越界的文字_电影与建筑的翻译及转译
urban myths or urban legends课文翻译
Urban myths or Urban legends?都市神话还是都市传奇?1.London has the most extensive network of underground tunnels in the world. But for some inhabitants, the tunnels are more than just convenient一they live in them. The London Subterraneans are a race of people who live beneath the streets. They're human, but they don't speak English, and they have their own customs. Occasionally, a few of them come to the surface. They only appear at night through the drains in a dark backstreet, and if they hear footsteps, they hide in a dark alleyway and only come out when it's quiet again. And before sunrise, they go back under ground. Very few Londoners have seen them, but the friend of a friend has seen them several times.伦敦有着世界上最为庞大的地下隧道网络。
但是对某些伦敦居民来说，隧道不仅仅便利——他们还住在那里。
伦敦地下人是生活在街道下面的一族。
他们属于人类，却不会说英语，他们有自己的风俗习惯。
传统建筑形式的当代设计转译——以绩溪博物馆为例
传统建筑形式的当代设计转译——以绩溪博物馆为例在全球化浪潮的影响下，当代建筑设计逐渐迷失于国际风格之中，人们意识到文化才是区别于其他地区，长久影响下去的东西。
如何将传统建筑形态应用到设计之中，如何将建筑与所在地域紧密结合。
传统建筑形式的转译为当代设计提供了解决思路，对传统的继承与发展做出一定的探索。
绩溪博物馆的设计无论是外在形式还是内在底蕴，对于传统性、地域性都做出了很好的回应，将人工与自然也做到很好的融合，延续传统建筑文化，创造出具有文化特性的当代建筑设计。
一、转译的概念及相关论述(一)转译的概念：转译本意指语言学上的翻译，后来在生物学上用来描述DNA转录到RNA 的过程。
转译行为是通用的，不局限于某一专业领域，更加引申为两种不同的表义结构之间互相作用转化的行为。
对于建筑设计而言，转译是一个整体设计过程，不仅是某一环节，引入传统建筑内容，将最初空间形态，通过当代的设计手法转化成为新形态的设计过程称之为转译。
(二)转译组织结构及过程：1.原型—连接转译设计的媒介：对传统进行归纳、概括和抽象化处理，提炼出来具有代表性、特征性、延续性及隐性思想的内容都可称之为原型。
原型承担联接前后不同物质形态之间的媒介作用，具有高度概括性。
在建筑设计方面，从传统中汲取养分，与现代之间产生联系，归纳提纯有效信息，形成有意义的原型载体，以此应用到现代建筑设计中形成独特风格，并达到传承的目的。
2.语境—影响转译设计的环境：在语言学上一个词语不可脱离整体语境而单独存在，要充分考虑到上下内容，才能获得更深刻意义。
