第一篇：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.

第二篇：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.

第三篇：建筑學專業

2012-2013年建筑學專業排名_中國大學本科教育專業排名

排 序 學校名稱 水平1 清華大學

5★ 2 同濟大學

5★ 3 天津大學

5★ 4 西安建筑科技大學

5★ 5 華南理工大學

5★ 6 哈爾濱工業大學

5★ 7 重慶大學

5★ 8 沈陽建筑大學

5★ 9 南京大學

5★ 10 大連理工大學

4★ 11 西南交通大學

4★ 12 長安大學

4★ 13 南京工業大學

4★ 14 山東建筑大學

4★ 15 青島理工大學

4★ 16 浙江大學

4★ 17 武漢大學

4★ 18 山東大學

4★ 19 廣州大學

4★ 20 太原理工大學

4★

開此專業學校數 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179 179

大學建筑學專業排名

第一檔（三博全）：

1清華大學2同濟大學3東南大學4天津大學5華南理工大學6西安建筑科技大學7重慶大學8哈爾濱工業大學

國家重點學科分布:

建筑學一級學科：清華大學、天津大學、同濟大學、東南大學

建筑設計及其理論：西安建筑科技大學、華南理工大學（培育）；

城市規劃 同濟大學、重慶大學

第二檔（有一個博士點或三碩全）：

9華中科技大學10浙江大學11湖南大學12南京大學（2碩）13大連理工大學（1碩）14西南交通大學15廈門大學16武漢大學17北京建筑工程學院18沈陽建筑大學19中南大學20深圳大學21山東建筑大學

除老八校外以上三學科有博士點的學校：浙江大學、華中科技大學、湖南大學、大連理工大學、南京大學

第三檔（二碩）：

22合肥工業大學23昆明理工大學24華僑大學25武漢理工大學26太原理工大學27南京工業大學28青島理工大學29吉林建筑工程學院30山東大學31四川大學32長安大學

有建筑學碩士授予權的學校（共22所）：老八校、浙江大學、華中科技大學、湖南大學、大連理工大學、北京建筑工程學院、西南交通大學、合肥工業大學、沈陽建筑大學、華僑大學、昆明理工大學、廈門大學、武漢大學、南京大學、北京工業大學

第四檔（一碩）：

33北京工業大學34上海交通大學35西安交通大學36中國礦業大學37北京交通大學38中央美術學院39鄭州大學40河北工業大學41北方工業大學42內蒙古工業大學43廣州大學44河北工程大學45北京大學46西北工業大學47東北師范大學48南昌大學49新疆大學50天津城市建設學院51后勤工程學院

擁有建筑學學士授予權的學校（共45所）：建筑學碩士授予權的學校21所（不含南京大學）深圳大學、山東建筑大學、南京工業大學、吉林建筑工程學院、武漢理工大學、鄭州大學、河北工程大學、廣州大學、上海交通大學、青島理工大學、安徽建筑工業學院、西安交通大學、中南大學、中國礦業大學、蘇州科技學院、太原理工大學、內蒙古工業大學、河北工業大學、太原理工大學、福州大學、北京交通大學等幾所。

第五檔:

安徽建筑工業學院、蘇州科技學院、福州大學、石家莊鐵道學院、蘭州理工大學，等沒有建筑學碩士點而開設建筑學本科教育的大學。

建筑學專業

http://www.tmdps.cn 2004/06/07 18:08 中國青年報

清華大學

【專業特色】清華大學建筑學院前身——清華大學建筑系，由著名建筑學家梁思成教授創建于1946年10月。1988年成立建筑學院。現在的建筑系是建筑學院的三個系之一。學院在世界上有廣泛的國際聯系，和許多國際上著名大學的建筑院系建立了廣泛的學術合作交流關系，如美國哈佛大學，麻省理工學院，賓西法尼亞大學，英國的劍橋大學等，每年都有幾十位外國學者和建筑師來院做學術報告。近年來，研究生和本科生也有機會到一些國家如美國、英國、德國、瑞典等進行學術考察和交流，并定期選派部分研究生到比利時、丹麥等進行聯合培養。

【招生特點】建筑學專業本科在招生的時候不要求考生交繪畫作品，進校后也不考美術，主要強調理工與人文素養的結合。建筑學專業從2000年開始實行6年制本碩統籌培養模式。本科三年級學生中有70%的學生進入這種培養模式，即從四年級開始在繼續本科課程的同時進行研究生學位課程的學習，到第6年完成碩士答辯合獲得碩士和學士學位。沒有進入6年制的學生，一部分按照5年學制本科畢業，獲得建筑學學士學位，另一部分可按照4年學制本科畢業，獲得工學學士學位。

