第一篇：同濟大學建筑學專業英語閱讀材料125

STAIR SEATS

… we know that paths and larger public gathering places need a definite shape and a degree of enclosure, with people looking into them, not out of them – SMALL PUBLIC SQUARES（61）, POSITIVE OUTDOOR SPACE（106）, PATH SHAPE（121）.Stairs around the edge do it just perfectly;and they also help embellish FAMILY OF ENTRANCES（102）, MAIN ENTRANCES（110）, and OPEN STAIRS（158）.* * * Wherever there is action in a place, the spots which are the most inviting, are those high enough to give people a vantage point, and low enough to put them in action.On the one hand, people seek a vantage point from which they can take in the action as a whole.On the other hand, they still want to be part of the action;they do not want to be mere onlookers.Unless a public space provides for both tendencies, a lot of people simply will not stay there.For a person looking at the horizon, the visual field is far larger below the horizon than above it.It is therefore clear that anybody who is “people-watching” will naturally try to take up a position a few feet above the action.The trouble is that this position will usually have the effect of removing a person from the action.Yet most people want to be able to take the action in and to be part of it at the time.This means that any places which are slightly elevated must also be within easy reach of passers-by, hence on circulation paths, and directly accessible from below.The bottom few steps of stairs, and the balusters and rails along stairs, are precisely the kinds of places which resolve these tendencies.People sit on the edges of the lower steps, if they are wide enough and inviting, and they lean against the rails.There is a simple kind of evidence, both for the reality of the forces described here and for the value of the pattern.When there are areas in public spaces which are both slightly raised and very accessible, people naturally gravitate toward them.Stepped cafe terraces, steps surrounding public plazas, stepped porches, stepped statues and seats, are all examples.Therefore:

In any public place where people loiter, add a few steps at the edge where stairs come down or where there is a change of level.Make these raised areas immediately accessible from below, so that people may congregate and sit to watch the goings-on.* * * Give the stair seats the same orientation as SEAT SPOTS（241）.Make the steps out of wood or tile or brick so that they wear with time, and show the marks of feet, and are soft to the touch for people sitting on them – SOFT TILE AND BRICK（248）;and make the steps connect directly to surrounding buildings – CONNECT TO THE EARTH（168）….

第二篇：建筑學專業英語——韻律

There are lots of approaches to the rhythm of landscape.The more often used are as following:

1.The simple rhythm

The simple rhythm refers to the successive arrangement ofthe scenes repeating the same kind of elements in isometry.Such as the trees along the sidewalk with equal distance in between, the long corridors in the same height and distance, the mountain trails or the mountain climbing wall with same height and width.2.Alternative rhythm

Namely, the successive arrangement of the scenes repeating more than two kinds of elements by turn.3.Regular changed rhythm

Regular changed rhythm refers to rhythm arises from the gradual increase or decrease of the successively repeated parts of the design at certain aspect, the density of colors, the thickness of the materials ect.At same time,it usually reflects the gradual change of degrees and quanlity between the different components.3.See-saw rhythm

See-saw rhythm is brought about by one or more factors undulating regularly in appearance.The sky in wildwood area

adpots this kind of rhythm.4.Mimesis rhythm

The mimesis rhythm refers to the successive arrangement of the scenes with the composition of uniform and different elements.For instance, the shape of the parterres may be the same, while the species and arrangement of the flowers and grasses inside are different.5.Interlaced rhythm

Namely, the rhythm caused by certain factor which regularly alternates and crosses in length and breadth.The changes happen vertically and horizontally or in many a direction.The space may be open or poky,bright or dim,the scenery is sometimes gaily colored, sometimes simple but elegant elegant,living or quite.The suitable organizing can still be rhythmical.In the actual arrangement of the landscape, a number of rhythm are applicable to one scene.The reasonable combination may create more desirable and artistic scenery on the premise that the function of the landscape are available.Therefore, rhythm is a crucial aspect concerning the unity and variety of the scenic layout.

