建筑与历史街区保护英文翻译.docx

1、建筑与历史街区保护英文翻译MESEUM OF CONTEMPORARY ART当代博物馆艺术Facing page:The former Hamburger Bahnhof in Berlin is a distinguished example of the neoclassical style of the 1840s;it ceased to be used as a station as long ago as 1904. 面对页面：Hamburger Bahnhof在柏林是1840年代新古典主义风格的一个杰出的例子；早在1904年它已不再是用作站。In some countries,

2、such as the USA and Britain,redundant railway buildings have posed problems of reuse,which are usually exacerbated by their grand scale.In Germany,the railway heritage was decimated by wartime bombing.Berlin suffered badly.(One of the major casualties,the splendid Anhalter Bahnhof,was left as a gutt

3、ed shell and was torn down by the DDR in the 1960s.)The original Hamburger Bahnhof,the terminus for trains from Hamburg,was built in 1845-47,the iron and glass sheds being prefaced by a handsome neoclassical frontage in stone by Ferdinand Wilhelm Holz.(The plan of the station was unusual,in that tra

4、cks ran through arches in the terminal building to turntables,used to turn around locomotives.)The building was a key monument of the first German railway age,but after less than 40 years of use it was closed and trains were diverted to a new station.In 1904-6 the building was converted to a museum

5、of transport and engineering,a use which continued until the Second World War,when it was damaged but not destroyed.The museum conversion,designed by Ernst Schwartz,included the construction in 1912-15 of gallery wings flanking the main frontage,which were in keeping with the original building.在一些国家

6、,如美国和英国,多余的铁路建筑已经构成重用的问题,这种问题通常加剧了其规模宏大。在德国,铁路遗产被战时炸弹摧毁，柏林受到严重影响。(一个主要的伤亡,富丽堂皇的安哈尔特巴赫夫,被烧毁的外壳,在1960年代被拆除的DDR)。最开始的Hamburger Bahnhof，建于1845-47年，列车的终点站起始于Hamburger，铁和玻璃棚被一个英俊的新古典主义者费迪南德威廉霍尔兹点缀在临街石头上。（空间站的计划是不寻常的,在这个追踪中，穿过航站楼的拱门到转盘,用于扭转机车。）建筑是德国第一个铁路时代的一个重要纪念碑,但不到40年的使用它就关闭了，火车转变成一个新车站。在1904 到1906年，建筑交

7、通和工程转变成一个博物馆。,当它被破坏而不是摧毁的时候，这种使用一直持续到第二次世界大战期间。博物馆的功能转换,包括建设1912 - 15的画廊，是由恩斯特施瓦茨设计,通过将它的翅膀置于主要的正面的侧面,和原始建筑保持一致。The Hanburger Bahnhof survived in a semi-moribund cocoon,with many of its exhibits still extant but with no public access,from 1945 until 1984,when it passed into the hands of the West Ger

8、man authorities.A well-attended series of trial exhibitions led to a decision to convert it into a modern art museum.A 1989 competition was won by Kleihues.While the transformation of the building was underway,the Wall came down and the project took its place as part of the renaissance of the new ca

9、pital of a united Germany.(Just across the Invalidenstrasse,the Lehrter Bahnhof-another wartime loss-is being rebuilt by von Gerkan. Marg as a key element in Berlins public transport strategy.)Kleihues sought to retain the historic identity of the station transport museum,while radically transfiguri

10、ng its image.Railways were the symbol of the change in nineteenth-century Germany.Now,contemporary art has a similar role in challenging established patterns of life and thought. 巴赫夫在semi-moribund Hanburger茧中幸存,它的许多展品现在仍然存在但没有公共访问的权限。在1945年到1984年,它传递到了西德当局手中。通过多人参加一系列的试验展览，最终决定将它转变成一个现代艺术博物馆。1989年这项

11、竞赛项目由Kleihues胜出。虽然建筑的转变正在进行中,但是柏林墙壁倒塌和这个项目在文艺复兴时期德国统一的新资本中占据了一部分位置。(正如Invalidenstrasse时期， Lehrter Bahnhof，是另一个战时的损失，后期被von Gerkan重建。玛格在柏林的公共交通策略是一个关键的要素。)Kleihues试图保留车站交通博物馆的历史身份,而从根本上美化其形象。铁路是19世纪德国变化的象征。现在,当代艺术在具有挑战性的生活和思想的建立模式上也有类似的作用。Kleihues much admired the existing buildings for their rationa

