摘要：
建筑英语高级读写译翻译This was an important turning point. With World War II the important figures... 建筑英语高级读写译翻译
This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited
关于“Modern Architecture”的 Modern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building. 1. Origins Some historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, "Dark satanic mills" of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland. Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau. Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. 2. Modernism as Dominant Style By the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture. In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style. This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic.
melting of cultures in the new architecture：建筑里体现文化交融the architecture of housing :家居建筑residential planning：住宅设计design clarity urban synthesis ---the waler art center sculpture garden ,minneapolis 体现都市元素设计清晰的作品----minneapolis【地点】，the waler艺术中心景观花园"nutty,delightful"children's science discovery museum天真，快乐元素设计的儿童科学发现博物馆green anf healthy housing：绿色，健康家居
Modern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building. 1. Origins Some historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions. Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, "Dark satanic mills" of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum, built from 1926 near Basel, Switzerland. Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau. Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new. 2. Modernism as Dominant Style By the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology. Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture. In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style. This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984. Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles. Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism. Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and the builders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic. 选我的谢谢
建筑英语高级读写译教程翻译
15-4 PREFITTING 和用机器制造的(PREMACHINING) 门 门也许用机器制造在工厂接受各种各样的类型硬件。工厂用机器制造可能准备门接受圆柱形, 筒形, 榫眼、单位, 和外缘锁。其它硬件譬如手指拉扯, 门closers 、充足的俘获器, 和铰链(靶垛) 并且被提供为。斜面把放在门上, 并且所有特别要求被处理。 Premachining 普遍因为它减少工作人工成本对极小值, 但协调重要因为工作被完成在工厂从硬件制造商的模板。这意味着, 批准购物图画、硬件和门日程表, 并且硬件制造商的模板必须被提供给门制造商。 从估计物的观点, premachining 采取难估计的项目并且可观地简化它。除了熟练的地方门挂衣架是可利用的, premachined 门提议成本控制以最大结果。因此, 他们越来越频繁地被使用。 15-5 PREFINISHING 门 门Prefinishing 是申请渴望的结束的过程在门在工厂而不是完成在工作的工作。是的门premachined 经常prefinished 。各种各样的涂层是可利用的包括油漆、亮漆、乙烯基, 和聚酯薄膜(为木门) 。颜料和色彩有时增加达到渴望的视觉效果。金属门也许是prefinished 以烘烤在搪瓷或乙烯基穿的结束。Prefinishing 可能节省可观的工作精整时间和一般产生一个更好的结果比工作精整。prefinished 的门应该并且是premachined 以便他们意志mot 必须"工作在" 在工作。prefinished 门必须仔细地被处理和被安装在工作的结尾以便结束不会被损坏; 它经常难修理损坏的结束。关心在处理和存贮期间并且是必需品。
Construction project cost control generally four stages to complete, including decision-making stage and early stage work in the construction project cost control plays a vital role. Construction project cost control is the construction of a core part of project management, implemented in the whole process of construction must be in the investment decision-making stage, the preliminary work phase, implementation phase, and delivery stages of completion to take effective measures, respectively. Stage in the decision-making training to strengthen the management measures, in the early stages of work on human, material, machine cost control, computer applications in the construction phase will be to control these costs, delivery and settlement stages of completion in time to make up for shortcomings eliminate unnecessary costs later. This article describes the cost control and its main contents, lists the main methods of cost control and conditions of use, and then introduces the construction project cost control, and finally with practical examples, Yiu Wah House, Garden Expo project cost control techniques are studied, targeted project cost projections, to ensure quality in construction projects while the total costs to a minimum, in order to achieve optimum business benefits and social benefits.
