博物馆 外文翻译 外文文献 英文文献

第一篇：

航空博物馆与航空展示公园

巴特罗米耶杰·基谢列夫斯基

飞翔的概念、场所的精神、老机场的建筑---克拉科夫新航空博物馆理性地吸取了这些元素，并将它们整合到一座建筑当中。Rakowice-Czyzyny机场之前的旧飞机修理库为新建筑的平面和高度设定了模数比例。在此基本形态上进一步发展，如同裁切和折叠一架纸飞机，生成了一座巨大的建筑。其三角形机翼是由混凝土制成，却如同风动螺旋桨一样轻盈。这个机翼宽大通透，向各个方向开敞。它们的形态与组织都是依据内部功能来设计的。机翼部分为3个不平衡的平面，使内外景观在不断变化中形成空间的延续性，并且联系了建筑内的视觉焦点和室外的展览区。

新航空展示公园的设计连接了博物馆的8栋建筑和户外展览区，并与历史体验建立联系。从前的视觉轴线与通道得到尊重，旧的道路得到了完善，朝向飞机场和跑道的空间被限定出来。每栋建筑展示了一个主题或是一段飞行史。建筑周围伸展出巨大的平台，为特殊主题的室外展览提供了空间。博物馆容纳了超过150架飞机、引擎、飞行复制品、成套的技术档案和历史图片。这里的特色收藏是飞机起源开始的各种飞行器，如Jatho1903、Grade1909、莱特兄弟1909年的飞机模型和1911年的鸽式单翼机。

The first passage:

Museum for aviation and aviation exhibition park

Bartiomiej Kislelewski

The idea of flying, the spirit of place, the structure of the historic airfield – the new Museum of Aviation in Krakow takes up these references intellectually and synthesizes them into a building. The old hangars of the former airport Rakowice Czyzyny set the modular scale for the footprint and the height of the new building. Developed from this basic shape, as if cut out and folded like a paper airplane, a large structure has been generated, with triangular wings made of concrete and yet as light as a wind-vane propeller. The wings are generously glazed and open in all directions. Their form and arrangement depend on the interior uses. In the floor plans of the wings, the three offset

floor layers generate a spatial continuum of varying insights and outlooks, to focal points within the building and to exhibition areas outside.

The design of the new aviation park links the eight buildings of the museum and open-air exhibition areas in a joint historical experience. Former view axes and paths are respected, old alleys are completed and spaces towards the airfield and taxiway are defined. Each building exhibits one topic or episode of aviation, with a large base platform extending around it giving spaces for open-air exhibition of the particular themes. The museum contains more than 150 planes, engines, aviation artefacts, sets of technical construction documents and historical pictures. A special feature is the collection of aircraft from the beginning of aviation, such as the Jatho 1903, the Grade 1909, a Wright Brothers model from 1909, and the Etrivh Taube from 1911.

第二篇:

华沙现代艺术博物馆

克里斯蒂安·克雷兹

此建筑正逐步向综合性展览与多功能空间的方向发展。建筑东侧的画廊空间由街道层开始，就在力求营造艺术的可见性与可及性。展厅容纳的功能定位于更广泛的大众----波兰和国际艺术界的―知名人士‖将在这里展示他们的作品。

首层空间服务于多种功能----一个大型报告厅和电影院将设置在这里，同时还有一个大型书店、南向观景餐厅、中心广场、以及一个名为―华沙画廊‖的附加展示空间----目的是要将当地艺术的气氛、各项目间有趣的互动纳入外界视觉艺术的构架。

博物馆的主要门厅朝向Marszalkowska大街和未来的中心广场，并与博物馆上面各层相连。巨大的、如圆形剧场般的楼梯将参观者引导上来，宽敞的接待大厅将整个楼层分两个部分：巨大的东侧展厅和西侧的画廊。展厅高达16m，具有大教堂般的空间体验，并将容纳大尺度的雕塑类和放置特定的展览项目。

建筑西翼将容纳博物馆的核心部分，即永久展厅，是按照20世纪与21世纪波兰与国际艺术发展史分区设置的展览。附加空间用于对艺术档案与文件的探索与研究。正如开幕展上博物馆临时馆长所说的，―我一睁开眼睛，就会看到一部电影，是那些1960年代、1970年代前南斯拉夫的实验艺术。‖在博物馆系列画廊后面是图书馆和阅览室，通过独立的楼梯和街道层入口与首层相连。

