第一篇：建筑學專業英語翻譯3.1 活力與創造的建筑

3.1 活力與創造的建筑

1.大學生喜歡探索他們所在的大學的新生活，他們渴望達到一種歸宿感通過成為對他們的環境很熟悉的人，創始者知道所有秘密的地方在哪。

2.新的罩藝術博物館看起來是為了迎合這個大學生的有用的目的，他是一個你想花四年的時間去搞懂但又搞不懂的建筑，你能清楚地識別罩博物館的中心，它是頂樓的丘吉爾畫廊，被一個巨大的亮的富蘭克林拼貼畫所控制，但是你不知道它的周界在哪，它的邊界相間錯雜，互相交叉，就像科學家說的話一樣，所有的東西都圍繞著它，并且更特殊的是有兩個老建筑在它兩邊。盡管你無數次的漫步在博物館的周圍、無數的入口和樓梯，你還是不能對這個非常模糊的建筑形成一個清晰地印象圖。相反，你開始認為你自己是錯覺大師埃舍爾的平面藝術里的居民，注定不斷地爬不斷地轉換視角的領域的樓梯。

3.博物館的建筑師是 查爾斯-莫爾和中心溪流建筑師事務所的cf 建筑師，AIA作為經營合伙人，罩藝術博物館是穩重（適度）的對莫爾和C，帶著對于他們的工作很稀有的一種固體建筑物的感覺和制度的持久性，它依然保持著所有他們原來的創造性。

4.對這個博物館的一個簡單但不充足的描述可能是這樣的。它是一個由紅色和灰色的磚蓋的兩層建筑，黑色錘鑿混凝土和鍍銅。它塞在了一個位于達特茅斯綠地角落的兩個更老的建筑的缺口，這個公共綠地是這個村和這個大學的中心。它包含10個畫廊屋，一個禮堂，和各種各樣的輔助空間在60000平方英尺上。它也包括非常好的藝術和考古學的收集物。

5.不幸的是，那些描述沒有傳達關于Hood的顯著地特點，他沒有記錄，并且年代久遠，那些Hood探險家毫無目的的想迷途的羔羊一樣圍繞著現場轉悠，忽略了其他建筑和漢諾威是對齊的正交網格。Hood有很多入口，但是沒有主入口。他們塑造了三個不規則的經驗豐富的戶外房間的院落，除了似乎被作為建筑森林。所有Hood的部分都是不同于其他的，他們傾向于完整自身，并且他們在水平和隨意角度碰撞。如果有單一的執政隱喻，那么這是維多利亞時代的新英格蘭磨村。雖然護德博物館就像一個充滿浪漫迷霧的村莊，但更像一個迷幻的墻穿插在一個風景如畫的意大利小山村的天際線上。

6.但其迷人的外觀也偶爾會由于失誤而產生問題。最嚴重的問題就是護德博物館正對面的達特茅斯公園。

7.自從護德博物館被設置在公園的后面后，弗萊德和莫瑞就嘗試著通過虛化前面的公園來達到增強博物館的存在感的目的。這個方法就是在公園的出入口處設置一些面朝北面黑色厚實的灌木叢，并且不加任何的修飾。建筑師則選擇堅韌厚實的花崗巖作為博物館飾板，但是預算有限只能采用薄的花崗巖飾板。從公園處很長一段距離，你幾乎不能發現護德博物館采用的是銅制的屋頂。在你通過護德博物館從公園到門崗處，你可以博物館的名字被雕刻在門崗處。這個雕刻有名字的門崗是一個建筑標識，當你到達博物館時，你就看到。走進之后，你也可以發現兩個旋梯在這個神秘的博物館庭院中，一個盤旋向上，一個徑直向下。我看到一對不是很幸運的老年夫婦，開始向下走，然后又原路返回，接著就往上走，然后又返回，最后不得而離開。如果他們堅持走的話，雖然不認識路但也會發現，兩個斜坡將引到他們到不同樓層的入口。弗萊德和莫瑞在這里只是玩了一個對人們積極性期望設置的游戲。放棄提供一個清晰的進入方法。并且錯層的庭院將會產生一個尷尬和不愉快的空間。