The construction project cost control generally four stages to complete, including decision-making stage and in prophase work stage construction project cost control, plays an important role. The construction project cost control of construction project management is a key part in engineering construction, implementing the investment decision-making process, must be in early stage, stage, the implementation stage and work finished stage respectively take effective measures. In the decision to strengthen management personnel training work, the measures of prophase work of man, the material, the stage of cost control, machine, computer application to construction stage of cost control in the completion of work, and timely delivery clearing stage for later deficiency, eliminate unnecessary paper introduces its main contents and cost control of the cost control of enumerated methods and conditions of use, and then introduces the construction project cost control, the last of the expo garden examples, project construction cost control tower yao hua technology is studied, the cost of the project, located in the quality assurance and construction project total cost will be at the lowest control, so as to achieve the best enterprise benefit and social benefit.
近些年，国内建筑市场的大繁荣推动了建筑学专业的快速发展.下面是我带来的，欢迎阅读!
1
建筑词典大全 附中文详细解释
一般术语
1. 工程结构 building and civil engineering structures
房屋建筑和土木工程的建筑物、构筑物及其相关组成部分的总称。
2. 工程结构设计 design of building and civil engineering structures
在工程结构的可靠与经济、适用与美观之间，选择一种最佳的合理的平衡，使所建造的结构能满足各种预定功能要求。
3. 房屋建筑工程 building engineering
一般称建筑工程，为新建、改建或扩建房屋建筑物和附属构筑物所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
4. 土木工程 civil engineering
除房屋建筑外，为新建、改建或扩建各类工程的建筑物、构筑物和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
5. 公路工程 highway engineering
为新建或改建各级公路和相关配套设施等而进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
6. 铁路工程 railway engineering
为新建或改建铁路和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
7. 港口与航道工程 port harbour and waterway engineering
为新建或改建港口与航道和相关配套设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
8. 水利工程 hydraulic engineering
为修建治理水患、开发利用水资源的各项建筑物、构筑物和相关配设施等所进行的勘察、规划、设计、施工、安装和维护等各项技术工作和完成的工程实体。
9. 水利发电工程水电工程 hydraulic and hydroelectric engineering
以利用水能发电为主要任务的水利工程。
10. 建筑物构筑物 construction works
房屋建筑或土木工程中的单项工程实体。
11. 结构 structure
广义地指房屋建筑和土木工程的建筑物、构筑物及其相关组成部分的实体，狭义地指各种工程实体的承重骨架。
12. 基础 foundation
将建筑物、构筑物以及各种设施的上部结构所承受的各种作用和自重传递到地基的结构组成部分。
13. 地基 foundation soil; subgrade; subbase; ground
支承由基础传递或直接由上部结构传递的各种作用的土体或巖体。未经加工处理的称为天然地基。
14. 木结构 timber structure
以木材为主制作的结构
15. 砌体结构 masonry structure
以砌体为主制作的结构。它包括砖结构、石结构和其它材料的砌块结构。有无筋砌体结构和配筋砌体结构。
16. 钢结构 steel structure
以钢材为主制作的结构。其中由带钢或钢板经冷加工形成的型材所制作的结构称冷弯薄壁型钢结构。
17. 混凝土砼结构 concrete structure
以混凝土为主制作的结构。它包括素混凝土结构、钢筋混凝土结构和预应力混凝土结构等。
18. 特种工程结构 special engineering structure
指具有特种用途的建筑物、构筑物，如高耸结构，包括塔、烟囱、桅、海洋平台、容器、构架等各种结构。
