建筑学外文翻译—罗森塔尔当代艺术中心
广西科技大学
Zaha Hadid Architects 2003
Rosenthal Center for Contemporary Art
Cincinnati, Ohio USA
The Rosenthal Center for Contemporary Art is Prize-winning architect Zaha Hadid’s first building in the United States,and the first major American museum designed by a woman. It is also notable for its sophisticated interior spaces and the warm embrace of environment---all achieved for the relatively modest price of $20.5 million.—The center is not a collecting institution: It organizes and displays temporary exhibitions,installations, and performances. The institution had rented space in unceremonious locations throughout the city since its founding in 1939 as the Modern Art Society. Its new location on a prime corner in downtown Cincinnati—across the street from Cesdar Pelli’s Aronoff Center for the Arts—was a chance to increse its profile in city._Hadid wanted to draw the energy and activity of the city into the lobby and up into its galleries. To that end, she created an “urban carpet,” a concrete floor that sweeps in from the sidewalk through the lobby and folds up like a skateboarding ramp to frame the backdrop of a dramatic atrium. The skylit atrium, exending the full six-story height of building, features a kinetic, self-contained circulation spine. Ramplike stairs wrapped in steel box-beams energetically zigzag their way up through the skylit space to reach galleries on four floors._Hadid’s intent was to put everyone who uses the circulation spine in contact with all of the 87,500-square-foot(8,113-square-meter) building’s functions. The ground floor contains the lobby, reception area, and museum shop; an underground level houses a black-box performance space. The third floor and part of the fourth are given over to the museum’s offices and a staff lounge. The building’s uppermost level contains a children’s space, called the UnMuseum. The rest of the floors contain a variety of galleries-from double-height spaces to small and intimate rooms._The exterior elevations revesl the building’s interior organization. Hadid orchestrated volumes clad in precast concrete and anodized black aluminum into a dynamic massing of overlapping and intersecting blocks that stands out among Cincinnati’s staid downtown buildings. On the south facade each floor level is clearly articulated with bands of precast concrete, glass, or anodized steel. The long,striated blocks align respectfully with the cornices and floor lines of an adjacent historic building. Hadid challenged the logic of gravty by placing blocks of steel and concrete above bands of glass. On the building’s short side elevation, the exterior explodes with an energetic push-and-pull. The cantilevered ends of the individual volumes projecting begond each other and over the street create a sculptural urban bas-relief. The upward thrust
of the urban carpet is clearly visible as the concrete sidewalk moves into the ground-floor lobby and up against the adjoining building, extending up the full six stories. Hadid’s building energizes the city, as well as the art within it._Opposite:The Rosenthal Center’s east-facing Walnut Street elevation is an energetic,abstract assembly of precast concrete and black anodized steel volumes cantilevering beyond each other. The volumes appear to float above the glass-enclosed lobby at street level.
Oswald Mathias Ungers
Gallery of Contemporary Art
Hamburg, 1986—1996
A museum is really just a piece of architecture, nothing more. Nothing more? If one takes it seriously, that’s no small thing. Every building commission is public by nature. It finds its audience in an environment that is mostly urban and with which it communicates:by way of its own function, by way of the demands of the other participants in the dialogue, by way of the place and its history,and—last but not least —by way of the act of building itself.
In this regard every building commission possesses its own symbols and its own history.The museum, too, the vessel for art or other entities on show, is always something more than the bare envelope, more than a container or a black box. Certainly, one may demand that it withdraw into the background with regard to the art on exhibition. But what does this really mean? Must one really emphasize this, considering that the last ornament already disappeared decades ago from the outermost edges of the exhibition surfaces?
A museum cannot disappear either. And here the paradoxical tenet of architecture is valid as well: the more the wall as relief withdraw into the background, the more substance and structure capture the foreground. One will always perceive them,just like the proportions and the atmosphere of the space. One must recognize that it is exactly here, in the emptiness of the museum, that the building exhibits itself.Briefly put: a museum is always a museum of architecture as well. Yet it’s still a long way from being a forged work of art attempting to compete with the works on exhibit. What, then, could cause an architect to become disconcerted here?
Oswald Mathias Ungers has always worked on the most direct relationship between the envelope and its symbolism. The same design methodology that can entice countless variations from the square grid can at once appear simple, and in another moment precious:from the pragmatic convention centers for Frankfurt and Berlin to the representative residence of the German ambassador in Washington. What does this mean for the museum as such and—posed more concretely—where can the Gallery of Contemporary Art in Hamburg rightly take its place here?
On could initially take the question literally; then it points at the relationship to the core of the whole, to the old and noble Kunsthalle. The beautiful and unusual masonry building in forms from the neo—Renaissance is now over 130 years old. It was already expanded once, at the begining of this century, with the cubical and classical addition in light limestone connecting directly toward the main train station. The other
side remained for the Gallery of Contemporary Art, a long plateau with a view of the dam between the Binnenalster and Aussenalster waterways. The dreary boxes of the Kunsthaus and the Kunstverein,which had stood here since the sixties and degraded the exclusive site to the level of a service court, were able to be razed in 1992 in order to commence with construction of the gallery. Five years earlier,and one year after it won the competition.Ungers’s project was even presented at the Documenta in Kassel as the “museum in a box.” The explanatory text itself was already provocative in its lapidary self-demarcation:“As architecture,the museum is wall-space-light. The wall bounds the spaces. The flow of spaces effects the transformation between generosity and intimacy, uniformity and free form, light and dark, confinement and expanse, as well as inside and outside.The room sequence-the enfilade-is a museum.”