【師資科研】學院現有教師94名，其中教授28名(含中國科學院和工程院院士3名)，副教授38名，兼職教授11名(含中國科學院和工程院院士4名)，還聘請國際知名建筑大師貝聿銘、丹下健三為名譽教授以及多名客座教授。

【畢業去向】建筑學專業的畢業生大多在設計院和事務所從事建筑設計與研究、建筑歷史理論與研究、古建筑保護與研究、建筑技術科學應用與研究等方面的研究工作，也有部分學生出國深造或一些房地產公司、裝修公司工作。

東南大學

【專業特色】東南大學建筑系始建于1927年，是中國第一個建筑系。早在1981年經國務院學位委員會批準建立了“建筑歷史與理論”和“建筑設計 與理論”兩個博士點。建筑系擁有建筑學、城市規劃和藝術設計三個本科專業，學制均為五年，要求考生有一定的藝術素養、空間理解力以及創造性思維能力。

【師資科研】系里現有院士2名，特聘教授2名，教授29名，副教授14名，其中博士生導師17名，碩士生導師14名。學科內建立了計算機輔助建筑設計(CAAD)國家專業實驗室，同時，系圖書資料豐富，藏書6000余冊，在國內屬一流。

【畢業去向】建筑學的畢業生一少部分可以急需攻讀碩士學位直至博士學位，而更多的學生是到各設計機構、國家機關、高等院校、科研單位從事設計、管理、教學、研究等工作。

同濟大學

【專業特色】同濟大學建筑與城市規劃學院的前身是同濟大學建筑系，學校在辦學特色上注重理論基礎與專業技能的訓練，啟發并教育學生對創造和改善人類聚居環境的使命感，培養學生形象思維和邏輯思維的能力，跟蹤世界建筑與城市規劃的科學前沿，把握科學發展的新動態，積極參與浦東開發、上海重大市政工程。建筑學專業(合建筑設計和室內設計專門化方向)，學制五年。建筑學專業要求學生具有扎實的理工科基礎、較強的形象思維能力和藝術表現力。建筑學專業有資格授予建筑學專業博士學位，在國際上也本有很高的知名度。

【師資科研】 現有31位教授，7位副教授。學院現設有5個碩士點，4個博士點，1988年建立了國內第一個建筑與城市規劃博士后流動站。學院與美國、加拿大、德國、日本、英國等國科研機構建立有合作交流關系。

【畢業去向】建筑學和城市規劃專業的畢業生可從事人共聚居環境規劃、城市規劃、建筑設計和圖林規劃設計等專業規劃設計，以及相關的建筑、管理。政府決策、房地產開發建設部門的實踐工作。

天津大學

【專業特色】天津大學建筑學院于1997年6月在原有的建筑系基礎上成立。建筑學院設有建筑學、城市規劃、環境藝術等3個系和建筑設計及其理論、建筑歷史與理論、建筑技術科學和王學仲藝術研究所等4個研究所。

【招生特點】2000年秋季，學院開始實施教育部國家級教學改革項目——建筑教育全方位開放式教學體系，通過打破學生的年級界限，組織縱向二至五年級教學班，打破教師的年級界限，根據課程設計要求及進度組織相關教師指導設計，外聘實踐經驗豐富的工程師來參與教學，建立開放性的教學體系。

【師資科研】學院現有教師58人，其中35人具有副教授以上高級職稱。一批從海外留學、進修歸來和具有博士學位的中青年教師組成教學骨干隊伍，學校的學術氣氛濃郁。

【畢業去向】北京的各大部委的設計院，中國規劃設計院，中國設計研究總院及地方設計院等，還有解放軍總后勤部、總參設計院每年都來要人，還有將近一半的學生選擇讀研究生。

重慶大學

【專業特色】重慶大學建筑城規學院即原重慶建筑科技大學建筑城規學院，是國內較早建立的建筑系科之一。學院現有建筑學(含室內設計方向)、城市規劃(含風景園林方向)兩個本科專業，兩個專業均以通過全國建筑教育評估。其中，建筑學專業主要是培養具備建筑設計等方面知識，能在設計、管理及教學科研部門工作的復合型高級技術人才。

