土木建筑畢業(yè)設(shè)計(jì)中英文翻譯--高層辦公建筑藝術(shù)思考

1、<p><b>　　1外文資料</b></p><p>　　The Tall Office Building Artistically Considered</p><p>　　by Louis H. Sullivan, March, 1896</p><p>　　The architects of this land and gen

2、eration are now brought face to face with something new under the sun namely, that evolution and integration of social conditions, that special grouping of them, that results in a demand for the erection of tall office b

3、uildings.</p><p>　　It is not my purpose to discuss the social conditions; I accept them as the fact, and say at once that the design of the tall office building must be recognized and confronted at the outse

4、t as a problem to be solved a vital problem, pressing for a true solution.</p><p>　　Let us state the conditions in the plainest manner. Briefly, they are these: offices are necessary for the transaction of b

5、usiness; the invention and perfection of the high speed elevators make vertical travel, that was once tedious and painful, now easy and comfortable; development of steel manufacture has shown the way to safe, rigid, econ

6、omical constructions rising to a great height; continued growth of population in the great cities, consequent congestion of centers and rise in value of grou</p><p>　　Up to this point all in evidence is mate

7、rialistic, an exhibition of force, of resolution, of brains in the keen sense of the word. It is the joint product of the speculator, the engineer, the builder.</p><p>　　Problem: How shall we impart to this

8、sterile pile, this crude, harsh, brutal agglomeration, this stark, staring exclamation of eternal strife, the graciousness of these higher forms of sensibility and culture that rest on the lower and fiercer passions? How

9、 shall we proclaim from the dizzy height of this strange, weird, modern housetop the peaceful evangel of sentiment, of beauty, the cult of a higher life?</p><p>　　This is the problem; and we must seek the so

10、lution of it in a process analogous to its own evolution indeed, a continuation of it namely, by proceeding step by step from general to special aspects, from coarser to finer considerations.</p><p>　　It is

11、my belief that it is of the very essence of every problem that is contains and suggests its own solution. This I believe to be natural law. Let us examine, then, carefully the elements, let us search out this contained s

12、uggestion, this essence of the problem.</p><p>　　The practical conditions are, broadly speaking, these:</p><p>　　Wanted 1st, a story below ground, containing boiler, engines of various sorts, et

13、c. in short, the plant for power, heating, lighting, etc. 2nd, a ground floor, so called, devoted to stores, banks, or other establishments requiring large area, ample spacing, ample light, and great freedom of access, 3

14、rd, a second story readily accessible by stairways this space usually in large subdivisions, with corresponding liberality in structural spacing and expanse of glass and breadth of external openings,</p><p>

15、　　This tabulation is, in the main, characteristic of every tall office building in the country. As to the necessary arrangements for light courts, these are not germane to the problem, and as will become soon evident, I

16、trust need not be considered here. These things, and such others as the arrangement of elevators, for example, have to do strictly with the economics of the building, and I assume them to have been fully considered and d

17、isposed of to the satisfaction of purely utilitarian and pecun</p><p>　　As I am here seeking not for an individual or special solution, but for a true normal type, the attention must be confined to those con

18、ditions that, in the main, are constant in all tall office buildings, and every mere incidental and accidental variation eliminated from the consideration, as harmful to the clearness of the main inquiry.</p><

19、p>　　The practical horizontal and vertical division or office unit is naturally based on a room of comfortable area and height, and the size of this standard office room as naturally predetermines the standard structur

20、al unit, and, approximately, the size of window openings. In turn, these purely arbitrary units of structure form in an equally natural way the true basis of the artistic development of the exterior. Of course the struct

21、ural spacings and openings in the first or mercantile story are req</p><p>　　Hence it follow inevitably, and in the simplest possible way, that if we follow our natural instincts without thought of books, ru

22、les, precedents, or any such educational impediments to a spontaneous and "sensible" result, we will in the following manner design the exterior of our tall office building to wit:</p><p>　　Beginni

23、ng with the first story, we give this a min entrance that attracts the eye to it location, and the remainder of the story we treat in a more or less liberal, expansive, sumptuous way a way based exactly on the practical

24、necessities, but expressed with a sentiment of largeness and freedom. The second story we treat in a similar way, but usually with milder pretension. Above this, throughout the indefinite number of typical office tiers,