8.另外護德博物館的外觀也是討人喜歡的。其中的銅色屋頂通過各種方法澆灌泥漿，看起來像一個飛行的銅色紙飛機。雖然通過調色材料的兼容達到了護德的一些外觀效果。但帶有窗戶的紅色磚墻就像傳統英格蘭的鄉音一樣有滋有味。灰色的磚，堆成的帶狀裝飾則一起形成了天空的形態空間。并且樸實的公園，藍綠色，橄欖色發亮的屋檐和窗戶一起呼應著對未來的憧憬的銅色。

（護德博物館的一部分外表面是更加令人喜歡的。這個銅屋頂，可以肯定的是有一點不穩定，傾斜和很多有趣的方面，比如說像銅色的紙飛機飛行。但是這樣，護德博物館要達到一種整體性需要通過對相同色調的材料的使用。紅色帶有穿孔的磚墻，）

9.藝術的本質，不是它的外部，是建筑上取得的分數的成功。幾乎作品內部所有的東西都是很好的，和完整的不規則伸展的合成與結構走到一起。這是這個房間就像弗洛依德和穆爾預測在建設完成后，那是難忘的經歷。該方法是明顯的：你爬樓梯，抱著一個玻璃墻，墻上的雙層玻璃，在這樣一種方式，每一層都有自己獨立的框架，使你移動時，不同的網格滑過。在火把線這樓梯形狀的燈具，如中世紀的宴會在上面等待你。等待你的是一個畫廊的交叉在其剛天花板通過一個狹小通道，在天窗溢出間接采光上面到畫廊墻。房間是用15×17食品為主的斯特拉金屬拼貼，從藝術家租借，一個藝術品從遠處的墻輻射相同的能量與神韻到建筑。

（護德的室內，而不是在室外，正是它獲得巨大建筑領域的巨大成功所在，幾乎內部的一切都做的很好，整個龐大復雜的工程的完美高潮在拉斯羅普美術館，這是一個在美國建筑領域中顯著的中心之一。這個在護德的建筑就像弗洛依德和穆爾在它被建造完成之前預測的那樣是令人難忘的經驗。這個方法是戲劇性的：當你爬上這個緊靠著玻璃墻的樓梯，一個裝有雙層玻璃幕墻以這樣一種每層都有他自己獨立的）

10.站在萊思羅普中心畫廊，你意識到你在兩個獨立的軸向景觀焦點，每個貫穿一系列畫廊。前景從角拉斯羅普向外延伸，就像兩列火車從不同的方向一站。你覺得自己是在事物的中心，在一個將周圍包圍的一切空間。

11.罩內提供了許多更多的樂趣。所有的房間和通道進行不同的處理。正如穆爾所指出的在一個發表聲明：

12.在我喜歡的博物館當中有許多特殊的地方像華盛頓菲利普斯；我希望這個博物館是一個系列不同比例的房間，房間的莊嚴，和特點，在藝術不只是出現在一些匿名的矩陣，但有機會享受它們自己的環境。

13.罩內成功的方式是穆爾的本意，作為一個連接的分組個別的地方。如果一個建筑是一個家庭的房間路易斯-卡恩建議，然后罩是一種團圓。

14.例如，禮堂，是一個藏和尋找同異形柱一起玩。一排三房，獨立柱沿著一側。中間一欄缺少的基礎和最其軸，這將對座椅有影響：資本就像是一個頭顱，懸掛在天花板上。相反的一面，三種相對應的圓柱形狀陰影在墻上被涂上顏料好像他們是前面三個影子除了中間那個現在完成。所有六列擔任燈固定架。

15.入口前庭是另一個令人愉悅的異常現象。這里幾個循環路徑來解決小八角形馬戲團與天花板的藍色光束，涼亭之類的地方，打開了最罩可以進入一個大廳。你去任何一個罩的地方，細節如樓梯扶手和燈都是最新的發明。而且藝術和文物的裝置也特別好，小心處理建筑的比例，房間就像合適的容量，容量為他們的房間。

16.混淆地說，我離開的兩相鄰建筑的討論直到最后。在罩的西側是霍普金斯中心，1950年的哈里森的一棟建筑，包含一個劇場，一個餐廳。霍普金斯股份與罩的質量，這是可勘探性。17.穆爾和弗洛依德所做的最好的就是達到深入到霍普金斯中心和更新一些進入一個新的食堂，遷移下一個去罩的入口。

