工業(yè)設計專業(yè)英語外文翻譯

1、<p><b>　　外文原文：</b></p><p>　　Robert Adam’s Achievements in architectural design</p><p>　　Robert Adam, (born July 3, 1728, Kirkcaldy, Fife, Scot.—died March 3, 1792, London, Eng.)

2、, Scottish architect and designer who, with his brother James (1730–94), transformed Palladian Neoclassicism in England into the airy, light, elegant style that bears their name. His major architectural works include pub

3、lic buildings (especially in London), and his designs were used for the interiors of such country mansions as Syon House (1762–69) in Middlesex (now in Hounslow, London).</p><p>　　Early life</p><p

4、>　　Robert was the second son of William Adam, the foremost Scottish architect of his time. William, who as master mason to the Board of Ordnance in North Britain supervised the design of military buildings, also desig

5、ned numerous country houses in a conservative Palladian style—the modified classic Roman style that was originally developed by the 16th-century architect Andrea Palladio. The Adam children grew up in the cultured atmosp

6、here of a propertied and well-connected 18th-century family. Short</p><p>　　William Adam died in 1748, and his Board of Ordnance post passed to his eldest son, John, who took Robert into partnership. In the

7、succeeding few years both benefited from the lucrative contracts that resulted from the appointment. Besides building Fort George in the Moray Firth near Inverness, the Adam brothers also were engaged to complete the int

8、erior of the earl of Hopetoun’s house. In their interiors the brothers introduced into Scotland a new, lighter, almost Rococo style of decoration. Th</p><p>　　European influences</p><p>　　In 175

9、4 Robert Adam, who by then considered himself to be worth £5,000, was invited to accompany the Honourable Charles Hope, the earl of Hopetoun’s younger brother, to Italy. He thus had the opportunity to realize the dr

10、eam he had been saving for since his father’s death, and, just as important, he had the social advantages of traveling with the brother of an earl. He was as much concerned with meeting young noblemen abroad as with acqu

11、iring more architectural knowledge from a study of the monu</p><p>　　He met Hope in Brussels, and they proceeded to Paris, where Adam fitted himself out in the latest fashions and set out to “l(fā)ay in a stock

12、of good acquaintance that may be of use to me hereafter.” After fewer than three weeks in Paris, they set off for Italy via the south of France, visiting en route the ancient Roman sites of Arles, Nîmes, the Pont du

13、 Gard, and Montpellier. They reached Genoa early in January 1755 and proceeded to Florence via Livorno. Arriving at the end of the month, they were</p><p>　　While in Florence, Adam met a man who was to have

14、an important professional influence upon him. This was the talented young French architect and draftsman Charles-Louis Clérisseau, who agreed to accompany him as instructor and draftsman on the tour. Clérisseau

15、 had been a student at the French Academy in Rome, but he left in 1754 after a dispute with its director. As a result of his friendship with Clérisseau, Adam came into contact with avant-garde architectural theory i

16、n Rome. He wrote:</p><p>　　I hope to have my ideas greatly enlarged and my taste formed upon the solid foundation of genuine antiquity.</p><p>　　Clérisseau agreed to</p><p>　　s

17、erve [him] as an antiquarian…teach [him] perspective and drawing…[and] give [him] copies of all [Clérisseau’s] studies of the antique, bas-reliefs and other ornaments.</p><p>　　Adam left Florence in Feb

18、ruary 1755 and traveled to Rome, where he had to choose whether to devote himself to elegant society or to architecture:</p><p>　　If I am known in Rome to be an architect, if I am seen drawing or with a penc

19、il in my hand, I cannot enter into genteel company who will not admit an artist or, if they do admit him, will very probably rub affronts on him in order to prevent his appearing at their card-playing, balls and concerts

20、.</p><p>　　He had to decide:</p><p>　　Shall I lose Hope and my introduction to the great, or shall I lose Clérisseau and my taste for the grand?</p><p>　　He quarreled with Hope

21、, and the two separated. Taking rooms for himself and Clérisseau, Adam settled down to serious study, visiting, sketching, and measuring the monuments of antiquity. Among the important figures he met in Rome were th

