工业设计专业英语外文翻译.doc

工业设计专业英语课程作业 外文翻译外文原文：Robert Adams Achievements in architectural designRobert Adam, (born July 3, 1728, Kirkcaldy, Fife, Scot.died March 3, 1792, London, Eng.), Scottish architect and designer who, with his brother James (173094), transformed Palladian Neoclassicism in England into the airy, light, elegant style that bears their name. His major architectural works include public buildings (especially in London), and his designs were used for the interiors of such country mansions as Syon House (176269) in Middlesex (now in Hounslow, London).Early lifeRobert was the second son of William Adam, the foremost Scottish architect of his time. William, who as master mason to the Board of Ordnance in North Britain supervised the design of military buildings, also designed numerous country houses in a conservative Palladian stylethe modified classic Roman style that was originally developed by the 16th-century architect Andrea Palladio. The Adam children grew up in the cultured atmosphere of a propertied and well-connected 18th-century family. Shortly after Roberts birth the family moved to Edinburgh, where at the age of six he entered the Edinburgh High School. In 1743 he enrolled at Towns College (now University of Edinburgh), but in 1745 he abandoned his studies and the following year entered his fathers office as an apprentice and assistant.William Adam died in 1748, and his Board of Ordnance post passed to his eldest son, John, who took Robert into partnership. In the succeeding few years both benefited from the lucrative contracts that resulted from the appointment. Besides building Fort George in the Moray Firth near Inverness, the Adam brothers also were engaged to complete the interior of the earl of Hopetouns house. In their interiors the brothers introduced into Scotland a new, lighter, almost Rococo style of decoration. The other important private commission of these years was Dumfries House, Ayrshire, for the earl of Dumfries.European influencesIn 1754 Robert Adam, who by then considered himself to be worth 5,000, was invited to accompany the Honourable Charles Hope, the earl of Hopetouns younger brother, to Italy. He thus had the opportunity to realize the dream he had been saving for since his fathers death, and, just as important, he had the social advantages of traveling with the brother of an earl. He was as much concerned with meeting young noblemen abroad as with acquiring more architectural knowledge from a study of the monuments of Roman antiquity. The letters he wrote to his family during his years abroad show Adam to be a madly ambitious young man, an arrogant social climber, and yet still a dedicated artist.He met Hope in Brussels, and they proceeded to Paris, where Adam fitted himself out in the latest fashions and set out to “lay in a stock of good acquaintance that may be of use to me hereafter.” After fewer than three weeks in Paris, they set off for Italy via the south of France, visiting en route the ancient Roman sites of Arles, Nmes, the Pont du Gard, and Montpellier. They reached Genoa early in January 1755 and proceeded to Florence via Livorno. Arriving at the end of the month, they were immediately caught up in the social whirl for which Adam had hoped.While in Florence, Adam met a man who was to have an important professional influence upon him. This was the talented young French architect and draftsman Charles-Louis Clrisseau, who agreed to accompany