工業(yè)設計專業(yè)英語外文翻譯

1、外文原文：Robert Adams Achievements in architectural designRobert Adam, (born July 3, 1728, Kirkcaldy, Fife, Scot.died March 3, 1792, London, Eng.), Scottish architect and designer who, with his brother James (173094), transformed Palladian Neoclassicism in England into the airy, light, elegant style tha

2、t bears their name. His major architectural works include public buildings (especially in London), and his designs were used for the interiors of such country mansions as Syon House (176269) in Middlesex (now in Hounslow, London).Early lifeRobert was the second son of William Adam, the foremost Scot

3、tish architect of his time. William, who as master mason to the Board of Ordnance in North Britain supervised the design of military buildings, also designed numerous country houses in a conservative Palladian stylethe modified classic Roman style that was originally developed by the 16th-century ar

4、chitect Andrea Palladio. The Adam children grew up in the cultured atmosphere of a propertied and well-connected 18th-century family. Shortly after Roberts birth the family moved to Edinburgh, where at the age of six he entered the Edinburgh High School. In 1743 he enrolled at Towns College (now Uni

5、versity of Edinburgh), but in 1745 he abandoned his studies and the following year entered his fathers office as an apprentice and assistant.William Adam died in 1748, and his Board of Ordnance post passed to his eldest son, John, who took Robert into partnership. In the succeeding few years both be

6、nefited from the lucrative contracts that resulted from the appointment. Besides building Fort George in the Moray Firth near Inverness, the Adam brothers also were engaged to complete the interior of the earl of Hopetouns house. In their interiors the brothers introduced into Scotland a new, lighte

7、r, almost Rococo style of decoration. The other important private commission of these years was Dumfries House, Ayrshire, for the earl of Dumfries.European influencesIn 1754 Robert Adam, who by then considered himself to be worth £5,000, was invited to accompany the Honourable Charles Hope, the

8、 earl of Hopetouns younger brother, to Italy. He thus had the opportunity to realize the dream he had been saving for since his fathers death, and, just as important, he had the social advantages of traveling with the brother of an earl. He was as much concerned with meeting young noblemen abroad as

9、 with acquiring more architectural knowledge from a study of the monuments of Roman antiquity. The letters he wrote to his family during his years abroad show Adam to be a madly ambitious young man, an arrogant social climber, and yet still a dedicated artist.He met Hope in Brussels, and they procee

10、ded to Paris, where Adam fitted himself out in the latest fashions and set out to “l(fā)ay in a stock of good acquaintance that may be of use to me hereafter. After fewer than three weeks in Paris, they set off for Italy via the south of France, visiting en route the ancient Roman sites of Arles, Nî

11、;mes, the Pont du Gard, and Montpellier. They reached Genoa early in January 1755 and proceeded to Florence via Livorno. Arriving at the end of the month, they were immediately caught up in the social whirl for which Adam had hoped.While in Florence, Adam met a man who was to have an important profe

12、ssional influence upon him. This was the talented young French architect and draftsman Charles-Louis Clérisseau, who agreed to accompany him as instructor and draftsman on the tour. Clérisseau had been a student at the French Academy in Rome, but he left in 1754 after a dispute with its di

13、rector. As a result of his friendship with Clérisseau, Adam came into contact with avant-garde architectural theory in Rome. He wrote:I hope to have my ideas greatly enlarged and my taste formed upon the solid foundation of genuine antiquity.Clérisseau agreed toserve him as an antiquariant

14、each him perspective and drawingand give him copies of all Clérisseaus studies of the antique, bas-reliefs and other ornaments.Adam left Florence in February 1755 and traveled to Rome, where he had to choose whether to devote himself to elegant society or to architecture:If I am known in Rome t

15、o be an architect, if I am seen drawing or with a pencil in my hand, I cannot enter into genteel company who will not admit an artist or, if they do admit him, will very probably rub affronts on him in order to prevent his appearing at their card-playing, balls and concerts.He had to decide:Shall I

16、lose Hope and my introduction to the great, or shall I lose Clérisseau and my taste for the grand?He quarreled with Hope, and the two separated. Taking rooms for himself and Clérisseau, Adam settled down to serious study, visiting, sketching, and measuring the monuments of antiquity. Among

17、 the important figures he met in Rome were the art collector Cardinal Giuseppe Albani and the engraver Giambattista Piranesi, who dedicated to him his plan of ancient Rome in his book Il Campo Marzio (1762), which contained an engraved portrait of Adam.In May 1757 Adam and Clérisseau left Rome

