土木建筑畢業(yè)設(shè)計(jì)中英文翻譯3

1、1外文資料The Tall Office Building Artistically Consideredby Louis H. Sullivan, March, 1896The architects of this land and generation are now brought face to face with something new under the sun namely, that evolution and integration of social conditions, that special grouping of them, that results in a

2、 demand for the erection of tall office buildings.It is not my purpose to discuss the social conditions; I accept them as the fact, and say at once that the design of the tall office building must be recognized and confronted at the outset as a problem to be solved a vital problem, pressing for a tr

3、ue solution.Let us state the conditions in the plainest manner. Briefly, they are these: offices are necessary for the transaction of business; the invention and perfection of the high speed elevators make vertical travel, that was once tedious and painful, now easy and comfortable; development of s

4、teel manufacture has shown the way to safe, rigid, economical constructions rising to a great height; continued growth of population in the great cities, consequent congestion of centers and rise in value of ground, stimulate an increase in number of stories; these successfully piled one upon anothe

5、r, react on ground values and so on, by action and reaction, interaction and inter reaction. Thus has come about that form of lofty construction called the "modern office building". It has come in answer to a call, for in it a new grouping of social conditions has found a habitation and a

6、name.Up to this point all in evidence is materialistic, an exhibition of force, of resolution, of brains in the keen sense of the word. It is the joint product of the speculator, the engineer, the builder.Problem: How shall we impart to this sterile pile, this crude, harsh, brutal agglomeration, thi

7、s stark, staring exclamation of eternal strife, the graciousness of these higher forms of sensibility and culture that rest on the lower and fiercer passions? How shall we proclaim from the dizzy height of this strange, weird, modern housetop the peaceful evangel of sentiment, of beauty, the cult of

8、 a higher life?This is the problem; and we must seek the solution of it in a process analogous to its own evolution indeed, a continuation of it namely, by proceeding step by step from general to special aspects, from coarser to finer considerations.It is my belief that it is of the very essence of

9、every problem that is contains and suggests its own solution. This I believe to be natural law. Let us examine, then, carefully the elements, let us search out this contained suggestion, this essence of the problem.The practical conditions are, broadly speaking, these:Wanted 1st, a story below groun

10、d, containing boiler, engines of various sorts, etc. in short, the plant for power, heating, lighting, etc. 2nd, a ground floor, so called, devoted to stores, banks, or other establishments requiring large area, ample spacing, ample light, and great freedom of access, 3rd, a second story readily acc

11、essible by stairways this space usually in large subdivisions, with corresponding liberality in structural spacing and expanse of glass and breadth of external openings, 4th, above this an indefinite number of stories of offices piled tier upon tier, one tier just like another tier, one office just

12、like all the other offices an office being similar to a cell in honey comb, merely a compartment, nothing more, 5th, and last, at the top of this pile is placed a space or story that, as related to the life and usefulness of the structure, is purely physiological in its nature namely, the attic. In

13、this the circulatory system completes itself and makes it grand turn, ascending and descending. The space is filled with tanks, pipes, valves, sheaves, and mechanical etcetera that supplement and complement the force originating plant hidden below ground in the cellar. Finally, or at the beginning r

14、ather, there must be on the ground floor a main aperture or entrance common to all the occupants or patrons of the building.This tabulation is, in the main, characteristic of every tall office building in the country. As to the necessary arrangements for light courts, these are not germane to the pr

15、oblem, and as will become soon evident, I trust need not be considered here. These things, and such others as the arrangement of elevators, for example, have to do strictly with the economics of the building, and I assume them to have been fully considered and disposed of to the satisfaction of pure

16、ly utilitarian and pecuniary demands. Only in rare instances does the plan or floor arrangement of the tall office building take on an aesthetic value, and thus usually when the lighting court is external or becomes an internal feature of great importance.As I am here seeking not for an individual o

17、r special solution, but for a true normal type, the attention must be confined to those conditions that, in the main, are constant in all tall office buildings, and every mere incidental and accidental variation eliminated from the consideration, as harmful to the clearness of the main inquiry.The p

18、ractical horizontal and vertical division or office unit is naturally based on a room of comfortable area and height, and the size of this standard office room as naturally predetermines the standard structural unit, and, approximately, the size of window openings. In turn, these purely arbitrary un