18.一個不尋常的設計過程產生的罩，大大影響其最終形式。centerbrook開始工作，通過設置一個霍普金斯中心辦公室，在學校的小吃店。即便如此基本決定是博物館出來的這一過程協同業主建筑師。centerbrook簡單設計六個不同的網站，以及委員會選贏家。

19.The Hood是一個精彩的部分似乎想表達一種秩序感贏得了暫時的建筑。就像一個大學生的房間，這個博物館是充滿了神殿和神圣的地方，而其余的，作為一個整體，沒有完全形成。在它的不確定性可能類似于高級建筑師的個性，查爾斯W.穆爾，誰在Hood的開口之前，像往常一樣，在世界各地的飛機（巴西，柏林），并同時在德克薩斯的房子，他為自己設計的第八樓。該罩具有穆爾自己的特質的緊張逗樂了創造性的風險來從未完全關閉。它是這座大樓的高質量的測量，一個強烈的愿望，因為它很偉大似乎事與愿違并下定決心只是短暫的下降。

20.The Hood博物館是一個建筑物，一旦看來，永遠存在在記憶中，你對它思考的興趣也越來越大。

19.罩是一個精彩的部分似乎想表達建筑贏得了片刻一個秩序感。大學生一樣的房間，當你逗留時，博物館是向神殿和神圣的地方，作為一個整體，不完全形成的。在它的不確定性可能類似于人格高級建筑師，查爾斯·穆爾，他在幾天前罩打開了，像往常一樣，為他自己設計在世界各地的飛機。該罩具有穆爾自己的緊張逗樂了這個建筑，風險來從未完全封閉的特點。它是這座大樓的高質量的測量，一個強烈的愿望，它的倒行逆施非常偉大的決心似乎只是短暫的下降。

20.罩博物館是一棟小屋，曾經見過，記憶中永遠，越來越大的興趣你回想起。

第三部分： 第四部分：

1.根據施工圖，從北，Hpkins中心和威爾遜大廳之間的胡德的水泥和銅入口門;以上觀點由門框架，遠門通往第二庭院庭院。我們可以看到，接待區入口附近的前庭。

2.很明顯看到,游客發現自己面臨兩個坡道,一個彎曲的,和一個走下來。最后,游客會發現坡道導致各級入口,但他們沒有辦法知道。這是錯層式庭院,結果。

3.cupola-crowned哈林頓美術館博物館位于西區的上層,上圖,宏偉的樓梯從接待區萊斯羅普畫廊;跨頁,“兩軸向遠景的焦點”。

第二篇：建筑學專業英語翻譯

S.Peter's, Rome(begun 1506.consecrated I626)(pp.868C.870, 871, 902C, 905), the largest and most important building of the Renaissance, owes the nucleus 0f its design to Bramante, although many other architects were to work on it.It was Julius II's whim to install a colossal tomb for himself in the choir(begun by Nicholas V, c.J 450)that precipitated the decision to rebuild the ancient basilica completely.Bramante made several variant designs for the new building, but all envisaged that directly above the tomb of S.Peter would rise an enormous dome of roughly the same size as the Pantheon's, supported upon four massive crossing piers.The so-called

Parchment Plan’(Uffizi.Florence)and the foundation medal of 1506 show a Greek-cross plan within a square, with four subsidiary domes, lowers at the corner,and half-domes terminating each of the four arms, Such a design is the realisation of the theoretical preference for centralised planning, but also derives from such esteemed funerary churches as S, Mark's, Venice as well as ancient mausolea.Despite its size however, the Greek-cross plan would not have covered the site of the old basilica, nor would it have suited congregational or processional needs: ultimately a Latin cross with an extended eastern arm was preferred(p, 871Gg)

