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1、English in Architecture and Construction,UNIT ONE Architecture,Words and Expressions,enclosure n.围墙(栏);封围dictate v.规定;限定subconsciously ad.下（潜）意识地edifice n.大厦，大建筑物;体系compression n.压力;压缩withstand v.经受得住;抵抗span v.跨过;架设 n.跨度;开度void n.空间(位)，虚(空)体tensile a.张力的，拉力的sturdy a.结实的,坚固的rectangle n.长方形，矩形aestheti
2、c a.美学的，审美的fibrous a.含纤维的，纤维状的readily ad.容易地，不费力,Words and Expressions,gridiron n.梁格结构，格状结构skeleton n.构架；草图；轮廓cantilever n.悬臂梁，突梁project v.伸突)出;设计correspondence n.符合,一致;相应nave n.(教堂的)正厅;(火车站等建筑的)中间广场aisle n.走廊，侧廊transept n.(教堂的)袖廊，翼部chapel n.小礼拜堂apse n.多边形(或半园形)凹室;耳(室)房Gothic n.哥特式建筑的cathedral n.大教堂
3、，主教堂module n.模度(数，量);模件,crave v.渴望，需要imperceptibly ad.觉察不到地balustrade n.栏杆，扶手colonnade n.柱廊，柱列inherent a.内在的，固有的ornament n.装饰(物)identifiable a.可识别的，可区别的,Para.1 and Para.2,Architecture is the art of building.Virtually all architecture is concerned with the enclosure of space for human use.The precise
4、 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 movement of human beings wit
5、hin the building 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 an organization of spaces that will fulfill the intent of the building.
6、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 visual confusion.Furthermore,a structure must be well built,it could have such p
7、ermanence 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 prt govern the forms of the building and are expressed by them.Stone can resist compression almost indefinitely.While it is possible to
8、 crush stone in a laboratory,for practical purposes its compressive strength is unlimited.,Para.3 and Para.4,On the other hand,stone is weak in withstanding tension.Any beam spanning a void tends to bend downward between the supports,putting the lower half of the beam under tension.It follows form t
9、he tensile weakness of stone that beams of this material must be comparatively short and supported at frequent intervals.Moreover,stone columns must be 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
10、 taller than they are wide-the vertical rectangle of the stone aesthetic.Wood,a fibrous material,withstands tension as readily as it does compression.Wooden beams may be relatively longer than stone beams,and wooden posts slender and widely spaced.A horizontal rectangle,wider than it is high,results
11、 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 building under construction must have noticed the gridiron of horizontal rectangles produced by the s
12、lender,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 be necessary.Wood and steel also permit cantilever construction in which beams project beyond the last
13、point of support.,Para.5 and Para.6,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 sides and rear of a structure should bear
14、sufficient divisions,too,require some expression in the external design.The nave,aisles,transepts,apse,and radiating chapels of Gothic cathedrals,for example,are all visible on the exterior,so that the visitor is subconsciously prepared for what he will find inside.Architecture calls for good propor
15、tions-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 mathematical formulas,such as the golden section.These efforts have not found general acceptance,however,although good results have been achieved throu
16、gh the repetition of some dimension(for example,a module that is half the diameter of a column)throughout a design.Such repetitions help to produce the visible order that the human mind seems to crave.,Para.7 and Para.8,A building also should have what architects call“scale”:that is,it should visual
17、ly convey its true size.Such elements as benches,steps,or balustrades,though slightly variable in size,are,by their 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 un
18、its are so small in comparison to the whole building,other elements of intermediate size are needed.Stairs 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 i
