable loft-like spaces, but Hadid proposed instead what she termed “a catalogue of galleries” that collectively, allowed for avariety of viewing environments-short and tall, grand and intimate, structured andunstructured. Individually defined on the outside by their separate respective volumes, thegalleries may appear simple, but each prism is different in size, material and lighting.①springboard n. a flexible board for jumping upward②promenade n. a public area set aside as a pedestrian walk③usher v. someone employed to conduct others④atria n. the central area in a building; open to the skySECTION 1: ARCHITECTURE 3……Some critics misconstrue Hadid’s elusive end illusory geometries as arbitrary. Theyare, instead, highly disciplined results of a rigorous design process and philosophy aboutthe change and perceptual flux that permeate our world: Hadid’s architecture isanti-classical because spaces and shapes exist in a constant becoming that is neitherPlatonic nor eternal. The instability of forms always changing relative to each other on apromenade creates an interpretative space that stimulates the eye and mind to make itsown sense and find its owe order. In Cincinnati, her forms and spaces deliver visitors tothe art preconditioned for the experience.But the architectural statement that now presides in the middle of Cincinnati is notjust a work of art: Hadid has also designed a portrait building that captures the characterof this experimental institution, consolidates①its identity and expands its mission.Hadid’s design ushers the CAC and its programs into a more public arena that is participatory, democratic, and open. The building represents the kind of stand andstatement people would expect the CAC to make. After its long sojourn②in a nearbymall, the Center has succeeded in repositioning the institution in the city—and perhapsin the national consciousness, meanwhile the art in it achieves a larger life through environmental experience Hadid has invented. Art and institution both escape thecooling limitations of the white box. Museums today are taking the lead as patrons ofadvanced thinking in architecture. With its new building, the CAC has taken the leadamong museums.ExercisesI. Fill in the blanks with the correct answer.1.Zaha Hadid’s architectural drawings are more often like paintings than workingdrawings, which express architecture so free that it appears to ______ gravity.A. controlB. changeC. escapeD. catch2.Hadid’s boldness lies precisely in the fact that she does not compromise withconventions but behaves as an .A. archeologistB. engineerC. artistD. inventor3.Hadid’s structures came close to an experience of space exploding _______ tensionand movement.①consolidate v. make firm or secure; strengthen②sojourn n. a temporary stay4建筑专业英语A. byB. atC. withD. in4.With the choice of London architect Zaha Hadid, the museum affirmed its owntraditions of “innovation and free inquiry” hiring an architect with acomparable record of uncompromising integrity.A. byB. inC. atD. with5.The first woman to win the Pritzker Prize for Architecture in its 26 year history,Zaha Hadid has defined a radically new approach to architecture by creatingbuildings, such as the Rosenthal Center for Contemporary Art in Cincinnati,with multiple perspective points and fragmented geometry to evoke the ofmodern life.A. chaosB. systemC. orderD. logic6.Zaha Hadid was single-minded an early age. Born in 1950 in Baghdad, shegrew up in a very different Iraq from the one we know today.A. fromB. withC. byD. inII. Translate the italic sentences in the text into Chinese.SECTION 1: ARCHITECTURE 51.4.2 Venturi House①Robert Venturi is famous for his book Complexity and Contradiction(1966) inwhich he called attention to the importance of Baroque architecture in contradiction torectilinear②Modernism. In his later book Learning from Las Vegas (1972), Venturi andDenise Scott Brown proposed the idea of the “decorated shed③” (ordinary American architecture) and proposed it could be perceived as artistic inspiration. Venturi arguedfor an architecture that was neither pure nor picturesque, but which made the most of complexities, contradictions, ambiguities and paradoxes④—qualities which he thoughtwere more understanding of the times. Venturi said that architecture did not have to be“heroic and original”. Instead it was “OK” to look back upon r ich architectural historyfor inspiration and references.Venturi calls the house “a small house on a large scale” thus Venturi’s mother sits ina chair with a pot⑤of flowers at her feet to help create a sense of scale. This house forhis mother allowed Venturi to build his ideas about complexity and contradiction.Historical references were used boldly with a bit of humor. Venturi violates the rules ofModernism with his gabled roof, fake arch, exposed post and lintel and green paint. Thebroad roof and prominent⑥chimney are classic symbols of “home”, except the widechimney is not what it seems to be (actually much smaller) and the sheltering roof(inspired by the Low House) is split⑦down the middle. The classic string course isbroken by the windows. The lintel that joins the two halves looks unusually narrow forthe weight above. Thus, Venturi adds the symbolic arch above, which was just a molding(attached decoration), to give more support — except the arch is also broken! Still, thearch helps break the weight of the facade. The tension between the large and smallwindows on the front facade contributes to the conflict of a broken arch over arectangular entrance. To add to the confusion, the building is not trying to be quaint⑧or picturesque but has a very tight modern—like surface. To Venturi, these decorative①This text is from anonymousness.②rectilinear a. characterized by a straight line or lines③shed n. an outbuilding with a single story; used for shelter or storage④paradox n. (logic) a statement that contradicts itself⑤pot n. a container in which plants are cultivated⑥prominent a. having a quality that thrusts itself into attention⑦split v. separate into parts or portions⑧quaint a. strange in an interesting or pleasing way6建筑专业英语elements and symbols glamorized①cheap materials through association with classicalforms—all in an attempt to celebrate middle-class lifestyle and values.On the ground floor plan a recess②leads to the front door which is hidden from view. The plan is based on the symbolic idea of the fireplace as the center of the house.Space feels ambiguous (creates many ways of understanding) as the staircase collideswith the fireplace. In the dining area, the ceiling is half-vaulted (recalling the half-circlearch form tacked③-on to the facade) .The vault seems to just miss a structural columnwhich supports the flat ceiling above. Thus, the vault appears to be resting on a wall ofglass doors! The entire design is full of complexity and contradiction. After squeezing④past the fireplace on the way upstairs, one arrives in the master bedroom complete withan enormous arched window. Another set of step with extremely high risers lead to …nowhere—one last architectural ambiguity.ExercisesI. Fill in the blanks with the correct answer.1.Robert Venturi is famous for his book “and Contradiction” (1966) in whichhe called attention to the importance of Baroque architecture in contradiction torectilinear Modernism.A. CompactB. ImplicitlyC. SimplicityD. Complexity2.Venturi argued ______ an architecture that was neither pure nor picturesque, butwhich made the most of complexities, contradictions, ambiguities and paradoxes.A. atB. inC. onD. for3.Venturi said that architecture did not have to be “heroic and original”. Instead itwas “OK” to look back upon rich architectural for inspiration andreferences.A. styleB. historyC. formD. color4.This house ______ his mother allowed Venturi to build his ideas about complexityand contradiction.A. withB. for①glamorize vt. make glamorous and attractive②recess n. an enclosure that is set back or indented③tack v. fix to; attach④squeeze v. the act of gripping and pressing firmlySECTION 1: ARCHITECTURE 7C. byD. on5.The classic string course is broken by the . The lintel that joins the two halveslooks unusually narrow for the weight above.A. doorB. roofC. windowsD. portico6.To Venturi, these decorative elements and symbols glamorized cheap materialsthrough association with classical forms-all in an attempt to celebratelifestyle and values.A. high-classB. gutterC. middle-classD. noble-classII. Translate the italic sentences in the text into Chinese.8建筑专业英语1.4.3 An Introduction to Foster’s Projects①1. Hong Kong and Shanghai Bank Headquarters Hong Kong, 1979-1986When the Hong Kong and Shanghai Bank Corporation commissioned Foster and Partners to design “the best bank building in the world”, the practice responded byvirtually reinventing②the office tower.Conceived during a sensitive period in the former colony’s h istory, the brief for the Hong Kong and Shanghai Bank Headquarters was a statement of confidence: to createthe best bank building in the world. Through a process of questioning andchallenging—including the involvement of a Fengshui geomancer—the project addressedthe nature of banking in Hong Kong and how it should be