Bramante's building would have had a relatively severe exterior, depending for its effect on the hierarchical massing of geometric forms(rather like his earlier project for Pavia Cathedral).The dome, known both from the modal and form a woodcut in Serlio's treatise, was to be a single-shelled hemisphere, presumably made of concrete and with a stepped profile derived from the Pantheon;it would have been raised up on a colonnaded drum and surmounted by a lantern(p.870B).For the interior of the building Bramante intended to use paired Corinthian pilasters supported on tall pedestals(the flour level was later raised by Sangallo).His highly original and influential chamfered crossing piers, although later much enlarged, still survive in the completed building, enabling the nave and transepts to widen at the crossing and giving a smooth transition between pier and pendentive.In general, Bramante's sculptural approach to piers and wall mass.inspired by Roman architecture, represents a new spatial conception of great importance.After the death of Julius(1513).Leo X appointed Fra Giocondo and the ageing Giuliano da Sangallo as co-architects, but on Bramante’s own demise(1514)it was Raphael who became architect-in-chief.At this period numerous proposals were made for the continuation of the building.Raphael's own design was a Latin cross retaining many of Bramante's ideas including file dome, although the crossing piers were enlarged.Raphael proposed the addition of ambulatories around the ends of the three short arms of the cross, and intended the building to have a monumental porticoed facade, with a giant order interlocking with smaller orders, between elaborate towers.At Raphael's death(1520), Antonio da Sangallo the younger was elevated to architect-in-chief, assisted by Peruzzi.Peruzzi proposed many designs, including a return to the Greek cross idea, but Sangallo's final model, commissioned in 1539.is essentially a revision and expansion of Raphael’s design.The Sangallo scheme(p.87OD,G)has been much abused following Michelangelo's condemnation of its 'German' qualities and lack of light.The apparent lack of unity in the model would have been offset in execution by the very scale of the building, complemented by the massing of so many parts.The western region of the model(liturgical cast end)is a Greek cross with three ambulatories, but the plan becomes a Latin cross by the addition of a subsidiary domed link

connecting with the facade block.Between the towers the close-packed articulation of the two-storey facade projects at the main portal with an unprecedented plasticity.When Michelangelo was appointed as Sangallo's successor in 1546 he embarked on a radically new project involving the demolition of the Raphael/ Sangallo southern anbulatory.By Michelangelo's death(1564), his project was all but realised, and his designs for the dome were essentially followed afterwards.Michelangelo's S Peter's, claimed to be a restoration of Bramante's, is in fact a reduced and simplified Greek cross(p.870F)ingeniously formed from the nucleus inherited from Sangallo, The abolition of the ambulatories created a much better lit and more unified interior a greatly reduced cost.The external walls are articulated with rhythmically spaced giant Corinthian pilasters, laid over unmoulded vertical strips.By splaying the re-entrant angles the pilaster wall skirts the building like a giant curtain.Above an attic, concealing much of the vaulting, rises Michelangelo's majestic dome(built by Giacomo della Porta, 1588-91)which has a drum buttressed by paired attached columns, continuing up into external ribs on the dome surface, and further paired columns in the lantern.The pointed profile of the dome(although rather steeper than Michelangelo intended)recalls Florence Cathedral, as does its double-shelled method of brick construction.This allows the outer shell to rise much higher than the inner, forming with the four subsidiary domes a pyramidal composition the unity of which is enhanced by the verticality of all the external articulation.With its crown-like lantern the building rises to 137.5m(451 ft).Thus, despite the reduction in scale, Michelangelo's building is still enormous-the dome is 42 m(138 ft)in diameter, only 1.5 m less than the Pantheon.Michelangelo's design was continued by Vignola(appointed 1564), Ligofio(1565), Giacomo della Porta(1572)and Domenico Fontana(1585).Carlo Maderno lengthened the nave, converting the church into a Latin cross(building length 194m.63bft)(p.871G)and designing his own facade(1606-12), which, although continuing Michelangelo's giant order, looks back to the designs of Raphael and Sangallo.Maderno's extension unavoidably conceals much of Michelangelo's dome even from Bernini's piazza(q.v.).The sumptuous internal decoration was largely carried out in the seventeenth century under Bemini, who succeeded Maderno as architect-in-chief in 1629.Also by Bernini is the famous bronze baldacchino(1624-33)over S.Peter's tomb, and the spectacular Cathedra Petri(1656-65), filling the western apse and housing the supposed throne of the apostle.