him as instructor and draftsman on the tour. Clrisseau had been a student at the French Academy in Rome, but he left in 1754 after a dispute with its director. As a result of his friendship with Clrisseau, Adam came into contact with avant-garde architectural theory in Rome. He wrote:I hope to have my ideas greatly enlarged and my taste formed upon the solid foundation of genuine antiquity.Clrisseau agreed toserve him as an antiquarianteach him perspective and drawingand give him copies of all Clrisseaus studies of the antique, bas-reliefs and other ornaments.Adam left Florence in February 1755 and traveled to Rome, where he had to choose whether to devote himself to elegant society or to architecture:If I am known in Rome to be an architect, if I am seen drawing or with a pencil in my hand, I cannot enter into genteel company who will not admit an artist or, if they do admit him, will very probably rub affronts on him in order to prevent his appearing at their card-playing, balls and concerts.He had to decide:Shall I lose Hope and my introduction to the great, or shall I lose Clrisseau and my taste for the grand?He quarreled with Hope, and the two separated. Taking rooms for himself and Clrisseau, Adam settled down to serious study, visiting, sketching, and measuring the monuments of antiquity. Among the important figures he met in Rome were the art collector Cardinal Giuseppe Albani and the engraver Giambattista Piranesi, who dedicated to him his plan of ancient Rome in his book Il Campo Marzio (1762), which contained an engraved portrait of Adam.In May 1757 Adam and Clrisseau left Rome and traveled to Dalmatia via Venice to visit the ruins of Diocletians palace at Spalato (modern Split, Croatia). Adam felt hecould not help considering my knowledge of Architecture as imperfect, unless I should be able to add the observation of a private edifice of the Ancients to my study of their public works.They spent five weeks at Spalato, preparing the drawings that were to be published in 1764 as Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia.The Adam styleHaving nearly exhausted his money and anxious to return to England, Adam had to forgo the pleasures of further expeditions to Greece and Egypt. He returned to London in January 1758, his head full of details of Roman antiquities. Palladianism was losing its appeal, and the public was ready for a new architectural style. Adam lost no time in making his reputation, and by the mid-1760s he had, with the help of his younger brother James, who joined him in London in 1763, created and fully developed the Adam style. They later claimed that it “brought about, in this countrya kind of revolution in the whole system of this useful and elegant art.” The Adam style was marked by a new lightness and freedom in the use of the classical elements of architecturea fresh combination of many architectural elements. In the Royal Society of Arts building (177274), for instance, Adam placed Ionic capitals below a Doric triglyph frieze, a liberty a Palladian would never have dared take. The various influences included the Palladianism of Richard Boyle, 3rd earl of Burlington, and William Kent, both architects; the movement and vigour of the architecture of Sir John Vanbrugh; contemporary French work, discernible particularly in details, planning, and furniture design; Roman archaeology; and Italian Renaissance decoration, particularly the fanciful ornamentation of