建筑外文翻譯---建筑師的培養(yǎng)

1、<p><b>　　本科畢業(yè)設(shè)計(jì)</b></p><p><b>　　外文資料翻譯</b></p><p>　　1．英文題目： The Edycation Of The ArchItect</p><p>　　2．中文題目：建筑師的培養(yǎng)</p><p>　　學(xué)院（部）： 土木建筑學(xué)院

2、 </p><p>　　專業(yè)班級： 土木06-5 </p><p>　　學(xué)生姓名： 曹 菲 菲 </p><p>　　指導(dǎo)教師： 杜菊芬高級工程師 </p><p>　　2010年 06 月 04 日</p><p><b>　　外文資料

3、</b></p><p>　　The Edycation Of The ArchItect</p><p>　　The architect should be equipped with knowledge of many branches of study and varied kinds of learning, for it is by his judgement tha

4、t all work done by the other arts is put to test. This knowledge is the child of practice and theory. Practice is the continuous and regular exercise of employment where manual work is done with any necessary material ac

5、cording to the design of a drawing. Theory, on the other hand, is the ability to demonstrate and explain the productions of dexterity on the princ</p><p>　　2. It follows, therefore, that architects who have

6、aimed at acquiring manual skill without scholarship have never been able to reach a position of authority to correspond to their pains, while those who relied only upon theories and scholarship were obviously hunting the

7、 shadow, not the substance. But those who have a thorough knowledge of both, like men armed at all points, have the sooner attained their object and carried authority with them.</p><p>　　3. In all matters, b

8、ut particularly in architecture, there are these two points:--the thing signified, and that which gives it its significance. That which is signified is the subject of which we may be speaking; and that which gives signif

9、icance is a demonstration on scientific principles. It appears, then, that one who professes himself an architect should be well versed in both directions. He ought, therefore, to be both naturally gifted and amenable to

10、 instruction. Neither natural ability wi</p><p>　　4. The reasons for all this are as follows. An architect ought to be an educated man so as to leave a more lasting remembrance in his treatises. Secondly, he

11、 must have a knowledge of drawing so that he can readily make sketches to show the appearance of the work which he proposes. Geometry, also, is of much assistance in architecture, and in particular it teaches us the use

12、of the rule and compasses, by which especially we acquire readiness in making plans for buildings in their grounds, and rig</p><p>　　5. A wide knowledge of history is requisite because, among the ornamental

13、parts of an architect's design for a work, there are many the underlying idea of whose employment he should be able to explain to inquirers. For instance, suppose him to set up the marble statues of women in long rob

14、es, called Caryatides, to take the place of columns, with the mutules and coronas placed directly above their heads, he will give the following explanation to his questioners. Caryae, a state in Peloponnesus, s</p>

15、<p>　　6. Likewise the Lacedaemonians under the leadership of Pausanias, son of Agesipolis, after conquering the Persian </p><p>　　armies, infinite in number, with a small force at the battle of Plata

16、ea, celebrated a glorious triumph with the spoils and booty, and with the money obtained from the sale thereof built the Persian Porch, to be a monument to the renown and valour of the people and a trophy of victory for

17、posterity. And there they set effigies of the prisoners arrayed in barbarian costume and holding up the roof, their pride punished by this deserved affront, that enemies might tremble for fear of the effects of</p>

18、;<p>　　7. As for philosophy, it makes an architect high-minded and not self-assuming, but rather renders him courteous, just, and honest without avariciousness. This is very important, for no work can be rightly d

19、one without honesty and incorruptibility. Let him not be grasping nor have his mind preoccupied with the idea of receiving perquisites, but let him with dignity keep up his position by cherishing a good reputation. These

20、 are among the precepts of philosophy. Furthermore philosophy treats of ph</p><p>　　8. Music, also, the architect ought to understand so that he may have knowledge of the canonical and mathematical theory, a

