展示體驗(yàn)建筑設(shè)計(jì)中英文對(duì)照外文翻譯文獻(xiàn)

中英文對(duì)照外文翻譯文獻(xiàn)(文檔含英文原文和中文翻譯)原文：NorwayRomsdalFolkMuseumPhotographfrom:StiftelsenRomsdalsmuseetTheRomsdalFolkMuseumisanarchitectonicattractionandatreasuredlandmarkthatembodiesthehistoryandidentityoftheentireregion.Ourintentioninthisprojectwastoletthestructuresignalitsmeaningandfunctionthroughanarchitecturalexpressionandtheuseoflocalmaterials.Thescaleofthebuildingreferstotheurbanityandmorphologyofthetown.Theoveralllayoutofthemuseumgroundstheconnectionstothetownbylinkingdifferentsurroundingareasinanoverallplanwhereallcirculationislinkedinaunifiedstructure.Theprojectconveysanopenandprogressiveattitudethatmakesdiverseutilizationpossible.

TheMuseumdesignapproachisrootedinrationalityandsustainability.Theplangeometryisdeceptivelysimple,thecharacteristicangledshapesarelimitedtotheroofandtheexternalwall,makingthecirculationandinternalorganisationclearandflexible.Thepublicareasareclearlyseparatedfromtheadministrationwing,whichislocatedonboththegroundandfirstfloor.Exhibitionrooms,theauditoriumandthelibraryareallplacedonthegroundfloortoincreaseflexibilityanduserexperience.Thetransparencyofthereceptionroompermitssupportinginternalandexternalactivities.Largeslidingdoorsseparatethepermanentandtemporaryexhibitionareas,givingthecuratorstheabilitytocombineorseparatethespaces.Thearchivesandworkshopsarelocatedonthebasementlevel,withtheverticalcirculationoflargeitemsfacilitatedbyalargegoodslift.Pineistheprimarybuildingmaterialofthemuseum.Exteriorwallsandroofaremadeofsolidtimberincombinationofsteelbeamwhenrequired.Theterrainentailedtheuseofconcrete,howeveritsusewasreducetothefoundations.Exteriorwallsandceilingscoveredwithmaintenance-pinerelieftemperedwithbio-basedoil.Differentopeningsfilterthedaylightinsuchwaythattheinternalspaceareenrichedbygradationsandtranslucencynuances.However,themainexhibitionroomsareblackboxes,givingthecuratorstotalcontrolofartificiallighteningintheseareas.Alltheglazingunitshavehigh-energyperformanceglass,insomelocationswithsilkprintedcoloursandpatterns.TheimpactontheNordicsociety:TheRomsdalFolkMuseumisagreatexampleofstrategicuseoflow-techbuildingsolutions.ItembodiesthenationalpolicyinNorwaytoaimforamoresustainablefuture.ThemuseumisbuiltusingNorwegiantimbertechnologyandactsasahubforculturaldevelopment.Inthisbuilding,thepeopleofMoldeaswellasvisitorsandtouristsaregiventheopportunitytoconnectandtobuildawidercommunity.ThemuseumhostsnotonlyexhibitsaboutNorwegianculturebutalsoconcerts,workshopsandlecturesonaday-to-daybasis.Thearchitecturalformbringstogethertheregion'sfolkcultureandthearea'scharacteristiclandscapequalitiesinalargercomposition.Therangeofperspectivesandactivitiesensuresabroadaudience,withthemuseumbecomingalivingcentrefortheexplorationoftheregion’shistory,contemporaryculture,andfuture.Sch?ningenGermanypaleontologyresearchandexperiencecenterArchitects:

HolzerKoblerArchitekturenLocation:Sch?ningen,GermanyArea:4,090㎡Year:2013Photographsfrom:CourtesyofHolzerKoblerArchitekturenFromthearchitect.