19、n scale.The absence of small elements in St.Peters in Rome makes it difficult to perceive its vastness.Although all decoration is rejected in some modern architecture,it was employed in the past either for its inherent beauty or to emphasize some point of importance in the building.Decoration or orn
20、ament may be used to contribute to character,the visible expression of the purpose of the building.Thus a bank should look like a bank,and a church should be immediately identifiable as such.Ideally,too,any building should seem to belong on its site,with some relationship to its architectural neighb
21、ors and to the local geography.,Para.1,Architecture is the art of building.建筑学是建造的艺术。Architecture,Para.1,Virtually all architecture is concerned with the enclosure of space for human use.实质上整个建筑学都与供人使用的围合空间有关.is concerned with 与有关enclosure 围住,围栏,四周有篱笆或围墙的场地,Para.1,The precise activities to be housed
22、 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.建筑物内部一些空间的大小和形状是由那些将要容纳在该建筑物(如从工厂的到住宅中的起居室)里的确切活动所规定。to be housed in any specific building 动词不定式短语assembly line 装配线,Para.1,These spaces also m
23、ust be arranged in some logical relation to each other.这些空间的排列还应有合理的关系。inrelation to 与有什么样的关系(we are in good relation to each other),Para.1,Furthermore,the movement of human beings within the building requires halls stairs or elevators whose size is governed by the expected load of traffic.另外，人在建筑物中
24、的走动需要有走廊、楼梯或电梯，其尺寸受预期交通负荷的支配。load of traffic 交通负荷,Para.1,The plan of a structure,always the first consideration of an architect,is the resolution of these different purposes into an organization of spaces that will fulfill the intent of the building.建筑方案是建筑师首先要考虑的事，它把对建筑物的各种要求安排成体现建筑意图的空间组合。the firs
25、t consideration of 首先要考虑的事,Para.1,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.好的方案可以使来访者在建筑中找到其目的地并留下印象，这种印象也许是下意识地通过把大的建筑体系中一些单元明显地联系起来而造成的。Edifice 大厦,大建筑物,Para.1,Conversely,a bad
26、plan results in inconvenience,waste and visual confusion.相反，坏的方案所产生的结果是不方便、浪费和视觉上的混乱。,Para.2,Furthermore,a structure must be well built,it could have such permanence as the purpose for which it is intended demands and as the materials chosen may allow.此外，一座建筑的结构必须建造良好;它必须具有永久性。这种永久性既是设计意图要求的，也是材料的选择
27、所允许的。have suchas 把作为,Para.2,The raw materials of architecture-stone,brick,wood,steel,or glass-in part govern the forms of the building and are expressed by them.建筑材料（石、砖、木材、钢材或玻璃)部分地决定着建筑物的形式，并被这些形式所表现。Raw materials原材料 Raw未加工的in part govern 部分决定 副词+动词,Para.2,Stone can resist compression almost indef
28、initely.石头几乎可以无限地承受压力。Resist 抵御；承受,Para.2,While it is possible to crush stone in a laboratory,for practical purposes its compressive strength is unlimited.在实验室中能把石头压碎，但在实际使用中它的耐压程度几乎是无限的。,Para.3,On the other hand,stone is weak in withstanding tension.然而它的抗拉性却是十分脆弱的。On the other hand 写作可用,Para.3,Any
29、beam spanning a void tends to bend downward between the supports,putting the lower half of the beam under tension.任何横跨空间的梁都会出现在支点间下弯的趋势。从而使梁的下半部处于拉应力状态。beam span 梁跨度under tension 受拉,Para.3,It follows from the tensile weakness of stone that beams of this material must be comparatively short and suppo
30、rted at frequent intervals.基于石头抗拉力差的缘故，这种材料的梁须相对短，且支点多。,Para.3,Moreover,stone columns must be sturdy,rarely more than 10 times as high as they are wide.还有，石柱必须粗而短，其高度很少超过宽度的十倍。Sturdy Having or showing rugged physical strength.强健的：身体健壮的，结实的Substantially made or built;stout:坚固的，耐用的：sturdy canvas.坚固的篷车
31、Marked by resoluteness or determination;firm:坚决的，坚定的，顽强的：sturdy resistance.顽强的抵抗Vigorous or robust.See Synonyms at strong 精力充沛的，强健的,Para.3,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 aestheti
32、c.在石建筑中，窗、门以及支柱间的空间，其高度不得不超过宽度，从而形成了狭长矩形的石建筑美。,Para.4,Wood,a fibrous material,withstands tension as readily as it does compression.木材是一种含纤维的材料，既可承受压应力，又可承受拉应力。,Para.4,Wooden beams may be relatively longer than stone beams,and wooden posts slender and widely spaced.木梁比起石梁要相应长些;木柱则比较细，但间距宽。,Para.4,A h
33、orizontal rectangle,wider than it is high,results from the natural properties of wood,as may be seen in Japanese architecture.由于木材的天然性能而形成宽度大于高度的扁而宽的矩形建筑，正如在日本建筑中所看到的那样。,Para.4,Steel also has tensile strength that is equal to or greater than its compressive strength.钢也具有等于或大于其抗压强度的抗拉强度。,Para.4,Anyon
