建筑学外文翻译.docx

1、建筑学外文翻译建筑学外文翻译沈阳工业大学 本科生外文翻译 中文书名: 泛光灯文化建筑 外文书名:Omni Culture 学 院: 建筑工程学院 专业班级: 建筑学0702 学生姓名: 侯文锋 指导教师: 徐博 2011年 04月15日 外文翻译原文 Opera House,OLSO Snohetta/kjetil traedal thorsen,craig dykers The Opera House, which is the largest cultural building to be raised in Norway since Nidarosdomen, shall be an i

2、mportant symbol of what modern Norway represents as a nation, and express the role opera and ballet shall have in society. The construction of the new Opera House is the largest single culture-political initative in contemporary Norway. The base area of the Opera House is the same as the total area

3、covered by four international standard football fields. The building has 1,100 rooms grouped in a number of sections. Front of Opera House The public areas are located in the buildings western section, with access from the area nearby the citys central train station. These include the main foyer, a

4、large performance auditorium with 1,350 seats and a small auditorium with 400seats.The large auditorium is designed in classical from with a horseshoe type plan and a high ceiling height, providing natural acoustics and good sight lines to the stage. In addition to the main stage there is also an un

5、der stage complete with elevator, side stages, back stages and a back side stage that can be used as a choir rehearsal room accessible to the public. The small auditorium considerable flexibility, not only for the stage arrangements but also for the seating areas and acoustics. The foyer arrangement

6、s but also for the seating areas and acoustics. The foyer is a grand, open room with a variety of lighting conditions and views to the surroundings. This space is characterized by its simple use of materials and minimal details. a tall undulating wall formed the separation between foyer and auditori

7、ums. Between reality and fiction. In addition the foyer will contain rest areas, a coatroom, cafe, bars and a restaurant. Rear of Opera House These are the production areas of the building. Here one can find all the workshops, storage areas, rehearsal rooms, changing rooms, offices, and every facili

8、ty necessary to produce an opera or ballet. Here the building has 4 floors and a basement. The production areas are flexible and robust, able to accept changes over time. The architecture and the use of materials are functionally appropriate, the exterior faade is composed of metal panels. Roof gard

9、en The roofscape describes the buildings monumental character. The horizontal and sloping plane of the roof provides the opera with an unusually dramatic expression, quite different from the surrounding buildings Its openness and accessibility will allow for a wide range of visitors to traverse its

10、many terraces. The roofscape will be open to the public, its clad in white stone, and its details will provide a holistic and symbolic character to the building while also allowing for a variety of experiences as one moves past it. Valencia Opera House Santiago Calatrava S.A. / Santiago Calatrava Th

11、e people of Valencia have traditionally shared a deep love of music. The region is sometimes known as the Land of 1,000 Bands since every village and town has its musical association. In fact Volencia, called the City of Music, has two, which are respected throughout the world. The project of creati

12、ng the Valencia Opera House is therefore highly significant-because of the role that music plays in the life of the region, and because of the role that the building plays in the physical evolution of the city. The Valencia Opera House was the first major element in the City of Arts and Sciences, an

13、d when it is completed, in 2006, it will be the last. It was the first, because my involvement with this great development began in 1991, when I won a competition to design a structure where the Opera House now stands. It will be the last, because the original commission was not for a cultural build

14、ing but for a telecommunications tower. It was in 1996 that the Valencian government altered the programfor the City of Arts and Sciences. That was when a magical transformation took place on the original site, as the planned telecommunications towe was changed into a proposed opera house. So the pl

15、an for the entire sequence of buildings, strung from west to east along the dry bed of the Turia River, began from this one site and has returned to it. The Planetrarium / IMAX Therater (Hemispheric Theater) was completed in 1996 ; the Principe Felipe Science Museum in 2000. Now, in 2006, we come ba

16、ck to the westernmost part of the project area, to celebrate the first concert in the Valencia Opera House. Looking back, I feel as if the deeper meaning of the Valencia Opera House may be bound up with this project history, with its themes of trans-formation and recurrence. As a grand urban interve

17、ntion, intened to link two areas that had been separated geographically, socially and economically, the City of Arts and Sciences both changes Valencia and returns it to a condition of wholeness. The means we have used -engineering and construction- have been technical, as symbolized perhaps by the

18、telecommunications tower. But the place at which we arrive is artisitic : the Opera House. As a native of Valencia, who was formed by this city and who is attached to it deeply, I feel both proud and humble to have played a role in this process of change and reunion. It is very moving to me that thi

19、s story should culminate as it does, not with a burst of microwaves being emitted from a tower, but with our citizens gathering together in a new puclic space, to be surrounded with the music they love. 汉语译文 奥斯陆歌剧院, 斯诺赫塔事务所 / 谢蒂尔.索森, 克雷格戴克斯 奥斯陆歌剧院,这是挪威的最大的文化建筑,是作为挪威国家的现代化的一个重要标志和代表,展现了歌剧和芭蕾舞对社会的作用。

