英文建築文獻
『壹』 求一篇 關於建築的 英文文獻 5000字左右 帶中文翻譯的最好~ 要有文獻綜述就更好了~
一共兩篇，發到你的郵箱了
『貳』 求一篇關於建築的外文文獻及翻譯。畢業論文，要求有一萬個英文單詞，
我有結構方面的
一會給你發過去 參考下
請採納答案，支持我一下。
『叄』 求建築有關英文文獻
上萬方搜啊，我們寫論文時的文獻和資料都是在萬方上找的
『肆』 急求建築英語文獻及翻譯（2萬單詞）
關於「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 ecators 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 Instrial 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 introced the section beam, leading to widespread use of iron construction, this kind of austere instrial 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 instrial 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 Graate 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, e 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 introction 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.
『伍』 求英文參考文獻關於建築質量控制類的
子軒擎宇工作室不錯啊，可以網路一下！！！！！！！！！！！
『陸』 求一篇關於建築方面的英文文獻
關於「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 ecators 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 Instrial 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 introced the section beam, leading to widespread use of iron construction, this kind of austere instrial 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 instrial 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 Graate 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, e 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 introction 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.
『柒』 急求 國外著名建築師的關於建築文獻 要英文版的
該文通過簡要闡述生態建築的概念和表現形式,以及對托馬斯·赫爾佐格和諾曼·福斯特兩位建築大師的生態建築思想和作品的比較,來學習和理解生態建築,最後希望藉助兩位大師的突出成就來引起我國建築師對生態建築的重視和思考。
【作者單位】：南京工業大學建築與城市規劃學院;南京工業大學建築與城市規劃學院 碩士研究生;210009;碩士研究生;210009
【關鍵詞】：托馬斯·赫爾佐格;諾曼·福斯特;生態建築;生態建築的表現形式;生態建築思想;生態美學
【分類號】：TU-86
【DOI】：CNKI:SUN:HZJZ.0.2007-07-010
【正文快照】：
目前,隨著人們對防治環境污染和保持生態平衡意識的不斷增強,以及城市綠化的日益發展,創造低能耗的、可持續發展的生態建築環境這個嶄新的建築研究方向,越來越受到重視和推崇。那麼,什麼樣的建築可稱之為生態建築呢?生態建築是將建築作為一個生態系統,其內部各種物質能源有序的
