第一篇：同济大学建筑学专业英语阅读材料125
STAIR SEATS
… we know that paths and larger public gathering places need a definite shape and a degree of enclosure, with people looking into them, not out of them – SMALL PUBLIC SQUARES（61）, POSITIVE OUTDOOR SPACE（106）, PATH SHAPE（121）.Stairs around the edge do it just perfectly;and they also help embellish FAMILY OF ENTRANCES（102）, MAIN ENTRANCES（110）, and OPEN STAIRS（158）.* * * Wherever there is action in a place, the spots which are the most inviting, are those high enough to give people a vantage point, and low enough to put them in action.On the one hand, people seek a vantage point from which they can take in the action as a whole.On the other hand, they still want to be part of the action;they do not want to be mere onlookers.Unless a public space provides for both tendencies, a lot of people simply will not stay there.For a person looking at the horizon, the visual field is far larger below the horizon than above it.It is therefore clear that anybody who is “people-watching” will naturally try to take up a position a few feet above the action.The trouble is that this position will usually have the effect of removing a person from the action.Yet most people want to be able to take the action in and to be part of it at the time.This means that any places which are slightly elevated must also be within easy reach of passers-by, hence on circulation paths, and directly accessible from below.The bottom few steps of stairs, and the balusters and rails along stairs, are precisely the kinds of places which resolve these tendencies.People sit on the edges of the lower steps, if they are wide enough and inviting, and they lean against the rails.There is a simple kind of evidence, both for the reality of the forces described here and for the value of the pattern.When there are areas in public spaces which are both slightly raised and very accessible, people naturally gravitate toward them.Stepped cafe terraces, steps surrounding public plazas, stepped porches, stepped statues and seats, are all examples.Therefore:
In any public place where people loiter, add a few steps at the edge where stairs come down or where there is a change of level.Make these raised areas immediately accessible from below, so that people may congregate and sit to watch the goings-on.* * * Give the stair seats the same orientation as SEAT SPOTS（241）.Make the steps out of wood or tile or brick so that they wear with time, and show the marks of feet, and are soft to the touch for people sitting on them – SOFT TILE AND BRICK（248）;and make the steps connect directly to surrounding buildings – CONNECT TO THE EARTH（168）….
第二篇：建筑学专业英语——韵律
There are lots of approaches to the rhythm of landscape.The more often used are as following:
1.The simple rhythm
The simple rhythm refers to the successive arrangement ofthe scenes repeating the same kind of elements in isometry.Such as the trees along the sidewalk with equal distance in between, the long corridors in the same height and distance, the mountain trails or the mountain climbing wall with same height and width.2.Alternative rhythm
Namely, the successive arrangement of the scenes repeating more than two kinds of elements by turn.3.Regular changed rhythm
Regular changed rhythm refers to rhythm arises from the gradual increase or decrease of the successively repeated parts of the design at certain aspect, the density of colors, the thickness of the materials ect.At same time,it usually reflects the gradual change of degrees and quanlity between the different components.3.See-saw rhythm
See-saw rhythm is brought about by one or more factors undulating regularly in appearance.The sky in wildwood area
adpots this kind of rhythm.4.Mimesis rhythm
The mimesis rhythm refers to the successive arrangement of the scenes with the composition of uniform and different elements.For instance, the shape of the parterres may be the same, while the species and arrangement of the flowers and grasses inside are different.5.Interlaced rhythm
Namely, the rhythm caused by certain factor which regularly alternates and crosses in length and breadth.The changes happen vertically and horizontally or in many a direction.The space may be open or poky,bright or dim,the scenery is sometimes gaily colored, sometimes simple but elegant elegant,living or quite.The suitable organizing can still be rhythmical.In the actual arrangement of the landscape, a number of rhythm are applicable to one scene.The reasonable combination may create more desirable and artistic scenery on the premise that the function of the landscape are available.Therefore, rhythm is a crucial aspect concerning the unity and variety of the scenic layout.