the 16th century. Adams genius lay in his synthesis of these various lines of development. The Adam style was essentially a decorative style, and it is as a designer of interiors that Adam is chiefly remembered. He gave meticulous attention to every part of each room, from the carpets to the most unobtrusive decoration.Adams first important work in London was the Admiralty Screen (c. 1760). Through the influence of John Stuart, 3rd earl of Bute, a friend of King George III, he was appointed architect of the Kings Works in November 1761 along with William Chambers, his principal architectural rival. By the early 1760s he had many domestic commissions; almost without exception these consisted of the completion or redecoration of earlier houses. It was ironic that, despite his fame and ability, Adam was rarely called upon to build completely new houses, nor was he to realize his grandiose ideas for public buildings until the very end of his life.The first Adam interiors at Hatchlands (175861), Surrey, and Shardeloes (175961), Buckinghamshire, were still near-Palladian, but by 1761 his mature style was developing. Commissions from this time include Harewood House, Yorkshire; Croome Court, Worcestershire; Kedleston Hall, Derbyshire; Bowood House, Wiltshire; and Osterley Park, Middlesex (now in Hounslow, London).In 1762 he was employed to redesign the interior of Syon House. Adam produced an important plan that proposed filling an old centre court with a vast, domed, pantheon-like hall; it was not executed, however. The entrance hall of Syon, based on a basilicaa rectangular building divided into three areas by two rows of columnswith its half-domed ends, is one of the most significant Neoclassical interiors in England. Other houses from this early phase include Adams first completely new house, Mersham-le-Hatch (176272), Kent; Lansdowne House (176268), Berkeley Square, London; Luton Hoo (176674), Bedfordshire; Newby Hall (c. 176780), Yorkshire; and Kenwood House (176768), Hampstead (now in Camden), London.The south front of Kedleston Hall (175759) provides an example of Adams exterior treatment. His theme of a triumphal arch as the exterior expression of the domed interior hall is the first use of this particular Roman form in domestic architecture. The double portico (an open space created by a roof held up by columns) at Osterley Park, derived from the Portico of Octavia, Rome, is a similar Neoclassical motif.In 1768 Robert and James Adam leased a site on the River Thames for a speculative development to be known as the Adelphi (it was almost totally destroyed in 1936). They invested a large sum on embanking the site and building several terraces of houses (176872) in which the Adam interior style of slim pilasters supporting a shallow frieze and cornicethe middle and uppermost sections of an entablaturewas brought outdoors. It was, however, a financial disaster. In 1773 they again speculated unsuccessfully in a group of stuccoed terraces in Portland Place, London.The Adams built three major London houses in the 1770s, which were superb examples of their mature styleWynn House (177274), No. 20, St. Jamess Square, for Sir Watkin Williams-Wynn; Home House (177577), No. 20, Portman Square, for the countess of Home (the original site of the Courtauld Institute of Art see Courtauld Institute Galleries); and Derby House (177374; demolished 1862) in Grosvenor Square for the 12th earl of Derby.In 177379 they