12、l elegance,part of a tradition which linked Schinkel and von Klenze,via Benhrens,to Mies and the Modern Movement.The train shed(later main exhibition hall)had been flanked by two solid wings which Kleihues replaced with new gallery blocks. These galleries are top-lit and barrel-vaulted in deference

13、to the tradition of railway architecture.Externally they are clad in thin aluminum (or glass) panels contained within a steel-framed,strongly expressed structural system,of great steel buttresses sitting on a limestone base and topped by a stone parapet.(perhaps there are memories here of Behrenss f

14、amous turbine factory.)Service zones separate the new galleries from the main hall,which has been cleaned, repainted and refloored but not otherwise altered.The architects intention was to echo the geometry of the original structure:the section of the new galleries is the classics VItruvian circle w

15、ithin a square.Kleihuess own sublime geometry is concerned with the dialogue,central to all his work,between the classical tradition and modernity.Kleihues备受推崇现有建筑进行理性的优雅，部分的传统，它通过 Benhrens到 Mies 以及现代运动和von Klenze辛克尔相连。火车棚（后主展览馆）的两侧是两个固体的翅膀，她被Kleihues用新画廊块代替。这些画廊被顶部点缀和隧道化,考虑到传统的铁路建筑。外部他们用一个含钢架薄铝(或玻璃

16、)面板包裹,强烈表达结构体系,这个伟大钢拱坐落在石灰石基地和一个石头栏杆上。(也许有Bbehren的著名涡轮工厂的记忆)。服务区域独立于主要大厅的新画廊,它已经被清洗,重新粉刷和重装地板，但却从不改变。建筑师的意图是回波原始的几何结构:新画廊的部分经典使用在一个广场上，它维特着鲁威的样式。Kleihues自身崇高几何是被关心的话题,他所有工作的中心,大都在古典传统与现代之间。Interventions to the nineteenth-century buildings were kept to a minimum and detailed with fastidious care.The

17、extreme minimalism of the new fit-out-granite paving,white-painted steel stairs and rails and white plaster walls-provides a neutral context not only for paintings but for large-scale installation art.Kleihues has been an active and sometimes acerbic commentator on the reconstruction of Berlin.His r

18、eassemblage of Berlins lost railway terminus has produced not only an excellent container for contemporary art,but an exemplar of the way that uncompromising modern design can enhance an old building.十九世纪的建筑物的介入被保持到最低限度和认真详细考究。这个极端简约的用新的花岗岩铺平道路,用白色的钢楼梯、钢轨和白色石膏墙体的方式提供了一个中立的环境，不仅用于作画，而且作为大型装置艺术。在柏林的重建

19、上，Kleihues曾经是一个活跃的,有时尖刻的评论员。他的作品，关于柏林的“失去”铁路终点站的重装配，这种被认为不妥协的现代设计加强了一个老建筑建设，不仅是当代艺术的一个优秀的文本,而且是一个方式方法的范例。 Above:Section through the transformed building;new galleries-only one has been built so far-flank the refurbished train shed.Facing page:The bridge over the entrance doors connects the two new s

20、taircases .上图：从改造后的建筑选择：只有一个新画廊，到目前为止建立了有侧翼的翻新列车棚。页：桥梁横跨入口门连接两个新楼梯。Ground-floor plan 地面平面图1、Joseph Beuys gallery 博伊斯画廊2、Lobby 序厅3、Staff entrance 员工入口4、Exhibition space 展览空间5、Bookshop 书店6、Large gallery 大画廊7、Historical hall 历史馆 The nineteenth century train shed has a rare elegance that has been respec

21、ted in the transformation project and which well complements the display of large works.十九世纪的火车棚有一种罕见的优雅，它在改造工程中得到尊重，并充分补充了大型作品的展示环节。Above:The barrel vault in the new gallery admits both artificial light and controlled daylight.Facing page:The first of the flanking galleries to be built provides a c

22、ontrast in materials and form to the existing fabric.上图：新画廊的桶库既有人为的光照，也有控制的日光。面对页面：建立的第一个侧翼画廊在现有织物的材料和形式上形成对比。CHAPTER4THE FUTUREThe process of transformation is open-ended.Limited only by the endurance of the components that make up a building.The use of a building may change many times during its l