【師資科研】學校有一支力量雄厚、學科專業齊全、梯隊配置完整的教師隊伍，現有教師127名，其中教授15名，博士導師10名，副教授20名，講師51名。

【畢業去向】建筑學專業的畢業生主要在建筑設計部門、高校、科研戰線、技術管理等職能部門工作。

華南理工大學

【專業特色】建筑學院是1997年由建筑系、土木工程系和建筑設計研究院合并成立的。建筑學專業主要培養學生以下的能力，如，掌握建筑設計的基本原理和方法，具有獨立進行建筑設計和用多種方式表達設計意圖的能力，并具有初步的計算機文字、圖形、數據的處理能力；初步掌握建筑結構及建筑設備體系與建筑的安全、經濟、適用、美觀的關系的基礎知識，建筑構造的基本原理與方法，常用建筑材料及新材料的性能，具有合理選用和一定的綜合應用能力，并具有一定的多工種間組織協調能力。

【師資科研】建筑學系目前擁有中國工程院院士1名，教授15名，副教授15名，共有教師64位，同時，學院還積極開展國內外的學術交流活動，一些規劃院的研究人員還被聘請為系里的兼職教授。學院為實現學科交叉、科學與研究、生產三結合、教學資源共享提供了可能，拓展了學科發展的空間。

【畢業去向】學校今年來就業率高達100%，其中，讀研比例在50%，其余畢業生大多在建筑設計和城市規劃設計部門，以及房地產開發、咨詢部門，相關科研和教學部門。

西安建筑科技大學

【專業特色】西安建筑科技大學建筑學專業自創辦迄今已有七十余年的辦學歷史，是西北地區具有資格授予建筑學學士、建筑學碩士學位以及工學博士學位的唯一院校。建筑學專業不同于一般理工科專業，是藝術、工程技術和人文科學相互融通的交叉性學科。建筑學專業的特點要求在專業教育方面將綜合素質熏陶、形象思維培養和專業技法訓練并重，在學生培養方面上理論學習和職業訓練并重。

【師資科研】現有教職工130人，其中教師等專業技術人員121人，教授16人，副教授與高工25人，講師與工程師52人。該系先后承擔了包括國家重點項目、國家自然科學基金“九五”重點課題在內等十幾項國家科研項目和上百項省部級科研項目，榮獲國家科技進步獎等多種獎項。

【畢業去向】多年來，建筑學專業學生就業率為100%。主要就業去向：建筑設計(研究)院、城鄉規劃設計(研究)院、大專院校建筑學院(系)或建筑科研部門，可從事建筑設計、規劃布局、建筑造型、結構造型、室內外空間環境設計、建筑技術經濟等方面的設計、研究、教學和管理工作。

哈爾濱工業大學

【專業特色】哈爾濱工業大學建筑學院歷史可以追溯到1920年哈爾濱中俄工業學校(哈工大前身)鐵路建筑科。目前下設12個教研室，9個研究所、一個城市規劃設計研究院(甲級)及CAAD中心等6個教學科研輔助機構。建筑專業的培養目標是基礎扎實、知識面寬、適應性強、具有創新精神的職業建筑師，因而具有技術學科與藝術學科的雙重特點。

【師資科研】學院現有教師132人，其中教授20人(博士生導師9人)，副教授29人。師資隊伍雄厚，并長期堅持產學研密切結合的辦學途徑，在建筑創作理論、中國傳統建筑美學、大空間公共建筑、寒地生態建筑及其技術、城市設計、環境藝術設計等研究領域成果卓著。【畢業去向】學生畢業后，多到設計院、大學建筑院系等單位及政府部門工作。長期以來，學院各專業畢業生均呈現供不應求的局面，用人單位對他們實際工作崗位上的表現總體評價甚高。

湖南大學

【專業特色】湖南大學建筑系的辦學歷史可追溯至1905年湖南高等學堂土木科，前后延續近一個世紀。建筑系現有建筑學、城市規劃、環境藝術三個本科專業，形成了以湖南傳統建筑研究和城鎮規劃研究為代表的學科特色，設計創作和理論研究碩果累累。近年來，還在建筑與文化領域，中日民居比較研究、長沙近代建筑及社區環境規劃與管理研究等方面做出新的開創性成果，強化和充實了專業了專業已形成的學科特色。其中，建筑學專業培養的是具備建筑設計、室內設計、環境設計與工程技術管理方面的知識和技能，以成為建筑師為主要目標的高級工程技術人才。

