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英语课的翻译答案

英语课的翻译答案
英语课的翻译答案

Lesson 1 THE PRACTICE AND PROFESSION OF LANDSCAPE ARCHITECTURE ?But just as it is reasonable to expect that small scale projects, such as a garden or a park, should be influenced by and respond to the larger environment, so it is true that criteria for certain large scale land planning decisions or urban design depend on an understanding of the details of design and technology in sitting buildings, roads, and facilities. 正如可以预期到小尺度的项目,如花园或公园,会受到其所处的更大环境的影响,并应该对此作出反应是合理的,对于某些大尺度的土地规划决策或城市设计的评判标准依赖于对建筑物、道路和设施的布置等的详细设计和技术的了解也是正确的。

?Before proceeding… it is perhaps useful to discuss earlier and other interpretations of the term landscape architecture. 在进一步讨论这个理论框架之前,讨论一下较早时期的和别的一些对景观设计学这个术语的解释或许是有用的。

?…in 1865 was largely responsible for the first area of scenic landscape, Yosemite Valley in California, being set aside for public use and enjoyment.1865年,他作为主要负责人设计了第一个风景区——位于加利福尼亚的优山美地,一个被预留为公众所享用的地方。

?However, changes in professional strategy and successful demonstration of the economic and social benefits of sound landscape design may in the years ahead result in a more central role for Landscape Architecture.然而,专业策略方面的改变和合理的景观设计带来的经济和社会效益的成功展示,在数年后可能致使景观设计学处于更核心的地位。

?我们还应当记住的是,景观设计作品不同于建筑,它的效果总是不能马上为人所感知,种植和土地利决策的成效可能可能在二十至三十年内显示不出来。

?…when he talked of the farreaching conception that the designer must have in developing "a picture so great that nature shall be employed upon it for generations, before the work he has arranged for her shall realize his intentions".Olmsted在谈到一个影响广泛的概念时,他理解这一点(第四维时间很重要)。设计人员必须要有这个概念,就是在开发一个宏大的(景观)画面时,他应当利用自然好几十年,让自然来为他实现他的原望。

Lesson 2 LANDSCAPE MEANINGS

?He defines the grand tradition of Architecture as the creation of monuments ‘built to impress the populace with the power of the patron, or the peer group of designers and cognoscenti with the cleverness of the designer and good taste of the patron.“他把建筑的高雅传统定义为建造纪念物,“建造它们是为了让大众崇敬保护者的力量,或者为了让设计者同行或鉴赏家赞赏设计者的才智和保护者的高雅品味。”

?…in addition, the high style buildings usually must be seen … 再者,我们通常必须把高品位建筑物与乡土建筑基质联系起来,并把它们放在乡土建筑基质的背境中来观察,离开了这个背境,特别是当初设计和建造它们时的乡土建筑背景,实际上我们就无法理解它们。

?Our interpretation of the elements should be as must a response to their relation to context, as it is to the physical characteristics of the elements themselves. 正如对这些因素的物理特性要作响应,对它们与情景的联系也必须作出响应。

Lesson 3 PARADISE ON EARTH: THE ISLAMIC GARDEN

?…, a territory composed principally of vast dry zones with extremes of heat and cold within which scattered green oases furnished a most precious element, water.其领土主

要由巨大的干旱地区组成,具有极热和极冷(的气候),其间点缀着一些绿洲。绿洲

拥有最为珍贵要素——水

?…as spatial itineraries, places of sequential discovery;…有游览路线的空间,即曲径通幽、不断发现佳境的园林

?As they were mostly built in warm climates, they …因为这些花园多数建于温暖的气候条件下,所以它们……

?…which has its roots in ancient Persia where the archaeological remains of Achaemenid palaces trace the outlines of pavilions overlooking carved stone channels. 这种造园形式源自古代波斯,在那里的阿契美尼德宫殿考古遗迹可以回

朔出俯瞰刻石水渠的亭子的轮廓。

?The paradigm of quadripartite landscape space with …, is a place-making practice rooted, as we have seen, in prehistoric tradition.四分景观空间