19、its of structure form in an equally natural way the true basis of the artistic development of the exterior. Of course the structural spacings and openings in the first or mercantile story are required to be the largest of all; those in the second or quasi mercantile story are of a some what similar

20、nature. The spacings and openings in the attic are of no importance whatsoever the windows have no actual value, for light may be taken from the top, and no recognition of a cellular division is necessary in the structural spacing.Hence it follow inevitably, and in the simplest possible way, that if

21、 we follow our natural instincts without thought of books, rules, precedents, or any such educational impediments to a spontaneous and "sensible" result, we will in the following manner design the exterior of our tall office building to wit:Beginning with the first story, we give this a mi

22、n entrance that attracts the eye to it location, and the remainder of the story we treat in a more or less liberal, expansive, sumptuous way a way based exactly on the practical necessities, but expressed with a sentiment of largeness and freedom. The second story we treat in a similar way, but usua

23、lly with milder pretension. Above this, throughout the indefinite number of typical office tiers, we take our cue from the individual cell, which requires a window with its separating pier, its still and lintel, and we, without more ado, make them look all alike because they are all alike. This brin

24、gs us to the attic, which having no division into office cells, and no special requirement for lighting, gives us the power to show by means of its broad expanse of wall, and its dominating weight and character, that which is the fact namely, that the series of office tiers has come definitely to an

25、 end.This may perhaps seem a bald result and a heartless, pessimistic way of stating it, but even so we certainly have advanced a most characteristic stage beyond the imagined sinister building of the speculator engineer builder combination. For the hand of the architect is now definitely felt in th

26、e decisive position at once taken, and the suggestion of a thoroughly sound, logical, coherent expression of the conditions is becoming apparent.When I say the hand of the architect, I do not mean necessarily the accomplished and trained architect. I mean only a man with a strong, natural liking for

27、 buildings, and a disposition to shape them in what seems to his unaffected nature a direct and simple way. He will probably tread an innocent path from his problem to its solution, and therein he will show an enviable gift of logic. If we have some gift for form in detail, some feeling for form pur

28、ely and simply as form, some love for that, his result in addition to it simple straightforward naturalness and completeness in general statement, will have something of temperament and interest.However, thus far the results are only partial and tentative at best relatively true, they are but superf

29、icial. We are doubtless right in our instinct but we must seek a fuller justification, a finer sanction, for it.I assume now that in the study of our problem we have passed through the various stages of inquiry, as follows: 1st, the social basis of the demand for tall buildings; 2nd, its literal mat

30、erial satisfaction; 3rd, the elevation of the question from considerations of literal planning, construction, and equipment, to the plane of elementary architecture as a direct outgrowth of sound, sensible building; 4th, the question again elevated from an elementary architecture to the beginnings o

31、f true architectural expression, through the addition of a certain quality and quantity of sentiment.But our building may have all these in a considerable degree and yet be far from that adequate solution of the problem I am attempting to define. We must now heed quality and quantity of sentiment. I

32、t demands of us, what is the chief characteristic of the tall office building? And at once we answer, it is lofty. This loftiness is to the artist nature its thrilling aspect. It is the very open organ tone in its appeal. It must be in turn the dominant chard in his expression of it, the true excita

33、nt of his imagination. It must be tall, every inch of it tall. The force and power of altitude must be in it, the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting

34、line that it is the new, the unexpected, the eloquent peroration of most bald, most sinister, most forbidding conditions.The man who designs in the spirit and with the sense of responsibility to the generation he lives in must be no coward, no denier, no bookworm, no dilettante. He must live of his

35、life and for his life in the fullest, most consummate sense. He must realize at once and with the grasp of inspiration that the problem of the tall office building is one of the most stupendous, one of the most magnificent opportunities that the Lord of Nature in His beneficence has ever offered to

36、the proud spirit of man.That this has not been perceived indeed has been flatly denied is an exhibition of human perversity that must give us pause.One more consideration. Let us now lift this question into the region of calm, philosophic observation. Let us seek a comprehensive, a final solution: l

37、et the problem indeed dissolve.Certain critics, and very thoughtful ones, have advanced the theory that the true prototype of the tall office building is the classical column, consisting of base, shaft and capital the molded base of the column typical of the lower stories of our building, the plain

38、or fluted shaft suggesting the monotonous, uninterrupted series of office tiers, and the capital the completing power and luxuriance of the attic.Other theorizers, assuming a mystical symbolism as a guide, quite the many trinities in nature and art, and the beauty and conclusiveness of such trinity