Ungers advanced the new Gallery of Contemporary Art up to the front row and made it the terminating element in the row of buildings bordering the water of the Binnenalster like an inner-city square. The manner in which the radiant solitary is placed in this panorama while retaining is own exclusive distance is just as precisely fine-tuned as its relationship to the Kunsthalle.
The beveled base of red Swedish granite plays with the memory of the Glockengiesserwall (bell foundry rampart) that once ran through here. The bevel belongs in equal measure to the street space as well as to the museum. Sitting on top and identical on all four sides is the cube, clad in light-colored Portuguese limestone, Joints and window divisions trace the spuare as design module on the facade while a rising window axis establishes the building midsection.
Slightly raised, the base reaches to the front of the Kunsthalle, with the artificial island rising once more and crystallizing into a connecting platform. Ian Hamilton Finaly inscribed the base-in Roman type, and in four languages-with the fist work of art: “Homeland is not a country; it is a community of feelings.” What is blowing here, then-in the heavens above us, and in the art before and behind us-is the wind of enlightenment. Although only its wind, this is not a place of assembly for fraternal convocation. Rather, it is a place of sentimental empathy for humanity, which now finds its highest expression and hope solely in art.
The seismic uplifting of the tectonic plates is a hint as well of that which iles hidden beneath. The more appropriate entrance into this underworld offers itself, then, not through the foyer in the cube, but once again through the point of departure, the Kunsthalle.
From here, Jenny Holzer’s light band draws us down the long stair to the lowermost exhibition level, into a labyrinthine and cavernous space for the exhibition of art. Despite the considerable room height, one cannot filly forget the oppressiveness and the constriction unique to both genuine and false underworlds. An enfilade would have opened a passage and a view to the cube, had Richard Serra not blocked the path with an installation titled Splashig Seeing is Believing. “Art fist!” is another disarmingly ambiguous message in this small intervention.
The black floor, made from industrial ceramic tiles, patiently cooperates even with works like this one in poured lead. Possible damages to the floor can be easily and inexpensively repaired. The floor appears at once workshop-like and then again
elegant. For this reason one will find it in (nearly) every space in which art is on exhibition while ascending through the cube.
Nonetheless, our first impression would have been much different had we chosen the stately, ground-level entrance into the gallery. Once inside, the central hall directs our view upward through all levels to the very top, where it is drawn out by a house-like skylight. Two Flights of stairs, leading upward while knowing nothing of each other, wrap themselves simultaneously around this space. Here, too, their proportions are steep and nearly sublime in nature. The exhibition spaces from a second outer circuit-white, of coures, and with the possibility of flexible division.
The light changes from floor to floor. On the ground floor, with its floor-to-ceiling fenestration, a first gallery space lies between the bistro and the auditorium. Here, Ungers already suggests that he won’t hesitate to project art into the city: art as a part of the museum once again becomes a part of the urban culture whence it arises. This is particularly evident on the second floor, where the windows reach from the floor up to half of the room height, admitting light rich in effect around the sides. Even when pure artificial light from above and skylights supplemented with artificial lighting illuminate the uppermost floor, the continuons fenestration of the middle axis always establishes contact with the outside world and with the inside world via the central hall running straight through the building. At least as long as the sensor-driven cloth sunshading remains open, the Gallery of Contemporary Art is also a compass, offering orientation and a lookout tower replete with perfect picture-postcard views.
Here in the cube the square as the unit of measurement is omnipresent, from the ground plan to the flooring and the furnishings up to the sunken lighting fixtures, including those for the emergency exits. The fire extinguishers and other installations have, like much else, disappeared into the walls. Everything is already in place in the concept. That offers quietude and the necessary concentration, without the design degenerating into meek incognizance or an unconscious collection of unrelated solutions.
If the interconnectedness with the outer world holds out to the domain of artistic self-reference that there is indeed life outside art, then it can be interpreted within the wealth and diversity of the elementary realm, that there is equally an idea of architecture that withdraws from art (and life). But only when art is in this triangulation does it, too, receive that of which it is needful: resistance and free space.