21、nd besides be able to tune ballistae, catapultae, and scorpiones to the proper key. For to the right and left in the beams are the holes in the frames through which the strings of twisted sinew are stretched by means of

22、windlasses and bars, and these strings must not be clamped and made fast until they give the same correct note to the ear of the skilled workman. For the arm</p><p>　　9. In theatres, likewise, there are the

23、bronze vessels (in Greek êcheia) which are placed in niches under the seats in accordance with the musical intervals on mathematical principles. These vessels are arranged with a view to musical concords or harmony,

24、 and apportioned in the compass of the fourth, the fifth, and the octave, and so on up to the double octave, in such a way that when the voice of an actor falls in unison with any of them its power is increased, and it r

25、eaches the ears of the au</p><p>　　10. The architect should also have a knowledge of the study of medicine on account of the questions of climates (in Greek klimata), air, the healthiness and unhealthiness o

26、f sites, and the use of different waters. For without these considerations, the healthiness of a dwelling cannot be assured. And as for principles of law, he should know those which are necessary in the case of buildings

27、 having party walls, with regard to water dripping from the eaves, and also the laws about drains, windows, </p><p>　　11. Consequently, since this study is so vast in extent, embellished and enriched as it i

28、s with many different kinds of learning, I think that men have no right to profess themselves architects hastily, without having climbed from boyhood the steps of these studies and thus, nursed by the knowledge of many a

29、rts and sciences, having reached the heights of the holy ground of architecture.</p><p>　　12. But perhaps to the inexperienced it will seem a marvel that human nature can comprehend such a great number of st

30、udies and keep them in the memory. Still, the observation that all studies have a common bond of union and intercourse with one another, will lead to the belief that this can easily be realized. For a liberal education f

31、orms, as it were, a single body made up of these members. Those, therefore, who from tender years receive instruction in the various forms of learning, recognize t</p><p>　　13. For an architect ought not to

32、be and cannot be such a philologian as was Aristarchus, although not illiterate; nor a musician like Aristoxenus, though not absolutely ignorant of music; nor a painter like Apelles, though not unskilful in drawing; nor

33、a sculptor such as was Myron or Polyclitus, though not unacquainted with the plastic art; nor again a physician like Hippocrates, though not ignorant of medicine; nor in the other sciences need he excel in each, though h

34、e should not be unskilful </p><p>　　14. Still, it is not architects alone that cannot in all matters each perfection, but even men who individually practise specialties in the arts do not all attain to the h

35、ighest point of merit. Therefore, if among artists working each in a single field not all, only a few in an entire generation acquire fame, and that with difficulty, how can an architect, who has to be skilful in many ac

36、complish not merely the feat--in itself a great marvel--of being deficient in none of them, but also that of </p><p>　　15. It appears, then, that Pytheos made a mistake by not observing that the arts are eac

37、h composed of two things, the actual and the theory of it. One of these, the doing of the work, is proper to men trained in the individual subject, while the other, the theory, is common to all scholars: for example, to

38、physicians and musicians the rhythmical beat of the pulse and its metrical movement. But if there is a wound to be healed or a sick man to be saved from danger, the musician will not call, for</p><p>　　16. A

39、stronomers likewise have a common ground for discussion with musicians in the harmony of the stars and musical concords in tetrads and triads of the fourth and the fifth, and with geometricians in the subject of vision (

40、in Greek logos optikos); and in all other sciences many points, perhaps all, are common so far as the discussion of them is concerned. But the actual undertaking of works which are brought to perfection by the hand and i

41、ts manipulation is the function of those who have been </p><p>　　17. Since, therefore, the possession of such talents due to natural capacity is not vouchsafed at random to entire nations, but only to a few

42、great men; since, moreover, the function of the architect requires a training in all the departments of learning; and finally, since reason, on account of the wide extent of the subject, concedes that he may possess not