23、ifetime,but transformation does not necessarily imply a change of use.The idea of a museum,a parliament house or even a railway station is different today from that which prevailed even a few decades ago.Norman Fosters reconstruction of the British Museum provides an enlarged and improved space for

24、education,lectures,drinking coffee,buying books and souvenirs and even merely sitting down and watching other visitors.All are part of the museum experience of the late twentieth century.(The director of the Museum of Modern Art,New York,foresees the future of MOMA as a loud,cacophonous environment

25、in which fun is had by all.)Beyond the razzmatazz,however,Fosters scheme has architectural integrity,not least in restoring a great central court lost to public view for well over a century.第四章节：未来转译的过程是开放性的，仅受组成建筑的构建的使用年限的限制。对建筑的使用在它存在的日子里可能会发生多次改变，但是建筑转译并不一定意味着功能的变化。当今对博物馆、议会大厦甚至火车站的认识可能与几十年前盛行的观点

26、有着很大的不同。诺曼福斯特对大英博物馆的改造设计，提出了扩大和提升教育、沿江、喝咖啡、志愿活动甚至仅仅是坐下以及观看其他参加者的空间的方案。这一切都是20世纪晚期的博物馆参加体验的组成部分。但是除了富丽堂皇的空间，福斯特的方案仍具备建筑学的品性，绝不仅仅是他修复了消失在公众视线中超过一个世纪的伟大中庭。Fosters other great transformational project due for completion at the close of the twentieth century,the Berlin Reichstag,also reinforces the histo

27、ric use of a building.Yet the Reichstag has been a sad shell since its burning on the eve of the Second World War,its interior banally reconstructed during the 1950s.The scheme eschews restoration,external or internal,in favour of a new grandeur which is entirely democratic.The building is purged of

28、 memories of Kaiserism,Nazism and of a divided Germany and reborn as a symbol of unity-and of the renaissance of Berlin as possibly the key city in the new Europe.The restoration of New Yorks Grand Central Terminal is equally symbolic in a particularity American way,the project combines public and c

29、ommercial objectives and draws on funding from public and private sectors.There is a price to be paid:intensive retail and restaurant uses.Yet the balance is held and a symbol of civic pride reborn.福斯特其它伟大的建筑转译作品，在20世纪末期就已经完成。例如柏林国会大厦，同样强化了对历史建筑的使用。尽管国会大厦因为二战前夕的大火遭到了破坏，它的内部结构在20世纪50年代得到了重建。设计巧妙的避开了修

30、复的主题，无论是外部还是内部。主要关注的是一个新的富丽堂皇的结构，它是完全当代且民主的。这座建筑消除了独裁统治、纳粹主义以及德国分裂带来的影响，而成为重新统一的象征意义。这个项目采用了非常美国化的处理方式，从公共和私人组织那里募集资金，将公共场所和商业场所混合布置。虽然各种空间保持了平衡，并作为城市荣耀的象征得以再现，不过这也产生了一个问题：零售空间和餐饮空间有些紧张。In Western countries,the future of architecture appears to lie largely in transforming exiting buildings.Often,tha

31、t process will be matter of fact,a proper use of resources.Underlying it is the imperative to reduce energy consumption and protect supplies-compact cities make sense.Occasionally there will be opportunities for landmark schemes which can bolster not just the physical fabric,but also the spirit,of a

32、 city.The value of the past is being understood,not just in London and Paris but also in Tokyo and Shanghai.As Far Eastern economies mature,the true value of building and whole cities will be appreciated.The potential for combining old fabric and new ideas to create a resource for the future is almost limitless. 在西方国家，建筑学的未来更多的是在对既有建筑的改造上面。通常，这一过程会变成事实，那就是对资源的正确利用。人们迫切的希望减少能源的排放，保障供给并压缩城市，这具有重要意义。不过人们偶尔也有机会去建造一个新的地标建筑，这不仅仅会加强城市生活的物质品质，还会增加精神层面的因素。过去的价值正被理解，不只是在伦敦和巴黎，也包括纽约和上海。随着远东经济体的成熟，建筑和城市的真正价值会被欣赏。将过去的建筑和新的想法相结合来创造一种新的资源具有无限的发展潜力。TATE GALLERY OF MODERN ARTFacing page:Herz