建筑学专业英语翻译3.1 活力与创造的建筑[合集]

第一篇：建筑学专业英语翻译3.1 活力与创造的建筑

3.1 活力与创造的建筑

1.大学生喜欢探索他们所在的大学的新生活，他们渴望达到一种归宿感通过成为对他们的环境很熟悉的人，创始者知道所有秘密的地方在哪。

2.新的罩艺术博物馆看起来是为了迎合这个大学生的有用的目的，他是一个你想花四年的时间去搞懂但又搞不懂的建筑，你能清楚地识别罩博物馆的中心，它是顶楼的丘吉尔画廊，被一个巨大的亮的富兰克林拼贴画所控制，但是你不知道它的周界在哪，它的边界相间错杂，互相交叉，就像科学家说的话一样，所有的东西都围绕着它，并且更特殊的是有两个老建筑在它两边。尽管你无数次的漫步在博物馆的周围、无数的入口和楼梯，你还是不能对这个非常模糊的建筑形成一个清晰地印象图。相反，你开始认为你自己是错觉大师埃舍尔的平面艺术里的居民，注定不断地爬不断地转换视角的领域的楼梯。

3.博物馆的建筑师是 查尔斯-莫尔和中心溪流建筑师事务所的cf 建筑师，AIA作为经营合伙人，罩艺术博物馆是稳重（适度）的对莫尔和C，带着对于他们的工作很稀有的一种固体建筑物的感觉和制度的持久性，它依然保持着所有他们原来的创造性。

4.对这个博物馆的一个简单但不充足的描述可能是这样的。它是一个由红色和灰色的砖盖的两层建筑，黑色锤凿混凝土和镀铜。它塞在了一个位于达特茅斯绿地角落的两个更老的建筑的缺口，这个公共绿地是这个村和这个大学的中心。它包含10个画廊屋，一个礼堂，和各种各样的辅助空间在60000平方英尺上。它也包括非常好的艺术和考古学的收集物。

5.不幸的是，那些描述没有传达关于Hood的显著地特点，他没有记录，并且年代久远，那些Hood探险家毫无目的的想迷途的羔羊一样围绕着现场转悠，忽略了其他建筑和汉诺威是对齐的正交网格。Hood有很多入口，但是没有主入口。他们塑造了三个不规则的经验丰富的户外房间的院落，除了似乎被作为建筑森林。所有Hood的部分都是不同于其他的，他们倾向于完整自身，并且他们在水平和随意角度碰撞。如果有单一的执政隐喻，那么这是维多利亚时代的新英格兰磨村。虽然护德博物馆就像一个充满浪漫迷雾的村庄，但更像一个迷幻的墙穿插在一个风景如画的意大利小山村的天际线上。

6.但其迷人的外观也偶尔会由于失误而产生问题。最严重的问题就是护德博物馆正对面的达特茅斯公园。

7.自从护德博物馆被设置在公园的后面后，弗莱德和莫瑞就尝试着通过虚化前面的公园来达到增强博物馆的存在感的目的。这个方法就是在公园的出入口处设置一些面朝北面黑色厚实的灌木丛，并且不加任何的修饰。建筑师则选择坚韧厚实的花岗岩作为博物馆饰板，但是预算有限只能采用薄的花岗岩饰板。从公园处很长一段距离，你几乎不能发现护德博物馆采用的是铜制的屋顶。在你通过护德博物馆从公园到门岗处，你可以博物馆的名字被雕刻在门岗处。这个雕刻有名字的门岗是一个建筑标识，当你到达博物馆时，你就看到。走进之后，你也可以发现两个旋梯在这个神秘的博物馆庭院中，一个盘旋向上，一个径直向下。我看到一对不是很幸运的老年夫妇，开始向下走，然后又原路返回，接着就往上走，然后又返回，最后不得而离开。如果他们坚持走的话，虽然不认识路但也会发现，两个斜坡将引到他们到不同楼层的入口。弗莱德和莫瑞在这里只是玩了一个对人们积极性期望设置的游戏。放弃提供一个清晰的进入方法。并且错层的庭院将会产生一个尴尬和不愉快的空间。

8.另外护德博物馆的外观也是讨人喜欢的。其中的铜色屋顶通过各种方法浇灌泥浆，看起来像一个飞行的铜色纸飞机。虽然通过调色材料的兼容达到了护德的一些外观效果。但带有窗户的红色砖墙就像传统英格兰的乡音一样有滋有味。灰色的砖，堆成的带状装饰则一起形成了天空的形态空间。并且朴实的公园，蓝绿色，橄榄色发亮的屋檐和窗户一起呼应着对未来的憧憬的铜色。

