建筑学专业英语

1 转型和解型Architecture and construction, by their nature, undergo a constant process of physical transformation, from concept to drawings, and from drawings to buildings.建筑和建筑,从本质上说,接受一个物质转换的连续过程,从概念到图纸,从建筑图纸。

Further, architects themselves are constantly under a process of transformation; they unavoidably exist between the multiple poles of reality and abstraction, of the man-made and the natural, of present and future.进一步,建筑师本身是不断在转型过程中,他们难免之间存在着多极化的现实和抽象、人造和自然,对现在和未来。

John Hejduk noted that a painter starts from the real world, and works towards abstraction; an architect works the opposite way.约翰·斯指出,一个画家开始从真实的世界,努力抽象的概念,一个建筑设计师的作品相反的方向。

However, “a significant architect is one who, when finished with a work, is as close to that original abstraction as he could possibly be...”然而,“重大的建筑师是这样的人:当完成工作,尽量接近原始抽象化,他可能是…”Transformation is moulded by three major factors:转换所塑造的三大因素:1 External Constraints外部约束This refers to natural, environmental constraints imposed on a building, such as wind, topography, view, exposure, orientation, etc.这是指自然、环境限制一栋建筑,如风能、地形地貌、视图、曝光、取向等。

2 Internal Requirements内部需求This refers to conditions applied to a building, such as building code, planning issues, program requirements, budget, etc.这是指条件应用于建筑,比如构建代码,规划问题、项目的要求,预算等。

3 Artistic Response艺术响应This refers to the ability, attitude and will of the architect in developing and manipulating built forms based on the above factors.这是指能力、态度和将架构师的开发和操作形式兴建基于上述因素。

Throughout the 20th century, building form and configuration typically evolved out of a direct response at least the first two of these factors, based solely on programmatic conditions which could be quite restrictive, predictable and utilitarian.在整个20世纪,建筑形式和配置通常进化出来的直接反应至少是前两个这些因素,依靠编程条件可相当严格的、可预测的和实用的。

The overall transformation of an initially imagined solid “mass”, given a permitted number of incremental transformations which respond to optimum combinations of constraints, will generally yield mechanical results.整体的转换的一个最初想象的坚实的“大规模”,给出一个允许多个增量转换它应对的最佳组合约束,通常会产生机械的结果。

The range of ultimate solutions will be virtually fixed, with only some subtle differences.最终的解决方案的范围几乎是固定的,只有一些细微的差别。

However, the transformation process introduced here will depend largely on the architect's interpretation or response of these constraints beyond a utilitarian approach.然而,在这里介绍的转换过程将在很大程度上取决于建筑师的解释或响应这些约束超出实用的方法。

Transformation, as Jorge Silvetti defined, “By transformation we mean those operations performed on the elements of a given existent code which depart from the original, normal, or canonical usage of the code, by distorting, regrouping, reassembling, or in general altering it in such a way that it maintains its references to the original while tending to produce a new meaning.”转换,如同Jorge Silvetti定义,“通过转换我们意味着这些操作的元素上执行一个给定的存在的代码,离开原来的、正常或规范使用代码,通过扭曲,重组,重组,或在通用改变它以这种方式,使它能够保持其引用到原始打工时产生一个新的意义。

”Forms may be transformed through additive and subtractive processes, or through an association of one form to another.表单可能的转化,通过添加剂和减去流程,或通过协会的一种形式到另一种。

An additive design grows from an assemblage of identifiable units, and hence, has a perceptually dominant whole.一个加法设计出的一组可识别的单位,因此,有一个占主导地位的整体感知。

Subtractive design, on the other hand, develops out of removing parts from a recognizable totality, and hence, it also has a perceptually dominant whole.减法设计,另一方面,开发出从整体拆卸部件可辨认的,因此,它也有一个占主导地位的整体感知。

In either case, the overall massing or image of the building form is massaged in a dynamic, continuous process until the desirable spatial quality is obtained.在这两种情况下,总体集结或形象的建筑形式按摩在一个充满活力、持续的过程,直到质量较理想的空间。

The resultant whole may or may not be identifiable as a derivative of the original.由此产生的全部可能或不可能被鉴定为一个衍生品的原始。

A transformation may start from a prototypical architectural model whose formal structure and ordering of elements might be appropriate and reasonable, and to transform it through a series of discrete manipulations to respond to the specific conditions and context of the design task at hand.一个转换可能会开始从一个典型的建筑模型的正式结构和排序的元素可以适当、合理,并将它通过一系列离散的操纵响应特定的条件和上下文的设计手头的任务。

Transformation requires first that the ordering system of the prior, or prototypical, model be perceived and understood, so that through a series offinite changes and permutations, the original design concept can be clarified, strengthened, and built upon, rather than destroyed.第一,转换需要订购系统前,或原型,模型是感知和理解,通过一系列的有限的变化和排列,最初的设计概念可以澄清,强化,建立在,而不是摧毁。

As we have understood, Le Corbusier transformed the geometrical order of the Greek temple—its meaning, clarity, precision, implacable honesty, and economic severity—and incorporated these into his own buildings and ultimately the larger Modern movement.正如我们已经明白,勒柯布西耶改变了几何秩序的希腊temple-its意义、清楚、准确,无情的诚实,和经济severity-and合并这些到他自己的建筑和最终较大的现代运动。