建筑專業(yè)相關(guān)英語文章

　　雄偉的建筑群矗立于黃浦江畔,蔚為大觀，這些建筑物金碧輝煌,非常壯觀。下面小編整理了建筑專業(yè)相關(guān)英語文章，希望大家喜歡!

　　建筑專業(yè)相關(guān)英語文章品析

　　ON THE BT TOWER, LONDON

　　倫敦英國電信塔

　　“What fascinates me is that in its time the BT Tower was a building that was entirely about its function as a telecommunications tower: Its purpose was its height. Now, without the satellite dishes, that purpose is redundant. It’s lost a lot of its visual and symbolic power. I was 10 when it was finished in 1965 and it was the tallest building in London for many years. It was a marker of arrival if you were coming from the north. That, in the context of London’s skyline now, is extraordinary. It was the first building with an observation deck — that way of engaging with the city was actually pioneered by the tower. It had a restaurant that wasn’t particularly expensive. High rises today are about exploiting the skyline for private gain. But Londoners are capable of being nostalgic too: We have a power station that is now a modern art gallery. I wonder if the satellites and antennae shouldn’t be reinstated to communicate its purpose as an enduring symbol of the moment in the 1960s when technology propelled Britain onto the international stage. It’s a reminder. It holds so much meaning in an elegant slender cylinder.”

　　“我覺得有意思的是，電信塔在當時純粹就是為了實現(xiàn)作為電信通訊塔的功能：它的用途是它的高度。現(xiàn)在衛(wèi)星天線已經(jīng)拆除，那個用途就不存在了。它失去了很多視覺上的力量和權(quán)力象征。1965年，這座塔完工的時候我10歲，接下來很多年里它一直是倫敦最高建筑。如果你打北邊過來，看到它就表示到倫敦了。在倫敦天際線里，這可是很不得了的。它是第一座有瞭望臺的建筑——此類接觸城市的方式其實就是這座塔開創(chuàng)的。它有一個不算特別昂貴的餐廳。今天的摩天大樓已經(jīng)把天際線的資源用于牟取私利了。但倫敦人也是能夠懷舊的：我們有一座電站，現(xiàn)在是個現(xiàn)代美術(shù)館。我在想，是不是可以把天線重新裝上，把它的用途轉(zhuǎn)換為1960年代那個瞬間的恒久象征，當時的科技將英國推向了國際舞臺。它是一個提示。這樣一個纖柔的柱體，承載著太多的意義。”

　　經(jīng)典建筑專業(yè)相關(guān)英語文章

　　ON CENTRE POMPIDOU, PARIS

　　巴黎蓬皮杜中心

　　“I admire its boldness and openness as a building that participates with — and is woven into — its city, its place, its time. It was without any respect for the environment, a cultural factory where you could observe important modern art collections, a superexpressive, very colorful, complex building. It was seen as a rejection of the neighborhood, the Marais, and of Paris itself. Paris stands for French stone and light gray rooftops and beautiful natural colors, and all of a sudden you have got this architectural machine. On the other hand, the building has this democratic purpose because it attracts how many millions every year, more than the Eiffel Tower and the Louvre. I couldn’t take my eyes off it when I was studying architecture. It reversed the typical model of a museum into something that was engaging and inviting to the public. Architecture at that time needed to do things differently, like a shock. The shock liberates a lot of emotions and perceptions.”

　　“我欽佩它的勇敢與開放，這座建筑參與——和勾織——到了它所在的城市、地點和時間中。它完全不考慮環(huán)境，它是一座文化工廠，你到這里來，是來看重要的現(xiàn)代藝術(shù)收藏的，這是一個極富表現(xiàn)力的、非常多彩而復雜的建筑。它拋棄了自己所在的‘瑪萊’區(qū)以及巴黎本身。巴黎的特征是法式的石頭和淺灰色屋頂，美麗的自然色彩，可是突然之間冒出這么一臺建筑機器。另一方面，它又有著一個民主意圖，因為它每年會吸引數(shù)百萬人前來。當年學建筑的時候，我對它很是癡迷。它推翻了典型意義上的博物館形態(tài)，建立了一種讓公眾覺得親近而誘人的模型。當時的建筑需要做一些不一樣的事情，就像一次休克。能釋放大量情感與知覺的休克。”

　　關(guān)于建筑專業(yè)相關(guān)英語文章

　　ON TEMPELHOF AIRPORT, BERLIN

　　柏林滕佩爾霍夫機場

　　“Tempelhof is one of the really great buildings of the modern age, and yet it is inevitable that it is not necessarily celebrated by everyone. Its architect, Ernst Sagebiel, studied under the Jewish master Erich Mendelsohn but later served the Nazis. It was adjacent to a concentration camp that held journalists, politicians, Jews and other so-called ‘undesirables,’ so it is redolent with all the most negative associations. Like a pendulum, it served the purposes of the fascist regime and then became a lifeline with the airlifts of 1948 and 1949 that delivered food to the people of West Berlin. The airport is full of contradictions and paradoxes. It has an austere facade, which is not so fascist, and could almost appear in Sweden. The back is a sweeping, cantilevered curve. It soars. If you were transported there and were to walk under that cantilever, you would be awestruck. The architecture is heroic, not in a pompous, empty, vacuous sense, but as engineering that really lifts the spirit. Monuments, if you trace their ancestry, can reveal disturbing things about the past. Nonetheless, they have enduring qualities which, viewed on their own merits, are perhaps an example to us.”

　　“滕佩爾霍夫是真正堪稱偉大的現(xiàn)代建筑之一，然而它注定不會得到所有人的贊美。它的建筑師恩斯特·扎格比爾(Ernst Sagebiel)曾師從猶太建筑大師埃瑞許·孟德爾松(Erich Mendelsohn)，但后來為納粹服務(wù)。它跟一個集中營緊挨著，里面關(guān)著記者、政治家、猶太人，以及其他“不可取的人”，所以一切負面的聯(lián)想它全有了。它就像一個鐘擺，先是作為法西斯政權(quán)的工具，后來在1948、49年又成了一條為西柏林人空運食物的生命線。這座機場充滿了矛盾和吊詭。它的正面十分簡樸，不太符合法西斯的風格，搬到瑞典去都沒問題。背面是一個大弧度的懸挑結(jié)構(gòu)。宛然兀立。如果你乘車來到那里，走在挑檐下，會感到敬畏。這是一座有英雄氣概的建筑，不是自命不凡、空洞、虛妄的那種，而是一種真正能提振精神的工程。去追溯它們的起源背景就會發(fā)現(xiàn)，紀念建筑能揭示過去的一些令人不安的東西。然而，它們擁有恒久的品質(zhì)，從其自身的品質(zhì)來看，也許可以給我們樹立一個典范。”