39、in unity. They aver the beauty of prime numbers, the mysticism of the number three, the beauty of all things that are in three parts to wit, the day, subdividing into morning, noon, and night; the limbs, the thorax, and the head, constituting the body. So they say, should the building be in three pa

40、rts vertically, substantially as before, but for different motives.Others, of purely intellectual temperament, hold that such a design should be in the nature of a logical statement; it should have a beginning, a middle, and an ending, each clearly defined therefore again a building, as above, in th

41、ree parts vertically.2中文翻譯高層辦公建筑藝術(shù)思考 路易斯·沙利文 1896-3這個(gè)時(shí)代該領(lǐng)域的建筑師開(kāi)始正視一些新的由于社會(huì)條件變革和整合以及它們特殊組合導(dǎo)致的對(duì)高層辦公建筑的立面要求。討論社會(huì)現(xiàn)狀并不是我的目的。我接受社會(huì)現(xiàn)實(shí)，并且立刻斷定高層辦公建筑肯定會(huì)被認(rèn)可且開(kāi)始作為一個(gè)迫切需要真正的去解決的關(guān)鍵性問(wèn)題來(lái)面對(duì)。我們以最簡(jiǎn)單的方式來(lái)說(shuō)明情況。簡(jiǎn)而言之，情況如下：辦公室是商業(yè)交易的必須場(chǎng)所；高速電梯的發(fā)明和完美創(chuàng)造使曾經(jīng)沉悶令人頭疼的垂直交通變得容易和舒適；鋼產(chǎn)品的發(fā)展把安全、堅(jiān)實(shí)、經(jīng)濟(jì)的建筑物引向了一個(gè)更高的高度。大城市人口的可持續(xù)增長(zhǎng)，隨之而來(lái)的中心區(qū)

42、擁擠和地價(jià)的上漲刺激了建筑數(shù)目的增長(zhǎng)；他們成功的聚集為建筑群通過(guò)作用、反作用、相互作用及內(nèi)部作用反映了地價(jià)等。因而產(chǎn)生了這種被稱為“現(xiàn)代辦公大樓”的高聳建筑形式。這種建筑形式已經(jīng)自然而然的形成，因?yàn)樵谒鼉?nèi)部社會(huì)條件新的組合已經(jīng)形成一個(gè)聚居地和名字。取決于這點(diǎn)，所有顯而易見(jiàn)的都是唯物論的，是力量、決心和敏銳語(yǔ)言表現(xiàn)智力的展示。它是投機(jī)商，工程師，建造者的結(jié)合的產(chǎn)物。問(wèn)題：我們?cè)撊绾螌⑦@些建立在較低級(jí)和不滅的激情之上的較高形式的感性和文明所擁有的永恒競(jìng)爭(zhēng)力和親和感賦予這些缺乏創(chuàng)造性的拙劣、粗糙，呆板的建筑群。我們?cè)撊绾螐倪@個(gè)奇怪的，怪異的，有著令人眩暈的高度的現(xiàn)代屋頂上公開(kāi)贊揚(yáng)這種安寧的情趣，美感

43、，以及較高的生活時(shí)尚。這是個(gè)問(wèn)題，我們必須在和它的進(jìn)化確實(shí)相似的過(guò)程中去尋找它的解決，那就是他的延續(xù)，通過(guò)一步一步的從一般到特殊的方面著手進(jìn)行，從比較粗糙到細(xì)致的考慮。我相信每個(gè)問(wèn)題最本質(zhì)的是問(wèn)題本身包含了其解決途徑。我相信這是自然法則。我們仔細(xì)的檢查這些組成部分，然后找出它所包含的意思，即這個(gè)問(wèn)題的本質(zhì)。廣泛的說(shuō)，實(shí)際情況是：首先需要的是，一個(gè)包含鍋爐、不同種類機(jī)房的地下層。簡(jiǎn)而言之，需求能量，暖氣，照明的房屋設(shè)施。第二，所謂的一樓，用于商店，銀行或其他需要大區(qū)域，充足間距，充足光照以及進(jìn)入十分自由的機(jī)構(gòu)。第三，二層很容易由樓梯進(jìn)入，它的空間由巨大的部分構(gòu)成，擁有相當(dāng)寬闊的結(jié)構(gòu)間隙，玻璃的擴(kuò)

