建筑专业英语第二版译文

Architecture（下篇）

The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that in architecture served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here. Following this lead , the Bauhaus school,founded in Germany in 1919,consciously rejected history and looked at architecture as a synthesis of art,craft,and technology.

When Modern architecture first began to be practiced, it was sn awant garde movement with moral,philosophical,and aesthetic underpinnings. Truth was sought by rejecting history and turning to function as the generator of form. Architects became prominent figures and were termed masters. Later modern architecture moved into the realm of mass production due to its simplicity and economy.

However, a reductive quality began to be perceived in modern architecture by the general public from the 1960s. Some reasons cited for this are its peceived lack of meaning,sterility,ugliness,uniformity,and psychological effects.

The architectural profession responded to this partly by attempting a more populist architecture at the visual level,even if at the expense af sacrificing depth for shallowness, a direction called Postmodernism. Robert Venturi's contention that a "decorated shed" (an ordinary building which is functionally designed inside and embellished on the outside) was better than a "duck" (a building in which the whole form and its function are considered together) gives an idea of this approach.

Another part of the profession,and also some non-architects,responded by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environmnent. The Design Methodology Movement involving people such as Chris Jones,Christopher Alexander started searching for a more inclusive process of design in order to lead to a better product. Extensive studies on areas such as behavioural,environmental,and social sciences were done and started informing the design process.

As many orher concerns began to be recognised and complexity of buildings began to increase in terms of aspects such as services, architecture started becoming more multi-disciplinary than ever.  Architecture now required a team of professionals in its making,an architect being one among the many,sometimes the leader , sometimes not. This is the state of the profession today.  However, individuality is still cherished and sought for in the design of buildings seen as cultural symbols-the museum or fine arts centre has become a showcase for new experiments in style: today Deconstructivism, tomorrow maybe something else.

Buildings are the most visible productions of man ever. However, most of them are still designed by people themselves or masons as in  developing countries, or through standardised production as in developed countries. The architect remains at the fringes of building production. The skills of the architect are sought only in complex building types or those seen as cultural and political symbols. And this is what the public perceives as architecture. The role of the architect, though changing, has not been central and never autonomous. There is always a dialogue between society and the architect. And what results from this dialogue can be termed architecture as product and as a  discipline.

                             Selected From Encylopedia of Knowledge Rush

ANSWER

• What is architecture ?

建筑学是设计建筑物的艺术和科学。更广泛的定义将包括其范围内的总体建设环境的设计，从城市规划、城市设计和景观的宏观层面到家具和产品设计的微观层面。同样重要的是，建筑学也指这样一种设计的产品。

用维特鲁威的话说，“建筑学是产生于多种学科的一门科学，充满了深邃且丰富的学问；(建筑学)是人们借助于多学科融合而成的知识体系，而形成的一种判断体系，是其他艺术成果发展的结晶。”

• What is the difference between archit-ecture and buildings ?

建筑学和建筑的区别是一个引起许多人关注的课题。为了更好的解决这个难题，建筑学也可以定义为建筑师的工作。这样就将把重点放在建筑和建筑师的发展演变上。

建筑学最初是从需求(有利的环境条件、安全等)和手段(可用的建筑材料和施工技术)之间的动态演变而来的。随着人类进步，通过口头传承和实践，建筑逐渐正式化，演变成了一门手艺。但建筑师不是建筑的唯一的重要人物，他只是延续的传统的一部分。

随着科学发展以及新材料和新技术的兴起，建筑师开始在建筑技术方面失宠，也因此开拓了新的竞争领域——美学领域。与此同时，工业革命促使美学甚至开始成为中产阶级的标准，因为曾经属于昂贵手工艺范畴的装饰产品在机器生产下变得更加便宜。在这种情况下，1919年在德国成立的包豪斯学校有意识地摒弃了历史，将建筑视为艺术、工艺和技术的综合体。

现代建筑第一次开始实践时，它是一场具有道德、哲学和美学基础的前卫运动。后来，现代建筑慢慢由于其美观性和经济性进入了大规模生产领域，以牺牲深度为代价，换取在视觉层面的一种更亲民的建筑，这种方向被称为后现代主义。但仍有另一部分非建筑师，他们觉得建筑不是个人主义者的个人哲学或美学追求；相反，它必须考虑人们的日常需求，并使用技术来创造一个宜居的环境。

随着许多人开始意识到自己的担忧，建筑在服务等方面的复杂性开始增加，建筑学开始变得比以往任何时候都更加多学科。建筑变得需要一个专业团队来制作，建筑师是众多团队中的一员，有时是领导者，有时不是。建筑物是人类有史以来最明显的产物。然而，建筑师仍处于建筑生产的边缘。建筑师的技能只适用于复杂的建筑类型或那些被视为文化和政治象征的类型。这就是公众眼中的建筑。建筑师的角色虽然在不断变化，但并不是核心的，也从来不是自主角色。社会与建筑师之间总是存在着对话。而这种对话的结果可以使建筑被称为是作为产品和作为一门学科。