第一篇：建筑學(xué)專業(yè)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.

第二篇：同濟大學(xué)建筑學(xué)專業(yè)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）….

第三篇：建筑學(xué)專業(yè)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.

第四篇：專業(yè)英語

我國經(jīng)濟和科學(xué)技術(shù)正在高速發(fā)展，隨著我國機械行業(yè)實力的不斷提升，中國正在加速產(chǎn)品與設(shè)備的更新與改造，我國與其他國家在各技術(shù)領(lǐng)域也正在實現(xiàn)進一步的合作，許多企業(yè)引進了很多進口設(shè)備，大量資料是英文原版的。因此，學(xué)生將來在工作崗位上能否讀懂這些資料就是擺在面前的一個嚴峻的問題，特別是在生產(chǎn)實際中碰到現(xiàn)場實際問題的時候，很可能需要查閱原版英文資料或與相關(guān)專家用英語交流專業(yè)技術(shù)來謀取解決途徑，所以機械工程專業(yè)英語的掌握就變得越來越重要。

一、學(xué)習機械專業(yè)英語面臨的主要問題

1.缺乏足夠的重視，認為沒必要

許多學(xué)生對專業(yè)英語重視不夠，認為自己以后在工作崗位上一般用不上，學(xué)起來又不容易，不想花功夫去學(xué)習和加強專業(yè)英語方面的能力，即便有專業(yè)英語課程也是抱著及格萬歲的思想，敷衍了事。其實，隨著社會的發(fā)展，各種工作崗位對人才的要求越來越高，即使作為一名操作工，也有很大可能要面對純英文的說明書、加工圖紙等專業(yè)文獻，更無須說將來擔任管理和領(lǐng)導(dǎo)崗位對專業(yè)英語的需求了。

2專業(yè)基礎(chǔ)知識不扎實

專業(yè)基礎(chǔ)不扎實、專業(yè)知識的缺乏是專業(yè)英語學(xué)習和翻譯的一大障礙。只有既懂外語又懂專業(yè)的人才能適應(yīng)全面的對外開放，4.無法適應(yīng)專業(yè)英語本身的特點

專業(yè)英語一般內(nèi)容較為枯燥，闡述的是原理概念，結(jié)構(gòu)嚴謹，不注重文字修飾，重在客觀事實；專業(yè)詞匯多，邏輯性強，理論推導(dǎo)多，有獨特的文體形式和表達方式。在學(xué)習開始階段，我感覺很難適應(yīng)。

二、大學(xué)生學(xué)好機械專業(yè)英語的方法

1.把握專業(yè)知識

必須將機械專業(yè)知識與英語知識相結(jié)合。缺乏專業(yè)知識，翻譯專業(yè)文獻就沒有了根基，成了無本之末。也許自己在學(xué)習過程中就會對翻譯出來的東西拿捏不穩(wěn)，或者自己都不明白，更不能保證對錯了。所以，學(xué)生必須加強開設(shè)本課程前的相關(guān)專業(yè)知識的學(xué)習，為本課程的學(xué)習掃清這方面的阻礙，減輕負擔。也有學(xué)生反映，專業(yè)英語學(xué)完以后，英語和專業(yè)兩方面都有所鞏固和加強，所以學(xué)生要做的仍舊是樹立信心，保持良好積極的心態(tài)。

2.積累專業(yè)詞匯和專業(yè)術(shù)語

在專業(yè)英語的學(xué)習過程中，學(xué)生既要鞏固基礎(chǔ)詞匯，也要學(xué)習專業(yè)詞匯，更要注重基礎(chǔ)詞匯的習慣用法、含義和在專業(yè)英語中的特殊用法、含義，同時，學(xué)生還需要在識記專業(yè)詞匯的同時，掌握一定量的詞根、詞綴［7］。提高專業(yè)英語資料的閱讀能力必須擴大詞匯量，掌握一定量的專業(yè)詞匯。如果詞匯量掌握得不夠，閱讀時就會感到生詞多，障礙大，不但影響閱讀的速度，而且影響理解的程度，從而不能進行有效的閱讀，還容易使人產(chǎn)生挫敗感。而學(xué)生要想擴大詞匯量，就必須在閱讀的同時進行識記，并擴大閱讀范圍。

