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1、土木专业英语英译汉第二章docBuilding and Architecture The purpose of a building is to provide a shelter for the performance of human activities. From the time of the cave dwellers to the present, one of the first needs of man bas been a shelter from the elements. In a more general sense, the art of building enco
2、mpasses all of mans efforts to control its environment and direct natural forces to his own needs. This art includes, in addition to buildings, all the civil engineering structures such as dams, canals, tunnels, aqueducts, and bridges 建筑物的目的是给人类的活动提供一个遮风挡雨的地方。从穴居时代到现在，人类的第一需要最基本的就是有一个可以遮风避雨之所。在一个比较一
3、般的感觉中，建筑物的艺术包含人类试图控制环境和直接自然力以满足需要所取得的所有成就。除建筑物外，这种艺术还包括大坝，运河，隧道，沟渠和桥。 . The scientific basis for the design of buildings as shelters and for the design of civil engineering structures for other purposes is identical. It is only as a result of the specialized requirements of our modern society that t
4、hese two fields have developed along separate paths. In a similar manner, the master builder concerned with the building as a shelter is no longer an individual; instead, his work is done by a team of several specialists: the planner, the architect, the engineer, and the builder. The execution of a
5、modern building depends on the collective talents of this team 遮风避雨的建筑物的设计和其他功用的土木工程结构的设计的科学基础原理是相同的。而只是因为现代社会特定的需要，这两个领域才沿着不同的路径发展。相似的，关注作为遮风避雨的建筑物的主要营造者也不再是一个单独的个体；相反的是由多个专家组成的小组：规划师，建筑师，工程师和建造者。一个现代建筑物的实现依赖这个小组集体的智慧。 . The form of a building is an outgrowth of its function, its environment, and v
6、arious socioeconomic factors. An apartment building, an office building, and a school differ in form because of the difference in the functions they fulfill. In an apartment building every habitable space, such as living rooms and bedrooms, must have natural light from windows while bathrooms and ki
7、tchens can have artificial light and therefore can be in the interior of the building. This set of requirements places a natural limit on the depth of an apartment building. In office buildings, on the other hand, artificial light is accepted for more uniform illumination, and therefore the depth of
8、 such buildings is not limited by a need for natural light. 建筑物的结构是建筑物的功能、环境及各种社会经济因素共同作用的产物。公寓，办公大楼和学校的不同在于它们实现的功能不同。公寓的每一个可居住空间如起居室和卧室必须有来自窗户的自然光，而浴室和厨房可以采用人造光源因而可以安排在建筑物内部。这种必要的设置对公寓的进深必然有限制。另一方面，对办公大楼而言，人造光源更能达到均匀照明的要求，因此，对自然光的需求不再有建筑物进深的限制。 Environment may affect both the shape and appearance o
9、f a building. An urban school may create its own environment by using blank walls to seal out the city completely, and a country school may develop as an integral part of the landscape, even though both schools fulfill the same function. 环境可能影响到建筑物的形状和外观。城市里的学校通过使用空白的围墙完全的封闭于城市之外，而乡村的学校可能发展成为景观的一个主要
10、部分，即使两者实现同样的功能 Finally, the form of a building is affected by a variety of socioeconomic factors, including land costs, tenancy, building budget, and zoning restrictions. High land costs in urban areas result in high buildings, while low land costs in the country result in low buildings. A housing p
11、roject for the rich will take a different form than a low-cost housing project. A prestige office building will be more generously budgeted for than other office buildings. The bulk of a building and its outline may be limited by zoning restrictions.In all these examples, buildings with similar func
12、tions take on different forms. 最后，建筑物的结构被各种社会经济因素影响，包括地价，租赁，工程预算，分区限制。城市的高地价造成高层建筑物，而乡村的低地价造成低的建筑物。富人的住房建筑计划不同于廉价的住房建筑计划。有威望的办公大楼的预算将大大地超过其他的办公大楼。建筑物的大小和外形可能受到分区的限制。在所有这些例子中，有着相似功能的建筑物常常采用不同的结构。 Architecture is the art of building. Virtually all architecture is concerned with the enclosure of space
13、for human use. The precise activities to be housed in any specific building-ranging from an assembly line in a factory to a living room in a home-should dictate the size and shape of the several areas within. These spaces also must be arranged in some logical relation to each other. Furthermore, the