18、and traveled to Dalmatia via Venice to visit the ruins of Diocletians palace at Spalato (modern Split, Croatia). Adam felt hecould not help considering my knowledge of Architecture as imperfect, unless I should be able to add the observation of a private edifice of the Ancients to my study of their

19、public works.They spent five weeks at Spalato, preparing the drawings that were to be published in 1764 as Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia.The Adam styleHaving nearly exhausted his money and anxious to return to England, Adam had to forgo the pleasures of furthe

20、r expeditions to Greece and Egypt. He returned to London in January 1758, his head full of details of Roman antiquities. Palladianism was losing its appeal, and the public was ready for a new architectural style. Adam lost no time in making his reputation, and by the mid-1760s he had, with the help

21、of his younger brother James, who joined him in London in 1763, created and fully developed the Adam style. They later claimed that it “brought about, in this countrya kind of revolution in the whole system of this useful and elegant art. The Adam style was marked by a new lightness and freedom in t

22、he use of the classical elements of architecturea fresh combination of many architectural elements. In the Royal Society of Arts building (177274), for instance, Adam placed Ionic capitals below a Doric triglyph frieze, a liberty a Palladian would never have dared take. The various influences includ

23、ed the Palladianism of Richard Boyle, 3rd earl of Burlington, and William Kent, both architects; the movement and vigour of the architecture of Sir John Vanbrugh; contemporary French work, discernible particularly in details, planning, and furniture design; Roman archaeology; and Italian Renaissance

24、 decoration, particularly the fanciful ornamentation of the 16th century. Adams genius lay in his synthesis of these various lines of development. The Adam style was essentially a decorative style, and it is as a designer of interiors that Adam is chiefly remembered. He gave meticulous attention to

25、every part of each room, from the carpets to the most unobtrusive decoration.Adams first important work in London was the Admiralty Screen (c. 1760). Through the influence of John Stuart, 3rd earl of Bute, a friend of King George III, he was appointed architect of the Kings Works in November 1761 al

26、ong with William Chambers, his principal architectural rival. By the early 1760s he had many domestic commissions; almost without exception these consisted of the completion or redecoration of earlier houses. It was ironic that, despite his fame and ability, Adam was rarely called upon to build comp

27、letely new houses, nor was he to realize his grandiose ideas for public buildings until the very end of his life.The first Adam interiors at Hatchlands (175861), Surrey, and Shardeloes (175961), Buckinghamshire, were still near-Palladian, but by 1761 his mature style was developing. Commissions from

28、 this time include Harewood House, Yorkshire; Croome Court, Worcestershire; Kedleston Hall, Derbyshire; Bowood House, Wiltshire; and Osterley Park, Middlesex (now in Hounslow, London).In 1762 he was employed to redesign the interior of Syon House. Adam produced an important plan that proposed fillin

29、g an old centre court with a vast, domed, pantheon-like hall; it was not executed, however. The entrance hall of Syon, based on a basilicaa rectangular building divided into three areas by two rows of columnswith its half-domed ends, is one of the most significant Neoclassical interiors in England.

30、Other houses from this early phase include Adams first completely new house, Mersham-le-Hatch (176272), Kent; Lansdowne House (176268), Berkeley Square, London; Luton Hoo (176674), Bedfordshire; Newby Hall (c. 176780), Yorkshire; and Kenwood House (176768), Hampstead (now in Camden), London.The sout

31、h front of Kedleston Hall (175759) provides an example of Adams exterior treatment. His theme of a triumphal arch as the exterior expression of the domed interior hall is the first use of this particular Roman form in domestic architecture. The double portico (an open space created by a roof held up

32、 by columns) at Osterley Park, derived from the Portico of Octavia, Rome, is a similar Neoclassical motif.In 1768 Robert and James Adam leased a site on the River Thames for a speculative development to be known as the Adelphi (it was almost totally destroyed in 1936). They invested a large sum on e

33、mbanking the site and building several terraces of houses (176872) in which the Adam interior style of slim pilasters supporting a shallow frieze and cornicethe middle and uppermost sections of an entablaturewas brought outdoors. It was, however, a financial disaster. In 1773 they again speculated u