43、the highest but not even necessarily a moderate knowledge of the subjects of study, I request, Caesar, both of you and of those who may re</p><p><b>　　中文翻譯</b></p><p><b>　　建筑師的

44、培養(yǎng)</b></p><p>　　1.建筑師要具備多學(xué)科的知識和種種技藝。以各種技藝完成的一切作品都要依靠這種知識的判斷來檢查。它是由手藝和理論產(chǎn)生的。手藝就是勤奮不輟的實(shí)際練習(xí)，通過它利用設(shè)計(jì)圖紙表示的各種必需的材料由人工來完成（建筑物）。而理論則可用比例的理論論證和說明以技巧建造的作品。</p><p>　　2.因此，建筑師如果不顧學(xué)問只致力于嫻熟技巧，雖竭盡辛苦，還是不能

45、得到威望的。而偏重于理論和學(xué)問的人們似乎也是追求幻影而不是現(xiàn)實(shí)。與此相反，只有精通這兩方面的人們，才好似全副武裝人員一樣，能迅速的獲得威望并達(dá)到目的。</p><p>　　3.實(shí)際上在一切事物中特別是在建筑學(xué)中，也存在著一下兩種事物，即被賦予意義的事物和賦予意義的事物。被賦予意義的事物就是對他要提出討論的事物；賦予意義的事物就是按照學(xué)問的原理做出解釋的闡明。因此自稱為建筑師的人就要精通這兩種事物。這樣說來，建筑師

46、既要有天賦的才能，還要有鉆研學(xué)問的本領(lǐng)。因此沒有學(xué)問的才能或沒有才能的學(xué)問都不可能造就出完美的技術(shù)人員。因此建筑師應(yīng)當(dāng)擅長文筆，熟悉制圖，精通幾何學(xué)，熟悉各種歷史，勤聽哲學(xué)，理解音樂，對于醫(yī)學(xué)并非茫然無知，通宵法律學(xué)家的論述，具有天文學(xué)或天體理論的知識。</p><p>　　4.這是為什么呢？下面就是他的理由。建筑師必須擅長文筆，是為了能做記錄使記憶更加確實(shí)。其次，要有制圖知識，依靠他們繪在圖紙上，就可以更容易表

47、現(xiàn)他所希望的建筑外貌的效果。幾何學(xué)給予建筑學(xué)許多幫助。首先，它教導(dǎo)了直尺和圓規(guī)的使用方法。在建筑場地上使用這些確實(shí)容易定出建筑線來，而且能正確地定出直角、水平線和直線。同樣，通過光學(xué)把光線從天空的一方正確地引到建筑物里。通過算術(shù)確實(shí)地計(jì)算建筑造價(jià)，說明計(jì)量方法;還通過幾何學(xué)的理論和方法解決艱難的對稱問題。</p><p>　　5.還要深悉各種歷史，這是由于建筑師常在作品中設(shè)計(jì)許多裝飾物，對于詢問為什么要創(chuàng)作這些裝

48、飾物的人們，便有回答論據(jù)的義務(wù)了。例如有人在建筑物中建立了身裹長袍的大理石女像以取代柱子，即所謂女像柱，在它的上面放置了挑檐托塊和挑檐，那么對于詢問者</p><p>　　就要回答理由吧!據(jù)說拍羅龐涅西斯的一個(gè)城邦卡里亞與希臘為敵而與波斯和好。后來希臘人以輝煌的勝利結(jié)束戰(zhàn)爭，于是召開市民大會對卡里亞人宣戰(zhàn)。這樣，希臘人便占據(jù)城堡，殺戮男人，焚毀城邦，擄去長里亞人的妻子作為奴隸，不準(zhǔn)這些婦女穿戴盛裝和女性服飾。這樣

