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。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：建筑学专业
2012-2013年建筑学专业排名_中国大学本科教育专业排名
排 序 学校名称 水平1 清华大学
5★ 2 同济大学
5★ 3 天津大学
5★ 4 西安建筑科技大学
5★ 5 华南理工大学
5★ 6 哈尔滨工业大学
5★ 7 重庆大学
5★ 8 沈阳建筑大学
5★ 9 南京大学
5★ 10 大连理工大学
4★ 11 西南交通大学
4★ 12 长安大学
4★ 13 南京工业大学
4★ 14 山东建筑大学
4★ 15 青岛理工大学
4★ 16 浙江大学
4★ 17 武汉大学
4★ 18 山东大学
4★ 19 广州大学
4★ 20 太原理工大学
4★
开此专业学校数 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179
大学建筑学专业排名
第一档（三博全）：
1清华大学2同济大学3东南大学4天津大学5华南理工大学6西安建筑科技大学7重庆大学8哈尔滨工业大学
国家重点学科分布:
建筑学一级学科：清华大学、天津大学、同济大学、东南大学
建筑设计及其理论：西安建筑科技大学、华南理工大学（培育）；
城市规划 同济大学、重庆大学
第二档（有一个博士点或三硕全）：
9华中科技大学10浙江大学11湖南大学12南京大学（2硕）13大连理工大学（1硕）14西南交通大学15厦门大学16武汉大学17北京建筑工程学院18沈阳建筑大学19中南大学20深圳大学21山东建筑大学
除老八校外以上三学科有博士点的学校：浙江大学、华中科技大学、湖南大学、大连理工大学、南京大学
第三档（二硕）：
22合肥工业大学23昆明理工大学24华侨大学25武汉理工大学26太原理工大学27南京工业大学28青岛理工大学29吉林建筑工程学院30山东大学31四川大学32长安大学
有建筑学硕士授予权的学校（共22所）：老八校、浙江大学、华中科技大学、湖南大学、大连理工大学、北京建筑工程学院、西南交通大学、合肥工业大学、沈阳建筑大学、华侨大学、昆明理工大学、厦门大学、武汉大学、南京大学、北京工业大学
第四档（一硕）：
33北京工业大学34上海交通大学35西安交通大学36中国矿业大学37北京交通大学38中央美术学院39郑州大学40河北工业大学41北方工业大学42内蒙古工业大学43广州大学44河北工程大学45北京大学46西北工业大学47东北师范大学48南昌大学49新疆大学50天津城市建设学院51后勤工程学院
拥有建筑学学士授予权的学校（共45所）：建筑学硕士授予权的学校21所（不含南京大学）深圳大学、山东建筑大学、南京工业大学、吉林建筑工程学院、武汉理工大学、郑州大学、河北工程大学、广州大学、上海交通大学、青岛理工大学、安徽建筑工业学院、西安交通大学、中南大学、中国矿业大学、苏州科技学院、太原理工大学、内蒙古工业大学、河北工业大学、太原理工大学、福州大学、北京交通大学等几所。
第五档:
安徽建筑工业学院、苏州科技学院、福州大学、石家庄铁道学院、兰州理工大学，等没有建筑学硕士点而开设建筑学本科教育的大学。
建筑学专业
http://www.xiexiebang.com 2004/06/07 18:08 中国青年报
清华大学
【专业特色】清华大学建筑学院前身——清华大学建筑系，由著名建筑学家梁思成教授创建于1946年10月。1988年成立建筑学院。现在的建筑系是建筑学院的三个系之一。学院在世界上有广泛的国际联系，和许多国际上著名大学的建筑院系建立了广泛的学术合作交流关系，如美国哈佛大学，麻省理工学院，宾西法尼亚大学，英国的剑桥大学等，每年都有几十位外国学者和建筑师来院做学术报告。近年来，研究生和本科生也有机会到一些国家如美国、英国、德国、瑞典等进行学术考察和交流，并定期选派部分研究生到比利时、丹麦等进行联合培养。
【招生特点】建筑学专业本科在招生的时候不要求考生交绘画作品，进校后也不考美术，主要强调理工与人文素养的结合。建筑学专业从2000年开始实行6年制本硕统筹培养模式。本科三年级学生中有70%的学生进入这种培养模式，即从四年级开始在继续本科课程的同时进行研究生学位课程的学习，到第6年完成硕士答辩合获得硕士和学士学位。没有进入6年制的学生，一部分按照5年学制本科毕业，获得建筑学学士学位，另一部分可按照4年学制本科毕业，获得工学学士学位。
