1 转型和解型
Architecture and construction, by their nature, undergo a constant process of physical transformation, from concept to drawings, and from drawings to buildings.
建筑和建筑,从本质上说,接受一个物质转换的连续过程,从概念到图纸,从建筑图纸。Further, architects themselves are constantly under a process of transformation; they unavoidably exist between the multiple poles of reality and abstraction, of the man-made and the natural, of present and future.
进一步,建筑师本身是不断在转型过程中,他们难免之间存在着多极化的现实和抽象、人造和自然,对现在和未来。
John Hejduk noted that a painter starts from the real world, and works towards abstraction; an architect works the opposite way.
约翰·斯指出,一个画家开始从真实的世界,努力抽象的概念,一个建筑设计师的作品相反的方向。
However, “a significant architect is one who, when finished with a work, is as close to that original abstraction as he could possibly be...”
然而,“重大的建筑师是这样的人:当完成工作,尽量接近原始抽象化,他可能是…”Transformation is moulded by three major factors:
转换所塑造的三大因素:
1 External Constraints
外部约束
This refers to natural, environmental constraints imposed on a building, such as wind, topography, view, exposure, orientation, etc.
这是指自然、环境限制一栋建筑,如风能、地形地貌、视图、曝光、取向等。
2 Internal Requirements
内部需求
This refers to conditions applied to a building, such as building code, planning issues, program requirements, budget, etc.
这是指条件应用于建筑,比如构建代码,规划问题、项目的要求,预算等。
3 Artistic Response
艺术响应
This refers to the ability, attitude and will of the architect in developing and manipulating built forms based on the above factors.
这是指能力、态度和将架构师的开发和操作形式兴建基于上述因素。
Throughout the 20th century, building form and configuration typically evolved out of a direct response at least the first two of these factors, based solely on programmatic conditions which could be quite restrictive, predictable and utilitarian.
在整个20世纪,建筑形式和配置通常进化出来的直接反应至少是前两个这些因素,依靠编程条件可相当严格的、可预测的和实用的。
The overall transformation of an initially imagined solid “mass”, given a permitted number of incremental transformations which respond to optimum combinations of constraints, will generally yield mechanical results.
整体的转换的一个最初想象的坚实的“大规模”,给出一个允许多个增量转换它应对的最佳组合约束,通常会产生机械的结果。
The range of ultimate solutions will be virtually fixed, with only some subtle differences.
最终的解决方案的范围几乎是固定的,只有一些细微的差别。
However, the transformation process introduced here will depend largely on the architect's interpretation or response of these constraints beyond a utilitarian approach.
然而,在这里介绍的转换过程将在很大程度上取决于建筑师的解释或响应这些约束超出实用的方法。
Transformation, as Jorge Silvetti defined, “By transformation we mean those operations performed on the elements of a given existent code which depart from the original, normal, or canonical usage of the code, by distorting, regrouping, reassembling, or in general altering it in such a way that it maintains its references to the original while tending to produce a new meaning.”
转换,如同Jorge Silvetti定义,“通过转换我们意味着这些操作的元素上执行一个给定的存在的代码,离开原来的、正常或规范使用代码,通过扭曲,重组,重组,或在通用改变它以这种方式,使它能够保持其引用到原始打工时产生一个新的意义。”
Forms may be transformed through additive and subtractive processes, or through an association of one form to another.
表单可能的转化,通过添加剂和减去流程,或通过协会的一种形式到另一种。
An additive design grows from an assemblage of identifiable units, and hence, has a perceptually dominant whole.
一个加法设计出的一组可识别的单位,因此,有一个占主导地位的整体感知。
Subtractive design, on the other hand, develops out of removing parts from a recognizable totality, and hence, it also has a perceptually dominant whole.
减法设计,另一方面,开发出从整体拆卸部件可辨认的,因此,它也有一个占主导地位的整体感知。
In either case, the overall massing or image of the building form is massaged in a dynamic, continuous process until the desirable spatial quality is obtained.
在这两种情况下,总体集结或形象的建筑形式按摩在一个充满活力、持续的过程,直到质量较理想的空间。
The resultant whole may or may not be identifiable as a derivative of the original.
由此产生的全部可能或不可能被鉴定为一个衍生品的原始。
A transformation may start from a prototypical architectural model whose formal structure and ordering of elements might be appropriate and reasonable, and to transform it through a series of discrete manipulations to respond to the specific conditions and context of the design task at hand.
一个转换可能会开始从一个典型的建筑模型的正式结构和排序的元素可以适当、合理,并将它通过一系列离散的操纵响应特定的条件和上下文的设计手头的任务。Transformation requires first that the ordering system of the prior, or prototypical, model be perceived and understood, so that through a series of
finite changes and permutations, the original design concept can be clarified, strengthened, and built upon, rather than destroyed.
第一,转换需要订购系统前,或原型,模型是感知和理解,通过一系列的有限的变化和排列,最初的设计概念可以澄清,强化,建立在,而不是摧毁。
As we have understood, Le Corbusier transformed the geometrical order of the Greek temple—its meaning, clarity, precision, implacable honesty, and economic severity—and incorporated these into his own buildings and ultimately the larger Modern movement.
正如我们已经明白,勒柯布西耶改变了几何秩序的希腊temple-its意义、清楚、准确,无情的诚实,和经济severity-and合并这些到他自己的建筑和最终较大的现代运动。
Le Corbusier once elaborated on architectural standardization by taking a typewriter as an example.
勒·柯布西耶一旦阐述了建筑标准化以打字机为例。
“When the typewriter was invented, typing paper was standardized; this standardization had a considerable repercussion on furniture, it established a module, that of the commercial format ...
“当打字机也被发明了出来,打字纸是标准化的,这一标准化了相当大的反响在家具上,它建立了一个模块,商业格式…
this format was not an arbitrary measure.”
这种格式不是一个任意的措施。”
2 模度制
During and after the Second World War, there was a sudden and great demand for housing in Europe.
在和第二次世界大战之后,突然有个和伟大的住房需求在欧洲。
With the advancement of machinery and technology, mass production of standardized building components seemed to offer a timely solution to the crisis.
与机械和技术的进步,大规模生产的标准化构建组件似乎提供了一个及时的解决危机。During these years, Le Corbusier developed a system of proportion, which he hoped could be adopted by the design and construction professions.
在这些年中,勒柯布西耶开发了一个系统的比例,而他希望可以通过设计和施工的职业。The Modulor, as it was later called, was meant to be a proportioning grid, which would standardize all objects in the construction of building, from the design of a door and furniture, to the design of a room and building.
Modulor的,因为它后来被称为,代表着一种配料的网格,它将标准化建设的所有对象的大楼,从门的设计和家具,房间的设计和建设。
If this system was accepted and built, resultant buildings and their components would not only directly express modern industry, but also offer an unlimited variety of harmonious designs and scales.
如果这个系统被接受和修建,合力建筑及其组件不仅会直接表达现代工业,但也提供无限多样的和谐设计和鳞片。
With the conviction that certain laws and mathematical relationships linked the human body with potentially harmonious spaces, Le Corbusier initially
developed a human figure with his left arm raised to a height of 2.20 meters as his starting point.
相信某些法律和相关的数学关系人体与潜在的和谐空间,勒柯布西耶最初开发的一个人与他的左臂提高到2.20米的高度作为出发点。
This was a height at which Le Corbusier felt was very much in agreement with the human scale, hence the beginning of a “harmonious architecture”.
这是一个高度来勒·柯布西耶感到非常符合人体尺度,从而开创了一个“和谐的架构”。
It was his belief that if the manufactured goods or designs satisfied the physical requirements of the tallest man, then these goods and designs would also be suitable for use by people of any height.
这是他的信念,如果制成品或设计满足身体要求最高的人,那么这些商品和设计也会适用于任何高度的人。
Through establishing various regulating lines, relating with the golden section and the human figure, Fibonacci series of interrelated numbers were found in which the sum of two consecutive numbers equals the following number (25.40, 41.45, 66.80 ...).
通过建立各种调节线,与黄金分割和人类的图,斐波那契序列相关的数字被发现在这两个连续的数字之和等于以下号码(25.40,41.45,66.80……)。
(These numbers have interesting properties and are often evident in nature and art.
(这些数字的有趣特性,通常在自然和艺术的明显。
It is also worth noting its unique, relationship with the golden section rectangle, the ratio of any two adjacent numbers in Fibonacci series after three is approximately the same as the proportional ratio 1:1.1618 found in the golden section rectangle.)
同样值得一提的是其独特的、关系与黄金地段的长方形,任何两个相邻的比率数字在斐波那契数列经过三大致相同的比例比1:1.1618发现黄金矩形。)节
These series of numbers were translated into a scale or a measurement related to human activities, such as sitting, leaning, etc., and was used as the basis of all designs.
这些数字串被翻译成一个规模或测量相关的人类活动,如坐着,靠等,并被用来作为设计的基础。
With further experiments, a foot-inch Modulor was later developed based on a six-foot human figure.
与进一步的实验中,一个foot-inch Modulor后来建立了一个六英尺高的人类图。
Its inventor saw this as a tool bridging both worlds of the imperial and metric measurements, and hence, universally applicable.
它的发明者认为这是一个工具桥接两个世界的帝国和公制测量,因此,普遍适用的。
It is interesting to note that since Le Corbusier discovered the mathematical relationships of his Modulor, he found other ancient examples with this underlying harmonious principle: Abbey of Choalis near Paris; an ancient Byzantium church in Kahrie; and the doorway of the Grand Seraglio at Istanbul, among others.