34、e who has observed a steel building under construction must have noticed the gridiron of horizontal rectangles produced by the slender,widely spaced columns and the long beams of each floor.任何观察过正在施工中的钢结构建筑物的人,必定注意到由每块地面上伸出的细长而间隔很宽的柱子和长梁形成的横向长方形网格结构。(举例，二手车交易市场，郑州市的一些售楼部),Para.4,The nature of wood a
35、nd of steel suggests frame construction-a skeleton to support floors and roof-with whatever surfacing material may be necessary.木材和钢材的性能适用于框架一种支撑楼面和楼顶的构架)，当然还需其他的铺面材料。,Para.4,Wood and steel also permit cantilever construction in which beams project beyond the last point of support.木材和钢材还可制成悬臂梁，伸出最后的
36、支点以外。,Para.5,Finally,architecture must do more than meet the physical requirements of strength and space;it must also content the spirit of man.最后，建筑不仅要满足强度和空间的实际要求，它还必须满足人类的精神需要。,Para.5,The building should form an aesthetic unity to which the several parts contribute.建筑物的构成部分应当形成美的统一体。,Para.5,Thus,
37、the sides and rear of a structure should bear sufficient correspondence to the front to make them all related parts of a single whole.这样，一个结构的侧部和尾部就应和前部体现出充分的一致，从而使它们在整体中成为互相关联的部分。,Para.5,The major internal divisions,too,require some expression in the external design.主要的室内部分也必须在某种程度上表现在外部的设计方案上。例：包豪
38、斯校舍。,Para.5,The nave,aisles,transepts,apse,and radiating chapels of Gothic cathedrals,for example,are all visible on the exterior,so that the visitor is subconsciously prepared for what he will find inside.例如，哥特式大教堂的正厅，侧廊，袖廊，耳室和四周的小礼拜堂都可从外部看见。于是，来访者对他在内部将要看到的一切都能下意识地做好精神上的准备。,Para.6,Architecture cal
39、ls for good proportions-a pleasing relationship of voids to solids,of height to width,of length to breadth.建筑要求良好的比例，即令人感到惬意的虚与实、高与宽、长与广的关系。,Para.6,Many attempts have been made to explain good proportions by mathematical formulas,such as the golden section.人们作了种种尝试通过数学公式(如黄金分割)阐明这种良好的比例关系。,Para.6,Th
40、ese efforts have not found general acceptance,however,although good results have been achieved through the repetition of some dimension(for example,a module that is half the diameter of a column)throughout a design.然而，虽然在整个设计中通过重复某种模数（如以一个柱子半径为模数)已获良好的结果，但所有这些努力尚未被普遍认可。,Para.6,Such repetitions help
41、to produce the visible order that the human mind seems to crave.这种重复有助于产生人类心理以似乎渴望的可视的序列。,Para.7,A building also should have what architects call“scale”:that is,it should visually convey its true size.建筑物还须其有建筑师们所说的“尺度”。也就是说它必须在视觉上传达其真正的尺寸。,Para.7,Such elements as benches,steps,or balustrades,though
42、 slightly variable in size,are,by their very purpose,related to the normal dimensions of human beings.诸如长凳、台阶、栏杆等构件，尽管它们的尺寸可能稍有变化，但按实际用途还是与人类的正常尺度相关的。Dimensions 3D,Para.7,They therefore become,almost imperceptibly,units of measurement for gauging the size of the whole edifice.因而它们就不知不觉地成为判断整个大建筑物规模的
43、计量单位。,Para.7,Because these units are so small in comparison to the whole building,other elements of intermediate size are needed.由于这些部分比起整个建筑物小得多，因此就需要有中等尺寸的其它构件。,Para.7,Stairs 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 colonna
44、de to the whole structure.楼梯和栏杆提示着门道的大小；门道又提示着柱廊的大小；柱廊最后又提示着整个结构物的大小。,Para.7,The Petit Trianon at Versailles is perfect in scale.凡尔赛的小特里安农宫殿就是一个符合尺度要求的完美例子。,Para.7,The absence of small elements in St.Peters in Rome makes it difficult to perceive its vastness.罗马的圣彼得大教堂由于没有小构件，因而它的宏大很难被人们意识到。,Para.8,A
45、lthough all decoration is rejected in some modern architecture,it was employed in the past either for its inherent beauty or to emphasize some point of importance in the building.装饰虽然在某些现代建筑中被拒绝采纳，但在过去却被使用，或是由于其内在的美，或是为强调建筑物某一部分的重要性。,Para.8,Decoration or ornament may be used to contribute to charact
46、er,the visible expression of the purpose of the building.装饰物可用来表达建筑物的特征，即成为其用途的视觉表现形式。,Para.8,Thus a bank should look like a bank,and a church should be immediately identifiable as such.因此，银行看起来就应当像银行，而教堂则应该立刻被认出是教堂。,Para.8,Ideally,too,any building should seem to belong on its site,with some relationship to its architectural neighbors and to the local geography.最理想的是任何建筑物都应当各得其所，和相邻建筑物以及当地的地理情况保持某种关系。,