【师资科研】学院现有教师94名，其中教授28名(含中国科学院和工程院院士3名)，副教授38名，兼职教授11名(含中国科学院和工程院院士4名)，还聘请国际知名建筑大师贝聿铭、丹下健三为名誉教授以及多名客座教授。
【毕业去向】建筑学专业的毕业生大多在设计院和事务所从事建筑设计与研究、建筑历史理论与研究、古建筑保护与研究、建筑技术科学应用与研究等方面的研究工作，也有部分学生出国深造或一些房地产公司、装修公司工作。
东南大学
【专业特色】东南大学建筑系始建于1927年，是中国第一个建筑系。早在1981年经国务院学位委员会批准建立了“建筑历史与理论”和“建筑设计 与理论”两个博士点。建筑系拥有建筑学、城市规划和艺术设计三个本科专业，学制均为五年，要求考生有一定的艺术素养、空间理解力以及创造性思维能力。
【师资科研】系里现有院士2名，特聘教授2名，教授29名，副教授14名，其中博士生导师17名，硕士生导师14名。学科内建立了计算机辅助建筑设计(CAAD)国家专业实验室，同时，系图书资料丰富，藏书6000余册，在国内属一流。
【毕业去向】建筑学的毕业生一少部分可以急需攻读硕士学位直至博士学位，而更多的学生是到各设计机构、国家机关、高等院校、科研单位从事设计、管理、教学、研究等工作。
同济大学
【专业特色】同济大学建筑与城市规划学院的前身是同济大学建筑系，学校在办学特色上注重理论基础与专业技能的训练，启发并教育学生对创造和改善人类聚居环境的使命感，培养学生形象思维和逻辑思维的能力，跟踪世界建筑与城市规划的科学前沿，把握科学发展的新动态，积极参与浦东开发、上海重大市政工程。建筑学专业(合建筑设计和室内设计专门化方向)，学制五年。建筑学专业要求学生具有扎实的理工科基础、较强的形象思维能力和艺术表现力。建筑学专业有资格授予建筑学专业博士学位，在国际上也本有很高的知名度。
【师资科研】 现有31位教授，7位副教授。学院现设有5个硕士点，4个博士点，1988年建立了国内第一个建筑与城市规划博士后流动站。学院与美国、加拿大、德国、日本、英国等国科研机构建立有合作交流关系。
【毕业去向】建筑学和城市规划专业的毕业生可从事人共聚居环境规划、城市规划、建筑设计和图林规划设计等专业规划设计，以及相关的建筑、管理。政府决策、房地产开发建设部门的实践工作。
天津大学
【专业特色】天津大学建筑学院于1997年6月在原有的建筑系基础上成立。建筑学院设有建筑学、城市规划、环境艺术等3个系和建筑设计及其理论、建筑历史与理论、建筑技术科学和王学仲艺术研究所等4个研究所。
【招生特点】2000年秋季，学院开始实施教育部国家级教学改革项目——建筑教育全方位开放式教学体系，通过打破学生的年级界限，组织纵向二至五年级教学班，打破教师的年级界限，根据课程设计要求及进度组织相关教师指导设计，外聘实践经验丰富的工程师来参与教学，建立开放性的教学体系。
【师资科研】学院现有教师58人，其中35人具有副教授以上高级职称。一批从海外留学、进修归来和具有博士学位的中青年教师组成教学骨干队伍，学校的学术气氛浓郁。
【毕业去向】北京的各大部委的设计院，中国规划设计院，中国设计研究总院及地方设计院等，还有解放军总后勤部、总参设计院每年都来要人，还有将近一半的学生选择读研究生。
重庆大学
【专业特色】重庆大学建筑城规学院即原重庆建筑科技大学建筑城规学院，是国内较早建立的建筑系科之一。学院现有建筑学(含室内设计方向)、城市规划(含风景园林方向)两个本科专业，两个专业均以通过全国建筑教育评估。其中，建筑学专业主要是培养具备建筑设计等方面知识，能在设计、管理及教学科研部门工作的复合型高级技术人才。
【师资科研】学校有一支力量雄厚、学科专业齐全、梯队配置完整的教师队伍，现有教师127名，其中教授15名，博士导师10名，副教授20名，讲师51名。
【毕业去向】建筑学专业的毕业生主要在建筑设计部门、高校、科研战线、技术管理等职能部门工作。
华南理工大学
【专业特色】建筑学院是1997年由建筑系、土木工程系和建筑设计研究院合并成立的。建筑学专业主要培养学生以下的能力，如，掌握建筑设计的基本原理和方法，具有独立进行建筑设计和用多种方式表达设计意图的能力，并具有初步的计算机文字、图形、数据的处理能力；初步掌握建筑结构及建筑设备体系与建筑的安全、经济、适用、美观的关系的基础知识，建筑构造的基本原理与方法，常用建筑材料及新材料的性能，具有合理选用和一定的综合应用能力，并具有一定的多工种间组织协调能力。
【师资科研】建筑学系目前拥有中国工程院院士1名，教授15名，副教授15名，共有教师64位，同时，学院还积极开展国内外的学术交流活动，一些规划院的研究人员还被聘请为系里的兼职教授。学院为实现学科交叉、科学与研究、生产三结合、教学资源共享提供了可能，拓展了学科发展的空间。
