建筑專業(yè)設(shè)計文獻(xiàn)翻譯

1、<p>　　波士頓會議和展覽中心</p><p>　　建筑設(shè)計師：拉斐爾?維諾里</p><p>　　坐落在南波士頓中心的濱水地區(qū)，新的波士頓會議和會展中心代表了該城市進(jìn)入會議設(shè)施市場的高端市場。該項目是由管理著波士頓的馬薩諸塞會議中心署來設(shè)計的，它發(fā)起的第一階段的建筑設(shè)計，包括一個50000平方米的可以再分的展覽廳、兩個分別為4000和1500平米的舞廳以及總建筑面積超過150

2、00平方米的72個會議室。第一階段的建筑完成了四年之后，第二階段即將進(jìn)行，將增加大約30%的總建筑面積來擴(kuò)大展覽廳和會議室。</p><p>　　波士頓會議和會展中心的巨大體量坐落在兩個單獨(dú)的都市環(huán)境中。盡管場地北部地區(qū)主要是大型的多用途建筑，這里也是南波士頓濱水區(qū)再開發(fā)中的一部分，而南部區(qū)域則以小規(guī)模的住宅建筑為主。建筑設(shè)計通過沿著一個長長的斜屋頂進(jìn)行高度上的變化而有效地調(diào)和了這種轉(zhuǎn)變。</p>

3、<p>　　為了進(jìn)一步將建筑融合進(jìn)它周圍的環(huán)境中，并減少它對南波士頓近鄰地區(qū)的視覺影響，展覽館的大體量已經(jīng)被小規(guī)模的會議室和社交場所包圍了。進(jìn)入和離開會議室中心的各種交通工具對于當(dāng)?shù)鼐用穸砸彩且粋€敏感的問題。為了從南波士頓街道上將這些交通隔離開來，一條抬高了環(huán)形公路環(huán)繞著該建筑，并沿著700米的長度為通向會議室和劃分開的展覽大廳提供了單獨(dú)的車輛通道。停車場和裝載港坐落在汽車高速公路的下方，超過了視野范圍。在波士頓會議和展覽中

4、心里面，沿著展覽廳的兩側(cè)的V形柱子支持著較高層的會議室和社交場所。屋頂?shù)墓伴T以及暴露在外的構(gòu)架從本質(zhì)上說是一個非常高雅的工棚，是得它能夠承擔(dān)超過50米的自由跨度，并且標(biāo)志著該場所是高度結(jié)構(gòu)化的且非常適合大型設(shè)施。兩座橋漂浮在這個不受妨礙的垂直空間的上方，一次來連接建筑物的兩側(cè)，并提供更加有效的循環(huán)。</p><p>　　出自《美國頂級建筑》 P184-P193 出版社：大連理工大學(xué)出版社</p>

5、<p>　　Boston Convention and Exhibition Center</p><p>　　Situated at the heart of the South Boston waterfront,the new Boston Convention and Exhibition Center represents the city’s entry into the top-tier

6、of the convention facilities market. The program developed by the massachusetts Convetion Center Authority ,which administers the BCEC , calls for a first phase construction consisting of a 50,000-square-meter sub-d

7、ivisible exhibition hall,two ballrooms measuring 4,000and 15,00 meters.four years after completion of the first phase ,the second pha</p><p>　　The enormous volume of the BCEC is situated within two disparate

8、 urban conditions . Althogh the area to the north of the site feathures large-scale mixed-use buildings that are part of the South Boston Waterfront Redevelopment , smaal-scale residential buildings characterize the area

9、 to the south . The design of the building effectively negotiates this transition by following the chang in elevation with a long, gently sloped roof.</p><p>　　To further integrate the complex into its surro

10、udings and lessen its visual impact on the South Boston neighborhood, the vast volume of the exhibition hall has been surrouded by smaller scale meeting rooms and social spaces . Vehicular traffic in and out of the conve

11、ntion center was also a sensitive issue with local residents. In order to segregate this traffic from South Boston streets , an elevated ring road encircles the building and provides independent vehicular access to meeti

