工業(yè)設(shè)計(jì)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 earl

8、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 with

9、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 proceeded to

10、 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, Nmes, the P

11、ont 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 professional inf

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

13、his friendship with Clrisseau, 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.Clrisseau agreed toserve him as an antiquarianteach him perspective and drawingand

14、 give him copies of all Clrisseaus 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 to be an architect, if I am seen drawing o

15、r 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 lose Hope and my introduction to the grea

16、t, or shall I lose Clrisseau and my taste for the grand?He quarreled with Hope, and the two separated. Taking rooms for himself and Clrisseau, Adam settled down to serious study, visiting, sketching, and measuring the monuments of antiquity. Among the important figures he met in Rome were the art co

17、llector 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 Clrisseau left Rome and traveled to Dalmatia via Venice to visit the ruins of D

18、iocletians 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 public works.They spent five weeks at Spalato, preparing th

19、e 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 further expeditions to Greece and Egypt. He returned to London in

20、 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 of his younger brother James, who joined him in London in 1

21、763, 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 the use of the classical elements of architecturea fresh co

22、mbination 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 included the Palladianism of Richard Boyle, 3rd earl of Burlingt

23、on, 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 decoration, particularly the fanciful ornamentation of th

24、e 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 every part of each room, from the carpets to the most unob

25、trusive 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 along with William Chambers, his principal architectural riv

26、al. 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 completely new houses, nor was he to realize his grandiose ide

27、as 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 this time include Harewood House, Yorkshire; Croome Court

28、, 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 filling an old centre court with a vast, domed, pantheon-like ha

29、ll; 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. Other houses from this early phase include Adams first com

30、pletely 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 south front of Kedleston Hall (175759) provides an example of

31、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 by columns) at Osterley Park, derived from the Portico of

32、 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 embanking the site and building several terraces of houses

33、(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 unsuccessfully in a group of stuccoed terraces in Portland

34、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, for the countess of Home (the original site of the Courtaul

35、d 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 was published posthumously in 1822. In the preface to the

36、 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 add greatly to the picturesque of the composition.By 1780 R

37、obert 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.”Furniture designAs a designer of furniture, too, Adam playe

38、d 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 harmonize with the rest of the home. It is one of the outstand

39、ing 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(dāng)在建筑設(shè)計(jì)上的成就羅伯特亞當(dāng)，（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(shè)計(jì)師，與他的兄弟詹姆士 （17301794），將英國的帕拉新古典主義變成輕快、 清淡、 優(yōu)雅風(fēng)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(shè)計(jì)用來作為賽恩

40、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(dāng)?shù)拇巫?，他是?dāng)時(shí)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(huì)監(jiān)督軍事建筑，同時(shí)還為眾多國家設(shè)計(jì)了帕拉弟奧建筑風(fēng)格的房子 修改提升了最初由16 世紀(jì)建筑師安德烈亞帕蘭朵發(fā)展起來的經(jīng)典羅馬樣式風(fēng)格。亞當(dāng)家族兒童生長(zhǎng)在具有資產(chǎn)階級(jí)和人脈的18 世紀(jì)家庭氛圍中。羅伯特出生后不久，全家遷到愛丁堡，在六歲時(shí)他進(jìn)入愛丁堡高中。1743年他就讀在當(dāng)?shù)匦℃?zhèn)的大學(xué) (現(xiàn)在的愛丁堡大學(xué)），但 1745年他放棄了他的研究并于次年在他父親的辦公室當(dāng)其學(xué)徒兼助理。威廉亞當(dāng)死于1748年，他將董事會(huì)軍械職位傳給了

41、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(rùn)豐厚的合同都得益于該任命。除了設(shè)計(jì)在馬里灣附近因弗內(nèi)斯堡喬治的建筑，亞當(dāng)兄弟還被聘請(qǐng)完成霍普頓伯爵的房子的內(nèi)部設(shè)計(jì)。在該建筑內(nèi)部這對(duì)兄弟引入了蘇格蘭全新的、 更輕盈的、近乎洛可可風(fēng)格的裝飾。這些年來其他重要的私人委員會(huì)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(dāng)在當(dāng)時(shí)認(rèn)為自己身價(jià)5,000英鎊，應(yīng)邀陪同議員，霍普頓伯爵的弟弟查爾斯霍普到意大利。他因此有機(jī)會(huì)實(shí)現(xiàn)他父親生前留下的愿望，同樣重要的是，他擁有和伯爵兄弟一起旅行的社會(huì)優(yōu)勢(shì)。他非常關(guān)注與會(huì)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(shí)。在那些年里，