expressed in built form. Indoing so it virtually reinvented the office tower.The requirement to build in excess of one million square feet in a short timescale suggested a high degree of prefabrication, including factory-finished modules, while theneed to build downwards and upwards simultaneously led to the adoption of a suspensionstructure, with pairs of steel masts arranged in three bays. As a result, the building formis articulated in a stepped profile of three individual towers, respectively twenty-nine,thirty-six and forty-four storeys high, which create floors of varying width and depthand allow for garden terraces. The mast structure allowed another radical move, pushingthe service cores to the perimeter so as to create deep-plan floors around a ten-storeyatrium. A mirrored sunscoop reflects sunlight down through the atrium to the floor of apublic plaza below a sheltered space that at weekends has become a lively picnic spot.From the plaza, escalators rise up to the main banking hall, which with its glassunderbelly was conceived as a shop window for banking.The bridges that span between the masts define double-height reception areas that break down the scale of the building both visually and socially. A unique system ofmovement through the building combines high-speed lifts to the reception spaces withescalators beyond, reflecting village-like clusters of office floors. From the outset, theBank placed a high priority on flexibility. Interestingly, over the years, it has been able toreconfigure office layouts with ease, even incorporating a large dealer’s room into onefloor—a move that could not have been anticipated when the building was designed.①This text is from .②reinvent vt. create anew and make over；bring back into existenceSECTION 1: ARCHITECTURE 92. Commerzbank Headquarters Frankfurt, Germany, 1991-1997At fifty-three storeys, the Commerzbank is the world’s first ecological office towerand the tallest building in Europe. The project explores the nature of the office environment, developing new ideas for its ecology and working patterns. Sky gardensthat spiral around the building bring daylight and fresh air into the central atrium andare the visual and social focus for village-like clusters of offices.Working patterns: Central to this concept is a reliance on natural systems oflighting and ventilation. Every office in the tower is daylight and has openable windows,allowing occupants to control their own environment, and resulting in energyconsumption levels equivalent to half those of conventional office towers.The plan of the building is triangular, comprising three petals—the officefloors—and a stem①formed by a full-height central atrium. Pairs of vertical mastsenclose services and circulation cores in the corners of the plan and support eight-storeyVierendeel beams, which in turn support clear-span office floors. Four-storey gardensare set at different levels on each side of the tower, forming a spiral of landscapingaround the building, and visually establishing a social focus for village-like officesclusters. These gardens play an ecological role, bringing daylight and fresh air into thecentral atrium, which acts as a natural ventilation chimney for the inward-facing offices.The gardens are also places to relax during refreshment breaks, bringing richness andhumanity to the workplace, and from the outside they give the building a sense oftransparency and lightness.Depending on their orientation, planting is from one ofthree regions: North America, Asia or the Mediterranean②.The tower has a distinctive presence on the Frankfurt skyline but is also anchoredinto the lower-scale city fabric, with restoration and sensitive rebuilding of theperimeter structures reinforcing the original scale of the block. These developments atstreet level provide shops, car parking, apartments and a banking hall, and forge linksbetween the Commerzbank and the broader community. At the heart of the scheme apublic galleria with restaurants, cafes and spaces for social and cultural events forms apopular new route cutting across the site. Interestingly, on the day the Commerzbankopened, the Financial Times adopted it as the symbol of Frankfurt, just as it features BigBen and the Eiffel Tower as symbols of London and Paris.①stem n. cylinder forming a long narrow part of something②Mediterranean n. the largest inland sea between Europe, Africa and Asia10建筑专业英语ExercisesI. Fill in the blanks with the correct answer.1.The Commerzbank has a plan, with the elevator and stairs situated at thecorners thus allowing for a 49-story atrium.A. foursquareB. rectangularC. polygonalD. triangular2.Norman Foster is the founder and chairman of Foster and Partners. Founded inin 1967, it is now a worldwide practice, with project offices in more than twenty countries.A. ParisB. New YorkC. ManchesterD. London3.The bridges that span between the masts define double-height reception areas thatbreak the scale of the building both visually and socially.A. downB. inC. outD. into4.Sir Norman Foster attempted to create a new skyscraper type which was ______ tothe environment, to the users of the building and to the surrounding city.A. illegalB. uglyC. harmfulD. friendly5.To allow for natural ventilation and operable windows, Foster designed adouble-facade or “climate facade” which is made of a exterior layer, amiddle air layer and an interior double-glazed operable window.A. illegalB. uglyC. fixedD. movable6.The building is a reversal of the Modernist phrase “machine in the G arden” as theCommerzbank is the “”.A. urban in the villageB. village in the urbanC. garden in the machineD. garden in the urbanII. Translate the italic sentences in the text into Chinese.SECTION 1: ARCHITECTURE 111.4.4 Gehry House①Cloze: Fill in the blanks with any word you think fit:Frank Gehry has said “ 1 definition, a building is a sculpture, because it is athree-dimensional object” In his Los Angeles studio, all designs are developed in modelform first and then, after many developmental models, construction drawings are madefor the builder and client. Gehry is perhaps one of the most influential architects of ourtime partly because his designs are actually built and partly because with each buildinghe creates unexpected forms with unexpected materials.But it is the Gehry House (1978) that is the most influential of all his buildings as itwas the 2 time an architect deconstructed an existing house (and published theresults in newspapers, magazines and books). Construction materials and chain-linkwere used as “ 3 ” materials. While Venturi was looking at history books on theway to Las Vegas, Gehry was digging in the 4 . What he found was a newexpression of form that had never been seen before. In architecture he created sculpture,which was both shocking and exciting to see and experience.Over the past twenty years Frank Gehry has remodeled his 1920’s bungalow manytimes. 5 the existing house (1978), Gehry organizes a series of interconnectedvolumes. The living, dining, kitchen and child’s bedroom are on the ground floor. Onthe second floor, Gehry 6 walls to enlarge the master bedroom and bathroom,and created another child’s room for the future. During the first remodeling in 1978,Gehry used materials normally used in industrial architecture 7 chain-linkfencing, corrugated metal siding, plywood boarding and wire-reinforced glass. Duringlater changes, he used more refined materials such as the apple-green ceramic tiles laidaround a new pool.The house is filled with windows, skylights and unusual openings, which reveal,reflect and frame different views of the house and grounds. Gehry always intended thehouse to change with his family’s needs. In 1992 he made major changes again. The newfloor plan is similar to the old plan as the hall; kitchen and dining room have remainedin the U-shaped space on the ground floor. On the upper floor, Gehry’s son’s room hasbeen turned 8 a studio and part of the master bedroom floor has been replaced①This cloze text is from anonymousness.12建筑专业英语by glass, thus allowing more natural 9 to reach the ground floor. The old garage,previously a guesthouse, has been turned into a children’s “hangout”.In many ways, the Gehry House is like Monticello—as Jefferson was constantly ripping down, building and changing Monticello. On a much smaller scale and in amuch 10 landscape, the Gehry House is for America what Monticello was just200 years ago—the architect’s experiment, laboratory and home.。
建筑学专业英语-unitfive
曼哈顿人寿保险公司大楼
St. Paul Building
Height: 315 feet (96 meters) to structural top Architect and engineer: George B. Post General contractor: Robinson & Wallace Constructed 1895-98
The Manhattan Company
Height: 927 feet Owners: Trump Organization Architects: H. Craig Severance and Yasuo Matsui Opened: 1930
Wishing to create an architectural symbol to outshine its rivals, in 1892 the Manhattan Life Insurance Company held a competition for its new headquarters at 64-66 Broadway across from Trinity Church, selecting architects Kimball and Thompson. When finished in 1894, the granite, terra-cotta, and brick-clad structure rose 348 feet above the sidewalk to the structure lantern top.