34、nsuccessfully in a group of stuccoed terraces in Portland Place, London.The Adams built three major London houses in the 1770s, which were superb examples of their mature styleWynn House (177274), No. 20, St. Jamess Square, for Sir Watkin Williams-Wynn; Home House (177577), No. 20, Portman Square, f

35、or the countess of Home (the original site of the Courtauld Institute of Art see Courtauld Institute Galleries); and Derby House (177374; demolished 1862) in Grosvenor Square for the 12th earl of Derby.In 177379 they published The Works in Architecture of Robert and James Adamin two volumes. A third

36、 was published posthumously in 1822. In the preface to the first volume they explain their idea of “movement, an essential aspect of the Adam style:Movement is meant to express, the rise and fall, the advance and recess, with other diversity of form, in the different parts of a building, so as to ad

37、d greatly to the picturesque of the composition.By 1780 Robert Adams popularity was beginning to decline, and Horace Walpole, after visiting the architect Henry Hollands new Carlton House, wrote, “How sick one shall be, after this chaste palace, of Mr. Adams gingerbread and sippets of embroidery.Fur

38、niture designAs a designer of furniture, too, Adam played a leading role and was prolific, turning his hand to everything from organ cases and sedan chairs to saltcellars and door fittings. The furniture style he evolved, popularized by the cabinetmaker George Hepplewhite, was always meant to harmon

39、ize with the rest of the home. It is one of the outstanding features of an Adam interior that everything, even the smallest detail, was part of the unified scheme created by the architect.中文翻譯：羅伯特亞當在建筑設計上的成就羅伯特·亞當，出生于1728 年7月 3 日，蘇格蘭 于 1792 年 3 月 3 日在英國倫敦去世，蘇格蘭的建筑師和設計師，與他的兄弟詹姆士 17301794，將英國的帕拉新

40、古典主義變成輕快、 清淡、 優(yōu)雅風格而一舉成名。他主要的建筑作品包括公共建筑 尤其是在倫敦，他的設計用來作為賽恩世家(17621769)這類國家大廈的內(nèi)部建筑現(xiàn)在的倫敦豪恩斯洛。早期的生活羅伯特是威廉·亞當?shù)拇巫樱钱敃r蘇格蘭最重要的建筑家之一。作為石匠大師威廉在英國北部的董事會監(jiān)督軍事建筑，同時還為眾多國家設計了帕拉弟奧建筑風格的房子 修改提升了最初由16 世紀建筑師安德烈亞帕蘭朵開展起來的經(jīng)典羅馬樣式風格。亞當家族兒童生長在具有資產(chǎn)階級和人脈的18 世紀家庭氣氛中。羅伯特出生后不久，全家遷到愛丁堡，在六歲時他進入愛丁堡高中。1743年他就讀在當?shù)匦℃?zhèn)的大學 (現(xiàn)在的愛丁堡大學，

41、但 1745年他放棄了他的研究并于次年在他父親的辦公室當其學徒兼助理。威廉·亞當死于1748年，他將董事會軍械職位傳給了他的大兒子，約翰，后來與羅伯特建立合伙關(guān)系。在隨后的幾年利潤豐厚的合同都得益于該任命。除了設計在馬里灣附近因弗內(nèi)斯堡喬治的建筑，亞當兄弟還被聘請完成霍普頓伯爵的房子的內(nèi)部設計。在該建筑內(nèi)部這對兄弟引入了蘇格蘭全新的、 更輕盈的、近乎洛可可風格的裝飾。這些年來其他重要的私人委員會是鄧弗里斯艾爾希爾伯爵的鄧弗里斯樓。歐洲的影響1754年，羅伯特·亞當在當時認為自己身價5,000英鎊，應邀陪同議員，霍普頓伯爵的弟弟查爾斯霍普到意大利。他因此有時機實現(xiàn)他父親生前留

42、下的愿望，同樣重要的是，他擁有和伯爵兄弟一起旅行的社會優(yōu)勢。他非常關(guān)注與會面一些國外年輕貴族以獲取更多研究羅馬古物古跡的建筑知識。在那些年里，亞當曾寫信給他的家人顯示他在國外仍是一個瘋狂的雄心勃勃的年輕人，也是傲慢的自豪的社會登山者，更是一個專注的藝術(shù)家。他在布魯塞爾會見了霍普，他們方案前往巴黎，在那里亞當布置最新的時尚，著手“物色一個潛力股，此后可能會使用的。過去不到三個星期，他們動身前往意大利南部的法國，途中拜訪了阿爾、 學子、 蓬迪加爾和蒙彼利埃古羅馬遺址。他們在1755年到達了熱那亞并通過利沃諾前往佛羅倫薩。在月末來臨的時候，他們立即陷入了亞當曾希望出現(xiàn)的社會漩渦。而在佛羅倫薩，亞當遇