（护德博物馆的一部分外表面是更加令人喜欢的。这个铜屋顶，可以肯定的是有一点不稳定，倾斜和很多有趣的方面，比如说像铜色的纸飞机飞行。但是这样，护德博物馆要达到一种整体性需要通过对相同色调的材料的使用。红色带有穿孔的砖墙，）

9.艺术的本质，不是它的外部，是建筑上取得的分数的成功。几乎作品内部所有的东西都是很好的，和完整的不规则伸展的合成与结构走到一起。这是这个房间就像弗洛依德和穆尔预测在建设完成后，那是难忘的经历。该方法是明显的：你爬楼梯，抱着一个玻璃墙，墙上的双层玻璃，在这样一种方式，每一层都有自己独立的框架，使你移动时，不同的网格滑过。在火把线这楼梯形状的灯具，如中世纪的宴会在上面等待你。等待你的是一个画廊的交叉在其刚天花板通过一个狭小通道，在天窗溢出间接采光上面到画廊墙。房间是用15×17食品为主的斯特拉金属拼贴，从艺术家租借，一个艺术品从远处的墙辐射相同的能量与神韵到建筑。

（护德的室内，而不是在室外，正是它获得巨大建筑领域的巨大成功所在，几乎内部的一切都做的很好，整个庞大复杂的工程的完美高潮在拉斯罗普美术馆，这是一个在美国建筑领域中显著的中心之一。这个在护德的建筑就像弗洛依德和穆尔在它被建造完成之前预测的那样是令人难忘的经验。这个方法是戏剧性的：当你爬上这个紧靠着玻璃墙的楼梯，一个装有双层玻璃幕墙以这样一种每层都有他自己独立的）

10.站在莱思罗普中心画廊，你意识到你在两个独立的轴向景观焦点，每个贯穿一系列画廊。前景从角拉斯罗普向外延伸，就像两列火车从不同的方向一站。你觉得自己是在事物的中心，在一个将周围包围的一切空间。

11.罩内提供了许多更多的乐趣。所有的房间和通道进行不同的处理。正如穆尔所指出的在一个发表声明：

12.在我喜欢的博物馆当中有许多特殊的地方像华盛顿菲利普斯；我希望这个博物馆是一个系列不同比例的房间，房间的庄严，和特点，在艺术不只是出现在一些匿名的矩阵，但有机会享受它们自己的环境。

13.罩内成功的方式是穆尔的本意，作为一个连接的分组个别的地方。如果一个建筑是一个家庭的房间路易斯-卡恩建议，然后罩是一种团圆。

14.例如，礼堂，是一个藏和寻找同异形柱一起玩。一排三房，独立柱沿着一侧。中间一栏缺少的基础和最其轴，这将对座椅有影响：资本就像是一个头颅，悬挂在天花板上。相反的一面，三种相对应的圆柱形状阴影在墙上被涂上颜料好像他们是前面三个影子除了中间那个现在完成。所有六列担任灯固定架。

15.入口前庭是另一个令人愉悦的异常现象。这里几个循环路径来解决小八角形马戏团与天花板的蓝色光束，凉亭之类的地方，打开了最罩可以进入一个大厅。你去任何一个罩的地方，细节如楼梯扶手和灯都是最新的发明。而且艺术和文物的装置也特别好，小心处理建筑的比例，房间就像合适的容量，容量为他们的房间。

16.混淆地说，我离开的两相邻建筑的讨论直到最后。在罩的西侧是霍普金斯中心，1950年的哈里森的一栋建筑，包含一个剧场，一个餐厅。霍普金斯股份与罩的质量，这是可勘探性。17.穆尔和弗洛依德所做的最好的就是达到深入到霍普金斯中心和更新一些进入一个新的食堂，迁移下一个去罩的入口。

18.一个不寻常的设计过程产生的罩，大大影响其最终形式。centerbrook开始工作，通过设置一个霍普金斯中心办公室，在学校的小吃店。即便如此基本决定是博物馆出来的这一过程协同业主建筑师。centerbrook简单设计六个不同的网站，以及委员会选赢家。