14、 movement of human beings within the building circulation in architectural parlance-requires halls, stairs, or elevators whose size is governed by the expected load of traffic. The plan of a structure, always the first consideration of an architect, is the resolution of these different purposes into
15、 an organization of spaces that will fulfill the intent of the building. Good planning guides the visitor to his destination in the structure and impresses him, perhaps subconsciously, by visibly relating the several units of the edifice. Conversely, a bad plan results in inconvenience, waste, and v
16、isual confusion. 建筑学是建筑物的艺术。事实上所有的建筑学都是关于为了人类的使用而围住的空间。在任何特殊的建筑物中所覆盖的精确活动广泛到从工厂的一条装配线到一个家庭的起居室应该规定几个内部区域的大小和形状。这些空间也必须被安排在彼此合乎一定逻辑的关系中。此外，在建筑物中的人类活动建筑学中的说法是“流通”需要大厅，楼梯和电梯，它们的尺寸受到预期荷载的支配。建筑物的结构平面图，总是建筑师的第一考虑，是深入实现建筑物意图的空间组织中的这些不同目的的决定。好的平面组织可以指引访客到达他们的在建筑物中的目的地并且使他们留下印象。他们也许是下意识地被大厦很显然的各个单元的关联所指引。相反地
17、，不好的平面组织将带来不便，浪费和视觉混乱。 Furthermore, a structure must be well built; it should have such permanence as the purpose for which it is intended demands and as the materials chosen may allow. The raw materials of architecture-stone, brick, wood, steel, or glass-in part govern the forms of the building and
18、 are expressed by them. Stone can resist compression, the force that squeezes together, almost indefinitely. While it is possible to crush stone in a laboratory, for practical purposes its compressive strength is unlimited. On the other hand, stone is weak in withstanding tension, the force that pul
19、ls apart. Any beam spanning a void tends to bend downward between the supports, putting the lower half of the beam under tension. It follows from the tensile weakness of stone that beams of this material must be comparatively short and supported at frequent intervals. Moreover, stone columns must be
20、 sturdy, rarely more than 10 times as high as they are wide. In stone buildings, windows, doors, and the spaces between columns are almost compelled to be taller than they are wide-the vertical rectangle of the stone aesthetic. Stone has been so dominant in the architecture of the Western world that
21、 forms appropriate to it have been preserved even in buildings constructed of wood, as in the American Georgian period. Stone, then, lends itself to the kind of construction in which walls support the floors and roof, to post and lintel construction with rather closely spaced columns, and to arch co
22、nstruction where the stresses are predominantly compressive. 此外, 一个结构需要很好地被建造。它应该有结构需要的和被选材料允许的耐久性。建筑学的未经加工的材料，如石，砖，木，钢或玻璃，部分决定了建筑物的结构并对建筑物进行表达。 石能抵抗压缩， 尽管一起压挤的力几乎是不能确定的。在一个实验室里压碎石是可能，但是对于实际应用，它的抗压强度则是无限的。另一方面，石在抵抗各向拉力方面是很弱的。任何空间跨度的梁在支承之间容易向下弯曲，梁的下半区承受拉力。由于石承受拉力的能力很弱,这种材料的梁相对地比较短, 并且支撑间距比较小。此外，石柱必须坚
23、固，其高宽比极少超过10。在石类建筑中，门，窗及柱之间的空间几乎都被迫高大于宽，这源于石的垂直矩形美学。石在西方世界建筑学中占有如此之高的统治地位，以致，即使在木结构建筑时期其适当的造型一直被妥善保护着，像在美国的乔治王时代。然后，石借助它本身的构造类型，成为支撑楼板和屋顶的墙，成为承重结构中的密排柱，成为主要承受压力的拱形结构。 Wood, a fibrous material, withstands tension as readily as it does compression. Wooden beams may be rdatlvely longer than stone Beams
24、, and wooden posts slender and widely spaced. A horizontal rectangle, wider than it is high, results from the natural properties of wood, as may be seen in Japanese architecture. Steel also has tensile strength that is equal to or greater than its compressive strength.Anyone who has observed a steel
25、 building under construction must have noticet the gridiron of horizontal rectangles produced by the slender, widely spaced columns and the long beams of each floor. The nature of wood and of steel suggests frame construction-a skeleton to support floors and roof-with whatever surfacing material may
26、 be necessary. Wood and steel also permit cantilever construction in which beams project beyond the last point of support. 木是一种纤维材料，相比其抵抗压力的能力而言，它更易于抵抗拉力。木制梁可能相对比石制梁长，并且木制柱较细且可以广泛地作一定间隔的排列。由于木的自然性质常形成宽大于高的水平矩形，这在日本建筑学中常被见到。钢的抗拉强度也等于或大于其抗压强度。已经观察过钢结构建筑物建筑过程的任何人一定曾注意到由细的广泛地作一定间距排列的柱及每个楼板的长梁所组成的水平格状矩形。