22、e art collector Cardinal Giuseppe Albani and the engraver Giambattista Piranesi, who dedicated to him his plan of ancient Rome in his book Il Campo Marzio (1762), which contained an engraved portrait of Adam.</p>

23、<p>　　In May 1757 Adam and Clérisseau left Rome and traveled to Dalmatia via Venice to visit the ruins of Diocletian’s palace at Spalato (modern Split, Croatia). Adam felt he</p><p>　　could not hel

24、p considering my knowledge of Architecture as imperfect, unless I should be able to add the observation of a private edifice of the Ancients to my study of their public works.</p><p>　　They spent five weeks

25、at Spalato, preparing the drawings that were to be published in 1764 as Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia.</p><p>　　The Adam style</p><p>　　Having nearly exha

26、usted his money and anxious to return to England, Adam had to forgo the pleasures of further expeditions to Greece and Egypt. He returned to London in January 1758, his head full of details of Roman antiquities. Palladia

27、nism was losing its appeal, and the public was ready for a new architectural style. Adam lost no time in making his reputation, and by the mid-1760s he had, with the help of his younger brother James, who joined him in L

28、ondon in 1763, created and fully developed</p><p>　　Adam’s first important work in London was the Admiralty Screen (c. 1760). Through the influence of John Stuart, 3rd earl of Bute, a friend of King George I

29、II, he was appointed architect of the King’s Works in November 1761 along with William Chambers, his principal architectural rival. By the early 1760s he had many domestic commissions; almost without exception these cons

30、isted of the completion or redecoration of earlier houses. It was ironic that, despite his fame and ability, Adam was rarely </p><p>　　The first Adam interiors at Hatchlands (1758–61), Surrey, and Shardeloes

31、 (1759–61), Buckinghamshire, were still near-Palladian, but by 1761 his mature style was developing. Commissions from this time include Harewood House, Yorkshire; Croome Court, Worcestershire; Kedleston Hall, Derbyshire;

32、 Bowood House, Wiltshire; and Osterley Park, Middlesex (now in Hounslow, London).</p><p>　　In 1762 he was employed to redesign the interior of Syon House. Adam produced an important plan that proposed fillin

33、g an old centre court with a vast, domed, pantheon-like hall; it was not executed, however. The entrance hall of Syon, based on a basilica—a rectangular building divided into three areas by two rows of columns—with its h

34、alf-domed ends, is one of the most significant Neoclassical interiors in England. Other houses from this early phase include Adam’s first completely new house, Mers</p><p>　　The south front of Kedleston Hall

35、 (1757–59) provides an example of Adam’s exterior treatment. His theme of a triumphal arch as the exterior expression of the domed interior hall is the first use of this particular Roman form in domestic architecture. Th

36、e double portico (an open space created by a roof held up by columns) at Osterley Park, derived from the Portico of Octavia, Rome, is a similar Neoclassical motif.</p><p>　　In 1768 Robert and James Adam leas

37、ed a site on the River Thames for a speculative development to be known as the Adelphi (it was almost totally destroyed in 1936). They invested a large sum on embanking the site and building several terraces of houses (1

38、768–72) in which the Adam interior style of slim pilasters supporting a shallow frieze and cornice—the middle and uppermost sections of an entablature—was brought outdoors. It was, however, a financial disaster. In 1773

39、they again speculated unsu</p><p>　　The Adams built three major London houses in the 1770s, which were superb examples of their mature style—Wynn House (1772–74), No. 20, St. James’s Square, for Sir Watkin W

40、illiams-Wynn; Home House (1775–77), No. 20, Portman Square, for the countess of Home (the original site of the Courtauld Institute of Art [see Courtauld Institute Galleries]); and Derby House (1773–74; demolished 1862) i

41、n Grosvenor Square for the 12th earl of Derby.</p><p>　　In 1773–79 they published The Works in Architecture of Robert and James Adamin two volumes. A third was published posthumously in 1822. In the preface

42、to the first volume they explain their idea of “movement,” an essential aspect of the Adam style:</p><p>　　Movement is meant to express, the rise and fall, the advance and recess, with other diversity of for

