《专业英语》课件Unit-2

Unit 2ModernArchitectureText Modernarchitectureisgenerallycharacterizedbysimplificationofformandanabsenceofapplieddecoration.Itisatermappliedtoanoverarchingmovement,withitsexactdefinitionandscopevaryingwidely.Whilethestylewasconceivedearlyinthe20thcenturyandheavilypromotedbyafewarchitects,architecturaleducatorsandexhibits,veryfewModernbuildingswerebuiltinthefirsthalfofthecentury[1].ForthreedecadesaftertheSecondWorldWar,however,itbecamethedominantarchitecturalstyleforinstitutionalandcorporatebuilding.1）Origins

SomehistoriansseetheevolutionofModernarchitectureasasocialmatter,closelytiedtotheprojectofModernityandhencetotheEnlightenment,aresultofsocialandpoliticalrevolutions[2]. OthersseeModernarchitectureasprimarilydrivenbytechnologicalandengineeringdevelopments,anditistruethattheavailabilityofnewbuildingmaterialssuchasiron,steel,concreteandglassdrovetheinventionofnewbuildingtechniquesaspartoftheIndustrialRevolution.In1796,ShrewsburymillownerCharlesBagefirstusedhis‘fireproof’design,whichreliedoncastironandbrickwithflagstonefloors.Suchconstructiongreatlystrengthenedthestructureofmills,whichenabledthemtoaccommodatemuchbiggermachines.TextDuetopoorknowledgeofiron'spropertiesasaconstructionmaterial,anumberofearlymillscollapsed.Itwasnotuntiltheearly1830sthatEatonHodgkinsonintroducedthesectionbeam,leadingtowidespreaduseofironconstruction,thiskindofaustereindustrialarchitectureutterlytransformedthelandscapeofnorthernBritain,leadingtothedescription,"Darksatanicmills"ofplaceslikeManchesterandpartsofWestYorkshire.TheCrystalPalacebyJosephPaxtonattheGreatExhibitionof1851wasanearlyexampleofironandglassconstruction;possiblythebestexampleisthedevelopmentofthetallsteelskyscraperinChicagoaround1890byWilliamLeBaronJenneyandLouisSullivan.Earlystructurestoemployconcreteasthechiefmeansofarchitecturalexpression(ratherthanforpurelyutilitarianstructure)includeFrankLloydWright'sUnityTemple,builtin1906nearChicago,andRudolfSteiner'sSecondGoetheanum,builtfrom1926nearBasel,Switzerland. OtherhistoriansregardModernismasamatteroftaste,areactionagainsteclecticismandthelavishstylisticexcessesofVictorianEraandEdwardianArtNouveau. Whateverthecause,around1900anumberofarchitectsaroundtheworldbegandevelopingnewarchitecturalsolutionstointegratetraditionalprecedents(Gothic,forinstance)withnewtechnologicalpossibilities.TextTheworkofLouisSullivanandFrankLloydWrightinChicago,VictorHortainBrussels,AntoniGaudiinBarcelona,OttoWagnerinViennaandCharlesRennieMackintoshinGlasgow,amongmanyothers,canbeseenasacommonstrugglebetweenoldandnew.2）ModernismasDominantStyle Bythe1920sthemostimportantfiguresinModernarchitecturehadestablishedtheirreputations.ThebigthreearecommonlyrecognizedasLeCorbusierinFrance,andLudwigMiesvanderRoheandWalterGropiusinGermany[3].MiesvanderRoheandGropiuswerebothdirectorsoftheBauhaus,oneofanumberofEuropeanschoolsandassociationsconcernedwithreconcilingcrafttraditionandindustrialtechnology[4]. FrankLloydWright'scareerparallelsandinfluencestheworkoftheEuropeanmodernists,particularlyviatheWasmuthPortfolio,butherefusedtobecategorizedwiththem.WrightwasamajorinfluenceonbothGropiusandvanderRohe,however,aswellasonthewholeoforganicarchitecture.