第三篇：建筑專業英語翻譯

建筑專業英語翻譯

原文：

Using Consultants for Community Comprehensive Planning1

When a community decides to develop or update its comprehensive plan, it is immediately plagued2 by a number of decisions regarding how should they develop it, what should be contained in it, how professional assistance should be used, and what form it should take.In the main, many communities having no, or a small, planning staff turn to professional planning consultants for assistance in the endeavor.This results in the establishment of a consultant selection process that can be as short as hiring the one firm someone knows about or utilizing a full scale “Request for Proposal” process.Consultant selection is important since the developed plan will bear the mark of the consultant as well as the community.Therefore, it is useful to first agree upon the type of consultant desired and then the purpose of the comprehensive plan update before embarking upon the consultant selection process.All consultants have, or should have, a particular approach to comprehensive planning—similar to doctors, lawyers, economists and other professionals.Planning consultants are not all alike in skills, approach, philosophy, and experience;community comprehensive planning is different from other forms of urban planning—it is not regional planning, metropolitan planning, corridor3 planning, project planning, or site planning.Because a consultant has experience in site planning or metropolitan planning does not mean that they are a skilled or experienced community comprehensive planner.Therefore, the selection of a planning consultant for comprehensive planning purposes should reflect an understanding and agreement with the consultant’s view as to the purpose of the plan development and the approach they will use.Such an understanding can easily be articulated4 by the consultant.While a consultant can bring sound technical skills and an objective viewpoint to the planning process, the key to developing a realistic and usable plan is to have the policies and programs for action emerge from the desires and capabilities of the community.To do this, the role and function of the consultant—for the duration of the project and within the immediate period following plan adoption—is to act as the technical area of the planning commission.This viewpoint is the result of several strongly held convictions borne out by experience in the comprehensive planning process, as well as in the implementation of such plans.Among these convictions:

? A plan is used only if it truly represents the political and social aspirations commonly held by the community and is responsive to the needs of its decision-makers.? A plan is used only if its intent is clearly understood at the outset and its format flexible enough to respond to the changing problems, needs, and desires of the community.? A plan is used only if it can be understood by the community’s decision-makers and if it fits into the process of local community development.Comprehensive planning is not an end in itself.Rather, the process and the product 1This text is from http://.plaguev.annoy 3 corridorn.a long narrow passage on a train or between rooms in a building, with doors leading off it 4 articulatev.speak distinctly

represent a tool to guide the Plan Commission and Board of Trustees in making growth management and redevelopment decisions.Such decisions encompass many aspects of community management, including subdivision5, rezoning, annexation6, historic preservation, economic development, housing, redevelopment, capital improvement and community design.To develop such a plan it is important that the consultant charged with developing the plan clearly understands the aspirations of the community and the limitations of the real world.Secondly, it is important that the local decision-makers accept the consultant as a professional who understands the needs and aspirations of the community.That is, it is necessary that a trusting relationship be built between the consultant and the clientand through them, the community as a whole.A comprehensive plan(or master plan)is a guide for moving a community from today to some point in the future.Just as a business or corporation may adopt a long-range strategic plan for their company, a community must also plan for its future through the development of a comprehensive plan.The process of comprehensive planning and the final product represents a tool to guide Planning Commissions, Zoning Boards, and local governing officials in making municipal policies and development decisions.These decisions encompass many aspects of community management, including subdivision, zoning, annexation, historic preservation, economic development, housing, redevelopment, capital improvement and community design.In developing such a plan, it is important that it serve the following purposes.It should provide a clear and supportable statement of the type of future that is desired.This statement must consist of:

? Goals: Community derived statements of aspirations

? Objectives: Statements of how the goals will be achieved

? Plans: Supportable illustrations of how the community should develop over time in terms of land use, transportation improvements, community, facilities, etc.? Policies and Programs: Supportable rules for decision-making, courses of action to gain the objectives and projects which can move the community toward its vision of the future

It should identify needed capital improvements.Public improvements, such as transportation, utility and other community capital improvements, provide the community’s primary method of directing growth so as to reach the “vision” of the plan.As such, a strong emphasis upon the type, phasing, cost and financial resources for such improvements is a necessary component of the plan.The plan must provide a realistic basis for the use of zoning and other land use and redevelopment controls and incentives7.subdivisionn.a product of subdividing, as a section of a department

annexationn.that which is annexed 7 incentivea.something that encourages you to work harder, start a new activity etc.6