The facade was red sandstone, brick and terra-cotta, with red and gray granite at the arched entryway. 纽约世界大楼
建筑学专业英语翻译
建筑学专业英语翻译1.1 新建筑时代的文化融合Since the 1990s, China has obviously speeded up its steps to open the architectural field to the outside world. That is fully testified by its extensive adoption of the competition mechanism,introducing international bidding for some important constructions. As a result, visions of domestic architects have been expanded, their mentality updated, and a number of prominent masterworks created.The successful bidding for quite a few major projects by foreign architects marks the beginning of China's accession into the international community in the architectural sector. 自20世纪90年代开始,中国明显加快了向世界开放建筑领域的步伐,此事通过中国广泛采纳竞争机制,为一些重要建筑引入国际招标可以得到充分证实。
由此,国内建筑师的眼见得以被扩充,心态得到升华,大量的知名建筑被创造。
大量的重要建筑项目被国外的建筑师成功中标,标志着在建筑方面中国融入国际社会的开始。
Just like the country's accession into the World Trade Organization, which originally provoked controversies among some Chinese people who worried aboutabout the fate of the domestic en- terprises, only a temporary sacrifice of domestic architectural sectors can create chances for theirfuture success in ever-increasing international competitions. 正如中国加入世界贸易组织一样，一些中国人担心国内企业的命运，只是暂时牺牲国内建筑行业，在不断增加的国际竞争中创造未来的成功几会。
建筑学专业英语翻译
建筑学专业英语翻译1.1 新建筑时代的文化融合Since the 1990s, China has obviously speeded up its steps to open the architectural field to the outside world. That is fully testified by its extensive adoption of the competition mechanism,introducing international bidding for some important constructions. As a result, visions of domestic architects have been expanded, their mentality updated, and a number of prominent masterworks created.The successful bidding for quite a few major projects by foreign architects marks the beginning of China's accession into the international community in the architectural sector. 自20世纪90年代开始,中国明显加快了向世界开放建筑领域的步伐,此事通过中国广泛采纳竞争机制,为一些重要建筑引入国际招标可以得到充分证实。
由此,国内建筑师的眼见得以被扩充,心态得到升华,大量的知名建筑被创造。
大量的重要建筑项目被国外的建筑师成功中标,标志着在建筑方面中国融入国际社会的开始。
Just like the country's accession into the World Trade Organization, which originally provoked controversies among some Chinese people who worried aboutabout the fate of the domestic en- terprises, only a temporary sacrifice of domestic architectural sectors can create chances for theirfuture success in ever-increasing international competitions. 正如中国加入世界贸易组织一样，一些中国人担心国内企业的命运，只是暂时牺牲国内建筑行业，在不断增加的国际竞争中创造未来的成功几会。
建筑专业英语课文2.1.1(华中科技大学出版社)
2.1.1 What is a City?1Most of our housing and city planning has been handicapped because those who have undertaken the work have had no clear notion of the social functions of the city. They sought to derive these functions from a cursory2survey of the activities and interests of the contemporary urban scene. And they did not, apparently, suspect that there might be gross deficiencies, misdirected efforts, mistaken expenditures here that would not be set straight by merely building sanitary tenements or straightening out and widening irregular streets.The city as a purely physical fact has been subject to numerous investigations. But what is the city as a social institution? I would like sum up the sociological concept of the city in the following terms:The city is a related collection of primary groups and purposive associations: the first, like family and neighborhood, are common to all communities3, while the second are especially characteristic of city life. These varied groups support themselves through economic organizations that are likewise of a more or less corporate, or at least publicly regulated; and they are all housed in permanent structures, within a relatively limited area. The essential physical means of a city’s existence are the fixed site, the durable shelter, the permanent facilities for assembly, interchange, and storage; the essential social means are the social division of labor, which serves not merely the economic life but the cultural processes. The city in its complete sense, then, is a geographic plexus, an economic organization, an institutional process, a theater of social action, and an aesthetic4symbol of collective unity. The city fosters art and is art; the city creates the theater, that man’s more purposive activities a re focused, and work out, through conflicting and cooperating personalities, events, groups, into more significant culminations.Without the social drama that comes into existence through the focusing and intensification of group activity there is not a single function performed in the city that could not be performed－and has not in fact been performed－in the open country. The physical organization of the city may deflate5this drama or make it frustrate; or it may, through the deliberate efforts of art, politics, and education, make the drama more richly significant, as a stage-set, well-designed, intensifies and underlines the gestures for nothing that men have dwelt so often on the beauty or the ugliness of cities: these attributes qualify men’s social ac tivities. And if there is a deep reluctance on the part of the true city dweller to leave his cramped quarters for the physically more benign6environment of a suburb－even a model garden suburb!