27、木和钢的性质意味着框架结构一个支撑楼板和屋顶的骨架任何的铺面材料都可能是必需的。木和钢也准许悬臂结构，在这种结构中，梁的投影超出支承的最后一个测点。 Finally, architecture must do more than meet the physical requirements of strength and space it must also content the spirit of man. The building should form an aesthetic unity to which the several parts contribute. Thus, the
28、 sides and rear of a structure should bear sufficient correspondence to the front to make them all related parts of a single whole. The major internal divisions, too, require some expression in the external design. The nave, aisles, transepts, apse, and radiating chapels of Gothic cathedrals, for ex
29、ample, are all visible on the exterior, so that the visitor is subconsciously prepared for what he will find inside 最后，建筑学不仅必须超过符合强度和空间的实际需要，它也一定要使人得到精神满足。建筑物应该使每一个零部件形成一个美学的统一体。因此，结构的侧面和背面应该与正面具有足够的一致性，可以使所有相关部分成为一个独立的整体。同样地，大部分的内部分区也需要在外部设计上有所表现。正殿，甬道，袖廊，半圆形壁龛,而且辐射哥德式大教堂的小礼拜堂，举例来说，全部是在外部上看得见的,所以访客
30、在潜在意识里意识到他们将在里面找到什么。 . Architecture calls for good proportions-a pleasing relationship of voids to solids, of height to width, of length to breadth. Many attempts have been made to explain good proportions by nlathematicaI formulas, such as the golden section. These efforts have not found general ac
31、ceptance, however, although good results have been achieved through the repetition of some dimension (for example, a module that is half the diameter of a colunm) throughout the design. Such repetitions help to produce the visible order that tile human mind seems to crave. 建筑要求有恰当的比例，即令人愉快的虚与实、高与宽、长
32、与宽的关系。人类已经作过许多尝试用数学公式来解释好多比例，如黄金分割。然而，这些努力并没有被广泛接受，尽管在设计各处透过一些尺寸的复测法已经收到很好的结果。这种复测法帮助提出了人类思想渴望的可视规则。 A building also should have what architects call scale; that is, it should visually convey its true size.Such elements as benches, steps, or balustrades, though slightly variable in size, are, by the
33、ir very purpose, related to the normal dimensions of human beings.They therefore become, almost imperceptibly, units of measurement for gauging the size of the whole edifice. Because these units are so small in comparison to the whole building, other elements of intermediate size are needed. Stairs
34、and a balustrade may give a clue to the size of a doorway; that, in turn, to the height of a colonnade; and finally, the colonnade to the whole structure. The Petit Trianon at Versailles is perfect in scale. The absence of small elements in StPeters in Rome makes it difficult to perceive its vastnes
35、s 一个建筑物还应该有建筑师称作的比例尺，它应该能在视觉上传达它的真实尺寸。如长椅、台阶或楼梯栏杆等元素，尽管由于它们特别的原因在大小方面有些微可变，但仍然与人类的正常尺度有关。它们因此也几乎不可察觉地成为精确计量整个大厦尺度的测量单位。因这些单位对整个建筑物而言太小，所以还需要其他中间尺度的元素。楼梯和一个楼梯栏杆可能给门口的尺寸一个提示，依次是柱廊的高度，最后是整个的结构廊。凡尔赛的Petit Trianon在比例尺方面相当完美。罗马的圣彼得堡由于缺少小元素而让人很难感知它的巨大。 Although alldecorationis rejectedinsome modernarchitec
36、ture，itwas employedinthepasteitherfor its inherent beauty or to emphasize some point of importance in the buildingDecoration or ornament may be used to contribute the character，the visible expression of the purpose of the buildingThus a bank should look like a bank，and a church should be immediately
37、 identifiable as suchIdeally，too，any building should seem to belong on its site，with some relationship to its architectural neighbors and the local geography 虽然全装饰在一些现代的建筑中被拒绝，但它过去由于固有的美或为了强调建筑物的一些重点而常被采用。装饰品可能用于突出建筑物的特征和建筑物目的的可视化表现。因此，一个银行要看起来像银行，一个教堂也应该同样地可以被立刻确认。理想地，任何建筑物应该通过与它建筑上的邻居的一些关系和地方地理学上看
38、起来属于它的位置。 Through the related architectural forms shaped by their purpose，governed by the materials，proportioned and given scale and character by the designer，buildings become expxessions of the ideals and aspirations of the generations that built them The successive styles of historic architecture are incarnations of the spirit of their times 经过建筑学目的的成型，再受材料、比例和设计者给定的比例尺和特征支配，建筑物成为建造它们的时代的理想的表达和热望。历史性建筑学的连续性式样是他们的时代精神的化身。