翻譯：

地區綜合規劃中顧問的使用

當一個社區決定發展或更新它的綜合規劃時，會有大批折騰人的決策比如說 他們該怎樣發展；規劃應該包含些什么；使用什么樣的專業幫助以及該采取何種形式。

重要的是，在努力的過程中許多社區僅有或只有小部分負責的規劃員工會向專業的規劃顧問尋求幫助。這一現象就導致了一個顧問的選擇過程可以像雇傭一個彼此很了解的合伙人或像萬事具備的求婚過程一樣短暫簡單。鑒于一個完善的規劃可以顯現出顧問及社區的能力，所以顧問的選擇相當重要。因此，在開始顧問選擇程序之前最有效地是弄清楚到底需要哪一類的顧問，然后才是完善綜合規劃的目地。

所有的顧問都有或者應當具有特殊的應對綜合規劃的對策。就像 醫生 律師 經濟學家以及其他職業一樣。規劃顧問在技術，方法，哲學及經驗方面并不都一樣，社區綜合規劃和其他形式的城市規劃是不一樣的。它不僅僅是區域規劃，大城市規劃，走廊規劃，工程規劃或地址規劃。一個有豐富地址或大城市規劃經驗的顧問并比意味著他就是個有技術經驗的社區綜合規劃者。因此，一個綜合規劃中規劃顧問的選擇應該是有洞察力的并且顧問的觀點該與規劃發展目地和他們采用的途徑相一致。

顧問能輕易地分辨出這樣的洞察力。盡管顧問可以給規劃的過程帶來成熟的技術性技巧和明確的觀念但是開發一個現實并可用的規劃的關鍵是有社區期望和能力所必須的行動的政策和程序。為了做好這些，顧問的角色及職能是擔當計劃委員會的技術領域。（規劃必須在規劃所規定的時間內完成）這一觀點是由幾個確信的在不斷綜合規劃過程以及這類規劃執行中衍生出來的。這些堅持包括：

。只有當這一規劃真實的反應了地區的政治和社會的強烈愿望時并反應了決策者需求時才回被采用

。只有這一規劃的目的從一開始就能被理解并且它的形式很多樣能應對不斷改變的地區題，需求和想法

。只有規劃被地區決策者理解并能適應當地社區發展過程時才回被采用

綜合規劃并不是終結，相反的，這一過程和氣產品象征著領導規劃委員會以及董事會取得管理，重建決定的工具。這些決定包括了社區管理的許多方面。有進一步細分區制，附屬建筑，歷史保護，經濟發展，住房，重建，資金改善和社區設計。

為了發展這樣的規劃最重要的是負責這個規劃的顧問能清楚地了解社區的期望以及現實世界的約束。第二，當地決策者接受顧問的想法并把他當成能了解社區期望和需求的專業人士也很重要。也就是說一個建立在顧問與客戶之間的互信關系很必要。通過規劃委員會和城市理事會社區才是一個整體。

綜合規劃是引導社區從今天走向未來的好的向導，就像工商企業和公司為自身發展可能會采用一個長期的策略。社區也需要通過社區規劃的發展來計劃它的未來。社區規劃的過程及其最終的成品是一個引導規劃委員會，區域理事會和當地政府機關在做出市辦政策及發展決定時的一個好的工具。這些決定包括了社區管理的許多發面。如：進一步細分區制，附屬建筑，歷史保護，經濟發展，住房，重建，資金改善和社區設計。為深入發展這個規劃按下述條例來做很重要。

對于未來想要的類型得提供一個清晰地被廣接受的這個結算單包括:

。目標：結算單來源于社區強烈的愿望

。目地：結算單怎樣實現這一目標

。計劃：支持率闡明了社區在以后的時間內就土地使用，交通改善，設施的問題該怎樣發展

。政策與程序：做決定的規則，實現目地和工程這一行動的過程能社區轉移到未來的視

野上.這一系類的結算單需要資金的改善。

公共的改良,比如交通，公共事業及其他的公眾資金改善，給大眾提供基本的指向規劃夢想擴大的途徑。本身，一個關于類型，階段，花費及財政資源的強有力的強調是這個規劃成功的必要的組成部分。