－his instincts are usually justified: in its very opportunities for social disharmony and conflict, the city creates drama; the suburb lacks it.One may describe the city, in its social aspect, as a special framework directed toward the creation of differentiated opportunities for a common life and a significant collective drama. As indirect forms of association, with the aid of signs and symbols and specialized organizations, supplement direct face-to-face intercourse, the personalities of the citizens themselves become1 This text is from Lewis Mumford, Architectural Record, 1937.2 cursory ['kə səri ] a. performed with haste and scant attention to detail3 community [ kə'mju niti ] n. a group of people living in the same locality and under the same government4 aesthetic [ i s'θetik ]a. of or concerning the appreciation of beauty or good taste5 deflate [ di'fleit ] v. to reduce or lessen the size or importance of6 benign [ bi'nain ] a. tending to exert a beneficial influence; favorablemany-faceted: they reflect their specialized interests, their more intensively trained aptitudes, their finer discriminations7and selections: the personality no longer presents a more or less unbroken traditional face to reality as a whole. Here lies the possibility of personal disintegration8; and here lies the need for reintegration through wider participation in a concrete and visible collective whole. What men cannot imagine as a vague formless society, they can live through and experience as citizens in a city. Their unified plans and buildings become a symbol of their social relatedness; and when the physical environment itself becomes disordered and incoherent9, the social functions that it harbors become more difficult to express.One further conclusion follows from this concept of the city: social facts are primary, and the physical organization of a city, its industries and its markets, its lines of communication and traffic, must be subservient10to its social needs. Whereas in the development of the city during the last century we expanded the physical plant recklessly and treated the essential social nucleus, the organs of government and education and social service, as mere afterthought, today we must treat the social nucleus as the essential element in every valid city plan: the spotting and inter-relationship of schools, libraries, theaters, community centers is the first task in defining the urban neighborhood and laying down the outlines of an integrated city.ExercisesI. Fill in the blanks with the correct answer.1. The author mainly analyses the function of city in the article.A. economyB. socialC. cultureD. institutional2. The social of labor is the essential social means of a city’s existence.A. cooperationB. diversityC. divisionD. progress3. Whi ch is not in the city’s complete sense?.A. A theater of social actionB. A collection of groups with blood relationshipC. An economic organizationD. An aesthetic symbol of collective unity4. Comparing with the country, the city offered a stage for social drama which group activity.A. inteneratedB. weakenedC. intensifiedD. emphasized5. The physical organization may the social drama or make it more significant.A. frustrateB. impelC. demolishD. delay6. A coherent physical environment can express the social relatedness.A. hardlyB. difficultlyC. obscurelyD. easily7. With the indirect forms of association, the citizens can .A. intensify their trained aptitude.B. lose their discriminationC. maintain traditional personalityD. conceal their interests7 discrimination [ disֽkrimi'neiʃən ] n. the ability or power to see or make fine distinctions; discernment8 disintegration [ disֽinti' reiʃən ] n. the act or process of disintegrating9 incoherent [ֽinkəu'hiərənt ] a. lacking cohesion, connection, or harmony; not coherent10 subservient [ sʌb'sə viənt ] a. Subordinate in capacity or function8. The physical organization of a city must be to its social needs.A. primaryB. transcendC. subordinateD. surmount。
建筑英语权威翻译(武汉理工版)
第一课 4Based on information supplied by the other specialists, construction management civil engineers estimate quantities and costs of materials and labor, schedule all work, order materials and equipment for the job, hire contractors and subcontractors, and perform other supervisory work to ensure the project is completed on time and as specified根据其他专家所提供的信息，施工管理专家计算材料和人工的数量和花费，所有工作的进度表，订购工作所需要的材料和设备，雇佣承包商和分包商，还要做些额外的监督工作以确保工程能按时按质完成。
第一课12They coordinate the activities of virtually everyone engaged in the work：the surveyors；workers who lay out and construct the temporary roads and ramps，excavate[`ekskə9veit] for the foundation，build the forms and pour the concrete；and workers who build the steel framework.他们协调工程中每个人的活动：测量员，布置和建造临时道路和斜坡，开挖基础，支模板和浇注混凝土的工人，以及钢筋工人。
这些工程师也向结构的业主提供进度计划报告。
第二课6The precise activities to be housed in any specific building--ranging from an assembly line in a factory to a living room in a home--should dictate the size and shape of the several areas within.确切的活动，被安置在任何特定的建筑–广泛到从工厂的一条装配流水线到一个家庭的起居室---应该规定几个内部区域的大小和形状。
建筑学专业英语课文翻译
专英题型1.短语英译汉2*5=102.短语汉译英2*5=103.句子英译汉4*2+5*2+6*2=304.段落汉译英10*1=105.完形填空2*5=106.单选2*5=107.作文20*1=20A CITY IS NOT A TREE城市并非树形（城市不是树形结构）CHRISTOPHER ALEXANDER 克里斯托弗.亚历山大Unit 01Section 1Intensive readingPart Ⅰ不少设计师十分推崇并尝试在设计中结合那些能够反映根本的人类心理、精神需求和文化价值观的建成环境要求。
但是没有任何一个人像出生于澳大利亚、受教于英国、扎根于美国的建筑师和规划师克里斯托弗.亚历山大一样与传统建筑实践如此彻底地决裂，并且探索地更加深入，以使自己的设计反映这些最基本的价值。
亚历山大自称是一个破坏偶像（反对传统观念）的人，他有意识地同二十世纪建筑学和城市规划的主流思想保持距离。
值得注意的是：他挑出来在下文中进行攻击的8个“树形”规划是二十世纪最受尊重、最富盛名的规划方案的代表，包括勒.柯布西耶基于其建造一个现代城市的理论而为印度昌迪加尔新区做的规划；还包括保罗. 索莱尔的位于亚利桑那沙漠中梅萨市的空想巨型结构。
自从他最早发表挑衅性的观点攻击后面所选的正规的“树形”城市规划内容贫乏以来，亚历山大一生都从事于探求解读潜藏在人类需求下的深层结构体系以及对建筑新样式的再生模式的定义。
下面所选例子清楚地说明，一个城市不应该设计成像整洁的树形分枝组织那样把各个功能彼此分开。
亚历山大谴责整洁的城市规划，它们把“邻里”用界限分离，划分一个区域用作居住另一个用作商业，或者专门创建一个区域用作大学或文化设施。
他认为人类活动远比那些更为复杂和交叠。
亚历山大在文章节选中提出的城市设计策略可能会困扰那些寻求清晰、理性设计准则的人们。
亚历山大的观点是：关于如何设计非树状结构的城市还所知不够，从而无法提出明确的解决方案。