【毕业去向】学校今年来就业率高达100%，其中，读研比例在50%，其余毕业生大多在建筑设计和城市规划设计部门，以及房地产开发、咨询部门，相关科研和教学部门。
西安建筑科技大学
【专业特色】西安建筑科技大学建筑学专业自创办迄今已有七十余年的办学历史，是西北地区具有资格授予建筑学学士、建筑学硕士学位以及工学博士学位的唯一院校。建筑学专业不同于一般理工科专业，是艺术、工程技术和人文科学相互融通的交叉性学科。建筑学专业的特点要求在专业教育方面将综合素质熏陶、形象思维培养和专业技法训练并重，在学生培养方面上理论学习和职业训练并重。
【师资科研】现有教职工130人，其中教师等专业技术人员121人，教授16人，副教授与高工25人，讲师与工程师52人。该系先后承担了包括国家重点项目、国家自然科学基金“九五”重点课题在内等十几项国家科研项目和上百项省部级科研项目，荣获国家科技进步奖等多种奖项。
【毕业去向】多年来，建筑学专业学生就业率为100%。主要就业去向：建筑设计(研究)院、城乡规划设计(研究)院、大专院校建筑学院(系)或建筑科研部门，可从事建筑设计、规划布局、建筑造型、结构造型、室内外空间环境设计、建筑技术经济等方面的设计、研究、教学和管理工作。
哈尔滨工业大学
【专业特色】哈尔滨工业大学建筑学院历史可以追溯到1920年哈尔滨中俄工业学校(哈工大前身)铁路建筑科。目前下设12个教研室，9个研究所、一个城市规划设计研究院(甲级)及CAAD中心等6个教学科研辅助机构。建筑专业的培养目标是基础扎实、知识面宽、适应性强、具有创新精神的职业建筑师，因而具有技术学科与艺术学科的双重特点。
【师资科研】学院现有教师132人，其中教授20人(博士生导师9人)，副教授29人。师资队伍雄厚，并长期坚持产学研密切结合的办学途径，在建筑创作理论、中国传统建筑美学、大空间公共建筑、寒地生态建筑及其技术、城市设计、环境艺术设计等研究领域成果卓著。【毕业去向】学生毕业后，多到设计院、大学建筑院系等单位及政府部门工作。长期以来，学院各专业毕业生均呈现供不应求的局面，用人单位对他们实际工作岗位上的表现总体评价甚高。
湖南大学
【专业特色】湖南大学建筑系的办学历史可追溯至1905年湖南高等学堂土木科，前后延续近一个世纪。建筑系现有建筑学、城市规划、环境艺术三个本科专业，形成了以湖南传统建筑研究和城镇规划研究为代表的学科特色，设计创作和理论研究硕果累累。近年来，还在建筑与文化领域，中日民居比较研究、长沙近代建筑及社区环境规划与管理研究等方面做出新的开创性成果，强化和充实了专业了专业已形成的学科特色。其中，建筑学专业培养的是具备建筑设计、室内设计、环境设计与工程技术管理方面的知识和技能，以成为建筑师为主要目标的高级工程技术人才。
【师资科研】建筑系现有教职工85人，其中教授、副教授23人，研究所技术人员8人。
【毕业去向】学生毕业后可到建筑设计或城市规划部门从事建筑设计、室内设计、城市规划设计及与之相应的管理工作，或到科研单位和高等院校从事理论研究和教学工作。近年来，毕业生就业率均为100%，考研率32%，用人单位对毕业生的需、供比为6:1。
深圳大学
【专业特色】深圳大学建筑与土木工程学院建筑系于1983年9月成立。开设了本科生课程和两个硕士研究生专业--建筑设计及其理论、建筑历史与理论。深圳大学建筑设计院是国家甲级设计单位。设计院为建筑系师生提供了良好的实践机会。从深圳特区建设的现实需要出发，致力于形成教学、科研、社会服务三结合的统筹机制。走新型的培养人才之路。学院主办的《世界建筑导报》是目前国内颇具影响的唯一一本中英文双语建筑专业杂志，是建筑系建筑历史与理论专业的教学研究基地。
【师资科研】建筑学专业(广东省高等学校名牌专业)在编教师24人，包括6名教授，12名副教授，6名讲师。多年来，建筑系承担了国家、省市级，以及学校的一批科研项目，其中包括国家自然科学基金的资助项目。1997年4月建工学院的成立加强了研究的合作和资源共享，高层建筑研究所和居住建筑研究所随之成立。
【毕业去向】担任一些设计院的职业建筑师，从事专业的建筑设计、城市设计、室内设计等工作，能在设计部门从事设计工作，可以复合型高级工程技术人才。
华中科技大学
【专业特色】华中科技大学建筑与城市规划学院有建筑学、城市规划、艺术设计三个本科专业，以及建筑设计及理论、城市规划理论与设计两个硕士点。学院始终坚持适应观、特色观，以及面向经济建设主战场的服务观，注重培养学生的实践动手能力及创造能力。历届毕业生凭着扎实的基本功、锐意进取的创新精神、较强的社会活动能力以及良好的外语水平，深受用人单位的好评。