19. 房屋建筑 building
在固定地点，为使用者或占用物提供庇护覆盖进行生活、生产或其它活动家的实体。
20. 工业建筑 industrial building
提供生产用的各种建筑物，如车间、厂前区建筑、生活间、动力站、库房和运输设施等。
21. 民用建筑 civil building; civil architecture
指非生产性的居住建筑和公共建筑，如住宅、办公楼、幼儿园、学校、食堂、影剧院、商店、体育馆、旅馆、医院、展览馆等。
22. 公路 highway
联结城市和乡村，主要供汽车或其它车辆行驶并具备一定技术标准和设施的道路。
23. 公路网 highway network
一定区域内相互连络、交织成网状分布的公路系统。
24. 高速公路 freeway
具有四条或四条以上车道，设有中央分隔带，并具有完善的交通安全设施、管理设施和服务设施，为全立交、全封闭，专供汽车高速行驶的公路。
25. 干线公路 arterial highway
在公路网中起骨干作用的公路，分国家干线国道、省干线省道。
26. 支线公路 feeder highway
在公路网中起连线作用的一般公路，即县县道和乡乡道等公路。
27. 铁路铁道 railway; railroad
用机车牵引运货或运旅客的车厢组成列车，在一定轨距的轨道上行驶的交通运输线路。
28. 标准轨距铁路 standard gauge railway
在直线地段，轨距为1435mm的铁路。
29. 宽轨距铁路 broad gauge railway
在直线地段，轨距大于1435mm的铁路。
30. 窄轨距铁路 narrow gauge railway
在直线地段，轨距小于1435mm的铁路。
31. 铁路枢纽 railway terminal
在铁路网点或网端，由几个协同作业的车站、引入线路和联络路线组成的综合体。
32. 铁路车站 railway station
设有各种用途的线路，并办理列车通过、到发、列车技术作业及客货运业务的分界点。
33. 港口 port; harbour
具有水陆联运条件和设施，供船舶安全进出和停泊以进行货物装卸作业或上下旅客以及军事用的交通运输枢纽。
34. 港口水工建筑物 marine structure
供港口正常生产作业的临水或水中建筑物。
35. 通航过船建筑物 navigation structure; navigation construction
在栏河闸、坝或急流卡口等所形成的水位集中落差处，为使船舶或排筏安全顺利地航驶而修
建的水工建筑物。
36. 灯塔 light house
在海洋、江河和湖泊航线中，指引船舶安全行驶、识别方位并设有发光樗的塔形建筑物。
37. 水利 water conservancy
为控制或调整天然水在空间和时间上的分布，防治洪水和旱涝灾害，合理开发和利用水资源而进行的活动，如治河防洪，灌溉排水，水土保持，水力发电，内河航运与生活、工业、环境供水以及跨流域调水等。
38. 水利枢纽 multipurpose hydraulic project; key water-control project; hydro-junction
为治理水患和开发利用水资源，在各种水域的一定范围内修建的若干座作用不同而相互配合的水工建筑物组成的综合体。
39. 水库 reservoir
为治理河流和开发水资源，在狭谷或丘陵地带河流上建档水坝，利用天然地形构成的蓄水设施。
40. 水工建筑物 hydraulic structure; marine structure; maritime construction
为水利、水利发电、港口与航道等工程修建的承受水作用的各种建筑物总称。
41. 档水建筑物 water retaining structure; retaining works
栏截水流、调蓄流量、壅高水位的水工建筑物。
42. 进水取水建筑物 intake structure
人河流、湖泊、水库等引进水流、控制流量、阻拦泥沙及漂浮物的水工建筑物。
43. 泄水建筑物 outlet structure; outlet works; sluice works
在水利枢纽或输水系统中，宣泄水量的水工建筑物。
44. 输水建筑物 conveyance structure
向供水目标输送水量的水工建筑物。
45. 整治建筑物 rcgulating structure; training structure rectification structure
为整治河流、航道、具有调整河床边界、改变水流结构、影响泥沙运动、控制河床演变等作用的水工建筑物。
46. 水电站 hydro-electric station; hydropower station
由河河湖海的沙滩有变为电能的各种装置及配套构筑物组成的综合体。
47. 水泵站抽水站、扬水站、提水站 pump station
设定抽水装置及其辅助装置，将水送往高处的配套建筑物。
48. 过木建筑物过木设施 raftpass facility log pass facility
供输送竹、木材通过闸、坝等挡水建筑物的工程设施。
49. 过钿建筑物过钽设施 fishpass facility
供鱼类通过拦河闸坝等挡水建筑物的工程设施。
50. 安全设施 safety device
为保障人、车、行船的安全，在房屋、公路、铁路和港口、航道沿线所设定的地道、天桥、航标、灯塔、照明装置、防水设施、护栏、标柱、标志、标线等设施的总称。
2
建筑工程合同英文翻译
依照《中华人民共和国合同法》、《中华人民共和国建筑法》及其他有关法律、行政法规、遵循平等、自愿、公平和诚实信用的原则，双方就本建设工程施工事项协商一致，订立本合同。
This Contract is hereby concluded between the parties concerned through friendly negotiation as to the construction matters of this project on the principle of equality, voluntariness, fairness and good faith according to the Contract Law of the People's Republic of China, the Construction Law of the People's Republic of China and other relevant laws and administrative laws and regulations.