43、m, in the different parts of a building, so as to add greatly to the picturesque of the composition.</p><p>　　By 1780 Robert Adam’s popularity was beginning to decline, and Horace Walpole, after visiting the

44、 architect Henry Holland’s new Carlton House, wrote, “How sick one shall be, after this chaste palace, of Mr. Adam’s gingerbread and sippets of embroidery.”</p><p>　　Furniture design</p><p>　　As

45、 a designer of furniture, too, Adam played a leading role and was prolific, turning his hand to everything from organ cases and sedan chairs to saltcellars and door fittings. The furniture style he evolved, popularized b

46、y the cabinetmaker George Hepplewhite, was always meant to harmonize with the rest of the home. It is one of the outstanding features of an Adam interior that everything, even the smallest detail, was part of the unified

47、 scheme created by the architect.</p><p><b>　　中文翻譯：</b></p><p>　　羅伯特亞當在建筑設計上的成就</p><p>　　羅伯特·亞當，（出生于1728 年7月 3 日，蘇格蘭— — 于 1792 年 3 月 3 日在英國倫敦去世），蘇格蘭的建筑師和設計師，與他的兄弟詹姆

48、士 （1730–1794），將英國的帕拉新古典主義變成輕快、 清淡、 優(yōu)雅風格而一舉成名。他主要的建筑作品包括公共建筑 （尤其是在倫敦），他的設計用來作為賽恩世家(1762–1769)這類國家大廈的內部建筑（現在的倫敦豪恩斯洛）。</p><p><b>　　早期的生活</b></p><p>　　羅伯特是威廉·亞當的次子，他是當時蘇格蘭最重要的建筑家之一。

49、作為石匠大師威廉在英國北部的董事會監(jiān)督軍事建筑，同時還為眾多國家設計了帕拉弟奧建筑風格的房子 — —修改提升了最初由16 世紀建筑師安德烈亞帕蘭朵發(fā)展起來的經典羅馬樣式風格。亞當家族兒童生長在具有資產階級和人脈的18 世紀家庭氛圍中。羅伯特出生后不久，全家遷到愛丁堡，在六歲時他進入愛丁堡高中。1743年他就讀在當地小鎮(zhèn)的大學 (現在的愛丁堡大學），但 1745年他放棄了他的研究并于次年在他父親的辦公室當其學徒兼助理。</p>

50、<p>　　威廉·亞當死于1748年，他將董事會軍械職位傳給了他的大兒子，約翰，后來與羅伯特建立合伙關系。在隨后的幾年利潤豐厚的合同都得益于該任命。除了設計在馬里灣附近因弗內斯堡喬治的建筑，亞當兄弟還被聘請完成霍普頓伯爵的房子的內部設計。在該建筑內部這對兄弟引入了蘇格蘭全新的、 更輕盈的、近乎洛可可風格的裝飾。這些年來其他重要的私人委員會是鄧弗里斯艾爾希爾伯爵的鄧弗里斯樓。</p><p>

51、;<b>　　歐洲的影響</b></p><p>　　1754年，羅伯特·亞當在當時認為自己身價5,000英鎊，應邀陪同議員，霍普頓伯爵的弟弟查爾斯霍普到意大利。他因此有機會實現他父親生前留下的愿望，同樣重要的是，他擁有和伯爵兄弟一起旅行的社會優(yōu)勢。他非常關注與會面一些國外年輕貴族以獲取更多研究羅馬古物古跡的建筑知識。在那些年里，亞當曾寫信給他的家人顯示他在國外仍是一個瘋狂的雄心勃

52、勃的年輕人，也是傲慢的自豪的社會登山者，更是一個專注的藝術家。</p><p>　　他在布魯塞爾會見了霍普，他們計劃前往巴黎，在那里亞當布置最新的時尚，著手“物色一個潛力股，此后可能會使用的”。過去不到三個星期，他們動身前往意大利南部的法國，途中拜訪了阿爾、 學子、 蓬迪加爾和蒙彼利埃古羅馬遺址。他們在1755年到達了熱那亞并通過利沃諾前往佛羅倫薩。在月末來臨的時候，他們立即陷入了亞當曾希望出現的社會漩渦。<