值得注意是,自从勒·柯布西耶发现了他的Modulor的数学关系,他发现了其它的一些古老的
例子与这一基本的和谐原则:修道院的巴黎附近Choalis;一个古老拜占庭教堂在Kahrie;门口的大Seraglio在伊斯坦布尔,等等。
The Modulor was first put into practice in Le Corbusier’s Unite of Habitation at Marseilles.
Modulor的首次付诸实践在勒·柯布西耶的团结在马赛的居所。
Here, the Modulor was widely applied: in the planning of apartment units, development of building elevations, the design of interior woodwork, furniture, and even the stone used for the opening ceremony of the project.
在这里,Modulor广泛应用:在计划的公寓单位的发展,建筑高度,设计的室内木制品、家具,甚至石头用于项目的开幕式。
The Modulor was applied in other projects of diverse scales: typography, traveling exhibition, and wall panels — even a plan for the city of Paris. Modulor的应用在其他项目中不同的尺度:字体、旅游会展、墙板—甚至巴黎城的计划。It is important to note that the system was used only to establish geometrical order and clarity.
重要的是要注意,系统仅是用来建立几何秩序和清晰。
It neither carried poetic or lyrical overtones nor inspired any overall theme.
它既不带诗意、抒情色彩也没有任何总体主题灵感。
Its existence merely established a balance.
它的存在仅仅是建立了一个平衡。
Although Le Corbusier invented the Modulor system, his projects and designs proved that he was not enslaved by it.
尽管勒·柯布西耶发明了Modulor系统,他的项目和设计证明了他并不受制于它。
If the Modulor produced designs, which looked displeasing, Le Corbusier was willing to drop the tool aside and scrap the system: “Your eyes are your judges, the only ones you should know ....
如果Modulor生产设计,它看起来不快,勒柯布西耶是愿意把工具放在一边,废除户口制度:“你的眼睛是你的法官,只有你应该知道....
The ‘Modulor’is a working tool, a precision instrument; a keyboard shall wesay, a piano, a tuned piano.
“Modulor”是一个工作的工具,精密仪器;一个键盘,我们可说,一架钢琴,一个调优后的钢琴。
The piano has been tuned: it is up to you to play it well.”
钢琴已经调好,这取决于你玩得很好。”
3 几何形
Geometry is the foundation of the 20th century modern architectural form.
几何的基础是20世纪的现代建筑形式。
The philosophical and pragmatic qualities of geometry and mathematical order have been applied in architecture for centuries.
哲学和务实的品质的几何和数学秩序已应用于建筑几个世纪。
However these had not been explicitly explored and maturely developed into abstract forms until the early 20th century.
然而这些没有显式地探索和发展成熟到抽象形式直到20世纪初。
“Formal un-deniability”—the divine nature of forms, a central theme for philosophers and architects since antiquity — has been considered and studied as a reflection of man’s conquest over nature.
“正式un-deniability”——神的本性的形式,一个中心主题为哲学家和建筑师自古以来,一直被认为和学习反映的其实是人的征服自然界。
Cube, sphere, cone, pyramid and cylinder were developed along the way.
多维数据集、球形、锥、金字塔和圆柱体在进步。
Geometry may be applied in architecture at several levels, namely:
几何可以应用在建筑在几个级别,即:
1 To create the overall massing and configuration.
要创建总体集结和配置。
A basic describable and recognizable geometric form, such as a cube, prism, or dome, is used as the significant, dominating or perceptible element.
一个基本的描述的,可辨识的几何形式,如一个立方体,prism,或圆顶,用作重要,控制或感知的元素。
Other forms may be added, such as overlap form.
其他形式可以添加,如重叠形式。
2 To establish the underlying relationship between parts and whole.
建立底层部分和整体之间的关系。
Elements may be laid out and scaled in proportion to the overall composition to strengthen a sense of unity.
元素可以布置和扩展成比例的全局,加强团结的意义。
3 To emphasize structural order and rhythm.
强调结构秩序和节奏。
Building structure, by its nature and expression, creates a sense of order in space.
建筑结构,其本质和表达,创建了一个在空间的秩序感。
However, such an order is further emphasized through the pattern, layout, and intervals of solid and void.
然而,这样一种秩序进一步强调通过模式、布局和间隔的固体和空白。
4 To generate and maintain geometric fields.
几何字段生成和维护。
Different geometric shapes, forms and solids offer different psychological stimuli, which in turn evoke a range of different feelings.
不同的几何形状、形式和固体提供不同的心理刺激,进而引发一系列不同的感受。
Yet they also offer a fascinating possibility for order, unity, and rhythm.
但他们同时也提供了一个吸引人的可能性为订单,团结,和节奏。
Muslim mosques, for example, incorporated strong, simple geometric shapes to achieve functional results whereas early Christian churches utilized a highly articulated cruciform plan.
穆斯林清真寺,例如,合并强,简单的几何形状来实现功能结果而早期基督教会利用一个高度衔接十字计划。
Such arrangements were the combined result of cultural concerns.
这样的安排是文化问题的综合作用的结果。
Le Corbusier accompanied by many other early modern architects and painters took geometry as the way to search for new forms, which address the needs of modern man.
勒·柯布西耶还伴有很多其他早期现代建筑师和画家把几何的方式搜索新的形式,用于满足现代人的需求。
“Man walks in a straight line because he has a goal and knows where he is going; he has made up his mind to reach some particular place and he goes straight to it.
“男子走在一条直线,因为他有一个目标,并知道自己要去哪里的;他已经下定决心达到一些特殊的地方,他径直走向它。
The pack-donkey meanders alone, meditates a little in his scatter brained and distracted fashion, he zigzags...
单独的pack-donkey蜿蜒、诵经有点在他的散射和分心内伤时尚,他之字形……
” Le Corbusier believed that modern sentiment is a spirit of geometry, which is anti-individualism and the path towards a perfect world for everyone governed by orders.
“勒·柯布西耶认为,现代的情绪是一种精神的几何,这是anti-individualism和通向一个完美的世界对每个人都适用的订单。
“Exactitude and order are its essential conditions...
“精密和秩序是其基本条件…
In the place of individualism and its fevered products, we prefer the commonplace, the everyday, the rule to the exception...
在这个地方的个人主义和它的狂热的产品,我们更喜欢司空见惯,每天,规则的例外……
” It is therefore not surprising that “Man is a geometrical animal” became one of his well-known statements.
“因此,毫不奇怪,“人类是有几何动物”成为他的一个著名的语句。
Regulating lines had been widely used as a tool to compose elements and spaces for early Modernist artists and architects.
调节线路已被广泛用作一个工具组成元素和空间早期现代派艺术家和建筑师。
For example, Le Corbusier had adopted this tool in his architectural work since 1911, and in his paintings since 1919.
例如,勒柯布西耶收养了这个工具在他的建筑工作自1911年以来,在他的画作,自1919年以来。
But these tools served only purposes of refinement; he used them after the design had been drawn up and only then to make its proportions more exact: “to perfect the composition”.
但是这些工具只提供目的的细化;他以前他们设计后已经起草并才使它的比例更准确:“完善成分”。
There were also incidents when the design of an architectural project was inspired by the regulating lines of his earlier paintings.
也有事件一个建筑项目的设计灵感来自于他的早期画作调节行。
Le Corbusier shared this experience in his 1938 design for a business center in Algiers:
勒·柯布西耶共享这种经历在他1938年设计的商务中心在阿尔及尔:
“As I opened the door into the studio where I did my painting, my eyes were caught by a set of regulating lines painted straight on to the canvas on the back of a 1931 painting.
“我打开门到工作室,我做了我的画,我的眼睛被一组调节线画直走到画布的背面上1931年的画作。
Suddenly I saw the whole thing clearly in my mind: here was the framework of proportions which would fit into the landscape of Algiers the skyscraper of which I had been thinking since 1930.
突然我看见整个事情清晰地呈现在我脑海:这里是框架的比例将融入景观阿尔及尔的摩天大楼,自1930年以来,我已经在考虑。
That is, for eight years.
也就是,对八年。
For eight years I had been building up in my mind the idea of the ‘Cartesian’skyscraper as opposed to the irrational sky-scrapers of New York or Chicago: internal biology, structure, general position....
八年来我一直在我脑海中建立的概念笛卡尔的摩天大楼而不是非理性的摩天大楼的纽约或芝加哥:内部生物学、结构、一般位置....
On that day, suddenly, the idea became reality: the proportion—unity, variety, and rhythm.”
在那一天,突然间,这个想法变成了现实:proportion-unity、种类和节奏。”
“Geometry”, for Le Corbusier, sometimes meant such elements of form as lines, circles and square; more often it referred to guidelines, rules, modules or a proportional agreement between the parts and the whole, one in which everything is in agreement with everything else, where parts follow the whole, and vice versa.
“几何”,勒柯布西耶,有时意味着这些元素的形式作为直线、圆和广场,但更多时候它指的准则、规则、模块或比例之间的协议部件和整个,一个在这一切都是在协议和其他事物,部分遵循全部,反之亦然。
A whole may comprise one part, or aggregation of parts.
整个可能由一个零件,或聚合的零件。
Parts may be spatial or formal entities, which correspond to user-spaces, structural components, massing, volume, or combinations of these elements.
部分可能被空间或正式的实体,它对应于user-spaces、结构组件,集结,卷或组合这些元素。Parts may adjoin, overlap or be separate from each other.
部分可能毗邻,重叠或彼此分离。
The relationship of parts and whole is reinforced by geometry.
部分和整体的关系得到了几何。
Geometrical proportion systems, when skillfully applied, provide structural organization and visual unity to the building.
几何比例系统,当熟练应用,提供结构组织和视觉的统一建筑。
For example, the Pythagorean 3-4-5 right triangle is widely used in Andrea Palladio’s villa; it occurs in the height, width and length of its many rooms.