25、we take our cue from the individual cell, which requi</p><p>　　This may perhaps seem a bald result and a heartless, pessimistic way of stating it, but even so we certainly have advanced a most characteristic

26、 stage beyond the imagined sinister building of the speculator engineer builder combination. For the hand of the architect is now definitely felt in the decisive position at once taken, and the suggestion of a thoroughly

27、 sound, logical, coherent expression of the conditions is becoming apparent.</p><p>　　When I say the hand of the architect, I do not mean necessarily the accomplished and trained architect. I mean only a man

28、 with a strong, natural liking for buildings, and a disposition to shape them in what seems to his unaffected nature a direct and simple way. He will probably tread an innocent path from his problem to its solution, and

29、therein he will show an enviable gift of logic. If we have some gift for form in detail, some feeling for form purely and simply as form, some love for that, h</p><p>　　However, thus far the results are only

30、 partial and tentative at best relatively true, they are but superficial. We are doubtless right in our instinct but we must seek a fuller justification, a finer sanction, for it.</p><p>　　I assume now that

31、in the study of our problem we have passed through the various stages of inquiry, as follows: 1st, the social basis of the demand for tall buildings; 2nd, its literal material satisfaction; 3rd, the elevation of the ques

32、tion from considerations of literal planning, construction, and equipment, to the plane of elementary architecture as a direct outgrowth of sound, sensible building; 4th, the question again elevated from an elementary ar

33、chitecture to the beginnings of true archi</p><p>　　But our building may have all these in a considerable degree and yet be far from that adequate solution of the problem I am attempting to define. We must n

34、ow heed quality and quantity of sentiment.</p><p>　　It demands of us, what is the chief characteristic of the tall office building? And at once we answer, it is lofty. This loftiness is to the artist nature

35、its thrilling aspect. It is the very open organ tone in its appeal. It must be in turn the dominant chard in his expression of it, the true excitant of his imagination. It must be tall, every inch of it tall. The force a

36、nd power of altitude must be in it, the glory and pride of exaltation must be in it. It must be every inch a proud and soarin</p><p>　　The man who designs in the spirit and with the sense of responsibility t

37、o the generation he lives in must be no coward, no denier, no bookworm, no dilettante. He must live of his life and for his life in the fullest, most consummate sense. He must realize at once and with the grasp of inspir

38、ation that the problem of the tall office building is one of the most stupendous, one of the most magnificent opportunities that the Lord of Nature in His beneficence has ever offered to the proud spirit of m</p>

39、<p>　　That this has not been perceived indeed has been flatly denied is an exhibition of human perversity that must give us pause.</p><p>　　One more consideration. Let us now lift this question into the

40、 region of calm, philosophic observation. Let us seek a comprehensive, a final solution: let the problem indeed dissolve.</p><p>　　Certain critics, and very thoughtful ones, have advanced the theory that the

41、 true prototype of the tall office building is the classical column, consisting of base, shaft and capital the molded base of the column typical of the lower stories of our building, the plain or fluted shaft suggesting

42、the monotonous, uninterrupted series of office tiers, and the capital the completing power and luxuriance of the attic.</p><p>　　Other theorizers, assuming a mystical symbolism as a guide, quite the many tri

43、nities in nature and art, and the beauty and conclusiveness of such trinity in unity. They aver the beauty of prime numbers, the mysticism of the number three, the beauty of all things that are in three parts to wit, the

44、 day, subdividing into morning, noon, and night; the limbs, the thorax, and the head, constituting the body. So they say, should the building be in three parts vertically, substantially as before, but f</p><p&

45、gt;　　Others, of purely intellectual temperament, hold that such a design should be in the nature of a logical statement; it should have a beginning, a middle, and an ending, each clearly defined therefore again a buildin

46、g, as above, in three parts vertically.</p><p><b>　　2中文翻譯</b></p><p>　　高層辦公建筑藝術(shù)思考</p><p>　　路易斯·沙利文 1896-3</p><p>　　這個時代該領(lǐng)域的建筑師開始正視一些新的由于社會條件變革和整合以及它們特殊