具有一个明确的中心,能量从这个中心流向四方,并由宇宙的四角流回中心。正如

我们所见,这种景观范式是一种源于史前传统的场所创建实践。

?Islami c garden design …, but because holy literature had begun to …., a universal cosmological symbolism of sacred space,…. was now an operative cultural principle ...伊

斯兰花园设计源于一种同样充满了宇宙哲学涵义的宗教,但因为宗教文献已经开始

补充并替代口头相传的传统,使得宗教的传播更为广泛,所以庄严场所具有一种普

遍的宇宙哲学的象征意义,而不是设计出一块特定的空间作为对宇宙的崇敬,是当

时指导景观设计的有效的文化原则。

?As inferred from …, the imagery of the fourfold garden…, was an established idiom for actual garden construction.从大名鼎鼎的、大小为450英尺X90英尺、为Khosrow 一

世国王(公元531 ~ 579年在位)纺织的波斯地毯设计图案可知,四分花园为流水水

道分割,有一个平台俯瞰这些水渠。这种景观图案是实际造园中已经确立的模式。

Lesson 4 GARDENS OF SIXTEENTH-CENTURY ITALY

?Encouraged by his reading of Pliny the Younger, Petrarch's first somewhat tentative embrace of panoramic perspective on Mont Ventoux heralded the scenic appreciation

that would later become a hallmark of Renaissance thought. 受到小普林尼著作的鼓舞,彼特拉克首次多少抱着尝试的态度,在旺图山上的体察全景透视法(纵览风景),预

示着风景欣赏的出现,这种对风景的欣赏后来成为文艺复兴思想中的一个特点。

?The papal villa known as Belvedere, built by Innocent VIII (papacy 1484~1492) on a hill within the Vatican is important for our discussion here, however, not only because of its

original siting with commanding view the Roman countryside but also because the

subsequent treatment of the ground that lay between it and the Vatican influenced the

course of garden history. 叫做望景楼(Belvedere)的罗马教皇别墅,由诺森八世

(Innocent VIII)( 1484~1492在位教皇)建于梵蒂冈的一座山上,对我们这里的讨论

很重要,不仅是因为它原始的位置能够俯瞰罗马乡村,而且是因为后来对于望景楼

与梵蒂冈之间的场地的处理影响了园林历史进程。

?Though considerably smaller in scale, (but)in its ambitious program this garden harked back to Hadrian's Villa rather than to any immediate

predecessor, for it was not conceived as a series of outdoor rooms where intimate conversation could take place, as were some of the new villa gardens near Florence, but rather as a space for public gathering and theatrical entertainment.这个花园虽然规模很小,但在这个雄心勃勃的项目中,这个花园追朔的是Hadrian别墅的风格,而不是上一代的风格,因为这个花园没有构想成可以

进行私密交谈的一系列室外空间,如当时佛罗伦萨附近的一些新别墅花园一样,而

是一个公众集会和观剧娱乐的空间。

?To perform this work, the pope chose as his architect Donate Bramante (1444~1514), who had recently completed the sophisticated tempietto adjacent to San Pietro in

Montorio on the Janiculum Hill, and whom he would soon commission to design a new

basilica for St. Peter's. 为了完成这项工作,教皇选Donate Bramante作他的建筑师。

Donate Bramante当时刚完成了邻接Montorio的Janiculum山上的圣彼得教堂的、精美的坦比哀多礼拜堂(tempietto)的建造,不久将受教皇委托为圣彼得大教堂设计新的长方形廊柱大厅。

?The steps necessitated by these grade changes in the terraced hillside became important design elements in their own right, their double staircases celebrations of ascent. 在阶