【師資科研】建筑系現有教職工85人，其中教授、副教授23人，研究所技術人員8人。

【畢業去向】學生畢業后可到建筑設計或城市規劃部門從事建筑設計、室內設計、城市規劃設計及與之相應的管理工作，或到科研單位和高等院校從事理論研究和教學工作。近年來，畢業生就業率均為100%，考研率32%，用人單位對畢業生的需、供比為6:1。

深圳大學

【專業特色】深圳大學建筑與土木工程學院建筑系于1983年9月成立。開設了本科生課程和兩個碩士研究生專業--建筑設計及其理論、建筑歷史與理論。深圳大學建筑設計院是國家甲級設計單位。設計院為建筑系師生提供了良好的實踐機會。從深圳特區建設的現實需要出發，致力于形成教學、科研、社會服務三結合的統籌機制。走新型的培養人才之路。學院主辦的《世界建筑導報》是目前國內頗具影響的唯一一本中英文雙語建筑專業雜志，是建筑系建筑歷史與理論專業的教學研究基地。

【師資科研】建筑學專業(廣東省高等學校名牌專業)在編教師24人，包括6名教授，12名副教授，6名講師。多年來，建筑系承擔了國家、省市級，以及學校的一批科研項目，其中包括國家自然科學基金的資助項目。1997年4月建工學院的成立加強了研究的合作和資源共享，高層建筑研究所和居住建筑研究所隨之成立。

【畢業去向】擔任一些設計院的職業建筑師，從事專業的建筑設計、城市設計、室內設計等工作，能在設計部門從事設計工作，可以復合型高級工程技術人才。

華中科技大學

【專業特色】華中科技大學建筑與城市規劃學院有建筑學、城市規劃、藝術設計三個本科專業，以及建筑設計及理論、城市規劃理論與設計兩個碩士點。學院始終堅持適應觀、特色觀，以及面向經濟建設主戰場的服務觀，注重培養學生的實踐動手能力及創造能力。歷屆畢業生憑著扎實的基本功、銳意進取的創新精神、較強的社會活動能力以及良好的外語水平，深受用人單位的好評。

【師資科研】學院擁有在編教師及工程師共206余名，其中教授12人，副教授41人, 高級工程技術人員23人。學院院長由國家建筑大師袁培煌教授擔任，還有國內外多位建筑界及城市規劃界知名學者受聘為本院兼職教授。

【畢業去向】畢業生有部分選擇繼續讀研，大多數人在一些建筑設計研究院或是城市規劃部門從事科研和學術工作，研究方向主要有居住建筑設計、景觀設計、城市設計、區域規劃、風景園林規劃、城市環境藝術設計、室內環境藝術設計等。

大連理工大學

【專業特色】大連理工大學建筑與藝術學院下設建筑系和藝術系，其中建筑系有建筑學、城市規劃兩個本科專業和建筑設計極其理論、城市規劃與設計兩個碩士點。畢業生具有項目前期策劃、建筑設計方案和建筑工圖繪制的能力，具有建筑美學的修養，具有一定的科學研究能力及對各類建筑從使用功能、空間組織、建筑造型、場地環境、技術經濟等方面進行分析、綜合、選優和評價的能力，同時具有獨立完成建筑設計方案及建筑施工圖繪制的能力。

【招生特點】建筑學專業學制5年。報考本專業的考生入學后進行美術加試，不合格者轉入其他專業學習。

【師資科研】學院有一批責任心強、教學水平高、專業技能強的教師，現有博士生導師1人，教授6人，副教授13人。

【畢業去向】畢業生在市場上供不應求，有些到建筑設計院、政府有關部門工作，也有些在建筑類高等院校和科研單位從事教學科研工作及房地產開發企業從事管理工作。

南京工業大學

【專業特色】建筑與城市規劃學院現設有建筑學和城市規劃兩個本科五年制專業和建筑設計及其理論專業的碩士點。學院教師有豐富的實踐經驗，學院承擔的各類項目有50余項，目前學院已經通過全國高等學校建筑學專業本科教育評估，獲得建筑學專業學位的授予權，在同等高校中有一定的聲譽和影響。