第三篇：同济大学建筑学考研心得体会
曾以梦想为名赋予一段时间以主题和意义，过去的一年左右时间，我憧憬，茫然并且努力，重复着一条无数学子沥血的路。初试复试，之后等来录取的结果，和朋友们按惯例的考后狂欢一闹就是一周，之后又很快地各奔他乡...直到某天，守着世界杯醒来的清晨，可以独自一人慢腾腾地考虑早餐，我在全家的吧台前悠闲地枕着晨光，观看着同济门口穿梭的熟悉身影，却开始对着那段记忆恍惚不已——此时此刻便是自己想要的那种生活吗？这也是我最近常常想起的问题。
跨专业——对设计专业的无限向往萌生惊险一跃的念头，像很多投奔建筑的同学一样，我打小放下的绘画梦想迟迟未能熄灭。一句“画画没意思”让我成为了一名纯粹的理工男，怀着对发动机的向往就读了机械学院的能源类专业，然后就发现阴差阳错的高考强大坑爹的一面——专业细分之后我读的是暖通空调，其他被分出来的专业与发动机也相去甚远。由而浑浑噩噩四年，期间自然也没能筹备到转专业的资本。之后毕业了，从事绿色建筑咨询的工作，单位在郊区，租金低廉，房间朝南，外带大阳台；工作不算辛苦，无需加班，甚至有些安逸。因为是国有企业，大家相处地都很愉快，常有聚餐或者体育赛事的福利，但总感觉少了什么，总希望生活能够与众不同，总希望自己的能力能够得到完全的发挥，总觉得不该按部就班地去做践行文档的道路，于是想着：考吧，是时候出发向前了。
自然先学画画，对此并不陌生，一直很好奇建筑速写那种独特气质的来源，模仿却难得其韵。初学时，为了克服拿笔的心理障碍，我狠着心临摹照片，国家地理的图够漂亮，艰难的临摹自然有了一份兴趣和快慰。报了海上艺号手绘的课程后，我跳过了素描的部分直接开始了建筑绘画，最早是练线条，是个颇见功底的活，听说有些院校的建筑系排线得练两年...除此之外，我在建筑学方面的积累也少的可怜，毕竟身处垃圾建筑满大街的中国，毕竟平常的生活里缺少对空间的关注，竟然从未对这些庞然大物提起过兴趣。最囧的一次，手绘班老师在课上让画手绘，要求随意发挥，我竟画了个欧式的小房子，门廊用的形式在现在看起来近似于帆拱，也算是历史上的结构奇迹，结果被老师嘲笑不已。看来，开发商对欧式的亲睐，它的影子事实上也存在非专业的民众身上。就是这样，我在 “一穷二白”的状态下起步，在海上艺号老师的指导下开始陷入到对于方盒子们特有美感的迷茫状态之中。
旁听史论课程最后成了太美妙的一次经历，原本分不清欧式中巴洛克与新古典区别的我一边在历史书中找到对应，又在卢永毅老师的课程上逐渐明晰了其发展脉络，现代建筑也仿若历经沧桑之后的自然成果，其不再面目可憎。有了一点甜，便会更加努力地吸吮。王受之先生的建筑史乃至设计史也是相当生动的课程，最有意思的是里面会有和卢老师不相一致的观点，由此可见到这种历史解读一定程度的主观和多元。另外，通过阅读《建筑师》杂志，很多细节逐渐漂亮鲜活起来，无论是对路斯的讨论还是对贝伦斯的剖析都仿佛让这些大师再度复活。历史以别样的姿态自述，实在美不胜收，而对建筑学的理解也因此变得更富有角度。随着了解一天天变得丰满，兴趣与看待的方式由此变得更加成熟，对于所谓的建筑观，彼时也开始有了模糊的概念。
从未有过像快题这样快节奏的经历，在本专业“养老”四年，最让人纠结的还是时间限制，三小时的题目常常一画就是一整天，好在之前上了海上艺号的手绘班，在手绘方面做了积累，时间都花在方案上了。毕竟初学建筑毫无概念，最可怕的莫过于不知道好的建筑究竟应该是怎样。缺少标准，缺少常识，还缺少方法。如何理解建筑成为那段时间最困扰的事情，为此在海上艺号老师的要求下我在文远楼做过实测，在C楼蹲过点，揣摩过B楼，测绘出平面后，研究过平面图纸与实际空间的对应。读建筑评论也是那时的必修，印象最深的有马清运的父亲住宅，最为佩服的是墙体的构造形式，简单普通的建筑材料产生了别样却也和谐的建筑外观；还有刘家琨的鹿野苑石刻博物馆，稳健的体量和粗犷的外表一下子让我领略了现代建筑的美，入口以及流线的别样处理让人感叹其匠心独运的细致。不过最有帮助的还是卢老师的课，那些对于建筑大师及其代表作品的专题解析，让我获得不少阅读建筑的视角和方法。路斯的缪勒住宅算是其中最为特别的了，毫不起眼的外表之中竟藏有多变而个性鲜明的空间。这点直到后来读了一篇名为“七个住宅的剖面路径研究”的论文，才让我领略这种空间设计的强大之处。
