建筑外文翻译--建筑类型和设计
建筑设计中英文对照外文翻译文献
建筑设计中英文对照外文翻译文献On the other hand, there is a significant amount ofliterature in the field of architecture design that is writtenin foreign languages. While it may not be as readily accessible for non-native speakers, there are many benefits to exploring literature in other languages. For example, architects who are fluent in multiple languages can have a broader understanding of different cultural approaches to architecture. By reading literature in foreign languages, architects can gain insights into design concepts and practices that may not be covered in English-language sources. This can lead to a more diverse and innovative approach to design.However, one challenge with accessing literature in foreign languages is the accuracy of translations. Architecture is a technical field with specific terminology, and it is important to ensure that translations accurately convey the intended meaning. In some cases, the translation of technical terms and concepts may not accurately convey their full meaning, which can lead to misunderstandings or confusion. Architects who rely on translated literature should be cautious and ensure they verify the accuracy of the translations with experts in the field.Despite these challenges, it is essential for architects to explore literature in multiple languages to stay informed and to gain a global perspective on architecture design. By consideringboth English and foreign language translated literature, architects can access a wider range of resources and insights. Additionally, architects should consider collaborating with colleagues who are fluent in different languages to ensure accurate translation and interpretation of foreign language sources.In conclusion, architecture design is a field that benefits from accessing literature in multiple languages. English provides a wealth of resources and is the global language of academia. However, architects who can access and read literature in foreign languages can gain new perspectives and insights into different cultural approaches to design. While caution should be taken to verify the accuracy of translations, architects should explore literature in multiple languages to broaden their understanding and enhance their creative problem-solving skills.。
建筑结构设计及材料中英文对照外文翻译文献
中英文对照外文翻译文献(文档含英文原文和中文翻译)Structure in Design of ArchitectureAnd Structural MaterialWe have and the architects must deal with the spatial aspect of activity, physical, and symbolic needs in such a way that overall performance integrity is assured. Hence, he or she well wants to think of evolving a building environment as a total system of interacting and space forming subsystems. Is represents a complex challenge, and to meet it the architect will need a hierarchic design process that provides at least three levels of feedback thinking: schematic,preliminary, and final.Such a hierarchy is necessary if he or she is to avoid being confused , at conceptual stages of design thinking ,by the myriad detail issues that can distract attention from more basic considerations .In fact , we can say that an architect’s ability to distinguish the more basic form the more detailed issues is essential to his success as a designer .The object of the schematic feed back level is to generate and evaluate overall site-plan, activity-interaction, and building-configuration options .To do so the architect must be able to focus on the interaction of the basic attributes of the site context, the spatial organization, and the symbolism as determinants of physical form. This means that ,in schematic terms ,the architect may first conceive and model a building design as an organizational abstraction of essential performance-space in teractions.Then he or she may explore the overall space-form implications of the abstraction. As an actual building configuration option begins to emerge, it will be modified to include consideration for basic site conditions.At the schematic stage, it would also be helpful if the designer could visualize his or her options for achieving overall structural integrity and consider the constructive feasibility and economic ofhis or her scheme .But this will require that the architect and/or a consultant be able to conceptualize total-system structural options in terms of elemental detail .Such overall thinking can be easily fed back to improve the space-form scheme.At the preliminary level, the architect’s emphasis will shift to the elaboration of his or her more promising schematic design options .Here the architect’s structural needs will shift to approximate design of specific subsystem options. At this stage the total structural scheme is developed to a middle level of specificity by focusing on identification and design of major subsystems to the extent that their key geometric, component, and interactive properties are established .Basic subsystem interaction and design conflicts can thus be identified and resolved in the context of total-system objectives. Consultants can play a significant part in this effort; these preliminary-level decisions may also result in feedback that calls for refinement or even major change in schematic concepts.When the designer and the client are satisfied with the feasibility of a design proposal at the preliminary level, it means that the basic problems of overall design are solved and details are not likely to produce major change .The focus shifts again ,and the design process moves into the final level .At this stage the emphasiswill be on the detailed development of all subsystem specifics . Here the role of specialists from various fields, including structural engineering, is much larger, since all detail of the preliminary design must be worked out. Decisions made at this level may produce feedback into Level II that will result in changes. However, if Levels I and II are handled with insight, the relationship between the overall decisions, made at the schematic and preliminary levels, and the specifics of the final level should be such that gross redesign is not in question, Rather, the entire process should be one of moving in an evolutionary fashion from creation and refinement (or modification) of the more general properties of a total-system design concept, to the fleshing out of requisite elements and details.To summarize: At Level I, the architect must first establish, in conceptual terms, the overall space-form feasibility of basic schematic options. At this stage, collaboration with specialists can be helpful, but only if in the form of overall thinking. At Level II, the architect must be able to identify the major subsystem requirements implied by the scheme and substantial their interactive feasibility by approximating key component properties .That is, the properties of major subsystems need be worked out only in sufficient depth to very the inherent compatibility of their basic form-related and behavioral interaction . This will mean a somewhat more specificform of collaboration with specialists then that in level I .At level III ,the architect and the specific form of collaboration with specialists then that providing for all of the elemental design specifics required to produce biddable construction documents .Of course this success comes from the development of the Structural Material.The principal construction materials of earlier times were wood and masonry brick, stone, or tile, and similar materials. The courses or layers were bound together with mortar or bitumen, a tar like substance, or some other binding agent. The Greeks and Romans sometimes used iron rods or claps to strengthen their building. The columns of the Parthenon in Athens, for example, have holes drilled in them for iron bars that have now rusted away. The Romans also used a natural cement called puzzling, made from volcanic ash, that became as hard as stone under water.Both steel and cement, the two most important construction materials of modern times, were introduced in the nineteenth century. Steel, basically an alloy of iron and a small amount of carbon had been made up to that time by a laborious process that restricted it to such special uses as sword blades. After the invention of the Bessemer process in 1856, steel was available in large quantities at low prices. The enormous advantage of steel is its tensile forcewhich, as we have seen, tends to pull apart many materials. New alloys have further, which is a tendency for it to weaken as a result of continual changes in stress.Modern