第三篇：同濟大學建筑學考研心得體會

曾以夢想為名賦予一段時間以主題和意義，過去的一年左右時間，我憧憬，茫然并且努力，重復著一條無數學子瀝血的路。初試復試，之后等來錄取的結果，和朋友們按慣例的考后狂歡一鬧就是一周，之后又很快地各奔他鄉...直到某天，守著世界杯醒來的清晨，可以獨自一人慢騰騰地考慮早餐，我在全家的吧臺前悠閑地枕著晨光，觀看著同濟門口穿梭的熟悉身影，卻開始對著那段記憶恍惚不已——此時此刻便是自己想要的那種生活嗎？這也是我最近常常想起的問題。

跨專業——對設計專業的無限向往萌生驚險一躍的念頭，像很多投奔建筑的同學一樣，我打小放下的繪畫夢想遲遲未能熄滅。一句“畫畫沒意思”讓我成為了一名純粹的理工男，懷著對發動機的向往就讀了機械學院的能源類專業，然后就發現陰差陽錯的高考強大坑爹的一面——專業細分之后我讀的是暖通空調，其他被分出來的專業與發動機也相去甚遠。由而渾渾噩噩四年，期間自然也沒能籌備到轉專業的資本。之后畢業了，從事綠色建筑咨詢的工作，單位在郊區，租金低廉，房間朝南，外帶大陽臺；工作不算辛苦，無需加班，甚至有些安逸。因為是國有企業，大家相處地都很愉快，常有聚餐或者體育賽事的福利，但總感覺少了什么，總希望生活能夠與眾不同，總希望自己的能力能夠得到完全的發揮，總覺得不該按部就班地去做踐行文檔的道路，于是想著：考吧，是時候出發向前了。

自然先學畫畫，對此并不陌生，一直很好奇建筑速寫那種獨特氣質的來源，模仿卻難得其韻。初學時，為了克服拿筆的心理障礙，我狠著心臨摹照片，國家地理的圖夠漂亮，艱難的臨摹自然有了一份興趣和快慰。報了海上藝號手繪的課程后，我跳過了素描的部分直接開始了建筑繪畫，最早是練線條，是個頗見功底的活，聽說有些院校的建筑系排線得練兩年...除此之外，我在建筑學方面的積累也少的可憐，畢竟身處垃圾建筑滿大街的中國，畢竟平常的生活里缺少對空間的關注，竟然從未對這些龐然大物提起過興趣。最囧的一次，手繪班老師在課上讓畫手繪，要求隨意發揮，我竟畫了個歐式的小房子，門廊用的形式在現在看起來近似于帆拱，也算是歷史上的結構奇跡，結果被老師嘲笑不已。看來，開發商對歐式的親睞，它的影子事實上也存在非專業的民眾身上。就是這樣，我在 “一窮二白”的狀態下起步，在海上藝號老師的指導下開始陷入到對于方盒子們特有美感的迷茫狀態之中。

旁聽史論課程最后成了太美妙的一次經歷，原本分不清歐式中巴洛克與新古典區別的我一邊在歷史書中找到對應，又在盧永毅老師的課程上逐漸明晰了其發展脈絡，現代建筑也仿若歷經滄桑之后的自然成果，其不再面目可憎。有了一點甜，便會更加努力地吸吮。王受之先生的建筑史乃至設計史也是相當生動的課程，最有意思的是里面會有和盧老師不相一致的觀點，由此可見到這種歷史解讀一定程度的主觀和多元。另外，通過閱讀《建筑師》雜志，很多細節逐漸漂亮鮮活起來，無論是對路斯的討論還是對貝倫斯的剖析都仿佛讓這些大師再度復活。歷史以別樣的姿態自述，實在美不勝收，而對建筑學的理解也因此變得更富有角度。隨著了解一天天變得豐滿，興趣與看待的方式由此變得更加成熟，對于所謂的建筑觀，彼時也開始有了模糊的概念。