47、組合導(dǎo)致的對高層辦公建筑的立面要求。</p><p>　　討論社會現(xiàn)狀并不是我的目的。我接受社會現(xiàn)實(shí)，并且立刻斷定高層辦公建筑肯定會被認(rèn)可且開始作為一個迫切需要真正的去解決的關(guān)鍵性問題來面對。</p><p>　　我們以最簡單的方式來說明情況。簡而言之，情況如下：辦公室是商業(yè)交易的必須場所；高速電梯的發(fā)明和完美創(chuàng)造使曾經(jīng)沉悶令人頭疼的垂直交通變得容易和舒適；鋼產(chǎn)品的發(fā)展把安全、堅(jiān)實(shí)、經(jīng)濟(jì)的

48、建筑物引向了一個更高的高度。大城市人口的可持續(xù)增長，隨之而來的中心區(qū)擁擠和地價的上漲刺激了建筑數(shù)目的增長；他們成功的聚集為建筑群通過作用、反作用、相互作用及內(nèi)部作用反映了地價等。因而產(chǎn)生了這種被稱為“現(xiàn)代辦公大樓”的高聳建筑形式。這種建筑形式已經(jīng)自然而然的形成，因?yàn)樵谒鼉?nèi)部社會條件新的組合已經(jīng)形成一個聚居地和名字。</p><p>　　取決于這點(diǎn)，所有顯而易見的都是唯物論的，是力量、決心和敏銳語言表現(xiàn)智力的展示。

49、它是投機(jī)商，工程師，建造者的結(jié)合的產(chǎn)物。</p><p>　　問題：我們該如何將這些建立在較低級和不滅的激情之上的較高形式的感性和文明所擁有的永恒競爭力和親和感賦予這些缺乏創(chuàng)造性的拙劣、粗糙，呆板的建筑群。我們該如何從這個奇怪的，怪異的，有著令人眩暈的高度的現(xiàn)代屋頂上公開贊揚(yáng)這種安寧的情趣，美感，以及較高的生活時尚。</p><p>　　這是個問題，我們必須在和它的進(jìn)化確實(shí)相似的過程中去尋

50、找它的解決，那就是他的延續(xù)，通過一步一步的從一般到特殊的方面著手進(jìn)行，從比較粗糙到細(xì)致的考慮。</p><p>　　我相信每個問題最本質(zhì)的是問題本身包含了其解決途徑。我相信這是自然法則。我們仔細(xì)的檢查這些組成部分，然后找出它所包含的意思，即這個問題的本質(zhì)。</p><p>　　廣泛的說，實(shí)際情況是：</p><p>　　首先需要的是，一個包含鍋爐、不同種類機(jī)房的地下

51、層。簡而言之，需求能量，暖氣，照明的房屋設(shè)施。第二，所謂的一樓，用于商店，銀行或其他需要大區(qū)域，充足間距，充足光照以及進(jìn)入十分自由的機(jī)構(gòu)。第三，二層很容易由樓梯進(jìn)入，它的空間由巨大的部分構(gòu)成，擁有相當(dāng)寬闊的結(jié)構(gòu)間隙，玻璃的擴(kuò)展區(qū)域以及外部通道。第四，第二層之上是不確定數(shù)目的辦公室，層層堆積，層層相似，間間相似。一間辦公室與蜂巢里的蜂房巢室非常相似，只是作為一個分隔間，別無其他。第五，在建筑物的頂層設(shè)置了如涉及生活和結(jié)構(gòu)的有效空間或建筑層

52、，那就是純粹的結(jié)構(gòu)需要頂樓。這個循環(huán)系統(tǒng)完美了自身，無論是上升的還是下降的都使其具有優(yōu)美的形式?？臻g中充滿了容器，管道，閥門，還有為隱藏在地下室里的設(shè)施的啟動供給和補(bǔ)充動力的機(jī)械附屬設(shè)備。最后，或者倒不如說是開始，在一樓一定有一個主要的孔或入口通常對所有的占有者或顧客開放。</p><p>　　至于對光井的必要安排，是這個國家每個高層辦公樓的特點(diǎn)。比如對電燈的必要的安排，這些對問題是不恰當(dāng)?shù)?，而且也會很快變得清?/p>