cement, called Portland cement, was invented in 1824. It is a mixture of limestone and clay, which is heated and then ground into a power. It is mixed at or near the construction site with sand, aggregate small stones, crushed rock, or gravel, and water to make concrete. Different proportions of the ingredients produce concrete with different strength and weight. Concrete is very versatile; it can be poured, pumped, or even sprayed into all kinds of shapes. And whereas steel has great tensile strength, concrete has great strength under compression. Thus, the two substances complement each other.They also complement each other in another way: they have almost the same rate of contraction and expansion. They therefore can work together in situations where both compression and tension are factors. Steel rods are embedded in concrete to make reinforced concrete in concrete beams or structures where tensions will develop. Concrete and steel also form such a strong bond─ the force that unites them─ that the steel cannot slip within the concrete. Still another advantage is that steel does not rust in concrete. Acid corrodes steel, whereas concrete has an alkaline chemical reaction, the opposite of acid.The adoption of structural steel and reinforced concrete caused major changes in traditional construction practices. It was no longer necessary to use thick walls of stone or brick for multistory buildings, and it became much simpler to build fire-resistant floors. Both these changes served to reduce the cost of construction. It also became possible to erect buildings with greater heights and longer spans.Since the weight of modern structures is carried by the steel or concrete frame, the walls do not support the building. They have become curtain walls, which keep out the weather and let in light. In the earlier steel or concrete frame building, the curtain walls were generally made of masonry; they had the solid look of bearing walls. Today, however, curtain walls are often made of lightweight materials such as glass, aluminum, or plastic, in various combinations.Another advance in steel construction is the method of fastening together the beams. For many years the standard method was riveting.A rivet is a bolt with a head that looks like a blunt screw without threads. It is heated, placed in holes through the pieces of steel, and a second head is formed at the other end by hammering it to hold it in place. Riveting has now largely been replaced by welding, the joining together of pieces of steel by melting a steel materialbetween them under high heat.Priestess’s concrete is an improved form of reinforcement. Steel rods are bent into the shapes to give them the necessary degree of tensile strengths. They are then used to priestess concrete, usually by one of two different methods. The first is to leave channels in a concrete beam that correspond to the shapes of the steel rods. When the rods are run through the channels, they are then bonded to the concrete by filling the channels with grout, a thin mortar or binding agent. In the other (and more common) method, the priestesses steel rods are placed in the lower part of a form that corresponds to the shape of the finished structure, and the concrete is poured around them. Priestess’s concrete uses less steel and less concrete. Because it is a highly desirable material.Progressed concrete has made it possible to develop buildings with unusual shapes, like some of the modern, sports arenas, with large spaces unbroken by any obstructing supports. The uses for this relatively new structural method are constantly being developed.建筑中的结构设计及建筑材料建筑师必须从一种全局的角度出发去处理建筑设计中应该考虑到的实用活动，物质及象征性的需求。
外文翻译---建筑风格设计与特殊创意
On special architectural design and creative Abstract: The design "the most poor and unhelpful, is to confuse the struggle of the modern, and deliberately forget history. Ancient civilization in the vast legacy handed down to us is most worthy of the construction and design of one of the places that will shine through, which is between the ancient and modern A lively dialogue, but we want to convey the message should not be tracing the history of design development, but a far more profound understanding: as long as we can think of things, not the construction of what is not out. "Modern architectural styles unique and rich modern style of work, it seems the city has been a trademark; Looking at the past years of urban renewal projects, in the types and styles are diverse, whether it is classical, traditional or modern show , with designers keen insight and wealth of creativity, the mold after they made, every premises, distributed a unique charm.In the development of the cause of the initial design, designers Although the target on urban residential design, but the design of the business has never ignored the market, with the development of the times, whether it is offices, hotels, restaurants, shopping malls, or homes, etc. in the design of various projects are yearning for freedom, go its own way of creative space. With the vigorous development of the design industry, designers of each new project is a new challenge, and they will go all out to create their own new works. Design is by personal subjective feeling of, in particular, a strong human subjectivity into the site, one will be able to know the pros and cons of its know its proper handling, we will have to have their keen insight of the surrounding areas, and things are subjective awareness. Furthermore, the observation of the surrounding things continue to be training their own analytical capacity, with the points of view of the changes of the broadening of horizons, but also further stimulate creativity and inspiration, and often others Appreciation of the design is done very Zhiyizhibi important.Many designers think it is the design of the mainstream in the 1980s, minimalism to the recovery of many designers with the pandemic, it works out the design style is very close, is no personality, I am an advocate continuously inject new elements to replace the old, allow procrastination or copied, the only way to create masterpieces. But if too rigidly adhere to this, the entire design will be full enough. Therefore, it must learn from decorative arts and modern art decorative patterns. Architectural Design paid great attention to highlight different regions of the personality, at the same time, in order to create a continuous visual, not because of the style is too strong and a jump flu, the design is also very careful to abide by the principles of coherence, which is on the scale quite delicate. Designers of the greatest sentiment is that "the most poor and unhelpful, is to confuse the struggle of the modern, and deliberately forget history. Ancient civilization in the vast legacy handed down to us is most worthy of the construction and design of one of the places that will shine through. This is a vivid between the ancient and modern dialogue, but we want to convey themessage should not be tracing the history of design development, but a far more profound understanding: as long as we can think of things, not the construction of what is not out 's. "Interior Design in the residential area often encountered some small, personal possession of small space, thus, in the use of space, it favors a simple approach to deal with, customs to the effect of space doubled. The so-called simple, generally refers to a simple style, and do not advocate the use Qiao spent lines, complex materials, and create a comfortable natural scenes, in order to increase the sense of space visually. Similarly, the relatively shallow color easy to give a feeling of comfort Moreover, the short-color help light refraction, can enhance the indoor brightness in the context of a Su Jing, whether it is strong contrast, or harmony The costume can accentuate every indoor design. Lighting in the interior design is the one element that can not be overlooked, lighting control to create a climate of increased levels flu Therefore, whenever a project, the designers will be in the lighting effects spend a lot of time and thought to to perfect. As a professional designer, the cumulative experience is very very important, like a treasure, whether it is good or good experiences to both spur themselves on the role gladly accept criticism from others, the courage to admit their errors , and has also constantly looking for reflection and can break their own across barriers and move towards the front.Address small residential area of design skills. Space and the