vocabulary

VocabularyUnit 1Phenomenology 现象学Cultural context 文化脉络，文化背景Gestalt 完全形态Aesthetics 美学Unit 2Renaissance 文艺复兴classical decoration 古典装饰behavior pattern 行为模式Style 款式Unit 3Function 功能construction budget 工程预算high-rise building 高楼大厦Unit 4form 形式interior design 室内设计Feasibility 可行性real estate 不动产environmental psychology 环境心理学Unit 5load 荷载suspended/suspension structure 悬挂结构long span building 大跨建筑grid structure 网架结构loadbearing wall 承重墙deflection 挠度stiffness 刚度reinforced concrete 钢筋混凝土Cement 巩固、加强folded slab structure 折板结构concrete shell 混凝土薄壳pneumatic structure 充气结构tension member 受拉构件compression member 受压构件Unit 6civil engineering 土木工程membrane structure 膜结构.etc 等等e.g. 例如，举例来说prefabricated member 预制构件Unit 8sound-absorbing material/ absorbing material/ absorptive material吸声材料Partition 隔墙，隔板masonry 砖石建筑Unit 9material property 材料特性cause/effect relationship 因果关系Section 截面，剖面brick 砖concrete block 混凝土砌块Unit 10artificial 人造的，人工的pattern 图案Rococo 洛可可Baroque 巴洛克式Unit12scale relationship 尺度关系landscape planning 景观规划Topography 地形学three-dimensional form 三维形态two-dimensional shape 二维形状Unit 13systems analysis 系统分析Unit 14metropolitan form 都市构成path system 道路系统intersection 十字街口spatial texture 空间肌理Landmark 地标Skyline 天际线open space 开敞空间，开放空间density of population/ population density 人口密度Unit 16site planning 总平面site analysis 场地分析outdoor space 户外空间social factor 社会因素翻译Taste is also a personal preference, whether or not others feel that it needs improvement. But genuine good taste is discrimination and judgment based on a knowledge of art principles that follow good design. Taste is not acquired by accepting each new trend that becomes fashionable, but rather through a deliberate and continuing process of first becoming aware, then training the eye to discriminate between what is and what is not good design. How is good taste distinguish from bad taste? An item is a good taste if it can be described as well proportioned, integrated, beautiful, original, fine, sincere, appropriate, logical, direct, and efficient, with its form defining its function.鉴赏力也是一种个人偏好，不管别人是否认为完美，但是真正的良好鉴赏力是一种辨别判断能力，其基础知识是从优秀设计实践中产生出来的艺术原则。

鉴赏力的培养不是认同每一时髦的新风格，而在持续的、有目的的过程中首先培养审美意识，然后训练识别区分好的设计与坏的设计的眼力。

如何区分高雅与粗俗？如果一件物品可以形容为比例协调的、完整的、美丽的、新颖的、精致的、真实的、适当的、合乎逻辑的、直率的、效率高的，并且其形势与功能一致，那么这件物品就是高雅的。

The characteristic of a site frequently indicate the basic type of house that would be best suited for that site.场地的特点决定了最适合建在该场地上建筑的基本形式The structure should appear to be part of the site and should blend in with the surroundings rather than stand apart from them.建筑应该与场地周围的环境融合而不是与环境孤立An obsession with the machine is a feature of modernism, from the Italian futurists’ intoxication with power stations and aircraft to Le Corbusier’s version of the house as “a machine for living”. 对机器的痴迷是现代主义的一个特点，从意大利未来主义发电站和飞机到勒·柯布西耶的观点“建筑是生活的机器”The idea of the designer as artist has been a prevalent one in the past decade as aesthetic preoccupations have focused on style. But the process of design is seldom simple or direct: it involved much more than applied fashion or style for its own sake. Designers do not work in a vacuum. They have a social responsibility as well as an aesthetic one, since good design can be the catalyst for growth and change in a community. Design solutions must respond to diverse pressures, including both formal ideas as well as human, environmental, and technical realities. The design process thus evolve out of the interaction of people, events, problems, ideas, and images.在过去十年中当风格成为美学所关心的主要对象时，人们普遍地将设计师看作艺术家。

但设计过程很少是简单或直接的：因为设计过程自身的缘故，它所包含的内容远远超过单纯的实用式样或风格。

设计师并不是在真空中工作。

他们既负有社会职责，也有审美职责，因为好的设计可以促进一个社区的发展和变化。

设计必须对不同的要求作出反应，包括结构概念，以及人、环境、技术现实等。

因此，设计过程是人、事件、问题、观念和形象相互作用的过程。

Architectural education today focuses on the theoretical and aesthetic explorations that have little to do with professional practice.今天的建筑学教育主要着重于理论和美学探索，但几乎不进行专业实践。

The computerization of all aspects of the design process is now a reality that design firms can no longer afford to ignore.设计过程的全面电脑化已成为设计公司不容忽视的现实。

Building materials have properties that manifest themselves visually. Consequently, they project a discrete image that may be compatible or incompatible with other visual goals of architecture design. Building character derived from functional demands, geometrical relationship, site characteristic, environmental concerns, artistic concepts, or other influences will be embellished or diluted by the separate message from the building’s materials. For example, if general harmony is promoted, the materials may reflect discord. If chaos is desired, the materials may embody order. If clarity and sureness of purpose are intended, the materials might declare uncertainty and ambivalence. Understanding the relationship between material properties and their visual impact lets the designer manipulate their contribution to the architecture goals with certainty. Regardless of one’s theoretical persuasion, contribution of all visual aspects is imperative for a predicable cause\effect relationship in the design.建筑材料具有显示外观的特性，因此他们投射出的单独的形象和建筑设计的其他视觉目标可能是相溶的或不相溶的。