43、到了一個對他有重要影響的人，他叫查爾斯·路易Clérisseau。這是位極有天賦的年輕法國建筑師和繪圖員，他同意成為亞當?shù)慕叹毢屠L圖專員巡回演出。Clérisseau 曾是羅馬法蘭西學院的學生，但他在與其主任發(fā)生爭執(zhí)后于1754年離開。因為亞當與Clérisseau 的友誼，使得亞當接觸當時在羅馬非常前衛(wèi)的建筑理論。他寫道：“我希望能大大擴大我的想法和口味，形成對遠古建筑真正理解的堅實根底。亞當在1755年2月離開佛羅倫薩前往羅馬，在那里他不得不選擇是獻身于高雅的社會還是建筑學，他說：“如果在羅馬我是名建筑師，如果我被大家看見畫板或鉛筆在我的手里，我不能

44、進文雅的公司成為藝術(shù)家；如果就算我能進去，我的藝術(shù)家身份也不能被成認；如果他們不成認他，那很可能公司連打牌、 打球或者參加音樂會都會加以干預。他不得不決定：“我是放棄Hope和完美的自我介紹還是放棄 Clérisseau 和自己盛大的追求呢？他與Hope爭吵起來，然后兩人別離了。他為自己和 Clérisseau騰出空間，亞當靜下心來認真研究、 參觀、 寫生，以及測量研究古物古跡。在羅馬舉行會談時，當中重要的人物藝術(shù)收藏家朱塞佩 · 阿爾瓦尼和雕刻師詹巴蒂斯塔皮拉內(nèi)西，他們獻給他的方案是寫在古羅馬的書?Il Campo Marzio? (1762 年)，其中載有亞當

45、的雕刻肖像。1757年5月，亞當和 Clérisseau 離開羅馬并前往達爾馬提亞，途中他們拜訪了威尼斯斯普立 (克羅地亞的現(xiàn)代斯普利特)宮殿遺址。亞當不禁覺得自己的知識尚不完美，作為建筑師他應該能夠?qū)⒐湃说乃饺舜髲B加以觀察并將優(yōu)點添加到我們的政府公共建筑中。他們在斯普立花了五個星期，為在1764 年出版的達爾馬提亞的皇帝宮殿遺址繪圖作準備。亞當風格亞當幾乎耗盡了他的錢和回英國的欲望，不得不放棄進一步去希臘和埃及探險的樂趣。1758年1月他回到了倫敦，而他腦海中依然浮現(xiàn)著羅馬古物的詳細信息。他對帕拉第奧建筑主義失去興趣，并與市民一同準備好新的建筑風格。在1760中葉，亞當不失時機地打

46、造自己的名聲，他的弟弟詹姆斯也在1763年在倫敦參加他，并在他弟弟的幫助下創(chuàng)立和充分開展了亞當風格。而后他們宣布“亞當風格為這個國家?guī)砹巳碌慕ㄖ锩?，在整個系統(tǒng)中充分發(fā)揮了有用的和高雅的藝術(shù)。新的亮度和自由的體系結(jié)構(gòu)中的古典元素的使用標志著亞當風格的形成許多建筑元素的全新組合。比方英國皇家藝術(shù)學會建筑 17721774，亞當就是采用這樣的結(jié)合眾多建筑元素的建筑風格。各種因素包括：第三代伯爵的伯靈頓，理查德 · 伊爾和威廉 · 肯特這兩個建筑師；運動與活力建筑的 John Vanbrugh 先生 ；當代法國的作品，尤其是在細節(jié)、 規(guī)劃和家具設計上可以看出端倪；羅馬考古 ；以及意大利文藝復興時的裝潢，尤其是 16 世紀的夢想戎裝。亞當?shù)奶旆质怯蛇@些開展起來的。亞當?shù)臉邮綄嵸|(zhì)上是裝飾風格，亞當也作為出色的室內(nèi)設計師被大家銘記在心里。他的每個房間，每個局部，到最不引人注目的地毯的裝飾也及其細致地做到最好。在倫敦亞當?shù)牡谝粋€重要的作品是金鐘屏幕的設計 (大約1