Generally stating the concept and the expression of ecological buildings and comparing Thomas Herzog and Norman Foster's theories and works of ecological buildings to learn and acknowledge ecological buildings, this article wants to stimulate Chinese architects' attention and consideration of ecological buildings by the outstanding achievement of the two masters.
【Keyword】：Thomas Herzog, Norman Foster, Ecological building, Expression form of ecological building, Theory of ecological building, Ecological esthetic
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您可通過中國知網下載本文獻全文
『捌』 找一些能找到建築方面的英文文獻10000字以上的網站，要做一個翻譯。
自己去www.sciencedirect.com看看
『玖』 建築英文文獻
http://fengpeng.thu-concrete.net/
上面有，自己找
『拾』 求一篇與建築設計有關的英文文獻帶翻譯
〔提要〕隨著社會的進步和人類對工作、生活環境要求的提高,人們對給排水工程的設計已除了要求有合理、先進的工藝流程,能生產出高質量的水,還需要整個廠區有一個整潔優美的環境和賞心悅目的建築形態。這就必須對給排水工程的原有設計方法和程序思路有一個較大的改變,應把設計的全過程看成是一個持續發展的、不斷開放的、經常變化的動態體系,以確保設計出一個優秀工程來。
一、問題的由來
隨著社會的進步和人類對工作環境、生活質量,特別是對美的追求的不斷提高,人們已不再滿足於原有的一套設計習慣。並且隨著我國市場經濟的確立,為了在競爭激烈的市場中求得生存和發展,更要求對以前不受建築設計重視的給排水工程的設計來一個較大的改革,以適應日趨變化的業主市場。
長期以來,給排水工程設計採用的是一種封閉靜止的方法,就工藝而工藝,就生產而生產,僅僅只是為了滿足單一的一種功能,沒有綜合地考慮各種要素,因此工程的最終結果必然不能全方位地滿足業主的各方面要求,更不能滿足日趨重要的環境要求。
近年來給排水工程設計的經驗教訓告訴人們必須在設計的觀念上要有一個較大的革新,或者說必須有一個新的認識才能真正確保給排水工程的設計質量的提高,即良好的功能和良好的建築形象的高度統一。良好的功能可為生產和管理人員創造舒適安全和整潔優美的環境,從而提高勞動生產率;而良好的建築形象也是一種功能,這種功能不光是物質上的還有精神上的。
水廠建築的特點:一是工業建築范疇,但不能忽略其美觀;二是建築物匍伏於地,尺度不大,並且形式單調均一分散、變化不大;三是構築物所佔比重特大,表現在體量悶沉、笨重,而且一般布置在廠區平面顯眼的中心位置;四是污水處理廠氣味重而難聞;五是為使水廠的環境更加接近自然,需有大面積的綠化。因此,水廠的建築設計的意義倒並不完全在於如何做好工藝(這是很重要的),如何畫出一張美麗的圖畫,而在於其理想的目標能得以實現,完美的構思能得以表達,合理的功能能得以兌現,以及優雅的環境能得以體現。為了達到這個目的,水廠的建築設計首先應該在確實掌握豐富的信息、詳實的資料的條件下,在加強內部工種聯系的前提下,在正確的設計原則指導下和正確的方式組織下,有步驟、有計劃地應用現代化的科學方法和先進的技術手段去加以制訂(其中還要特別重視國外的各種先進經驗)。我們不能把設計的全過程看成是一個封閉———自立門戶的模式;單一———就事論事的模式,穩定———一成不變的模式;而應該看成是一個持續發展的、不斷開放的、經常變化的動態體系,才能確保設計出一個完美的優秀工程。
二、要注意的幾個因素
1 工藝流程的要求
給水處理廠即一般常稱的自來水廠。由於原水水質不同,工藝流程有各種組合,但它的基本工藝為混合、絮凝、沉澱、過濾和消毒。在城市水廠中,基本流程為原水→一級泵房→加葯→絮凝池→沉澱或澄清池→濾池→消毒清水池→二級泵房→用戶。水廠內的主體處理構築物中沉澱池、濾池基本上都高出地面,只有清水池可以埋入地下,而當沉澱採用平流式沉澱時,其池長達100餘m,在水廠中會形成單調冗長的池體,都需加以仔細設計。