ArchitectureThePAL?ONpushesitselfoutoftheslightlyhillytopographyandcutsintotheforestedmeadows.Thevolumeofthethree-storybuildingandthepathsemanatingfromitformlinesofsightthatdividethelandscapeintovectors.Asecondwindingpathsystemformssynapsesthatconnecttothesurroundings.Thebuildingisacamouflage–ahyperrealisticabstractionofthelandscape.ThemetallicskinofthePAL?ONmirrorsthemeadowsandforeststhatsurrounditaswellasthemovementsofthecloudsintheskypassingby.Throughitsarchaicform,theresearchandexperiencecenterbecomesonewithitssurroundings.Sharp,large-formattedcutsintothebuildingfa?adeofferwide-reachingandfascinatingviewstotheplacewherethespearswerediscovered,thepitofthebrowncoalmine,thenearbyforest,andthePrzewalskihorsesgrazinginthemeadows.Theexpressiveopeningscutintothebuildinglikespearsintheskinofthehorsesandreflectthisdynamicintheformlanguage.Theabstractcutsintothebuildingalsoformallyreacttotheneighboringtracesofopencutmining.Theresultingexpressivearchitecturemediatesbetweenmanmadeandnaturallandscapeandformsanemblemfortheplace.ExhibitionTheexperienceexhibition,withitspresentationoftheoriginalsitefromSch?ningenliesattheheartoftheproject.Memorableimagesspeaktothevisitor’ssensesandemotions.Newfindingsonourancestors,thehomoerectus,hisdailylifeandthefloraandfaunathatexistedaround300,000yearsagoarepresentedaswellasconnectionstocurrentthemessuchasclimatechangeandsustainability.Thecircuitthroughtheexhibitionbeginsinthethree-storyfoyerinthemiddleofthebuilding,whichconnectsalloftheviewstotheoutside.Thetallspacecreatesviewaxestotheresearchandexhibitionareasinthefirstandsecondfloorsaswellasvistastothebrowncoalmine.Hereiswhereallpathsleadingtotheprogrammaticareas,suchasexhibition,educationalareas,administration,restaurantorshop,beginandend.Thefoyerthenleadsonebacktoprehistorictimesthroughthelacqueredcross-sectionofthegeologicalandarchaeologicallayersoftheexcavation.Centraltotheexhibitiondesignisthesculpturalwhiteexhibitionstructure,whoseformvaguelyresemblethoseofhorsebones.Throughenlargementandabstraction,arowofthemecabinetsformaspatiallyactivatingelementwithviewsalternatingwithlarge-formatartwork.Highlighttotheexhibitioncircuitisthespears`cabinetthatpresentstheworld-wideuniqueswoodenspearsfromthestoneage.Finallythepanoramiccinemamakes300,000yearsemotionallyexperiential.Uponleavingthemainexhibitionspaceandcrossingthefoyeronelasttimehighabovetheentrance,currentarchaeologicalexcavationandresearchworkinSch?ningencanbeexperiencedintheresearcharea.Inthelaboratory,visitorssolveatrickycasewithmodernarchaeologicalmethods.Theprofessionallaboratoryandworkspacesofthearchaeologistson-sitearestrungalongtheexhibitioncircuitandcanbeexaminedbythevisitors.The‘AdventureResearch’thattakesplaceheredailyismadecomprehensibleforlaymen,childrenandexpertsandallowedtobeexperiencedclose-up–inthePAL?ONitselfandtheexhibitionsiteoutdoors.LandscapeForthedesignoftheoutdoorspacesofthenewresearchandexperiencecenter,twocomplementaryformlanguageswereintroducedintothelandscape.Theydifferfunctionallyandformallyinthenewlycreatedparklandscapeechoinganinter-glacialcycleofprimevaltimesandintheaccessandgatheringareas,whicharestronglyinfluencedarchitectonicallythroughthebuilding.Totheeast,densewoodswillsooncoverhalfoftheareaofthesite.TothewestandsurroundingthePAL?ONstretchdappledforests,aswellasmeadowsandalake,whichalsoaccommodatethefenced-inareaforthePrzewalskihorses.Acurvingnetworkofpathsleadsthevisitortospecialviewpoints,attractions,andmakesnecessaryconnections.Forexample,thedesignoftheplaygroundwasinspiredfromextinctprimevalanimals.Andfromaslightlyraisedpointatoneareaofthelake,thevisitorisgivenanidealviewofwherethewildhorsesreside.SpaHotSpringsResortMingTang,Bazhou,HebeiProvinceofChina.Architect:

CTDesign

+CooperationTeamLocation:BazhouCity,HebeiProvince,ChinaSiteArea:About12hectaresatthefirstphaseInvestment:About600,000,000TWDHotSpringHotelArea:About13,000㎡Completion:Nov2010Photographs:TonyBACKGROUNDWithadvantageoflocationaboutdistancefromBeijingcitybycarin1hourandresourceofhotspring,BazhouhasbeenplanedanddevelopedashotspringtowninHebeiProvinceofChina.Thereare6piecesoflandallottedto6investmentgroupsinthenewdevelopmentareaandtheprojectis1of6hotspringresorts.ISSUE&AGENDAHowtoredefinequalityfor5starresorthotelwhichisnotmainlybyit’sphysicalluxurybutmoreaboutrichnatureexperienceistheissuewehaveandhowtocreateresortasonesustainableenvironmentisourmainconcern.Therefore,environmentgoesfirst,thenlandscapeexperience,architecturalformisjustbasedonhowtointegrateitwithsurroundings.SITESITUATIONThesiteisflatwhichisabout18hectaresinrectangleshape(12hectaresforthefirstphase)andasnormalnorthernlandscapeinChina.Coldwinterwindcomesfromnorthwestdirectionandcoolsummerwindcomesfromsoutheastdirection.Moreoverclimateandlandscapesituationisverydifferentat4reasons–springiscomfortable,summerishotwhichwillreachto32degreeathighest,autumniscool,andwinteriscoldaboutminus10degreeatlowest.Sohowtousethesevariedexperienceforresortistheoneofmainpointsfordesign.ABOUTPLANNING&LANDSCAPEMoreNature,MoreSustainableNewtopographycreatedintendstorespondtosite’ssituationwhichistohavehighhillatnorthsideworkingasdefenceforcoldwinterwindandlowhillatsouthsidetoguidecoolsummerwindintothesite.Topographyalsoworksasbasetocreatesthreelandscapetypologieswhichwillcreatemultiplelandscapeexperience–thehilltopasgrassland,thehillsideasforest,andthelowlandashotspring.Hotelandvillaswillbesetatdifferentpositionandzoningasgroupswithdifferentlandscapethemesuchashotspring,forest,