梯状的山坡上必须要有随坡度变化的台阶,这种台阶自然成为设计的重要元素,而双

楼梯是对上坡路的展示。

?Following Bramante, designers planned gardens with elevated terraces or balconies overlooking them in order that the viewer could readily grasp from this vantage point

the axes that enabled and made manifest a perspectival treatment of space. 追随伯拉

孟特的设计师们规划的花园带有可眺望园景的台地或阳台,以便观赏者从这个有利

位置容易看到能够使空间的透视处理更为明显的轴线。

?Curiously, the axial orientation of the Villa Madama, unlike that of the Villa d'Este at Tivoli, does not exploit the scenic potential of its lofty site on Monte Mario but runs

laterally across the hillside instead of along its gradient. 奇怪的是,与蒂沃利城的埃斯

特别墅不同,玛丹别墅轴线的方向没有去拓展马里奥山高处场地潜在的风景,而是

侧向横穿山腰,即没有沿着山坡向上而行。

Lesson 5 FRANCE LANDSCAPE DESIGN: SIXTEENTH AND SEVENTEENTH CENTURIES ?Paris itself was a densely populated and thriving city set on lines of continental communications, reshaped in the second half of the sixteenth century by the change of

royal residence from the ?le de France. 在16世纪下半叶,巴黎由于皇室居住区自法兰

西岛(the ?le de France)的迁入而进行了改造。

?Cultivated, elegant and appreciative of the Italian Renaissance, Francis invited eminent Italian artists and craftsmen to his court at Amboise on the Loire; …因为弗朗西斯(Francis)是个有修养、高雅并且对意大利文艺复兴赞赏的人,所以他邀请了著名的意大利艺术家和工匠到他在洛伊尔(Loire)的安布瓦斯(Amboise)宫中;……

?The moated chateau gave rise to an imaginative water relationship from which sprang Chenonceau (1515) and later inspired both moated house and independent canal at Vaux-le-Vicomte ( 1661). 护城河环绕的城堡引起了人们对水的联想,由此促使了

Chenonceau(1515年)的建造,并且后来又激发人们在Vaux-le-Vicomte (1661年)修建了带护城河的房舍和独立的运河。

?The French grouping of buildings might be likened to a military parade where all ranks were properly positioned and moved only on instruction; the Italian to a fashionable party, where eloquent and not so eloquent were in common medley and movement. 法国对建筑的组群或许可比拟于军队的检阅,所有的队列都被安排在适当的位置并且只按命令而移动;而意大利的则可比拟于一场时髦的聚会,能言善辩和拙于言辞的都混杂其中,共同活动。

?It created the vast idea of town, palace and gardens of Versailles whose unity was subsequently impaired by the architect Hardouin-Mansart (1646~1708), apparently unappreciative of the composition as a whole.它产生了把凡尔赛的城镇、宫殿和花园建成一个整体的宏大构想,这种整体性后为建筑师Hardouin-Mansart (1646~1708)所损害,很显然他是不赞赏空间作为整体来构建的。

?(b) solid as opposed to two-dimensional geometry based on axiality, related to an undulating site; (b)立体的构图与起伏的场地相适应,它不同于基于对称轴线的二维几何构图;

?The element of surprise withholds the grandest single feature, the sunk canal, from the first glance. 引人惊讶的设计要素(the element of surprise)令最宏大的单个景点,即下沉的水道,不能为人第一眼就看到。

?Le Notre’s plan created a new main axis, but unlike Vaux did not feature the house as the central accent; here the castle has become secondary.勒?诺特尔的规划中建造了一条新的轴线,但与沃克斯的不同,他没有把房屋作为中心;在这里,城堡已处于从属地位。

?The scale of Le Notre’s layout, as can be seen in the air view, is vast in relation to the historic castle.在鸟瞰图中可见,勒?诺特尔设计的布局规模与古城堡相比相当宏大。

?The most splendid expression of absolute monarchy in history: 这是历史上绝对君主制最为宏伟壮观、富丽堂皇的展现:

Lesson 6 THE LANDSCAPE GARDEN IN ENGLAND

?The grand tour (which all cultured Englishmen made through the Alps to Italy) brought them in contact with rugged, picturesque scenery. (所有受教育的英国人都要经历的穿越阿尔卑斯山到意大利的)大旅行使他们接触到崎岖的、如画的风景。