【師資科研】學院目前有教職工57人，其中教授3人，副教授10人，博士3人，博士后1人，一級注冊建筑師7人，此外學校還有兼職教授和客座教授6人。近年來，學校教師承擔了西藏文物建筑可視化研究、小城鎮可持續發展理論與實用技術研究等省部級科研項目，編著和編寫學術要著和教材20多本，在多年的科研基礎上，逐步形成了古建筑與歷史性地段的保護與發展、校園規劃與教育建筑設計和小城鎮與發展研究三個穩定的研究方向。

【畢業去向】學院學生多年的就業率均為100%，畢業生除少部分讀研以外，大多數畢業生到建筑設計院等部門從事科研和設計工作，也有一些人在一些建筑事務所擔任建筑師，以及房地產開發公司任職。

浙江大學

【專業特色】浙江大學建筑工程學院是原浙江大學、杭州大學、浙江農業大學和浙江醫科大學四校聯合后組建的新的浙江大學20個學院之一，在學科上由土木工程學系、建筑學系、區域與城市規劃系組成。在學科上覆蓋了國家基本建設所涉及的建筑、市政、交通、水利、鐵道、港口與海洋工程等主要產業領域，形成了包括區域與城市規劃、建筑學、土木工程和水利工程等多學科交叉，產、學、研協調發展的格局。在學科建設方面，學院設土木工程、建筑學、城市規劃3 個本科專業。

【師資科研】學院現有教職員工 372人，其中中國工程院院士 1名，教授36名，副教授79名。建筑工程學院實行系管教學，在二級學科基礎上建立研究所(室)，研究所(室)承擔教學和科研工作。學院內設有市政工程、建筑經濟與管理、建筑設計與理論、城市規劃與設計等多個研究所(中心)；建筑歷史與理論、建筑技術、建筑材料等3個研究室；土木工程設計教學實驗室等12個實驗室；浙江大學建設監理公司、土木工程測試中心等7個學科性公司(中心)和建筑設計研究院和城鄉規劃設計研究院。另外，學院還有國家工科力學教學基地(與力學系共建)。產、學、研的全面發展使學院可承擔國家基本建設所需的科研、設計、施工、監理、咨詢和培訓等各項任務。

【畢業去向】部分學生畢業后考研繼續深造，還有畢業生加入職業建筑師的隊伍，在設計院從事專業的建筑設計、城市設計等工作，也有的到建筑監理公司和政府部門任職。（這八所院校就是業界俗稱的“老八校”。國內知名的建筑院校，即“四大”：清華大學、同濟大學、東南大學、天津大學；“四小”：重慶大學、哈爾濱工業大學、西安建筑科技大學、華南理工大學。這八所院校就是業界俗稱的“老八校”。八大高校地處東西南北中，均各據一方，各有特色，每所學校都有自己的專長。

現在建筑學界又提出“新八?！?/p>

浙江大學、湖南大學、沈陽建筑大學、大連理工大學、華僑大學、華中科技大學、上海交通大學、南京大學

另外，建筑新四軍：指的是浙江大學、沈陽建筑大學、大連理工大學、華中科技大學。

獨立軍團：南京大學。此美譽來自于短短十年的異軍突起，南大建筑系師資主要來源于東南大學，并傳承了東南大學的建筑理念，堅持運用理性思維和公正視角探求真理，似當今中國建筑教育界的一股清流。

第四篇：建筑學專業

建筑學專業

業務培養目標：

業務培養目標：本專業培養具備建筑設計、城市設計、室內設計等方面的知識，能在設計部門從事設計工作，并具有多種職業適應能力的通用型、復合型高級工程技術人才。業務培養要求：本專業學生主要學習建筑設計、城市規劃原理、建筑工程技術等方面的基本理論與基本知識，受到建筑設計等方面的基本訓練，具有項目策劃、建筑設計方案和建筑施工圖繪制等方面的基本能力。

畢業生應獲得以下幾方面的知識和能力：

l．具有較扎實的自然科學基礎、較好的人文社會科學基礎和外語語言綜合能力；

2．掌握建筑設計的基本原理和方法，具有獨立進行建筑設計和用多種方式表達設計意圖的能力以及具有初步的計算機文字、圖形、數據的處理能力；

3．了解中外建筑歷史的發展規律，掌握人的生理、心理、行為與建筑環境的關系，與建筑有關的經濟知識、社會文化習俗、法律與法規的基本知識，以及建筑邊緣學科與交叉學科的相關知識；

4．初步掌握建筑結構及建筑設備體系與建筑的安全、經濟、適用、美觀的關系的基本知識，建筑構造的原理與方法，常用建筑材料及新材料的性能。具有合理選用和一定的綜合應用能力，并具有一定的多工種間組織協調能力；