通过整合两个楼层的功能、人性化的展览布局、教育区与娱乐区，以及将结构与立面结合的屋顶构件理念，这些措施使该项目达到了最大程度的和谐与统一的效果。

The second passage:

Museum of modern art in warsaw

Christian Kerez

The building is gradually evolving towards the full integration of exhibition and multi-function spaces. The art will be visible- and reachable- from the street level at the gallery space in the east wing of the building .That exhibition hall will host a program aimed at the wide public –―big names‖ in both Polish and international art will be shown here.

The spaces on the ground floor will offer a varied program-both the large auditorium and the cinema hall will be located here, together with a large bookshop, restaurant overlooking the southern, central plaza, and an additional exhibition space, called ―The Warsaw Gallery‖ –aimed at the local artistic milieu, interesting debuts as well interdisciplinary projects, reaching outside the visual arts framework.

The main lobby of the Museum will be opened towards both Marszalkowska street and the future central plaza, and it will also connect to the upper floor of the Museum. Wide, amphitheatre-like stairs will lead visitors up, where a roomy reception lobby bisects the whole floor, dividing the vast east exhibition room, reaching 16 meters in height, will give a cathedral-like experience and will host large-scale sculptural and site specific projects.

The western wing will house the core of the Museum, i.e. its permanent collection halls, followed by rooms for historical exhibitions of Polish and international art of the 20th and 21st centuries. Additional space will host research projects, aimed at exploration of artistic archives and documentation, such as the inaugural exhibition ―As soon as I open my eyes, I see a film. Experiment in the art of Yugoslavia in the 1960’s and 1970’s.‖ held at Museum temporary HQ. Behind that set of galleries the museum library

and reading rooms will be located, connected to the ground floor through independent staircases and entrance from the street level.

The integration of the functional program on two floors, visitor-friendly layout of exhibition, educational and leisure areas, as well as the architectonic concept of the roof which combines both the construction and fa?ade of the building-all those steps lead towards a maximum of coherence and unity of the project.

第三篇:

波兰犹太人历史博物馆

拉赫戴尔玛马赫兰姆基

2005年春举办了波兰犹太历史博物馆的国际设计竞赛。这座博物馆将作为多功能中心，用于研究与发展犹太人的历史传统。教育和文化。2005年夏。拉和戴尔玛、马赫拉姆基建筑师事务所提交的方案被宣布成为中标方案。2007年6月26日，在华沙举行了博物馆奠基仪式，比计划于2001年底完工。

这里主要的固定展览设置在主厅下一个5000平方米的巨大展览空间。特定的内在氛围将展现波兰犹太人的历史哦不同侧面。主要的展览任务是展现犹太人文化从中世纪发展到今天的不同阶段与形式----大屠杀只是展览主厅之一。

二战前，华沙曾经是犹太人最重要的聚集城市之一，有50万犹太人居住在这里。博物馆基地位于威力。勃兰特公园内，距战后重建的华沙老城区仅1千米。这座公园在战争时期是犹太的一部分，饱经沧桑。

博物馆旁边是纪念华沙犹太人聚居区反对纳粹的起义纪念碑。这座纪念碑已经成为博物馆建筑的最重要元素。博物馆和纪念碑前面广场的比例经过慎重的推敲。博物馆的外形呈矩形，立面覆盖玻璃和铜质面板。

建筑物的名称暗示出建筑的主要展厅。空间的设计灵感来自旧约的传说。同时，展厅的形态暗示着自然中普遍而抽象的现象。主展厅是建筑物中最重要的元素。这个纯净而寂静的空间将博物馆展现在参观者面前。

The third passage:

Museum of the history of polish

Lahdelma Mahlamaki

An international architectural competition for the Museum of the History of Polish

Jews was organised in spring 2005 .the museum will function as a multifunctional centre for the research and exhibition of Jewish heritage, education and culture .the proposal by Lahdelma &Mahlamaki Architects was declared winner in summer 2005. the groundbreaking ceremony of the Museum was held on site in Warsaw the 26th of June,2007 . The building is scheduled to be completed by the end of 2011.