42、亞當(dāng)曾寫信給他的家人顯示他在國外仍是一個(gè)瘋狂的雄心勃勃的年輕人，也是傲慢的自豪的社會(huì)登山者，更是一個(gè)專注的藝術(shù)家。他在布魯塞爾會(huì)見了霍普，他們計(jì)劃前往巴黎，在那里亞當(dāng)布置最新的時(shí)尚，著手“物色一個(gè)潛力股，此后可能會(huì)使用的”。過去不到三個(gè)星期，他們動(dòng)身前往意大利南部的法國，途中拜訪了阿爾、 學(xué)子、 蓬迪加爾和蒙彼利埃古羅馬遺址。他們?cè)?755年到達(dá)了熱那亞并通過利沃諾前往佛羅倫薩。在月末來臨的時(shí)候，他們立即陷入了亞當(dāng)曾希望出現(xiàn)的社會(huì)漩渦。而在佛羅倫薩，亞當(dāng)遇到了一個(gè)對(duì)他有重要影響的人，他叫查爾斯路易Clrisseau。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(dāng)?shù)慕叹毢屠L圖專員巡回演出

43、。Clrisseau 曾是羅馬法蘭西學(xué)院的學(xué)生，但他在與其主任發(fā)生爭(zhēng)執(zhí)后于1754年離開。因?yàn)閬啴?dāng)與Clrisseau 的友誼，使得亞當(dāng)接觸當(dāng)時(shí)在羅馬非常前衛(wèi)的建筑理論。他寫道：“我希望能大大擴(kuò)大我的想法和口味，形成對(duì)遠(yuǎn)古建筑真正理解的堅(jiān)實(shí)基礎(chǔ)?！眮啴?dāng)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(xiàn)身于高雅的社會(huì)還是建筑學(xué)，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，我不能進(jìn)文雅的公司成為藝術(shù)家；如果就算我能進(jìn)去，我的藝術(shù)家身份也不能被承認(rèn)；如果他們不承認(rèn)他，那很可能公司連打牌、 打球或者參加音樂會(huì)都會(huì)加以干涉?！彼坏貌粵Q定：“我是放棄Hope和完美的自

44、我介紹還是放棄 Clrisseau 和自己盛大的追求呢？”他與Hope爭(zhēng)吵起來，然后兩人分離了。他為自己和 Clrisseau騰出空間，亞當(dāng)靜下心來認(rèn)真研究、 參觀、 寫生，以及測(cè)量研究古物古跡。在羅馬舉行會(huì)談時(shí)，當(dāng)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(xiàn)給他的計(jì)劃是寫在古羅馬的書Il Campo Marzio (1762 年)，其中載有亞當(dāng)?shù)牡窨绦は瘛?757年5月，亞當(dāng)和 Clrisseau 離開羅馬并前往達(dá)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(dāng)不禁覺得自己的知識(shí)尚不完美，作為建筑師他應(yīng)該能夠?qū)⒐湃说乃饺舜髲B加以觀察并

45、將優(yōu)點(diǎn)添加到我們的政府公共建筑中。他們?cè)谒蛊樟⒒宋鍌€(gè)星期，為在1764 年出版的達(dá)爾馬提亞的皇帝宮殿遺址繪圖作準(zhǔn)備。亞當(dāng)風(fēng)格亞當(dāng)幾乎耗盡了他的錢和回英國的欲望，不得不放棄進(jìn)一步去希臘和埃及探險(xiǎn)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(xì)信息。他對(duì)帕拉第奧建筑主義失去興趣，并與市民一同準(zhǔn)備好新的建筑風(fēng)格。在1760中葉，亞當(dāng)不失時(shí)機(jī)地打造自己的名聲，他的弟弟詹姆斯也在1763年在倫敦加入他，并在他弟弟的幫助下創(chuàng)建和充分發(fā)展了亞當(dāng)風(fēng)格。而后他們宣布“亞當(dāng)風(fēng)格為這個(gè)國家?guī)砹巳碌慕ㄖ锩谡麄€(gè)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

46、使用標(biāo)志著亞當(dāng)風(fēng)格的形成許多建筑元素的全新組合。比如英國皇家藝術(shù)學(xué)會(huì)建筑 （17721774），亞當(dāng)就是采用這樣的結(jié)合眾多建筑元素的建筑風(fēng)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(gè)建筑師；運(yùn)動(dòng)與活力建筑的 John Vanbrugh 先生 ；當(dāng)代法國的作品，尤其是在細(xì)節(jié)、 規(guī)劃和家具設(shè)計(jì)上可以看出端倪；羅馬考古 ；以及意大利文藝復(fù)興時(shí)的裝潢，尤其是 16 世紀(jì)的幻想戎裝。亞當(dāng)?shù)奶旆质怯蛇@些發(fā)展起來的。亞當(dāng)?shù)臉邮綄?shí)質(zhì)上是裝飾風(fēng)格，亞當(dāng)也作為出色的室內(nèi)設(shè)計(jì)師被大家銘記在心里。他的每個(gè)房間，每個(gè)部分，到最不引人注目的地毯的裝飾也及其細(xì)致地做到最好。在倫敦亞當(dāng)?shù)牡谝粋€(gè)重要的作品是金鐘屏幕的設(shè)計(jì) (大約