Ulrich Maximilian Sduimann
扎哈·哈迪德建筑师事务所2003年
罗森塔尔当代艺术中心
美国俄亥俄州辛辛那提
罗森塔尔当代艺术中心是获普利兹奖建筑师扎哈哈迪德在美国设计的第一个建筑物。同时这个艺术中心也是由女性设计的美国的第一大博物馆。它那复杂的内部空间和如温暖怀抱般的环境也是其显着的特点---建造以上的空间效果花费了2050万美元，是比较适中的。中心不是一个收纳的结构：它被用来组织和展示临时展览、安装、表演。在1939年，这结构作为现代艺术社会的有机部分已近在各地市甚至是在整个城市施行了。其坐落在一个极重要的位置，在辛辛那提市中心的街对面的cesdar地标辛辛纳提阿诺夫艺术中心，这是一个增加其在城市中的外轮廓线的绝佳机会。哈迪德想把这个城市的能量和活力带到主门厅，同时将其纳入它的画廊。为此，她创造了一个“城市地毯”，混凝土地板，从人行道上横铺通过大厅，就像一个滑板斜坡框架下一个戏剧性的中庭。天窗的中庭足足有六层高，高度动态特性，独立的循环脊柱。楼梯用钢铁材料箱梁大力曲折的通过有天窗的空间达到画廊四层。哈迪德希望把每个使用循环脊柱的人接触所有的87500平方英尺(8113平方米)的功能。一楼包含大厅,接待区,和博物馆商店,是一个黑盒子般的地下水平空间。第三层和第四的一部分已经变成了博物馆的办公室和员工休息室。建筑的最顶层包含一个孩子们的空间,称为非博物馆空间。其余的各层含有多种画廊，从两层高的空间到小亲密的房间，应有尽有。建筑的外部高度决定了建筑物的内部组织。哈迪德精心设计使卷穿着预制混凝土和阳极氧化黑色铝成动态的重叠和交叉块集结在辛辛那提市中心的建筑。在南立面每层水平面清晰的使用条形的的预制混凝土,玻璃,钢铁或阳极化处理。外立面装饰上那些长条型的，有条纹的，块状的檐板和地板线，以谦卑的姿态尊重相邻的历史建筑。哈迪德挑战地心引力的逻辑将一块块的钢铁和混凝土块挂在玻璃上。建筑的侧视图,外部爆炸能量推拉。能投射华瑞东方的独特悬臂结构,如在大街上创建一个城市浅浮雕雕塑。城市地毯是清晰可见的向上推力，随着混凝土人行道向楼下大堂和与延长了六层楼高的相邻建筑。哈迪德的建筑让城市充满活力并能将艺术很好的融入其中。相反：罗森塔尔中心的东向的胡桃街立面是一个有重量的,抽象的预制混凝土装配和黑色阳极氧化钢体块，体块似乎漂浮在玻璃幕墙上，其正努力地展示在街道上。
奥斯瓦尔德·玛蒂亚斯·翁格尔斯
当代艺术画廊
汉堡,1986 - 1996
博物馆只是一种建筑类型，仅此而已。仅此而已吗？如果一个人重视它,这不是一件小事。每一个建筑委员会的本质都是公共性的。它的观众在主要是城市环境中的人们，人们与建筑沟通的方式：通过自身的行为活动,通过在这个对话中其他参与者的需求,通过及有历史的地方，最后是通过建筑本身的行为方式。
在这方面每个建筑委员会拥有自己的符号和它自己的历史。博物馆建筑也亦然，艺术器皿或其他展览的物体,总是超过裸露的外表皮，超过一个容器或一个黑盒子。当然,你可以要求它脱离艺术展览主题的。但这真的含义是什么呢?有人也许正在强调这一点：考虑到最后的装饰已经在几十年前从展览的最外层边缘表面消失了?
博物馆不能消失。这里建筑矛盾的原则是有效的，即越来越多作为结构支撑的墙体退出到历史舞台,更多的物质和结构的构件被展露出来。他们总是珍视如比例和空间的环境。人们必须认识到,正是在这里,在空旷的博物馆,建筑展品本身。简要地说:一个博物馆确实是一个博物馆的建筑。但它从一个构想中的艺术作品到在展览上完成并展出，仍然是一个很长的过程。那么,怎么可能不让建筑师惊慌呢？
奥斯瓦尔德·玛蒂亚斯·翁格尔斯一直致力于研究最直接的表皮与象征意义之间的关系。相同的设计方法即通过方格网只是出现简单的排列或复杂的排列，可以得到数不清的结果:从法兰克福和柏林的务实的会议中心代表德国驻华盛顿大使。这对于博物馆意味着什么？更具体的说是要如何将当代艺术画廊放在正确的位置呢？
对于古老而高贵的Kunsthalle,从最初的把问题文字化到后来指出全面关系的核心问题，这座美丽而不同寻常的砌体建筑其形式从安顿下来到现在已经有130多年的历史了。在本世纪初它已经进行了扩建,扩建物为光亮的石灰石连接的古典的立方体并直接与主要的火车站链接。另一边仍然是当代艺术画廊,坐落于内阿尔特湖与外阿尔特湖之间的水路间的大坝的一片很长的高原。自六十年代和退化的专属网站服务区时期就存在的沉闷的艺术博物馆和艺术协会,能够在1992年被夷为平地是为了开始建设画廊。五年前,其在一年后赢得了竞争。翁格尔斯的项目甚至提出了卡塞尔文献展，使“博物馆在盒子里”。在他固执的自我界定中解说性文字本身已具有挑战性，作为建筑，博物馆集合了墙体、空间和光线。墙边界围合的空间。空间的流动影响疏远和亲密之间的转换,均匀性和自由的形式,光明与黑暗,监禁和广阔,以及内部和外部。每一个房间的相对成列构成了这个博物馆。
翁格尔斯建议新当代艺术画廊的前方延伸并终止在接壤内阿尔斯特湖的一排建筑上，使其像一个市中心的广场。这种独立的个体辐射状平面使建筑既被放置在整个环境中而又保留自己的专属距离的方式正如被精确地调整，正如它与美术馆的关系。
瑞典红色花岗岩坡基地玩Glockengiesserwall的内存(贝尔铸造rampart)曾经到过这里。同等程度的斜角所属街道空间以及博物馆。坐在顶部和相同的所有四个面是多维数据集,穿着浅色的葡萄牙石灰石、关节和窗口部门跟踪空间设计模块的外观而崛起的窗口轴建立建筑中部。
稍微提高了,底部基本达到美术馆前,人工岛屿再次上升,结晶成连接平台。园林设计师Ian Hamilton Finaly创造了一个同时被翻译成四国语言的文学品:“国土不是一个国家,它是一个社区的感情。“是什么在这里吹,接着——在诸天之上,和艺术前后的启蒙之风。尽管只有风,这不是一个兄弟召开大会的地方。相反,它是
前发现的最高表现形式的人类情感的共鸣的场所，希望仅仅在艺术范畴中。
地震构造板块的抬升是一个提示如同有导弹隐藏在下面。有更合适的机会进入这个地下世界提供本身,那么,不是通过多维数据集的大厅,但再次通过起点,是美术馆。