12、ng rooms and </p><p>　　猶太大屠殺歷史博物館，耶路撒冷</p><p>　　建筑設(shè)計：薩夫迪建筑師事務(wù)所</p><p>　　該博物館的重建包括一個新的參觀中心（Mevoah）、一座新的歷史博物館以替代建于1953年的現(xiàn)有歷史博物館、一座“名字堂”、一個猶太教堂、一個以大屠殺為主題的畫廊、一個展覽館和一個視覺資料中心。此外，新建的地下停車場和

13、一些專為旅游觀光車服務(wù)的設(shè)施設(shè)立在與新的入口廣場相連的地方。所有這些功能的面積是常設(shè)展覽空間的4倍。</p><p>　　參觀中心是一座帶拱廊的混凝土展館，屋頂由天窗和網(wǎng)架組成，可以投射出不斷變化的陰影圖案。這會使人們聯(lián)想到傳統(tǒng)建筑蘇克棚（Succah，譯注：在節(jié)日期間，猶太人必須建造一個臨時建筑，在其中進(jìn)餐、款待客人、休息。蘇克棚是紀(jì)念古代以色列人在離開埃及之后在曠野中漂流40年期間所住的棚屋）。底層容納了一個

14、餐廳和其他的公共服務(wù)設(shè)施。</p><p>　　歷史博物館由一個幾乎全地下的三棱柱狀結(jié)構(gòu)構(gòu)成，高16.5m，長183m（54 x 600 ft），并且由南向北插入，將亞德瓦謝姆山（Yad Vashe m）切斷。地下展館的天窗系統(tǒng)線性排布在三棱柱的兩側(cè)。</p><p>　　名字堂位于歷史博物館的盡端，是一個9m（30 ft）高的錐體結(jié)構(gòu)。其上面記錄著所有已知的大屠殺中受害者的姓名。倒置的錐

15、體深深地插入耶路撒冷巖層的下面，在呼應(yīng)上層空間的同時體現(xiàn)了對于無名逝者的紀(jì)念。</p><p>　　面積為20hm2（50英畝）的基地中，還包含兒童大屠殺紀(jì)念館和流放紀(jì)念館，同樣由建筑師摩西·薩夫迪設(shè)計，分別建成于1987年和1995年。另外，這里還建有紀(jì)念館、管理辦公區(qū)、教育與檔案中心，以及“聚落山谷”。 </p><p>　　YAD VASHEM HOLOCAUST HIST

16、ORY MUSEUM, JERUSALEM, 2005</p><p>　　ARCHITECTS: Safdie Architects</p><p>　　The rebuilding of the Yad Vashem Holocaust Museum includes a new visitors' center (Mevoah), a new history museum r

17、eplacing the existing museum constructed in 1953, a Hall of Names, a synagogue, galleries for Holocaust art, an exhibitions pavilion and a learning and visual center. In addition, new underground parking and facilities f

18、or tour buses are located adjacent to a new entrance piazza. The overall program quadruples the permanent exhibition space.</p><p>　　The mevoah is an arcaded concrete pavilion roofed by skylights and trellis

19、es, which cast ever-changing shadow patterns. It is reminiscent of a Succah. The lower level accommodates a restaurant and other public services. </p><p>　　The historic museum consists of a mostly undergroun

20、d prismatic structure 16.5 meters high and 183 meters long (54 x 600 feet) that cuts through the Yad Vashem hillside, penetrating from the south and protruding to the north. A network of skylit underground galleries line

21、s both sides of the prism.</p><p>　　The Hall of Names, located toward the end of the historic museum, is a conical structure </p><p>　　extending upward 9 meters (30 feet) and housing the persona

22、l records of all known Holocaust victims. A reciprocal cone, penetrating deep into the Jerusalem bedrock below, echoes the upper chamber and commemorates those whose names will never be known.</p><p>　　The 2

23、0-hectare (50-acre) site also includes the Children's Holocaust Memorial and the Transport Memorial, designed by Moshe Safdie and completed in 1987 and 1995, respectively, as well as the Hall of Remembrance, administ

24、rative offices, an education and archival center and the Valley of the Communities.</p><p>　　建筑設(shè)計：Architectus事務(wù)所（凱莉·克萊爾、林賽·克萊爾、詹姆斯·瓊斯主持）</p><p>　　現(xiàn)代藝術(shù)展覽館，布里斯班，澳大利亞</p><