furniture is more complex use, in order to extend the original narrow pattern. Poor use of the ground level to address the use of tables and chairs in furniture demand, but also added the level and depth. To the more pure color, can increase the visual extension. And by creating the false impression that the sense of the mirror, cleverly not practical to fight for the space, and other times. Staggered do is not the original meaning of compressed space, but the practical considerations of home after. Make full use of available 3D. Staggered and stacked with the conversion from top to bottom and the vertical connections, the more the level of the expansion.Small residential area of the design must be haggling so hard, Zizhubijiao, but it must have a completed impressive bearing. Photoglottography design is not good-looking, exciting carving. But for people with space. Allows users to facilitate their living by - the value of design in this. Of course, the lighting is operating. Let there be light indoor performance, rather than isolated lighting display. He is the customary form of reduced light, light to see the effect of the most important. Light and shadow on the wall (or other objects) are drawn shades and aesthetic changes. Restaurants with chandeliers to light because on the desktop illuminate, chandeliers can be made uniform light. Home office does not need another Tongliang, but to the level of warmth to create a personalized atmosphere. Lighting should be playing in the bright areas. Not brightest parts of it go dark. This is what we-efficiency design principles. Simple, nostalgia, arts tastes tap millennium, the choice of furniture and furnishings space will return to the concept of natural Returning to Simplicity Meaningful style, both in shape, color or ATG is the line arrangements, home style of the show, more different, simplicity no longer just simplified lines and monotonous shapes by adding more design elements of the "people" and the respect of human warmth design. Newresidential planning, the new proposal. ─ ─ new thinking and new humanistic values speed ─ ─ correct and accurate and efficient method for the rapid ─ ─ it is really material seized materials and practicality ─ ─ create long-term maintenance convenience and flexibility of the design method seized JieIs a simple pursuit of the US-style against exaggerated, luxury and impulsive. Architecture modeling, a reasonable proportion to my pursuit of the perfect goal, this is a higher realm of design. Design should be long-lasting. In other words, after a long period of time after a Nengkan texture. Living in the city, people. A living has become increasingly sophisticated. Everyone is in the design of their own life. Indeed, it is necessary hygiene design. When we were more numerous and located in the fashionable things of the mind, the design will be found that the direction is increasingly blurred.Some designers like simple crisper, less inclined to antique designs. He said, "is the quintessence of traditional unable to imitate so simple can be attained perfect. Old style because of the prevailing aesthetic will and personality created by the times, the history that the United States is serving a one-time, we can not easily catch up later, If mechanically copying the easy work will be lost beauty, loss of contemporary flavor. "Of course, as a designer, you can not be too extreme style, or only in a limited level. Design is the work of serving the people, it is often too specific and you need to grasp the reality and the aesthetic sense of propriety. Pai space cloth there is a sensitive occupation. Grasp the overall space, the decision of the design direction of the formation of styles, techniques transform were determined by the outcome of the deployment of space. Proportion, scale, cutting…… that space needs are the skills. And the use of penetration, surrounded level, by King, a space can be recycled. But do not do virtual personal utopian space conversion, residential design to help users achieve the dream of space. Designers should always be a very professional look and attitude in dealing with the design of the hands of cases.Purely functional solution is only a prototype design. The so-called "rational engineering" and the design should be involved in the highest state of the art flu level. Is the beginning of the function to consider and rely on the actual residential space to address the needs of repudiation to the final while artistic expression, people feel the United States and feel comfortable. Such a hard balance the needs of professional spirit of living apply professional knowledge, keen art Synaesthesia, and the accumulation of various practices. Done over 1,000 cases, and only after countless experience can be easily formed their own artificial maturity practices.Simple, rustic style of the design is the favorite of many people living in the complex and varied world of annoyance is endless, and simple, natural living space for the enjoyment able people feel calm and comfort; through the interior space of Deconstruction and reorganization, and will meet people on the slow life of the yearning and the pursuit of life, to allow them to the realities of life in the turbulence find a balance, creating a fascinating is the heart inside space itself. This concept of the integration of design, the carping abandon the formal beauty, and negate excessive cumulatively and exaggeration, and through the clear, concise lines cut and Sucheng rustic furniture portfolio, build a comfortable, natural, crisper style home.However, as a professional designer, should not be confined to a particular their direction, we should not Moshou static design style, it should follow the trend of the times and the pace of the progress, to broaden their horizons and Through study and practice self-constantly updated and breakthroughs, only in this way can induce a more rich design ideas, and create more of the work. The design should be gradually moving to diversify and not designed to focus on individual subjective feelings of the project, from the nature of that love, nature has produced a trend of the home style, with the development and future trends of the modern trend, and now a preference for modern Western ideas, likes the simplicity of the way to deal with it. Design is not just the arts. A pure art works, just to meet a single individual, of the acts of individuals, not care about other people's guidance, but not design worship of individualism, because end-users are still customers, which in the design process, it is necessary to take into account customer needs, but also meet user needs, can not disregard one has been to the creation of self-satisfaction, while completely ignoring the views and demands of customers, because the customer is room users, only they know best their own need, the designer only communicate with customers after the imaginary space through its professional approach and the implementation of down. Thus, it appears that a successful design should be attractive to both the reality. Only the lack of practical and aesthetic design, the designer, it may have made the Heart, will meet the pursuit of the goal of the design, can meet the designers have created a desire But for the ultimate users, only STYLOMMATOPHORA bring flattering effect, because it was not fully taken into account so as to practicality caused a lot of inconvenience, the results of a failure to.Design attributes is formed by past experience. Design more than once in the company, and many teachers consider that a lot of environmental impact, from the early classical style to foreign designers led to the design work, is a style of their own design today The reason, and from that early homeowners should raise the standard of living, and today the diagnosis and design of fully-dwellers living together, designers found that the owner has done for the design should be extended to after so many years of living . Building is the major reason not to adjust for individual needs, but also because the lives of the people for change, resulting in interior design so vigorous development, but how to make their own designer from the "decoration" and lead to "design." First on the external environment to foster strong-Min, from their own experience can be classified as a class of its own, followed by the space-hwan into the merits of their own advantages, but also said that, can be three times asthree-dimensional space design , will be able to fully grasp the coordination