略懂空间之前，每每挣扎于游离在门外的状态，偶尔瞥见一眼门内的精彩便会雀跃不已，现在回想，这种状态也许是最好的，可以耽于一根筋似的傻学。此时便会感受到另外一种魅力，就会需要一些宁静的力量，所以像《空间组合论》这种早期国内大师的作品便足够感人。整本书的阅读方式还是蛮有趣的，开篇部分虽然是枯燥抽象的文字，但后篇占据整书大部分的就是图示说明了。彭一刚老前辈的线稿非常精彩，精准而自如，内容虽基础却能受用很久。欣赏着这些严谨而自然的美，连抄绘他的图示都成为了一种乐趣。更多的基础方面学习来自《建筑概论》，组合论中的部分内容在这本书中得到了更多的解释，结构与空间，空间与尺度...学习快题之后，这些体会就会更加深刻。之后因为考试改革的缘故（2012年考研第一次由历史与理论改成建筑基础的综合科目）又读了构造、建物、节能等，都能有所获益。所以，也许要多亏了同济突如其来的改革，我对于建筑的理解才会更为全面自信。
快题自11年5月份始是就报了海上艺号快题班，在老师的指导下几乎一直在练的，从最初的不堪入目到后来技法的稳定成熟，积攒下来的量估计不下80张。相关的笔记也堆得厚厚的一摞。唯一的感慨是快题在快题之外，每一次的突破都不会是在对快题本身的研究上，随着量的增多，快题的表达乃至读题解题会自然而然地成熟起来。对节能、对构造、对物理的学习则会增添别样的理解角度，做法也会丰富。设计是富有创造力的活动，但是谈创新，先得有积累。
考研结束后的一段时间，随着导师做了次课程设计，是与大四学生同堂的联合设计，旧城区更新的项目。与著名的同级本科生共事甚感压力，好在有强势的也有随和，个人觉得后是者更为成熟的设计态度，毕竟团队作战，要懂得什么时候妥协。所以过程还算顺利，R的模型表达能力和速度都让我震撼；S的小空间做的相当别致精彩，让我对本科生的设计能力有了深刻印象；Z的总体协调能力怎么看都极具领导气质，却谦虚得一塌糊涂；而两个随和的美国人Stephen和Ashwin总是鼓励我们，对我这个一口烂英语的半调子尤其有耐心。拼死拼活最后总算赶出了成果，不糟糕也不牛叉，第一次的课程设计以此谢幕，不算遗憾。
考研走来，回头时才发现已远行至此。对面游泳馆旁的临时停车场已经停业，取代之的挖掘机昭示着新的建筑即将破土动工，期待一下这份同济建筑的新作吧。不再去想那个生活的难题，我在路上，走过考研。
第四篇：建筑学专业英语视频翻译
A very long time ago, far away in China, a villager living along the banks of the Yellow River built a simple mud hut to shelter his family.Thousands of years later in the year 1420, the empire’s best craftsmen put the final touches on the ultimate masterpiece of Chinese architecture---the Temple of Heaven.“Chinese buildings evolved from simple shelters into complex magnificent structures with great swooping roofs, stately columns, and rich detail.”