从这里,珍妮霍尔泽的灯光带将我们走过长长的楼梯展览的最低处,到一个迷宫般的和巨大的空间艺术的展览。尽管有相当大的空间高度,一个人不能完全忘记压迫和收缩独特的真实和虚假的地下空间。成行排列会打开一个通道,一个立方体视图,理查德塞拉没有封锁道路并一个安装名为Splashig眼见为实。先“艺术!”另一个人模糊的消息在这个小的干预。
由工业瓷砖拼砌的黑色的地板上,甚至耐心配合这浇铅这样的作品。可能损害到地板上可以简单和廉价地修复。地板上出现一次修整然后又回复原来的美丽了。因此你将发现(几乎)所有空间艺术是通过多维数据集展览而提升的。
尽管如此,我们的第一印象会与我们选择了庄严的大不相同,地面进入画廊。一旦进入,中央大厅向上指导我们的观点通过各级顶端,形状由一个小天窗。两层楼梯,向上而一无所知的方向,同时在这个空间包裹自己。在这方面,他们的比例是陡峭,几乎在自然界中升华。当然，有第二个向外围绕的展览空间,而且尽可能灵活的部分。
光线的变化从地板到地板上。在一楼,从地板到天花板的开窗法,使第一个画廊空间在小酒馆和礼堂之间。翁格尔斯已经表明,他会毫不犹豫地将项目的艺术带进到城市:随着它的出现，艺术博物馆的一部分再次成为城市文化的一部分。这在二楼尤其明显,窗户可以从地板房间的一半高度,周围光线吸收丰富的效果。即使从上面纯人造光和天窗补充人工照明照亮的地板上,中间的轴的开窗总是建立与外部世界的联系和内部世界通过连续运行的中央大厅。至少只要基于传感器的布光影仍然开放,当代艺术画廊也是一个罗盘,提供方向和瞭望塔充满完美建筑的观点。
以多维数据集广场作为计量单位的应用是无处不在,从地面设计地板和家具的照明灯具,包括紧急出口。灭火器和其他设许多施，消失在墙壁。一切都已经在这一概念中实施。提供安静和必要的集中,没有设计为流畅不知觉升级或无意识的不相关的解决方案。
如果互联性与外部世界是向艺术领域的自我指涉,外面的确是生活的艺术,那么它可以解释在财富和多样性的基本领域,有同样的架构,撤回从艺术(的生活)。但只有当艺术是在这个三角关系内测量它是必要的:即阻力和自由空间。
乌尔里希马·克西米利安·斯多曼
建筑类外文文献及中文翻译
forced concrete structure reinforced with an overviewRein Since the reform and opening up, with the national economy's rapid and sustained development of a reinforced concrete structure built, reinforced with the development of technology has been great. Therefore, to promote the use of advanced technology reinforced connecting to improve project quality and speed up the pace of construction, improve labor productivity, reduce costs, and is of great significance. Reinforced steel bars connecting technologies can be divided into two broad categories linking welding machinery and steel. There are six types of welding steel welding methods, and some apply to the prefabricated plant, and some apply to the construction site, some of both apply. There are three types of machinery commonly used reinforcement linking method primarily applicable to the construction site. Ways has its own characteristics and different application, and in the continuous development and improvement. In actual production, should be based on specific conditions of work, working environment and technical requirements, the choice of suitable methods to achieve the best overall efficiency. 1、steel mechanical link 1.1 radial squeeze link Will be a steel sleeve in two sets to the highly-reinforced Department with superhigh pressure hydraulic equipment (squeeze tongs) along steel sleeve radial squeeze steel casing, in squeezing out tongs squeeze pressure role of a steel sleeve plasticity deformation closely integrated with reinforced through reinforced steel sleeve and Wang Liang's Position will be two solid steel bars linked Characteristic: Connect intensity to be high, performance reliable, can bear high stress draw and pigeonhole the load and tired load repeatedly.