53、;/p><p>　　而在佛羅倫薩，亞當遇到了一個對他有重要影響的人，他叫查爾斯·路易Clérisseau。這是位極有天賦的年輕法國建筑師和繪圖員，他同意成為亞當的教練和繪圖專員巡回演出。Clérisseau 曾是羅馬法蘭西學院的學生，但他在與其主任發(fā)生爭執(zhí)后于1754年離開。因為亞當與Clérisseau 的友誼，使得亞當接觸當時在羅馬非常前衛(wèi)的建筑理論。他寫道：</p&

54、gt;<p>　　“我希望能大大擴大我的想法和口味，形成對遠古建筑真正理解的堅實基礎?！?lt;/p><p>　　亞當在1755年2月離開佛羅倫薩前往羅馬，在那里他不得不選擇是獻身于高雅的社會還是建筑學，他說：</p><p>　　“如果在羅馬我是名建筑師，如果我被大家看見畫板或鉛筆在我的手里，我不能進文雅的公司成為藝術家；如果就算我能進去，我的藝術家身份也不能被承認；如果他們不

55、承認他，那很可能公司連打牌、 打球或者參加音樂會都會加以干涉?！?lt;/p><p><b>　　他不得不決定：</b></p><p>　　“我是放棄Hope和完美的自我介紹還是放棄 Clérisseau 和自己盛大的追求呢？”</p><p>　　他與Hope爭吵起來，然后兩人分離了。他為自己和 Clérisseau騰出空間

56、，亞當靜下心來認真研究、 參觀、 寫生，以及測量研究古物古跡。在羅馬舉行會談時，當中重要的人物——藝術收藏家朱塞佩 · 阿爾瓦尼和雕刻師詹巴蒂斯塔皮拉內西，他們獻給他的計劃是寫在古羅馬的書《Il Campo Marzio》 (1762 年)，其中載有亞當的雕刻肖像。</p><p>　　1757年5月，亞當和 Clérisseau 離開羅馬并前往達爾馬提亞，途中他們拜訪了威尼斯斯普立 (克羅地

57、亞的現代斯普利特)宮殿遺址。亞當不禁覺得自己的知識尚不完美，作為建筑師他應該能夠將古人的私人大廈加以觀察并將優(yōu)點添加到我們的政府公共建筑中。</p><p>　　他們在斯普立花了五個星期，為在1764 年出版的達爾馬提亞的皇帝宮殿遺址繪圖作準備。</p><p><b>　　亞當風格</b></p><p>　　亞當幾乎耗盡了他的錢和回英國的

58、欲望，不得不放棄進一步去希臘和埃及探險的樂趣。1758年1月他回到了倫敦，而他腦海中依然浮現著羅馬古物的詳細信息。他對帕拉第奧建筑主義失去興趣，并與市民一同準備好新的建筑風格。在1760中葉，亞當不失時機地打造自己的名聲，他的弟弟詹姆斯也在1763年在倫敦加入他，并在他弟弟的幫助下創(chuàng)建和充分發(fā)展了亞當風格。而后他們宣布“亞當風格為這個國家?guī)砹巳碌慕ㄖ锩?，在整個系統(tǒng)中充分發(fā)揮了有用的和高雅的藝術”。新的亮度和自由的體系結構中的古典元

59、素的使用標志著亞當風格的形成——許多建筑元素的全新組合。比如英國皇家藝術學會建筑 （1772–1774），亞當就是采用這樣的結合眾多建筑元素的建筑風格。各種因素包括：第三代伯爵的伯靈頓，理查德 · 伊爾和威廉 · 肯特這兩個建筑師；運動與活力建筑的 John Vanbrugh 先生 ；當代法國的作品，尤其是在細節(jié)、 規(guī)劃和家具設計上可以看出端倪；羅馬考古 ；以及意大利文藝復興時的裝潢，尤其是 16 世紀的幻想戎裝。亞

60、當的天分是由這些發(fā)展起來的。亞當的樣式實質上是裝飾風格，亞當也作為出色的室內設計師被大家銘記在心里。他的每個房</p><p>　　在倫敦亞當的第一個重要的作品是金鐘屏幕的設計 (大約1760年)。在喬治三世國王的朋友，約翰 · 斯圖亞特伯爵的影響下，亞當和另一位設計師威廉錢伯斯于1761年11月獲委任國王的建筑師，威廉也是亞當當時一個主要的競爭對手。1760年早期他在國內收入主要來源是傭金 ；幾乎無一