【师资科研】学院拥有在编教师及工程师共206余名，其中教授12人，副教授41人, 高级工程技术人员23人。学院院长由国家建筑大师袁培煌教授担任，还有国内外多位建筑界及城市规划界知名学者受聘为本院兼职教授。
【毕业去向】毕业生有部分选择继续读研，大多数人在一些建筑设计研究院或是城市规划部门从事科研和学术工作，研究方向主要有居住建筑设计、景观设计、城市设计、区域规划、风景园林规划、城市环境艺术设计、室内环境艺术设计等。
大连理工大学
【专业特色】大连理工大学建筑与艺术学院下设建筑系和艺术系，其中建筑系有建筑学、城市规划两个本科专业和建筑设计极其理论、城市规划与设计两个硕士点。毕业生具有项目前期策划、建筑设计方案和建筑工图绘制的能力，具有建筑美学的修养，具有一定的科学研究能力及对各类建筑从使用功能、空间组织、建筑造型、场地环境、技术经济等方面进行分析、综合、选优和评价的能力，同时具有独立完成建筑设计方案及建筑施工图绘制的能力。
【招生特点】建筑学专业学制5年。报考本专业的考生入学后进行美术加试，不合格者转入其他专业学习。
【师资科研】学院有一批责任心强、教学水平高、专业技能强的教师，现有博士生导师1人，教授6人，副教授13人。
【毕业去向】毕业生在市场上供不应求，有些到建筑设计院、政府有关部门工作，也有些在建筑类高等院校和科研单位从事教学科研工作及房地产开发企业从事管理工作。
南京工业大学
【专业特色】建筑与城市规划学院现设有建筑学和城市规划两个本科五年制专业和建筑设计及其理论专业的硕士点。学院教师有丰富的实践经验，学院承担的各类项目有50余项，目前学院已经通过全国高等学校建筑学专业本科教育评估，获得建筑学专业学位的授予权，在同等高校中有一定的声誉和影响。
【师资科研】学院目前有教职工57人，其中教授3人，副教授10人，博士3人，博士后1人，一级注册建筑师7人，此外学校还有兼职教授和客座教授6人。近年来，学校教师承担了西藏文物建筑可视化研究、小城镇可持续发展理论与实用技术研究等省部级科研项目，编著和编写学术要著和教材20多本，在多年的科研基础上，逐步形成了古建筑与历史性地段的保护与发展、校园规划与教育建筑设计和小城镇与发展研究三个稳定的研究方向。
【毕业去向】学院学生多年的就业率均为100%，毕业生除少部分读研以外，大多数毕业生到建筑设计院等部门从事科研和设计工作，也有一些人在一些建筑事务所担任建筑师，以及房地产开发公司任职。
浙江大学
【专业特色】浙江大学建筑工程学院是原浙江大学、杭州大学、浙江农业大学和浙江医科大学四校联合后组建的新的浙江大学20个学院之一，在学科上由土木工程学系、建筑学系、区域与城市规划系组成。在学科上覆盖了国家基本建设所涉及的建筑、市政、交通、水利、铁道、港口与海洋工程等主要产业领域，形成了包括区域与城市规划、建筑学、土木工程和水利工程等多学科交叉，产、学、研协调发展的格局。在学科建设方面，学院设土木工程、建筑学、城市规划3 个本科专业。
【师资科研】学院现有教职员工 372人，其中中国工程院院士 1名，教授36名，副教授79名。建筑工程学院实行系管教学，在二级学科基础上建立研究所(室)，研究所(室)承担教学和科研工作。学院内设有市政工程、建筑经济与管理、建筑设计与理论、城市规划与设计等多个研究所(中心)；建筑历史与理论、建筑技术、建筑材料等3个研究室；土木工程设计教学实验室等12个实验室；浙江大学建设监理公司、土木工程测试中心等7个学科性公司(中心)和建筑设计研究院和城乡规划设计研究院。另外，学院还有国家工科力学教学基地(与力学系共建)。产、学、研的全面发展使学院可承担国家基本建设所需的科研、设计、施工、监理、咨询和培训等各项任务。
【毕业去向】部分学生毕业后考研继续深造，还有毕业生加入职业建筑师的队伍，在设计院从事专业的建筑设计、城市设计等工作，也有的到建筑监理公司和政府部门任职。（这八所院校就是业界俗称的“老八校”。国内知名的建筑院校，即“四大”：清华大学、同济大学、东南大学、天津大学；“四小”：重庆大学、哈尔滨工业大学、西安建筑科技大学、华南理工大学。这八所院校就是业界俗称的“老八校”。八大高校地处东西南北中，均各据一方，各有特色，每所学校都有自己的专长。
现在建筑学界又提出“新八校”
浙江大学、湖南大学、沈阳建筑大学、大连理工大学、华侨大学、华中科技大学、上海交通大学、南京大学
另外，建筑新四军：指的是浙江大学、沈阳建筑大学、大连理工大学、华中科技大学。