建筑学毕业专业外文翻译文献doc资料
本科毕业设计（外文翻译） 题目居住区交往空间规划与设计 院（系部）xxx学院 专业名称xx 年级班级xx 学生姓名xx 指导教师xx xx 年xx 月x 日 Planning and Design of Association Space of residential District
Xia dong liang 【Abstract】:The association space refers to the indoor and outdoor space for communication between residents.The article presents an overall discussion of the necessity，hierarchy and functionality of association space,with a wish to create positive and healthy association atmosphere and stimulate good communication among residents so that the residential area can become a homeland full of love and harmony． 【Keyword】:residential area；association space；necessity；hierarchy；Functionality 【Foreword】：As the housing system reform and the rapid development of real estate, urban residential areas large urban settlements have emerged on the layout of residential buildings, public buildings, public green space, life and living facilities such as roads, to provide urban residents live in the community and The establishment, is an integral part of the city. Exchanges between the living room area residents is to communicate and exchange of indoor and outdoor space. At this stage, people's living standards greatly improved the living environment of continuous improvement district. Developers should not only focus on residential construction and the reasonable comfort, paying greater attention to the construction of residential environment. However, the current environment in the construction of residential areas, they are often the natural ecology of greening the environment is much more to consider, and the promotion of exchanges between the residents of the space environment to consider less, environmental construction can not meet the occupants of the psychological characteristics and needs. From the basic physiological needs gradually to meet the psychological and cultural fields of promoting a higher level, the residential area is not only the function of living, but also people's thinking and feelings of the local exchange. Therefore, the strengthening of exchanges between the residential areas of space construction, increase residential neighbourhood affinity, should be developed in the planning and construction of residential areas should also consider the issue. How to conduct exchanges between the residential areas of space planning and design, improve people's quality of life, the author of his own real estate development
工程管理专业毕业设计外文翻译(外文+翻译)
Study on Project Cost Control of Construction Enterprises By: R. Max Wideman Abstract With the increasing maturity of construction market, the competition between construction enterprises is becoming fierce. The project profit is gradually decreasing. It demands that all construction enterprises enhance their cost control, lower costs, improve management efficiency and gain maximal profits. This paper analyses the existing problems on project cost control of Chinese construction enterprises, and proposes some suggestions to improve project cost control system. Key Words ：Construction enterprises, Project management, Cost control After joining the WTO, with Chinese construction market becoming integrated, the competition among architectural enterprises is turning more intense. Construction enterprises must continually enhance the overall competitiveness if they want to develop further at home and abroad construction market. Construction Enterprises basically adopt the "project management-centered" model, therefore, it is particularly important to strengthen project cost control. 1.The Current Domestic Project Cost Classification and Control Methods Cost refers to the consumption from producing and selling of certain products, with the performance of various monetary standing for materialized labor and labor-consuming. Direct and indirect costs constitute the total cost, also known as production cost or manufacturing cost. Enterprise product cost is the comprehensive indicator to measure enterprise quality of all aspects. It is not only the fund compensation scale, but also the basis to examine the implementation of cost plan. Besides, it can provide reference for product pricing According to the above-mentioned definition and current domestic cost classification, construction project cost can be divided into direct costs and indirect costs. Direct costs include material cost, personnel cost, construction machinery cost, material transportation cost, temporarily facility cost, engineering cost and other direct cost. Indirect costs mainly result from project management and company's cost-sharing, covering project operating costs (covering the commission of foreign projects), project's management costs (including exchange losses of
建筑学专业毕业设计方案外文翻译二44
