建筑学专业外文翻译--建筑设计空间中的语法

1、.外文原文SPACE SYNTAX IN ARCHITECTURAL DESIGNDesign is a sophisticated cognitive activity. In architecture, this activity begins by generating an abstract idea and continues by transforming it to concrete spatial formations. Whether it is called as “image” (Alexander, 1964), “primary generator” (Darke,

2、1984), “conjecture” (Hillier, et al., 1984), “organising principle” (Rowe, 1987) or concept (Lawson, 2003) all refers to the same: the idea that makes an architectural design unique or different from all others. Finding a unique way in which spaces are formulated to reflect these ideas constitutes t

3、he next step of design activity; in other words to find a way to transform these abstract ideas into spatial formations. By generating different proposals and testing them, the architect consolidates his/her ideas or re-defines them in order to gain satisfied spatial formations.This paper investigat

4、es the research theme by focusing on:1. Design activity itself, its nature and architectural design process,2. Space syntax itself, its main idea and its role in architectural ractice.Space syntax is theory of space and a set of analytical, quantitative and descriptive tools for analysing the spatia

5、l formations in different forms: buildings, cities, interior spaces or landscapes (Hillier and Hanson, 1984, Hillier, 1996). Main interest of space syntax is the relation between human beings and their inhabited spaces. It is believed that distinctive characteristics of societies exist within spatia

6、l systems, and their knowledge is conveyed through space itself, and through the organisation of spaces (Dursun and Saglamer, 2003). Space Syntax calls this relational characteristic of space as configuration and proposed the idea that it is this characteristic forms the human behaviour thus contain

7、s the social knowledge.The aim of space syntax research is to develop strategies of description for configuring inhabited spaces in such a way that the underlying social meaning can be enunciated. This is turn can allow for secondary theories or often practical explanations to be developed regarding

8、 the effects of spatial configuration on various social or cultural variables. A related theme in space syntax research is to understand configured space itself, particularly its formative process and its social meaning (Bafna, 2003).In brief, space syntax is an attempt to constitute a configuration

9、al theory in architecture by generating a theoretical understanding of how people make and use spatial configurations, in other words, an attempt to identify how spatial configurations express a social or cultural meaning and how spatial configurations generate the social interactions in built envir

10、onments.Great variety of research and publication shows that earliest space syntax works focused on real environments and tried to identify the intrinsic nature of man made environments. By developing consistent techniques for the representation and analysis of spatial patterns, recent space syntax

11、works attempt to simulate spatial design proposals and arrive at a basis for predicting how they would work. “Space syntax research is reason based, and more rigorous than most, but it has effectively led to the study of architectural intuition through its creations. In practice, design proceeds by

12、mixing intuition and reason. Space syntax makes the deployment of non-discursive intuition more rational。Design Practice in Building Context: Tate BritainAdministration department of Tate Britain has decided to improve museum layout by providing new exhibition spaces. The idea was to design a new wi

13、ng with a sculpture courtyard as extension to existing gallery. Space Syntax has been commissioned by Tate Britain to assist Tate Britain and its architects Allies and Morrison.Space Syntax Laboratory has contributed to the design process both by illuminating the social culture in the museum which w

14、as conveyed through the spatial configuration itself and helping architects。After being defined how the existing spatial layout works spatially, comparative analyses of proposals in term of their possible effects on the museum have been carried out. Among the proposals first one intended to create a

15、 new gallery wing for the permanent collection having a passage entrance through the Clore Gallery. An external sculpture court was planned at the back of this wing. In the second proposal, some of the new gallery spaces were added on the north side of the building linearly and the others were desig

16、ned at the back of this as a separate wing shaping an open court at the centre. Third one introduced a new north wing that will be used as temporary exhibition space and the area which is currently used for temporary exhibition was designed to host the permanent collection. In this option, external

17、sculpture court was formed between the new gallery wing and the Clore Gallery having a link to new café and bookshop space.This study has illustrated that the space syntax provided a useful tool for people to think about space. By employing evidence based approach, first it became possible to c

18、apture the spatial characteristics of the museum and then different ideas were tested in terms of their effect on the whole spatial configuration to see how space will be used and experienced by their inhabitants. If design is a kind of activity that can be learned by doing and experiencing, this ap

19、proach provides a useful tool for students to learn from their design decisions. This then can lead them in creating new ideas as well as developing and evolving their proposals.Design process in architecture is not a systematic or procedural process. It is rather a making and discovery process whic

20、h proceeds by creating and testing design ideas. By taking into account design constraints, architects use a great variety of science based knowledge as well as his/her individual experiences and beliefs in this process. The way how the architect brings these together or what are his/her priorities,