?Scenes … and the aesthetic attitude … were influential in… 风景和美学观点对……产生了影响/ 在……方面有影响力。

?The manipulation of nature's undulating contours according to Hogarth's serpentine "line of beauty" and the articulation of light and shade much as a painter would do became the preoccupation of all men of taste and culture in eighteenth-century England and ultimately all over Europe and in America in the nineteenth century. 按照贺加斯(Hogarth)蜿蜒的“优美线条”(把景观)处理为自然起伏的轮廓和对于光影像画家一样的精心构思,成为十八世纪英国所有有品味和文化的人的关注点,最后影响到整个欧洲以及十九世纪的美国。

?It is a conscious change in environment to evoke physiologically, as well intellectually, images of a legendary underwater kingdom.这是一个有意为之的环境上的改变,是为

了无论在生理,还是在心理上引发对传说中的水下王国情境的联想。

?In adition, the environmental qualities of light, temperature, texture, and sound together with visual impressions add sensations which, combined with the first level of reaction, make a complete experience. 另外,光线、温度、质地和声音等环境特性,再加上视觉效果增加了(参观者的)感知(体会)。这种感知加上第一反应构成一次完整的体验。

?Terraces and parterres were to be cleared away from the base of the house until nothing was left except grass, which came right up to the foundations. 台阶和花坛从房屋基础处被清理掉,只留下草地。这种草地直达墙基。

Lesson 7 THE LANDSCAPE DESIGN IN THE EAST: CHINA

?an experiential space in which to stroll and enjoy the unfolding of sequential views or sit quietly and ponder the thoughts prompted by the impressions of scenery upon the senses一个体验性的场所,(人们可以)漫步其中,欣赏逐渐展开的景致,或者静坐其内,思索风景对感官影响而激发的思想

?Similarly, an affinity for landscape themes, prevalent in eighteenth-and nineteenth-century English literature, is especially common in the poetry of China and Japan. 类似地,英国喜爱的一些景观主题——这些主题流行于十八、十九世纪英国文学中,在中国和日本的诗词中尤为普遍。

?to attune his soul to "the sounding cataract ... 让他的心灵感受“轰鸣的瀑布……

?We stern environmentalists attempting to …, who try to…, must reckon with the Judeo-Christian tradition of …, 试图重建已经打断了的人类与自然的联系的西方环境学家——他们首先想了解引起这种中断的原因,必须认识到犹太-基督教的一个上帝的传统。这个好妒嫉的上帝不能容忍对手,被置于遥远的天堂——与现实世界的“假”

天堂相比,一个真正的天堂。

?The ancient Greeks, who had dreamed their gods out of the ground and placed them in the sky upon Olympus, did not so thoroughly depopulate the earth of its divinities as did the monotheistic cultures of Judaism and Christianity.古希腊人梦见众神自大地而出,把众神安置于奥林匹斯山的天空,没有像犹太和基督教之一神论文化一样完全地减除地球上的神灵。

?In Ch ina and Japan, although nature was …, the scholarly and ruling elites espoused and expressed through landscape design Buddhist precepts informed by Daoist and Shinto ideals emphasizing life lived in spiritual harmony with nature.在中国和日本,虽然也如西方一样,自然为人类全方位地控制,并为人类经济目标服务,但是博学的精英和统治者精英信奉并通过景观设计表达佛教徒的戒律。这种戒律强调生命与自然在精神上和谐相处的道家和神道的理想。(informed by… 由……定性)

?Chinese Daoist thought fostered perceptions of qi, the "breath", or inherent energy, possessed by all phenomena.中国的道家思想(认为要)培育所有现象所拥有的气(“气息”,即内在的能量)。

?Japanese gar den designers also displayed particular ingenuity in their selection of…, positioning them so as to form…, 日本的园林设计者挑选形态美丽、平整的踏步石,与苔藓一起布置成具有非常令人愉悦的图案与质地的地平面布局。在此,展现出了他们的独创性。

?their somewhat smaller counterparts displayed in the studies of Chinese scholars:一些相应而较小的石头成设于中国文人的书房中