49、。她們不僅被押解到凱旋的行列里，而且還淪為永受凌辱的奴隸形像，以代城邦償還懲罰。因此，當(dāng)時(shí)的建筑師們?yōu)槭箓髡f的卡里亞人獲罪受懲傳留后世，便在公共建筑物里設(shè)計(jì)了她們負(fù)荷重載的形像。</p><p>　　6.還有拉科尼亞人由阿革西波里斯之子帕烏薩尼亞斯率領(lǐng)，在普拉塔厄之役以弱勢戰(zhàn)勝了浩蕩的波斯大軍之際，用戰(zhàn)利品和繳獲品慶祝光榮的凱旋，并以其售價(jià)建造了波斯人柱廊，作為市民榮譽(yù)和英勇的標(biāo)幟，留給后代紀(jì)念戰(zhàn)捷。于是在那里設(shè)

50、置了身著外夷服裝且以相應(yīng)的凌辱懲罰其傲慢的俘虜像支承著屋頂，稗使敵人畏懼他們的勇猛戰(zhàn)果而退縮不前，并使市民看到這種英勇典范感到光榮而振作奮起，準(zhǔn)備保衛(wèi)自由。從此，許多人就采用了支承額緣乏其裝飾部分的波斯人像，因而給建筑物帶來顯著的變化。此外，還有類似的其他故事，建筑師也是必須具備這種知識的。</p><p>　　7.哲學(xué)可使建筑師氣宇宏闊，即使其成為不驕不傲且頗溫文有禮，昭有信用，淡泊無欲的人。這才是無與倫比的啊

51、!因?yàn)闆]有信用和廉潔確實(shí)不可能做出任何作品來的。切望清心寡欲，不要掛念自己應(yīng)得的饋贈，博得好評后還要持重維護(hù)自己的名譽(yù)。實(shí)際上哲學(xué)就是</p><p>　　規(guī)定這些事項(xiàng)的。而且哲學(xué)還闡明事物的自然本性—希臘人稱做費(fèi)西奧羅癸亞。對它則要更加精心地研究。因?yàn)樗ㄖ喾N問題，例如輸水方面的間題。在(輸水道的)流人部分、轉(zhuǎn)彎部分或水平部分由于壓力而以各種方式發(fā)出自然的氣泡。如果不從哲學(xué)中學(xué)會物性原理，恐怕絲毫也不可能治

52、好由它產(chǎn)生的損害吧!又閱讀記載這種規(guī)律的克戒西比俄斯或阿基米德及其他(哲學(xué)家的著作)的人，若非從哲學(xué)家那里學(xué)到這些事項(xiàng)，恐怕也不可能理解它們吧!</p><p>　　8。還要通曉音樂，以便了解音階法及(其)數(shù)字的注法，并能正確地進(jìn)行重弩炮、輕弩炮的調(diào)節(jié)。因?yàn)樵?弩炮)頭部的左右有半音的孔，通過這個(gè)孔用絞盤和杠桿張拉起用皮條捻成的股繩。這兩根股繩在工匠的耳:中沒有發(fā)出清晰相等的聲音以前是不會系緊或綁結(jié)的。因?yàn)橛衫?/p>

53、控制的兩臂在拉緊它們時(shí)必須兩邊相等，而且同時(shí)給出發(fā)射力。但是如果:它們沒有發(fā)出相同的聲調(diào)，就會妨礙直向發(fā)射炮彈的。</p><p>　　9.又在劇場階梯座席下面的凹間里按照數(shù)學(xué)法則分別音程而設(shè)置青銅缸。這些缸—希臘人稱它們?yōu)槎蚩虂啞贾贸蔀閳A周形狀，分為四度、五度、八度直到重八度，作出音樂上的和聲或和弦。因此，演員的聲音交混起來到達(dá)各個(gè)席位而激動(缸)時(shí)，其聲音就會增長擴(kuò)大，清晰而愉快地到達(dá)觀眾的耳里。水力共鳴器