19.The Hood是一个精彩的部分似乎想表达一种秩序感赢得了暂时的建筑。就像一个大学生的房间，这个博物馆是充满了神殿和神圣的地方，而其余的，作为一个整体，没有完全形成。在它的不确定性可能类似于高级建筑师的个性，查尔斯W.穆尔，谁在Hood的开口之前，像往常一样，在世界各地的飞机（巴西，柏林），并同时在德克萨斯的房子，他为自己设计的第八楼。该罩具有穆尔自己的特质的紧张逗乐了创造性的风险来从未完全关闭。它是这座大楼的高质量的测量，一个强烈的愿望，因为它很伟大似乎事与愿违并下定决心只是短暂的下降。

20.The Hood博物馆是一个建筑物，一旦看来，永远存在在记忆中，你对它思考的兴趣也越来越大。

19.罩是一个精彩的部分似乎想表达建筑赢得了片刻一个秩序感。大学生一样的房间，当你逗留时，博物馆是向神殿和神圣的地方，作为一个整体，不完全形成的。在它的不确定性可能类似于人格高级建筑师，查尔斯·穆尔，他在几天前罩打开了，像往常一样，为他自己设计在世界各地的飞机。该罩具有穆尔自己的紧张逗乐了这个建筑，风险来从未完全封闭的特点。它是这座大楼的高质量的测量，一个强烈的愿望，它的倒行逆施非常伟大的决心似乎只是短暂的下降。

20.罩博物馆是一栋小屋，曾经见过，记忆中永远，越来越大的兴趣你回想起。

第三部分： 第四部分：

1.根据施工图，从北，Hpkins中心和威尔逊大厅之间的胡德的水泥和铜入口门;以上观点由门框架，远门通往第二庭院庭院。我们可以看到，接待区入口附近的前庭。

2.很明显看到,游客发现自己面临两个坡道,一个弯曲的,和一个走下来。最后,游客会发现坡道导致各级入口,但他们没有办法知道。这是错层式庭院,结果。

3.cupola-crowned哈林顿美术馆博物馆位于西区的上层,上图,宏伟的楼梯从接待区莱斯罗普画廊;跨页,“两轴向远景的焦点”。

第二篇：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 link

connecting 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.

第三篇：建筑专业英语翻译

建筑专业英语翻译

原文：

Using Consultants for Community Comprehensive Planning1

When a community decides to develop or update its comprehensive plan, it is immediately plagued2 by a number of decisions regarding how should they develop it, what should be contained in it, how professional assistance should be used, and what form it should take.In the main, many communities having no, or a small, planning staff turn to professional planning consultants for assistance in the endeavor.This results in the establishment of a consultant selection process that can be as short as hiring the one firm someone knows about or utilizing a full scale “Request for Proposal” process.Consultant selection is important since the developed plan will bear the mark of the consultant as well as the community.Therefore, it is useful to first agree upon the type of consultant desired and then the purpose of the comprehensive plan update before embarking upon the consultant selection process.All consultants have, or should have, a particular approach to comprehensive planning—similar to doctors, lawyers, economists and other professionals.Planning consultants are not all alike in skills, approach, philosophy, and experience;community comprehensive planning is different from other forms of urban planning—it is not regional planning, metropolitan planning, corridor3 planning, project planning, or site planning.Because a consultant has experience in site planning or metropolitan planning does not mean that they are a skilled or experienced community comprehensive planner.Therefore, the selection of a planning consultant for comprehensive planning purposes should reflect an understanding and agreement with the consultant’s view as to the purpose of the plan development and the approach they will use.Such an understanding can easily be articulated4 by the consultant.While a consultant can bring sound technical skills and an objective viewpoint to the planning process, the key to developing a realistic and usable plan is to have the policies and programs for action emerge from the desires and capabilities of the community.To do this, the role and function of the consultant—for the duration of the project and within the immediate period following plan adoption—is to act as the technical area of the planning commission.This viewpoint is the result of several strongly held convictions borne out by experience in the comprehensive planning process, as well as in the implementation of such plans.Among these convictions:

 A plan is used only if it truly represents the political and social aspirations commonly held by the community and is responsive to the needs of its decision-makers. A plan is used only if its intent is clearly understood at the outset and its format flexible enough to respond to the changing problems, needs, and desires of the community. A plan is used only if it can be understood by the community’s decision-makers and if it fits into the process of local community development.Comprehensive planning is not an end in itself.Rather, the process and the product 1This text is from http://.plaguev.annoy 3 corridorn.a long narrow passage on a train or between rooms in a building, with doors leading off it 4 articulatev.speak distinctly