published The Works in Architecture of Robert and James Adamin two volumes. A third was published posthumously in 1822. In the preface to the first volume they explain their idea of “movement,” an essential aspect of the Adam style:Movement is meant to express, the rise and fall, the advance and recess, with other diversity of form, in the different parts of a building, so as to add greatly to the picturesque of the composition.By 1780 Robert Adams popularity was beginning to decline, and Horace Walpole, after visiting the architect Henry Hollands new Carlton House, wrote, “How sick one shall be, after this chaste palace, of Mr. Adams gingerbread and sippets of embroidery.”Furniture designAs a designer of furniture, too, Adam played a leading role and was prolific, turning his hand to everything from organ cases and sedan chairs to saltcellars and door fittings. The furniture style he evolved, popularized by the cabinetmaker George Hepplewhite, was always meant to harmonize with the rest of the home. It is one of the outstanding features of an Adam interior that everything, even the smallest detail, was part of the unified scheme created by the architect.中文翻译：罗伯特亚当在建筑设计上的成就罗伯特亚当，（出生于1728 年7月 3 日，苏格兰 于 1792 年 3 月 3 日在英国伦敦去世），苏格兰的建筑师和设计师，与他的兄弟詹姆士 （17301794），将英国的帕拉新古典主义变成轻快、 清淡、 优雅风格而一举成名。他主要的建筑作品包括公共建筑 （尤其是在伦敦），他的设计用来作为赛恩世家(17621769)这类国家大厦的内部建筑（现在的伦敦豪恩斯洛）。早期的生活罗伯特是威廉亚当的次子，他是当时苏格兰最重要的建筑家之一。作为石匠大师威廉在英国北部的董事会监督军事建筑，同时还为众多国家设计了帕拉弟奥建筑风格的房子 修改提升了最初由16 世纪建筑师安德烈亚帕兰朵发展起来的经典罗马样式风格。亚当家族儿童生长在具有资产阶级和人脉的18 世纪家庭氛围中。罗伯特出生后不久，全家迁到爱丁堡，在六岁时他进入爱丁堡高中。1743年他就读在当地小镇的大学 (现在的爱丁堡大学），但 1745年他放弃了他的研究并于次年在他父亲的办公室当其学徒兼助理。威廉亚当死于1748年，他将董事会军械职位传给了他的大儿子，约翰，后来与罗伯特建立合伙关系。在随后的几年利润丰厚的合同都得益于该任命。除了设计在马里湾附近因弗内斯堡乔治的建筑，亚当兄弟还被聘请完成霍普顿伯爵的房子的内部设计。在该建筑内部这对兄弟引入了苏格兰全新的、 更轻盈的、近乎洛可可风格的装饰。这些年来其他重要的私人委员会是邓弗里斯艾尔希尔伯爵的邓弗里斯楼。欧洲的影响1754年，罗伯特亚当在当时认为自己身价5,000英镑，应邀陪同议员，霍普顿伯爵的弟弟查尔斯霍普到意大利。他因此有机会实现他父亲生前留下的愿望，同样重要的是，他拥有和伯爵兄弟一起旅行的社会优势。他非常关注与会面一些国外年轻贵族以获取更多研究罗马古物古迹的建筑知识。在那些年里，亚当曾写信给他的家人显示他在国外仍是一个疯狂的雄心勃勃的年轻人，也是傲慢的自豪的社会登山者，更是一个专注的艺术家。他在布鲁塞尔会见了霍普，他们计划前往巴黎，在那里亚当布置最新的时尚，着手“物色一个潜力股，此后可能会使用的”。过去不到三个星期，他们动身前往意大利南部的法国，途中拜访了阿尔、 学子、 蓬迪加尔和蒙彼利埃古罗马遗址。他们在1755年到达了热那亚并通过利沃诺前往佛罗伦萨。在月末来临的时候，他们立即陷入了亚当曾希望出现的社会漩涡。而在佛罗伦萨，亚当遇到了一个对他有重要影响的人，他叫查尔斯路易Clrisseau。这是位极有天赋的年轻法国建筑师和绘图员，他同意成为亚当的教练和绘图专员巡回演出。Clrisseau 曾是罗马法兰西学院的学生，但他在与其主任发生争执后于1754年离开。因为亚当与Clrisseau 的友谊，使得亚当接触当时在罗马非常前卫的建筑理论。他写道：“我希望能大大扩大我的想法和口味，形成对远古建筑真正理解的坚实基础。”亚当在1755年2月离开佛罗伦萨前往罗马，在那里他不得不选择是献身于高雅的社会还是建筑学，他说：“如果在罗马我是名建筑师，如果我被大家看见画板或铅笔在我的手里，我不能进文雅的公司成为艺术家；如果就算我能进去，我的艺术家身份也不能被承认；如果他们不承认他，那很可能公司连打牌、 打球或者参加音乐会都会加以干涉。”他不得不决定：“我是放弃Hope和完美的自我介绍还是放弃 Clrisseau 和自己盛大的追求呢？”他与Hope争吵起来，然后两人分离了。他为自己和 Clrisseau腾出空间，亚当静下心来认真研究、 参观、 写生，以及测量研究古物古迹。在罗马举行会谈时，当中重要的人物艺术收藏家朱塞佩 阿尔瓦尼和雕刻师詹巴蒂斯塔皮拉内西，他们献给他的计划是写在古罗马的书Il Campo Marzio (1762 年)，其中载有亚当的雕刻肖像。1757年5月，亚当和 Clrisseau 离开罗马并前往达尔马提亚，途中他们拜访了威尼斯斯普立 (克罗地亚的现代斯普利特)宫殿遗址。亚当不禁觉得自己的知识尚不完美，作为建筑师他应该能够将古人的私人大厦加以观察并将优点添加到我们的政府公共建筑中。他们在斯普立花了五个星期，为在1764 年出版的达尔马提亚的皇帝宫殿遗址绘图作准备。亚当风格亚当几乎耗尽了他的钱和回英国的欲望，不得不放弃进一步去希腊和埃及探险的乐趣。1758年1月他回到了伦敦，而他脑海中依然浮现着罗马古物的详细信息。他对帕拉第奥建筑主义失去兴趣，并与市民一同准备好新的建筑风格。在1760中叶，亚当不失时机地打造自己的名声，他的弟弟詹姆斯也在1763年在伦敦加入他，并在他弟弟的帮助下创建和充分发展了亚当风格。而后他们宣布“亚当风格为这个国家带来了全新的建筑革命，在整个系统中充分发挥了有用的和高雅的艺术”。新的亮度和自由的体系结构中的古典元素的使用标志着亚当风格的形成许多建筑元素的全新组合。比如英国皇家艺术学会建筑 （17721774），亚当就是采用这样的结合众多建筑元素的建筑风格。各种因素包括：第三代伯爵的伯灵顿，理查德 伊尔和威廉 肯特这两个建筑师；运动与活力建筑的 John Vanbrugh 先生 ；当代法国的作品，尤其是在细节、 规划和家具设计上可以看出端倪；罗马考古 ；以及意大利文艺复兴时的装潢，尤其是 16 世纪的幻想戎装。亚当的天分是由这些发展起来的。亚当的样式实质上是装饰风格，亚当也作为出色的室内设计师被大家铭记在心里。他的每个房间，每个部分，到最不引人注目的地毯的装饰也及其细致地做到最好。在伦敦亚当的第一个重要的作品是金钟屏幕的设计 (大约1760年)