?to enjoy the abstract beauty of these mineral forms while also imagining their resemblance to other things:欣赏这些矿物形态的抽象美,同时还把它们联想类比为其他物品。

?As Chinese merchants prospered during the Ming dynasty, they, like the emperor himself, emulated the cultural elite, the mandarin class of scholar-officials. 在明代期间,随着中国商人的兴旺发达,商人们像他们的皇帝一样,仿效那些文化精英,即文官官僚阶层。

?Ji Cheng’s book is unusual, and perhaps unique, am ong garden manuals in its blend of practical advice and pattern-book instruction with poetic visualization and mood painting.计成的著作不同于其他造园指南,甚至可能是独一无二,综合了实践建议和建筑图样书式的说明,具有形象化的诗境和情趣盎然的图画。

?The author firmly states that “there is no definite way of making scen ery; you know it is right when it stirs your emotions,” stressing that it is qi, the pulsating breath of life that must be the result of the designer’s efforts. 作者坚持认为“造园法无定法;能触景生情为佳,”强调这就是“气”,是生命脉动的气息,是设计者所追求的结果。

?Sometimes to be found in museum collections of Chinese art today, these prize stones, with light and shade directing the eye as it travels in and out of their folds and hollow and up the flanks of an imagined mountain precipice, do appear to possess qi;… 一些石头有时可以在当今中国艺术博物馆收藏品中见到,观赏者在光影的引导下,游目于石块上的皱褶和孔洞,攀登想象中的悬崖峭壁,这些令人赞赏的石头似真有“气”

的存在。

?The function of a Chinese garden wall is not, however, ornamental; rather, it is meant to serve, like the neutral silk or paper of a painting, as a background, capturing shadows in calligraphic patterns and acting as a foil for the rocks and plants in front of it. 不过,中国的园墙不是用来装饰的,而是像无色的丝质画布或画纸,作为背景用来捕捉书法图案般的光影,用来衬托它前面的石块和植物的。

?On the south side of this structure lies a small courtyard containing many fine specimens of Lake Tai rocks placed in an undulating composition. 在这个建筑的南边有一个小院,院里有许多按波状起伏的构图放置的精美太湖石标本。

?The bright white wall of this courtyard constitutes the pictorial ground upon which … 这个院子的明亮洁白的墙壁构成图画的背景(the pictorial ground),清香的桂花的树影投射在它的上面,形成花纹图案,就像是给墙上的小孔添上类似于亭阁窗户上的回纹图案。

?The latter pavilion has a lake view seen through old pines and cypresses, which are set in

a rockery. 在后提到的这个亭子中,透过种在假山上的古松柏可看到湖面。

?Guided by geomancy, Confucian symbolism and cosmology, they gave physical representation to the emperor's rule under the “mandate of heaven”. 在风水术、儒家思想和宇宙论的指导下,他们给皇帝是受“上天的指令”统治国家(的思想)作出实体上的表示。

Lesson 9 CONSERVING NATURE: LANDSCAPE DESIGN AS ENVIRONMENTAL SCIENCE AND ART

?The observations (recorded by…) advanced the nascent field of ecology. 德国自然学家和探险家Alexander Von Humboldt在航行于南美、古巴和墨西哥期间所做的观察记录推动了生态学的新生领域的向前发展。

?It was…who… 强调句(page 111, line 9-12): 就是一个叫George Perkins Marsh的美国人,想要展示人类(对地球)的干涉正造成的气候、地形、植被类型、土壤和生物栖息地的改变程度,而这些改变经常对后代产生不良的影响。

?has warred on all the tribes of animated nature whose spoil he could not convert to his own uses, and... not protected the birds which prey on the insects most destructive to his own harvests. (人类)向生物界中的所有类群开战,取得的战利品并不能转变为自身有用的东西,……没有去保护鸟类,而那些鸟类是以捕食对人类(耕作)的收成最有破坏性的昆虫为生的。