建筑类专业英语课后翻译
建筑学建筑学是建造的艺术。
实质上整个建筑学都与供人使用的围合空间有关。
建筑物内部一些空间的大小和形状是由那些将要容纳在该建筑（如工厂的装配线到住宅中的起居室）里的确切活动所规定。
这些空间的排列还应有合理的关系。
另外，人在建筑中的走动需要有走廊，楼梯或者电梯，其尺寸受预期交通负荷的支配。
建筑方案是建筑师首先要考虑的事，他把对建筑物的各种要求安排成体现建筑意图的空间组合。
好的方案可以使来访者在建筑中找到其目的并留下印象，这种印象也许是下意识的通过把大的建筑体系中一些单元明显的联系起来而造成的。
相反，坏的方案所产生的结果是不方便，浪费和视觉上的混乱。
此外，一座建筑的结构必须建造良好，它必须具有永久性。
这种永久性既是设计意图要求的，也是材料的选择所允许的。
建筑材料（石，砖，木材，钢材或玻璃）部分的决定着建筑物的形式，并被这些形式所表现。
石头几乎可以无限的承受压力。
在实验室中能把石头压碎，但在实际使用中它的耐压程度几乎是无限的。
然而它的抗拉性确实十分脆弱的。
任何横跨空间的梁都会出现在支点间下弯的趋势，从而使梁的下半部分处于拉应力状态。
基于石头抗拉力差的缘故，这种材料梁须相对短，且支点多。
还有，石柱必须粗而短，其高度很少超过宽度的十倍。
在石建筑中，窗，门以及支柱间的空间，其高度不得不超过宽度，从而形成了狭长矩形的石建筑美。
木材是一种含纤维的材料，既可以承受压应力，又可以承受拉应力。
木梁比起石梁要相应长些，木柱则比较细，但间距宽。
由于木材的天然性能而形成宽度德语高度的扁而宽的矩形建筑，正如日本建筑中所看到的那样。
钢也具有等于或者大于其抗压强度的抗拉强度。
任何观察过正在施工的钢结构建筑物的人，必定注意到由每块地面上伸出的细长而间隔很宽的柱子和长梁形成的横向长方形网格结构。
木材和钢材的性能适用于框架（一种支撑楼面和楼顶的构架），当然还需其他的铺面材料。
木材和钢材还可制成悬臂梁，伸出最后的支点以外。
最后，建筑不仅要满足强度和空间的实际需求，它还必须满足人类的精神需要。
4.2 Bauhaus 建筑 专业英语 翻译 蒋山 宜应文
he took up his appointment in 1919 he united the two schools under the name of Das Staatliche Bauhaus Weimar.This was of profound significance because it made clear at the outset that one of the main purposes of the new school was to unite art and craft which had for too long been divorced from each other.Gropius contended that the artist or architect should also be a craftsman,that he should at the same time study theories of form and design.The traditional distinction between artist and craftsman should,Gropius thought,be eliminated.He also believed that a building should be the result of collective effort and that each artistcraftsman should contribute his part with a full awareness of its purpose in relation to the whole building.Gropius was therefore and advocate of team-work in the creation of building and in the production of furniture,pottery and all the various architectural arts. 在第一次世界大战之前，比利时建筑师威尔德，当时萨克森高等工艺美术学校 和萨克森高等建筑艺术学院的系主任，在魏玛向萨克森-魏玛大公推荐瓦尔特"格罗 皮乌斯作为他的继承人。1915年，萨克森-魏玛大公召见了格罗皮乌斯，要求他重组 这两个学校，并给了他充分的权力，1919年，他一上任就将两所学校联合起来，建 立了魏玛国立建筑学校。这是具有深远意义的一件事，因为在一开始就明确了新学 校的教学目的是将长时期一直处于分离状态的艺术和技术联合起来。格罗皮乌斯主 张艺术家和建筑师也应当是一个技术工人，同时也应当学习形式和设计理论。格罗 皮乌斯认为，艺术家和技术工人之间传统的区别应当排除，他还认为一座建筑物应 当是集体智慧的结晶，每个艺术-技术人员应当以充分意识到个人力量对于整个建筑 的关系，贡献出自己的一份力量。因此，格罗皮乌斯提倡在建筑建造，家具，陶器 的生产和各个建筑艺术领域都要讲究团队合作的精神。
建筑学专业英语课文翻译
建筑学专业英语课文翻译Unit1 textA建筑学是一门人类必须的，与建筑材料联系的建造艺术。
以便提供实用性和艺术欣赏性。
这不同于工程建造的纯粹实用性。
建筑学可以是一个结构，一座房舍，一座桥，一个教堂和一处建筑群落。
建筑学作为一门艺术作为一门艺术，建筑学本质上是抽象的和非写实的，囊括了空间、体量、平面、聚集和空隙之间的处理。
一些建筑太美太有趣以至于它们成了著名的艺术品。
建筑师利用形态，结构，颜色和其他艺术元素及手法来设计建筑。
建筑师们建造不同形态的建筑。
通过识别建筑的外形你能认出许多建筑。
1，椭圆，圆形和其他形状装饰了穹顶的天花板。
2，线条在一座意大利教堂的屋顶构成了图案。
3，用来建造这处建筑的建材创造了有意思的质感。
建筑学里的时间时间也是建筑学中的一个主要因素，因为一处建筑通常被理解成一段长时间的经验而非一时之快。
对于绝大多数建筑，是找不到一个能理解整体结构的有利位置的。
光与影的应用，还有表皮装饰，都能极大地加强结构的展现。
对于建筑形式的分析为洞悉过去的文明提供了方便。
每处伟大形态的背后都不是一个偶然的走向或是流行趋势，但是一系列严肃且紧急的试验直接解答了人们对于生活方式的特殊需求。
气候，工种，可得的建材和经济都限制了他们的指示。
每处大的设计式样都是在新建筑思想的启发下完成的。
一旦形成了，一种思想会流传下来且难以改变，只有当社会动荡或是新的建造技术出现时，他才会逐渐衰退。
这种演变的过程在现代建筑风格这段历史上印证了，从十九世纪中期对于刚和铁结构的应用发展而来。
直到二十世纪建筑结构发生的三个巨大的提升：柱子与梁，或为有横梁的体系；拱券体系，而不是粘合性，使可塑材料变硬成为均质体，或是嵌入式，这样荷载就能在确切的地方被吸收和平衡；还有现代钢骨体系系统。
古代的建筑风格在埃及建筑风格中，一些仍现存的最早的结构（三千年前埃及人建造的）也属于建筑式样。
柱子和横梁体系是唯一被使用的，从而诞生了历史上最早的带圆柱的建筑。
建筑专业英语课文翻译
建筑专业英语课文翻译建筑专业英语课文翻译学习建筑专业的同学们，我们的课本上有很多专业的英语文章大家知道怎么样翻译吗？以下是店铺精心准备的建筑专业英语课文翻译，大家可以参考以下内容哦！建筑专业英语课文翻译【1】一般术语1. 工程结构 building and civil engineering structures房屋建筑和土木工程的建筑物、构筑物及其相关组成部分的总称。
2. 工程结构设计design of building and civil engineering structures在工程结构的可靠与经济、适用与美观之间，选择一种最佳的合理的平衡，使所建造的结构能满足各种预定功能要求。
3. 房屋建筑工程 building engineering一般称建筑工程，为新建、改建或扩建房屋建筑物和附属构筑物所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
4. 土木工程 civil engineering除房屋建筑外，为新建、改建或扩建各类工程的建筑物、构筑物和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
5. 公路工程 highway engineering为新建或改建各级公路和相关配套设施等而进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
6. 铁路工程 railway engineering为新建或改建铁路和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
7. 港口与航道工程 port ( harbour ) and waterway engineering为新建或改建港口与航道和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
8. 水利工程 hydraulic engineering为修建治理水患、开发利用水资源的各项建筑物、构筑物和相关配设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
建筑学专业英语翻译【优质】
Exhibition Hall Art Gallery In Bonn波恩美术展览馆这个建筑坐落在波恩市博物馆的旁边,非常地醒目，它是另一个建立在这个庞大正方形基础上的建筑，（它的）平行六面体的每条底边均长达95.7米，该建筑还有一个高11米的平台，可以栽种树木，有一个可供展览的花园以及恍如天堂般的曲径小道；上面还建有三个突出的焦点——3痤园锥体塔楼，屹立在开阔的风景线上，3面用于内部采光的天窗就是该建筑的标识了。
主通道位于东北方，通向与博物馆共享的公共区域，布满了像迷宫一样呈网状分布的小型植物。
沿着弗里德里希·埃伯特大道，往东北方向或有些阻碍——11根柱子分列于两痤恢宏大厦之间，柱上点缀着一些纵向的充满韵律感的浮雕，象征并代表着十一个领域所取得的丰功伟绩。
从这些柱子开始，地面上的一道时髦的白色线条引领着人们直达入口，一条又长又窄的阶梯将人们从这个区域引向最高的天台。
这个入口门厅是虚化处理的平行六面体结构，穿过它的就来到另一个外部天井，门厅的表面朝两个方向分别布满了光滑的波纹状和对角形斜纹。
这个正方形基础，已按9×9m的网形布局进行过调整，分为一个沿边的环状带和四个内部区域，即入口门厅，有观众席的讨论区，主馆和中央大厅。
外围的地带包括办公室，商店，会议室，图书馆，经典画廊。
它露出了它自己在屋顶上覆盖了西南一半的天窗，（通过天窗）将自己从花园中分离出来。
展览的地方提供了一个独特的可供小型、中型、大型房间单独使用的同时，其或以不同方式合并的系统。
主馆是一个大的、呈长方形、两层高的空间，它被在两个侧面的天窗和对面角落里的锥形光明塔照亮。
在中央大厅，有一个双跑的楼梯爬上墙壁、庭院和内部的双重空间。
两者结合起来形成的中心广场的空间被上层的房间包围。
在背叠式风格里，在这个楼层和双重空间里，可以找到对应的第二光塔的圆形大厅。
第三个(光塔的圆形大厅）位于建筑的东北- 西南轴上，这个轴线包含了一个集合在门厅和礼堂之间的部分大厅、一个在东南外立面上的三层双跑楼梯的后门。
建筑学专业英语翻译