毕业设计英文资料翻译 Tran slati on ofthe En glish Docume nts for Graduati on Desig n 课题名称_____________________________________ 院< 系）_____________________________________ 专业 _____________________________________ 姓名 _____________________________________ 学号 _____________________________________ 起讫日期 _____________________________________ 指导教师 _____________________________________ 2018 年2月25日 原文: Abstract：Gree n buildi ng refers to do its best to maximize con servati on of resources (en ergy, land, water, and wood> , protecti ng the environment and reduce polluti on in its life cycle. Provide people with healthy, appropriate and efficient use of space, and nature in harmony symbiosis buildings. Idescribed more details of green building design ' notion, green building ' design, as well as the sig ni fica nee of the con
土木工程专业外文文献及翻译
（ 二 〇 一 二 年 六 月 外文文献及翻译 题 目： About Buiding on the Structure Design 学生姓名： 学 院：土木工程学院 系 别：建筑工程系 专 业：土木工程(建筑工程方向) 班 级：土木08-4班 指导教师：
英文原文： Building construction concrete crack of prevention and processing Abstract The crack problem of concrete is a widespread existence but again difficult in solve of engineering actual problem, this text carried on a study analysis to a little bit familiar crack problem in the concrete engineering, and aim at concrete the circumstance put forward some prevention, processing measure. Keyword:Concrete crack prevention processing Foreword Concrete's ising 1 kind is anticipate by the freestone bone, cement, water and other mixture but formation of the in addition material of quality brittleness not and all material.Because the concrete construction transform with oneself, control etc. a series problem, harden model of in the concrete existence numerous tiny hole, spirit cave and tiny crack, is exactly because these beginning start blemish of existence just make the concrete present one some not and all the characteristic of quality.The tiny crack is a kind of harmless crack and accept concrete heavy, defend Shen and a little bit other use function not a creation to endanger.But after the concrete be subjected to lotus carry, difference in temperature etc. function, tiny crack would continuously of expand with connect, end formation we can see without the
建筑学 外文翻译 外文文献 英文文献 绿色建筑
原文： DOCTORAL FORUM NA TIONAL JOURNAL FOR PUBLISHING AND MENTORING DOCTORAL STUDENT RESEARCH VOLUME 7, NUMBER 1, 2010 Green buildings Priscilla D. Johnson PhD Student in Educational Leadership Whitlowe R. Green College of Education Prairie View A&M University Prairie View, Texas William Allan Kritsonis, PhD Professor and Faculty Mentor PhD Program in Educational Leadership Whitlowe R. Green College of Education Prairie View A&M University Member of the Texas A&M University System Prairie View, Texas Hall of Honor (2008) William H. Parker Leadership Academy, Graduate School Prairie View A&M University Member of the Texas A&M University System Prairie View, Texas Visiting Lecturer (2005) Oxford Round Table University of Oxford Oxford, England Distinguished Alumnus (2004) College of Education and Professional Studies Central Washington University Ellensberg, Washington Abstract: Green building refers to do its best to maximize conservation of resources (energy, land, water, and wood)，protecting the environment and reduce pollution in its life cycle. Provide people with healthy, appropriate and efficient use of space, and nature in harmony symbiosis buildings. I described more details of green building design’notion, green building’design, as well as the significance of the concept of green building and improve the effectiveness analysis of
建筑-外文翻译
外文文献： Risk Analysis of the International Construction Project By: Paul Stanford Kupakuwana Cost Engineering Vol. 51/No. 9 September 2009 ABSTRACT This analysis used a case study methodology to analyse the issues surrounding the partial collapse of the roof of a building housing the headquarters of the Standards Association of Zimbabwe (SAZ). In particular, it examined the prior roles played by the team of construction professionals. The analysis revealed that the SAZ’s traditional construction project was generally characterized by high risk. There was a clear indication of the failure of a contractor and architects in preventing and/or mitigating potential construction problems as alleged by the plaintiff. It was reasonable to conclude that between them the defects should have been detected earlier and rectified in good time before the partial roof failure. It appeared justified for the plaintiff to have brought a negligence claim against both the contractor and the architects. The risk analysis facilitated, through its multi-dimensional approach to a critical examination of a construction problem, the identification of an effective risk management strategy for future construction projects. It further served to emphasize the point that clients are becoming more demanding, more discerning, and less willing to accept risk without recompense. Clients do not want surprise, and are more likely to engage in litigation when things go wrong. KEY WORDS:Arbitration, claims, construction, contracts, litigation, project and risk The structural design of the reinforced concrete elements was done by consulting engineers Knight Piesold (KP). Quantity surveying services were provided by Hawkins, Leshnick & Bath (HLB). The contract was awarded to Central African Building Corporation (CABCO) who was also responsible for the provision of a specialist roof structure using patented “gang nail” roof