61、例外，這些包括完成的或較早的房子的裝修。具有諷刺意味的是，盡管他的名氣和能力非常顯赫，但是亞當很少呼吁建立全新的房子，這也不是他實現公共建筑的宏偉構想，直到臨死的時候這個想法仍沒改變。</p><p>　　亞當第一次在Hatchlands（1758–1761）、薩里、和Shardeloes（1759–1761），白金漢郡的內部設計還是近乎帕拉弟奧建筑風格式的，而在1761年他成熟的風格正逐漸發(fā)展起來。從這次委員會

62、賦予的設計項目包括黑爾伍德房子，約克郡，Croome法院，伍斯特郡，凱德爾斯頓大廳，德比郡，威爾特郡，Bowood 樓，Osterley公園，密德薩斯大學(現在位于倫敦Hounslow)。</p><p>　　1762年他受雇為賽昂宮重新設計室內。亞當安排了重要的計劃，提出在舊中心法院填充一個龐大的拱形大廳。然而他的計劃沒能實施。賽昂宮的入口大廳基于由兩行的列分成三個區(qū)域的矩形建筑物——其半拱的建筑風格是英國最重

63、要的新古典主義內飾的之一。其他的房子從這個早期階段包括亞當的第一個全新的房子Mersham-le-Hatch (1762–1772) ，蘭斯當房子（1762–1768），倫敦的伯克利廣場，貝德福德郡，盧頓豪建筑 (1766–1774) ；新條文大廳 (約1767–1780)， 約克郡 ，建伍房子 （1767–1768），倫敦的漢普斯蒂德（現在在卡姆登)。</p><p>　　南部前面的凱德爾斯頓大廳 (1757–

64、1759) 提供了亞當的外部造型設計的一個例子。他的凱旋門作為圓頂室內大廳的外觀表達的主題是第一次使用這種特殊的羅馬人在國內的建筑形式。源自羅馬歐雅廊下的奧斯特里莊園雙廊（由圓柱形屋頂創(chuàng)建的開放式的空間），是類似的新古典主義主題。</p><p>　　1768年羅伯特和詹姆斯 · 亞當租用了泰晤士河作為發(fā)展契機，名為阿德爾菲 （1936 年它幾乎完全被毀） 。他們的投資很大一筆資金用于擴建并建設幾個露臺

65、的房子 (1768–1772) 支持淺層圓領和屋檐的超薄壁的亞當室內風格——楣中間和最上面部分——可以被帶到戶外活動了。然而這是場金融災難。于 1773 年倫敦波特蘭廣場，他們再次猜測不成功在波特蘭的地方。在七十年代亞當斯設計了風格成熟的三個主要的倫敦房子——永利房子 （1772–1774），20號，為主席威廉斯-永利先生設計的圣詹姆斯廣場；Home House （1775–1777），20號，波特曼廣場 (爾德藝術學院的原始站點 [見

66、爾德學院畫廊]） ；以及在格羅夫納廣場的德比伯爵十二的德比房子（1773–1774 ，拆卸于1862年)。</p><p>　　在 1773年–1779年他們出版了《羅伯特和詹姆斯亞當建筑作品集》兩卷，而第三卷刊登于1822年。第一卷序言中，他們解釋他們的“運動“，亞當風格的不可或缺的想法：</p><p>　　“運動的目的是為了表達，上升和下降、 前進和停滯，與其他不同的建筑物窗體中的不

67、同，以便于大大增加風景秀麗的視野。”</p><p>　　1780年羅伯特 · 亞當的聲望開始下滑，霍勒斯 · 沃波爾在參觀了荷蘭建筑師亨利的新查爾頓的新房后，寫道，“在這里該有多不舒服，因為在這純潔的宮殿里，亞當先生那華而不實的設計風格和裝飾著容易撕破的刺繡?！?lt;/p><p><b>　　家具設計</b></p><p>