從未有過像快題這樣快節奏的經歷，在本專業“養老”四年，最讓人糾結的還是時間限制，三小時的題目常常一畫就是一整天，好在之前上了海上藝號的手繪班，在手繪方面做了積累，時間都花在方案上了。畢竟初學建筑毫無概念，最可怕的莫過于不知道好的建筑究竟應該是怎樣。缺少標準，缺少常識，還缺少方法。如何理解建筑成為那段時間最困擾的事情，為此在海上藝號老師的要求下我在文遠樓做過實測，在C樓蹲過點，揣摩過B樓，測繪出平面后，研究過平面圖紙與實際空間的對應。讀建筑評論也是那時的必修，印象最深的有馬清運的父親住宅，最為佩服的是墻體的構造形式，簡單普通的建筑材料產生了別樣卻也和諧的建筑外觀；還有劉家琨的鹿野苑石刻博物館，穩健的體量和粗獷的外表一下子讓我領略了現代建筑的美，入口以及流線的別樣處理讓人感嘆其匠心獨運的細致。不過最有幫助的還是盧老師的課，那些對于建筑大師及其代表作品的專題解析，讓我獲得不少閱讀建筑的視角和方法。路斯的繆勒住宅算是其中最為特別的了，毫不起眼的外表之中竟藏有多變而個性鮮明的空間。這點直到后來讀了一篇名為“七個住宅的剖面路徑研究”的論文，才讓我領略這種空間設計的強大之處。

略懂空間之前，每每掙扎于游離在門外的狀態，偶爾瞥見一眼門內的精彩便會雀躍不已，現在回想，這種狀態也許是最好的，可以耽于一根筋似的傻學。此時便會感受到另外一種魅力，就會需要一些寧靜的力量，所以像《空間組合論》這種早期國內大師的作品便足夠感人。整本書的閱讀方式還是蠻有趣的，開篇部分雖然是枯燥抽象的文字，但后篇占據整書大部分的就是圖示說明了。彭一剛老前輩的線稿非常精彩，精準而自如，內容雖基礎卻能受用很久。欣賞著這些嚴謹而自然的美，連抄繪他的圖示都成為了一種樂趣。更多的基礎方面學習來自《建筑概論》，組合論中的部分內容在這本書中得到了更多的解釋，結構與空間，空間與尺度...學習快題之后，這些體會就會更加深刻。之后因為考試改革的緣故（2012年考研第一次由歷史與理論改成建筑基礎的綜合科目）又讀了構造、建物、節能等，都能有所獲益。所以，也許要多虧了同濟突如其來的改革，我對于建筑的理解才會更為全面自信。

快題自11年5月份始是就報了海上藝號快題班，在老師的指導下幾乎一直在練的，從最初的不堪入目到后來技法的穩定成熟，積攢下來的量估計不下80張。相關的筆記也堆得厚厚的一摞。唯一的感慨是快題在快題之外，每一次的突破都不會是在對快題本身的研究上，隨著量的增多，快題的表達乃至讀題解題會自然而然地成熟起來。對節能、對構造、對物理的學習則會增添別樣的理解角度，做法也會豐富。設計是富有創造力的活動，但是談創新，先得有積累。

考研結束后的一段時間，隨著導師做了次課程設計，是與大四學生同堂的聯合設計，舊城區更新的項目。與著名的同級本科生共事甚感壓力，好在有強勢的也有隨和，個人覺得后是者更為成熟的設計態度，畢竟團隊作戰，要懂得什么時候妥協。所以過程還算順利，R的模型表達能力和速度都讓我震撼；S的小空間做的相當別致精彩，讓我對本科生的設計能力有了深刻印象；Z的總體協調能力怎么看都極具領導氣質，卻謙虛得一塌糊涂；而兩個隨和的美國人Stephen和Ashwin總是鼓勵我們，對我這個一口爛英語的半調子尤其有耐心。拼死拼活最后總算趕出了成果，不糟糕也不牛叉，第一次的課程設計以此謝幕，不算遺憾。

考研走來，回頭時才發現已遠行至此。對面游泳館旁的臨時停車場已經停業，取代之的挖掘機昭示著新的建筑即將破土動工，期待一下這份同濟建筑的新作吧。不再去想那個生活的難題，我在路上，走過考研。

第四篇：建筑學專業英語視頻翻譯

A very long time ago, far away in China, a villager living along the banks of the Yellow River built a simple mud hut to shelter his family.Thousands of years later in the year 1420, the empire’s best craftsmen put the final touches on the ultimate masterpiece of Chinese architecture---the Temple of Heaven.“Chinese buildings evolved from simple shelters into complex magnificent structures with great swooping roofs, stately columns, and rich detail.”