規劃必須向地區的使用，其他土地征用，重建控制和刺激提供一個實際可行的基礎。

第四篇：建筑學專業英語翻譯

Hagia Sophia, Constantinople(532-7)with later partial reconstructions and additions(pp.301B-305), was Justinian's principal commission.The dedication to Hagia Sophia(Divine Wisdom)was really a dedication to Christ, and the church was also known simply as Megale Ecclesia(Great Church).It stood on the site of two earlier churches at one end of the ancient acropolis, alongside the principal square of the city-the Augusteion-and only a short distance from the imperial palace.The first church, founded by Constantius, was dedicated in 360 and burnt in 404.It was rebuilt under Theodosius Ⅱ rededicated in 415, and burnt in the Nika riot of January 532.Both these churches, were, almost certainly, basilicas with double aisles and galleries like the Martyrium Basilica in Jerusalem and S.Demetrius in Salonika, though larger than either.The second church, at least, was preceded by an atrium that was entered through a monumental propylaeum.As Constantinople increased in importance and its bishop became the patriarch of a large part of the Eastern Church, Hagia Sophia became not only the cathedral but also the patriarchal church.君士坦丁堡的圣索菲亞達大教堂，在建成之后有過局部重建和添加，是查士丁尼時期最重要的建筑。對于圣索菲亞大教堂的奉獻真正意義上是對于基督的奉獻，Justinian’s church was designed by Anthemius of Tralles and Isidorous of Miletus-men with a deep knowledge of the mechanical science of the day who are referred to, not as architects, but as mechanicoi or mechanopoioi.That science was, however, more akin to the geometry of today than to the science of the modern engineer, and it is the masterly geometric ordering of the space and the vaults that cover it that is most apparent from a detailed study of the design.Statically, the design was not completely successful, because the dome partly collapsed barely 30 years after completion and had to be rebuilt to a modified design.But that collapse was at least partly attributable to the great speed of erection, far exceeding that of any comparable later structure, and to an unusual sequence of earthquakes in the intervening years.It is also necessary to bear in mind that the design went far beyond previously proven practice.The main body of the church is enclosed within a rectangle almost 70m(230ft)wide and 75m(245ft)long, with a projecting apse at the east end and double narthexes preceded by an atrium at the west end.In the centre of this is square whose sides measure exactly 100 Byzantine feet(31.2m).Over it sits the dome, carried on pendentives which bridge between great semicircular arches carried on piers standing just outside the square.Other piers face these piers across the aisles to help resist the outward thrusts of the dome to north and south.To the east and west the arrangement is different, and was even more novel than the use of pendentives to convert the central square to a circle.Here, butting against the transverse arches that carry the dome, are two semidomes equal in diameter to the dome itself and carried partly by future piers set against the outer east and west walls.These piers finally take the thrusts to east and west, but at a lower level where they are potentially less damaging.Below the semidomes are great hemicycles that double the east-west extent of the nave.Between the main piers and the secondary piers just referred to, these hemicycles open into smaller semicircular exedrae similar to those in earlier tetraconch churches.Single aisles run from end to end at each side(p.305), narrowed somewhat by the main masses of the piers and narrowed further by pairs of inward projections from the piers that have been shown to be additions to the original design made at a late stage of construction when the horizontal forces generated above had begun to push the piers aside in an alarming way.Because of the presence of the great hemicycles and the exedrae at the east and west, their inner boundaries are very different in their different bays.They communicate at the west with the inner narthex.Above them and above the inner narthex are similarly shaped galleries.Partly to carry the aisle and gallery vaults, arched colonnades run between the piers around the nave, and further columns stand within the aisles and galleries.All have monolithic shafts, encircled at top and bottom by bronze collars where, in classical columns, there would have been integral projecting neckings.The shafts within the aisles and galleries are of white Proconnesian marble: those around the nave are of green Thessalian marble or red porphyry, the latter only in the exedrae at ground level.They carry superb capitals of several different designs, all of which incorporate integral impost blocks.These capitals, as well as the carved cornices and similar features, were clearly cut for the purpose.So were most of the shafts, despite significant variations in size and the legends of provenance from earlier temples But the porphyry shafts vary more in size than the others and do seem to have been reused.The arrangements are similar at the two levels, except that the colonnades that run around the nave at gallery level-both the straight central colonnades and the curved ones around the exedrae-are not only lower than those below, as might be expected, but have more columns and closer column spacings.Above the second cornice, which runs unbroken around the entire church, are the springings of the main semidomes, smaller semidomes over the exedrae, and the arches that carry the dome.The semidomes were all originally quarter spheres, though the western main one now has a