5．具有項目前期策劃、建筑設計方案和建筑施工圖繪制的能力，具有建筑美學的修養。主干課程：

主干學科：建筑學

主要課程：建筑設計基礎、建筑設計及原理、中外建筑歷史、建筑結構與建筑力學、建筑構造。

主要實踐性教學環節：包括美術實習、工地實習、建筑測繪實習、建筑認識實習、設計院生產實習，一般安排40周。

修業年限：四年或五年

授予學位：建筑學學士

相近專業：建筑學 城市規劃 土木工程 建筑環境與設備工程 給排水工程 道路橋梁與渡河工程

第五篇：專業英語翻譯

1)Electricity can be measured in amount and quality.電可以用數量和質量來度量。

2)Instrument transformers are installed on the high-voltage equipment.互感器安裝在高壓設備上。

3)Electric power is generated in power generating stations or plants.電能是在發電站或發電廠產生的。

4)The meters are calibrated and the scale is designed to read the value of the desired unit.這些儀表可以被校準并且設計了不同的量程，以便讀出期望的數值。

5)Electrical energy can be stored in two metal plates separated by an insulation medium.Such a device is called a capacitor, and its ability to store electrical energy is termed capacitance.It is measured in Farads.電能可以儲存在被一絕緣介質隔開的兩塊金屬板中，這樣的裝置被稱為電容器，它儲存電能的能力就被稱為電容。電容的測量單位是法拉。1)The signal should be filtered before it is amplified.The signal should be filtered before being amplified.放大信號前，應先對其進行濾波。

2)An object becomes hot.It is placed in the sun.Once being placed in the sun, an object becomes hot.物體放置在太陽下會變熱。

3)We must do various experiments before a new electronic product is designed.Before designing a new electronic product we must do various experiments.在設計一個新的電子產品之前，我們必須做各種實驗。

4)Changing resistance is a method for controlling the flow of the current.改變電阻是控制電流的一種方法。

5)Conducting electricity means the flow of electrons through an object.傳導電流意味著電子在物體內的流動。

1)The power supply, which is shown in block-diagram in Fig.1, is a single-phase switch-mode inverter.The power supply shown in block-diagram in Fig.1 is a single-phase switch-mode inverter.圖1中用框圖表示的電源是一個單相開關逆變器。

2)A three-phase circuit, as it was pointed out above, is merely a combination of three single-phase circuits.A three-phase circuit, as pointed out above, is merely a combination of three single-phase circuits.正如上面所指出的那樣，三相電路只不過是三個單相電路的組合。

3)The transistor, which is working with correctly polarities, can work as an amplifier.The transistor working with correctly polarities can work as an amplifier.工作于正確電源極性下的晶體管，作用就像放大器。

1）The capacity of individual generators is larger and larger so that the increasing demand of electric power is satisfied.The capacity of individual generators is larger and larger to satisfy the increasing demand of electric power.單臺發電機的容量越來越大，目的就是滿足不斷增長的用電需求。2)What does a fuse do? It protects a circuit.The function of a fuse is to protect a circuit.保險的作用就是保護電路。1)If it is possible, the open-loop control approach should be used in this system.If possible, the open-loop control approach should be used in this system.可能的話，這個系統應該使用開環控制方法。

2)As illustrated in Fig.1, there is a feedback element in the closed-loop system.As in Fig.1, there is a feedback element in the closed-loop system.就像圖1所示的那樣，這個閉環系統中有一個反饋元件。

3)The device includes an instrument transformation and a relay system which has two circuits in it.The device includes an instrument transformation and a

relay system with two circuits in it.這個裝置包括一個互感器和一個有兩個電路的繼電器系統。

1)It has been mentioned above that the electrons in a metal

are able to move freely through the metal, that their motion constitutes an electric current in the metal and that they play an important part in conduction of heat.前面已經提到：金屬中電子能自由地通過金屬，電子的移動在金屬中形成了電流，電子在熱傳導中起著重要的作用。

2)The reluctance motor operates synchronously at a speed which is determined by the supply frequency and the number of poles for which the stator is wound.磁阻電動機以某一速率同步運轉，該速率是由電源頻率和定子繞制的級數決定的。