大多數的城市污水處理廠的流程一般為提升後的污水重力經格柵→沉砂→初沉→曝氣→二沉→消毒→出流。如果排入的水體是感潮水體,有時亦會在處理水排入前有提升泵站,以解決高潮時污水廠的出水問題。
對於地下水位高的地區興建的污水廠,為了解決構築物的空池抗浮,往往以出水末端構築物的高度為控制,而將進水泵站以後的構築物以高出地面3～4m布置,這樣就必須對這種沉悶不堪的大體量砼面作建築處理,同時也必須對池間聯系的狹小的通道走廊作恰當的建築處理,否則作為一個整體環境來講是極不理想的,往往也不易被人們所接受。
2 總體規劃的要求
總體規劃非常重要,它是設計的靈魂。在規劃時首先要有一個總體布局的構思,其中應包括:工藝布局的合理、道路走向的清晰、廣場的適宜、地域的平衡、人流的互不交叉和公建用房(即生活區,其中包括辦公、科研、試驗、管理、會議室、食堂、廚房等內容)的最佳布置,然後按照①功能分區合理、簡捷、便利、經濟的原則;②風向、日照、地形有利的原則;③構圖優美、對比均衡、空間流通的原則等,根據工藝流程的要求,結合廠址的自然條件及環境條件(包括地形以至地質條件、廠外道路系統、綠化條件、朝向、原有建築物等)來進行總體規劃。在總體規劃中必須注意要創造良好的日照、空氣和通風條件,還要盡量避免雜訊的干擾,合理安排和大量利用綠化,把生態環境放在首位統一規劃(特別是廠前區),然後將建築物(或構築物)布置在經過深思熟慮的綠化等環境中。在綠化設施中須充分考慮到生態綠化和景觀綠化的有機結合,並多種植些可以釋放有益氣體和減少塵埃的樹種,以改善廠區環境,減少空氣污染,提高廠區的明潔度。
同時,建築物(構築物)的設計原則還必須在立足於「環境、空間、形式」三者統一的原則基礎上,使群體形象和個體形象都能表現出一種內在的含蓄和諧調,並通過曲直、高低、虛實、明暗、黑白、凹凸、方圓、上下等造型元素和設計手法的運用充分體現出工藝工程設計的新境界。
3 傳統觀念的改革
傳統是指技術上、文化上歷史的凝聚、沉澱和積累,它是人們長期經驗和教訓的總結,是固有的客觀存在。它之所以能長期繼承,經久不衰,並在某些方面形成一種固有的心理態勢,就是因為它具有一定的吸引力和耐人尋味的余韻,因此它往往極易被人們長久地、習慣地循套,自然地襲用,即使有時會出現一些問題和不足,但對成功來說總往往可加以原諒,或者最後說總的還是成功的。我們如果辯證地看,則可以這樣說,在繼承傳統之餘必須要有充分的創新,即從「現實的需要出發對傳統作轉變的工作」。如果工藝總是老一套形式,形式總是老面孔,色彩總是陳調重彈,即使在功能上還可以過得去,能滿足業主的一般要求,但從社會發展來看,從兩個文明來看,無論如何在組織形式上、在事先指導上、在各專業的協調、在通氣上都應該重新思考,不能一味循舊。在工藝上必須要創新、要提高、要有些新東西。在選型、色彩上必須要美觀、要有所升華,否則就不能使業主感到非常滿意,不能心情舒暢。為此可以說挑戰創新是必須的,是絕對的,沒有創新就會暮氣沉沉沒有生氣,就不能前進。
4 防止專業之間的各行其是
長期以來,給排水工程的習慣做法是工藝一馬當先,先提出設想,後再遞交給其它各工種,盡管各工種可以回提條件給工藝,但由於已成習慣,且因為各專業對工程總的概念認識不足而未能充分進行必要的商榷了解,互相質疑,因此就提不出內在的、關鍵的問題,致使矛盾隱蔽得不到圓滿的解決,有時還會引起返工,最後造成木已成舟的尷尬局面,導致項目得不到最佳的方案,達不到最理想的質量。
從管理科學上來說事先指導,預先協商,不把問題的解決拖到最後,這是最科學也是最有效的工作方法。如果一個專業的設計,一味地關在工作室里,並且總是閉門苦思(即沒有和其它有關專業認真商量研究),就只會把這些設計(即使是本專業中最優秀的設想)從一個社會現象變成了一個孤零零的個體,並且將這個專業完全裹入到「絕對正確」之中而一絲也動彈不得,其結果必然是感覺遲鈍且視感平平,最後遠不能滿足業主的總要求。因此,在整體設計中要非常重視事先的協調,重視事先的各有關專業的參與協商,並且必須認識到這不光是一個單一的項目也是一項系統工程,其優劣的關鍵必然是組成這個組織內的各有關要素的綜合,而決不是一個主導專業的所為(當然,它是很重要的)。所以決不能允許各專業各行其是,或者說是過分地突出自己,而缺少必要的整體相融性。只有通過組織有序的精心的全面的設計安排,我們才能把一個初看好像支離破碎、意見分岐、沒有完整性的模糊、凌亂的印象,變成一幅詩意盎然、變化有序、排列恰當、構圖完美的圖畫。