andlake.Ashotspringresort,wateristhemainsubjectandisusedasmainlandscapeelement.FromhotspringtoSPA,fromdamtowaterfall,andfromwatercourtyardtosurroundinglake,weintendtocreatemorechanceforguesttoexperiencehotspringinmanydifferentways.Aboutwatersystem,secondhandhotspringiscollectedandpumpedintowaterfallandwaterwallincourtyard.Waterwillflowfromhighleveltolowlevel,frominsidetooutside,fromwatercourtyardtoentrancepoolanddowntolakeandriver.Finallywaterwillbepumpedbacktowatercourtyardattheendpoolofriverasonecirculatingsystem.ABOUTARCHITECTURE&SPACEArchitectureinNature,NatureinArchitecture“ArchitectureinNature,NatureinArchitecture”isourbasicconceptforthehotel.Intheway,weintendtocreateweakandhumblearchitecturewhichisharmoniousandconsistentwithsurroundings.Wetakelinearformforbuildingasthewaytointegrateitwithsurroundingsinsteadofcreatingonebigsolidobjectasnormalbusinesshotelonlandscape.Linearformisasloopputtingontopographywhichstillwillkeeplandscapeinsideandcangivemaximumproximityandaccesstothelandscape.Moreover,italsoworksascorridortoguideguestexperiencingenvironmentandasthebestcirculationforflowofpeopleaswell.Basedonarrangementoflandscape,thehotelspaceisarrangedin3loopsfollowingtopographyfromlevel+0.2muptolevel+1.1m.3LOOPSLoop1:Lobby,Café,SPA,indoor/outdoorswimmingpool–waterzoneSurroundedbywaterandlookslikestandingonit,ourintentionistointegrateinnerspacewithsurroundingbigwater.Andduetotemperaturedifference,hopefullyhotspringcouldcreatekindatmospherethathotelwilllooklikeasinmistinwinter.Loop2:Restaurant–flowerzoneSurroundedbyflowerandencirclingsakuracourtyard,weintendtocreatekindatmospherewhichiscomfortableandrefinedinrestaurant.Loop3:Guestroomarea–bambooforestzoneDuetoit’sspecialcharacterandabilitytosurviveinwinter,bambooischosentocreateforestforguestroomareawhichisnotjustonlytoprovideprivacybutalsocreatekindfeelingofmeditation,especiallyforhotspringareainguestroomtowardsbamboocourtyard.EXPECTATIONWehopethisresortcouldbeasanenvironmentwhichpeoplecanexperiencebynotjustonlyvision,buthearing,smell,andtouchaswell.Itisjustsimplyyoucanhearvoiceofwater,birds,andwindgoingthroughbamboo,andcanfeelhotspringandsmellfloweraswell.翻譯：挪威Romsdal民俗博物館圖片來(lái)源：StiftelsenRomsdalsmuseet這是由ReiulfRamstad建筑事務(wù)所設(shè)計(jì)的Romsdal民俗博物。該博物館是非常具有吸引力的建筑，體現(xiàn)了整個(gè)地區(qū)的歷史和身份，是建筑上的一個(gè)里程碑。該項(xiàng)目的設(shè)計(jì)目的是希望通過(guò)建筑表現(xiàn)和就地取材來(lái)凸顯標(biāo)志性。建筑規(guī)模是參考城鎮(zhèn)的建筑形態(tài)和風(fēng)格。博物館連接不同的周邊地區(qū)，同時(shí)與城鎮(zhèn)保持關(guān)聯(lián)，在一個(gè)統(tǒng)一的結(jié)構(gòu)里相互流通。該項(xiàng)目傳達(dá)一個(gè)開(kāi)放和進(jìn)取的態(tài)度，呈現(xiàn)多功能化。