of the completion of the last to the ideal and the owner needs to strike a balance in the points, and the owner will do good groove, visual beauty and life will be perfect combination. Life in the exploration, design is also in the progress of exploration, design and meditation the same time, a decade in interior design architect, it has been asked, inall these years, he encountered a good landlord? For this question, he said: The focus is not met good landlord, but encountered a landlord, the heart would like to hear the "good things" play, the key lies in the "heart to" what is? Designers in the life of the concept is not open, otherwise, there is no significance. For this, he can view a proofexample said: try to make clear to see that the brain of every ideas ups and downs, like stripping clothes, first took off his jacket, from the more layers to be more in delinking not continue, because to be showing naked, but if not, respectively, they do not have any of the concerns. And also because not understand their own can really appreciate a certain space, "creation" out of space to do naturally; first self-deep dialogue, the only real space of the output."Simplification" of the design essence. From the complexity of classical, modern stress modeling to streamline the present, and would like to find a reasonable need for the owner to complete the space, "simplify" is the key, because that modeling is usually more expensive items, only to the visual effects , and "streamline" it allows designers design restore the essence of the true surface material through to performance. Thorough understanding of material design to implementation. After the completion of the plane, followed is the material selection, material judge the suitability of the use of space, the first from the "function" of other words, the design concept of the structure to the right, when can Yue, the appropriate use of material. To achieve able to cope with the most solid way is to get a clear understanding of material, a clear understanding of the subject characteristics, can fully play material advantages.When the designers of a lack of understanding of material characteristics, it will be easy for the construction units Qianzhaozou, construction units may be due to complex construction method, and for various reasons overthrow designers design, resulting in the entire space to fulfill variable low, If they fully understand the advantages of material, the designers themselves more easily produce creative design.1 to the glasshouse was popular as an example, Taiwan's glasshouse technology incomplete, resulting in a glasshouse become hot glass box, and moreenergy-consuming, and difficult to clean up, easy leakage of customers speaking, the use of the difficulties Finally they bargain on the material that is not enough understanding of the environment and therefore, contrary abroad glasshouse design, taking into account the automatic cleaning system, the design of anti-ultraviolet, and even rolling shutters can be combined and a glasshouse. Only after the advantages and disadvantages of a clear material, designers can avoid the inappropriate use of products. And the launching of glass as an example. After years of design career, Mrs. Jingzhong designers to use a lot of glass and metal from the external walls, partition to smallpox, these two types of material in his hands almost omnipotent. That design is the proudest, in the limited space to create the conditions for the infinite value only to be applauded. Because of the use of the most basic material for the completion of the greatest sense of accomplishment.At the same time designers in the design of good to look at the design of their own attitude. Only in this way can their own unique style and design. Most people think that the responsibility lies designers found, and then to solve the problem, however, space and the hearts of the people, or do not affect the transformation found that only the issue of reunification, return to one of the most deep-seated. That the designer is to guide the party, and regardless of space or who have unlimited potential can be excavated, when the lives of people in the Yongliu after Muran look back to thebeginning, both in the journey, the journey half-way or Streams In conclusion, the pursuit of profound deep in the hearts of the home is a starting point. Do with clothing analogy, how trustworthy are wearing texture better make, the ultimate state of instability texture if it is necessary to wear a certain kind of a feature of a certain kind of pattern formation, as well highlighted, unwilling personal nature . If a simple external clothing, not messy state space, but its inner world, and how? Space is simply not the dull, frightened "of the creation of" performance simple, but heart is monotonous and work-style of a means to cover up their hearts empty. But if the content of deep, it can be very forces. So many things are just in the "color" of the changes, the pursuit of sound textures, to be returned because of the nature of life.Is designed to create a better living space, this space is ultimately for human habitation, in the design, practical and aesthetic is equally important, and often take into account practical consideration will be given to modeling. Design is not only played the role of landscaping, the ultimate goal is a reasonable use of space. Landscaping design is a part of but not all. We are from the users point of view, the environment, space, and other aspects of the integrity of distribution, distribution. In this landscape before entering the stage. According to the concept of landscaping customers to adjust to different cases. For example, the hotel is Geserendeng coexistence place in the design will adopt the doctrine of the mean, so that every person entering here will not create a feeling of comfort, it is necessary to make full use of every space, so that it can rationalize divided, and then click different functions and costume on the appropriate equipment and installations, and to beautify and modified to create the atmosphere for them to reconcile. Of course, the extent of landscaping deeply shallow, more different styles, done well or not depends on the skill of the designer. Design has no fixed formula. Space is the handling of the variety. The same space, there are different elements affecting each other. Co-ordination. That is to be considered practical. Further research modeling. A worry-designers must be able to find the balance between the two, to play.建筑风格设计与特殊创意摘要：设计风格“最贫乏而无益的，莫过于被现代性蛊惑纠缠，并且刻意忘记历史。
一般建筑术语英文翻译之一
常见的建筑术语的英文翻译集之一以下是一些常见的建筑术语的英文翻译集合之一：1. 建筑设计- Architectural Design2. 建筑结构- Building Structure3. 建筑材料- Building Materials4. 建筑施工- Building Construction5. 建筑成本- Construction Cost6. 建筑风格- Architectural Style7. 建筑师- Architect8. 建筑规划- Building Planning9. 建筑模型- Architectural Model10. 建筑面积- Building Area11. 建筑高度- Building Height12. 建筑容积率- Plot Ratio13. 建筑法规- Building Codes and Regulations14. 建筑节能- Energy Efficiency in Buildings15. 建筑智能化- Intelligent Buildings16. 绿色建筑- Green Buildings17. 可持续建筑- Sustainable Buildings18. 建筑声学- Architectural Acoustics19. 建筑光学- Architectural Optics20. 室内设计- Interior Design21. 景观设计- Landscape Design22. 结构设计- Structural Design23. 给排水设计- Water Supply and Drainage Design24. 暖通空调设计- HVAC Design25. 电气设计- Electrical Design26. 消防设计- Fire Protection Design27. 智能化系统设计- Intelligent System Design28. 施工组织设计- Construction Organization Design29. 施工图设计- Construction Drawing Design30. 装饰装修设计- Decoration and Finishing Design31. 建筑声学设计- Architectural Acoustics Design32. 建筑光学设计- Architectural Optics Design33. 建筑热工设计- Architectural Thermal Design34. 建筑美学设计- Architectural Aesthetic Design35. 建筑环境设计- Architectural Environment Design36. 建筑风水学- Feng Shui37. 建筑日照分析- Solar Analysis for Buildings38. 建筑通风分析- Ventilation Analysis for Buildings39. 建筑声环境分析- Acoustic Environment Analysis for Buildings40. 建筑光环境分析- Daylighting Environment Analysis for Buildings41. 建筑热环境分析- Thermal Environment Analysis for Buildings42. 建筑面积计算- Building Area Calculation43. 建筑楼层高度- Storey Height44. 建筑消防设计- Fire Protection Design for Buildings45. 建筑结构安全评估- Structural Safety Evaluation for Buildings46. 建筑抗震设计- Seismic Design for Buildings47. 建筑防洪设计- Flood-resistant Design for Buildings48. 建筑工程招标- Building Engineering Tendering49. 建筑工程施工许可- Construction Permission for Building Projects50. 建筑工程造价咨询- Engineering Cost Consulting for Building Projects51. 建筑工程监理- Project Supervision for Building Projects52. 建筑工程验收- Acceptance of Building Projects53. 