Between this simple mud hut and this amazingly complex structure---its every detail full with cosmological symbolism---is a tale of emperors, monks, scholars and genius craftsmen---a story which explains an architectural tradition of great beauty and flexibility.And to start this story at the beginning, we have to leap back two millennia, to when the brilliant tyrant QinShihuang becomes the first emperor of a unified China.In 1938, an American fighter pilot flying over a remote part of China, spotted giant pyramid-like structures below.In his excitement he took a photo and declared to the world that he had discovered a lost civilization.What he discovered, however, weren’t pyramids, but massive tomb mounds.And the grandest of them all was the tomb of the man who unified China.“Our story begins with the tomb of QinShihuang the first emperor of China, who lived 200 years before Christ.”
A brilliant warrior and tactician, he annihilated all his rival states and created the imperial system which survived until the year 1904.And the grandeur of his tomb matched that of his ambitions: For more than thirty years he used 700,000 workers---probably more manpower than the pharaohs had assembled to built the pyramids---to re-construct his kingdom in the private underground world of his tomb, with palaces and courts for a hundred officials, rooms containing countless gems, rivers of mercury and candles which would never burn out.They sat you can’t take it with you, but QinShihuang sure tried.“His tomb was guarded by hundreds of terracotta warriors, but just as fascinating were the clay model houses that were found inside his tomb.” Because of their belief that people had to provide for their ancestors in death, the early Chinese buried their deceased with clay models of the structures they depended on in life-granaries, houses, watchtowers and the like.These 2000 year-old models are the only surviving examples of early Chinese wooden architecture, and from them we can see how houses were constructed around the time of the first emperor.These models show a type of wooden house that incredibly can still be seen today.So why did the ancient Chinese build in wood rather than stone, like the ancient Europeans? The availability of wood in the extensive forests of early China was no doubt a major factor.The ancient Chinese did know how to build with stone, and how to use the arch… and they used the arch extensively for tombs, gates and bridges.However they rejected the stone arch for building houses, temples and palaces.To see why we can again find clue from the tomb of the fiest emperor.Archaeologists recently excavated from the tomb a 2000 year-old sword that is still sharp as a razor.The reason it is still sharp is because it is coated with chrome-a fact that may not seem too amazing until you realize that chromium wasn’t invented until 1938-the same year the tombs were spotted by that American pilot.This means is that the ancient Chinese developed incredible metal-working skills very early in their history, and so they had metal woodworking tools at a very early date.Stone can be used to fashion and work stone, as early Britons must have done to build Stonehenge.But iron tools were necessary for wood carving and joinery.And with such tools, however primitive, wood construction was much easier than construction in stone.Western cultures began their architecture without iron tools.So they started in stone and brick and continued building with these materials.The Chinese, on