3)The testing of a cross-field generator will be described in this section with chief reference to the tests that are normally taken on every machine before it leaves the makers works.交磁發電機的試驗將在本節中敘述，它主要涉及每臺電機在離開制造廠前應進行的試驗。1)All radiant energies have wavelike characteristics, which are analogous to those of waves moving through water.All radiant energies have wavelike characteristics analogous to those of waves moving through water.所有的輻射能都具有波的特性，與水中移動的波的特征相似。

2)The instruments present include some digital ones which are relative to DSPs.The instruments present include some digital ones relative to DSPs.到場的儀器中還有一些與DSP有關的數字儀器。

1.As the system expands and higher voltage levels become necessary for transmission, the older transmission lines are often relegated to subtransmission function.隨著系統的擴大和更高的電壓等級為輸電所必需，舊的輸電線路往往被移交給中壓輸電功能。

1.Roughly, the capability of lines of the same length varies at a rate somewhat greater than the square of the voltage.粗略的講，長度相同的線路的容量，以比電壓的平方略大的比率變化。

2.No definite capability can be specified for a line of a given voltage, however, because capability is dependent on the thermal limits of the conductor, allowable voltage drop, reliability, and requirements for maintaining synchronism between the machines of the system, which is known as stability.然而，無法為給定電壓等級的線路指定確切的容量，這是因為容量取決于導線的發熱極限、允許的電壓降落、可靠性和維持系統中的發電機同步的要求（這被認為是穩定性）。

1.Capacitance exists between the conductors and is the charge on the conductors per unit of potential difference between them.電容存在于導體之間，等于導體上的電荷（電量）與導體間的電勢差之比?；颍弘娙荽嬖谟趯w之間，等于導體之間單位電壓對應的電量?！癆 per unit of B” 表示 “單位B上的A” 或者“A/B”。

2.Balance of the three phases can be restored by exchanging the positions of the conductors at regular intervals along the line so that each conductor occupies the original position of every other conductor over an equal distance, as shown in Fig.3.1.如圖3.1所示，沿線路方向每隔一定間隔就交換導線位置，使每根導線都能占據具有相同輸電距離的其他各導線的初始位置，以重建三相平衡。

Electrical energy can be stored in two metal plates separated by an insulating medium.Such a device is called capacitor or condenser.Its ability to store electrical energy is capacitance.It is measured in farads 電能可儲存在由一絕緣介質隔開的兩塊金屬極板內。這樣的裝置稱之為電容器，其儲存電能的能力稱為電容。電容的測量單位是法拉。

1.Small industrial customers are supplied by primary feeders at this voltage level from the primary system, which also supplies the distribution transformers providing secondary voltages over single-phase three-wire circuits for residential and commercial customers at 120 V/240 V.小型工業用戶由一次系統中此電壓等級的一次饋線供電。一次系統也給經過單相三線電路為居民用電和商業用戶提供120V/240V二次電壓的配電變壓器供電。

2.As illustrated in Fig.6.1, the aggregated load represented at a transmission substation(bus A)usually includes, in addition to the connected load devices, the effects of substation step-down transformers…

如圖6.1所示，在輸電變電站（母線A）所給出的集合負荷，除了所連接的負荷設備以外，通常還包括變電站降壓變壓器的影響……。

1.Roughly, loads are devices those consume electric energy or electric power consumed by customers mainly in distribution system.粗略的講，負荷是主要在配電網中消耗電能的設備或者由用戶消耗的功率。

2.The loads absorb electric energy from the power system and converts it into energy of other forms, which may be heat energy to heat water or to melt irons, or mechanical energy to drive a machine, etc.負荷從電力系統中吸收電能，并將其轉換為其他形式的能量，可能是燒水或溶化鋼鐵的熱能，或者是驅動機器的機械能等。

3.This kind of loads, especially those consume energy calculated by standard coals more over 10 thousands of tons per year, has a name of high energy consuming loads.這種負荷，尤其是那些年耗能萬噸標準煤以上的負荷，被稱為高耗能負荷。

1.The synchronous machine as an AC generator driven by a

turbine is the device which converts mechanical energy to electrical energy, in powers ranging up to 1500MW.作為由渦輪機驅動的交流發電機，同步電機是將機械能轉化為電能的設備，其功率范圍高達1500MW。

1.Hydropower plants can cause low dissolved oxygen levels in the water, a problem that is harmful to riverbank habitats.水電廠會導致水中的氧氣溶解度降低——（這是）一個對岸邊生存環境有害的問題。