represent a tool to guide the Plan Commission and Board of Trustees in making growth management and redevelopment decisions.Such decisions encompass many aspects of community management, including subdivision5, rezoning, annexation6, historic preservation, economic development, housing, redevelopment, capital improvement and community design.To develop such a plan it is important that the consultant charged with developing the plan clearly understands the aspirations of the community and the limitations of the real world.Secondly, it is important that the local decision-makers accept the consultant as a professional who understands the needs and aspirations of the community.That is, it is necessary that a trusting relationship be built between the consultant and the clientand through them, the community as a whole.A comprehensive plan(or master plan)is a guide for moving a community from today to some point in the future.Just as a business or corporation may adopt a long-range strategic plan for their company, a community must also plan for its future through the development of a comprehensive plan.The process of comprehensive planning and the final product represents a tool to guide Planning Commissions, Zoning Boards, and local governing officials in making municipal policies and development decisions.These decisions encompass many aspects of community management, including subdivision, zoning, annexation, historic preservation, economic development, housing, redevelopment, capital improvement and community design.In developing such a plan, it is important that it serve the following purposes.It should provide a clear and supportable statement of the type of future that is desired.This statement must consist of:

 Goals: Community derived statements of aspirations

 Objectives: Statements of how the goals will be achieved

 Plans: Supportable illustrations of how the community should develop over time in terms of land use, transportation improvements, community, facilities, etc. Policies and Programs: Supportable rules for decision-making, courses of action to gain the objectives and projects which can move the community toward its vision of the future

It should identify needed capital improvements.Public improvements, such as transportation, utility and other community capital improvements, provide the community’s primary method of directing growth so as to reach the “vision” of the plan.As such, a strong emphasis upon the type, phasing, cost and financial resources for such improvements is a necessary component of the plan.The plan must provide a realistic basis for the use of zoning and other land use and redevelopment controls and incentives7.subdivisionn.a product of subdividing, as a section of a department

annexationn.that which is annexed 7 incentivea.something that encourages you to work harder, start a new activity etc.6

翻译：

地区综合规划中顾问的使用

当一个社区决定发展或更新它的综合规划时，会有大批折腾人的决策比如说 他们该怎样发展；规划应该包含些什么；使用什么样的专业帮助以及该采取何种形式。

重要的是，在努力的过程中许多社区仅有或只有小部分负责的规划员工会向专业的规划顾问寻求帮助。这一现象就导致了一个顾问的选择过程可以像雇佣一个彼此很了解的合伙人或像万事具备的求婚过程一样短暂简单。鉴于一个完善的规划可以显现出顾问及社区的能力，所以顾问的选择相当重要。因此，在开始顾问选择程序之前最有效地是弄清楚到底需要哪一类的顾问，然后才是完善综合规划的目地。

所有的顾问都有或者应当具有特殊的应对综合规划的对策。就像 医生 律师 经济学家以及其他职业一样。规划顾问在技术，方法，哲学及经验方面并不都一样，社区综合规划和其他形式的城市规划是不一样的。它不仅仅是区域规划，大城市规划，走廊规划，工程规划或地址规划。一个有丰富地址或大城市规划经验的顾问并比意味着他就是个有技术经验的社区综合规划者。因此，一个综合规划中规划顾问的选择应该是有洞察力的并且顾问的观点该与规划发展目地和他们采用的途径相一致。

顾问能轻易地分辨出这样的洞察力。尽管顾问可以给规划的过程带来成熟的技术性技巧和明确的观念但是开发一个现实并可用的规划的关键是有社区期望和能力所必须的行动的政策和程序。为了做好这些，顾问的角色及职能是担当计划委员会的技术领域。（规划必须在规划所规定的时间内完成）这一观点是由几个确信的在不断综合规划过程以及这类规划执行中衍生出来的。这些坚持包括：

。只有当这一规划真实的反应了地区的政治和社会的强烈愿望时并反应了决策者需求时才回被采用

。只有这一规划的目的从一开始就能被理解并且它的形式很多样能应对不断改变的地区题，需求和想法

。只有规划被地区决策者理解并能适应当地社区发展过程时才回被采用

综合规划并不是终结，相反的，这一过程和气产品象征着领导规划委员会以及董事会取得管理，重建决定的工具。这些决定包括了社区管理的许多方面。有进一步细分区制，附属建筑，历史保护，经济发展，住房，重建，资金改善和社区设计。

为了发展这样的规划最重要的是负责这个规划的顾问能清楚地了解社区的期望以及现实世界的约束。第二，当地决策者接受顾问的想法并把他当成能了解社区期望和需求的专业人士也很重要。也就是说一个建立在顾问与客户之间的互信关系很必要。通过规划委员会和城市理事会社区才是一个整体。