独立军团：南京大学。此美誉来自于短短十年的异军突起，南大建筑系师资主要来源于东南大学，并传承了东南大学的建筑理念，坚持运用理性思维和公正视角探求真理，似当今中国建筑教育界的一股清流。
第四篇：建筑学专业
建筑学专业
业务培养目标：
业务培养目标：本专业培养具备建筑设计、城市设计、室内设计等方面的知识，能在设计部门从事设计工作，并具有多种职业适应能力的通用型、复合型高级工程技术人才。业务培养要求：本专业学生主要学习建筑设计、城市规划原理、建筑工程技术等方面的基本理论与基本知识，受到建筑设计等方面的基本训练，具有项目策划、建筑设计方案和建筑施工图绘制等方面的基本能力。
毕业生应获得以下几方面的知识和能力：
l．具有较扎实的自然科学基础、较好的人文社会科学基础和外语语言综合能力；
2．掌握建筑设计的基本原理和方法，具有独立进行建筑设计和用多种方式表达设计意图的能力以及具有初步的计算机文字、图形、数据的处理能力；
3．了解中外建筑历史的发展规律，掌握人的生理、心理、行为与建筑环境的关系，与建筑有关的经济知识、社会文化习俗、法律与法规的基本知识，以及建筑边缘学科与交叉学科的相关知识；
4．初步掌握建筑结构及建筑设备体系与建筑的安全、经济、适用、美观的关系的基本知识，建筑构造的原理与方法，常用建筑材料及新材料的性能。具有合理选用和一定的综合应用能力，并具有一定的多工种间组织协调能力；
5．具有项目前期策划、建筑设计方案和建筑施工图绘制的能力，具有建筑美学的修养。主干课程：
主干学科：建筑学
主要课程：建筑设计基础、建筑设计及原理、中外建筑历史、建筑结构与建筑力学、建筑构造。
主要实践性教学环节：包括美术实习、工地实习、建筑测绘实习、建筑认识实习、设计院生产实习，一般安排40周。
修业年限：四年或五年
授予学位：建筑学学士
相近专业：建筑学 城市规划 土木工程 建筑环境与设备工程 给排水工程 道路桥梁与渡河工程
第五篇：专业英语翻译
Freeways,especially those built to Interstate standardsare the safest of the various classes of highways.高速公路,尤其是那些按照州际公路标准建造的是各种公路里面最安全的.While control of access, which limits vehicle conflicts(车辆冲突), isa primary factor in relatively low accident, injury,and fatality rates(事故,死亡率), other design features, such as wide medians and shoulders roadsides clear of obstructions, and the extensive use of protective barriers(护栏), are key factors as well.出入口控制减少车辆冲突，是获得较低的交通事故率和伤亡率的一个主 要因素。另外，其他的设计特性，如较宽的中央分隔带和较宽的路肩、路边无障碍物、大量采用防护栏等也是关键要素。
The higher design speeds(设计速度)used for freeways result in long sight distances(视距)due to long radiushorizontal curves and long vertical curves, and otherdesirable design features that create a safe drivingenvironment.高速公路采用较高的设计速度导致的长视距是由于大半径水平曲线和长的竖曲线，以及其他创造安全的驾驶环境的适宜的设计特性.Although most of the nation’s freeways enjoy this
relatively high level of design and safety, there are many opportunities for further enhancements.尽管全国绝大部分高速公路最喜欢这样的设计和安全性比较高的水平，但还是有很多地方需要进一步增强。