例如,毕达哥拉斯3-4-5直角三角形是广泛使用在安德里亚·帕拉第奥的别墅;它出现在高度、宽度和长度的许多房间。
Each of these proportion systems has within itself a specific kind of equilibrium, which in turn gives each one its own character.
每个这些比例系统内本身一种特殊的平衡,进而给每个人自己的性格。
They are chosen based on the demands of the composition itself.
他们可选择基于组合本身的要求。
Another geometrical system widely used to develop harmonious proportions is the golden section rectangle, whose long and short sides are in the proportion of the transcendental number phi ( = 1.618...).
另一个几何系统广泛用于开发的黄金分割比例和谐是矩形的长、短边是比例上的超然的phi 值(= 1.618……)。
Many studies of the Greek Parthenon show that the frontal elevation design has been ordered according to the golden section rectangle.
许多研究表明,希腊的帕特农神庙的额叶海拔设计已被要求根据黄金地段的矩形。
The basic organization of the Parthenon is very simple.
帕台农神庙的基本组织是非常简单的。
A double row of columns surrounds a central room and supports spanning stones, which in turn support a triangular pediment roof.
一个双列的列围绕中央房间和支持跨越的石头,它反过来支持一个三角形的山形墙屋顶。
The master builders further adjusted its ideal abstract geometry to deepen our experience of space, order, and light.
主建筑商进一步调整其理想的抽象几何加深我们的空间体验,秩序,光。
Each part, and the whole ensemble, was lovingly modeled to intensify our sense of its mass and space.
每个部分,整个合奏,亲切地建模,以加强我们的质量和空间的感觉。
For example, the Doric columns’vertical grooved fluting reveals the roundness of their cylindrical shafts through the shadows cast in the brilliant Greek sunlight.
例如,多利克列的垂直槽形凹槽揭示了他们的圆柱形轴圆度通过影子投射在灿烂的阳光下的希腊。
The sticklike columns are actually stacks of carved stone drums, shaped to flowing lines in every dimension.
sticklike列的实际上是成堆的石刻鼓,流畅的线条形状在每个维度。
The columns’ subtle swelling and the slight upward bowing of the stylobate and plinth that compose the base of the building correct one’s eyes’tendency to find straight forms too thin or weak.
这个列的微妙的肿胀和轻微的向上弯曲的stylobate和基座构成基地建设的正确的眼睛的倾向找到直线形式太瘦或者弱。
As a result, the Parthenon rests easily on its base, and seems to leap into the sky.
因此,帕特农神庙休息容易的基座上,似乎跃入天空。
Additional devices counteract other optical illusions: column spacing at the corners is reduced; and the triglyphs at the corners are not centered on their supporting columns.
额外的设备抵消其他视觉上的错觉:列间距在角落是减少;和triglyphs上没有集中在他们的支柱。
What makes the building a clear example of passion, clarity and beauty is not simply tile shape of the elements, but the special relationship between them —the unity between the parts, and between parts and whole.
是什么让这个建筑的一个很好的范例的激情、清晰和美丽不是简单的瓷砖形状的元素,但是它们之间的特殊关系,各部分之间的统一,部分和整体之间。
4 导言
In spite of the ascendency of written language, visual communication continues to be an essential part of the way we think.
尽管占据优势的书面语言,视觉交流仍是不可或缺的组成部分,我们的思维方式。
This is revealed in these phrases that liberally sprinkle our everyday conversation: “I see what you mean; take another look at the situation; put this all in perspective.
这是显示在这些短语,随心所欲地洒上我们的日常交谈中:“我明白你的意思;再看看情况;把这所有的视角。
” Although research opinion varies, it seems generally accepted that 70 to 80 percent of what we learn is through sight.
“虽然研究意见不一,似乎普遍认为,70年80%的我们学习是通过视力。
Sight seems to be the most rapid and comprehensive of our senses for receiving information.
眼前看起来似乎最迅速和全面的信息接收我们的感官。
Through centuries of conditioning, we rely on vision for an early warning of danger.
通过几个世纪的调节,我们依靠愿景早期预警的危险。
Not only have we come to depend on sight as a primary means of understanding the world, but we have also learned to translate information picked up by the senses into visual clues, so that, in many ways, sight is actually used as a substitute for the other senses.
我们不仅开始依赖情景的基本途径了解这个世界,但我们也学会了将信息感知进入了视觉线索,所以,在很多方面,景象实际上是用来替代其他感官。
The study of visual thinking has developed in major part from the study of creativity within the field of psychology.
研究了视觉思维的主要部分的研究对创造力在心理学领域。
The work of Rudolph Arnheim in the psychology of art has been particularly significant.
鲁道夫·阿恩海姆的工作在心理学的艺术尤为重要。
In his book, Visual Thinking, he laid a basic framework for research by dissolving the artificial barrier between thinking and the action of the senses.
在他的书中,视觉思维,他奠定了一个基本的框架,研究通过溶解人为障碍的思维和行动之间的感官。
Visual thinking is a form of thinking that utilizes the products of vision seeing, imagining, and drawing.
视觉思维是一种思维,利用产品的视觉看到,想象,和绘画。
Within the context of designing, the third product of vision, drawings or sketches always take more concern.
上下文中的设计、第三产品的愿景,图纸或者草图总是带更多的关心。
When thinking becomes externalized in the form of a sketched image, it can be said to have become graphic.
当思维变得外部化的形式勾勒出的图像,它能够被说成为图形。
Graphic thinking is a term I have adopted to describe thinking assisted by sketching.
图形思维是一个学期我已经被用来描述思维的协助下草图。
The notion of graphic thinking grew out of the recognition that sketching or drawing can support the designer’s thinking.
图形思维的概念产生的识别,素描或绘画可以支持设计师的思维。
In architecture, this type of thinking is usually associated with the conceptual design stages of a project in which thinking and sketching work closely together as stimulants for developing ideas.
在建筑中,这种类型的思考是通常与女性相关联的概念设计阶段的项目中思考和草图一样紧密工作为发展理念,兴奋剂
There is actually a very strong tradition in architecture for graphic thinking.
实际上有一种很强的传统图形思维架构。
Most famous architects are good at it.
最著名的建筑师擅长它。
I had the chance to talk to several architects about the sketches they use to develop designs in contrast to the finished drawings they use in presentations.我有机会和几位设计师的草图他们使用开发设计与完成图纸他们使用在演讲中。
Most creative architects had developed impressive freehand sketching while thinking.
最具创意的架构师已经开发出了令人印象深刻的写意草图虽然思维。
Some architects drew observations or design ideas in small sketchbook they carried with them all times.
建筑师画了一些观察和设计思想,他们携带着小sketchbook所有时间。
Graphic Thinking: A Communication Process
图形的思考:交流的过程
The process of graphic thinking can be seen as a conversation with ourselves in which we communicate with sketches.
图形思维的过程可以被视为一个与自己对话,我们与草图。
The communication process involves the sketched image on the paper, the eye, the brain, and the hand.
通信过程包括图像描绘在纸上,眼睛、大脑和手。
How can this apparently closed network generate ideas that are not already in the brain?
这显然是如何产生思想封闭的网络,还没有大脑?
Part of the answer lies in the definition of an idea.
部分答案在于定义的一个想法。
The so-called new ideas are really a new way of looking at and combining old ideas.
所谓的新想法确实是一种新的方式来看待和旧思想相结合。
All ideas can be said to be connected; the thinking process reshuffles ideas, focuses on parts, and recombines them.
所有的想法可以称其为连接;思维过程重组思想,重点部分,和重新组合。
In the diagram of the graphic thinking process, all four parts—eye, brain, hand, and sketch—have the capability to add, subtract, or modify the information that is being passed through the communication loop.
在图的图形思维过程,所有四个parts-eye、脑、手、sketch-have能力加、减或修改的信息通过沟通渠道。
The eye, assisted by perception, can select a focal point and screen out other information.
眼睛的协助下,感知,可以选择一个焦点而屏蔽掉其他信息。
We can readily accept that the brain can add information.
我们可以很容易地接受,大脑可以添加信息。
But the other two parts, hand and sketch, are also important to the process.
但其他两个部分,一方面,素描,也很重要的过程。
A difference often exists between what we intend to draw and what actually is drawn.
一个区别之间通常存在我们打算画与实际绘制。
Drawing ability, materials, and our mood can all be sources of change.
绘图能力,材料,我们的心情都可以变化的来源。
Even the image on paper is subject to change.
即使图片在纸上都可能发生变化。
Differences in light intensity and angle, the size and distance of the image from the eye, reflectance of paper, and transparency of media all open up new possibilities.
光强度的差异和角度,图像的大小和距离从眼睛、反射率的纸,和透明度的媒体所有打开了新的可能性。
The potential of graphic thinking lies in the continuous cycling of information
from paper to eye to brain to hand and back to the paper.
图形思维的潜力在于持续循环的信息从纸张到眼睛的大脑的手,回到本文。Theoretically, the more often the information is passed around the loop, the
more opportunities for change.
从理论上讲,更多的信息往往是通过在循环中,更多的变化的机会。
Graphic thinking, like visual communication with the real world, is a continuous process.
图形思考,像视觉沟通与现实世界,是一个持续的过程。
Information is simultaneously darting all over the network when graphic thinking is most active, it is similar to watching a fantastic fireworks display, looking for the one you really enjoy.
信息在网络上同时窜所有图形思考是最活跃的时候,它就像是看一个奇妙的烟花,找一个你真正享受。
Not only is it productive, it is fun.