S. Peter's, Rome (begun 1506. consecrated I626) (pp. 868C. 870, 871, 902C, 905), the largest and most important building of the Renaissance, owes the nucleus 0f its design to Bramante, although many other architects were to work on it. It was Julius II's whim to install a colossal tomb for himself in the choir (begun by Nicholas V, c. J 450) that precipitated the decision to rebuild the ancient basilica completely. Bramante made several variant designs for the new building, but all envisaged that directly above the tomb of S. Peter would rise an enormous dome of roughly the same size as the Pantheon's, supported upon four massive crossing piers. The so-called Parchment Plan’ (Uffizi. Florence) and the foundation medal of 1506 show a Greek-cross plan within a square, with four subsidiary domes, lowers at the corner,and half-domes terminating each of the four arms, Such a design is the realisation of the theoretical preference for centralised planning, but also derives from such esteemed funerary churches as S, Mark's, Venice as well as ancient mausolea. Despite its size however, the Greek-cross plan would not have covered the site of the old basilica, nor would it have suited congregational or processional needs: ultimately a Latin cross with an extended eastern arm was preferred (p, 871Gg)Bramante's building would have had a relatively severe exterior, depending for its effect on the hierarchical massing of geometric forms (rather like his earlier project for Pavia Cathedral). The dome, known both from the modal and form a woodcut in Serlio's treatise, was to be a single-shelled hemisphere, presumably made of concrete and with a stepped profile derived from the Pantheon; it would have been raised up on a colonnaded drum and surmounted by a lantern (p. 870B). For the interior of the building Bramante intended to use paired Corinthian pilasters supported on tall pedestals (the flour level was later raised by Sangallo). His highly original and influential chamfered crossing piers, although later much enlarged, still survive in the completed building, enabling the nave and transepts to widen at the crossing and giving a smooth transition between pier and pendentive. In general, Bramante's sculptural approach to piers and wall mass. inspired by Roman architecture, represents a new spatial conception of great importance.After the death of Julius (1513). Leo X appointed Fra Giocondo and the ageing Giuliano da Sangallo as co-architects, but on Bramante’s own demise (1514) it was Raphael who became architect-in-chief.At this period numerous proposals were made for the continuation of the building. Raphael's own design was a Latin cross retaining many of Bramante's ideas including file dome, although the crossing piers were enlarged. Raphael proposed the addition of ambulatories around the ends of the three short arms of the cross, and intended the building to have a monumental porticoed facade, with a giant order interlocking with smaller orders, between elaborate towers. At Raphael's death (1520), Antonio da Sangallo the younger was elevated to architect-in-chief, assisted by Peruzzi. Peruzzi proposed many designs, including a return to the Greek cross idea, but Sangallo's final model, commissioned in 1539. is essentially a revision and expansion of Raphael’s design. The Sangallo scheme (p.87OD,G) has been much abused following Michelangelo's condemnation of its 'German' qualities and lack of light. The apparent lack of unity in the model would have been offset in execution by the very scale of the building, complemented by the massing of so many parts. The western region of the model (liturgical cast end) is a Greek cross with three ambulatories, but the plan becomes a Latin cross by the addition of a subsidiary domed linkconnecting with the facade block. Between the towers the close-packed articulation of the two-storey facade projects at the main portal with an unprecedented plasticity.When Michelangelo was appointed as Sangallo's successor in 1546 he embarked on a radically new project involving the demolition of the Raphael/ Sangallo southern anbulatory. By Michelangelo's death (1564), his project was all but realised, and his designs for the dome were essentially followed afterwards. Michelangelo's S Peter's, claimed to be a restoration of Bramante's, is in fact a reduced and simplified Greek cross (p. 870F) ingeniously formed from the nucleus inherited from Sangallo, The abolition of the ambulatories created a much better lit and more unified interior a greatly reduced cost. The external walls are articulated with rhythmically spaced giant Corinthian pilasters, laid over unmoulded vertical strips. By splaying the re-entrant angles the pilaster wall skirts the building like a giant curtain. Above an attic, concealing much of the vaulting, rises Michelangelo's majestic dome (built by Giacomo della Porta, 1588-91) which has a drum buttressed by paired attached columns, continuing up into external ribs on the dome surface, and further paired columns in the lantern. The pointed profile of the dome (although rather steeper than Michelangelo intended) recalls Florence Cathedral, as does its double-shelled method of brick construction. This allows the outer shell to rise much higher than the inner, forming with the four subsidiary domes a pyramidal composition the unity of which is enhanced by the verticality of all the external articulation. With its crown-like lantern the building rises to 137.5m (451 ft). Thus, despite the reduction in scale, Michelangelo's building is still enormous- the dome is 42 m (138 ft) in diameter, only 1.5 m less than the Pantheon.Michelangelo's design was continued by Vignola (appointed 1564), Ligofio (1565), Giacomo della Porta (1572) and Domenico Fontana (1585). Carlo Maderno lengthened the nave, converting the church into a Latin cross (building length 194m. 63bft) (p. 871G) and designing his own facade (1606-12), which, although continuing Michelangelo's giant order, looks back to the designs of Raphael and Sangallo. Maderno's extension unavoidably conceals much of Michelangelo's dome even from Bernini's piazza (q.v.).The sumptuous internal decoration was largely carried out in the seventeenth century under Bemini, who succeeded Maderno as architect-in-chief in 1629. Also by Bernini is the famous bronze baldacchino (1624-33) over S. Peter's tomb, and the spectacular Cathedra Petri (1656-65), filling the western apse and housing the supposed throne of the apostle.。