一、 工程概况：
I. Project Profile:
工程内容：砖混三层;建筑面积606M2
Project content: Three floors with reinforced concrete structure; construction area: 606M2
群体工程应附承包人承揽工程专案一览表附件1
Mass construction project shall be attached with a schedule of the contracting projects of the contractor Annex 1
工程立项批准文号：洪经经计字[2006]60号
Project approval No.: HJJJZ [2006]
资金来源：外资
Capital source: Foreign capital
二、 工程承包范围
II. Contracting Scope
承包范围：土建、装饰、水电安装等工程
Contracting scope: Civil engineering, decoration, water and power installation and other projects
六、组成合同的档案
VI. Documents Forming Part of the Contract
组成本合同的档案包括
Documents forming part of the Contract include
1、 本合同协议书
1. The Contract Agreement
2、 中标通知书
2. Bid-winning Notice
3、 投标书及其附件
3. Tender Document and Its Appendix
4、 本合同专用条款
4. Special Terms and Conditions of this Contract
5、 本合同通用条款
5. General Terms and Conditions of this Contract
6、 标准、规范及有关技术档案
6. Standard, Specifications and Relevant Technical Documents
7、 图纸
7. Drawings
8、 工程量清单
8. Bill of Quantities
9、 工程报价或预算书
9. Engineering Bid or Budget Statement
双方有关工程的洽商、变更等书面协议或档案视为本合同的组成部分。
The negotiations, changes and other written agreements or documents between the parties regarding this project are deemed as an integral part of this Contract.
七、本协议书中有关词语含义与本合同第二部份《通用条款》中分别赋予它们的定义相同。
VII. The words in this Agreement shall have the same meanings as are assigned to them in Part II of this Contract – General Terms and Conditions.
八、承包人向发包人承诺按照合同约定进行施工、竣工并在质量保修期内承担工程质量保修责任。 VIII. The contractor promises the employer to construct and plete this project according to the
stipulations of this Contract and assume this project’s quality-guarantee responsibilities within the quality warranty period.
九、发包人向承包人承诺按照合同约定的期限和方式支付合同价款及其他应当支付的款项。
IX. The employer promises the contractor to pay the contract price and other accounts payable according to the term and mode agreed in this Contract.
十、合同生效
X. Execution of Contract
本合同双主约定：法定代表人或委托代理人签字后生效。
The parties in this Contract agree: This Contract shall take effect upon the signatures of legal
representatives or entrusted agents.
合同工期总日历天数90天
Total calendar days in the Contract Period: 90 days
建筑英语高级读写译教程
建筑专业英语红皮是第五版。红皮是建筑专业英语词汇的标准参考书，用于建筑工程专业英语教材的编写和教学。目前，该书已经出版了多个版本，其中最新的版本是第五版，于2019年正式出版发行。第五版的红皮相对于之前的版本，增加了大量的新词汇和实用内容，更加贴近实际应用需求。同时，该版本还更新了部分旧词汇的含义和用法，使得读者更加易于理解和应用。建筑专业英语是建筑工程专业的重要课程之一，也是建筑工程师必备的技能之一。使用红皮可以帮助学生和工程师扩充专业词汇，提升英语水平，更好地理解和应用相关知识。如果需要学习建筑专业英语，建议购买最新版的红皮参考书，并结合实际应用场景进行学习和练习。此外，可以参加相关的英语培训课程，或者通过互联网资源进行自学和练习。
高级的英文写作，我们除了看范文提高自己的能力之外，还可以找一本书籍来系统地学习。下面是我给大家整理的高级英文写作教程，供大家参阅!