它不仅是富有成效的,它是有趣的。
Visual thinking and visual perception cannot be separated from other types of thinking or perception.
视觉思维和视觉感知不能脱离其他类型的思考和感觉。
Obviously, graphic thinking is not all you need to know in order to solve problems or think creatively but it can be a basic tool.
显然,图形思维是并不是所有你需要知道为了解决问题或创造性的思考,但它可能是一个基本的工具。
Graphic thinking can open up channels of communication with ourselves and those people with whom we work.
图形的想法可以打开交流的渠道与我们自己和这些人与我们合作。
The sketches generated are important because they show how we are thinking about a problem, not just what we think about it.
生成的草图是很重要的,因为它们展示了我们正在思考一个问题,而不仅仅是我们的思考。
Graphic thinking takes advantage of the power of visual perception by making visual images external and explicit.
图形思考利用视觉感知的力量通过视觉图像外部和明确的。
By putting them on paper, we give visual images an objectivity outside our brain, an existence of their own over time.
通过将在纸上,我们给视觉图像具有客观性我们大脑之外,一个他们自己的存在对时间。Graphic thinking, as externalized thinking, has several advantages over internalized thought.
图形思考,因为外部化思考,有一些优点内化思想。
First, direct sensory involvement with materials provides sensory nourishment—literally “food for thought”.
首先,直接的感官参与材料提供了感官nourishment-literally”思考的食物”。Second, thinking by manipulating an actual structure permits serendipity—the happy accident, the unexpected discovery.
其次,通过操纵一个实际的思维结构允许serendipity-the愉快的意外,意外发现。Third, thinking in the direct context of sight, touch, and motion engenders a
sense of immediacy, actuality and action.
第三,思考在直接语境的视觉、触觉、运动产生某种意义上的即时、现状和行动。Finally, the externalized thought structure provides an object for critical contemplation as well as a visible form that can be shared with a colleague.最后,具体化的思想结构,提供了一个对象为关键的沉思以及可见形式,可以与同事分享。
To the person who must regularly seek new solutions to problems, who must think creatively, these qualities of immediacy, stimulation, accident, and contemplation are very important.
必须定期的人寻求新的解决问题,他们必须认为创造性,这些品质的即时、刺激、事故和沉思是非常重要的。
To these qualities I would add one more special attribute of graphic thinking, simultaneity.
这些品质,我将添加一个特殊的属性的图形思维、实时性。
Sketches allow us to see a great amount of information at the same time, exposing relationships and describing a wide range of subtleties, sketches are direct and representative.
草图让我们看到大量信息的同时,暴露关系和描述一个广泛的微妙之处,草图是直接的,代表。
Rudolph Arnheim said in his book, Gestalt Psychology and Artistic Form, “The power of visual language lies in its spontaneous evidence, its almost childlike simplicity...”
鲁道夫·阿恩海姆说,在他的书、格式塔心理学和艺术形式,“视觉语言的力量在于其自发的证据,它几乎孩童般的单纯……”
5 设计程序
When we design, the mind is challenged with an incredible variety of problems.当我们设计,心灵是挑战,令人难以置信的各种问题。
It is no surprise that the territory of creativity is mostly uncharted.
无疑,美国境内的创造力大多是未知的。
We can say, however, that at this stage of the design process, the synthesis of
basic knowledge, program, research, and concepts occur full force.
我们能说,但是在这个阶段的设计过程中,合成的基本知识、项目、研究和概念出现全部的力量。
It must be understood that the business of design is undoubtedly complex.
它必须理解业务的设计无疑是复杂的。
Yet, careful preparation in defining the nature of the problem will simplify the designer’s task.
然而,精心准备在定义问题的性质将简化设计师的任务。
Chaos in a project with no clear limits or definition will not yield a good solution.
混乱中的项目没有明确的限制或定义不会带来一个好的解决方案。
The seed of quality process is planted as the designer gains knowledge about all aspects of the task at hand.
质量管理流程的种子种植作为设计师的所有方面获得知识手边的任务。
With a grasp of the initial requirements of a design, we can now work through approaches to enhance and help organize the creative process.
与把握的初始需求的设计,我们现在可以通过增强和工作方法帮助组织创造的过程。Begin flexible, stay flexible, and persist.
开始灵活,保持灵活,和坚持。
The very first step for most of us will be either putting pen to paper or sitting down at a computer terminal.
第一步对于我们大多数人来说将会是把笔在纸上或在电脑前坐下来。
In either case the concept is the same.
在上述两种情况下的概念是相同的。
What we are beginning to do is sketch.
我们开始做的是素描。
Sketching is a prime tool.
草图是一个主要的工具。
If we embrace the previously mentioned notion of excellence, immediately we realize that practicing sketch technique is of critical importance.
如果我们接受前面提到的概念卓越,我们很快意识到练习素描技术是至关重要的。
Most courses of instruction emphasize sketching of existing objects; buildings, natural features, and living things are typical subject matter, one of the leaps that occurs in the mentality of a designer is translating knowledge of drawing real objects into knowledge about how to draw from the mind’s eye or imagination.
大部分课程的教学强调草图的现有对象;建筑、自然特征,与生物是典型的主题之一,发生在飞跃的心态是翻译的绘图设计知识为知识的真实对象如何吸引来自心灵的眼睛和想象。
Our drawings are the external expression of an invisible mental process.
我们的图画是外在表现一种无形的心理过程。
In many ways, internal visualization is genesis of design ideas.
在许多方面,内部可视化设计思想的起源。
Therefore, actively using visualization reinforces the creative process
expressed via drawing.
因此,积极使用可视化加强了创造性的过程通过绘画表达。
Imagine a space you have experienced and particularly love, thinking what makes it great and feeling it.
想象一个空间,你经历和特别的爱,它之所以伟大的思想和感觉它。
Set a little time each day.
设置一个小每一天的时间。
Then exercise your own imagination, starting with just five minutes.
然后锻炼自己的想象力,开始只有五分钟。
Five minutes, or whatever amount of time will energize the basis for each design you conceive.
五分钟,或任何时间将激发每个设计的基础你怀孕。
You may close your eyes and visualize a new space.
你可以闭上眼睛,想象一个新的空间。
The next step is to draw this vision.
下一步是绘制这个愿景。
As this process proceeds, it is found that the development of particular design proceeds from broad notion down through to details as the solution unfolds.
作为这一进程,发现特定的设计发展的广泛概念所得穿过随着解决方案的细节展开。As you experiment consciously with imagination and visualization as a source
for design ideas, some inherent problems will surface.
当你有意识地与想象力和可视化实验作为一个来源为设计理念,一些固有的问题将会浮出水面。
One of the most difficult aspects of sketching from the mind’s eye is
conflicting scale and how the designer controls the mental image compared to an actual measured drawing or sketch in process.
最困难的部分之一的草图的心灵的眼睛是相互冲突的规模和设计师如何控制精神形象进行对比,实测的图纸或素描在过程。
Designers seem to prefer to begin their solutions by laying out potential plans.
设计师们似乎更愿意开始他们的解决方案,阐明潜在的计划。
How plan arrangements fit together is a careful balance of the internal, external, and physical factors.
计划安排如何组合在一起的是一种细致的平衡的内部、外部,和物理因素。
Beginning with a layout of a potential plan, placing large functional pieces in relationships that make sense for adjacencies and general circulation is an acceptable approach to diagrams solving internal requirements.
开始与布局的一个潜在的计划,将大型的功能块的关系以意义和环流是可以接受的方法来解决内部需求。图
One way to approach design process is to imagine the scheme as successful but undifferentiated, a spatial solid to be sculpted into a solution.
方法设计过程就是想象这个方案成功但没有差别的,一个空间固体雕塑成一个解决方案。In concept, we begin to mentally sculpt, separate and reassemble this mental
clay.
在概念上,我们开始精神上雕刻,分离和重新组装这个精神粘土。
Loose parallels can be drawn between the development of biological life from fertilization to birth.
宽松的相似之处可以被区别生物生命的发展从受精到出生。
Biological differentiation is both similar and dissimilar to the design process in terms of concrete physical comparisons, but conceptually they are equivalent.
生物分化既相似和不同的设计过程方面的具体身体比较,但是概念上他们是等价的。Each is creative and follows a pattern from formlessness to a complete,
detailed “organism”.
每个是创造性的,遵循一种模式formlessness完整、详细的“生物”。
Designs tend to grow and become more elaborate as they move towards integration.
设计往往成长和变得更详细说明他们走向整合。
After an initial plan concept is developed, take several sections to begin differentiating shapes of various spaces.
在最初的计划概念形成,需要几个部分开始区分各种空间的形状。
Spend extra time studying the section diagram and think about negative space
and how light, both natural and artificial, will affect your creation.
花额外的时间研究部分图和思考负面空间和光线如何,不管是天然的还是人造的,将会影响到你的创造。
A section also creates the opportunity to sketch interior elevations.
一个部分还创造了机会素描室内海拔。
We continue this reflective process: aspects of plans and sections are studied
simultaneously.
我们继续这个反射过程:方面的计划,同时研究了部分。
Keep in mind, plans organize spatial and activity relationships.
记住,计划组织和活动的空间关系。
Sections and elevations are what we see.
部分和高度时我们所看到的。
The finest plan, solving every functional requirement, will be an unmitigated
disaster without concurrent attention devoted to sections and elevations.
最好的计划,解决每个功能要求,将是一场灾难没有并发关注部分和海拔。
Therefore even in the highly variable context of solving a design problem, we
can successfully conclude that a balanced study of plans, sections, and
elevations is essential to quality solution.