21、 or how s/he understands and evaluates them is totally subjective.The role of space syntax in architectural design can be summarised as follows:1. In the dialogue between architect and designed space, space syntax presents a language for thinking and talking about space. This is a language which arc

22、hitects arent familiar to use. It is more scientific, more mathematical. However it is important as it makes non-discursive characteristics of space discursive and puts the space into a more extensive debate.2. Space syntax carries science based knowledge into design process. It establishes a link b

23、etween research and design; in this way constitutes the core of “evidence based design” (Hanson, 2001).3. If design is an activity which is learned by making and testing, space syntax contributes to this process by providing tools for architects to explore their ideas, to understand the possible eff

24、ects of their proposals, as well as to show how their designs will work.4. The striking point is that space syntax gives a chance to the architect to evaluate his/her designs not simply as a physical and static entity, but as a living organism, which is experienced by its inhabitants. This kind of e

25、valuation which is based on the interaction between human beings and designed spaces is differentiated from those which only test or indicate the performance of the space against a number of criteria such as cost, energy consumption, level of light, etc.Here, it must be clarified that space syntax i

26、s only one way of thinking about space by focusing on the organization of spaces, movement patterns and their social meanings. If we think that the architect is the person who has a comprehensive conception about human being and inhabited space, his/her duty must be to be aware of different tools an

27、d knowledge resources and to have a capability of using them to lead his/her design thinking. （From: National Knowledge Infrastructure，CNKI）中文译文建筑设计空间中的语法设计是一个复杂的认知活动。在建筑，此活动开始产生一个抽象的概念，并继续将其转化空间形态。无论是被称为“形象”亚历山大（1964年），“主发电机”（达克，1984年），“猜想”（希利尔等，1984），“组织原则”（罗维，1987）或“概念”劳森（2003）所有指的是相同的：这个想法，使一个建筑

28、设计独特或与众不同。找到一个独特的方式制定空间来反映这些想法构成下一步的设计活动;换句话说找到一个方式使这些抽象的概念转化成空间构成。通过征集不同的建议并测试它们，建筑师是巩固他/她的想法，或重新定义他们，只是为了获得满意的空间形态。本文探讨的重点研究主题：1、计活动本身，其本质和建筑学的设计过程2、语法本身，它的主要思想及其在建筑中的作用空间语法理论是一套在不同空间形态中分析不同的空间构成，定量和描述的工具：建筑，城市，室内空间或景观（希利尔和汉森，1984年，禧利，1996年）。空间语法的主要关注的是人与人之间的关系和他们的生存空间。值得相信的是特色鲜明的社会存在的内部空间系统，并转达他们

29、的知识是通过空间本身和空间的组织（Dursun和Saglamer，2003年）。空间语法调用这个空间的关系特点配置和提出的想法，就是这一特点形成人类的行为从而包含社会知识。空间语法研究的目的是发展战略，用这样一种方式，描述空间配置，从而发掘潜在的社会意义。这反过来又可以让二次理论或实际的解释被开发，从而发展空间构成对各种社会或文化的变数的影响。空间语法研究中的一个相关的主题是：了解配置空间本身，尤其是它的形成过程以及其社会意义（Bafna，2003年）。总之，空间语法是意图在建筑中形成一构型理论通过生成一种人们如何制作和使用空间配置的理论认识，换句话说，是一种试图定义空间配置如何表达一个社会或

30、文化内涵和如何产生空间在建造社会环境的相互作用。各种各样的研究表明,最早的空间语法的作品侧重于现实环境，并试图确定通过人的内在本质建造出来的环境。通过发展一致技术表现和分析空间模式,最近空间语法工程试图模拟空间设计建议书，完成预测他们将如何工作的基础事务。“空间语法研究更为基础，而且比大多数研究更为严格，它已经通过它的作品有效地带领建筑直觉的研究。在实践中，设计收获来源于结合直觉和理性。空间语法使得非话语的直觉部署更合理设计建设方面的实践：英国泰特博物馆管理部门决定提高英国泰特博物馆的布局提供了新的展览空间。这个想法是为了设计一种新的翼与雕塑作为延伸到院子里存在画廊。空间语法已委托英国泰特协助英国泰特艺术中心和它的建筑师埃里斯和莫里森。空间语法实验在设计过程中作出了贡献，照亮社会文化在博物馆设计中的转达，通过本身的空间配置帮助建筑师。如何在现有的空间，布局空间工程明确后，比较分析在这方面的建议对博物馆有可能产生的影响