同理，一个建筑的存在与发展，必然与周围的自然环境、文化、风俗习惯、思想等这些语境因素息息相关，因此在转译设计过程中，要充分考虑所处周围语境内容，从中汲取信息，才能够更好地进行设计创造出与周边环境协调统一的建筑。
3.转译设计过程：转译的本质在于“信息的传递”，以传统建筑元素为设计思考来源，深入挖掘有效信息，经过概括提炼，得出原型这一载体，从而产生联想，利用当代如夸张、叠加、变形、简化等一系列设计创新手法，从而得到进一步具象改变，与设计语境结合，引入地域性特征，创造出一种“既古又新”的新形式，使当代建筑设计形成自身独特风格，从而达到理想的设计效果，如图1。
“转译”—电影化思维下的建筑设计与表达
②莱维莱特公园这是屈米最广为人知的一个项目，巴黎的拉维莱特公园（ＰａｒｅｄｅｌａＶｉｌｌｅｔｔｅ）。
１９８２年，法国政府举行了一个设计竞赛，建造一个能够标志着巴黎文化和经济的新区发展的公园。
（图３—５）项目起因是在１９８２年，密特朗评估巴黎城市的快速发展与人口扩增的问题，决定将巴黎北部边陲地带地旧屠宰贩卖市场改建为公园，规划内容中包含科学工业城、展览场、音乐城及表演剧场等，要求成为一个整体的开发案，将各提案相互协调整合。
因为场地周围的环境情况多样而复杂，为设计带来了很高的难度，很多建筑师都为此感到为难。
而屈米却认为：在建筑项目中为了尊重场地的文脉，往往会使用同类材质或者形态以“融入”环境或回应城市规划的要求。
他质疑了这类“都市化项目”的手法，认为建筑师不是完全忽视文脉，就是“使用现有的东西填补空缺”。
屈米更倾向于为莱维莱特公园制定一种新方案：“通过批判性地分析它的历史，甚至加上从其他城市或公园派生的层，来解构它的现状”或者“寻找一个中介—一个能够调解场地和其他概念关系、超越城市和规划的抽象系统”４Ｉ。
所以屈米主张了—种新的设计方法：用蒙太奇的手法加入或并列多个层次，用一个新的层破坏或颠覆其他的层。
他所追求的“事件序列”通过来自蒙太奇的“叠加”、“并置”手法，被具体化为点、线、面的建筑元素：（图３．６）点：屈米在公园放入无数红色的点，即他称为“疯狂物”（ｆｏｌｉｅｓ）的构筑物。
就是２６个红色的构筑物，出现在１２０ｍｘｌ２０ｍ的方格网的交点上，这些构筑物因循功能不断变化着外形，每一个构筑物都是一个小型的“事件发生器”，在形象上强调了“冲突”带来的戏剧感，使人在前进过程中被其外型所刺激和吸引，从而催化了各自领域内的事件发生。
线：屈米在公园中放入了一条架空的步道，这条步道被屈米称之为“电影长廊”，在步道上行走，随着视角和位置的不断变化，红色的构筑物（ｆｏｌｉｅｓ）以及其周围发生的事件在游览者眼前被串接了起来。
建筑与电影
除了对视觉感知的试验，电影同样 用于建筑理念的表达或者宣传。 1930年柯布西耶和导演皮埃尔谢 纳尔(Pierre Chenal)合作制作了 记录片《今日建筑》（1930）.这 部18分钟的短片向大约3000名巴 黎观众宣传了国际式建筑.影片记录 了建筑的使用而不仅仅是房子本身 ，例如萨伏伊别墅的坡道(pō dào) 被表现为一次“建筑漫步”—女主 人沿着坡道(pō dào)穿过整个建筑 到达屋顶花园。
拉维莱特公园(gōngyuán) (来自谷歌)
精品文档
在巴黎拉维莱特公同的设计中,屈米将同区场所的所有因素都进行了分解,并 分别以不同的逻辑与秩序里新组织起来。形成了建筑与人T.化的S然要素相 互穿插的建筑式的同林景观。屈米对场所因素重构后的秩序,形成了一种非常 结构化的且独立性很强的严谨体系。这一秩序结构由三个独立抽象的系统:点 、线、面组成。它们被叠置入基地,为创造(chuàngzào)非线性的时空情境 埋下了伏笔。在这三个系统巾,线的秩序构成了整个同区的交通骨架。它由两 条长廊;几条绿色掩映的林荫道;跨越运河的环形步道和一条命名为“电影式 散步道”的流线型闻路组成。这些元素看似随机分布,甚至感觉会有些混乩。 但其实这足一种有意为之的非线性构成。它们切入公园的肌理,作用如同“分 切镜头”,从一幕场景切换到下一幕,以激发如同电影镜头切换般的效果。
