建筑学专业外语what+a+building+is

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建筑物不表示其含义以同样的方式作为图片或雕刻，因为它是由更复杂的性质。它要求事先分析的努力。摆在首位的，我们从来没有看到一栋在其整体：我们可从来没有获得超过部分外观和内饰都意见，结果，我们都总是被迫与什么，我们能看到什么，我们可以不看，形成整个画面清晰。这是不可能的乐趣只是沉迷的眼睛：一是想看看。为了帮助我们在这种智力练习中，我们有一个重要的工具，另一方面，计划，通知我们同时对外观和内饰，整体与部分。连同thecross部分，它揭示了结构，它给人以抽象的形式建设一个复合图像所拍摄的影像在任何可能永不放弃。先天下之忧，因此，有必要学习阅读的一个计划，并熟悉自己在一般的方式表达的图形架构中使用的各种手段（横截面，标高，轴测计划）。

建筑物受到的转换构成了第二个困难。很多时候，我们再也不能看到今天所希望的建设者：项目被放弃或修改完成前，完整的部件被拆，其他的，以后补上，是一个不同的字符。时间，它是真实的，改变了所有的艺术作品，但其对建筑的影响更为明显，因为主要建筑的建设需要很长的时间，因为建筑物一直打算使用，必须适应不断变化的需求的男人。因此，我们不应该看一个建筑完成，仍然或多或少完好无损，如索尔兹伯里大教堂，以同样的方式，因为我们认为一个不完整的城堡，如BRISSAC，或建筑，已连续改变，如凡尔赛宫。在第一个不寻常的情况下，我们可以立即在一个位置，体会到工作的建设者;第二，我们有想象的意图是什么，以及在第三种情况下，我们必须发现连续阶段的建设，正确地解释我们所看到的，而不是归因于一个单一的建筑师赢得了什么产品的几个建筑活动的意图。

最后，它应该永远不会被忘记，即使是最宏伟的建筑，从来没有打算仅仅作为艺术品，他们是难以理解的，如果一个人不知道他们的目的，无论是功利性或象征性的。特定形式的宗教建筑，房子和宫殿，总是邪教的要求，日常生活中，或在任何给定的社会行使权力的一种体现。减比其他艺术家，建筑师独立行使其权力严格界定的框架内由他所属的社会和个人的发明人被拖欠佣金。等因素的制约，在一定程度上依赖于特定的时代和社会水平（希腊神庙，城市住宅，高度标准化的类型）引人注目，发明施加限制，但也赋予建筑一个重要的社会意义：建筑物是一个独特的实施方式最耐用，最明显的人的需求和梦想。

我们在建筑物的利益在何种程度上我们可以看到它的体积，空间，节奏和颜色，请我们的“效果”。例如在某些情况下，一个城市的住宅或农村的建筑，这些效果都非常简单上述结果所有建筑和环境之间的和谐。在另一些情况下，最有趣的这些影响是非常复杂的，并且可以归因于一个或多个创意谁有故意做作它们的的个人。这两个极端架构没有建筑师和建筑巨匠之间，有无数的度，但是这将是毫无意义来区分它们。更值得识别各种方式表达对建筑：只有这样，才能丰富我们的看法，我们遇到的建筑物。

这种看法不应该被等同于审美，但它是一个必要的前提条件。没有它，这似乎是表达个人意见，自发的判断不超过重复先入为主的观念上的“裸露”的罗马式，“过火”巴洛克，古典的教堂“性冷淡”。因此，我们不能向读者推荐太强烈忘记这些偏见，并寻找一个全新的眼光和开放的心态，才能体会每个款式特有的目标。

所有这些观察导致了同样的结论：建筑作品是太复杂，无法理解乍一看：同时知道其所有的元素，想象它的连续状态（包括那些未曾完成），知道什么它标志着谁建。这个初步的分析必须先于审美。它使一个的建设，并形成清晰的画面，区分由于约束结构的必要性，现有的建筑物，风格约定，客户的需求是什么，什么是纯粹的艺术创作的产物，该剧的形式。


What a building is

A building does not express its meaning in the same way as a picture or a sculpture,because it is by nature much more complex.it demands a prior effort of analysis.in the first place,we never see a building in its totality:we can never obtain more than partial views both of the exterior and interior,with the result that we are always obliged to relate what we can see to what we cannot see to form a clear picture of the whole.it is impossible simply to indulge the please of the eye : one has to think as well :one has to think as well as look .to help us in this intellectual exercise we have important tool to hand,the plan,which informs us simultaneously about exterior and interior ,the whole and the part ,.together with the cross section,which reveals the structure,it gives in abstract form a composite image of the building which photographs-in whatever number-could never give.it is therefore necessary,before anything else,to learn to read a plan and to familiarize oneself in a general way with the various means of graphic expression used in architecture*cross section,elevation,axonometric plan).

The transformations to which building are subject constitute a second difficulty.very often we can no longer see today what the builders would have wished:projects are abandoned or modified before completion,parts that were complete are demolished,others,added later,are of a different character.time ,it is true,alters all works of art,but its effect on architecture is more noticeable because the construction of a major building takes a long time,and because building_always intended for use-must be adapted to the changing needs of men.we should no,therefore,look at a building competed at one stretch and still more or less intact,such as Salisbury Cathedral,in the same way as we regard an incomplete chateau,such as Brissac,or a building that has been continuously altered,such as Versailles. In the first unusual case,we have to imagine what was intended;and in the third case,we have to discover the successive stages of building to interpret correctly what we see,and not attribute to the intention of a single architect what was the product of several building campaigns.

Finally,it should never be forgotten that even the most magnificent buildings were never intended simply as works of art,and that they are incomprehensible if one is unaware of their purpose,whether utilitarian of symbolic.the particular forms of religious buildings,houses and palaces,are always a reflection of the demands of religious cult,of everyday life,or of the exercises his powers of invention within a framework strictly defined by the society to which he belongs and the individuals to whom he owes each commission.such constraints,compelling to a degree dependent on the particular age and social level(the greek temple,the urban dwelling,are highly standardize types),impose limits on invention,but also confer on architecture an important social significance:buildings are a unique embodiment,the most durable,the most manifest_of the needs and dreams of men.

We take an interest in a building to the degree to which we see in it “effects” of volume,space,rhythm and colour that please us.In certain cases-an urban dwelling or rural architecture,for example-these effects are very simple and result above all from

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