因此即使在高度变化的背景下解决设计问题,我们可以成功地得出结论,一个平衡的研究计
划,部分,和海拔质量解决方案至关重要。
As our designs continue to be studied, one valuable method for promoting their evolution is the creation of study models.
作为我们的设计被继续研究,一个有价值的方法,用于推广自己的进化是创建研究模型。
At this point we do not want to confuse marketing or presentation models with the study model approach.
在这一点上,我们不想混淆营销或表现模型与研究模型的方法。
Study models are yet another tool to enhance communication, available for presentation to a client as need, but even more useful in assisting the designer as he or she begins the translation of ideas, needs and goals into space.
研究模型是另一个工具来加强沟通,用于提交给一位客户的需要,但更有用的设计师在协助他或她开始翻译思想,需求和目标进入太空。
A designer begins making models early on, especially to address the general issues of site and building shape.
一个设计师开始制作模型在早期,特别是解决通用的问题网站和建筑形象。
This kind of experimental form giving helps address a variety of issues, including views to and from a site, relationships with other structures, visibility and general massing.
这种实验方式给予帮助解决各种问题,包括视图和从一个网站、人际关系与其他结构,可见性和通用集结。
If we build models to supplement our drawings, a dialogue begins to emerge from the abstractions we create on paper or computer and the tiny physical simulations that we build.
如果我们构建模型来补充我们的图纸,对话就会浮现出来,从抽象我们创建在纸上或电脑和微小的物理模拟,我们构建。
Ideas grow from the sketches, while a model gives them form.
思想不断的草图,当一个模型给他们形式。
The model forces the abstractions of design into a different medium, closer to reality.
该模型部队抽象的设计成不同的媒介,更接近现实。
Each model may support original design ideas,
每个模型可能支持原创的设计思想,
Each model may support original design ideas, identify conflicts, or suggest new avenues of inquiry.
每个模型可能支持原创的设计思想,识别冲突,或建议的新途径调查。
These notions feed the continuing design process.
这些概念设计过程的持续喂。
Literally thousands of criteria may bear on any given design problem.
数以千计的标准可能熊在任何给定的设计问题。
The volume of information can be staggering.
卷的信息可以惊人。
Given this difficulty, designers tend to sift and identify a key issue to guide a design’s growth.
鉴于这种困难,设计师往往筛选和确定一个关键问题,以指导设计的增长。
I would strongly recommend the designer strive to create more than one solution, a minimum of two and preferably three.
我强烈建议你设计师努力创建一个以上的解决方案,至少两名,最好是三。
Initiating an alternate approach to the problem may generate the beginnings of a new scheme.
启动另一个解决这个问题的方法可能会生成一个新计划的开端。
Sometimes our internal dialogue in the creation of any level of solution can become strait: talk to other designers and to people in related disciplines such as engineering or interior design because their problem solving perspective varies, and as a result, may provide additional insight.
有时我们内心对话在创建任何级别的解决方案可以成为海峡:跟其他设计师,以及人们在相关的学科,如工程或室内设计,因为他们解决问题的角度不同,因此,可以提供额外的洞察力。
When the first concentrated round of mental hand wringing is over, we, in principle, now have multiple solutions, ideas, and approaches for a given design.
当第一集中轮心理唏嘘结束之后,我们,原则上,现在有多个解决方案、想法和方法对于一个给定的设计。
A careful and serious review of the attributes, advantages, and disadvantages of reach solution should be undertaken.
仔细和认真审查的属性,优势和劣势达到解决方案应该进行。
We create a sort of mental ledger or balance sheet.
我们创造一种精神的分类或资产负债表。
One side will be positive, the other negative.
一边是积极的,其他的负面。
We have a series of questions to thought about.
我们有一系列的问题要考虑。
Then we proceed from the loosest notion of a design through the beginning of schematics that appear to solve the majority of critical constraints.
然后我们继续从最宽松的概念设计到开始的图表,似乎解决大多数的关键约束。
We have created plans, sections and elevations.
我们已经创建了计划,部分和海拔。
The next litmus test is to create “thumbnail” perspective sketches.
接下来的试金石是创建“缩略图”视角的草图。
If we are comfortable with our plans, sections, elevations and thumbnail sketches, we proceed to the next level of detail.
如果我们很满意我们的计划、节、海拔和缩略草图,我们进行下一层次的细节。
Many projects will have several cycles of input followed by response and additional input.
许多项目将有几个周期的输入后跟响应和额外的输入。
建筑学专业英语翻译 1.1 新建筑时代的文化融合 Since the 1990s, China has obviously speeded up its steps to open the architectural field to the outside world. That is fully testified by its extensive adoption of the competition mechanism,introducing intern ati onal bidd ing for some importa nt con structi ons. As a result, visi ons of domestic architects have been expanded, t heir mentality updated, and a number of prominent masterworks created.The successful biddi ng for quite a few major projects by foreig n architects marks the begi nning of Chin a's accession into the international community in the architectural sector. 自20 世纪90 年代开始，中国明显力口快了向世界开放建筑领域的步伐，此事通过中国广泛采纳竞争机制，为一些重要建筑引入国际招标可以得到充分证 实。由此，国建筑师的眼见得以被扩充，心态得到升华，大量的知名建筑被创造。大量的重要建筑项目被国外的建筑师成功中标，标志着在建筑面中国融入国际社会的开始。 Just like the country's accession into the World Trade Organization, which originally provoked controversies among some Chinese people who worried aboutabout the fate of the domestic enterprises, only a temporary sacrifice of domestic architectural sectors can create cha nces for theirfuture success in ever- in creas ing intern ati onal competiti ons. 正如中国加入世界贸易组织一样，一些中国人担心国企 业的命运，只是暂时牺牲国建筑行业，在不断增加的国际竞争中创造未来的成功几会。 We still remember the words sighed out by a participating Chinese group of architects after the first round of review of the desig ning biddi ng for the Nati onal Cen ter for the Perform ing Arts. "We admit our in feriority to foreign competitors," they said. 我们还记得一个参与表演艺术中心投标的中国团队的建筑师们在 第一轮审查之后的叹气。我们承认相比外国竞争对手我们的劣势，“他们说。
a. DESIGN BASIS 设计依据 b. DESIGN STAGE 设计阶段 c. CLIMATE CONDITION 气象条件 d. GENERAL ROOM NAME 常用房间名称 e. ROOFING & CEILING 屋面及天棚 f. WALL(CLADDING) 墙体(外墙板) g. FLOOR & TRENCH 地面及地沟 h. DOORS 、GLASS、WINDOWS & IRONMONGERY(HARDWARE)门、玻璃、窗及五金件I. STAIRCASE、LANDING & LIFT(ELEVATOR)楼梯、休息平台及电梯 j. BUILDING MATERIAL WORDS AND PHRASES 建筑材料词汇及短语 【Bricks and Tiles 砖和瓦】 【Lime, Sand and Stone 灰、砂和石】 【Cement, Mortar and Concrete 水泥、砂浆和混凝土】 【Facing And Plastering Materials 饰面及粉刷材料】 【Asphalt (Bitumen) and Asbestos 沥青和石棉】 【Timber 木材】 【Metallic Materials 金属材料】 【Non-Ferrous Metal 有色金属】 【Anti-Corrosion Materials 防腐蚀材料】 【Building Hardware 建筑五金】 【Paint 油漆】 k. OTHER ARCHITECTURAL TERMS 其它建筑术语 【Discipline 专业】 【Conventional Terms 一般通用名词】 【Architectural Physics 建筑物理】 【Name Of Professional role 职务名称】 【Drafting 制图】 a. DESIGN BASIS 设计依据 计划建议书planning proposals 设计任务书design order 标准规范standards and codes 条件图information drawing 设计基础资料basic data for design 工艺流程图process flowchart 工程地质资料engineering geological data 原始资料original data 设计进度schedule of design b. STAGE OF DESIGN 设计阶段