空间蒙太奇梵蒂冈宫大台阶院与空间倒叙马赛公寓的异质元素插入空间并存拉维莱特公园?梵蒂冈宫大台阶院与空间倒叙在这个项目的设计中伯拉孟特运用了一个长达300m的大院子将新宫旧宫几处建筑群联系了起来这个院子轴线处于南北向中央被一个大台阶罗马梵蒂冈宫大台阶院来自谷歌地球切为两半南部建筑物2层北部1层后人由此称其为大公园 (gōngyuán)
首先介绍一个影像处理的技术——重复曜光技术。这种技术是使用摄像 机将同一张底片,在不同的场景中反复曝光。这样不同场景的影像便叠加 到了同一张底片上,形成一个画面里的多重场景或人物的叠化效果。比如 安德烈?塔可夫斯基(Andrei Tarkovsky)导演的《镜子》的电影片段中, 走动着的角色和延迟的摄像机摇动之间的差异(chāyì)运动暗示着这个角 色占据着位于同一电影时间延续性中的两个不同场所(实际上这个电影片 段仅使用了一个连续镜头)。重复曝光技术提供了一种只有电影媒介才能 加以揭示的空间条件:在电影场景的连续时间中包含着两种对立的空间组 织形式,即不同的空间条件在同一时间段中的并存。空间的并存使中.一空 间具有了多軍情境。
CEA理论视域下电影字幕翻译分析——以《悬崖之上》为例
CEA 理论视域下电影字幕翻译分析——以《悬崖之上》为例摘要：近年来，随着我国对外开放的程度不断提高，影视文化产业的对外交流活动也正愈步加强，大量国内高质量影片源源不断地输向海外市场。
基于此，中国电影对外宣传的翻译现状也面临着巨大的空前挑战《悬崖之上》作为时下热门电影，大多极具中国特色的用语融汇其中，因此，本文对影片《悬崖之上》中特定语句的字幕翻译进行研究，从研究背景、CEA理论阐述以及字幕翻译评析等三个方面来对电影对外翻译进行研讨，总结电影字幕翻译规律，以便更好地弘扬中国文化，为独具中国特色电影的国际传播做出贡献。
关键词：CEA理论；电影；字幕翻译一、研究背景对于字幕而言，可以大致分为两种字幕——语际字幕和语内字幕。
语际字幕是在保证原电影作品声音的完好无缺的情况下，将源语文字按照目的译入语堆叠放置在银幕下方的文本，统称字幕翻译。
字幕，一种具有极高阅读效果性质的文体，文本翻译的一般原则对其翻译也理应适用。
诚然，由于差异性遍布文学作品与影视作品之其中，字幕的翻译必然也会有其非同凡响之处。
但由于各地区文化的明显异同差别，不同源语作品中的语言文字含义都难以言简意赅地去阐明，且大都深刻无比、模棱两可、且晦涩难懂。
基于语言的简练程度，简化——是这些深奥语言在翻译过程中必然将历经的过程，进而对当时特定语境做出适应性要求，从而极大限度提高观众的理解能力，以保障影视作品内容的连贯程度。
二、CEA理论对于字幕翻译的指导意义CEA框架指(Comprehension，Expression and Adaptation)，即理解、表达与变通。
在理解层面上，可以分为对“信”“忠实”“准确”的理解，理解方法与理解的重要性；在表达层面上，需考虑到中英文表达，表达的语言习惯乃至语篇衔接；在变通层面上看，可考虑以翻译目的论，语言顺应理论，归化异化，功能对等理论以及交际理论等作为理论依据或支撑[2]。
李长栓先生曾做出如下阐释，翻译文本是需要直译、意译、或者是二者兼而有之是由特定的一项翻译任务的目的决定的，这样，就解决了数千年以来人们关于是应直译还是意译喋喋不休的争论[1]。
建筑翻译PPT
代表作品：巴塞罗那国际博览会德国馆
Thank you!!!!!!