建筑工程质量检测- Quality Detection of Building Projects54. 建筑工程质量评估- Quality Evaluation of Building Projects55. 建筑工程质量保修- Quality Guarantee of Building Projects56. 建筑工程档案- Construction Project Archives57. 建筑工程安全- Construction Safety58. 建筑工程管理- Construction Project Management59. 建筑工程合同- Construction Contract60. 建筑工程保险- Construction Insurance61. 建筑工程材料- Construction Materials62. 建筑工程机械- Construction Machinery63. 建筑工程劳务- Construction Labor64. 建筑工程施工组织设计- Construction Organization Design for Building Projects65. 建筑工程施工图设计- Construction Drawing Design for Building Projects66. 建筑工程施工进度计划- Construction Progress Plan for Building Projects67. 建筑工程施工质量控制- Construction Quality Control for Building Projects68. 建筑工程施工安全管理- Construction Safety Management for Building Projects69. 建筑工程施工现场管理- Construction Site Management for Building Projects70. 建筑工程施工成本管理- Construction Cost Management for Building Projects71. 建筑工程施工环境保护- Environmental Protection in Building Construction72. 建筑工程施工节能管理- Energy-saving Management in Building Construction73. 建筑工程施工水土保持- Soil and Water Conservation in Building Construction74. 建筑工程施工质量控制要点- Key Points of Construction Quality Control for Building Projects75. 建筑工程施工安全控制要点- Key Points of Construction Safety Control for Building Projects76. 建筑工程施工质量验收规范- Acceptance Specification for Construction Quality ofBuilding Projects77. 建筑立面设计- Façade Design78. 建筑剖面设计- Section Design79. 建筑立面分析图- Façade Analysis Diagram80. 建筑剖面分析图- Section Analysis Diagram81. 建筑结构分析图- Structural Analysis Diagram82. 建筑平面图- Floor Plan83. 建筑立面图- Façade Drawing84. 建筑剖面图- Section Drawing85. 建筑轴测图- Axonometric Drawing86. 建筑渲染图- Architectural Rendering87. 建筑模型制作- Model Making88. 建筑绘画- Architectural Drawing89. 建筑表现图- Architectural Representation90. 建筑动画- Architectural Animation91. 建筑摄影- Architectural Photography92. 建筑信息模型- Building Information Modeling (BIM)93. 建筑环境评估- Building Environmental Assessment94. 建筑节能评估- Building Energy Efficiency Assessment95. 建筑可持续性评估- Building Sustainability Assessment96. 建筑健康评估- Building Health Assessment97. 建筑设备系统设计- Building Equipment System Design98. 建筑电气系统设计- Electrical System Design for Buildings99. 建筑给排水系统设计- Water Supply and Drainage System Design for Buildings 100. 建筑暖通空调系统设计- HVAC System Design for Buildings。
建筑学Modern-Architecture现代建筑大学毕业论文外文文献翻译及原文
建筑学Modern-Architecture现代建筑⼤学毕业论⽂外⽂⽂献翻译及原⽂毕业设计（论⽂）外⽂⽂献翻译⽂献、资料中⽂题⽬：现代建筑⽂献、资料英⽂题⽬：Modern Architecture⽂献、资料来源：⽂献、资料发表（出版）⽇期：院（部）：专业：班级：姓名：学号：指导教师：翻译⽇期： 2017.02.14建筑学毕业设计的外⽂⽂献及译⽂⽂献、资料题⽬：《Advanced Encryption Standard》⽂献、资料发表（出版）⽇期：2004.10.25外⽂⽂献：Modern ArchitectureModern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building.1. OriginsSome historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions.Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, "Dark satanic mills" of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum, built from1926 near Basel, Switzerland.Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau.Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new.2. Modernism as Dominant StyleBy the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology.Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture.In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style.This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984.Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles.Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism.Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and thebuilders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic.中⽂译⽂：现代建筑现代建筑,不被混淆与'当代建筑' , 是⼀个词给了⼀些建筑风格有类似的特点, 主要的简化形式,消除装饰等. 虽然风格的设想早在20世纪,并⼤量造就了⼀些建筑师、建筑教育家和展品,很少有现代的建筑物,建于20世纪上半叶. 第⼆次⼤战后的三⼗年, 但最终却成为主导建筑风格的机构和公司建设.1起源⼀些历史学家认为进化的现代建筑作为⼀个社会问题, 息息相关的⼯程中的现代性,从⽽影响了启蒙运动,导致社会和政治⾰命.另⼀些⼈认为现代建筑主要是靠技术和⼯程学的发展, 那就是获得新的建筑材料,如钢铁, 混凝⼟和玻璃驱车发明新的建筑技术,它作为⼯业⾰命的⼀部分. 1796年, shrewsbury查尔斯bage⾸先⽤他的'⽕'的设计, 后者则依靠铸铁及砖与⽯材地板. 这些建设⼤⼤加强了结构,使它们能够容纳更⼤的机器. 由于作为建筑材料特性知识缺乏,⼀些早期建筑失败. 直到1830年初,伊顿Hodgkinson预计推出了型钢梁, 导致⼴泛使⽤钢架建设，⼯业结构完全改变了这种窘迫的⾯貌,英国北部领导的描述, "⿊暗魔⿁作坊"的地⽅如曼彻斯特和西约克郡. ⽔晶宫由约瑟夫paxton的重⼤展览, 1851年,是⼀个早期的例⼦,钢铁及玻璃施⼯; 可能是⼀个最好的例⼦,就是1890年由William乐男爵延长和路易沙利⽂在芝加哥附近发展的⾼层钢结构摩天楼. 早期结构采⽤混凝⼟作为⾏政⼿段的建筑表达(⽽⾮纯粹功利结构) ,包括建于1906年在芝加哥附近,劳埃德赖特的统⼀宫, 建于1926年瑞⼠巴塞尔附近的鲁道夫斯坦纳的第⼆哥特堂,.但⽆论原因为何, 约有1900多位建筑师,在世界各地开始制定新的建筑⽅法,将传统的先例(⽐如哥特式)与新的技术相结合的可能性.路易沙利⽂和赖特在芝加哥⼯作,维克多奥尔塔在布鲁塞尔,安东尼⾼迪在巴塞罗那, 奥托⽡格纳和查尔斯景mackintosh格拉斯哥在维也纳,其中之⼀可以看作是⼀个新与旧的共同⽃争.2现代主义风格由1920年代的最重要⼈物,在现代建筑⾥确⽴了⾃⼰的名声. 三个是公认的柯布西耶在法国, 密斯范德尔德罗和⽡尔特格罗⽪乌斯在德国. 密斯范德尔德罗和格罗⽪乌斯为董事的包豪斯, 其中欧洲有不少学校和有关团体学习调和⼯艺和传统⼯业技术.赖特的建筑⽣涯中,也影响了欧洲建筑的现代艺术,特别是通过⽡斯穆特组合但他拒绝被归类与他们. 赖特与格罗⽪乌斯和Van der德罗对整个有机体系有重⼤的影响.在1932年来到的重要moma展览,是现代建筑艺术的国际展览,艺术家菲利普约翰逊. 约翰逊和合作者亨利-罗素阁纠集许多鲜明的线索和趋势, 内容相似,有⼀个共同的⽬的,巩固了他们融⼊国际化风格这是⼀个重要的转折点. 在⼆战的时间包豪斯的代表⼈物逃到美国,芝加哥，到哈佛⼤学设计⿊⼭书院. 当现代建筑设计从未成为主导风格单⼀的住宅楼，在成为现代卓越的体制和商业建筑, 是学校(专业领导)的唯⼀可接受的, 设计解决⽅案,从约1932年⾄约1984年.那些从事国际风格的建筑师想要打破传统建筑和简单的没有装饰的建筑物。
外文翻译---高层建筑及结构设计
中文3220字附录：毕业设计外文翻译院（系）建筑工程学院专业土木工程班级姓名学号导师2011年4月15日英文：High-Rise Buildings and StructuralDesignAbstract：It is difficult to define a high-rise building . One may say that a low-rise building ranges from 1 to 2 stories . A medium-rise building probably ranges between 3 or 4 stories up to 10 or 20 stories or more . Although the basic principles of vertical and horizontal subsystem design remain the same for low- , medium- , or high-rise buildings , when a building gets high the vertical subsystems become a controlling problem for two reasons . Higher vertical loads will require larger columns , walls , and shafts . But , more significantly , the overturning moment and the shear deflections produced by lateral forces are much larger and must be carefully provided for .Key Words：High-Rise Buildings Structural Design Framework Shear Seismic SystemIntroductionThe vertical subsystems in a high-rise building transmit accumulated gravity load from story to story , thus requiring larger column or wall sections to support such loading . In addition these same vertical subsystems must transmit lateral loads , such as wind or seismic loads , to the foundations. However , in contrast to vertical load , lateral load effects on buildings are not linear and increase rapidly with increase in height . For example under wind load , the overturning moment at the base of buildings varies approximately as the square of a buildings may vary as the fourth power of buildings height , other things being equal.Earthquake produces an even more pronounced effect.When the structure for a low-or medium-rise building is designed for dead and live load , it is almost an inherent property that the columns , walls , and stair or elevator shafts can carry most of the horizontal forces . The problem is primarily shear resistance . Moderate addition bracing for rigid frames in“short”buildings can easily be provided by filling certain panels ( or even all panels ) without increasing the sizes of the columns and girders otherwise required for vertical loads.Unfortunately , this is not is for high-rise buildings because the problem is primarily resistance to moment and deflection rather than shear alone . Special structural arrangements will often have to be made and additional structural material is always required for the columns , girders , walls , and slabs in order to made a high-rise buildings sufficiently resistant to much higher lateral deformations .As previously mentioned , the quantity of structural material required per square foot of floor of a high-rise buildings is in excess of that required for low-rise buildings . The vertical components carrying the gravity load , such as walls , columns , and shafts , will need to be strengthened over the full height of the buildings . But quantity of material required for resisting lateral forces is even more significant .With reinforced concrete , the quantity of material also increases as the number of stories increases . But here it should be noted that the increase in the weight of material added for gravity load is much more sizable than steel , whereas for wind load the increase for lateral force resistance is not that much more since the weight of a concrete buildings helps to resist overturn . On the other hand , the problem of design for earthquake forces . Additional mass in the upper floors will give rise to a greater overall lateral force under the of seismic effects .In the case of either concrete or steel design , there are certain basic principles for providing additional resistance to lateral to lateral forces and deflections in high-rise buildings without too much sacrifire ineconomy .1、Increase the effective width of the moment-resisting subsystems . This is very useful