flattened crown and rises more steeply up to it.All originally had five window openings, some of which are now blocked.Below the main arches at north and south are window-filled walls known as tympana.These have been reconstructed, the window area originally having been greater-with a large single window in the upper part.Forty windows originally lit the dome.four of which are now blocked.The main structure was partly built of large well-fitted blocks of limestone and a local granite, and partly of brick, of the usual Roman flat tile-like proportions.Ashlar was used for the lower parts of the piers, but it gave way to brick at the higher levels and for all vaults even at ground level.A notable characteristic of the brickwork is that the mortar joints were almost as thick as the bricks.This must have contributed greatly to the early large deformations and the subsequent partial collapse of the dome.The plan is most notable for the way in which the longitudinal emphasis of a basilica is combined with the centralising emphasis of the dome.Detailed study of the setting out shows how the two were brought together.Not everything in the design was as deliberate, however.The unpremeditated addition of stiffening projections from the piers has already been referred to.There is evidence of improvisation in the vaulting of the aisles and galleries, particularly of the irregular spaces next to the nave.Most revealingly, it appears highly likely that the lack of correspondence between the colonnades at ground and gallery levels around the nave was also not originally intended.Entering the church today(now a museum alter more than nine centuries as the principal church of the Byzantine empire, and almost five centuries as a mosque)there is much that must be discounted and much that has gone that must be borne in mind(p302).Multi-coloured marble facings remain largely undisturbed on most of the surfaces of the piers visible from the nave and much of the original gold mosaic on the aisle and narthex vaults.At the higher levels, however, one is most confronted with badly discoloured nineteenth-century painted plaster.Much of the natural light that would have originally flooded the interior has been blocked by the filling-in of windows and the construction of bulky buttresses against the outer walls.All the original fittings for lighting Hagia Sophia after dark disappeared long ago, as did all the original furnishings clad in gold and silver and studded with precious stones.Within the nave, the overall impression is of a single surface which envelops walls, colonnades and vaults-a surface that is divided into horizontal bands by the colonnades and cornices, sometimes disappears from sight, and is far from impenetrable, but barely hints at the great mass of the piers that actually sustain the dome(p.304}.Within the aisles there is an even more lively complexity resulting from the varied bay shapes, the juxtapositions of columns of varying types, colours and heights, the changing glimpses of the nave as one moves about, and the contrasts in light.What is most difficult to envisage is the focus that would previously have been provided by the canopied altar rising behind a chancel screen projecting well forward between the eastern exedrae, the great ambo set further forward under the dome and connected to the chancel by a screened passageway, and the colour, movement, singing and incense of the sacred liturgynoting that most of the doors do not, and never did, line up with one another.Finally, it is worth nothing that there were no pastophoria within the church.Previous attempts to identify areas adjacent to the apse as the prosthesis and diaconicon-or sacristy and vestry-have been shown to be mistaken.Though such provisions were made at the time inside some churches, they were not called for here.Priests robed before they led a mass entry of the congregation into the church from the atrium and narthexes.The elements for consecration in the service were prepared in a separate structure, the skeuophylakion, which is situated a little to the north, and which is the principal survival from the church of Theodosius I1.

第五篇：2011年建筑學復試英語翻譯(武漢理工2011建筑與城鄉規劃學)

2011研究生復試考卷（英語部分）

英譯漢

…This seemed to be a shared belief among postmodernists and theorists that turned to semiotics（符號學）for help.…Building includes more than signs and images, and dwelling is both more and less than interpretation.To indicate this more and less, let me briefly note some problems in two versions of the semiotic approach.Along one semiotic path, building is seen as a communicative system in its own right, where the basic significative units are also functional units.The benefits of this approach, with respect to everyday, layperson experience of architecture, is that one does not have to assume that our understanding of buildings presupposes sophisticated and explicit knowledge about the history and intentions behind the built forms.The meaning of the stairs is then, put bluntly, the possibility to climb and to descend, and we understand this meaning because we are embodied and cultural subjects.A shortcoming of this perspective is that in its emphasis on functionality it overlooks that our relation to buildings is more than functional, practical or interpretive.We sometimes sit and think, but sometimes we just sit.Our relation to a bench or to a house is a relation to a thing rather than to a significative unit.Our environment is full and dense and we are absentminded in various ways, in addition to being attentive or goaldirected.