赖特的一生经历了一个摸索建立空间意义和它的表达，从 由实体转向空间，从静态空间到流动和连续空间，在发展到四度 的序列展开的动态空间，最后达到戏剧性的空间。布鲁诺〃塞维 说如此评价赖特的贡献，“有机建筑空间充满着动态，方位诱导， 透视和生动明朗的创造，动态是创造性的，因为其目的不在于追 求耀眼的视觉效果，而是寻求表现生活在其中人的活动本身。终 其一生，赖特提出了许多建筑设计理念 崇尚自然地建筑观 属于美国的建筑文化 技术为艺术服务 表现材料的本性 连续的运动空间 有诗意的形式
主要建筑思想：
赖特从小就生长在威斯康星峡谷的大自然环境之中，在农场赖特过起了 日出而居，日落而歇的生活。向大自然索取的艰苦劳动中了解了土地，感悟到 蕴藏在四季之中的神秘的力量和潜在的生命流，体会到了自然固有的旋律和节 奏。赖特认为住宅不仅要合理安排卧室、起居室、餐橱、浴厕和书房使之便利 日常生活，而且更重要的是增强家庭的内聚力，他的这一认识使他在新的住宅 设计中把火炉置于住宅的核心位置，使它成为必不可少但又十分自然的场所。 赖特的观念和方法影响了他的建筑。“道法自然”（赖特十分欣赏中国的老子 哲学），就是要求依照大自然所启示的道理行事，而不是模仿自然。自然界是 有机的，因而取名为“有机建筑”。
建筑风格与思想：
密斯范德罗的贡献在于通过对钢框架结构和玻璃在建筑中应用的 探索，发展了一种具有古典式的均衡和极端简洁的风格。结构就是一切， 认为比房屋的功能更能决定建筑的形式。主张功能服从空间——建造一 个实用和经济的空间，在里面配置功能。认为形式不是工作的目的，只 是结果。简单概括为先结构后形式，先空间后功能，讲求“条理”。用 “少就是多”（less is more）的理论总结就是：一方面，简化结构体系， 精简结构构建，产生没有或极少屏障，而可作任何用途的建筑空间。另 一方面，净化建筑形式，精确施工，成为由钢和玻璃构成的直角组成的 盒子。 流动空间：现代建筑以空间为主题，这个理论的提出是对现代建 筑的重要贡献，它打破封闭空间，在空间的流动中体验功能平面。
外文文献翻译范例
StatusComplete
Type：Office
Location：Hong Kong
Construction started：18 April 1985
Completed：1990
Opening：17 May 1990
HeightAntenna spire：367.4 m (1,205.4 ft)
2011年6月8日
外文文献翻译（译成中文1000字左右）：
【主要阅读文献不少于5篇，译文后附注文献信息，包括：作者、书名（或论文题目）、出 版 社（或刊物名称）、出版时间（或刊号）、页码。提供所译外文资料附件（印刷类含封面、封底、目录、翻译部分的复印件等，网站类的请附网址及原文）
原文网址：/TALLEST_TOWERS/t_sears.htm
译文
建筑师：Bruce Graham, design partner, Skidmore, Owings and Merrill
地点：Chicago
甲方：Sears Roebuck and Company
工程师：Fazlur Khan of Skidmore, Owings and Merrill.项目年份：2008
香港1985年4月18日开工建设1990年完成1990年5月17日开幕高度天线尖顶三百六十七点四米2418英尺屋顶三百一十五点米10335英尺顶层二百八十八点二米九百四十五点五英尺技术细节地上楼层数724层楼建筑面积一十三点五万平方米1450000平方英尺电梯数45由奥的斯电梯公司生产的设计与施工主要承建商香港建设控股有限公司引文需要熊谷组香港贝聿铭建筑师事务所建筑师事务所谢尔曼西贡有限公司sl的托马斯博阿达莱斯利罗伯逊结构工程师协会rllp参考文献对中国塔简称中银大厦银行是中环香港最知名的摩天大楼之一
中英文翻译
Talling building and Steel constructionAlthough there have been many advancements in building construction technology in general.Spectacular archievements have been made in the design and construction of ultrahigh-risebuildings.The early development of high-rise buildings began with structural steel framing. Reinforced concrete and stressed-skin tube systems have since been economically and competitively used in a number of structures for both residential and commercial purposes. The high-rise buildings ranging from 50 to 110 stories that are being built all over the United States are the result ofinnovations and development of new structual systems.Greater height entails increased column and beam sizes to make buildings more rigid so that under wind load they will not sway beyond an acceptable limit. Excessive lateral sway may cause serious recurring damage to partitions, ceilings. and other architectural details. In addition, excessive sway may cause discomfort to the occupants of the building because their perception of such motion. Structural systems of reinforced concrete, as well as steel, take full advantage of inherent potential stiffness of the total building and therefore require additional stiffening to limitthe sway.In a steel structure, for example, the economy can be defined in terms of the total average quantity of steel per square foot of floor area of the building. Curve A in Fig .1 represents the average unit weight of a conventional frame with increasing numbers of stories. Curve B represents the average steel weight if the frame is protected from all lateral loads. The gap between the upper boundary and the lower boundary represents the premium for height for the traditional column-and-beam frame. Structural engineers have developed structural systems with aview to eliminating this premium.Systems in steel. Tall buildings in steel developed as a result of several types of structural innovations. The innovations have been applied to the construction of both office and apartmentbuildings.Frame with rigid belt trusses. In order to tie the exterior columns of a frame structure to the interior vertical trusses, a system of rigid belt trusses at