3培養(yǎng)濃厚興趣

培養(yǎng)對英語的興趣至關(guān)重要。“興趣是最好的老師”，興趣是學(xué)習英語的巨大動力，有了興趣，學(xué)習就會事半功倍。我們都有這樣的經(jīng)驗：喜歡的事，就容易堅持下去；不喜歡的事，是很難堅持下去的。而興趣不是與生俱來的，需要培養(yǎng)。必須要用正確的態(tài)度對待英語學(xué)習，用科學(xué)的方法指導(dǎo)學(xué)習。多讓自己去嘗試，通過努力讓自己體會成功的愉悅。

三、結(jié)語

用英語進行專業(yè)交流是學(xué)習機械工程專業(yè)英語的最終目的。由于翻譯過程是個創(chuàng)造性的、從生疏到熟練的過程，只有具備刻苦的精神、嚴肅認真的學(xué)習態(tài)度和一定的英語水平、專業(yè)水平和漢語表達水平，才能充分理解原專業(yè)文獻的含義，把握原文的想要表述的實質(zhì)內(nèi)容，運用種種表達手段和翻譯技巧，用準確流暢的符合漢語言習慣的語言生動地再現(xiàn)原文。所以，為把自己培養(yǎng)成為復(fù)合型、有發(fā)展后勁的高技能人才，大學(xué)生必須把握機械工程專業(yè)知識，培養(yǎng)專業(yè)英語的學(xué)習興趣，積累專業(yè)英語學(xué)習方法和基礎(chǔ)知識，加強英文原始專業(yè)文獻的閱讀，擴大知識面，迅速而切實地提高自己的專業(yè)英語的應(yīng)用能力，為將來更好地適應(yīng)高素質(zhì)工作崗位和進一步發(fā)展的需要打下良好的基礎(chǔ)。

第五篇：專業(yè)英語

http://zaixianfanyi.com/google.php#hj

194頁：了解什么歸入類別嵌入計算，它足以說明什么不是嵌入式設(shè)備的要求。嵌入的設(shè)備的壽命非常不同于通用機器的3 年的逐漸過時循環(huán)。有些設(shè)備是幾乎一次性的：平均日本celluar電話在少于一年被替換。在oppsite極端，基礎(chǔ)建設(shè)的設(shè)備例如電話交換機在30年的日程表貶值。這些壽命差異產(chǎn)生具體的影響，可升級性和向后兼容性。少量嵌入設(shè)備有升級要求。例如，積極汽車熱衷者更改自己的車里的芯片，但是這些通常是只讀光盤，不是處理器。大多數(shù)消費者項將被替換，不會升級。

Backward compatibility is seldom an embedded requirement,as software does not migrate from one device to another.An interesting exception is game consoles:to maintain compatibility,later console chips must be capable of being exactly as fast as the early versions despite changes in underlying process technology.In consoles,backward compatible is often implemented by putting a complete copy of the previous-generation console in one small corner of the next-generation die.Bacause many embedded designs need not be backward compatible with previous implementations,designers are free to switch designs with each product generation.Consequently,there is less emphasis on the distinction between architecture and implementation.If a new version of a chip is slightly incompatible but much better than its predecessors,designers may still be willing to use it.因為軟件并不從一個設(shè)備遷移到另一個，向后兼容性很少是嵌入式的要求，一個有趣的例外是游戲控制臺：要維護兼容性，盡管最新控制臺芯片在基礎(chǔ)工藝技術(shù)上有所改變，但是它一定是可勝任的是象早版本一樣快速地確切。往往通過將上一代控制臺的完整副本放在一個小角落里的下一代模向后兼容。因為許多嵌入式的設(shè)計需要，不能與以前實現(xiàn)向后的兼容，設(shè)計師可以自由切換的每一代產(chǎn)品的設(shè)計。因此，有少強調(diào)體系結(jié)構(gòu)與實施之間的區(qū)別。如果稍有不兼容，但比其前任的芯片的新版本，設(shè)計師仍可能愿意使用它。