Safety improvements on freeways can also result in substantial savings in life and property(生命和财产)because freeways carry 25 percent of the nation’s total traffic.高速公路安全方面的改善，还会节约大量的生命财产资源，因为高速公路流量占了全国的总流量的25﹪。
Selecting the design speed for a freeway is an important safety element because most geometric criteria(准则，标准)related to or depend on it.选择高速公路的设计速度是一件重要的安全因素因为大部分的几何设计标准都是与它相关或者取决于它
In general, 110 kilometers per hour(km/h)should be the design speed for the mainline of a freeway , but it may need to be lower in areas of severe terrain or heavy development.一般来说，110千米每小时应该作为高速公路主干道的设计速度，但是在崎岖的地区或者施工难度大的地区可能需要降低。
For reconstruction, rehabilitation, and resurfacing(3R)
projects, the design speed should not be less than the original design speed or the current legal speed limit of that highway section.对于重建，恢复铺新路面工程，设计速度不应该低于平时设计速度或者那块交通干线区域的目前规定的速度限制。Design speeds for interchange ramps（立交匝道）depend on the type of ramp selected, for example , loop，diamond, or direct, and the low-volume（低交通量）, running speed（行驶速度）of the intersecting highway.立交匝道的设计速度取决于砸到的选择类型，例如，环形、菱形、直线型以及低交通量，相交交通干线的运行速度。Usually, the design speed is established by the most restrictive element of the ramp, typically, the sharpest curve（小半径曲线）.通常，这个设计速度被匝道的最限制的范围，典型的是小半径曲线。
Whatever design speed is selected, adequate transitions（转变、过渡）from the freeway proper and at the ramp terminal（末端、末尾）or merge point（合流点）should be developed.无论选择多大的设计速度，都应该发展来自高速公路本身的和在匝道末尾或者合流点的合适的过渡。
Safe and efficient traffic operations depend on adequate lane
and shoulder widths as outlined in A Police on Geometric Design of Highways and Streets.安全及高效的交通运作取决于按照《道路的几何尺寸的规定》设计的适当的行车线和路肩宽度。
The need to accommodate more traffic within existing or limited additional right-of-way on high-volume urban freeway has led some agencies to increase capacity by exchange full-lane or shoulder widths for additional travel lanes with reduced widths.在高交通量的城市高速公路上，在已有的或者额外有限的公路用地条件下，容纳更多的交通的需求，导致许多机构通过减小车道宽度或者路肩宽度来腾出额外的车道来提高通行能力。