建筑学专业英语文章2【精选】
Taste1.People who study examples of good taste嗅觉can acquire good taste. Some people are surrounded by good taste from birth. Others acquire a sense of taste from teachers or knowledgeable individuals. Those who improve their taste do it by observing and perceiving察觉，理解，认知objects of good design.2.History has placed a stamp of approval on the culture and artifacts史前古器物of ancient Egypt, Greece, and Rome. The periods of Louis XV 路易十五and Louis XVI路易十六, as well as the designs of the Renaissance 复兴period in Europe, are also rated估价high from the standpoint 立场，观点of good taste.3.However, taste is always in a state of flux不稳定because new designs are continually being created. Nostalgia 怀旧also plays an important role in the tastes of many people. It accounts for the popularity of traditional or classical decoration, which represents a return to the “good old days”, as in the popularity of Early American handcrafted 手工and antique古老的furniture today.4.Some people favor a traditional period and style. Even when this choice is correct in every aspect, it can produce rooms that lack the imprint痕迹，特征of the individual’s personality. Other people who desire to break突变from tradition find expression表达for their taste in a choice of contemporary designs. Still another group, the eclectics折中主义, like amixture of different styles.5.As one looks at the past and contemporary designs with a critical, appraising 评价的eye, accepting what is right for a particular life style and rejecting what is not, personal tastes are developed. No one is born with a discerning敏锐的eye, nor is it acquired overnight, but once acquired most possessions will become more rewarding.6.Taste is a purely subjective个人的judgment of what one thinks is beautiful, attractive, or appropriate. What one individual may consider to be good taste another may find in poor taste. Once Victorian homes filled with bric-a-brac 金碧辉煌were considered appropriate. Today modern society frowns on 不满于cluttered environments, as witnessed in our sleek井然有序的, unadorned朴素的skyscrapers摩天楼and our uncluttered 整理interiors with clean-line furniture.7.Taste is also a personal preference, whether or not others feel that it needs improvement. But genuine 真正的good taste is discrimination 区别and judgment based on a knowledge of art principles that follow good design. Taste is not acquired by accepting each new trend that becomes fashionable, but rather through a deliberate深思熟虑的and continuing process of first becoming aware, then training the eye to discriminate between what is and what is not good design. How is good taste distinguished from bad taste? An item is in good taste if it can be described as well proportioned成比例的, integrated互相协调的,beautiful, original, fine, sincere, appropriate, logical, direct, and efficient, with its form defining its function. An item can be considered in bad taste if the observer feels that it can be fairly described as chaotic无秩序的, confused混乱的, illogical, shoddy劣质的, fake赝品, cheap, insincere, ostentatious卖弄的, or vulgar粗俗的. There are many degrees of taste, ranging from the abysmally极度地bad through the mediocre 平凡to the superlatively 无上地good.8.Although the arbiters 仲裁者of taste might disagree with a person’s individual judgment and classification等级, whatever they are they represent that person’s honest and personal taste. If we are mentally精神上growing-developing finer 好的discrimination识别力, keener 哭丧女perception知觉, and maturer成熟的人appreciation-our standards of taste are constantly changing. We might discover that our previous taste has become inadequate不充分, and perhaps even abandon it. Thus it is not uncommon for young consumers to rush out冲出and decorate their first apartment with furniture they think they like because they did not understand their own taste. Their purchases were made too hastily匆忙.9.Our tastes are a result of how we see things aesthetically美学上, the scope of our educational and cultural experiences, our values, and our attitudes. Our tastes make us reject拒绝certain styles and accept others. Rejection could even evolve into发展成acceptance as we become more familiar with a style. For example, one may not want to own antiquesbecause they are not understood or appreciated but once a knowledge of antiques is acquired, an individual may become very much interested in using them in the home.10.Taste is more than purely subjective. It is an emotional response, and therefore a blend of thinking and feeling. Your emotional reaction may limit your enjoyment of a design.11.