54、或類似這種共鳴器的其他樂器‘如果缺乏樂理，恐怕誰也不能制造出來的。</p><p>　　10。因?yàn)樨部帐莾A斜著的—希臘人稱為克利瑪塔，又因?yàn)橐们逍碌幕蛞孜廴镜目諝夂屯恋匾约袄盟?，所以要通曉醫(yī)學(xué)。如果沒有醫(yī)學(xué)的理論，就不可能建造適于健康的住宅。此外，還要通曉法律。例如對于有界墻的建筑所必要的法規(guī)，屋檐滴水或排水范圍所必要的法規(guī)，有關(guān)采光或輸水的法規(guī)等等。建筑師還要注意其他與此類似的事項(xiàng):如在建造房屋之前要預(yù)先

55、警惕建筑物竣工后不致給業(yè)主留下糾紛;又?jǐn)M訂合同時(shí)對業(yè)主或承包人都要予以慎重的注意。因?yàn)橹灰屑?xì)地?cái)M訂好合同，互相之間就不會有利益沖突而相安無事了。從天文學(xué)中不僅了解東西南北，而且還了解到天空現(xiàn)象，春分秋分以至各個(gè)行星的運(yùn)行。如果沒有這些知識，恐怕就完全不能理解時(shí)鐘的制造方法吧!</p><p>　　11。因此，建筑的學(xué)問是廣泛的，是由多種門類的知識修飾豐富起來的。因此，如果不從兒童時(shí)期就攀登這些學(xué)問的階梯，積累許

56、多文學(xué)、科學(xué)知識，抵達(dá)建筑的崇高殿堂，便急速正經(jīng)地就任建筑師的職務(wù)，我想是不可能的。</p><p>　　12.但是，人的本性能夠精通那么多的學(xué)問，并且把它們保留在記憶里，這對沒有經(jīng)驗(yàn)的人來說似乎是奇怪的吧!然而，如果注意到一切學(xué)問在其間會有相互聯(lián)系貫通之處，就容易相信這是可能實(shí)現(xiàn)的。全部學(xué)問實(shí)際上好像一個(gè)人的身體是由肢體構(gòu)成的一樣。因此從少年時(shí)期就受到各種教育的人，能認(rèn)識所有書籍中的共同特征，了解一切學(xué)間的共同

57、之點(diǎn)，也會更容易學(xué)到全體了。因此在古代建筑師中以建造普里厄涅的彌涅瓦神廟著名的庇提俄斯在他的評論中曾說:建筑師在一切技術(shù)和學(xué)問中應(yīng)比由于勤勉和訓(xùn)練而對各個(gè)部門均能通曉的人完成得更加優(yōu)勝。但在事實(shí)上那是達(dá)不到的。</p><p>　　13. 比如說，建筑師并非沒有文化而是像阿里斯諾耳科斯那樣的文法學(xué)者;并非不通曉音樂而是像阿里斯托克塞諾斯那樣的音樂家;并非不精通繪畫而是像阿拍勒斯那樣的畫家;并非不熟悉雕塑技法而是像

58、彌隆或波律克利托斯那樣的雕塑家;更非不通曉醫(yī)學(xué)而是像希波克刺式斯那樣的醫(yī)師;又并非不精熟其他學(xué)間而是特別優(yōu)異;這些無論哪一項(xiàng)都是不必要的，也是不可能的。實(shí)際上，在如此多種多樣的事項(xiàng)中要達(dá)到精通的境界，無論是誰也是不可能的。因?yàn)橐私夂驼莆者@些全部理論幾乎是力所難及的。</p><p>　　14.但是，不僅建筑師對于所有事項(xiàng)不能期待臻于至善，甚至以各種技藝專長自任的人們也沒有全都獲得高超的聲譽(yù)。因此，如果每個(gè)匠.師