Exhibition Hall Art Gallery In Bonn 波恩美术展览馆 这个建筑坐落在波恩市博物馆的旁边,非常地醒目，它是另一个建立在这个庞大正方形基础上的建筑，（它的）平行六面体的每条底边均长达95.7米，该建筑还有一个高11米的平台，可以栽种树木，有一个可供展览的花园以及恍如天堂般的曲径小道；上面还建有三个突出的焦点——3痤园锥体塔楼，屹立在开阔的风景线上，3面用于内部采光的天窗就是该建筑的标识了。 主通道位于东北方，通向与博物馆共享的公共区域，布满了像迷宫一样呈网状分布的小型植物。沿着弗里德里希·埃伯特大道，往东北方向或有些阻碍——11根柱子分列于两痤恢宏大厦之间，柱上点缀着一些纵向的充满韵律感的浮雕，象征并代表着十一个领域所取得的丰功伟绩。从这些柱子开始，地面上的一道时髦的白色线条引领着人们直达入口，一条又长又窄的阶梯将人们从这个区域引向最高的天台。 这个入口门厅是虚化处理的平行六面体结构，穿过它的就来到另一个外部天井，门厅的表面朝两个方向分别布满了光滑的波纹状和对角形斜纹。 这个正方形基础，已按9×9m的网形布局进行过调整，分为一个沿边的环状带和四个内部区域，即入口门厅，有观众席的讨论区，主馆和中央大厅。 外围的地带包括办公室，商店，会议室，图书馆，经典画廊。它露出了它自己在屋顶上覆盖了西南一半的天窗，（通过天窗）将自己从花园中分离出来。 展览的地方提供了一个独特的可供小型、中型、大型房间单独使用的同时，其或以不同方式合并的系统。 主馆是一个大的、呈长方形、两层高的空间，它被在两个侧面的天窗和对面角落里的锥形光明塔照亮。在中央大厅，有一个双跑的楼梯爬上墙壁、庭院和内部的双重空间。两者结合起来形成的中心广场的空间被上层的房间包围。在背叠式风格里，在这个楼层和双重空间里，可以找到对应的第二光塔的圆形大厅。第三个(光塔的圆形大厅）位于建筑的东北- 西南轴上，这个轴线包含了一个集合在门厅和礼堂之间的部分大厅、一个在东南外立面上的三层双跑楼梯的后门。
英语翻译1 外文原文出处： Geotechnical, Geological, and Earthquake Engineering, 1, Volume 10, Seismic Risk Assessment and Retrofitting, Pages 329-342 补充垂直支撑对建筑物抗震加固 摘要：大量的钢筋混凝土建筑物在整个世界地震活跃地区有共同的缺陷。弱柱，在一个或多个事故中，由于横向变形而失去垂直承载力。这篇文章提出一个策略关于补充安装垂直支撑来防止房子的倒塌。这个策略是使用在一个风险的角度上来研究最近实际可行的性能。混凝土柱、动力失稳的影响、 多样循环冗余的影响降低了建筑系统和 组件的强度。比如用建筑物来说明这个 策略的可行性。 1、背景的介绍： 建筑受地震震动，有可能达到一定程 度上的动力失稳，因为从理论上说侧面 上有无限的位移。许多建筑物，然而， 在较低的震动强度下就失去竖向荷载的支撑，这就是横向力不稳定的原因(见图。提出 了这策略的目的是为了确定建筑物很可 能马上在竖向荷载作用下而倒塌，通过 补充一些垂直支撑来提高建筑物的安 全。维护竖向荷载支撑的能力，来改变 水平力稳定临界失稳的机理，重视可能 出现微小的侧向位移(见图。 在过去的经验表明，世界各地的地 震最容易受到破坏的是一些无筋的混凝 土框架结构建筑物。这经常是由于一些
无关紧要的漏洞，引起的全部或一大块地方发生破坏，比如整根梁、柱子和板。去填实上表面来抑制框架的内力，易受影响的底层去吸收大部分的内力和冲力。 这有几种过去被用过的方法可供选择来实施: ) 1、加密上层结构，可以拆卸和更换一些硬度不够强的材料。 2、加密上层结构，可以隔离一些安装接头上的裂缝，从而阻止对框架结构的影响。 3、底楼，或者地板，可以增加结构新墙。这些措施(项目1、2和3)能有效降低自重，这韧性能满足于一层或多层。然而，所有这些都有困难和干扰。在美国，这些不寻常的代价换来的是超过一半更有价值的建筑。 4、在一些容易受到破坏的柱子裹上钢铁、混凝土、玻璃纤维、或碳纤维。 第四个选项可以增加柱子的强度和延性，这足以降低柱子受到破坏的风险在大多数的建筑物中。这个方案虽然成本比前面低，但是整体性能也会降低，对比较弱的地板破坏会更加集中。加强柱子的强度在美国很流行，但它的成本依旧是很高的。在发展中国家，这些先进的技术对某些种类的加料或加强，还不能够做到随心所欲。 这个程序的提出包含了另一个选择，美国已经运用这个选择用来降低房子倒塌的风险。这个方法是增加垂直支撑，来防止建筑在瞬间竖向荷载作用下就倒塌(见图。这是 为支撑转移做准备的，当柱子 被剪切破坏和剪切衰弱时。这 个补充支撑通常是钢结构、管 道支撑或木材支撑。他们通常 安装在单独的柱子上，但(图 钢柱也可以被放置在能承担 的水平框架上。这种技术能有 效的降低自重，从而降低了建 筑在瞬间竖向荷载下就遭到 破坏。在水平方向的强烈震 动，产生的不稳定大概很少被想到。补充的安装垂直技撑相对比较便宜。一些有用的空间可能通过安装支撑被影响，可是这是一些微不足道的比较。在美国为建筑安装一些补充支撑现在非常流行。
1.对任何住宅设计进行讨论时，必须包括美的概念，以及如何来评价美。因为 美是一个难以捉摸的想法，尽管我们都不愿意承认这一点。关于美的某些方面和设计只能主观地处理，但是，最是容易理解的也可以客观地来审查。2.美不是抽象的，它是真实的。美是在旁观者的眼睛中是没有必要的,它主要是 客观的、可量化的。这儿有三个准则是亨利爵士沃顿在十七世纪转述的，来自于公元前一世纪维特鲁威的著作，至今仍然适用，是关于住宅设计的基本测量模块的三个标准。这些标准分别是：便利实用性、稳固性、愉悦舒适性。 3.什么是便利实用性，是构建适合它的用途？还是让它看起来像什么一样。我 们正在谈论住房的时候可以扪心自问一下，希望它是像加拿大的房子？而不像瑞士别墅或者是詹姆斯一世的庄园或者是加州灰姑娘平房？是材料占有的位置并安排他们，所以才让他们尊重现有的环境？诚实的使用建材不等于住房只能用木材和石材，玻璃和铝可能更合适，事实上，可能在某些情况下会更自然。是否适用会影响平面图，这是在小房子尤为关键。它的循环利用工作是否能做好？房子的分区可以提供生活和安静的区域吗?有足够的空间,来做饭、打扫卫生,和所有的与从事家庭相关的活动吗？ 4.稳固性和是否充足的建设有关。是否都是采用优质的材料？是否正确使用技 术？是否还有具有良好的工艺？天气会不会影响墙壁和屋顶？有没有不必要的维护？一个住房差到极点是因为，它的不充足建设使它不能成为美的对象。 5.愉悦的舒适性是一个奇妙的词，它意味着给旁观者以开心和高兴。同样，我 们现在谈的不是抽象的概念，而是可以量化的现实。 6.规模涉及的是：人与建筑物或人与场所的大小关系。当我们看一个建筑时， 我们希望找到线索如何解释它的大小。我们的眼睛寻找我们所知道的东西。 我们所熟悉的大小尺寸的砖和普通门的尺寸，当那些尺寸是我们所期待的时候，我们会感到舒服自在。规模的另一个方面涉及我们作为个体的重要性的感觉。如果我们周围出现大量，我们认为我们可以应付环境的元素。 7.比例是一些事情，或之间的一个事件的尺寸大小之间的比较关系。窗口有宽 度与高度尺寸的关系。一个房间有一个宽度长度,高度的关系。房子的大小有关的窗户或门的大小,它可能包含其中。在大规模,处理一个开放空间的大小比例,比如游戏场,可以与周围的建筑物的高度进行比较。一些比例相比其它会显得更令人顺眼。也有过很多尝试，如制定规则来达到令人满意的大小关系。人体的比例通常是密集的美感的来源。 8.和谐来源于以这样的方式把东西放在一起：即建筑的个体相互一致、相互和 谐。建筑式样的混合或随机混合材料，这是不恰当的。举个例子来说，如果主体外墙材料是砖，同时也有大面积的石头，或者石头和木头，那样是不和谐的。一群建筑应该呈现出一致性的形状、表面材料,颜色,等等。这并不意味着一刀切，但表明应该保持在一个有限的范围内变化。 9.节奏是我们生命过程的一个基础部分。我们的心脏跳动，到我们呼吸的方式 都遵循相同的一个节奏。睡眠和清醒之间的变化节奏都是我们的生活中是一个基本因素。因此节奏呼吁我们存在的最深根源，引起强烈的情绪反应。在音乐中最简单的节奏形式是鼓掌，在舞蹈中最简单的节奏形式是踏步。鼓掌必须处理好时间间隔，在建筑中也是如此，模式通过元素之间的距离来创建。 10.整体和谐就是合一。显然，将会有很多部分来组成一个设计，但我们应当能 够认识到它们是如何被放在一起的，来发挥整体的功能。一个建筑必须和观察者所知道的事实相关。这并不意味着一刀切，但表明应该保持在一个有限
. DESIGN BASIS 设计依据 b. DESIGN STAGE 设计阶段 c. CLIMATE CONDITION 气象条件 d. GENERAL ROOM NAME 常用房间名称 e. ROOFING & CEILING 屋面及天棚 f. WALL(CLADDING) 墙体(外墙板) g. FLOOR & TRENCH 地面及地沟 h. DOORS 、GLASS、WINDOWS & IRONMONGERY(HARDW ARE)门、玻璃、窗及五金件 I. STAIRCASE、LANDING & LIFT(ELEVATOR)楼梯、休息平台及电梯 j. BUILDING MATERIAL WORDS AND PHRASES 建筑材料词汇及短语 【Bricks and Tiles 砖和瓦】 【Lime, Sand and Stone 灰、砂和石】 【Cement, Mortar and Concrete 水泥、砂浆和混凝土】 【Facing And Plastering Materials 饰面及粉刷材料】 【Asphalt (Bitumen) and Asbestos 沥青和石棉】 【Timber 木材】 【Metallic Materials 金属材料】 【Non-Ferrous Metal 有色金属】 【Anti-Corrosion Materials 防腐蚀材料】 【Building Hardware 建筑五金】 【Paint 油漆】 k. OTHER ARCHITECTURAL TERMS 其它建筑术语 【Discipline 专业】 【Conventional Terms 一般通用名词】 【Architectural Physics 建筑物理】 【Name Of Professional role 职务名称】 【Drafting 制图】 a. DESIGN BASIS 设计依据 计划建议书planning proposals 设计任务书design order 标准规范standards and codes 条件图information drawing 设计基础资料basic data for design 工艺流程图process flowchart 工程地质资料engineering geological data 原始资料original data 设计进度schedule of design
1 转型和解型 Architecture and construction, by their nature, undergo a constant process of physical transformation, from concept to drawings, and from drawings to buildings. 建筑和建筑,从本质上说,接受一个物质转换的连续过程,从概念到图纸,从建筑图纸。Further, architects themselves are constantly under a process of transformation; they unavoidably exist between the multiple poles of reality and abstraction, of the man-made and the natural, of present and future. 进一步,建筑师本身是不断在转型过程中,他们难免之间存在着多极化的现实和抽象、人造和自然,对现在和未来。 John Hejduk noted that a painter starts from the real world, and works towards abstraction; an architect works the opposite way. 约翰·斯指出,一个画家开始从真实的世界,努力抽象的概念,一个建筑设计师的作品相反的方向。 However, “a significant architect is one who, when finished with a work, is as close to that original abstraction as he could possibly be...” 然而,“重大的建筑师是这样的人:当完成工作,尽量接近原始抽象化,他可能是…”Transformation is moulded by three major factors: 转换所塑造的三大因素: 1 External Constraints 外部约束 This refers to natural, environmental constraints imposed on a building, such as wind, topography, view, exposure, orientation, etc. 这是指自然、环境限制一栋建筑,如风能、地形地貌、视图、曝光、取向等。 2 Internal Requirements 内部需求 This refers to conditions applied to a building, such as building code, planning issues, program requirements, budget, etc. 这是指条件应用于建筑,比如构建代码,规划问题、项目的要求,预算等。 3 Artistic Response 艺术响应 This refers to the ability, attitude and will of the architect in developing and manipulating built forms based on the above factors. 这是指能力、态度和将架构师的开发和操作形式兴建基于上述因素。 Throughout the 20th century, building form and configuration typically evolved out of a direct response at least the first two of these factors, based solely on programmatic conditions which could be quite restrictive, predictable and utilitarian. 在整个20世纪,建筑形式和配置通常进化出来的直接反应至少是前两个这些因素,依靠编程条件可相当严格的、可预测的和实用的。 The overall transformation of an initially imagined solid “mass”, given a permitted number of incremental transformations which respond to optimum combinations of constraints, will generally yield mechanical results.