The main permanent exhibition takes place under the main hall in a large exhibition space of 5000㎡.special built-in milieus will present the different aspects of the history of the Polish Jews .The main task of the exhibition is to present different phases and forms of Jewish culture starting form medieval times to Present day-the holocaust is only one of the main themes of the exhibition.

Warsaw has been one of the most important cities for Jews；before the Second World War there were half a million Jewish inhabitants in the city. The site of the new museum is located in the Willy Brandt Park, one kilometre from the old city centre of Warsaw, which was rebuilt after the war . The history of the park is tragic as it was part of the Jewish ghetto during the war.

Adjacent to the new museum is the memorial of the uprising in the Jewish ghetto the memorial of the uprising in the Jewish ghetto. The memorial has been an import element in the architecture of the museum . the proportions of the plaza in front the memorial and the museum have been carefully considered. The shape of the museum building is rectangular .the facades will be covered with glass and copper panels.

The name of the building symbolically refers to the architecture of the main hall . the inspiration for the space has been the legends of the hall refer to the universal and abstract phenomena of nature . the main hall is the most important element in the architecture of the building; a pure and silent space introducing the museum to the visitors.

第四篇:

湖北省博物馆

湖北省博物馆是湖北唯一的省级综合性博物馆，位于江城武汉东湖之滨，主要承担着全省文物的收藏、保管、保护、陈列展览及藏品的研究工作。馆舍占地122亩，建筑面积4万余平方米。馆舍由编钟馆、楚文化馆、综合陈列楼（在建）组成，目

前本馆已拥有专业人员200余人（其中研究馆员9人，副研究馆员21人），设有办公室、陈列部、保管部、社教部、协调部、考古部、文保中心等业务部门。隶属于湖北省文化厅。

湖北省博物馆筹建于1953年，湖北省博物馆的―前身‖是建国之初成立的湖北省人民科学馆，1953年3月16日经省人民政府批准，在原科学馆的基础上，成立湖北省博物馆（筹备处），并与湖北省文物管理委员会合署办公。1957年正式成立省博物馆。

该馆现已拥有馆藏文物26万余件，其中国家一级品812件，国宝级文物16件。湖北省博物馆收藏的文物既富地方特色，又具有时代特征，基本反映着湖北地区古代文化的面貌。并且，一部分器物即使在中国古代文化发展史上也居有举足轻重的地位。馆藏文物品类丰富，器类齐全，主要有陶、瓷器、青铜器、漆木器、金玉器、字画等。改写世界音乐史的世界最大青铜乐器——曾侯乙编钟、天下第一剑——越王勾践剑等为该馆的镇馆之宝。

具浓郁楚风，呈一主两翼、中轴对称的展馆现陈列着《曾侯乙墓出土文物》、《楚文化展》。

编钟馆作为湖北省博物馆展馆的一翼，于1999年1月开馆。主要展出曾侯乙墓出土的一万余件文物中包括曾侯乙编钟在内的不同类别文物的精品，基本上是一部形象地反映公元前5世纪长江中游地区的百科全书。编钟馆还专设编钟演奏厅，以曾侯乙墓出土的编钟、编磬等乐器的复制品进行演奏。

楚文化馆作为湖北省博物馆展馆的另一翼，于2005年12月开馆，陈列着《楚文化展》。楚文化作为先秦时期的一个区域文化，独具一格、自成一体、博大精深，是构成先秦华夏文明的重要组成部分。该展览分为八个部分，集中地展出湖北地区出土的楚文物精华，力求全面展示楚文化的辉煌。展品中有越王勾践剑、吴王夫差矛，还有复原的2002年在湖北枣阳九连墩发掘的楚国车马坑中的部分车马。

湖北省博物馆还有着较强的研究力量，历年来出版了一系列研究著作，主要有《云梦睡虎地秦墓》、《睡虎地秦简文字编》，《曾侯乙墓》、《曾侯乙编钟研究》、《曾侯乙墓文物艺术》、《中国文物考古之美－－地下乐宫》、《中国湖北出土文物》、《湖北省博物馆》等。在文物保护的研究方面也较为突出，如饱水竹简脱水处理、饱水漆器脱水处于国内领先水平。

The fourth passage:

Museum of the Hunan

The Hubei Province museum is the Hubei only provincial level comprehensive museum, shore of located at the Jiangcheng Wuhan East Lake, is mainly undertaking the entire province cultural relic collection, the storage, the protection, the exhibition display and the holding research work. The dwelling occupies a land area of 122 Chinese acres, the floor space 40,000 square meters. The dwelling by the chime hall, the Chu cultural building, the synthesis exhibition building (is constructing) is composed, at present this hall had the specialists 200 people (research librarian 9 people, vice-research librarian 21 people), are equipped with the office, the exhibition department, the storage department, society the ministry of education, the association to transfer to another department, the archaeology department, the article to guarantee Business agencies and so on center. Subordinates in the Hubei Province cultural department. the Hubei Province museum construction in 1953, the Hubei Province museum ―the predecessor‖ was the Hubei Province people science building which at the beginning of the founding of the nation established, on 1953 March 16 authorized Japan economy (stock) the Provincial people's government, in the original science building's foundation, established the Hubei Province museum (preparatory office), and was managed together the work with the Hubei Province cultural relic Management committee. in 1957 established the province museum officially.

This hall already had collection cultural relic 260,000, national first-level 812, national treasure level cultural relic 16. Hubei Province museum collection cultural relic both rich local characteristics, and has the historical characteristics, was reflecting the Hubei area basically the ancient civilization appearance. And, part of utensils, even if in the ancient civilization history also occupied in China has the pivotal status. The collection cultural relic category is rich, a kind of completeness, mainly has the ceramic, the chinaware, the bronzeware, the paint wooden article, the gold and jade, the calligraphy and painting and so on. Rewriting world music history world biggest bronze musical instrument - - Zeng Houyi chime, first under heaven sword - - Yuewanggoujian sword and so on for this hall treasure of town hall. has the rich Chu wind, assumes main

two wings, the axial symmetry exhibition hall presently to exhibit "Zeng Houyi Grave Archaeological finds", "the Chu Cultural exhibition".

The chime hall takes the Hubei Province museum exhibition hall a wing, opened in January, 1999. Mainly displays in the Zeng Houyi grave unearthed 10,000 cultural relic including the Zeng Houyi chime's different category cultural relic high-quality goods, basically was an image reflects the 5th century B.C. Yangtze River middle reaches area the encyclopedia. The chime hall also specially supposes the chime concert hall, by Zeng Houyi musical instrument's and so on grave unearthed chime, Bianqing replica carries on the performance. the Chu cultural building takes the Hubei Province museum exhibition hall another wing, opens in December, 2005, is exhibiting "the Chu Cultural exhibition". 第五篇:

苏州博物馆

苏州博物馆是中国地方历史艺术性博物馆。位于江苏省苏州市东北街。1960年建立，2006年10月建成新馆，设计者为著名的建筑设计大师贝聿铭。馆址为太平天国忠王李秀成王府遗址。面积8000多平方米，分东、西、中3路，中路立体建筑为殿堂型式，梁坊满饰苏式彩绘，入口处侧门，有文征明手植紫藤，内部东侧有太平天国古典舞台等，是全国重点文物保护单位。

这座投资达3.39亿元的新馆建筑和相伴的忠王府古建筑交相辉映，总建筑面积26500平方米，其中忠王府建筑面积7500平方米，地面一层为主，局部二层；新馆建筑面积19000平方米，为充分尊重所在街区的历史风貌，博物馆新馆采用地下一层，地面也是以一层为主，主体建筑檐口高度控制在6米之内；中央大厅和西部展厅安排了局部二层，高度16米。―修旧如旧‖的忠王府古建筑作为苏州博物馆新馆的一个组成部分，与新馆建筑珠联璧合，从而使苏州博物馆新馆成为一座集现代化馆舍建筑、古建筑与创新山水园林三位一体的综合性博物馆。

在整体布局上，新馆巧妙地借助水面，与紧邻的拙政园、忠王府融会贯通，成为其建筑风苏州博物馆格的延伸。新馆建筑群坐北朝南，被分成三大块：中央部分为入口、中央大厅和主庭院；西部为博物馆主展区；东部为次展区和行政办公区。这种以中轴线对称的东、中、西三路布局，和东侧的忠王府格局相互映衬，十分和谐。新馆与原有拙政园的建筑环境既浑然一体，相互借景、相互辉映，符合历史建

