1、TextHow should an architect,a client,a citizen,or a government agency or commission judge designs for new buildings?This question is especially pertinent if the new structures are to be erected in historic districts.How does one decide whether the proposed new building will enhance or detract from i
2、ts surrounding,and whether it promotes the kind of further development that will benefit the historic area?What criteria can be used as a basis for such judgments?Do the answers lie in adhering to some correct architectural ideology derived from a classical,a modernist,or a post-modernist point of v
3、iew to be handed down by experts?Does the task require studied connoisseurship,group consensus growing out of broad public participation,or some combination of these positions?The need of a more rational approach to these questions is evident from the nature of the discussion that has surrounded rec
4、ent controversial building,in which reasonable differences of opinion have often devolved into vituperative confrontations.The differences among opposing groups often hinge on passionately held beliefs about aesthetics,politics,or such vague nations as the demands of the Zeitgeist,the spirit of the
5、times.The focus on subjective questions of taste,ideology,and personality tends to discourage constructive debate and to ignore more complex and pertinent questions of how to protect the public interest.TextThe depth of this problem may be seen by reviewing the weak and conflicting statements of pro
6、blems that are presented within transcripts of hearing before boards and commissions with purview over architectural projects,and by reading their subsequent reports1.Anyone who has attended juries evaluating students work at schools of architecture will be familiar with the subjective criteria that
7、 often pass for considered,objective judgments.Because decision-making bodies cannot evade their responsibilities,this haphazard,emotion-laden way of defining architectural standards has created the incoherently planned cityscape,the suburban sprawl,and the suburbanized countryside we see around us2
8、.This contemporary dilemma should be considered in its proper historical context.The generations of architects since 1945 are the first in the history of architecture who have not been able to fulfill two expectations that society has taken for granted since the ancient Greeks created cities:that ar
9、chitects are able to create both the competently designed background architecture that forms the bulk of building in a town or city,as well as noble foreground buildings,the monumental architecture of civic and religious structures that embodies a societys highest aspirations.TextIt was in this way
10、that architects of the past arranged their designs in city plans so as to make the new as beautiful,or better than,what was there before.Remarkable examples of this abound:Jacopo Sansovinos inspired recreation of the Piazza di San Macro and the Piazzetta,accomplished by transforming the Campanile in
11、to a free-standing tower and fulcrum to connect Piazza with the Piazzetta,and the brilliant design of the new Library3;JF Blondel s classical faade of the medieval Metz Cathedral,sadly destroyed,and new adjacent buildings;Mnesicles Propylaea at the Acropolis;and Wrens buildings at Oxford and Cambrid
12、ge.To revitalize contemporary practice to meet the standards of the past is an urgent responsibility.Architecture is a liberal art that is taught at our great universities,and is a discipline that should be amenable to rational discourse.The aim here is not to decide on the ultimate artistic worth o
13、f a proposed building,for this requires the kind of considered assessment that,ultimately,The process offers a set of criteria which can help to make distinctions between the architectural characteristics of a proposed building and to relate them to those of the buildings which exist around its site
14、.TextOnce articulated,these distinctions provide a common basis for concerned citizens,critics,decision-making bodies and architects to debate the drawbacks and virtues of the design and to prepare a solid foundation for a decision to accept or to improve or otherwise modify the design or programme.