Any proposed use of less-than-full-standard cross-section must be analyzed carefully on a site-by-site basis.Experience indicates that 3.3-m lane can operate safely if there are no other less-than-standard features;however, combined with shoulder-width reductions, substandard sight distance, and other features, 3.3-m lanes may not provide the same safe operation.任何少于全标准道路横截面的提议都必须建立在充分论证的基础上。经验表明，不考虑其他低于标准的因素，3.3
米得行车道宽足够保证安全。但是结合路肩宽度的减少，视距不足及其他因素，3.3米得行车道宽不能提供足够的安全度。Converting shoulder to travel lanes for additional capacity through a short bottleneck section has been shown to significantly reduce congestion-related accidents on some projects.Removing shoulders for several kilometers, however, has not had the same result.在某些项目中，在短程的瓶颈路段为了额外的通行能力，将路肩转变成行车道能显著减少由道路拥挤导致的交通事故。然而减少几公里长的路肩宽度，得不到同样的的结果。
Pavement marking, such as lane lines, edge lines, channelizing lines at interchanges and ramps, and word symbol markings, provide important information to the drivers.路面标记，像在立体交道和斜坡处的车道线，边缘线，通道线以及文字和符号标记，为驾驶员提供重要信息
Pavement markings define separate lanes of traffic traveling in the same direction, inform drivers of lane restrictions, and convey certain regulation and warnings that would not otherwise be clearly understand.路面标记定义了单独的车道交通朝同一方向行驶，告诉驾驶员该车道限速，以及传达某些规则和警告，否则，它们不会被驾驶员清楚的明白。
Pavement markings are particularly important at night and during inclement weather, and,therefore, must be retroreflective.While well-maintained painted pavement markings are acceptable, thicker, long-life markings ,such as thermoplastic or performed tapes ,may perform better in wet weather and heavy traffic.同时保养好的涂有油漆的路面标志是可以采用的，厚的，长寿命的标记，像热塑性塑料或预成行的条带，可以在潮湿的空气和交通繁忙时表现得更出色。
Some studies have been made regarding the benefits of wider edge line markings(150 to 200 mm versus the standard 100 mm width).The wider markings may particularly benefit older drivers.一些研究已经取得了有关更宽边缘线方面的好处（150到200毫米相对于100毫米的标准宽度）。更宽的标记对老司机尤为有利。
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