5 建築設計的重要性不可忽視
長期以來,由於歷史的原因,建築設計(特別是工業建築)在思想上趨於封閉狹隘,在形式上趨於呆板一律,在色彩上趨於灰暗、單調,總之建築在如何體現滿足人類的舒適和精神要求這方面考慮得太少了,更談不上在美觀的構思上多下功夫,而只片面單純地理解為單一的功能性構築物,僅為滿足生產而已,別無它求,諸如環境、空間、選型、尺度、色彩等方面都無關緊要也無須多考慮。
因此在工業建築中,建築的地位一直不高,也沒有什麼發言權,最後造成廠區建築不美觀,品味不高,大家不滿意。隨著社會經濟的發展,人民生活水平的提高,人們已不僅僅滿足於需要有一流的先進的工藝、能生產出較好的社會需要的產品,人們的追求向更高層次發展,更需要有一個包括優美的環境,良好的工作條件在內的賞心悅目的舒適的氛圍,更需要防止和減少工業建築常有的廢水廢氣對周邊環境的污染。這就需要進行全方位的綜合的建築設計,對污染進行充分有效的處理,保證有清晰的水質和潔凈的空氣。建築設計雖然不像工藝設計那樣直接產生經濟效益,但從全局、長遠的效應來看,其對提高生產效率、保障職工的身體健康、社會的文明都能起到很好的、積極的能動作用。因此,我們有必要對給排水工程中建築設計這個概念有一個新的認識,它必須是全面的、綜合的、整體效應的結果並必須在整個設計過程中貫徹始終。設計實踐告訴我們應該有一個懂總圖的設計師來進行總的牽頭、控制和協調,平衡各專業,取其所長限其所短來達到最佳的視覺效果,我們暫且稱此設計師為總協調建築師吧。在建築設計全過程中,總協調建築師要始終以能形成最佳環境景觀的觀念為依據,充分考慮到工藝流程的最先進、最便捷,結構布局的最經濟、最合理,不斷地向各有關專業的負責人就當地環境景觀的形成進行有方向性的引導,並不時向他們提供大家能接受的各種狀態建議或者能取得平衡的一些構想,以達到最廣泛的共識,統一的行動。
為了對全局進行有效的控制,總協調師還要根據其對環境景觀形成的基本觀念預先策劃制定各項設計細則,它將作為整體設計的原則引導各個單體在循序漸進中得以貫徹、實現、完善,起到啟發創新的作用。在此前提下,又要避免造成對各單體專業自由構想的束縛,以細則為依據進行整個設計運作的協調,在各專業之間按照具體的變化情況就整體和單體銜接部分之間進行柔和的調整,使之達到統一。
此外,總協調師還要在尊重各專業特點的前提下,為實現全局的一種「緩和寬松的秩序」而進行工作,也就是說總的協調是指制約的開放性,或者說是在整體觀上充分保持單體設計(專業設計)者的自立性,充分發揮其個性特點,把所謂的束縛性因素限制在最小的范圍內,最後達到辯證的統一,即互相限制了各自的不足,又保留了各自長處,而且彼此心情愉快,形成最佳的綜合效應。
建築物的設計處理大體有以下的一些手法:
1
公共建築(1)總平面要結合地形地貌,因地制宜,構圖優美,比例勻稱,並注意韻律。(2)功能相近者盡量合並,減少地面分散的構築群,要做到大中見小、見透。(3)要處理好內外部空間,做到寬松、明亮、空透、輕靈。(4)立面和平面都力求避免過於平直、呆板,可適當組織上下、左右、高低參差,和配以局部的弧形以示流暢、舒適。(5)色彩上可區別於廠區建築,但又不能太過於突出,必須符合統一中求變化的大原則,即在和諧中求局部的突變和醒目。(6)屋頂的處理可以在平屋頂的基礎上適當配以小斜頂,或局部注以建築符號起到全區的點綴、裝飾之用。
2
生產性建築(1)合並同類型相近功能的設施,多佔天,少佔地。(2)平面要簡朴,要注意構圖均衡,立面處理不宜運用過細的線條,要突出塊形,要有厚實感。要注意虛實對比,高低有序,前後層次,交錯合理。窗子形式可作為一種圖案,多求變化。(3)要注意細部設計,任何一種粗心大意、不拘小節都會給整個建築帶來敗筆。特別要注意室內的線路,管道、孔洞都要精心設計,合理安排,一般不暴露在外。(4)色彩處理宜平淡整潔為主,另配局部點綴,其鮮明程度要次於廠前區建築的色彩處理。(5)要考慮到建築物的連接體處理,可以理解為是一種過渡,進行超常規的處理,並顧及相互的空間和環境。(6)屋頂的處理可略同廠前區建築。
結束語綜上所述,給排水工程的建築設計是一門多學科又「色、香、味」俱全的特殊工程,牽涉到的因素方方面面,千頭萬緒。本文因涉及到的面較廣,工藝流程也較復雜,目前還存在著不少亟待解決的理論與實踐的關系問題,由於這方面的理論較缺乏,實踐不夠,因此肯定會有許多不足,但不管怎樣只是想通過本文能對水廠(污水廠)的建築設計全過程引起重視,作為提高水廠(污水廠)整體設計質量的一種嘗試、探討。
回答的字數有限制的 沒法譯了 不好意思..