1、English in Architecture and ConstructionUNIT ONE Architecture Words and Expressionsnenclosure n.围墙(栏);封围ndictate v.规定;限定nsubconsciously ad.下（潜）意识地nedifice n.大厦，大建筑物;体系ncompression n.压力;压缩nwithstand v.经受得住;抵抗nspan v.跨过;架设 n.跨度;开度nvoid n.空间(位)，虚(空)体ntensile a.张力的，拉力的nsturdy a.结实的,坚固的nrectangle n.长方形，矩
2、形naesthetic a.美学的，审美的nfibrous a.含纤维的，纤维状的nreadily ad.容易地，不费力Words and Expressionsngridiron n.梁格结构，格状结构nskeleton n.构架；草图；轮廓ncantilever n.悬臂梁，突梁nproject v.伸突)出;设计ncorrespondence n.符合,一致;相应nnave n.(教堂的)正厅;(火车站等建筑的)中间广场naisle n.走廊，侧廊ntransept n.(教堂的)袖廊，翼部nchapel n.小礼拜堂napse n.多边形(或半园形)凹室;耳(室)房nGothic n.
3、哥特式建筑的ncathedral n.大教堂，主教堂nmodule n.模度(数，量);模件ncrave v.渴望，需要nimperceptibly ad.觉察不到地nbalustrade n.栏杆，扶手ncolonnade n.柱廊，柱列ninherent a.内在的，固有的nornament n.装饰(物)nidentifiable a.可识别的，可区别的Para.1 and Para.2nArchitecture is the art of building.Virtually all architecture is concerned with the enclosure of spa
4、ce 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
5、movement of human beings within 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
6、 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 visual confusion.nFurthermore,a structure must be we
7、ll built,it could 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 prt govern the forms of the building and are expressed by them.Stone can resist compression almost indefin
8、itely.While it is possible to crush stone in a laboratory,for practical purposes its compressive strength is unlimited.Para.3 and Para.4nOn 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 und
9、er tension.It follows form the 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 column
10、s are almost compelled to be taller than they are wide-the vertical rectangle of the stone aesthetic.nWood,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,
11、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 building under construction must have noticed the gridiron of horizontal
12、 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 be necessary.Wood and steel also permit cantilever construction in which b
13、eams project beyond the last point of support.Para.5 and Para.6nFinally,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
14、 of a structure should bear 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.nArchi
15、tecture 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 mathematical formulas,such as the golden section.These efforts have not found general acceptance,however,although good res
16、ults have been achieved through 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.8nA building also should have what architects call“sca
17、le”:that is,it should visually 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 wh
18、ole edifice.Because these units 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 Triano
19、n at Versailles is perfect in scale.The absence of small elements in St.Peters in Rome makes it difficult to perceive its vastness.nAlthough 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 t
20、he building.Decoration or ornament 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 relationshi
21、p to its architectural neighbors and to the local geography.Para.1nArchitecture is the art of building.n建筑学是建造的艺术。ArchitecturePara.1nVirtually all architecture is concerned with the enclosure of space for human use.n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.1nThe pre
22、cise 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.n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
23、配线Para.1nThese spaces also must be arranged in some logical relation to each other.n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.1nFurthermore,the movement of human beings within the building requires halls stairs or elevators whose size is governed by the expec
24、ted load of traffic.n另外，人在建筑物中的走动需要有走廊、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.1nThe 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.n建筑方案是建筑师首先要考虑的事，它把对建
25、筑物的各种要求安排成体现建筑意图的空间组合。the first consideration of 首先要考虑的事Para.1nGood planning guides the visitor to his destination in the structure and impresses him,perhaps subconsciously,by visibly relating the several units of the edifice.n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
26、,大建筑物Para.1nConversely,a bad plan results in inconvenience,waste and visual confusion.n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.2nFurthermore,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.n此外，一座建筑的结构必须建造良好;它
27、必须具有永久性。这种永久性既是设计意图要求的，也是材料的选择所允许的。have suchas 把作为Para.2nThe raw materials of architecture-stone,brick,wood,steel,or glass-in part govern the forms of the building and are expressed by them.n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.2nStone can re
28、sist compression almost indefinitely.n石头几乎可以无限地承受压力。Resist 抵御；承受Para.2nWhile it is possible to crush stone in a laboratory,for practical purposes its compressive strength is unlimited.n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.3nOn the other hand,stone is weak in withstanding tension.n然而它的抗拉性却是十分脆弱的。On t