項(xiàng)目設(shè)計(jì)方法植根于理性和可持續(xù)性。簡(jiǎn)單的幾何平面，屋頂和外墻限制出夸張的成角空間，形成清晰且靈活的內(nèi)部組織和流通系統(tǒng)。公共區(qū)域分開(kāi)管理，位于地面和一樓。展覽空間、禮堂、圖書(shū)館都放置在一樓，增加靈活性和用戶體驗(yàn)。接待室保證一定透明度，支持內(nèi)、外部活動(dòng)。大型滑動(dòng)門(mén)分離出永久展區(qū)和臨時(shí)展區(qū)，方便靈活合并或分隔空間。檔案和車(chē)間位于地下室，垂直大物件的流通依靠一個(gè)大貨梯。松樹(shù)是博物館的主要建筑材料，外墻和屋頂由木材和部分鋼梁組成，表面都有松木浮雕。不同的開(kāi)口過(guò)濾陽(yáng)光，通過(guò)色調(diào)和透明度等細(xì)微差別來(lái)豐富內(nèi)部空間。主要的展覽空間是全黑的，方便配置人工的、藝術(shù)性的燈光。所有玻璃都是高性能玻璃，有些為絲綢印花玻璃。對(duì)北歐社會(huì)的影響：Romsdal民俗博物館是使用低技術(shù)結(jié)構(gòu)的典型案例。它體現(xiàn)了挪威追求可持續(xù)未來(lái)的國(guó)家政策。博物館是以挪威木材工藝作為文化發(fā)展的中心。在這棟大樓里，莫爾德人就像游客一樣，有機(jī)會(huì)與其他游客交流，建立一個(gè)更廣泛的社區(qū)。博物館不僅舉辦挪威文化展覽，日常還可舉辦音樂(lè)會(huì)、研討會(huì)和講座等。建筑形式匯集了該地區(qū)的民俗文化和景觀特色。多種活動(dòng)的舉辦確保廣泛的群眾，同時(shí)使其成為該地區(qū)一個(gè)探索區(qū)域歷史、當(dāng)代文化與未來(lái)的生活中心。德國(guó)，舍寧根，PAL?ON古生物研究與體驗(yàn)中心建筑師：

HolzerKoblerArchitekturen地點(diǎn)：德國(guó)舍寧根面積：4,090平方米年份：2013圖片來(lái)源：CourtesyofHolzerKoblerArchitekturen以下是來(lái)自建筑師提供的方案信息PAL?ON古生物研究與體驗(yàn)中心從這片丘陵地帶里探身而出，周?chē)h(huán)繞著密密麻麻的草叢。這棟三層高的建筑體量以及從中延伸出來(lái)的各條路徑形成了若干條視線，將周?chē)木爸聞澐譃槿舾蓚€(gè)部分。還有一條迂回曲折的道路系統(tǒng)，形成了如同神經(jīng)鍵一般的觸點(diǎn)，銜接著周?chē)沫h(huán)境。該建筑好像隱身于大地，這是對(duì)于景觀的超現(xiàn)實(shí)抽象表達(dá)。PAL?ON研究與體驗(yàn)中心的金屬表皮映照出了周?chē)牟莸睾蜕?，以及天空中飄過(guò)的朵朵白云。盡管建筑物外形古老，卻早已與其所處的環(huán)境融為一體。在建筑的立面設(shè)計(jì)了棱角銳利的大型切口，讓人們能夠飽覽周?chē)拿谰埃谶@里考古學(xué)家挖掘出了古代的長(zhǎng)矛，還能看到遠(yuǎn)處的褐煤礦坑、附近的森林、在草地上放牧的蒙古野馬。富于表現(xiàn)力的洞口如同長(zhǎng)矛刺入馬匹的皮膚一樣切入建筑，從形體語(yǔ)言上體現(xiàn)出了這種動(dòng)態(tài)之美。建筑內(nèi)部抽象的切口也在形體上與附近露天開(kāi)采的礦山開(kāi)采痕跡形成了呼應(yīng)。由此產(chǎn)生的令人印象深刻的建筑設(shè)計(jì)調(diào)和了人工與自然景觀之間的關(guān)系，為場(chǎng)地塑造了一個(gè)地標(biāo)。展覽體驗(yàn)展就位于項(xiàng)目的核心地帶，在展覽中還展示了原先位于舍寧根的場(chǎng)地。讓人難忘的景象挑動(dòng)了游客的感覺(jué)和情感。人類(lèi)先祖——直立人的日常生活和周?chē)膭?dòng)植物早在30萬(wàn)年前就已出現(xiàn)，在展覽中展示了對(duì)他們的新發(fā)現(xiàn)，也聯(lián)系了當(dāng)前受人關(guān)注的課題，譬如氣候變化和可持續(xù)發(fā)展。展廳的環(huán)形道路始于位于建筑中央的三層高門(mén)廳，此處銜接了室內(nèi)外的所有風(fēng)光。這個(gè)高大開(kāi)敞的空間在一樓和二樓的研究與展覽區(qū)創(chuàng)建了視圖軸，并能眺望褐煤礦坑的風(fēng)景。所有的內(nèi)部通道都從這里通往各個(gè)功能區(qū)，如展廳、教室、行政辦公區(qū)、餐廳或商店，這里既是起點(diǎn)，也是終點(diǎn)。于是，這個(gè)門(mén)廳通過(guò)涂漆的地質(zhì)剖面和考古挖掘?qū)幽Ｐ蛯⑷藗儙Щ氐绞非皶r(shí)代。展覽設(shè)計(jì)的首要之處是雕塑一般的白色展覽結(jié)構(gòu)，其形式與馬的骨骼依稀相似。一連串小型主題陳列室以尺寸放大和抽象化的方式，創(chuàng)建了賦予空間活力的元素，與大型藝術(shù)品交替出現(xiàn)在游客面前。擺放長(zhǎng)矛的陳列室展示了從石器時(shí)代開(kāi)始的全世界的獨(dú)特木質(zhì)長(zhǎng)矛，這里正是展廳環(huán)形通道的重心。最后是全景電影放映，讓人從情感上感受30萬(wàn)年前的世界。離開(kāi)主要展廳之后就會(huì)穿過(guò)入口上方的門(mén)廳，在這個(gè)研究區(qū)域能夠親身體驗(yàn)舍寧根地區(qū)當(dāng)前的考古發(fā)掘和研究工作。在實(shí)驗(yàn)室里，游客們能夠以現(xiàn)代化的考古方法處理棘手的案例。中心現(xiàn)場(chǎng)的考古學(xué)家的專(zhuān)業(yè)實(shí)驗(yàn)室和工作空間串聯(lián)在展廳循環(huán)通道上，游客可逐一觀看。這里每天都會(huì)發(fā)生“探險(xiǎn)研究”，不但便于非專(zhuān)業(yè)人員、孩子們和專(zhuān)家理解，也允許人們近距離體驗(yàn)——在PAL?ON中心內(nèi)部及其戶外展覽場(chǎng)所。景觀在設(shè)計(jì)研究與體驗(yàn)中心的戶外空間時(shí)，設(shè)計(jì)師往景觀中引入了兩種互補(bǔ)的形式語(yǔ)言。兩者在功能和形式上均有異于新建成的公園景觀和入口、聚會(huì)區(qū)域，其中公園景觀呼應(yīng)了遠(yuǎn)古的間冰期自然風(fēng)貌。公園景觀和入口、聚會(huì)區(qū)域在建筑設(shè)計(jì)方面深受中心建筑的影響。在東側(cè)，茂密的森林將很快覆蓋建筑基地面積的一半。在西