mid-height and at the top of the building may be used. A good example of this system is the First Wisconsin Bank Building(1974) inMilwaukee.Framed tube. The maximum efficiency of the total structure of a tall building, for both strength and stiffness, to resist wind load can be achieved only if all column element can be connected to each other in such a way that the entire building acts as a hollow tube or rigid box in projecting out of the ground. This particular structural system was probably used for the first time in the 43-story reinforced concrete DeWitt Chestnut Apartment Building in Chicago. The most significant use of this system is in the twin structural steel towers of the 110-story World TradeCenter building in New YorkColumn-diagonal truss tube. The exterior columns of a building can be spaced reasonably far apart and yet be made to work together as a tube by connecting them with diagonal members interesting at the centre line of the columns and beams. This simple yet extremely efficient system was used for the first time on the John Hancock Centre in Chicago, using as much steel as isnormally needed for a traditional 40-story building.Bundled tube. With the continuing need for larger and taller buildings, the framed tube or thecolumn-diagonal truss tube may be used in a bundled form to create larger tube envelopes while maintaining high efficiency. The 110-story Sears Roebuck Headquarters Building in Chicago has nine tube, bundled at the base of the building in three rows. Some of these individual tubes terminate at different heights of the building, demonstrating the unlimited architectural possibilities of this latest structural concept. The Sears tower, at a height of 1450 ft(442m), is theworld’s tallest building.Stressed-skin tube system. The tube structural system was developed for improving the resistance to lateral forces (wind and earthquake) and the control of drift (lateral building movement ) in high-rise building. The stressed-skin tube takes the tube system a step further. The development of the stressed-skin tube utilizes the façade of the building as a structural element which acts with the framed tube, thus providing an efficient way of resisting lateral loads in high-rise buildings, and resulting in cost-effective column-free interior space with a high ratio ofnet to gross floor area.Because of the contribution of the stressed-skin façade, the framed members of the tube require less mass, and are thus lighter and less expensive. All the typical columns and spandrel beams are standard rolled shapes, minimizing the use and cost of special built-up members. The depth requirement for the perimeter spandrel beams is also reduced, and the need for upset beams above floors, which would encroach on valuable space, is minimized. The structural system has been used on the 54-story One Mellon Bank Center in Pittburgh.Systems in concrete. While tall buildings constructed of steel had an early start, development of tall buildings of reinforced concrete progressed at a fast enough rate to provide a competitive chanllenge to structural steel systems for both office and apartment buildings.Framed tube. As discussed above, the first framed tube concept for tall buildings was used for the 43-story DeWitt Chestnut Apartment Building. In this building ,exterior columns were spaced at 5.5ft (1.68m) centers, and interior columns were used as needed to support the 8-in . -thick(20-m) flat-plate concrete slabs.Tube in tube. Another system in reinforced concrete for office buildings combines the traditional shear wall construction with an exterior framed tube. The system consists of an outer framed tube of very closely spaced columns and an interior rigid shear wall tube enclosing the central service area. The system (Fig .2), known as the tube-in-tube system , made