59、在各自的知識領(lǐng)域并非全部而僅是一小部分歷經(jīng)多年幾乎還沒有獲得名望，那么必須通達(dá)多種技能的建筑師，不僅要完善無缺地完成壯麗驚人的建筑本身，而且還要超越始終勤奮地專攻一門學(xué)問的匠師，這怎么會是可能的呢?</p><p>　　15因此，皮提俄斯對這個(gè)問題似乎犯了錯誤。因?yàn)樗丛⒁獾礁鏖T技術(shù)是由兩種事項(xiàng)即技藝及其理論所構(gòu)成的。其中一項(xiàng)是適合于熟練某些特別技藝的人們的，即制做作品;另一項(xiàng)是一切學(xué)者共通的，即理論，譬如對醫(yī)

60、師和音樂家來說有關(guān)血管的律動和腳的運(yùn)動的理論。然而要醫(yī)治創(chuàng)傷或拯救病人脫險(xiǎn)時(shí)，音樂家就不必前來了，這項(xiàng)工作是適宜于醫(yī)師的。同樣，樂器的調(diào)和需要的是音樂家而不是醫(yī)師，這樣，耳朵才能感受美妙的聲調(diào)啊!</p><p>　　16.同樣，在天文學(xué)家和音樂家中關(guān)于四和音及三和音的四度與五度方面星宿的協(xié)調(diào)和聲音的調(diào)和方面都有共通的論點(diǎn);在幾何學(xué)者中關(guān)于視覺即希臘人所謂羅戈斯·奧普提科斯也有共通的論點(diǎn)。在其他所有學(xué)間

61、中只要涉及議論的，那么許多事項(xiàng)或者可以說所有事項(xiàng)都是共通的。實(shí)際上，從事于由手工或以技法精巧地完成的工作，乃是對一種技藝受過特別完全教育的人們所應(yīng)做的。因此，在各門學(xué)問中適度地具有建筑上所必需的某一部分原理知識的人就可以認(rèn)為是完成得十分完滿的人。這樣的人對于建筑的事項(xiàng)以及技術(shù)要進(jìn)行批判和驗(yàn)證時(shí)，恐怕不會感到不足吧!至于確實(shí)由于天賦非常聰明、銳敏和強(qiáng)記而能深鉆幾何學(xué)、天文學(xué)、音樂以及其他學(xué)問的人們，這些人已超越過建筑師的任務(wù)而另成為數(shù)學(xué)家

62、了。這樣，(他們)對那些學(xué)理就更容易討論，因?yàn)樗麄円延酶呱畹慕逃溲b起來了。然而這樣的事情不過是偶然發(fā)生的。例如從前薩摩斯的阿里斯塔耳科斯、塔倫托姆⑤的菲羅刺俄斯⑥和阿耳卻塔斯、拍耳伽的阿波羅尼俄斯.、庫瑞那厄的厄刺托斯武涅斯、敘拉庫塞的阿基米德和斯科庇那斯，這些人都是根據(jù)數(shù)學(xué)和自然規(guī)律發(fā)明并解釋了許多裝置和時(shí)鐘而傳留于后世的。</p><p>　　17．因?yàn)橛蛇@樣的天賦聰明而來的資質(zhì)并非一切人相同，而只有少數(shù)

63、人才能夠具備;還因?yàn)榻ㄖ煹穆殑?wù)對于所有知識都要求受到訓(xùn)練，而且它們的項(xiàng)目過于廣泛;所以必需的并不是最完善的而只是普通的學(xué)問上的知識，照理來說就算可以了。因此，陛下!這部書籍沒有充分遵守文法規(guī)則來闡述，我懇求陛下同閱讀這部書籍的人們原諒!因?yàn)槲也皇亲鳛榫佑谝涣鞯恼軐W(xué)家或善于雄辯的修辭學(xué)者，也不是作為熟于此道的最高理論的文典學(xué)者，僅僅是作為具有一些文彩的建筑師苦心撰寫了這部書。只在有關(guān)技術(shù)能力以及其所包含的理論范圍之內(nèi)，我以這幾卷書不僅向