《高级英文写作教程》分学生用书和教师用书两册，供高等学校英语专业高年级教学和有一定基础的英语爱好者使用。
本教材旨在扩大学生的知识领域，巩固和提高学生的语言技能，重点培养学生驾驭英语语言文学知识和对文学作品独立赏析的能力，从而使其能得体而流畅地运用语言，把用英语表达思想的能力提高到一个新的高度。经部分高校多年试用，证明本教材的使用效果基本符合新颁布的《高等学校英语专业教学大纲》中关于阅读部分和写作部分的要求。现为了适应更多学校英语教学的迫切需要，本教材经修订后由外语教学与研究出版社正式出版。
本教材所选的散文包括说明文、限定文、论说文、叙术文、描写文以及一些关于文章开头与结尾、文体风格的范文，其内容涉及文学批评、语言学、哲学、教育学、历史文化、名人轶事及经济生活等各个领域，具有教学大纲中要求的事实性阅读，评判性阅读和鉴赏性阅读三种特点。每类散文之前都有一篇概要的理论介绍，阐明该类散文的写作意旨、对象、语言特色和写作技巧。这些作品大都出自名家之手，结构严谨，用词考究，构思精巧，具有不同的写作风格和艺术特色，堪为不习和模仿的范例。
Exposition
Lesson 1
The Delicate Art ot the Forest
by Mark Twain
Lesson 2
The Emotive Component of Meaning
by Louis
Lesson 3
The Big Bull Market
by Frederick Lewis Allen
Lesson 4
The Evil of my Tale
by
Lesson 5
Oxford As I See It
by Stephen Leacock
Definition
Lesson 6
Pedantry
by Jacques Barzun
Lesson 7
Plot
by
Lesson 8
Loneliness An American Malady
by Carson McCullers
Judgment
Lesson 9
The Population of Augustan Rome
by Henry Thompson Rowell
Lesson 10
General George Armstrong Custer
by Ralph
……
This report aims at outlining which aspects of ourdepartment function most effectively, which onesneed improvement and how to achieve an efficientimprovement.
First of all, it needs to be stressed out that themajority of the team generally shows a real teamspirit, is willing to do his best to prioritize somesmooth interactions with customers and is notreluctant to work outside the normal working hours.
On top of that, every member of the team has beencarefully selected for his/her excellent qualifications in terms of negotiating skills andcommunications abilities.
As a result, it came out of the recent survey, conducted with most of our customers, that ourdepartment has an excellent image outside the company.
Unfortunately, however, some aspects appear to be less brilliant. As part of our sales force,people spend most of their time on the phone and cannot fit any training course within theirschedule. As there is no clear strategy to encourage the employees to attend trainingcourses, they may feel guilty to decide to use part of their working time to get a betterknowledge on a computer software for instance.
This being, said, I strongly recommend to define a clear strategy encouraging people toregister, at least, to two training courses, each year.
This would help them to understand that, whatever their initial qualifications may be, it maybring benefit to both them and the company to improve them.