it possible to design the world’s present tallest (714ft or 218m)lightweight concrete building ( the 52-story One Shell Plaza Building in Houston) for the unit price of a traditional shear wall structure of only 35stories.Systems combining both concrete and steel have also been developed, an examle of which is the composite system developed by skidmore, Owings &Merril in which an exterior closely spaced framed tube in concrete envelops an interior steel framing, thereby combining the advantages of both reinforced concrete and structural steel systems. The 52-story One Shell Square Building in New Orleans is based on this system.Steel construction refers to a broad range of building construction in which steel plays the leading role. Most steel construction consists of large-scale buildings or engineering works, with the steel generally in the form of beams, girders, bars, plates, and other members shaped through the hot-rolled process. Despite the increased use of other materials, steel construction remained a major outlet for the steel industries of the U.S, U.K, U.S.S.R, Japan, West German, France, andother steel producers in the 1970s.Early history. The history of steel construction begins paradoxically several decades before the introduction of the Bessemer and the Siemens-Martin (openj-hearth) processes made it possible to produce steel in quantities sufficient for structure use. Many of problems of steel construction were studied earlier in connection with iron construction, which began with the Coalbrookdale Bridge, built in cast iron over the Severn River in England in 1777. This and subsequent iron bridge work, in addition to the construction of steam boilers and iron ship hulls , spurred the development of techniques for fabricating, designing, and jioning. The advantages of iron over masonry lay in the much smaller amounts of material required. The truss form, based on the resistance of the triangle to deformation, long used in timber, was translated effectively into iron, with cast iron being used for compression members-i.e, those bearing the weight of direct loading-and wrought iron being used for tension members-i.e, those bearing the pull of suspendedloading.The technique for passing iron, heated to the plastic state, between rolls to form flat and rounded bars, was developed as early as 1800;by 1819 angle irons were rolled; and in 1849 the first I beams, 17.7 feet (5.4m) long , were fabricated as roof girders for a Paris railroad station.Two years later Joseph Paxton of England built the Crystal Palace for the London Exposition of 1851. He is said to have conceived the idea of cage construction-using relatively slender iron beams as a skeleton for the glass walls of a large, open structure. Resistance to wind forces in the Crystal palace was provided by diagonal iron rods. Two feature are particularly important in the history of metal construction; first, the use of latticed girder, which are small trusses, a form first developed in timber bridges and other structures and translated into metal by Paxton ; and second, the joining of wrought-iron tension members and cast-iron compression members by means ofrivets inserted while hot.In 1853 the first metal floor beams were rolled for the Cooper Union Building in New York. In the light of the principal market demand for iron beams at the time, it is not surprising that the Cooper Union beams closely resembled railroad rails.The development of the Bessemer and Siemens-Martin processes in the 1850s and 1860s suddenly open the way to the use of steel for structural purpose. Stronger than iron in both tension and compression ,the newly available metal was seized on by imaginative engineers, notably by those involved in building the great number of heavy railroad bridges then in demand in Britain,Europe, and