Text In1932cametheimportantMOMAexhibition,theInternationalExhibitionofModernArchitecture,curatedbyPhilipJohnson.JohnsonandcollaboratorHenry-RussellHitchcockdrewtogethermanydistinctthreadsandtrends,identifiedthemasstylisticallysimilarandhavingacommonpurpose,andconsolidatedthemintotheInternationalStyle. Thiswasanimportantturningpoint.WithWorldWarIItheimportantfiguresoftheBauhausfledtotheUnitedStates,toChicago,totheHarvardGraduateSchoolofDesign,andtoBlackMountainCollege.WhileModernarchitecturaldesignneverbecameadominantstyleinsingle-dwellingresidentialbuildings,ininstitutionalandcommercialarchitectureModernismbecamethepre-eminent,andintheschools(forleadersoftheprofession)theonlyacceptable,designsolutionfromabout1932toabout1984. Architectswhoworkedintheinternationalstylewantedtobreakwitharchitecturaltraditionanddesignsimple,unornamentedbuildings.Themostcommonlyusedmaterialsareglassforthefacade,steelforexteriorsupport,andconcreteforthefloorsandinteriorsupports;floorplanswerefunctionalandlogical[5].TextThestylebecamemostevidentinthedesignofskyscrapers.PerhapsitsmostfamousmanifestationsincludetheUnitedNationsheadquarters(LeCorbusier,OscarNiemeyer,SirHowardRobertson),theSeagramBuilding(LudwigMiesvanderRohe),andLeverHouse(Skidmore,Owings,andMerrill),allinNewYork.AprominentresidentialexampleistheLovellHouse(RichardNeutra)inLosAngeles. Detractorsoftheinternationalstyleclaimthatitsstark,uncompromisinglyrectangulargeometryisdehumanising.LeCorbusieroncedescribedbuildingsas"machinesforliving",butpeoplearenotmachinesanditwassuggestedthattheydonotwanttoliveinmachines.EvenPhilipJohnsonadmittedhewas"boredwiththebox."Sincetheearly1980smanyarchitectshavedeliberatelysoughttomoveawayfromrectilineardesigns,towardsmoreeclecticstyles.Duringthemiddleofthecentury,somearchitectsbeganexperimentinginorganicformsthattheyfeltweremorehumanandaccessible.Mid-centurymodernism,ororganicmodernism,wasverypopular,duetoitsdemocraticandplayfulnature.AlvarAaltoandEeroSaarinenweretwoofthemostprolificarchitectsanddesignersinthismovement,whichhasinfluencedcontemporarymodernism. Althoughthereisdebateastowhenandwhythedeclineofthemodernmovementoccurred,criticismofModernarchitecturebeganinthe1960sonthegroundsthatitwasuniversal,sterile,elitistandlackedmeaning.TextItsapproachhadbecomeossifiedina"style"thatthreatenedtodegenerateintoasetofmannerisms.SiegfriedGiedioninthe1961introductiontohisevolvingtext,Space,TimeandArchitecture(firstwrittenin1941),couldbegin"Atthemomentacertainconfusionexistsincontemporaryarchitecture,asinpainting;akindofpause,evenakindofexhaustion."AttheMetropolitanMuseumofArt,a1961symposiumdiscussedthequestion"ModernArchitecture:DeathorMetamorphosis?"InNewYork,thecoupd'étatappearedtomaterializeincontroversyaroundthePanAmBuildingthatloomedoverGrandCentralStation,takingadvantageofthemodernistrealestateconceptof"airrights",IncriticismbyAdaLouiseHuxtableandDouglasHaskellitwasseento"sever"theParkAvenuestreetscapeand"tarnish"thereputationsofitsconsortiumofarchitects:WalterGropius,PietroBelluschiandthebuildersEmeryRoth&Sons.TheriseofpostmodernismwasattributedtodisenchantmentwithModernarchitecture.Bythe1980s,postmodernarchitectureappearedtriumphantovermodernism,includingthetempleoftheLightoftheWorld,afuturisticdesignforitstimeGuadalajaraJaliscoLaLuzdelMundoSedeInternational;however,postmodernaestheticslackedtractionandbythemid-1990s,aneo-modern(orhypermodern)architecturehadonceagainestablishedinternationalpre-eminence.Aspartofthisrevival,muchofthecriticismofthemodernistshasbeenrevisited,refuted,andre-evaluated;andamodernisticidiomonceagaindominatesininstitutionalandcommercialcontemporarypractice,butmustnowcompetewiththerevivaloftraditionalarchitecturaldesignincommercialandinstitutionalarchitecture;residentialdesigncontinuestobedominatedbyatraditionalaesthetic.NewWordsandPhrasescontemporarya.当代的；同时代的；characteristicn.特征；特性；特色simplificationn.简单化；单纯化eliminationn.消除；淘汰；除ornamentvt.装饰，修饰stylen.风格；时尚；类型；字体conceivevi.设想；考虑exhibitvi.展出；开展览会institutionala.制度的；制度上的；学会的historiann.历史学家enlightenmentn.启迪；启蒙运动；教化revolutionn.革命；旋转；运行；循环availabilityn.可用性；有效性；实用性fireproofa.防火的；耐火的accommodatevt.容纳；使适应；供应；调解collapsevt.使倒塌，使崩溃；使萎陷beamn.横梁；光线；电波austerea.严峻的；简朴的；苦行的；无装饰的utterlyadv.完全地；绝对地；全然地transformvt.改变，使…变形；转换landscapen.风景，景色；山水画NewWordsandPhrasesskyscrapern.摩天楼，超高层大楼；eclecticism折衷主义lavisha浪费的；丰富的；大方的precedentn.先例；前例adj.在前的；在先的consolidatevt.巩固，使固定；联合vi.巩固，加强facaden.正面；表面；外观rectangulara.矩形的；成直角的detractorn.贬低者；诽谤者dehumanisevt.使非人化，使丧失人性deliberatelyadv.故意地；谨慎地；慎重地rectilineara.直线运动的；形成直线的；用直线围着的universala.普遍的；通用的；宇宙的；全世界的；全体的sterilea.不育的；无菌的；贫瘠的；不毛的；枯燥乏味的mannerismn.特殊习惯；矫揉造作；怪癖metropolitana.大都市的；大主教辖区的；宗主国的controversyn.争论；论战；辩论disenchantmentn.醒悟，清醒；不抱幻想postmoderna.后现代triumphanta.成功的；得意洋洋的；狂欢的futuristica.未来派的；未来主义的idiomn.成语，习语；土话refutevt.反驳，驳斥；驳倒revivaln.复兴；复活；苏醒；恢复精神；再生效aesthetica.美的；美学的；审美的，具有审美趣味的Notes[1]Whilethestylewasconceivedearlyinthe20thcenturyandheavilypromotedbyafewarchitects,architecturaleducatorsandexhibits,veryfewModernbuildingswerebuiltinthefirsthalfofthecentury. 虽然这种风格的构想形成于20世纪初期，并有很多的建筑师、建筑教育家及其作品有大量的推广，但是很少有现代主义建筑始建于20世纪上半叶。[2]SomehistoriansseetheevolutionofModernarchitectureasasocialmatter,closelytiedtotheprojectofModernityandhencetotheEnlightenment,aresultofsocialandpoliticalrevolutions. 某些历史学家把现代主义建筑的演变作为一个社会的产物，是社会和政治革命的结果，跟现代性工程息息相关，从而导致了现代性建筑的启蒙。[3]Bythe1920sthemostimportantfiguresinModernarchitecturehadestablishedtheirreputations.ThebigthreearecommonlyrecognizedasLeCorbusierinFrance,andLudwigMiesvanderRoheandWalterGropiusinGermany. 到了二十世纪二十年代，现代主义建筑的最重要的人物建立了自己的声誉。一般公认的三大现代主义建筑的代表为：法国的勒·柯布西耶、和德国的路德维希·密斯·范德罗和沃尔特·格罗皮乌斯。Notes[4]MiesvanderRoheandGropiuswerebothdirectorsoftheBauhaus,oneofanumberofEuropeanschoolsandassociationsconcernedwithreconcilingcrafttraditionandindustrialtechnology. 密斯·范德罗和格罗皮乌斯都是包豪斯的领导人，包豪斯作为大量的欧洲学校之一，具有传统工艺和工业技术相协调的典范。[5]Themostcommonlyusedmaterialsareglassforthefacade,steelforexteriorsupport,andconcreteforthefloorsandinteriorsupports;floorplanswerefunctionalandlogical. 最常用的材料是玻璃用作建筑外部材料，钢材作为外部支撑，混凝土作为楼板和内部支撑；平面图展现的是建筑的功能性和逻辑性。Exercises （TranslatethefollowingChineseintoEnglish,orEnglishintoChinese）1.Modernarchitecture,nottobeconfusedwith'contemporaryarchitecture',isatermgiventoanumberofbuildingstyleswithsimilarcharacteristics,primarilythesimplificationofformandtheeliminationoforn