because increasing the width will cut down the overturn force directly and will reduce deflection by the third power of the width increase , other things remaining cinstant . However , this does require that vertical components of the widened subsystem be suitably connected to actually gain this benefit.2、Design subsystems such that the components are made to interact in the most efficient manner . For example , use truss systems with chords and diagonals efficiently stressed , place reinforcing for walls at critical locations , and optimize stiffness ratios for rigid frames .3、Increase the material in the most effective resisting components . For example , materials added in the lower floors to the flanges of columns and connecting girders will directly decrease the overall deflection and increase the moment resistance without contributing mass in the upper floors where the earthquake problem is aggravated .4、Arrange to have the greater part of vertical loads be carried directly on the primary moment-resisting components . This will help stabilize the buildings against tensile overturning forces by precompressing the major overturn-resisting components .5、The local shear in each story can be best resisted by strategic placement if solid walls or the use of diagonal members in a vertical subsystem . Resisting these shears solely by vertical members in bending is usually less economical , since achieving sufficient bending resistance in the columns and connecting girders will require more material and construction energy than using walls or diagonal members .6、Sufficient horizontal diaphragm action should be provided floor . This will help to bring the various resisting elements to work together instead of separately .7、Create mega-frames by joining large vertical and horizontal components such as two or more elevator shafts at multistory intervalswith a heavy floor subsystems , or by use of very deep girder trusses .Remember that all high-rise buildings are essentially vertical cantilevers which are supported at the ground . When the above principles are judiciously applied , structurally desirable schemes can be obtained by walls , cores , rigid frames, tubular construction , and other vertical subsystems to achieve horizontal strength and rigidity . Some of these applications will now be described in subsequent sections in the following .Shear-Wall SystemsWhen shear walls are compatible with other functional requirements , they can be economically utilized to resist lateral forces in high-rise buildings . For example , apartment buildings naturally require many separation walls . When some of these are designed to be solid , they can act as shear walls to resist lateral forces and to carry the vertical load as well . For buildings up to some 20storise , the use of shear walls is common . If given sufficient length ,such walls can economically resist lateral forces up to 30 to 40 stories or more .However , shear walls can resist lateral load only the plane of the walls ( i.e.not in a diretion perpendicular to them ) . Therefore ,it is always necessary to provide shear walls in two perpendicular directions can be at least in sufficient orientation so that lateral force in any direction can be resisted . In addition , that wall layout should reflect consideration of any torsional effect .In design progress , two or more shear walls can be connected to from L-shaped or channel-shaped subsystems . Indeed , internal shear walls can be connected to from a rectangular shaft that will resist lateral forces very efficiently . If all external shear walls are continuously connected , then the whole buildings acts as a tube , and is excellent Shear-Wall Systems resisting lateral loads and torsion .Whereas concrete shear walls are generally of solid type withopenings when necessary , steel shear walls are usually made of trusses . These trusses can have single diagonals , “X”diagonals , or“K”arrangements . A trussed wall will have its members act essentially in direct tension or compression under the action of view , and they offer some opportunity and deflection-limitation point of view , and they offer some opportunity for penetration between members . Of course , the inclined members of trusses must be suitable placed so as not to interfere with requirements for windows and for circulation service penetrations though these walls .As stated above , the walls of elevator , staircase ,and utility shafts form natural tubes and are commonly employed to resist both vertical and lateral forces . Since these shafts are normally rectangular or circular in cross-section , they can offer an efficient means for resisting moments and shear in all directions due to tube structural action . But a problem in the design of these shafts is provided sufficient strength around door openings and other penetrations through these elements . For reinforced concrete construction , special steel reinforcements are placed around such opening .In steel construction , heavier and more rigid connections are required to resist racking at the openings .In many high-rise buildings , a combination of walls and shafts can offer excellent resistance to lateral forces when they are suitably located ant connected to one another . It is also desirable that the stiffness offered these subsystems be more-or-less symmertrical in all directions .Rigid-Frame SystemsIn the design of architectural buildings , rigid-frame systems for resisting vertical and lateral loads have long been accepted as an important and standard means for designing building . They are employed for low-and medium means for designing buildings . They are employed for low- and medium up to high-rise building perhaps 70 or 100 stories high . When compared to shear-wall systems , these rigid frames bothwithin and at the outside of a buildings . They also make use of the stiffness in beams and columns that are required for the buildings in any case , but the columns are made stronger when rigidly connected to resist the lateral as well as vertical forces though frame bending .Frequently , rigid frames will not be as stiff as shear-wall construction , and therefore may produce excessive deflections for the more slender high-rise buildings designs . But because of this flexibility , they are often considered as being more ductile and thus less susceptible to catastrophic earthquake failure when compared with ( some ) shear-wall designs . For example , if over stressing occurs at certain portions of a steel rigid frame ( i.e.,near the joint ) , ductility will allow the structure as a whole to deflect a little more , but it will by no means collapse even under a much larger force than expected on the structure . For this reason , rigid-frame construction is considered by some to be a “best”seismic-resisting type for high-rise steel buildings . On the other hand ,it is also unlikely that a well-designed share-wall system would collapse.In the case of concrete rigid frames ,there is a divergence of opinion . It true that if a concrete rigid frame is designed in the conventional manner , without special care to produce higher ductility , it will not be able to withstand a catastrophic earthquake that can produce forces several times lerger than the code design earthquake forces .Therefore , some believe that it may not have additional capacity possessed by steel rigid frames . But modern research and experience has indicated that concrete frames can be designed to be ductile , when sufficient stirrups and joinery reinforcement are designed in to the frame . Modern buildings codes have specifications for the so-called ductile concrete frames . However , at present , these codes often require excessive reinforcement at certain points in the frame so as to cause congestion and result in construction difficulties 。
建筑外文翻译2
多层住宅楼结构设计的故事引言设计和建造在塞勒姆，泰米尔纳德邦州，印度是本文描述。
设计是交由证明第二次检查的作者。
该建筑是一幢公寓的泰米尔纳德邦房屋委员会给的建议。
这是一个钢筋混凝土框架建设。
这样做是在技术，哥印拜陀，印度，巴黎圣日尔曼学院作为高级论文设计的世平的一部分，在马萨诸塞州伍斯特，01609巴黎圣日耳曼技术，哥印拜陀，印度，学院在印度项目中心的7周内学生作为一个住宅项目。
学生姓名弗雷德里克嘉莉，亚伯拉罕松柏目和安东尼。
这是他们完成在巴黎圣日尔曼学院项目的技术，哥印拜陀，印度，中心在1998年。
这是对BSCE在土木与环境工程学士学位世平要求的一部分。
世平派出20名学生到印度计划在PSG技术学校，哥印拜陀，学院计划在美国拉惹博士，主席，中欧和东欧处圣日耳曼技术学院赞助。
拉惹古玛教授担任顾问的校园，而体育Jayachandran教授，担任过外的世平校园顾问。
学生们做了文献调查，问题的定义，没有一个完整的结构分析和4层住宅大楼在设计钢筋混凝土。
他们遵循国际清算银行在印度的代码456 - 1978和使用脑梗死- 1999和风能/加拿大代码使用1995年的地震荷载和ANSI标准检查1995。
分析和设计的地砖，梁，梁，柱和基脚已完成利用钢筋混凝土结构设计与分析理论，STAAD 进行第三软件，它使用有限元。
对板设计，梁，柱和基脚外出使用该软件进行钢筋混凝土设计套件。
图纸完成使用自动加元。
为了防止这些软件被滥用，极限状态设计是专门用来作为手工计算方法来验证从STAAD进行输出，三和RC设计套件。