the U.S.A notable example was the Eads Bridge, also known as the St. Louis Bridge, in St. Louis (1867-1874), in which tubular steel ribs were used to form arches with a span of more than 500ft (152.5m). In Britain, the Firth of Forth cantilever bridge (1883-90) employed tubular struts, some12 ft (3.66m) in diameter and 350 ft (107m) long. Such bridges and other structures wereimportant in leading to the development and enforcement of standards and codification of permissible design stresses. The lack of adequate theoretical knowledge, and even of an adequate basis for theoretical studies, limited the value of stress analysis during the early years of the 20th century, as iccasionally failures, such as that of a cantilever bridge in Quebec in 1907,revealed.But failures were rare in the metal-skeleton office buildings; the simplicity of their design proved highly practical even in the absence of sophisticated analysis techniques. Throughout the first third of the century, ordinary carbon steel, without any special alloy strengthening or hardening, wasuniversally used.The possibilities inherent in metal construction for high-rise building was demonstrated to theworld by the Paris Exposition of 1889.for which Alexandre-Gustave Eiffel, a leading French bridge engineer, erected an openwork metal tower 300m (984 ft) high. Not only was the height-more than double that of the Great Pyramid-remarkable, but the speed of erection and low cost were even more so, a small crew completed the work in a few months.The first skyscrapers. Meantime, in the United States another important development was taking place. In 1884-85 Maj. William Le Baron Jenney, a Chicago engineer , had designed the Home Insurance Building, ten stories high, with a metal skeleton. Jenney’s beams wer e of Bessemer steel, though his columns were cast iron. Cast iron lintels supporting masonry over window openings were, in turn, supported on the cast iron columns. Soild masonry court and party walls provided lateral support against wind loading. Within a decade the same type of construction had been used in more than 30 office buildings in Chicago and New York. Steel played a larger and larger role in these , with riveted connections for beams and columns, sometimes strengthened for wind bracing by overlaying gusset plates at the junction of vertical and horizontal members. Light masonry curtain walls, supported at each floor level, replaced the old heavy masonry curtain walls, supported at each floor level , replaced the old heavy masonry.Though the new construction form was to remain centred almost entirely in America for several decade, its impact on the steel industry was worldwide. By the last years of the 19th century, the basic structural shapes-I beams up to 20 in. ( 0.508m) in depth and Z and T shapes of lesser proportions were readily available, to combine with plates of several widths and thicknesses to make efficient members of any required size and strength. In 1885 the heaviest structural shape produced through hot-rolling weighed less than 100 pounds (45 kilograms) per foot; decade by decade this figure rose until in the 1960s it exceeded 700 pounds (320 kilograms) per foot.Coincident with the introduction of structural steel came the introduction of the Otis electric elevator in 1889. The demonstration of a safe passenger elevator, together with that of a safe and economical steel construction method, sent building heights soaring. In New York the 286-ft (87.2-m) Flatiron Building of 1902 was surpassed in 1904 by the 375-ft (115-m) Times Building ( renamed the Allied Chemical Building) , the 468-ft (143-m) City Investing Company Building in Wall Street, the 612-ft (187-m) Singer Building (1908), the 700-ft (214-m) Metropolitan Tower (1909) and, in 1913, the 780-ft (232-m) Woolworth Building.The rapid