综合规划是引导社区从今天走向未来的好的向导，就像工商企业和公司为自身发展可能会采用一个长期的策略。社区也需要通过社区规划的发展来计划它的未来。社区规划的过程及其最终的成品是一个引导规划委员会，区域理事会和当地政府机关在做出市办政策及发展决定时的一个好的工具。这些决定包括了社区管理的许多发面。如：进一步细分区制，附属建筑，历史保护，经济发展，住房，重建，资金改善和社区设计。为深入发展这个规划按下述条例来做很重要。

对于未来想要的类型得提供一个清晰地被广接受的这个结算单包括:

。目标：结算单来源于社区强烈的愿望

。目地：结算单怎样实现这一目标

。计划：支持率阐明了社区在以后的时间内就土地使用，交通改善，设施的问题该怎样发展

。政策与程序：做决定的规则，实现目地和工程这一行动的过程能社区转移到未来的视

野上.这一系类的结算单需要资金的改善。

公共的改良,比如交通，公共事业及其他的公众资金改善，给大众提供基本的指向规划梦想扩大的途径。本身，一个关于类型，阶段，花费及财政资源的强有力的强调是这个规划成功的必要的组成部分。

规划必须向地区的使用，其他土地征用，重建控制和刺激提供一个实际可行的基础。

第四篇：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。对于圣索菲亚大教堂的奉献真正意义上是对于基督的奉献，Justinian’s church was designed by Anthemius of Tralles and Isidorous of Miletus-men with a deep knowledge of the mechanical science of the day who are referred to, not as architects, but as mechanicoi or mechanopoioi.That science was, however, more akin to the geometry of today than to the science of the modern engineer, and it is the masterly geometric ordering of the space and the vaults that cover it that is most apparent from a detailed study of the design.Statically, the design was not completely successful, because the dome partly collapsed barely 30 years after completion and had to be rebuilt to a modified design.But that collapse was at least partly attributable to the great speed of erection, far exceeding that of any comparable later structure, and to an unusual sequence of earthquakes in the intervening years.It is also necessary to bear in mind that the design went far beyond previously proven practice.The main body of the church is enclosed within a rectangle almost 70m(230ft)wide and 75m(245ft)long, with a projecting apse at the east end and double narthexes preceded by an atrium at the west end.In the centre of this is square whose sides measure exactly 100 Byzantine feet(31.2m).Over it sits the dome, carried on pendentives which bridge between great semicircular arches carried on piers standing just outside the square.Other piers face these piers across the aisles to help resist the outward thrusts of the dome to north and south.To the east and west the arrangement is different, and was even more novel than the use of pendentives to convert the central square to a circle.Here, butting against the transverse arches that carry the dome, are two semidomes equal in diameter to the dome itself and carried partly by future piers set against the outer east and west walls.These piers finally take the thrusts to east and west, but at a lower level where they are potentially less damaging.Below the semidomes are great hemicycles that double the east-west extent of the nave.Between the main piers and the secondary piers just referred to, these hemicycles open into smaller semicircular exedrae similar to those in earlier tetraconch churches.Single aisles run from end to end at each side(p.305), narrowed somewhat by the main masses of the piers and narrowed further by pairs of inward projections from the piers that have been shown to be additions to the original design made at a late stage of construction when the horizontal forces generated above had begun to push the piers aside in an alarming way.Because of the presence of the great hemicycles and the exedrae at the east and west, their inner boundaries are very different in their different bays.They communicate at the west with the inner narthex.Above them and above the inner narthex are similarly shaped galleries.Partly to carry the aisle and gallery vaults, arched colonnades run between the piers around the nave, and further columns stand within the aisles and galleries.All have monolithic shafts, encircled at top and bottom by bronze collars where, in classical columns, there would have been integral projecting neckings.The shafts within the aisles and galleries are of white Proconnesian marble: those around the nave are of green Thessalian marble or red porphyry, the latter only in the exedrae at ground level.They carry superb capitals of several different designs, all of which incorporate integral impost blocks.These capitals, as well as the carved cornices and similar features, were clearly cut for the purpose.So were most of the shafts, despite significant variations in size and the legends of provenance from earlier temples But the porphyry shafts vary more in size than the others and do seem to have been reused.The arrangements are similar at the two levels, except that the colonnades that run around the nave at gallery level-both the straight central colonnades and the curved ones around the exedrae-are not only lower than those below, as might be expected, but have more columns and closer column spacings.Above the second cornice, which runs unbroken around the entire church, are the springings of the main semidomes, smaller semidomes over the exedrae, and the arches that carry the dome.The semidomes were all originally quarter spheres, though the western main one now has a flattened crown and rises more steeply up to it.All originally had five window openings, some of which are now blocked.Below the main arches at north and south are window-filled walls known as tympana.These have been reconstructed, the window area originally having been greater-with a large single window in the upper part.Forty