Unit1 textA 建筑学是一门人类必须的，与建筑材料联系的建造艺术。以便提供实用性和艺术欣赏性。这不同于工程建造的纯粹实用性。 建筑学可以是一个结构，一座房舍，一座桥，一个教堂和一处建筑群落。 建筑学作为一门艺术 作为一门艺术，建筑学本质上是抽象的和非写实的，囊括了空间、体量、平面、聚集和空隙之间的处理。 一些建筑太美太有趣以至于它们成了著名的艺术品。 建筑师利用形态，结构，颜色和其他艺术元素及手法来设计建筑。建筑师们建造不同形态的建筑。通过识别建筑的外形你能认出许多建筑。 1，椭圆，圆形和其他形状装饰了穹顶的天花板。 2，线条在一座意大利教堂的屋顶构成了图案。 3，用来建造这处建筑的建材创造了有意思的质感。 建筑学里的时间 时间也是建筑学中的一个主要因素，因为一处建筑通常被理解成一段长时间的经验而非一时之快。对于绝大多数建筑，是找不到一个能理解整体结构的有利位置的。光与影的应用，还有表皮装饰，都能极大地加强结构的展现。 对于建筑形式的分析为洞悉过去的文明提供了方便。每处伟大形态的背后都不是一个偶然的走向或是流行趋势，但是一系列严肃且紧急的试验直接解答了人们对于生活方式的特殊需求。气候，工种，可得的建材和经济都限制了他们的指示。每处大的设计式样都是在新建筑思想的启发下完成的。一旦形成了，一种思想会流传下来且难以改变，只有当社会动荡或是新的建造技术出现时，他才会逐渐衰退。这种演变的过程在现代建筑风格这段历史上印证了，从十九世纪中期对于刚和铁结构的应用发展而来。 直到二十世纪建筑结构发生的三个巨大的提升：柱子与梁，或为有横梁的体系；拱券体系，而不是粘合性，使可塑材料变硬成为均质体，或是嵌入式，这样荷载就能在确切的地方被吸收和平衡；还有现代钢骨体系系统。 古代的建筑风格 在埃及建筑风格中，一些仍现存的最早的结构（三千年前埃及人建造的）也属于建筑式样。柱子和横梁体系是唯一被使用的，从而诞生了历史上最早的带圆柱的建筑。同一个时代的西亚建筑风格也使用同样的体系。然而，带拱券的结构也被熟知和运用。迦勒底人和亚述人，依靠泥土砖为主要建材，建造以泥砖依附于外壳的拱形屋顶。 基督教时代外形的演变
高等学校规划教材 建筑学专业英语（蒋山应宜文主编）中国建筑工业出版社16元 单词部分1.1 melting of cultures in the new architecture 新建筑时代的文化融合 第一章1.1 Intensive Reading of Architecture 建筑设计精读 Testify v. 证明声明表明adoption n. 采纳正式通过Mechanism n. 机械，结构mentality n. 智力 Integration n, 整合，集成controversy n. 辩论 Domestic n,. 国的inferiority n. 劣势，自卑感 Interaction n. 交互作用，交流cooperation n. 合作，协力Inspiration n. 灵感，妙计，好办法boundary n 界限，围 Creativity n. 创造力，独创uniqueness n. 独一无二，独特性Duplication n,. 副本，复制synonym n. 同义字，同物异名Paramount adj. 最重要的，至上的masterpiece n. 杰作，名著Encomium n. 赞词，赞美，称颂pagoda n. 宝塔 Perspective adj 远景，透视profile n. 侧面，远观，轮廓Construction n. 结构，建筑resplendent adj. 辉煌的，灿烂的Jewel n. 珠宝，贵重的appreciate. 赏识，鉴赏 Biennial architecture exhibition 建筑双年展 The National Stadium 体育场
建筑专业英文词汇 1建筑面积Construction 2建筑用地Building land 3容积率Volume ratio 4绿地率 Green rate 5室外透视效果图Outdoor perspective renderings 6室内透视效果图Interior perspective renderings 7一层平面Layer plan 8二层平面Second floor flat 9剖面Section 10正北面Is north 11正南面Is south 12正东面Is east 13总平面图General Plan 14构图分析Composition analysis 15设计理念Design： 16设计说明Design Notes: 17图纸Drawing 18.主入口大门/岗亭(车行 & 人行) MAIN ENTRANCE GATE/GUARD HOUSE (FOR VEHICLE& PEDESTRIAN ) 19.次入口/岗亭(车行 & 人行 ) 2ND ENTRANCE GATE/GUARD HOUSE (FOR VEHICLE& PEDESTRIAN ) 20.商业中心入口ENTRANCE TO SHOPPING CTR. 21.水景 WATER FEATURE 22.小型露天剧场MINI AMPHI-THEATRE 23.迎宾景观-1 WELCOMING FEATURE-1 24.观景木台TIMBER DECK (VIEWING) 25.竹园BAMBOO GARDEN 26.漫步广场WALKWAY PLAZA 27.露天咖啡廊OUT DOOR CAFE 28.巨大迎宾水景-2 GRAND WELCOMING FEATURE-2 29.木桥TIMBER BRIDGE 30.石景、水瀑、洞穴、观景台ROCK'SCAPE WATERFALL'S GROTTO/ VIEWING TERRACE 31.吊桥HANGING BRIDGE
建筑学专业英语课文翻译 专英题型 1.短语英译汉 2*5=10 2.短语汉译英 2*5=10 3.句子英译汉 4*2+5*2+6*2=30 4.段落汉译英 10*1=10 5.完形填空 2*5=10 6.单选 2*5=10 7.作文 20*1=20 A CITY IS NOT A TREE 城市并非树形(城市不是树形结构) CHRISTOPHER ALEXANDER 克里斯托弗.亚历山大 Unit 01 Section 1 Intensive reading Part ? 不少设计师十分推崇并尝试在设计中结合那些能够反映根本的人类心理、精神需求和文化价值观的建成环境要求。但是没有任何一个人像出生于澳大利亚、受教于英国、扎根于美国的建筑师和规划师克里斯托弗.亚历山大一样与传统建筑实践如此彻底地决裂，并且探索地更加深入，以使自己的设计反映这些最基本的价值。
亚历山大自称是一个破坏偶像(反对传统观念)的人，他有意识地同二十世纪建筑学和城市规划的主流思想保持距离。值得注意的是:他挑出来在下文中进行攻击的8个“树形”规划是二十世纪最受尊重、最富盛名的规划方案的代表，包括勒.柯布西耶基于其建造一个现代城市的理论而为印度昌迪加尔新区做的规划;还包括保罗. 索莱尔的位于亚利桑那沙漠中梅萨市的空想巨型结构。 自从他最早发表挑衅性的观点攻击后面所选的正规的“树形”城市规划内容贫乏以来，亚历山大一生都从事于探求解读潜藏在人类需求下的深层结构体系以及对建筑新样式的再生模式的定义。下面所选例子清楚地说明，一个城市不应该设计成像整洁的树形分枝组织那样把各个功能彼此分开。亚历山大谴责整洁的城市规划，它们把“邻里”用界限分离，划分一个区域用作居住另一个用作商业，或者专门创建一个区域用作大学或文化设施。他认为人类活动远比那些更为复杂和交叠。 亚历山大在文章节选中提出的城市设计策略可能会困扰那些寻求清晰、理性设计准则的人们。亚历山大的观点是:关于如何设计非树状结构的城市还所知不够，从而无法提出明确的解决方案。如同指导学徒的艺术家或禅师一样，亚历山大用具有启发性的类 1 比、举例和隐喻来结束这段节选。他提出了一个人如何才有可能探索到好的设计，但他没有给出一套完整答案。 在过去的三十年间，亚历山大与他的同事和学生们在加利福尼亚伯克利大学的环境结构中心做了一系列“实验”(尝试)，为了弄懂并说明如何进行非树形城市的设计。亚历山大的著作《城市并非树形》，提供了大量的具体原则和例子，同时也留下了更多未解决的问题和研究的线索。亚历山大对实物形态(外形)很着迷，同时他开始通过与客户合作的互动过程，来了解他们最根本的需求。基于对客户意见的极大尊重，亚历山大在墨西卡利棚户区工程中把夯土和铁丝织网运用到房屋设计中，并把禅宗建筑的细部融入到一所日本学校的设计中。他和他的同事们寻求的是一种“活着”的(有活力的)建筑，一种拥有质量而不仅仅是外表的建筑。
two-1evel unit复式单元 single-loaded 外廊式 double-loaded adj.内廊式 Walk-up n.无电梯的公寓/adj.无电梯的 skip-stop corridor 隔层设置的走廊 corridor-every-floor 每层设置走廊的 vertical circulation system 垂直交通系统 low-rise adj.低层；high-rise adj.高层 rowhouse adj.联排式住宅；slab n.板式住宅；tower n.塔式住宅 Single-orientation unit单一朝向单元 Double-Orientation Unit 90°转角单元 Double-Orientation Unit, open-ended 双向开敞的单元 natural light 自然采光 natural ventilation 自然通风 mechanical ventilation 机械通风 transverse walls 横墙 building codes 建筑规程 staggered- plan 交错变化的平面 auxiliary mean 辅助设施 self-contained adj.设备齐全的 single-run 单跑楼梯 return stairs双跑楼梯 英汉互译包含在以下加粗部分及最后一堂课讲到的例子中。 Unit 10 Section 1 Intensive Reading Modern Housing Prototypes 《现代住宅的原型》 Roger Sherwood （罗杰·舍伍德） Part I INTRODUCTION This book is presented in the belief that a reexamination of some of the great housing projects of this century is appropriate at a time when the design of housing commands the attention of architects the world around. The buildings offered here as case studies were selected because of their importance as prototypes, projects that set the standards and patterns of much that was, and is, to follow. Other considerations were diversity –so that a wide range of countries, buildings types and problems would be represented –and architectural quality. My assumption is that there is no excuse for poor architecture; that housing, like all buildings, to paraphrase Geoffrey Scott, must be convenient to use, soundly built, and beautiful. 当今住宅设计受到全世界建筑师的关注，所以对本世纪一些伟大的住宅项目