increase in height and the height-to-width ratio brought problems. To limit street congestion, building setback design was prescribed. On the technical side, the problem of lateral support was studied. A diagonal bracing system, such as that used in the Eiffel Tower, was not architecturally desirable in offices relying on sunlight for illumination. The answer was found in greater reliance on the bending resistance of certain individual beams and columns strategically designed into the skeletn frame, together with a high degree of rigidity sought at the junction of the beams and columns. With today’s modern interior lighting systems, however, diagonal bracing against wind loads has returned; one notable example is the John Hancock Center in Chicago, where the external X-braces form a dramatic part of the structure’s façade.World War I brought an interruption to the boom in what had come to be called skyscrapers (the origin of the word is uncertain), but in the 1920s New York saw a resumption of the height race, culminating in the Empire State Building in the 1931. The Empire State’s 102 stories (1,250ft. [381m]) were to keep it established as the hightest building in the world for the next 40 years. Its speed of the erection demonstrated how thoroughly the new construction technique had been mastered. A depot across the bay at Bayonne, N.J., supplied the girders by lighter and truck on aschedule operated with millitary precision; nine derricks powerde by electric hoists lifted the girders to position; an industrial-railway setup moved steel and other material on each floor. Initial connections were made by bolting , closely followed by riveting, followed by masonry and finishing. The entire job was completed in one year and 45 days.The worldwide depression of the 1930s and World War II provided another interruption to steel construction development, but at the same time the introduction of welding to replaceriveting provided an important advance.Joining of steel parts by metal are welding had been successfully achieved by the end of the 19th century and was used in emergency ship repairs during World War I, but its application to construction was limited until after World War II. Another advance in the same area had been the introduction of high-strength bolts to replace rivets in field connections.Since the close of World War II, research in Europe, the U.S., and Japan has greatly extended knowledge of the behavior of different types of structural steel under varying stresses, including those exceeding the yield point, making possible more refined and systematic analysis. This in turn has led to the adoption of more liberal design codes in most countries, more imaginative design made possible by so-called plastic design ?The introduction of the computer byshort-cutting tedious paperwork, made further ad高层建筑和钢结构尽管一般的建筑结构设计取得了很大的进步，取得显著成绩的还要属超高层建筑结构设计。
光_影_时空_以电影视角看建筑发展_郭泽文
光·影·时空———以电影视角看建筑发展郭泽文（西南交通大学建筑学院，四川成都610031）【摘要】文章探讨了电影和建筑的最具特色的几种共性，从时间、空间、与视觉印象对两者进行了类比。
同时在对建筑的思想解读时，运用了电影这种能直白广泛传达的语言进行诠释，使蕴含在建筑中的深层次思想能更容易让人理解。
文中提出电影对于建筑发展与传播的效用，并且在对于城市的发展和构想都可以借助电影这种手法进行多可能性的探讨，以此来回顾和预见建筑的发展历程。
电影与建筑的关系可用一句话来意会———“建筑是凝固的电影，电影是流动的建筑。
”【关键词】建筑设计；建筑思想；电影传播；共生；未来城市【中图分类号】TU －854【文献标志码】A［定稿日期］2013－03－27［作者简介］郭泽文（1987 ），男，硕士研究生。
①Louis Isadore Kahn ，原名Itze －Leib Schmuilowsky （1901－1974），爱沙尼亚裔犹太人，美国建筑师，建筑教育家。
②安藤忠雄，日本著名建筑师，从未受过正规科班教育，开创了一套独特、崭新的建筑风格，成为当今最为活跃、最具影响力的世界建筑大师之一。
1电影艺术与建筑艺术的通感1．1电影与建筑的文脉关联电影与建筑都是最具表现力的综合艺术。
以电影为例，它是集摄影、音乐、舞蹈、美术、设计、文学、思想于一体的文化综合产物。
同样，建筑艺术不仅有其本身的体量与空间，更包括了雕塑、绘画、设计、文化、哲学、宗教等。
人们甚至可以从建筑这个词汇的构词去探寻它的深意，建筑英文译为“architecture ”，最初起源于希腊，罗马人始用。
“archi ”为“大、综合”之意，“tecture ”为艺术、技艺。
而电影中最常用的手法“蒙太奇”也是取自法语中的建筑名词，虽然电影的产生相较建筑的历史显得非常短暂，但就其两者的血脉却有着千丝万缕的关联。
1．2建筑光影的运用对于光和影的运用，建筑师都会有着自己独特的思考，但其中将光影用作建筑设计表现元素的当属路易斯·康①和安藤忠雄②了。
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。