44、展區(qū)域以及外部通道。第四，第二層之上是不確定數(shù)目的辦公室，層層堆積，層層相似，間間相似。一間辦公室與蜂巢里的蜂房巢室非常相似，只是作為一個(gè)分隔間，別無(wú)其他。第五，在建筑物的頂層設(shè)置了如涉及生活和結(jié)構(gòu)的有效空間或建筑層，那就是純粹的結(jié)構(gòu)需要頂樓。這個(gè)循環(huán)系統(tǒng)完美了自身，無(wú)論是上升的還是下降的都使其具有優(yōu)美的形式?？臻g中充滿了容器，管道，閥門(mén)，還有為隱藏在地下室里的設(shè)施的啟動(dòng)供給和補(bǔ)充動(dòng)力的機(jī)械附屬設(shè)備。最后，或者倒不如說(shuō)是開(kāi)始，在一樓一定有一個(gè)主要的孔或入口通常對(duì)所有的占有者或顧客開(kāi)放。至于對(duì)光井的必要安排，是這個(gè)國(guó)家每個(gè)高層辦公樓的特點(diǎn)。比如對(duì)電燈的必要的安排，這些對(duì)問(wèn)題是不恰當(dāng)?shù)?，而且也?huì)很

45、快變得清楚。我相信例如安裝電梯等問(wèn)題在這不必考慮。舉例來(lái)說(shuō)，這些事物和其他諸如電梯的安裝必須和建筑物的經(jīng)濟(jì)意義嚴(yán)格相符，并且我認(rèn)為這些已經(jīng)被充分的考慮和處理，達(dá)到了對(duì)純粹功利和金錢(qián)要求的滿意程度。只有在杰出的力作中，高層辦公大樓的規(guī)劃和樓層安排才能呈現(xiàn)出美學(xué)價(jià)值，例如通常何時(shí)將光井設(shè)為外部或形成一個(gè)內(nèi)在特征就顯得很重要了。我尋求的不是一個(gè)個(gè)別的或者特別的方案，而是一個(gè)真正的普遍類型。因而注意力應(yīng)當(dāng)集中在那些高層辦公建筑始終要面對(duì)的主要情況上，排除對(duì)那些純粹偶然或巧合的變化情況的考慮，從而不致對(duì)主要研究問(wèn)題的清晰度有不利影響。實(shí)際的水平和垂直的區(qū)域劃分或辦公單元自然的以有舒適感的區(qū)域和高度的房間

46、為基礎(chǔ)。這種標(biāo)準(zhǔn)辦公室的大小自然預(yù)先確定了對(duì)應(yīng)標(biāo)準(zhǔn)的結(jié)構(gòu)單元，也大致確定了窗戶開(kāi)口的大小。反過(guò)來(lái)，這些純隨意性的結(jié)構(gòu)單元以同樣自然的方式形成了外形藝術(shù)發(fā)展的真正基礎(chǔ)。當(dāng)然，第一層和商業(yè)層對(duì)結(jié)構(gòu)間距和開(kāi)口的需求是最大的；而第二層和部分商業(yè)層的結(jié)構(gòu)間距和開(kāi)口多少有些相似的形式。無(wú)論什么，頂樓的間距和開(kāi)口并不重要，窗戶沒(méi)有實(shí)際價(jià)值，因?yàn)榭梢詮捻敹瞬晒?，而且“結(jié)構(gòu)空間的分隔式劃分是必須的”的說(shuō)法并沒(méi)有得到公認(rèn)。由此就會(huì)不可避免以可能的簡(jiǎn)單的方式出現(xiàn)一種情況，那就是如果我們不考慮法規(guī)、規(guī)范、先例或教育對(duì)本能和感覺(jué)得到的結(jié)果的阻礙，而是憑借我們的本能，我們將竭盡聰明才智用下面的方式去設(shè)計(jì)我們的高層辦公大樓的外形。首先在第一層，我們?cè)O(shè)置一個(gè)能吸引人眼球的最小入口，讓人們注意它的位置。剩余的其他樓層，我們應(yīng)差不多一樣自由、開(kāi)闊和豪華的方式來(lái)處理，這種方式正是基于實(shí)際需要，但又表達(dá)了一種開(kāi)闊的自由。第二層，我們用相似的方式處理，但通常做一些輕微的修飾。以上的