外文原文出处： Geotechnical, Geological, and Earthquake Engineering, 1, Volume 10, Seismic Risk Assessment and Retrofitting, Pages 329-342 补充垂直支撑对建筑物抗震加固 摘要：大量的钢筋混凝土建筑物在整个世界地震活跃地区有共同的缺陷。弱柱，在一个或多个事故中，由于横向变形而失去垂直承载力。这篇文章提出一个策略关于补充安装垂直支撑来防止房子的倒塌。这个策略 是使用在一个风险的角度上来研究最近 实际可行的性能。混凝土柱、动力失稳 的影响、多样循环冗余的影响降低了建 筑系统和组件的强度。比如用建筑物来 说明这个策略的可行性。 1、背景的介绍： 建筑受地震震动，有可能达到一定程度上的动力失稳，因为从理论上说侧面上有无限的位移。许多建筑物，然而，在较低的震动强度下就失去竖向荷载的支撑，这就是横向力不稳定的原因(见图16.1)。提出了 这策略的目的是为了确定建筑物很可能 马上在竖向荷载作用下而倒塌，通过补 充一些垂直支撑来提高建筑物的安全。 维护竖向荷载支撑的能力，来改变水平
力稳定临界失稳的机理，重视可能出现微小的侧向位移(见图16.2)。 在过去的经验表明，世界各地的地震最容易受到破坏的是一些无筋的混凝土框架结构建筑物。这经常是由于一些无关紧要的漏洞，引起的全部或一大块地方发生破坏，比如整根梁、柱子和板。去填实上表面来抑制框架的内力，易受影响的底层去吸收大部分的内力和冲力。 这有几种过去被用过的方法可供选择来实施: 1、加密上层结构，可以拆卸和更换一些硬度不够强的材料。 2、加密上层结构，可以隔离一些安装接头上的裂缝，从而阻止对框架结构的影响。 3、底楼，或者地板，可以增加结构新墙。这些措施(项目1、2和3)能有效降低自重，这韧性能满足于一层或多层。然而，所有这些都有困难和干扰。在美国，这些不寻常的代价换来的是超过一半更有价值的建筑。 4、在一些容易受到破坏的柱子裹上钢铁、混凝土、玻璃纤维、或碳纤维。 第四个选项可以增加柱子的强度和延性，这足以降低柱子受到破坏的风险在大多数的建筑物中。这个方案虽然成本比前面低，但是整体性能也会降低，对比较弱的地板破坏会更加集中。加强柱子的强度在美国很流行，但它的成本依旧是很高的。在发展中国家，这些先进的技术对某些种类的加料或加强，还不能够做到随心所欲。 这个程序的提出包含了另一个选择，美国已经运用这个选择用来降低房子倒塌的风险。这个方法是增加垂直支 撑，来防止建筑在瞬间竖向荷 载作用下就倒塌(见图16.3)。 这是为支撑转移做准备的，当 柱子被剪切破坏和剪切衰弱
建筑学专业英语 DESIGN BASIS 设计依据 DESIGN STAGE 设计阶段 CLIMATE CONDITION 气象条件 GENERAL ROOM NAME 常用房间名称 ROOFING & CEILING 屋面及天棚 WALL(CLADDING) 墙体(外墙板) FLOOR & TRENCH 地面及地沟 DOORS 、GLASS、WINDOWS & IRONMONGERY(HARDW ARE)门、玻璃、窗及五金件 STAIRCASE、LANDING & LIFT(ELEVATOR)楼梯、休息平台及电梯 BUILDING MA TERIAL WORDS AND PHRASES 建筑材料词汇及短语 【Bricks and Tiles 砖和瓦】 【Lime, Sand and Stone 灰、砂和石】 【Cement, Mortar and Concrete 水泥、砂浆和混凝土】 【Facing And Plastering Materials 饰面及粉刷材料】 【Asphalt (Bitumen) and Asbestos 沥青和石棉】 【Timber 木材】 【Metallic Materials 金属材料】 【Non-Ferrous Metal 有色金属】 【Anti-Corrosion Materials 防腐蚀材料】 【Building Hardware 建筑五金】 【Paint 油漆】 k. OTHER ARCHITECTURAL TERMS 其它建筑术语 【Discipline 专业】 【Conventional Terms 一般通用名词】 【Architectural Physics 建筑物理】 【Name Of Professional role 职务名称】 【Drafting 制图】 a. DESIGN BASIS 设计依据 计划建议书planning proposals 设计任务书design order 标准规范standards and codes 条件图information drawing 设计基础资料basic data for design 工艺流程图process flowchart 工程地质资料engineering geological data 原始资料original data 设计进度schedule of design
建筑学专业英语词汇部分蒋山应宜文主编高等学校规划教材 建筑学专业英语( 蒋山应宜文主编) 中国建筑工业出版社 16元 单词部分1.1 melting of cultures in the new architecture 新建筑时代的文化融合 第一章 1.1 Intensive Reading of Architecture 建筑设计精读 Testify v. 证明声明表明 adoption n. 采纳正式通过 Mechanism n. 机械，结构 mentality n. 智力 Integration n, 整合，集成 controversy n. 辩论 Domestic n,. 国 inferiority n. 劣势，自卑感 Interaction n. 交互作用，交流 cooperation n. 合作，协力 Inspiration n. 灵感，妙计，好办法 boundary n 界限，范围 Creativity n. 创造力，独创 uniqueness n. 独一无二，独特性 Duplication n,. 副本，复制 synonym n. 同义字，同物异名 Paramount adj. 最重要的，至上的 masterpiece n. 杰作，名著 Encomium n. 赞词，赞美，称颂 pagoda n. 宝塔 Perspective adj 远景，透视 profile n. 侧面，远观，轮廓 onstruction n. 结构，建筑 resplendent adj. 辉煌的，灿烂的 C Jewel n. 珠宝，贵重的 appreciate. 赏识，鉴赏 Biennial architecture exhibition 建筑双年展 The National Stadium 国家体育场 The Water cube 水立方 1.2 the architecture of housing 住房
Taste 1.People who study examples of good taste嗅觉can acquire good taste. Some people are surrounded by good taste from birth. Others acquire a sense of taste from teachers or knowledgeable individuals. Those who improve their taste do it by observing and perceiving察觉，理解，认知objects of good design. 2.History has placed a stamp of approval on the culture and artifacts史前古器物of ancient Egypt, Greece, and Rome. The periods of Louis XV 路易十五and Louis XVI路易十六, as well as the designs of the Renaissance 复兴period in Europe, are also rated估价high from the standpoint 立场，观点of good taste. 3.However, taste is always in a state of flux不稳定because new designs are continually being created. Nostalgia 怀旧also plays an important role in the tastes of many people. It accounts for the popularity of traditional or classical decoration, which represents a return to the “good old days”, as in the popularity of Early American handcrafted 手工and antique古老的furniture today. 4.Some people favor a traditional period and style. Even when this choice is correct in every aspect, it can produce rooms that lack the imprint痕迹，特征of the individual’s personality. Other people who desire to break突变from tradition find expression表达for their taste in a choice of contemporary designs. Still another group, the eclectics折中主义, like