25、p>　　這個新的展覽館坐落在公園里。它與河流垂直，標(biāo)志著南岸文化區(qū)的邊界，建筑前形成一個新的公共廣場，并擴(kuò)展了庫利爾帕角的公園范圍。展覽館內(nèi)有15個展廊空間，每一個都具有獨(dú)立的個性和功能，它們在規(guī)模、材料和光的使用上都有所不同。</p><p>　　展覽館不僅為舉辦活動和展示裝置提供了場所，還可以展現(xiàn)多樣的媒體、藝術(shù)形式和各種實踐。</p><p>　　要設(shè)計一個帶有開放性的吸引公眾

26、的入口、并與外部世界有緊密聯(lián)系的展覽館，就必須仔細(xì)考慮藝術(shù)品的展示要求：具體來說，建筑必須能夠控制溫濕度、熱舒適性、人工和自然光、空氣污染物的排除、優(yōu)化能源使用、隔音和空氣調(diào)節(jié)方式。</p><p>　　內(nèi)部空間的設(shè)計采取了交叉街道的流線組織方式。參觀者被指引到十字路口——定位點(diǎn)，然后再作出進(jìn)入、通過或是上行的決定。在這個十字路口，“白盒子”展廳和“黑盒子”影音室，通過光明開放和黑暗私密這一對比性感受，各自區(qū)分開

27、來。</p><p>　　展覽館具有供大型作品展示的開口；墻體可以移動，照明系統(tǒng)能夠變換，交互多媒體展品的安裝和主要展覽的組織都不會封閉任何其他的展廳空間。無論是傳統(tǒng)的壁掛油畫，還是數(shù)字展示或裝置藝術(shù)，技術(shù)復(fù)雜的動態(tài)設(shè)計都能夠滿足不同形式的當(dāng)代藝術(shù)展覽要求。</p><p>　　與環(huán)境的聯(lián)系和入口的處理體現(xiàn)了展覽館闡釋場地的方式，表達(dá)了與自然和城市環(huán)境的關(guān)系。這座展覽館的布局是對河流曲線和

28、城市格網(wǎng)理性而直觀的回應(yīng)。</p><p>　　ARCHITECTS: Architectus (Design Directorate Kerry Clare, Lindsay Clare, James Jones)</p><p>　　GALLERY OF MODERN ART, BRISBANE, AUSTRALIA, 2006</p><p>　　The ne

29、w gallery is a pavilion in the park. It is sited perpendicular to the river to the river to terminate the Southbank cultural precinct, define a new public plaza in front of the building and enlarge the parklands at Kuril

30、pa Point. There are 15 gallery spaces, each with its own character and function, all differing in scale, material and their use of light.</p><p>　　The gallery is a venue for events an installations as well a

31、s exhibiting various media, art forms andpractices.</p><p>　　A gallery that is open, with inviting and easy public access and a strong connection with the world outside, must be designed with careful conside

32、ration for the exhibition of art: specifically, the building must enable the control of temperature and humidity, thermal comfort, artificial and natural light, elimination of air pollutants, optimal energy use, insulati

33、on and air distribution.</p><p>　　The interior is clearly ordered by a cross-street circulation pattern. Visitors are drawn to the intersection －a point of orientation－before making a commitment to enter, pa

34、ss through or ascend. At this intersection, the ‘white box’ gallery and ‘black box’ are clearly defined as contrasting experiences of lightness and openness, and darkness and intimacy.</p><p>　　The gallery

35、 has large openings for big works; walls can be moved, lighting systems changed, interactive multimedia exhibits installed and major exhibitions mounted without closing any of the other gallery spaces. The technologicall

36、y sophisticated and dynamic design can engage different forms of contemporary art, from traditional wall-hung paintings to digital performance or installation art.</p><p>　　Connectivity and access are also e

37、mbodied in the way the Gallery occupies and interprets the site, informing the way it is positioned in relation to the natural and urban setting. The placement of this pavilion is both a logical and intuitive response to