15、Architecture is a public art.It is the building block of the city,a compound work,realized over centuries.Cities are always changing,growing and being altered,being destroyed and being rebuilt,all in response to social and political change,to the demands of commerce and industry,and to the rhythms o
16、f technological innovation.Villages and rural areas are subject to the same pressures.Each time a new building is proposed it must be studied,not in isolation,but evaluated as a part of the increasingly complex whole that forms all regions.New Words and Expressionsideology n.思想（体系），思想意识；意识形态；connois
17、seurship n.鉴赏家（或鉴定家、行家）身份；鉴赏（或鉴定）能力devolve vt.&vi.移交；转移；交给下属；衰落vituperative adj.充满辱骂的，责骂的zeitgeist n.时代精神，时代思潮purview n.（文件等的）范围；眼界haphazard adj.偶然的，随意的；无计划的；n.偶然；emotion-laden adj.带情绪的sprawl vi.蔓延；杂乱无序地拓展；suburbanise v.使成 为市郊，市郊化campanile n.钟楼，钟塔fulcrum n.支撑杠杆的点，支点propylaeum n.入口revitalise vt.使恢复元气
18、，使具有新的活力amenable adj（对法律等）负责的；易控制的；articulate adj.发音清晰的；善于表达的；Notes1 The depth of this problem may be seen by reviewing the weak and conflicting statements of problems that are presented within transcripts of hearing before boards and commissions with purview over architectural projects,and by readi
19、ng their subsequent reports.两个由by引出的介词短语做方式状语，“with purview over”在这里意思是“有.权限”。2 Because decision-making bodies cannot evade their responsibilities,this haphazard,emotion-laden way of defining architectural standards has created the incoherently planned cityscape,the suburban sprawl,and the suburanis
20、ed countryside we see around us.decision-making bodies：决策机构。Notes3 It was in this way that architects of the past arranged their designs in city plans so as to make the new as beautiful,or better than,what was there before.Remarkable examples of this abound:Jacopo Sansovinos inspired recreation of t
21、he Piazza di San Macro and the Piazzetta,accomplished by transforming the Campanile into a free-standing tower and fulcrum to connect Piazza with the Piazzetta,and the brilliant design of the new Library;“as beautiful,or better than,what was there before”在beautiful后省略了as。在asas结构中第二个as引出的比较状语从句可以省略部分
22、或全部，包括as本身。Jacopo Sansovino 雅各布.桑索维诺（1486年-1570年），意大利建筑师，雕塑家，主张保持文艺复兴盛期风格，主要作品有雕像酒神巴克斯，威尼斯的圣.马可教堂图书馆等。Exercises（Translate the following Chinese into English or English into Chinese）1.上世纪90年代以来，中国已明显加快开放建筑领域外部世界的步伐。2.在建筑领域，相当多的由国外建筑师设计的重大项目的成功投标，标志着中国开始融入国际社会。3.水立方，国家游泳中心为奥运会特别建造的，也是中外建筑师合作的作品。4.但奇妙的
23、建筑设计灵感来源于中国建筑师，这个设计在2004年威尼斯每两年举行一次的建筑展上获奖。5.这是个有说服力的例子，中国建筑师，一旦融入国际环境，也可以拿出世界一流的作品。6.Just like the countrys accession into the World Trade Organization,which originally provoked controversies among some Chinese people who worried about the fate of domestic architectural sectors can create chances f
24、or their future success in ever-increasing international competitions.7.Paul Andreu，a renowned French architect,finally won the tender of the project.In its following layout improvements and construction,a lot of Chinese architects were involved.Such kinds of interactions and cooperation with foreig
25、n architects are undoubtedly helpful for our domestic counterparts.Exercises（Translate the following Chinese into English or English into Chinese）8.Architecture is a kind of art,which knows no national boundary.The successful tenders for Chinese projects by foreign architects in recent years are mos
26、tly the worlds first-class ones.Just like artists,modern architects hate to imitate others works.Creativity and uniqueness are the ultimate pursuit for worlds top architects and duplication is regarded to be the work of commonplace craftsmen.9.Over the past decade,hundreds of Chinas architectures ha
27、ve been erected with the designs of foreign architects.Among these high-rise constructions,some are worth praising.The inspiration for the skyscraper comes from the shape of Chinese ancient pagodas.10.Rem Koolhaas,chief designer of the China Central Television twin towers,like Jacques Herzog,designer of the Birds Nest,the national Stadium as the of the Beijing Olympics track and field items,is a winner of the renowned Pritzker Architecture Prize.The successful connection of the twin towers heavy cantilever steel-structure can be a new breakthrough in the history of human architecture.