53、。我相信例如安裝電梯等問題在這不必考慮。舉例來說，這些事物和其他諸如電梯的安裝必須和建筑物的經(jīng)濟(jì)意義嚴(yán)格相符，并且我認(rèn)為這些已經(jīng)被充分的考慮和處理，達(dá)到了對純粹功利和金錢要求的滿意程度。只有在杰出的力作中，高層辦公大樓的規(guī)劃和樓層安排才能呈現(xiàn)出美學(xué)價值，例如通常何時將光井設(shè)為外部或形成一個內(nèi)在特征就顯得很重要了。</p><p>　　我尋求的不是一個個別的或者特別的方案，而是一個真正的普遍類型。因而注意力應(yīng)當(dāng)集中

54、在那些高層辦公建筑始終要面對的主要情況上，排除對那些純粹偶然或巧合的變化情況的考慮，從而不致對主要研究問題的清晰度有不利影響。</p><p>　　實(shí)際的水平和垂直的區(qū)域劃分或辦公單元自然的以有舒適感的區(qū)域和高度的房間為基礎(chǔ)。這種標(biāo)準(zhǔn)辦公室的大小自然預(yù)先確定了對應(yīng)標(biāo)準(zhǔn)的結(jié)構(gòu)單元，也大致確定了窗戶開口的大小。反過來，這些純隨意性的結(jié)構(gòu)單元以同樣自然的方式形成了外形藝術(shù)發(fā)展的真正基礎(chǔ)。當(dāng)然，第一層和商業(yè)層對結(jié)構(gòu)間距和

55、開口的需求是最大的；而第二層和部分商業(yè)層的結(jié)構(gòu)間距和開口多少有些相似的形式。無論什么，頂樓的間距和開口并不重要，窗戶沒有實(shí)際價值，因?yàn)榭梢詮捻敹瞬晒?，而且“結(jié)構(gòu)空間的分隔式劃分是必須的”的說法并沒有得到公認(rèn)。</p><p>　　由此就會不可避免以可能的簡單的方式出現(xiàn)一種情況，那就是如果我們不考慮法規(guī)、規(guī)范、先例或教育對本能和感覺得到的結(jié)果的阻礙，而是憑借我們的本能，我們將竭盡聰明才智用下面的方式去設(shè)計(jì)我們的高層

56、辦公大樓的外形。</p><p>　　首先在第一層，我們設(shè)置一個能吸引人眼球的最小入口，讓人們注意它的位置。剩余的其他樓層，我們應(yīng)差不多一樣自由、開闊和豪華的方式來處理，這種方式正是基于實(shí)際需要，但又表達(dá)了一種開闊的自由。第二層，我們用相似的方式處理，但通常做一些輕微的修飾。以上的樓層，始終都是數(shù)目不定的典型辦公層。從單獨(dú)的樓層出發(fā)，他都需要擁有單獨(dú)的窗間墻、過梁的窗戶。我們無需做得更多，只需使其看上去全部相似，

57、因?yàn)樗鼈儽旧矶际窍嗨频摹Ｈ缓笪覀冮_始設(shè)計(jì)頂樓，它與辦公室沒有費(fèi)界限，對照命也沒有特殊的要求，通過它的寬廣的墻壁，絕對的重量和想象，向我們展示了一個事實(shí)，那就是一層層的辦公層徹底地到達(dá)了盡頭。</p><p>　　這可能像一個不加修飾的結(jié)果，一種冷酷的、消極的說法，但即使這樣，我們無疑推進(jìn)到了一個非常典型的階段，這一階段超出了投機(jī)商、工程師和建筑者的組合的想象，被認(rèn)為很不吉利的建筑?，F(xiàn)在，有建筑才能的人已經(jīng)被認(rèn)為具

58、有決定性的地位，因?yàn)樗麄兒芸毂唤邮埽砸环N對情況全面可靠、合乎邏輯的建議變得明晰起來。</p><p>　　當(dāng)提到有建筑才能的人時，我指的不一定是有造詣的、接受過專門訓(xùn)練的建筑師。我指的是一個對建筑有著強(qiáng)烈和天生愛好的人，一個用純?nèi)惶煨灾芯陀械闹苯?、簡單的方式來塑造建筑的人。從發(fā)現(xiàn)問題到解決問題，他可能會走一條很幼稚的路，并在其中表現(xiàn)出一種令人羨慕的擅于邏輯思維的天賦。如果我們對具體的形式有某種天賦，對只不過純