?尽管他急迫的信息播下了林学和土地管理实践的种子,并最终成为政府管理的一部分,但直到最近这几年,Marsh所预料到的可怕的影响——这种影响在他从未想象到的人口增长的压力和工业机械化力量的作用下成倍增长——促进了政治抗议和立法活动,导致了对污染的控制和采取了一些积极的措施促使退化的自然环境产生相应的再生。

?Only since the 1970s has a belated awareness of need … become general and influential upon the practice of landscape design.仅仅自1970年代以来,关于调和人类的目标和自然生态系统的经营需要的这种迟来的意识,才在景观设计实践中产生普遍而又深远的影响。

?…, McHarg articula ted with similar fervor a conservation strategy that sought to unseat the mind-set condoned by the Judeo-Christian biblical injunction encouraging humanity to subdue earth. 麦克哈格用同样的热情明确表达了一个保护策略,即设法使受到犹太与基督教圣经戒律所宽恕的鼓励人类征服自然的思想退位。

?…, McHarg became a leading exponent of an enlightened land-planning strategy that sought to make the constraints and opportunities presented by natural ecosystems an integral part of design and development. McHarg成为将自然生态系统提供的限制和机遇作为设计、开发整体的一部分的一种进步的土地规划策略的一名领导者。?Practicing in Philadelphia in the firm he founded in 1963, he recognized that ‘providing a decorative background for human play’ did not address the larger environmental threat posed by rings of suburbs encroaching upon rural and wild landscapes and the increasing divorce of human beings from wild nature. 通过他1963年创建的公司在费城的实践,他认识到“为人类活动提供一个装饰性的背景,不能解决郊区环带蚕食乡村和野生景观以及人类与自然界的越来越大的分离所产生的更大的环境危机。

?To this analytical approach based on principles of ecological determinism, McHarg added an intuitive methodology incorporating personal values that evinced his affinity for Japanese culture and the metaphysics expressed in the Zen garden as well as his respect for the architecture of Louis Kahn (1901-1974), who taught architecture at the University of Pennsylvania when McHarg led the landscape architecture program there. 在基于生态决定论原则的分析方法基础上,麦克哈格(McHarg)增加了并入其个人价值观的直觉方法论,这些表明他对日本文化和禅宗园林所表达的玄学的喜好,以及他对Loius Kahn(1901~1974))的建筑风格的尊敬。当麦克哈格在宾夕法尼亚大学领导景观设计课程时,Loius Kahn在那里教建筑学。

?In an age of scientific rationalism that puts a premium on non subjective measures,

McHarg felt compelled to further a science-based approach to designing with nature. 在一个不赞赏非客观的方法的科学唯理主义时代,McHarg感到必须增进以科学为基础的设计结合自然的方法。

?In his geophysical and environmental approach to landscape design, McHarg developed a coordinated mapping system with overlays to render analyses of ecological, climatic, geological, topographical, hydrological, economic, natural, scenic, and historical features.

在他的地球物理与环境的景观设计方法中,McHarg开发了一种叠加图层来实施对生态、气候、地质、地形、水文、经济、自然、风景和历史特征分析的协同制图系统(a coordinated mapping system)。

?Woodlands, where the homes are clustered in a natural woodland setting rather than on conventionally landscape lots, demonstrates McHarg’s synthesis of human ecology and natural ecology in an economically viable plan that measures social and environmental costs together with dollar costs is hardly widespread in America. Woodlands镇的住房聚集在自然林地环境中,而不是在按照惯例安置的景观地块上。该镇证明了McHarg 的人类生态学和自然生态学的综合规划从社会、环境价值和化费的金钱角度来衡量是一个经济上可行的规划。在美国,这种规划并不普遍。

?To plan on a large regional scale in the manner (省略了that)McHarg and others have suggested requires governmental effectiveness and creativity backed by elected officials and policy makers at all levels.用麦克哈格等人建议的方法对大的区域范围的规划要求受到民选官员和制定政策者全方位支持下的政府部门的效率与创新。