29、he other hand 写作可用Para.3nAny beam spanning a void tends to bend downward between the supports,putting the lower half of the beam under tension.n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.3nIt follows from the tensile weakness of stone that beams of this material must be
30、comparatively short and supported at frequent intervals.n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.3nMoreover,stone columns must be sturdy,rarely more than 10 times as high as they are wide.n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;sto
31、ut:坚固的，耐用的：sturdy canvas.坚固的篷车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.3nIn stone buildings,windows,doors,and the spaces between columns are almost compelled to be taller than they are wide-the vertical re
32、ctangle of the stone aesthetic.n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.4nWood,a fibrous material,withstands tension as readily as it does compression.n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.4nWooden beams may be relatively longer than stone beams,and wooden posts slender and widely spaced.n木梁比起石
33、梁要相应长些;木柱则比较细，但间距宽。Para.4nA horizontal rectangle,wider than it is high,results from the natural properties of wood,as may be seen in Japanese architecture.n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.4nSteel also has tensile strength that is equal to or greater than its compressive strength.n钢也具
34、有等于或大于其抗压强度的抗拉强度。Para.4nAnyone 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.n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
35、部)Para.4nThe nature of wood and of steel suggests frame construction-a skeleton to support floors and roof-with whatever surfacing material may be necessary.n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.4nWood and steel also permit cantilever construction in which beams project beyond the last point
36、of support.n木材和钢材还可制成悬臂梁，伸出最后的支点以外。Para.5nFinally,architecture must do more than meet the physical requirements of strength and space;it must also content the spirit of man.n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.5nThe building should form an aesthetic unity to which the several parts contribute.n建
37、筑物的构成部分应当形成美的统一体。Para.5nThus,the sides and rear of a structure should bear sufficient correspondence to the front to make them all related parts of a single whole.n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.5nThe major internal divisions,too,require some expression in the external design.n主要
38、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：包豪斯校舍。Para.5nThe 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.n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
39、神上的准备。Para.6nArchitecture calls for good proportions-a pleasing relationship of voids to solids,of height to width,of length to breadth.n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.6nMany attempts have been made to explain good proportions by mathematical formulas,such as the golden section.n人们作了种种尝试通过数学公
40、式(如黄金分割)阐明这种良好的比例关系。Para.6nThese 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.n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。
41、Para.6nSuch repetitions help to produce the visible order that the human mind seems to crave.n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.7nA building also should have what architects call“scale”:that is,it should visually convey its true size.n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.7nSuch elements as benche
42、s,steps,or balustrades,though slightly variable in size,are,by their very purpose,related to the normal dimensions of human beings.n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 3DPara.7nThey therefore become,almost imperceptibly,units of measurement for gauging the size of the whole ed
43、ifice.n因而它们就不知不觉地成为判断整个大建筑物规模的计量单位。Para.7nBecause these units are so small in comparison to the whole building,other elements of intermediate size are needed.n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.7nStairs and a balustrade may give a clue to the size of a doorway;that,in turn,to the height of a colo
44、nnade;and finally,the colonnade to the whole structure.n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.7nThe Petit Trianon at Versailles is perfect in scale.n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.7nThe absence of small elements in St.Peters in Rome makes it difficult to perceive its vastness.n罗马的圣彼得大教堂由于
45、没有小构件，因而它的宏大很难被人们意识到。Para.8nAlthough 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.n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.8nDecoration or ornament may be
46、used to contribute to character,the visible expression of the purpose of the building.n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.8nThus a bank should look like a bank,and a church should be immediately identifiable as such.n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.8nIdeally,too,any building should seem to belong on its site,with some relationship to its architectural neighbors and to the local geography.n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。