38、 the curve of river and the grid of the city.</p><p>　　泰爾費(fèi)爾藝術(shù)博物館，薩凡納，喬治亞州，美國</p><p>　　建筑設(shè)計：薩夫迪建筑師事務(wù)所</p><p>　　位于薩凡納的泰爾費(fèi)爾藝術(shù)博物館坐落在歷史悠久的泰爾費(fèi)爾廣場旁，斜對著泰爾費(fèi)爾藝術(shù)學(xué)院——這座南方最古老的公共藝術(shù)博物館，是由建筑師威廉

39、3;杰在1818年－1819年間設(shè)計建造的?；匚挥谒_凡納歷史城區(qū)的核心位置，這片古老的城區(qū)是1733年由詹姆斯·奧格爾索普規(guī)劃的，當(dāng)時采用一系列由樹木覆蓋的城市廣場作為標(biāo)志點(diǎn)來劃分街道的網(wǎng)格。</p><p>　　泰爾費(fèi)爾藝術(shù)博物館是一座當(dāng)代建筑，但與薩凡納古老的城市肌理相協(xié)調(diào)，體現(xiàn)出對歷史街區(qū)和傳統(tǒng)道路網(wǎng)格的尊重。藝術(shù)館的高度和體量也與周圍的建筑相呼應(yīng)。約克大街一側(cè)的玻璃立面與樹木環(huán)繞的泰爾費(fèi)爾廣場

40、相融合，由兩片白色清水混凝土“網(wǎng)格”構(gòu)成的玻璃墻面，將37m（120 ft）的沿街立面分為小于18m（60 ft）的片段，以滿足薩凡納歷史街區(qū)的保護(hù)原則。</p><p>　　該博物館的杰普森藝術(shù)中心大廳面向廣場，由一段弧形的石材墻面圍合，穿過大廳，可以通過寬大的樓梯通往樓上的兩層。大廳和樓梯的屋頂為采用玻璃和鋼材構(gòu)成的網(wǎng)格結(jié)構(gòu)，光線透過網(wǎng)格結(jié)構(gòu)投射到墻面和地面上，產(chǎn)生了豐富的陰影圖案。博物館的2層容納了一個20

41、0座的報告廳、辦公區(qū)、一個圖書館和若干教學(xué)用畫廊。頂層設(shè)置的畫廊用于展出臨時展覽、南方藝術(shù)、非洲－美國藝術(shù)和攝影作品。屋頂?shù)牡袼芷脚_可以從頂層的展館進(jìn)入，并且從周圍的街道可以看到雕塑平臺。建筑的外墻和主要的內(nèi)墻墻面覆以淺色的葡萄牙石灰石。鞍形屋頂所用的材料是銅。</p><p>　　TELFAIR MUSEUM OF ART, SAVANNAH, GEORGIA, USA, 2006</p><

42、;p>　　ARCHITECTS: Safdie Architects</p><p>　　The new building for the Telfair Museum of Art in Savannah is located on historic Telfair Square, diagonally across from the Telfair Academy, the oldest public

43、art museum in the South, built in 1818－1819 by architect William Jay. The site is in the heart of the Savannah Historic District, an area planned by James Oglethorpe in 1733 and defined by a grid of streets punctuated by

44、 a series of tree-shaded urban squares.</p><p>　　The building, a contemporary structure that harmonizes with Savannah's urban fabric, respects the traditional grid of the historic district. The height an

45、d mass of the museum relate to the surrounding structures. The glazed facade on York Street engages tree-lined Telfair Square and is formed by two white architectural concrete "screens" framing glass walls, whi

46、ch break up the 37-metre-wide (120-foot) frontage into bays of less than 18 meters (60 feet), as required by the Historic Savannah guide</p><p>　　The foyer of the Jepson Center for the Arts faces the square

47、and is enclosed by a curved stonewall, through which a grand stair rises to the two upper levels. The foyer and grand stair are roofed by a trellised glass-and-steel structure, which casts a rich pattern of shadows on th

48、e walls and floors. The second floor contains a 200-seat auditorium, offices, a library and educational galleries. The top floor is devoted to galleries for temporary exhibitions, Southern art, African-American art and &

49、lt;/p><p>　　古根海姆博物館，東京，日本</p><p>　　建筑設(shè)計：讓·努維爾工作室</p><p><b>　　人工/自然</b></p><p>　　“人工—自然”這一范式是日本文化中最主要的原則之一，也是日本園林的精髓。諸如這些概念：對現(xiàn)在的崇拜……，對飛逝瞬間的表露……，對時間流逝的覺悟……，