建筑外文文献及翻译
外文原文 Study on Human Resource Allocation in Multi-Project Based on the Priority and the Cost of Projects Lin Jingjing , Zhou Guohua SchoolofEconomics and management, Southwest Jiao tong University ,610031 ,China Abstract----This paper put forward the a ffecting factors of project’s priority. which is introduced into a multi-objective optimization model for human resource allocation in multi-project environment . The objectives of the model were the minimum cost loss due to the delay of the time limit of the projects and the minimum delay of the project with the highest priority .Then a Genetic Algorithm to solve the model was introduced. Finally, a numerical example was used to testify the feasibility of the model and the algorithm. Index Terms—Genetic Algorithm, Human Resource Allocation, Multi-project’s project’s priority . 1.INTRODUCTION More and more enterprises are facing the challenge of multi-project management, which has been the focus among researches on project management. In multi-project environment ,the share are competition of resources such as capital , time and human resources often occur .Therefore , it’s critical to schedule projects in order to satisfy the different resource demands and to shorten the projects’ duration time with resources constrained ,as in [1].For many enterprises ,the human resources are the most precious asset .So enterprises should reasonably and effectively allocate each resource , especially the human resource ,in order to shorten the time and cost of projects and to increase the benefits .Some literatures have
土木工程岩土类毕业设计外文翻译
学号： 10447425 X X 大学 毕业设计（论文）外文翻译 （2014届） 外文题目 Developments in excavation bracing systems 译文题目开挖工程支撑体系的发展 外文出处 Tunnelling and Underground Space Technology 31 (2012) 107–116 学生 XXX 学院 XXXX 专业班级 XXXXX 校内指导教师 XXX 专业技术职务 XXXXX 校外指导老师专业技术职务 二○一三年十二月
开挖工程支撑体系的发展 1.引言 几乎所有土木工程建设项目（如建筑物，道路，隧道，桥梁，污水处理厂，管道，下水道）都涉及泥土挖掘的一些工程量。往往由于由相邻的结构，特性线，或使用权空间的限制，必须要一个土地固定系统，以允许土壤被挖掘到所需的深度。历史上，许多挖掘支撑系统已经开发出来。其中，现在比较常见的几种方法是：板桩，钻孔桩墙，泥浆墙。 土地固定系统的选择是由技术性能要求和施工可行性（例如手段，方法）决定的，包括执行的可靠性，而成本考虑了这些之后，其他问题也得到解决。通常环境后果（用于处理废泥浆和钻井液如监管要求）也非常被关注（邱阳、1998）。 土地固定系统通常是建设项目的较大的一个组成部分。如果不能按时完成项目，将极大地影响总成本。通常首先建造支撑，在许多情况下，临时支撑系统是用于支持在挖掘以允许进行不断施工，直到永久系统被构造。临时系统可以被去除或留在原处。 打桩时，因撞击或振动它们可能会被赶入到位。在一般情况下，振动是最昂贵的方法，但只适合于松散颗粒材料，土壤中具有较高电阻（例如，通过鹅卵石）的不能使用。采用打入桩系统通常是中间的成本和适合于软沉积物（包括粘性和非粘性），只要该矿床是免费的鹅卵石或更大的岩石。 通常，垂直元素（例如桩）的前安装挖掘工程和水平元件（如内部支撑或绑回）被安装为挖掘工程的进行下去，从而限制了跨距长度，以便减少在垂直开发弯矩元素。在填充情况下，桩可先设置，从在斜坡的底部其嵌入悬挑起来，安装作为填充进步水平元素（如搭背或土钉）。如果滞后是用来保持垂直元素之间的土壤中，它被安装为挖掘工程的进行下去，或之前以填补位置。 吉尔- 马丁等人（2010）提供了一个数值计算程序，以获取圆形桩承受轴向载荷和统一标志（如悬臂桩）的单轴弯矩的最佳纵筋。他们开发的两种优化流程：用一个或两个直径为纵向钢筋。优化增强模式允许大量减少的设计要求钢筋的用量，这些减少纵向钢筋可达到50％相对传统的，均匀分布的加固方案。 加固桩集中纵向钢筋最佳的位置在受拉区。除了节约钢筋，所述非对称加强钢筋图案提高抗弯刚度，通过增加转动惯量的转化部分的时刻。这种增加的刚性可能会在一段时间内增加的变形与蠕变相关的费用。评估相对于传统的非对称加强桩的优点，对称，钢筋桩被服务的条件下全面测试来完成的，这种试验是为了验证结构的可行性和取得的变形的原位测量。 基于现场试验中，用于优化的加强图案的优点浇铸钻出孔（CIDH）在巴塞罗那的几个非对称加强桩的施工过程中观察到混凝土桩沿与测得的变形的结果在常规和描述优化桩。实验证据表明，非对称地增强桩变形比观察到在常规增强那些小。两桩类型（对称和非对称）具有相同的直径，并设计为抵抗基于极限强度设计相同的弯曲力矩;离散杆的尺寸和使用的条全数字的，导致类似的名义抗弯强度。
外文翻译建筑学
芬兰建筑主要因两点而闻名实用而直接的现代主义和一种同自然之间的虚构的关系。从阿尔瓦·阿尔托和他同时代——包括埃里克·布吕格曼和保利·布卢姆斯泰特 . 在内——的那些设计了年前的芬兰现代建筑作品的建筑师开始就是如此。阿尔托在年代的设计特别是完成于年的帕伊米奥疗养院布吕格曼设计的私人住宅和图尔库的公寓区以及布卢姆斯泰特的教堂设计都是芬兰现代建筑早期阶段的标志。在这之后现代主义运动的主流和分支总是成为芬兰建筑学习的对象。如此忠诚于现代主义的原因可以归结到芬兰自年独立以来的社会发展以及北欧人一贯的建筑和设计方向。北部的地理位置和文化在北欧的多种现代主义中建筑是与众多北部 欧洲的文化特性交织在一起的。起决定性的因素是气候和自然环境 同时还有从路德教而来、体现在北欧福利国家的一种共有的精神。这里值得一提的是在当地民众与自然之间的关系形成的过程中有一个关键因素——“自由信步”的理念简而言之即在一定限度内每个人都有权利进入到自然环境及其所赋予的一切中去。这一传统在那些居住环境与自然紧密相联的地方广为人知在北欧国家更是根深蒂固。波罗的海地区的自然环境十分富足、多样且尺度较小。内陆中不计其数的湖面形成了广阔的水路。芬兰被称为“千岛之国”。实际上可以说芬兰的自然环境充满了各种独特的场所。我们没有一望无际的海岸沙滩或巨大的高差但是我们拥有河、湖和群岛。多样且无所不在的水陆交替为芬兰的自然环境提供了一种韵律。这种韵律既是视觉上的也是精神上的。此外四季的变换——温暖明亮
的夏季和寒冷多雪的冬季——强化了景观的多变对自然空间的应用有着显著影响。关于芬兰建筑前文所述都与芬兰人所认知的好建筑密切相关。在这里成为好建筑的关键因素是同地段或场所的联系 及其空间体验。当代芬兰建筑中的自然和现代主义尤哈那·拉赫蒂孙凌波译: . , . , . ' , , ' , ' , , . , , . Finland' , . , , , . ' , , " ", , , , . , , , . , , . Finland . , . . , , . . . , , , , . Finland. , , . , , . ’ . , , . , . , 首先成为好建筑要尊重地段及其历史无论它是在自然环境里还是在城市之中。以阿尔瓦·阿尔托为代表的年代的芬兰建筑师一贯坚持在项目进程中对地段上的树木加以保护。这是让自然成为建筑院落一部分的方式之一。在这个时代区域划分成为城市规划的一部
建筑外文文献及翻译
外文原文 , , ,610031 ’s . a . a . , a . —, , ’s ’s . 1. , . , , ’s ’ [1] , . [1] a () , [2] . [3,4] [5] () , ’s , [6]. [7] ’s . , ’s ’s a . 2.’S . , . ’s ’s , ’s . , (1). (…) (1) w ’s ; I ; c , ; s , . 3. 3.1 , . , a , ’s . , a , ’s , . , ’s ’s . 3.2 a : (1)N. 1,2, … N.