筑环境要求，又有其本身的独立性，以中轴线及园林、庭园空间将两者结合起来，无论空间布局和城市机理都恰到好处。

The fifth passage:

Museum of the Suzhou

Suzhou museum is China's local history museum of art. Located in suzhou northeast street. Established in 1960, October 2006, the designer to build new architectural design of famous master applied. Is granted for the taiping heavenly kingdom zhong king li xiu-chen wangfu sites. Area of more than 8,000 square meters, east and west, in the middle road, building three-dimensional edifice, liang fang for full adorn su coloured drawing or pattern, at the entrance to the side, wen levy goes, the east has instituted inside the taiping heavenly kingdom, the classic stage is the key units to be protected.

The investment of 3.39 million yuan li brary buildings and the concomitant

inter-shining ancient palace, with a total construction area of 26500 square meters, construction area of wang zhong 7,500 square meters, ground layer, local floor, Li brary buildings area 19,000 m2, fully respect the historical block, where the new museum by underground, the ground is in a layer of main building, in 6 meters high control cornice, In western and central hall hall arranged partial height 16 meters. "Instancing the Palace Museum of suzhou ancient as part of a new, and li brary buildings, thus formed a set of suzhou museum new modern library construction, architectural and landscape garden trinity of innovation comprehensive museum. In the overall layout ably, new with water, and close to the house, loyal, become its mastery of architectural wind suzhou museum. New buildings, is divided into three parts: sits for entry, the central part: central hall and the courtyard, The western area for museums, East times galleries, and administrative office. This axis symmetric east, middle and west road layout, and the mutual faithful wangfu pattern, very harmonious. New and original zhuozhengyuan architectural environment, which is integrated with history, mutual reflect, architectural and environmental requirements, and has its own independence, with central axis and landscape, garden space will be both Arise, whether spatial layout and cities are proper mechanism.

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土木工程类专业英文文献及翻译

PA VEMENT PROBLEMS CAUSED BY COLLAPSIBLE SUBGRADES By Sandra L. Houston,1 Associate Member, ASCE (Reviewed by the Highway Division) ABSTRACT: Problem subgrade materials consisting of collapsible soils are com- mon in arid environments, which have climatic conditions and depositional and weathering processes favorable to their formation. Included herein is a discussion of predictive techniques that use commonly available laboratory equipment and testing methods for obtaining reliable estimates of the volume change for these problem soils. A method for predicting relevant stresses and corresponding collapse strains for typical pavement subgrades is presented. Relatively simple methods of evaluating potential volume change, based on results of familiar laboratory tests, are used. INTRODUCTION When a soil is given free access to water, it may decrease in volume, increase in volume, or do nothing. A soil that increases in volume is called a swelling or expansive soil, and a soil that decreases in volume is called a collapsible soil. The amount of volume change that occurs depends on the soil type and structure, the initial soil density, the imposed stress state, and the degree and extent of wetting. Subgrade materials comprised of soils that change volume upon wetting have caused distress to highways since the be- ginning of the professional practice and have cost many millions of dollars in roadway repairs. The prediction of the volume changes that may occur in the field is the first step in making an economic decision for dealing with these problem subgrade materials. Each project will have different design considerations, economic con- straints, and risk factors that will have to be taken into account. However, with a reliable method for making volume change predictions, the best design relative to the subgrade soils becomes a matter of economic comparison, and a much more rational design approach may be made. For example, typical techniques for dealing with expansive clays include: (1) In situ treatments with substances such as lime, cement, or fly-ash; (2) seepage barriers and/ or drainage systems; or (3) a computing of the serviceability loss and a mod- ification of the design to "accept" the anticipated expansion. In order to make the most economical decision, the amount of volume change (especially non- uniform volume change) must be accurately estimated, and the degree of road roughness evaluated from these data. Similarly, alternative design techniques are available for any roadway problem. The emphasis here will be placed on presenting economical and simple methods for: (1) Determining whether the subgrade materials are collapsible; and (2) estimating the amount of volume change that is likely to occur in the 'Asst. Prof., Ctr. for Advanced Res. in Transp., Arizona State Univ., Tempe, AZ 85287. Note. Discussion open until April 1, 1989. To extend the closing date one month,

英文文献翻译

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