?Without such environmental planning, social and economic demands –for jobs, for public access, for equity—result in higher political value being assigned to individual and class interests than to those of society at large. 没有这样的环境规划,社会与经济需求(对于工作、公众使用权、公平的需求)导致分派给个人和阶级利益的政治价值要高于整个社会的价值。

?Yet elsewhere sustainable communities are being promoted however imperfectly, particularly in northern European countries such as the Netherlands, Sweden, and Germany where there is a stronger ethic and more ingrained politics of responsible land use and urban husbandry than in America. 然而,在别的国家,可持续发展社区尽管还不完善但正在被推进,特别是在北欧国家中,例如荷兰……,这些国家具有比美国更强的道德和更根深蒂固的负责任的土地利用和城市资源管理政策。

Lesson 10 DESIGN AND PLANNING METHODS

? A garden that is made by using a drawing to fix every detail before starting work will differ, markedly, from one that is made by choosing the plants and stones one at a time, year after year. 通过利用在开工前所作的关于每个细节安排的图纸建造的园林会与通过逐步逐年挑选植物和石块建造的园林有明显的不同。

?Vitruvius wrote that the architect should be 'skilful with the pencil, instructed in geometry'. Vitruvius写道,建筑设计师应当“善用铅笔,在几何学方面受过训练”。

?Since the translation of Euclid's Elements into Latin, in 1482, the activity of making new places and products has become steadily re-entangled with the process of drawing. 自欧几里得《几何原本》于1482年被翻译成拉丁文以来,建新场所和新产品的活动已变为与绘图过程不断地重新联系在一起的过程了。

?During the nineteenth century, the technical and aesthetic reasons for producing drawings grew apart, as did the architectural and engineering professions. 十九世纪期间,为技术与为美而作图分离开来,正如建筑与工程行业分开一样。

?So much knowledge was available in books that it became feasible to produce drawings and specifications for every aspect of the building process.许多知识可以在书本中获得,因此为建筑过程中的每个方面都可以绘成图纸并作出说明。

?Not since the invention of gunpowder had smooth hands won such dominion over rough hands. 自火药发明以来,“光手”对于“粗手”还没有赢得如此支配地位过。

?They discovered that the Fordist system of mass production, named after their founder, had been overtaken by a new system, which came to be known as lean production. 他们发现以他们的创始人命名的、福特主义的大批量生产系统已经为一个新的系统超过,这个新系统叫做精实生产系统。

?Nor do users of places and buildings have anything but a marginal role in the design process, even if they are the owners, which is never the case for bridges, public parks, mass housing, or speculative office developments. 在设计过程中,场所和建筑物的使用者仅仅是个次要的角色,甚至拥有者也是如此,况且对于桥梁、公园、大众住房,或者是投资性的写字楼开发项目的使用者根本不会是拥有者。

?At best, planners have shown skill in drawing fresh ideas from the public and putting them to work. Public participation can operate in several ways: advisory committees, written comment, public debate, and design workshops. ……从大众那里提炼出新的主意,并付至实施。大众参与可以下列几种方法操作:

?This leaves planners with the satisfying delusion that they have 'conducted the orchestra’ and reached a balanced compromise. 这给规划者带来满足的错觉,以为他们完成了“乐队的指挥”,达到了一种平衡的妥协。

?Each solution is workable, provided it brings together those with both rough and smooth hands: clients, owners, builders, component-makers, designers, planners and maintenance workers. 每种解决方案都是可行的,只要它把“粗手”和“光手”的那些观点综合在一起,包括了这些人:客户……

?Divergent interests cannot be fully resolved, but compromises are possible, if and when the component plans exist. 多样的兴趣点不能完成解决,但假如当组件规划存在时,折衷的方案是有可能的。

?My hope is that by producing varied plans that are better, more useful, more client-oriented, and more knowledge-intensive, it will be possible to raise the popularity of planning and, incidentally, to improve employment prospects for planners.我的希望是通过创造多样化的规划,这些规划更好、更有用、更面向客户、更知识密集型,那么提高规划的名望,附带地改善规划人员的就业前景是可能的。

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