the other hand, began building with wood and continued to do so for 6000 years, starting with the basic Chinese house which was first developed on the flood plain of the yellow river.In areas prone to flooding, this structure was raised on pilings.In the central yellow river valley of China it rested on solid platform.Stone bases for each column, twice the diameter of the column, were placed on this platform, then the column raised on top of this.So, the elevation of a Chinese building has three elements: the podium underneath, the columns in between and big roof resting on top of the columns.Four columns form what is called a bay;groups of bays then form the different types of buildings.From the earliest times the Chinese separated the supporting from the enclosing elements of a building.This meant the interior columns supported the roof weight completely, while the walls were just for privacy and protection from the elements.In a country plagued by powerful earthquakes, the Chinese didn’t build solid walls, which could be cracked and rent apart by an upheaval of the earth’s crust, but rather they built flexible structures without using glue or nails.These structures could ride the heaving earth like a boat, shifting and settling back, with the platform acting almost like a raft.Heavy roofs with tiles were supported by columns built of white fir which was four times stronger than steel, and six times more flexible than concrete.It was the beginning of an architecture of great beauty, elegance and practicality.The first feature of a Chinese building that usually impresses a visitor is the elegant, sweeping and seemingly gigantic roof.Western architecture, with its spires and Greek columnsthe Duo, a block, like a capital, placed at the top of a column.The gong, a bracket placed across the top of the deng, and the spacers between them, called the sheng.“ The degree of complexity is wonderful, with brackets locking together like a Chinese puzzle without any nails or glue.With these duogong the Chinese could extend the roof overhand, without having to building more and more columns inside.To extend the overhang even further, the Chinese devised a clever solution.The roof overhang is one end of a kind of see-saw.Its weight is counterbalanced by the weight of the center of the roof, at the other end of the see-saw, on the fulcrum of just one column.This device, called an ang, lets one column to do the work of three, And makes the heavy tiled roof seem to float in mid-air.Heavy roofs create what is known as 'shear stress'.The Europeans built ”flying buttresses“ to bear the enormous stress created by a cathedral dome.The Chinese on the other hand used brackets at the joints of frames to carry this shear stress down through the brackets and columns into the ground.Increasingly complex bracketing accompanied ever larger, more complex multi-leveled roofs: which came in a myriad of shapes and sizes.”A standardized system of architectural measurement was established in the year 1103, with the publication of Li Chieh's Methods and forms of architecture, a treatise adopted throughout the vast, yet centralized, empire.This book defined the basic units of measurement as standardized sizes of the duogong bracket arms.Depending on the size of the bracket was determined the size of every other element in the building: such as the thickness and height of the columns.This standard survived into modern times.These rules of Chinese architecture governed not only the construction