Between this simple mud hut and this amazingly complex structure---its every detail full with cosmological symbolism---is a tale of emperors, monks, scholars and genius craftsmen---a story which explains an architectural tradition of great beauty and flexibility.And to start this story at the beginning, we have to leap back two millennia, to when the brilliant tyrant QinShihuang becomes the first emperor of a unified China.In 1938, an American fighter pilot flying over a remote part of China, spotted giant pyramid-like structures below.In his excitement he took a photo and declared to the world that he had discovered a lost civilization.What he discovered, however, weren’t pyramids, but massive tomb mounds.And the grandest of them all was the tomb of the man who unified China.“Our story begins with the tomb of QinShihuang the first emperor of China, who lived 200 years before Christ.”

A brilliant warrior and tactician, he annihilated all his rival states and created the imperial system which survived until the year 1904.And the grandeur of his tomb matched that of his ambitions: For more than thirty years he used 700,000 workers---probably more manpower than the pharaohs had assembled to built the pyramids---to re-construct his kingdom in the private underground world of his tomb, with palaces and courts for a hundred officials, rooms containing countless gems, rivers of mercury and candles which would never burn out.They sat you can’t take it with you, but QinShihuang sure tried.“His tomb was guarded by hundreds of terracotta warriors, but just as fascinating were the clay model houses that were found inside his tomb.” Because of their belief that people had to provide for their ancestors in death, the early Chinese buried their deceased with clay models of the structures they depended on in life-granaries, houses, watchtowers and the like.These 2000 year-old models are the only surviving examples of early Chinese wooden architecture, and from them we can see how houses were constructed around the time of the first emperor.These models show a type of wooden house that incredibly can still be seen today.So why did the ancient Chinese build in wood rather than stone, like the ancient Europeans? The availability of wood in the extensive forests of early China was no doubt a major factor.The ancient Chinese did know how to build with stone, and how to use the arch… and they used the arch extensively for tombs, gates and bridges.However they rejected the stone arch for building houses, temples and palaces.To see why we can again find clue from the tomb of the fiest emperor.Archaeologists recently excavated from the tomb a 2000 year-old sword that is still sharp as a razor.The reason it is still sharp is because it is coated with chrome-a fact that may not seem too amazing until you realize that chromium wasn’t invented until 1938-the same year the tombs were spotted by that American pilot.This means is that the ancient Chinese developed incredible metal-working skills very early in their history, and so they had metal woodworking tools at a very early date.Stone can be used to fashion and work stone, as early Britons must have done to build Stonehenge.But iron tools were necessary for wood carving and joinery.And with such tools, however primitive, wood construction was much easier than construction in stone.Western cultures began their architecture without iron tools.So they started in stone and brick and continued building with these materials.The Chinese, on the other hand, began building with wood and continued to do so for 6000 years, starting with the basic Chinese house which was first developed on the flood plain of the yellow river.In areas prone to flooding, this structure was raised on pilings.In the central yellow river valley of China it rested on solid platform.Stone bases for each column, twice the diameter of the column, were placed on this platform, then the column raised on top of this.So, the elevation of a Chinese building has three elements: the podium underneath, the columns in between and big roof resting on top of the columns.Four columns form what is called a bay;groups of bays then form the different types of buildings.From the earliest times the Chinese separated the supporting from the enclosing elements of a building.This meant the interior columns supported the roof weight completely, while the walls were just for privacy and protection from the elements.In a country plagued by powerful earthquakes, the Chinese didn’t build solid walls, which could be cracked and rent apart by an upheaval of the earth’s crust, but rather they built flexible structures without using glue or nails.These structures could ride the heaving earth like a boat, shifting and settling back, with the platform acting almost like a raft.Heavy roofs with tiles were supported by columns built of white fir which was four times stronger than steel, and six times more flexible than concrete.It was the beginning of an architecture of great beauty, elegance and practicality.The first feature of a Chinese building that usually impresses a visitor is the elegant, sweeping and seemingly gigantic roof.Western architecture, with its spires and Greek columnsthe Duo, a block, like a capital, placed at the top of a column.The gong, a bracket placed across the top of the deng, and the spacers between them, called the sheng.“ The degree of complexity is wonderful, with brackets locking together like a Chinese puzzle without any nails or glue.With these duogong the Chinese could extend the roof overhand, without having to building more and more columns inside.To extend the overhang even further, the Chinese devised a clever solution.The roof overhang is one end of a kind of see-saw.Its weight is counterbalanced by the weight of the center of the roof, at the other end of the see-saw, on the fulcrum of just one column.This device, called an ang, lets one column to do the work of three, And makes the heavy tiled roof seem to float in mid-air.Heavy roofs create what is known as 'shear stress'.The Europeans built ”flying buttresses“ to bear the enormous stress created by a cathedral dome.The Chinese on the other hand used brackets at the joints of frames to carry this shear stress down through the brackets and columns into the ground.Increasingly complex bracketing accompanied ever larger, more complex multi-leveled roofs: which came in a myriad of shapes and sizes.”A standardized system of architectural measurement was established in the year 1103, with the publication of Li Chieh's Methods and forms of architecture, a treatise adopted throughout the vast, yet centralized, empire.This book defined the basic units of measurement as standardized sizes of the duogong bracket arms.Depending on the size of the bracket was determined the size of every other element in the building: such as the thickness and height of the columns.This standard survived into modern times.These rules of Chinese architecture governed not only the construction of an individual buildings but also the planning of the layout of a town, a temple, or a palace complex.Ancient Chinese Shamans oriented buildings according to the dictates of feng shui, or wind and water a way of determining mystical forces flowing through the earth.The principles of feng shui were turned into rules used to align man-made structures harmoniously with the currents of the earth's forces, known as chi.These rules controlled siting, ground plan, decoration, and even color.Although steeped in ancient Chinese animistic religion, most of these seemingly mystical rules have their origin in a few simple and practical facts about the climate of central China.China is situated in the temperate zone, with a southwest prevailing wind.By orienting buildings to the south or southeast, the Chinese take advantage of the warmth winds and sunshine from the south to provide people living in halls and courtyards with a pleasant micro-climate.Not only buildings faced south but also cities, palaces and tombs.Ancient Chinese shamans found the directions with the aid of a sinan: history's first magnetic compass.The pointer, shaped like a spoon, was made out of magnetic lodestone.It sits within a circle to represent heaven, and on a square plate representing earth.