估计和工料测量做是为了计算数量和建筑和制造规范移仍维持在H/500，在理论设计的改编，由 C.K. Wang和 C.G. Salmon的教科书钢筋混凝土设计和JGMcGrager，钢筋混凝土设计和S.Rajasekaran，有限元方法。
学生已完成结构设计和图纸和技术报告，并提出了结果的陈述，之前的资深教授和其他教师和大学生的心理服务技术的观众，以及在世平。
外文翻译.建筑学
NATURE AND MODERNISM IN CONTEMPORARY FINNISH ARCHITECTURE 当代芬兰建筑中的自然和现代主义Juhana Lahti(尤哈得·拉赫蒂)Fin nish architecture is renowned primarily for two things: pragmatic and no-nonsense modernism and a mythical relationship with nature. This has been the case ever since Alvar Aalto and his contemporaries, including Erik Bryggman and Pauli E. Blomstedt, designed the first masterpieces of Finnish modern architecture some 80 years ago. Aalto's 1930s designs, especially the Paimio Sanatorium completed in 1933, Bryggman's private houses and blocks of flats in the city of Turku, and Blomstedt's church designs, most importantly the Kannonkoski Church completed in 1938, mark the early stage of Finnish modern architecture.Modernism has subsequently been the movement that the mainstream, and often also the alternative, Finnish architecture has learned on. The commitment to modernism is related to Finland's social development since it gained independence in 1917 and the Nordic approach to architecture and design.Northern Location and CultureIn the Nordic variety of modernism, the architecture is interwoven with many Northern European cultural traits. The determining factors at play are climate and natural surroundings, but also a communal spirit, drawing on Lutheranism, which has been embodied by the Nordic welfare state. A key characteristic in the formation of the local people's relationship with nature, which is worth mentioning here, is the idea of "freedom to roam", which, in a nutshell, means that everyone has the right to access the natural environment and what it offers, within certain limits. This tradition, which is known globally by people who live in close connection with nature, has stood its ground in the Nordic countries.The natural environment in the Baltic Sea region is very rich, varied and small in scale. The inland, again, features an endless number of lakes that form vast waterways. Finland is known as the land of a thousand lakes. In fact, you can say that Finnish nature is filled with unique places. We do not have endless sandy beaches by oceans or particularly great differences in height. Instead, we have rivers, lakes and archipelagos. This varied and omnipresent alternation of land and water provides arhythm to the Finnish natural landscape. This rhythm is both visual and spatial. In addition, the changing of the four seasons, with warm and light summers and dark, snowy and cold winters when the waterways freeze, accentuates the variability of he landscape and has a considerable effect on the use of natural space.On Finnish ArchitectureI see that all the above is closely associated with what people perceive as good architecture in Finland. Being tied to a site or place and spatial experience are key issues here.Firstly, what is considered good architecture is linked with having respect for a site and its history, whether in a natural or an urban setting. The leading Finnish architects from the 1930s to the 1960s, most importantly Alvar Aalto, consistently insisted that the trees on building sites were to be protected against damage throughout the projects. This was a way to allow nature to be a concrete part of the buildings’ yard areas. During this era, zone thinking became part of urban planning, and the link between residential areas and natural green zones assumed particular prominence in suburban planning. In urban planning, having an appreciation for historic building stock is a phenomenon of recent decades. As a flip side to the development of modernisation, the 1970s still saw numerous historic wooden buildings pulled down in practically all Finnish cities. The demolition frenzy has since subsided, although things have not changed completely. Over the decades, modern architecture, too, has been accepted as part of our built heritage. Similarly, historic urban environments are now considered worth preserving. In Finland, there are no cases of vertical expansion of historic buildings, as, for example, in Tallinn, the capital of Estonia, Finland's southern neighbour. A revealing example of the situation is the controversy over the Cloud City design by ALA Architects, which is presented in this magazine.Secondly, it is linked with viewing a building's immediate surroundings as its expansion and an integral part of the overall architectural design. The entry into a building and the views from inside are a particularly important part of the architecture and the way it is experienced. Allowing natural light into a building, an idea prevalent in modern architecture, was enthusiastically welcomed at our northern latitudes, where there are precious few hours of sunlight in the wintertime. Placing special emphasis on a site or place, which I mentioned above, is closely related to architectural character. The carefully thought-out views that open onto the building's surroundings tie it to the site andthe surrounding nature to the architectural design. A well-known example of this is the Otaniemi Chapel by Heikki Siren and Kaija Siren, completed in 1957. The approach to and exit from a building play an important role in creating a spatial experience. A case in point is the Chapel of St. Lawrence designed by Avanto Architects. Located in a historical setting, the essence of the chapel design is the movement towards the building, into it and back out of it into the churchyard.Thirdly, it includes the ideal of low-density living, which is related to the fact that Finland is a very sparsely populated country. In this respect, the Finnish architectural culture in urban planning differs considerably from the situation in international metropolises or other densely populated areas. How this ideal is realised in today's .increasingly dense urban environment is arguable, but Finns still value natural environments as part of their cities and remain sceptical about high-rise buildings. The appreciation of natural environments shows, for example, in the“ forest suburbs” built in the 1950s in the Helsinki region. One of these is Tapiola, in which fairly low blocks of flats sit amidst trees, laid out according to the contours of the terrain and without fences separating the plots. High-rise construction is presently a topic of lively discussion in the Helsinki region, and the Cloud City project is one example of this. The arguments against high-rises include the preservation of historic urban spaces and the importance of natural light: people do not want tall buildings to rise above the current skyline for fear of changing the cityscape and overshadowing the rest of the city, especially in the winter, when the sun barely rises above the horizon.The Significance of Public BuildingsVarious public buildings are importantly linked to the welfare state services, which encompass public health care, public libraries, the education system and the state church. Most Finns are members of the Lutheran church. In the Lutheran tradition of Christianity, church buildings feature little ornamentation and hey are mostly used for silent worship. Chapels are smaller buildings that are designed for funeral ceremonies. The more recent religious buildings highlight communality, nature as a visual element, and traditional building methods. The Chapel of St. Lawrence by Avanto Architects is a fine example of how the heritage of modern architecture has been updated to meet contemporary needs. The elegant and unique material choices and lighting solutions perfect this Hirvilammiarchitectural work of art, which at the same time takes its place in the chain of modern Finnish chapel buildings, including the Resurrection Chapel by ErikBryggman (1941) and the Chapel of the Holy Cross by Pekka Pitkänen (1967), which form a pair on the same cemetery site in the city of Turku.The heritage of modern architecture is also shown in the St. Henry's Ecumenical Art Chapel in Hirvensalo by Sanaksenaho Architects (2005) and the Kuokkala Church in Jyväskyläby Lassila Hirvilammi Architects (2009). The interior solutions of these projects demonstrate the architects' familiarity with the designs of the Salla Church by Eero Eerikäinen and Osmo Sipari (1950) and the Vatiala Chapel in Kangasala by Viljo Revell (1960).Schools and nurseries are another example of architecture designed for communities. The current Finnish education system is among the best in the world and is perhaps the greatest