59、粹是為了作為形式的形式有某種感覺，對形式有一種熱愛，另外在總體表現(xiàn)上的毫無修飾的自然和完整，他的成果將有一些情趣魅力。</p><p>　　但是迄今為止，他的成果也只是相對真實(shí)的部分的，它們還是很膚淺。</p><p>　　無疑，我們的直覺是正確的，但我們一定要為它尋求一個更全面的證明，更好的依據(jù)。</p><p>　　我認(rèn)為在研究我們的問題過程中，我們經(jīng)過了如下一

60、系列的探索階段：第一，對于高層建筑需求的社會依據(jù)；第二，它的實(shí)實(shí)在在物質(zhì)性的滿足；第三，從缺乏形象力的計(jì)劃、建設(shè)、配備到作為一個堅(jiān)固的實(shí)體建筑的直接產(chǎn)物——簡單建筑的難度。第四，通過融入一定質(zhì)和量的情感，從簡單建筑藝術(shù)到真正建筑藝術(shù)表達(dá)的開端這個難題被提出來。</p><p>　　雖然我們的建筑物在一定程度上擁有了這些，可離我正在嘗試定義的問題的充分解決還很遠(yuǎn)?，F(xiàn)在我們必須注意融入建筑中情感的質(zhì)與量。</p

61、><p>　　它要求我們回答的是高層辦公大樓的主要特點(diǎn)是什么？我們立刻做出回答：它很高。這種高自然是令藝術(shù)家恐懼的方面，也恰恰是與它室外感染力相配的外在特征。它也一定是建筑表達(dá)的重要優(yōu)勢，想象力的真正來源。它必須得高，高度的每一寸必須充滿力量、動力和令人興奮的驕傲和光榮。它從底部到頂部的每一寸都有引以為榮和升華的東西。沒有任何異議，它是作為一個單元，并且是不加修飾的、光禿的、令人生畏的情況和新的、不可預(yù)料的結(jié)果。&l

62、t;/p><p>　　用精神設(shè)計(jì)，對自己生活的時代有責(zé)任感的人一定不是懦弱者、受排斥著、書呆子和門外漢。他用自己的方式去生活，為了自己充實(shí)而有成就感的人生而生活。他一定抓住了靈感并且意識到上帝已經(jīng)慷慨地給予了自尊的人們解決高層辦公大樓的最了不起、最好的機(jī)會之一。</p><p>　　實(shí)際上這甚至沒有被認(rèn)可就已經(jīng)被完全否認(rèn)，這一現(xiàn)實(shí)是我們必然停滯的人類反常的一個表現(xiàn)。</p>&l

63、t;p>　　現(xiàn)在我們從冷靜的、哲學(xué)的角度取觀察這個問題，讓我們尋求一個全面的、最終的解決辦法讓難題確實(shí)消失。</p><p>　　某批評家和一些有見地的評論家已經(jīng)提出新理論，認(rèn)為高層辦公大樓的真正雛形是一些包括基礎(chǔ)、井、柱頭，建筑低層的一些澆注的柱形基礎(chǔ)，顯示出單調(diào)的不間斷的一系列的辦公層的簡單豎形的井，力量十足的林立的頂樓。 </p><p>　　其他一些理論者則認(rèn)為高層辦公建筑的

64、依據(jù)是神奇的象征主義，自然、藝術(shù)和美的多種極好的組合，還有著統(tǒng)一組合的決定性。他們斷言這些基本數(shù)字的妙處，數(shù)字三的神秘，即由三部分組成的所有東西的妙處，比如，一天細(xì)分為早晨、中午和晚上；人體由四肢、胸和頭構(gòu)成。所以他們說建筑物在垂直方向上應(yīng)為三部分，大體和以前相同，只是出于不同的動機(jī)。</p><p>　　其他一些純粹智力型的評論家，認(rèn)為這種設(shè)計(jì)是理所當(dāng)然的合理；它應(yīng)該包括起點(diǎn)、中部、結(jié)尾，因此每一個建筑應(yīng)如上所