第五篇：2018年同濟大學轉專業(建筑學)第一名 經驗分享

姓名：李依霖

原院系：同濟大學經濟管理學院 班級：藝號2018年轉專業180課時班

轉入專業：建筑與城市規劃學員(CAUP)

建筑學

藝號印象：初見李依霖同學是在2017年的9月份，同濟新生開學的時候。算是藝號轉專業報名學習準備比較早的學員。同樣，李依霖同學也是來自廣東的一位小姑娘。學習態度很認真，為人處事方面也很有禮貌！今年以轉專業第一名的好成績轉入同濟王牌專業和她平時刻苦努力是分不開的。來時有一定的繪畫基礎，對于轉建院的一些立體構成課，平立剖課程，鋼筆畫課程也是未曾落課。在此，藝號老師為你的成功感到無比的光榮和開心，希望你接下來在建院的新專業里面繼續努力，創造更大的成就和輝煌！！

那么針對這一段為期將近一年的建筑學轉專業準備過程，優秀的李同學又有哪些經驗帶給大家呢？如下文：

【績點】說來慚愧，在一個號稱績點很好刷的學院里我績點只有4.48_(:3」∠)_然而績點是很關鍵的，績點比別人0.5最后計算總成績就比別人高了三分。績點只看大一上學期的所以上學期不要太浪了，剛上大學大家肯定會發現有很多好玩的東西，但是如果想要有充足的時間來刷績點和學畫畫，還是要作出一點犧牲的。高數的話在初期要充分理解，之后學起來才不會那么吃力，語文和公選的話可以盡量多回答問題和把握機會上去做presentation,可以加平時分的。還有就是不要等到快考試了才來看書復習，會累得想要哭出來的.【素描】我覺得素描是需要長期積累學習的，如果只學幾個月那么基礎不夠扎實畫得肯定不夠好。所以沒有基礎的同學最好在上學期就開始準備了。練習的時候不要盲目畫，因為很多時候我們開始的畫法都是錯的，是很難保證速度和質量的。要多聽老師建議，自己也可以買一些書來研究一下正確的繪畫步驟。開始的時候要養成正確的繪畫習慣是比較難的，一定要不斷糾正自己。