achievement of the Finnish welfare state. Everyone is given equal opportunities in education, starting from the nursery. The education system also plays a role in maintaining cultural cohesion in Finland. The design of comfortable facilities that support teaching has a strong tradition. School playgrounds are considered to be part of the overall design, which is especially important with nurseries, as playing games outside is a significant part of the childdren's day. Safe playgrounds should therefore an integral part of buildings for children. Fine examples of designs in this category are the Kirkkojärvi School by Verstas Architects (2010) and the Saunalahti Children's House by JKMM Architects (2011), both located in Helsinki's neighbouring city of Espoo.The Ideal of Modest LivingHaving a long-lasting tradition of a democratic society shows in housing forms and ideals. Making high-quality housing available for everyone has been at the core of the Nordic welfare state ideology. A case in point is the small and low-rent student flats. Often, some of the best architects are hired for the design of student housing, and projects are subject to architectural competition. This was the case with the HOAS student housing unit in Viikki by Playa architects (2010), which was inspired by the 1950s Nordic residential architecture, and the HOAS student housing unit at Intiankatu 20 in Kumpula by Brunow & Maunula (2007), which is designed to function as a quiet pocket in a noisy urban setting.From another angle, the democratic tradition and the, as yet, natural relationship between people and their environment is linked to the tradition of summer residences, with which most Finns are familiar. The tradition is also closely related to our natural landscape, which, as I mentioned above,is seen to contain countless places. A noteworthy example of summer residences designed to beavailable to all are the summer cottages that are located on rented plots in public recreation areas and that were originally designed for the underprivileged. This is an interesting extension to the right of freedom to roam, and there are thousands of summer cottages like these in Helsinki alone. At the start of the 21st century, this tradition is enjoying a revival, as new generations of city residents have discovered it. The City Cottage in Lauttasaari by Verstas Architects (2010) is a superb update of the traditional concept. The summer cottages are sought after and new areas to accommodate them are being planned. As an example, summer cottage areas are included in the plan of Kruunuvuorenranta, a forthcoming new residential area in eastern Helsinki Many of the projects presented in this magazine reflect the characteristics mentioned above. A large number of them have been realised as a result of architectural competitions. The practice of architectural competitions has a long tradition that goes back to the late 19th century. Competitions are an effective way of finding the best possible solution but they also serve as a manifestation of our democratic culture, as everyone gets an opportunity to showcase their skills. In this article, I have highlighted specific projects to illustrate in more detail the issues discussed. The projects relate to the forms of housing and the design of communal spaces, in which traditions and exciting contemporary solutions meet in a way that is characteristic of Finnish architecture. Moreover, they all, to a greater or lesser extent, exhibit an awareness of the tradition o f Nordic modern architecture, and they do so with pride and respect. □1 内容1.1内容芬兰建筑主要因两点而闻名：实用而直接的现代主义和一种同自然之间的虚构的关系。
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building types and designA building is closely bound up with people，for it provides with the necessary space to work and live in .As classified by their use ,buildings are mainly of two types :industrial buildings and civil buildings .industrial buildings are used by various factories or industrial production while civil buildings are those that are used by people fordwelling ,employment ,education and other social activities .Industrial buildings are factory buildings that are available for processing and manufacturing of various kinds ,in such fields as the mining industry ,the metallurgical industry ,machine building ,the chemical industry and the textile industry . factory buildings can be classified into two types single-story ones and multi-story ones .the construction of industrial buildings is the same as that of civil buildings .however ,industrial and civil buildings differ in the materials used and in the way they are used .Civil buildings are divided into two broad categories: residential buildings and public buildings .residential buildings should suit family life .each flat should consist of at least three necessary rooms : a living room ,a kitchen and a toilet .public buildings can be used in politics ,cultural activities ,administration work and other services ,such as schools, office buildings,parks ,hospitals ,shops ,stations ,theatres ,gymnasiums ,hotels ,exhibition halls ,bath pools ,and so on .all of them have different functions ,which in turn require different design types as well.Housing is the living quarters for human beings .the basic function of housing is to provide shelter from the elements ,but people today require much more that of their housing .a family moving into a new neighborhood will to know if the available housing meets its standards of safety ,health ,and comfort .a family will also ask how near the housing is to grain shops ,food markets ,schools ,stores ,the library ,a movie theater ,and the community center .In the mid-1960’s a most important value in housing was sufficient space both inside and out .a majority of families preferred single-family homes on about half an acre of land ,which would provide space for spare-time activities .in highly industrialized countries ,many families preferred to live as far out as possible from the center of a metropolitan area ,even if the wage earners had to travel some distance to theirwork .quite a large number of families preferred country housing to suburban housing because their chief aim was to get far away from noise ,crowding ,and confusion .the accessibility of public transportation had ceased to be a decisive factor in housing because most workers drove their cars to work .people we’re chiefly interested in the arrangement and size of rooms and the number of bedrooms .Before any of the building can begin ,plans have to be drawn to show what the building will be like ,the exact place in which it is to go and how everything is to be done.An important point in building design is the layout of rooms ,which should provide the greatest possible convenience in relation to the purposes for which they are intended .in a dwelling house ,the layout may be considered under three categories : “day”, “night” ,and “services” .attention must be paid to the provision of easy commun ication between these areas .the “day “rooms generally include adining-room ,sitting-room and kitchen ,but other rooms ,such as a study ,may be added ,and there may be a hall .the living-room ,which is generally the largest ,often serves as a dining-room ,too ,or the kitchen may have a dining alcove .the “night “rooms consist of the bedrooms .the “services “comprise thekitchen ,bathrooms ,larder ,and water-closets .the kitchen and larder connect the services with the day rooms .It is also essential to consider the question of outlook from the various rooms ,and those most in use should preferably face south as possible .it is ,however ,often very difficult to meet the optimum requirements ,both on account of the surroundings and the location of the roads .in resolving these complex problems ,it is also necessary to follow the local town-planning regulations which are concerned with public amenities ,density of population ,height of buildings ,proportion of green space to dwellings ,building lines ,the general appearance of new properties in relation to the neighbourhood ,and so on .There is little standardization in industrial buildings although such buildings still need to comply with local town-planning regulations .the modern trend is towardslight ,airy factory buildings .generally of reinforced concrete or metal construction ,a factory can be given a “shed ”type ridge roof ,incorporating windows facing north so as to give evenly distributed natural lighting without sun-glare .翻译：建筑类型和设计建筑物与人们有着紧密的联系，他为人们提供必要的空间，用以工作和生活。