2.For instance, in the United States, water power accounts for less than 20% of the total and that percentage will drop because most of the available sources of water power have been developed.例如，在美國，水電在全部電力中所占的比例不到20%，并且，因為大多數可用的水電資源已被開發，該百分數還會下降。

1.Most stations have ratings between 200 MW and 1500 MW so as to attain the high efficiency and economy of a large installation.大多數電站的額定值在200MW到1500MW之間，以實現大站的高效經濟（運行）。

2.Thermal stations are usually located near a river or lake because large quantities of cooling water are needed to condense the steam as it exhausts from the turbines.熱電廠通常位于河流或湖泊附近，這是因為需要大量的冷卻水在蒸汽從汽輪機排出時將其冷凝。

1.Nuclear plants fueled by uranium account for a continually increasing share of the load, but their construction is slow and uncertain because of the difficulty of raising capital to meet the sharply rising cost of construction, constantly increasing safety requirements which cause redesign, public opposition to the operation of the plants, and delays in licensing.Flowing through a circuit, the current will lose part of it energy.當電流流過電路時，要損耗掉一部分能量。（現在分詞短語作狀語）

Doing experiment is of great help to us.做實驗對我們的學習是很有幫助的。（動名詞作主語）By changing the resistance，we can change the current.通過改變電阻，我們就能改變電流。（動名詞作介賓）Mechanization is using machines instead of hand labor.機械化就是用機器來代替手工勞動。（動名詞作表語）

When an electric current flow through a wire it meets some opposition.當電流流過導線時，它會遇到某種阻力。（狀語從句）

Before one studies a system, it is necessary to define and discuss some important terms.在我們學習系統之前，必須定義并討論一些重要的術語。（狀語從句）It is possible that we use a computer to solve these complicated problem.我們可以用計算機來解這些復雜的題目。（表語從句）

You should determine which of the following functions is analytic.你應當確定下列函數中哪一個是解析式。（賓語從句）The fact is that radio waves travel as fast as light does.事實是無線電波的傳播速度與光速一樣快。（表語從句）The places where small computers can be used appear endless.可以使用小型計算機的場合似乎是無止境的。（定語從句）The instrument that we often use is very good in quality.我們經常使用的那臺儀器質量很好。（定語從句）

The places where small computers can be used appear endless.可以使用小型計算機的場合似乎是無止境的。（定語從句）The instrument that we often use is very good in quality.我們經常使用的那臺儀器質量很好。（定語從句）

Now we can determine where the slope is zero.現在我們可以求出何處斜率為零。（賓語從句）This is how a computer works.這就是計算機的工作原理。（賓語從句）Electrons always move toward where the potential is higher.電子總是朝向電位較高的地方移動。（介賓從句）

The fact that everything around us is matter is known to all.我們周圍的一切東西均是物質這一事實是大家都知道的。（同位語從句）Section 2 Exercise 3

Section 3 Exercise3 必須強調的是線性電阻器是一個理想的電路元件；它是物理元件的數學模型。我們可以很容易地買到或制造電阻器，但很快我們發現這種物理元件只有當電流、電壓或者功率處于特定范圍時其電壓——電流之比才是恒定的，并且這個比值也取決于溫度以及其它環境因素。我們通常應當把線性電阻器僅僅稱為電阻器。只有當需要強調元件性質的時候才使用更長的形式稱呼它。

而對于任何非線性電阻器我們應當始終這么稱呼它，非線性電阻器不應當必然地被視為不需要的元件。

Section 4 Exercise 3 如果一個電路有兩個或多個獨立源，求出具體變量值（電流或電壓）的一種方法是使用節點分析法或網孔分析法。另一種方法是求出每個獨立源對變量的作用然后把它們進行疊加。而這種方法被稱為疊加法。疊加法原理表明線性電路某個元件兩端的電壓（或流過元件的電流）等于每個獨立源單獨作用時該元件兩端的電壓（或流過元件的電流）的代數和。Section 5 Exercise 3 相電壓與相電流之比等于電路的阻抗，符號為字母Z，阻抗是一個具有量綱為歐姆的復數量。阻抗不是一個相量，因此不能通過把它乘以

并取其實部把它轉換成時域形式。但是，我們把電感器看作是通過其電感量L表現為時域形式而通過其阻抗

表現為頻域形式，電容在時域里為電容量C而在頻域里為

，阻抗是某種程度上的頻域變量而非時域變量。

Section 6 Exercise 3