of an individual buildings but also the planning of the layout of a town, a temple, or a palace complex.Ancient Chinese Shamans oriented buildings according to the dictates of feng shui, or wind and water a way of determining mystical forces flowing through the earth.The principles of feng shui were turned into rules used to align man-made structures harmoniously with the currents of the earth's forces, known as chi.These rules controlled siting, ground plan, decoration, and even color.Although steeped in ancient Chinese animistic religion, most of these seemingly mystical rules have their origin in a few simple and practical facts about the climate of central China.China is situated in the temperate zone, with a southwest prevailing wind.By orienting buildings to the south or southeast, the Chinese take advantage of the warmth winds and sunshine from the south to provide people living in halls and courtyards with a pleasant micro-climate.Not only buildings faced south but also cities, palaces and tombs.Ancient Chinese shamans found the directions with the aid of a sinan: history's first magnetic compass.The pointer, shaped like a spoon, was made out of magnetic lodestone.It sits within a circle to represent heaven, and on a square plate representing earth.
第五篇：2018年同济大学转专业(建筑学)第一名 经验分享
姓名：李依霖
原院系：同济大学经济管理学院 班级：艺号2018年转专业180课时班
转入专业：建筑与城市规划学员(CAUP)
建筑学
艺号印象：初见李依霖同学是在2017年的9月份，同济新生开学的时候。算是艺号转专业报名学习准备比较早的学员。同样，李依霖同学也是来自广东的一位小姑娘。学习态度很认真，为人处事方面也很有礼貌！今年以转专业第一名的好成绩转入同济王牌专业和她平时刻苦努力是分不开的。来时有一定的绘画基础，对于转建院的一些立体构成课，平立剖课程，钢笔画课程也是未曾落课。在此，艺号老师为你的成功感到无比的光荣和开心，希望你接下来在建院的新专业里面继续努力，创造更大的成就和辉煌！！
那么针对这一段为期将近一年的建筑学转专业准备过程，优秀的李同学又有哪些经验带给大家呢？如下文：
【绩点】说来惭愧，在一个号称绩点很好刷的学院里我绩点只有4.48_(:3」∠)_然而绩点是很关键的，绩点比别人0.5最后计算总成绩就比别人高了三分。绩点只看大一上学期的所以上学期不要太浪了，刚上大学大家肯定会发现有很多好玩的东西，但是如果想要有充足的时间来刷绩点和学画画，还是要作出一点牺牲的。高数的话在初期要充分理解，之后学起来才不会那么吃力，语文和公选的话可以尽量多回答问题和把握机会上去做presentation,可以加平时分的。还有就是不要等到快考试了才来看书复习，会累得想要哭出来的.【素描】我觉得素描是需要长期积累学习的，如果只学几个月那么基础不够扎实画得肯定不够好。所以没有基础的同学最好在上学期就开始准备了。练习的时候不要盲目画，因为很多时候我们开始的画法都是错的，是很难保证速度和质量的。要多听老师建议，自己也可以买一些书来研究一下正确的绘画步骤。开始的时候要养成正确的绘画习惯是比较难的，一定要不断纠正自己。
平时练习的时候尽量模仿参考图处理的手法，多思考一下为什么要这样摆放物体，不同物体的之感要怎么表现……（如何做好画面效果可以多请教老师）。总之就是要方法正确，不要盲目，多思考，虚心接受老师指导。关键是基础扎实而不是赶速度、赶量。基础好了速度自然就能上来了。还有就是平时在画室跟同学交流一下增进感情是好的，但是不要玩的太疯了，我觉得画画还是需要专注的，如果画几分钟又玩一下会打乱思路，练习的效果就出不来了。
【速写】速写其实没有什么特别的技巧，就是平时没事多练习。一开始肯定大多数画出来的都很丑不要因为这样受到了打击就不想再画了_(:3」∠)_如果拖到快考试了再来练效果是不好的。开始我的线条是非常难看的，于是我没事的时候就在草稿纸上练习画长线。练多了之后明显就能感觉到自己画的速度和质量上来了。
还有大家不要因为觉得素描比较难就把大部分的时间都丢到素描上哦，其他方面比如速写、平面图（or立构）占分也是很多的，平时画室开这种课的时候一定要认真上。
【画室】其实刚来同济上学的时候，也有听过学长学姐介绍过一些其他画室。之所以选择艺号，除了得天独厚的地理位置，就在学校南门，极其方便。节约很多学习成本和时间，以及画室是否具有正规教育资质确保学生权益，和画室多年来优异的升学成绩是分不开的。
今年艺号转建院的报名总共有将近30人，成功了23人。这一成绩充分的证明了当初的选择是没有错的。其他画室我们不知道怎么样，但今年艺号总体的升学率是远远超过其他画室，包括据我了解的设计创意学院升学率也是很高！
画室的老师们也是非常友好的，专业度很高！画室的内部群里老师会和学生们经常互动，分析各种不同考试的变化。艺号方老师在转专业这边已经有很多年的经验，7年的转专业考试详细资料都可以在他那里看得到，姚老师在艺号工作也很长时间了，对于考试的各个环节，考题风格都很了解，性格成稳的张老师平时话语不多，但是对学生超级有爱，非常有耐心。
因为这些年同济建院每年的考试题型有些许变化，艺号针对转建院开设了全面系统的课程：除了常规的素描课，还请来了手绘组的专业的老师进行平立剖的课程开设，立体构成课，建筑手绘速写表现课，充分全面的去迎接不同考试题型！不知道其他机构是怎么样，但是个人认为在艺号你真的可以在未曾进入到建院前学到很多东西。平时的周末，也会有很多往届转上去的学长学姐来学习手绘，还有一些来补习建院大一的素描作业的，随时随地都可以跟他们交流和互动！
总之，对于画室的选择个人希望以后的学弟学妹多打听多对比，如果你要我推荐去哪里学习，作为艺号的“自家人”，我肯定会安利我们的画室呀！
【阅读】平时有空要多看一看一些有关建筑和建筑师的书籍。一方面能够帮助考试（面试老师会问专业相关的问题，今年考了根据文字画一座城的总平面图，读过关于城市设计方面的资料在构思方面会有帮助），另一方面也能了解到自己是否真正地喜爱建筑。其实面试也没有特别可怕啦我觉得关键还是要大方，让老师感觉到你对建筑很热爱并且有一定自己的思考就好。
转专业其实是一个有点痛苦的过程，因为既要兼顾学习又要花很多时间练习画画，所以大家要做好思想准备。有那么一会我也累得产生过放弃的想法，但是坚持下来之后，发现是对自己很好的锻炼，并且努力了有收获也是很让人振奋的。人总要为自己的梦想奋斗一把，如果大家对建筑是真的热爱，那么应该趁早开始做准备了。੭ ᐕ)੭*⁾⁾
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