windows originally lit the dome.four of which are now blocked.The main structure was partly built of large well-fitted blocks of limestone and a local granite, and partly of brick, of the usual Roman flat tile-like proportions.Ashlar was used for the lower parts of the piers, but it gave way to brick at the higher levels and for all vaults even at ground level.A notable characteristic of the brickwork is that the mortar joints were almost as thick as the bricks.This must have contributed greatly to the early large deformations and the subsequent partial collapse of the dome.The plan is most notable for the way in which the longitudinal emphasis of a basilica is combined with the centralising emphasis of the dome.Detailed study of the setting out shows how the two were brought together.Not everything in the design was as deliberate, however.The unpremeditated addition of stiffening projections from the piers has already been referred to.There is evidence of improvisation in the vaulting of the aisles and galleries, particularly of the irregular spaces next to the nave.Most revealingly, it appears highly likely that the lack of correspondence between the colonnades at ground and gallery levels around the nave was also not originally intended.Entering the church today(now a museum alter more than nine centuries as the principal church of the Byzantine empire, and almost five centuries as a mosque)there is much that must be discounted and much that has gone that must be borne in mind(p302).Multi-coloured marble facings remain largely undisturbed on most of the surfaces of the piers visible from the nave and much of the original gold mosaic on the aisle and narthex vaults.At the higher levels, however, one is most confronted with badly discoloured nineteenth-century painted plaster.Much of the natural light that would have originally flooded the interior has been blocked by the filling-in of windows and the construction of bulky buttresses against the outer walls.All the original fittings for lighting Hagia Sophia after dark disappeared long ago, as did all the original furnishings clad in gold and silver and studded with precious stones.Within the nave, the overall impression is of a single surface which envelops walls, colonnades and vaults-a surface that is divided into horizontal bands by the colonnades and cornices, sometimes disappears from sight, and is far from impenetrable, but barely hints at the great mass of the piers that actually sustain the dome(p.304}.Within the aisles there is an even more lively complexity resulting from the varied bay shapes, the juxtapositions of columns of varying types, colours and heights, the changing glimpses of the nave as one moves about, and the contrasts in light.What is most difficult to envisage is the focus that would previously have been provided by the canopied altar rising behind a chancel screen projecting well forward between the eastern exedrae, the great ambo set further forward under the dome and connected to the chancel by a screened passageway, and the colour, movement, singing and incense of the sacred liturgynoting that most of the doors do not, and never did, line up with one another.Finally, it is worth nothing that there were no pastophoria within the church.Previous attempts to identify areas adjacent to the apse as the prosthesis and diaconicon-or sacristy and vestry-have been shown to be mistaken.Though such provisions were made at the time inside some churches, they were not called for here.Priests robed before they led a mass entry of the congregation into the church from the atrium and narthexes.The elements for consecration in the service were prepared in a separate structure, the skeuophylakion, which is situated a little to the north, and which is the principal survival from the church of Theodosius I1.

第五篇：2011年建筑学复试英语翻译(武汉理工2011建筑与城乡规划学)

2011研究生复试考卷（英语部分）

英译汉

…This seemed to be a shared belief among postmodernists and theorists that turned to semiotics（符号学）for help.…Building includes more than signs and images, and dwelling is both more and less than interpretation.To indicate this more and less, let me briefly note some problems in two versions of the semiotic approach.Along one semiotic path, building is seen as a communicative system in its own right, where the basic significative units are also functional units.The benefits of this approach, with respect to everyday, layperson experience of architecture, is that one does not have to assume that our understanding of buildings presupposes sophisticated and explicit knowledge about the history and intentions behind the built forms.The meaning of the stairs is then, put bluntly, the possibility to climb and to descend, and we understand this meaning because we are embodied and cultural subjects.A shortcoming of this perspective is that in its emphasis on functionality it overlooks that our relation to buildings is more than functional, practical or interpretive.We sometimes sit and think, but sometimes we just sit.Our relation to a bench or to a house is a relation to a thing rather than to a significative unit.Our environment is full and dense and we are absentminded in various ways, in addition to being attentive or goaldirected.