平時練習的時候盡量模仿參考圖處理的手法，多思考一下為什么要這樣擺放物體，不同物體的之感要怎么表現……（如何做好畫面效果可以多請教老師）。總之就是要方法正確，不要盲目，多思考，虛心接受老師指導。關鍵是基礎扎實而不是趕速度、趕量。基礎好了速度自然就能上來了。還有就是平時在畫室跟同學交流一下增進感情是好的，但是不要玩的太瘋了，我覺得畫畫還是需要專注的，如果畫幾分鐘又玩一下會打亂思路，練習的效果就出不來了。

【速寫】速寫其實沒有什么特別的技巧，就是平時沒事多練習。一開始肯定大多數畫出來的都很丑不要因為這樣受到了打擊就不想再畫了_(:3」∠)_如果拖到快考試了再來練效果是不好的。開始我的線條是非常難看的，于是我沒事的時候就在草稿紙上練習畫長線。練多了之后明顯就能感覺到自己畫的速度和質量上來了。

還有大家不要因為覺得素描比較難就把大部分的時間都丟到素描上哦，其他方面比如速寫、平面圖（or立構）占分也是很多的，平時畫室開這種課的時候一定要認真上。

【畫室】其實剛來同濟上學的時候，也有聽過學長學姐介紹過一些其他畫室。之所以選擇藝號，除了得天獨厚的地理位置，就在學校南門，極其方便。節約很多學習成本和時間，以及畫室是否具有正規教育資質確保學生權益，和畫室多年來優異的升學成績是分不開的。

今年藝號轉建院的報名總共有將近30人，成功了23人。這一成績充分的證明了當初的選擇是沒有錯的。其他畫室我們不知道怎么樣，但今年藝號總體的升學率是遠遠超過其他畫室，包括據我了解的設計創意學院升學率也是很高！

畫室的老師們也是非常友好的，專業度很高！畫室的內部群里老師會和學生們經常互動，分析各種不同考試的變化。藝號方老師在轉專業這邊已經有很多年的經驗，7年的轉專業考試詳細資料都可以在他那里看得到，姚老師在藝號工作也很長時間了，對于考試的各個環節，考題風格都很了解，性格成穩的張老師平時話語不多，但是對學生超級有愛，非常有耐心。

因為這些年同濟建院每年的考試題型有些許變化，藝號針對轉建院開設了全面系統的課程：除了常規的素描課，還請來了手繪組的專業的老師進行平立剖的課程開設，立體構成課，建筑手繪速寫表現課，充分全面的去迎接不同考試題型！不知道其他機構是怎么樣，但是個人認為在藝號你真的可以在未曾進入到建院前學到很多東西。平時的周末，也會有很多往屆轉上去的學長學姐來學習手繪，還有一些來補習建院大一的素描作業的，隨時隨地都可以跟他們交流和互動！

總之，對于畫室的選擇個人希望以后的學弟學妹多打聽多對比，如果你要我推薦去哪里學習，作為藝號的“自家人”，我肯定會安利我們的畫室呀！

【閱讀】平時有空要多看一看一些有關建筑和建筑師的書籍。一方面能夠幫助考試（面試老師會問專業相關的問題，今年考了根據文字畫一座城的總平面圖，讀過關于城市設計方面的資料在構思方面會有幫助），另一方面也能了解到自己是否真正地喜愛建筑。其實面試也沒有特別可怕啦我覺得關鍵還是要大方，讓老師感覺到你對建筑很熱愛并且有一定自己的思考就好。

轉專業其實是一個有點痛苦的過程，因為既要兼顧學習又要花很多時間練習畫畫，所以大家要做好思想準備。有那么一會我也累得產生過放棄的想法，但是堅持下來之后，發現是對自己很好的鍛煉，并且努力了有收獲也是很讓人振奮的。人總要為自己的夢想奮斗一把，如果大家對建筑是真的熱愛，那么應該趁早開始做準備了。? ?)?*??