红皮是指《建筑工程专业英语》（第3版），由李美玲主编，中国建筑工业出版社出版。这本书是目前建筑专业最为常用的英语教材之一，涵盖了建筑设计、结构、机电、给排水、暖通、材料等多个方面的专业词汇和知识点。红皮英语书籍在建筑专业教育中起到了极为重要的作用，被广泛使用。如果你正在学习建筑专业英语，这本书是非常值得推荐的。它不仅能够帮助你掌握专业词汇，还能够帮助你理解建筑专业的相关知识，提高你的英语水平和实践能力。当然，学习英语并非只靠一本书就能够完成，还需要进行大量的听、说、读、写训练，结合实际情境进行学习。建议多观看相关视频、听取专业英语课程，参加英语角等活动，提高自己的实践能力和语感。总之，《建筑工程专业英语》（第3版）是一本非常优秀的建筑专业英语教材，建议广大建筑专业学生认真学习，提高自己的英语水平和实践能力。
建筑专业英语红皮是指《建筑工程英语红皮书》。这本书是由中国建筑工业出版社出版发行的，是一本针对建筑专业学习者编写的英语教材。为什么答案是《建筑工程英语红皮书》呢？因为它是具有代表性的建筑专业英语教材之一，也是广大建筑专业学习者常用的学习资料之一。它包含了建筑工程中常见的词汇、短语、句型和常用表达方式，适合初学者和进阶学习者使用。实际解答方式和对策：如果需要学习建筑专业英语，可以选择使用《建筑工程英语红皮书》这本教材，也可以参加专业英语培训班或者自学。在学习过程中，需要注重词汇和语法的积累，并且要多进行口语和写作练习，提高应用能力。拓展说明：除了《建筑工程英语红皮书》之外，还有其他建筑专业英语教材，例如《建筑英语》、《建筑工程英语》等，学习者可以根据自己的需求和水平选择适合自己的教材。此外，建筑专业英语也是与国际接轨的必要技能，对于想要从事建筑领域的人来说具有重要的意义。
建筑英语高级读写译教程pdf
建筑专业英语红皮是指《建筑工程英语红皮书》。这本书是由中国建筑工业出版社出版发行的，是一本针对建筑专业学习者编写的英语教材。为什么答案是《建筑工程英语红皮书》呢？因为它是具有代表性的建筑专业英语教材之一，也是广大建筑专业学习者常用的学习资料之一。它包含了建筑工程中常见的词汇、短语、句型和常用表达方式，适合初学者和进阶学习者使用。实际解答方式和对策：如果需要学习建筑专业英语，可以选择使用《建筑工程英语红皮书》这本教材，也可以参加专业英语培训班或者自学。在学习过程中，需要注重词汇和语法的积累，并且要多进行口语和写作练习，提高应用能力。拓展说明：除了《建筑工程英语红皮书》之外，还有其他建筑专业英语教材，例如《建筑英语》、《建筑工程英语》等，学习者可以根据自己的需求和水平选择适合自己的教材。此外，建筑专业英语也是与国际接轨的必要技能，对于想要从事建筑领域的人来说具有重要的意义。
高中英语合集百度网盘下载
链接：
提取码：1234
简介：高中英语优质资料下载，包括：试题试卷、课件、教材、视频、各大名师网校合集。
这谁找得到啊~!
我这里有这个资源，分享给你：
大学英语四、六级考试是由中华人民共和国教育部主办，中华人民共和国教育部教育考试院（原教育部考试中心）主持和实施的大规模标准化考试，是全国性的教学考试，其目的是促进中国大学英语教学工作，对大学生的英语能力进行客观、准确的测量，为提高中国大学英语课程的教学质量提供
建筑高大翻译英语
英文原文：tall building英式音标：[tɔːl] [ˈbɪldɪŋ] 美式音标：[tɔl] [ˈbɪldɪŋ]
高大的huge 雄伟的great 壮观的magnificent 另人惊叹的amazing别致的unique 专门的special 漂亮的amazing/fantastic壮观的，气势雄伟的imposing美轮美奂sumptuous金碧辉煌splendid
应该是high building
高楼tall buildling（这里是表示名词的短语，tall是形容词修饰building楼房这个名词）building tall是指建得高（tall在这里用作修饰动词的副词），可能是表示现在进行时态用的ing