“Taste is also the orientation of an individual that results in his making judgments about social appropriateness of cultural products-nonmaterial, as well as material. Thus judgments of taste can be directed toward music, manners, and social conduct as well as art, architecture, and interior decoration” according to Roach and Eicher, who also point out that “taste is exhibited within a social context and is in relation to standards for taste that have grown out of the behavior patterns of the social group.” Taste operates in a sociological context because judgments are applied to an individual’s pattern of selection from the alternatives available. But that individual is judged on the basis of how well his or her taste measures with a given group’s taste. In other words, one is assessed with regard to the ability to differentiate good from bad taste as measured against arbitrary standards set by the group.12.Timing also influences what is considered good or bad taste. James Laver, a British historian, saw the relationship between taste and timing when he said that good taste depends upon the time perspective injudging a particular item. An item, he said, is considered thus:“indecent”10 years before its time“shameless” 5 years before its time“outre” 1 years before its time4“smart”in its time“dowdy” 1 years after its time“hideous”10 years after its time“ridiculous”20 years after its time13.The amount of time covered may be greatly expanded or condensedfor different items or styles; but the cycle is still a valid concept. Thisconcept operates in the collecting of antiques. Ten years ago people werenot collecting Art Deco items, but today these items are highly prized. Agreat deal depends on how far removed an item is from the time period inwhich it is judged.8261人研究的例子可以获得好的品味品味。
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Unit1 textA建筑学是一门人类必须的，与建筑材料联系的建造艺术。
以便提供实用性和艺术欣赏性。
这不同于工程建造的纯粹实用性。
建筑学可以是一个结构，一座房舍，一座桥，一个教堂和一处建筑群落。
建筑学作为一门艺术作为一门艺术，建筑学本质上是抽象的和非写实的，囊括了空间、体量、平面、聚集和空隙之间的处理。
一些建筑太美太有趣以至于它们成了著名的艺术品。
建筑师利用形态，结构，颜色和其他艺术元素及手法来设计建筑。
建筑师们建造不同形态的建筑。
通过识别建筑的外形你能认出许多建筑。
1，椭圆，圆形和其他形状装饰了穹顶的天花板。
2，线条在一座意大利教堂的屋顶构成了图案。
3，用来建造这处建筑的建材创造了有意思的质感。
建筑学里的时间时间也是建筑学中的一个主要因素，因为一处建筑通常被理解成一段长时间的经验而非一时之快。
对于绝大多数建筑，是找不到一个能理解整体结构的有利位置的。
光与影的应用，还有表皮装饰，都能极大地加强结构的展现。
对于建筑形式的分析为洞悉过去的文明提供了方便。
每处伟大形态的背后都不是一个偶然的走向或是流行趋势，但是一系列严肃且紧急的试验直接解答了人们对于生活方式的特殊需求。
气候，工种，可得的建材和经济都限制了他们的指示。
每处大的设计式样都是在新建筑思想的启发下完成的。
一旦形成了，一种思想会流传下来且难以改变，只有当社会动荡或是新的建造技术出现时，他才会逐渐衰退。
这种演变的过程在现代建筑风格这段历史上印证了，从十九世纪中期对于刚和铁结构的应用发展而来。
直到二十世纪建筑结构发生的三个巨大的提升：柱子与梁，或为有横梁的体系；拱券体系，而不是粘合性，使可塑材料变硬成为均质体，或是嵌入式，这样荷载就能在确切的地方被吸收和平衡；还有现代钢骨体系系统。
古代的建筑风格在埃及建筑风格中，一些仍现存的最早的结构（三千年前埃及人建造的）也属于建筑式样。
柱子和横梁体系是唯一被使用的，从而诞生了历史上最早的带圆柱的建筑。
同一个时代的西亚建筑风格也使用同样的体系。
然而，带拱券的结构也被熟知和运用。
迦勒底人和亚述人，依靠泥土砖为主要建材，建造以泥砖依附于外壳的拱形屋顶。
基督教时代外形的演变罗马人和早期的基督徒用木质构架支起他们大跨度的巴西利卡穹顶。
拜占庭建筑师试验新理论然后发明了穹隅，在六世纪圣索菲娅大教堂中非常出色的应用了。
罗马建筑风格在早期中世纪时的显著特征是结实，简洁，体量巨大和拱顶，用被采割的石块。
伦巴第罗马式（十一世纪）中，拜占庭的集中嵌入式拱顶在拱肋和支墩的协助下大大改进。
十三世纪的哥特式建筑体现了完美的形制，例如亚眠大教堂和夏特尔大教堂。
文艺复兴时期（十五世纪）建筑风格的诞生在西方建筑中沿用了几百年，期间多样和复杂的现代建筑开始浮现，然而同时没有新的和引人注目的建筑思想出现。
复杂的、极度装饰的巴洛克风格成了十七世纪建筑美学的主要体现，乔治王朝时期的建筑风格在十八世纪建筑中的体现是显著的。
十九世纪的前半段为古典艺术和哥特艺术的复兴。
新世界，新建筑十九世纪后期的建筑师发现他们处于一个被科学，工业和速度重塑的世界。
一个新的“折中主义”出现了，例如以装饰艺术风格派为基础的建筑风格和在英国和美国通常被称为维多利亚式的建筑。
一个新的社会的需求推动了他们，当钢材，加强型混泥土和电力在许多建筑手段中的运用能供他们使用的时候。
在半个多世纪的同化和试验之后，现代建筑风格，更多被称为国际主义，产生了多种令人惊讶的前卫的和原始的建筑。
经常是以玻璃覆盖在钢结构外面。
包豪斯对于现代建筑产生了巨大影响。
随着建筑和工程之间的关系日益模糊，二十世纪的建筑通常接近于工程。
更近代的话，后现代建筑，利用和扩张现代主义的技术创新，又通常合并其他文明或是不同时代的元素，成为了一种国际趋势。
Unit 2 textA世界史概述（1）建筑艺术是不断进行建筑设计所得的产物。
惯用手法通常涉及那些在历史文明中有重大意义的设计和结构。
建筑样式必须要满足最初的需求，必须使用可靠的技术，还必须传达美学。
那些最好的建筑通常构筑的如此之好以至于它们不仅限于最初的用处，不只是作为美丽的物体留存下来，而是作为历史文明的见证。
对于西方读者而言，古代的建筑世界，东方的，哥伦布到达美洲之前的，应该分为两块:本土建筑风格和古典建筑风格。
本土建筑风格包括那些似乎是独立发展起来的建筑手法，本土的文化环境。
古典建筑风格包括许多体系还有希腊和罗马的建筑思想。
本土建筑艺术最古老的设计环境追溯到城市的最初发展，亚述城的科尔萨巴德，建于萨尔贡一世（772-705BC）早在1842年就被发掘了。
成为了美索不达米亚建筑学研究的基础。
经过很长的一段时间，埃及的城市文明建设建立了世界上最让人敬畏的古代纪念碑，最大的保存最完好的金字塔----用于王室墓葬-----位于吉萨的胡夫金字塔（2570BC）还有哈夫拉金字塔（2530BC）早期印度建筑艺术，石头被精巧的雕刻，比起建筑来说更像是雕刻品，在埃罗喇和阿舟陀的遗址，孟买的东北部，有一系列的人造洞穴。
雕刻位于悬崖坚硬的岩石上。
中国建筑，通常呈矩形，对称式的。
反映了以社会秩序为焦点的传统。
日本建筑更多的拥有与土壤，水，岩石和树木的亲密联系。
桂离宫是这种处理方法的典型范例。
墨西哥提奥帝华坎文明（100BC---AD700）包括了两个矗立于广阔城市的巨大的金字塔。
玛雅文明最辉煌的建筑时代属于4th至11th。
玛雅人通过运输大量的土壤创造了令人印象深刻的结构。
他们粗线条的建筑体不是构成整体所需的石碑就是以灰泥作为装饰。
印加神庙在秘鲁安第斯山脉的中央，繁荣期从1200--1533。
印加的石工技艺是无可比拟的，巨大的石块运输过崇山峻岭，而后被精确的安在一起。
古典建筑风格希腊和罗马的建造体系和形制直接决定了西方建筑学的进程，希腊神庙的形制，总是很典型的神殿，从雅典卫城微小的差不多6--9米高（差不多20--30英尺）的胜利女神庙（427--424BC）到西西里阿格里琴托占地超过一公顷（超过两英亩）的巨大的宙斯神庙（500BC）。
两种希腊古典柱式差不多是同时发展起来的。
多立克柱式在本土和西部殖民地占优势。
公认的多利克柱式杰作是帕提农神庙（447--432BC），位于雅典卫城之顶。
爱奥尼柱式发源于岛上的城市和小亚细亚的沿岸。
它的主要特征是细长的柱身和复杂精美的柱础。
之后的一个发展是科林斯柱式，它引进了爱奥尼柱式的特点并以忍冬草的叶子作为装饰细节。
罗马成了一个强大的，组织良好的帝国，以伟大的工程杰作--道路，运河，桥梁和高架渠为标志。
两项罗马的发明考虑到建筑更大的灵活性：穹顶和十字拱---由两个相同的筒形拱顶成直角交汇而形成。
罗马人同样引进表示纪念胜利的凯旋门，还有椭圆形剧场或运动场。
罗马以宏伟的城市建设引人注意，通过广场彻底展示了巴西利卡，神庙和其他特色。
最令人印象深刻的广场在提沃利附近哈德良的别墅（125--132）。
在4世纪，罗马康斯坦丁大帝改信基督教然后建造了一座教堂，从而促进了许多新教堂的兴建。
巴西利卡于罗马的留存最大程度的唤起了早期基督艺术的特点，包括圣阿格涅斯教堂（630年后重建）和圣萨比纳教堂（422--432）。
拜占庭的教堂有着拱顶，且以马赛克装饰，马赛克艺术席卷了拜占庭王朝。
最显著的是圣索菲娅大教堂（532--537），由西方的查士丁尼一世在君士坦丁堡建造。
巴西利卡的平面以罗马式的建筑艺术而精心制作。
一些极为宏大的罗马式庙宇没有逃过法国革命（1789--1799），但是在绘画作品中重现了。
它的设计影响到了勃垦地及更远处的罗马式和哥特式的教堂。
在十二世纪开端，罗马式被改变成了哥特建筑艺术。
尽管这改变是对于不断成长的基督教义理性主义的回应，它也是造拱术发展的结果。
差不多1100，英国都汉姆大教堂的建造者研究了个新的技术，就是一个新的几何接合----肋拱。
其他的发展像是尖券和尖拱，还有飞券，都使得结构更加高雅，更高，结构表面上看更为轻盈。
巴黎主要的法国哥特式大教堂（see 圣母）包括夏特尔大教堂，兰斯大教堂，亚眠大教堂。
英国的哥特大教堂包括坎特伯雷的，林肯市的，约克大教堂和埃克塞特的。
Unit3 A在1600年之后不久同时出现在罗马和巴黎，巴洛克在艺术和建筑中很快的传遍了欧洲，它流行了150年。
在这个时期，新的社会政治制度会导致专制权力集中在个人手中的。
建筑证实了这些—通过结构和装饰项目的宫殿、教堂、公共和政府建筑、科学和商业建筑、和军事设备。
壮丽的教堂、喷泉和宫殿证明复兴在罗马教宗的力量，同时建筑也为新教徒和俄罗斯东正教礼拜仪式带来新的教堂形式。
巴洛克式的建筑师在古典文艺复兴时期已经受过良好的教育传统，强调对称和协调的比例，但他们的设计却揭示了一个新意义上的活力和庄严。
文艺复兴时期的建筑师试图吸引的理解力和他们所关注的神圣几何学的来源,当他们的继任者旨在压倒了感官和情感。
巴洛克建筑也掌握了统一的视觉绘画、雕塑、建筑、园艺设计、城市设计-一个显著的程度和结构、制造建筑考虑戏剧性的感觉和力量。
巴洛克分格和巴尔贝贝那个时期的建筑是有大的曲线和呈波浪形正面，前所未闻的尺寸和复杂性的地平面图，和多种多样的屋顶形状，像弗朗切斯科·博罗米、加里诺·加里尼、约翰·巴塔萨·纽曼的教堂。
巴洛克建筑的许多工程都遵循了高大的比例，结合城市设计和园林建筑的方面。
这一点可以在罗马圣彼得教堂前面的椭圆形的露天广场清楚地看到。
巴尔贝贝是一位建筑师、画家和雕刻家-其中一个最重要和充满想象力的艺术家意大利巴洛克时代，及其用以支撑精神，在圣彼得教堂前面的纪念碑广场的设计是最大和最令人印象深刻的个单一项目。
巴尔贝贝必须调整他的设计,以适应在这个地方原有存在的建筑物，古代罗马人从埃及带来的的方尖碑和一个马丹诺设计喷泉。
他用这些特征的轴线定义了一个巨大的椭圆蕴涵的柱廊连接到圣彼得教堂正面加入两个分开的翅膀。
四排巨大的托斯卡纳柱式组成了两排柱廊，终止于古典庙宇。
柱廊以引人注目的姿态让作为观众进入广场代表欢迎罗马天主教会给它的成员在反革命。
巴尔贝贝他提到他的设计出现的柱廊欢迎的双臂像教堂。
以纯粹的规模和夸张，完整圣彼得大教堂满足17世纪天主教布呈现敬畏的需求-激励与权威的视觉教堂。
（使用装饰性的花园和想象和精心的是典型的意大利巴洛克，在罗马各种各样的房地产和城市广场，例如证这件巴洛克风格高度时尚装饰和创造性的喷泉。
）巴洛克时期的分段为了方便,巴洛克时期是分为3个部分：早期巴洛克：在罗马教皇的赞助早期的风格是卓越的，卡拉奇画派、米开朗琪罗·卡拉瓦乔和他追随者果断从之前惯用一种格调的画家中偏离。
巴尔贝贝遗弃了以前在他雕塑中的特殊习惯，允许他表达一种新的自然活力。
在建筑中，卡罗·马丹设计的圣苏珊纳大教堂和圣彼得教堂的立面走向一个经典规则雕塑处理。