50、對季節(jié)交替的感懷……， “自然”成為東京的城市化中具有積極作用的對應(yīng)要素。庭園是特權(quán)階級、城市顯貴們的場所（如帝國公園、神寺園林）。</p><p>　　在日本，人們在各種尺度、或舒緩或高峻的地勢中，都能發(fā)現(xiàn)自然。日本文化一向認(rèn)為，房子不能建在山上，因而就有了“人工—自然”這一權(quán)宜之計：因為在東京這樣的城市混雜環(huán)境下，自然難以存在， “人工—自然”勢必成為不可替代的選擇。最好的例子就是臺場地區(qū)。對于臨時性的東京古

51、根海姆博物館來說，特別需要一個絕佳的環(huán)境，一個能與日本式的世界和藝術(shù)的世界保持一致的特性。這里的環(huán)境既包含了差異、區(qū)隔，也有持久的相互關(guān)聯(lián)。臨時性的東京古根海姆博物館在這里成為具有多種含義和啟示的“建筑—自然”， 既有日本式的自然，又有日本式的人工，比如，以地形起伏表示自然……，以樹木傳達(dá)對瞬息的表露，櫻桃樹、紅楓樹……，以火山為象征……，以山峰作為沉思之所和神圣之地，等等。使人們聯(lián)想到富士山、金字塔和它埋葬的寶物，等等。</p&

52、gt;<p>　　在人工地形的起伏下——暗指自然的輪廓——以堅實的鋼結(jié)構(gòu)建造的臨時性的東京古根海姆博物館創(chuàng)造出寬闊的空間。透過水平的大窗，人們可以看到港口的水面和海灣，還有無以計數(shù)的樹木。</p><p>　　蜿蜒的小路引領(lǐng)參觀者來到一個火山口狀的餐廳，周圍滿是櫻桃樹和楓樹。</p><p>　　臨時性的東京古根海姆博物館是一座小山，一座展現(xiàn)季節(jié)更替的小山：春季粉白的櫻花綻放

53、，夏季綠樹成蔭，秋季艷麗，冬季灰暗。一個高聳的桅桿像圖騰柱一樣支撐著3幅緩慢變化的大型圖畫，也標(biāo)示了博物館將成為引人入勝的、神秘而誘人的場所，它將成為東京新文化生活的標(biāo)志。</p><p>　　GUGGENHEIM MUSEUM, TOKYO, JAPAN</p><p>　　ARCHITECTS: Ateliers Jean Nouvel</p><p>　　Ar

54、tifice /Nature</p><p>　　The paradigm artifice－nature is one of the most basic principles of Japanese culture and essence of the Japanese garden, surmising such notions as: the cult of the present... the reve

55、lation of the fleeting instant... the consciousness of the passing time... the emotions of the seasons... nature as positive counterpoint to the urbanisation of Tokyo. The gardens are the places of privilege, the nobilit

56、y of the city (Imperial parks, temple gardens).</p><p>　　In Japan nature is to be found in all dimensions and in topographies of low and high relief. In Japan, where it is reputed that it is not possible to

57、build on the hills, artifice and nature are chosen as an alternative strategy:an indispensable alternative because it is so difficult to exist in the urban collage of Tokyo. A perfect example is the Odaiba neighbourhood.

58、 For the Temporary Guggenheim of Tokyo an exceptional status is necessary,a particularity in keeping with the world of the Japanes</p><p>　　Beneath an artificial topographical relief－alluding to natural silh

59、ouettes－the Temporary</p><p>　　Guggenheim of Tokyo creates large spaces constructed as a solid steel infrastructure. Through a large horizontal window opening one can see the water of the port and bay and a

60、profuse number of trees.</p><p>　　A sinuous walk takes the visitor into a crater-restaurant overtaken by cherry and maple trees.</p><p>　　The Temporary Guggenheim of Tokyo is the little hill, th

61、e hill of seasons: cherry blossom white-pink in the springtime, tender green in the summer, flamboyant in autumn and grey as bark in winter. A large totemic mast supporting three large, lit and slowly turning images also