20、新歌剧院是当代最大的单体文化和政治中心的挪威建筑首创。歌剧院的基地与建筑形体是一样的,总占地面积涵盖四个国际标准的足球场。这个建筑物有着1100个房间。 歌剧院的前面 公共区域坐落在建筑的西面部分,可使用来自该市中央火车站附近的区域。这些包括大门厅,一个大型的可容纳1,350座的大观众厅与400座的一个小观众厅。大观众厅是设计的经典形式“用一个马蹄铁形制的平面和高高的天花板的高度,提供给舞台自然的音响效果和良好的视线。除了大舞台之外也有一个小舞台、一个边上小舞台、背面的舞台、背面边角的舞台和地下舞台,用作一个可以进入乐队排练室的公共区域。小观众厅的灵活性相当大,不仅为舞台作准备,而且也为休息室

21、和音响部门等服务。门厅是一个宏伟的、开放的有大量照明并且可以看到周围环境的空间。这个空间的特点是材料的简单应用和极微小的细节处理。用一个高大起伏的墙壁使门厅和会议室相分离。让人们在现实与虚幻之间游离。此外，门厅里包含休息区域,衣帽间、咖啡厅、酒吧和餐馆。 歌剧院的后面 这些都是建筑的生产区域。在这里可以找到所有的车间、储存区、排练室、更衣室、办公室、以及各种制作修复歌剧或芭蕾舞剧道具的房间。在这里,这栋建筑有4层,有一个地下室。生产区域的是富有灵活性和粗野性,能禁受时间的考验。结构设计和材料使用在功能上相适应,外观立面采用的是金属板。 屋顶花园 屋顶花园展示了建筑的非凡性格。平直和倾斜的屋顶提

22、供给观众一个广泛的游览场所，同时提供了歌剧戏剧性的表现力，在剧院公共性和对周边建筑物的影响性来说，这一点是很不寻常的,也是截然不同的。这个屋顶花园将对公众开放,它的外表是白色理石铺成的,它的细节在提供给建筑一个整体的、字符性的象征的同时,也是各种经验之作的一次飞跃。 瓦伦西亚歌剧院 圣地亚哥?卡拉特拉瓦,S.A./圣地亚哥?卡拉特拉瓦 传统上来说瓦伦西亚人对音乐的有着深深的热爱。该地区有时以“拥有1000个乐队的土地”而著称,因为每一个村庄和城镇都有其音乐协会。事实上瓦伦西亚这座城市,被称为“音乐之城”,两个称号,都受到世界各地人的尊敬。瓦伦西亚歌剧院的建设是具有高度象征性的因为音乐戏剧在生活

23、中扮演着极其重要的角色,同时也因为建筑在城市形态的演变过程中扮演了重要的角色。 瓦伦西亚歌剧院是城市艺术与科学的首要元素, 在2006年建成后,它将会是最后一个。这是我自1991年开始专研发明这种伟大的发展型建筑至今，赢得设计竞赛并付诸实现的第一个项目。同时它也将会是最后一个,因为原委员会并不想建设文化建筑,而是想建设电信塔。1996年的瓦伦西亚的政府改变了之前的申请，转变为建设艺术和科学城市的提议。 这是多么神奇的一个转变,在这个时刻建设电信塔的计划被改成了一个歌剧院的提议。 就这样一个由IMAX设计的将会改变周围环境的建筑物,在1996建成，它开始从西向东沿着图利亚河流干涸的河床恢复环境的

24、全貌。剧场在2000年归于普林西比马萨科学博物馆。2006年的今天,我们又回到了这里参加文化建筑的第一场演唱会,庆祝瓦伦西亚歌剧院。 回想一下,我觉得好像瓦伦西亚歌剧院在深层意义上讲，随着它的主题的解析和复发，可能产生这个项目自身的历史。大型都市的介入,将从地理位置上将隔离开的两个区域连接到一起,它将在经济和社会角度上说,它将瓦伦西亚城市的艺术与科学都返还给整体。我们已经拥有学习工程学的方法和施工技术,或许会用来建设电信楼上。但我们到达的地点是艺术的殿堂:歌剧院 作为一个土生土长的瓦伦西亚人, 无论是被城市标记的，还是被她深深的吸引的,我都感到骄傲和谦卑的扮演了一个正在变得圆满的角色。对我来说这是非故事,它应该达到顶点,因为它并不是电信塔用微波的方式散发出来的常动人的信息,而是用我们的公民们细想聚集成的一个崭新的空间,围绕着他们所爱的音乐。 指导教师评语: 指导教师签字: 年 月 日