(2) w 12… . (3) R 1,2, … (4) Δ ? ? ?others toprojectQ rcer humanresou i k 01 (5) . I t I t . (6) △ I ’s a .( ’t .) (7) (5) t I △ ,( △ ). , – a . (8) (6) (7), I ( = △* △ ). (9) =ηi / * , ηi I ; * I , * =∑=R k ki 1 δ . , . , , . 3.3 , , : = ∑∑==N i i N i Ci 11 ω i i N i i N i c t ??∑∑==1 1 ω (2) ∑∑ ==N i i N i 1 1 ω ) E i R i ki i t - ?? ∑=1 δη i c ? 2F Z 2()i t ? ) E i R i ki i t - ??∑=1 δη (3) () ,(N j i K 3,2,1,=?) (4)
土木工程类外文文献翻译
外文文献翻译 1 中文翻译 1.1钢筋混凝土 素混凝土是由水泥、水、细骨料、粗骨料（碎石或；卵石）、空气，通常还有其他外加剂等经过凝固硬化而成。将可塑的混凝土拌合物注入到模板内，并将其捣实，然后进行养护，以加速水泥与水的水化反应，最后获得硬化的混凝土。其最终制成品具有较高的抗压强度和较低的抗拉强度。其抗拉强度约为抗压强度的十分之一。因此，截面的受拉区必须配置抗拉钢筋和抗剪钢筋以增加钢筋混凝土构件中较弱的受拉区的强度。 由于钢筋混凝土截面在均质性上与标准的木材或钢的截面存在着差异，因此，需要对结构设计的基本原理进行修改。将钢筋混凝土这种非均质截面的两种组成部分按一定比例适当布置，可以最好的利用这两种材料。这一要求是可以达到的。因混凝土由配料搅拌成湿拌合物，经过振捣并凝固硬化，可以做成任何一种需要的形状。如果拌制混凝土的各种材料配合比恰当，则混凝土制成品的强度较高，经久耐用，配置钢筋后，可以作为任何结构体系的主要构件。 浇筑混凝土所需要的技术取决于即将浇筑的构件类型，诸如：柱、梁、墙、板、基础，大体积混凝土水坝或者继续延长已浇筑完毕并且已经凝固的混凝土等。对于梁、柱、墙等构件，当模板清理干净后应该在其上涂油，钢筋表面的锈及其他有害物质也应该被清除干净。浇筑基础前，应将坑底土夯实并用水浸湿6英寸，以免土壤从新浇的混凝土中吸收水分。一般情况下，除使用混凝土泵浇筑外，混凝土都应在水平方向分层浇筑，并使用插入式或表面式高频电动振捣器捣实。必须记住，过分的振捣将导致骨料离析和混凝土泌浆等现象，因而是有害的。 水泥的水化作用发生在有水分存在，而且气温在50°F以上的条件下。为了保证水泥的水化作用得以进行，必须具备上述条件。如果干燥过快则会出现表面裂缝，这将有损与混凝土的强度，同时也会影响到水泥水化作用的充分进行。 设计钢筋混凝土构件时显然需要处理大量的参数，诸如宽度、高度等几何尺寸，配筋的面积，钢筋的应变和混凝土的应变，钢筋的应力等等。因此，在选择混凝土截面时需要进行试算并作调整，根据施工现场条件、混凝土原材料的供应情况、业主提出的特殊要求、对建筑和净空高度的要求、所用的设计规范以及建筑物周围环
建筑学课程英文翻译
素描Sketch 画法几何Descriptive Geometry 建筑设计初步Introduction of Architecture Design 英语English 高等数学A Advanced Mathematics A 毛泽东思想概论Introduction of Mao Zedong's Thought 试唱与练声Audition and Singing 建筑设计Architecture Design 法律基础Legal Basis 邓小平理论概论Introduction of Deng Xiaoping’s theory 建筑力学Engineering Mechanics 室内设计Interior Design 广告学Advertisement 建筑结构选型Building Structure Selection 城市规划原理Principles of Urban Planning 中国古典园林Chinese Traditional Garden 专业外语Professional English 建筑节能Building Energy Saving 建筑物理Architectural physics 建筑施工技术经济管理Architectural Economics 城市空间结构组织Spatial Structure of Urban Space 建筑构造Architectural Construction 工程测量Engineering Surveying 中国古代建筑装饰Decorating Art of Traditional Chinese Architecture 室内设计发展史History of Interior Design 高层建筑设计原理Principles of High Rising Buildings 体育Physical Education 思想品德修养Ideology and Morality of Accomplishment 计算机基础Computer Basic 马克思主义哲学原理Philosophy of Marxism 阴影透视Shade Shadow Perspective 形势与政策Situation and Policy 马克思主义政治经济学原理Principles of Marxism Political Economics FORTRAN语言FORTRAN Language 色彩Gouache Painting 建筑材料Civil Engineering Materials 建筑设计原理Principles of Building Design 军训Military Training 西方经济学概论Introduction of Western Economics 中国建筑史History of Chinese Architecture 美术史History of Art 计算机辅助设计Computer Aided Design 建筑结构Building Structure 建筑构图原理Principles of Architectural Composition