建筑学Modern-Architecture现代建筑⼤学毕业论⽂外⽂⽂献翻译及原⽂毕业设计（论⽂）外⽂⽂献翻译⽂献、资料中⽂题⽬：现代建筑⽂献、资料英⽂题⽬：Modern Architecture⽂献、资料来源：⽂献、资料发表（出版）⽇期：院（部）：专业：班级：姓名：学号：指导教师：翻译⽇期： 2017.02.14建筑学毕业设计的外⽂⽂献及译⽂⽂献、资料题⽬：《Advanced Encryption Standard》⽂献、资料发表（出版）⽇期：2004.10.25外⽂⽂献：Modern ArchitectureModern architecture, not to be confused with 'contemporary architecture', is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building.1. OriginsSome historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions.Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his ‘fireproof’ design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, "Dark satanic mills" of places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan. Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright's Unity Temple, built in 1906 near Chicago, and Rudolf Steiner's Second Goetheanum, built from1926 near Basel, Switzerland.Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau.Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities. The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new.2. Modernism as Dominant StyleBy the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology.Frank Lloyd Wright's career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture.In 1932 came the important MOMA exhibition, the International Exhibition of Modern Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style.This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984.Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles.Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as "machines for living", but people are not machines and it was suggested that they do not want to live in machines. Even Philip Johnson admitted he was "bored with the box." Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism.Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a "style" that threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin "At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion." At the Metropolitan Museum of Art, a 1961 symposium discussed the question "Modern Architecture: Death or Metamorphosis?" In New York, the coup d'état appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of "air rights",[1] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to "sever" the Park Avenue streetscape and "tarnish" the reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and thebuilders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic.中⽂译⽂：现代建筑现代建筑,不被混淆与'当代建筑' , 是⼀个词给了⼀些建筑风格有类似的特点, 主要的简化形式,消除装饰等. 虽然风格的设想早在20世纪,并⼤量造就了⼀些建筑师、建筑教育家和展品,很少有现代的建筑物,建于20世纪上半叶. 第⼆次⼤战后的三⼗年, 但最终却成为主导建筑风格的机构和公司建设.1起源⼀些历史学家认为进化的现代建筑作为⼀个社会问题, 息息相关的⼯程中的现代性,从⽽影响了启蒙运动,导致社会和政治⾰命.另⼀些⼈认为现代建筑主要是靠技术和⼯程学的发展, 那就是获得新的建筑材料,如钢铁, 混凝⼟和玻璃驱车发明新的建筑技术,它作为⼯业⾰命的⼀部分. 1796年, shrewsbury查尔斯bage⾸先⽤他的'⽕'的设计, 后者则依靠铸铁及砖与⽯材地板. 这些建设⼤⼤加强了结构,使它们能够容纳更⼤的机器. 由于作为建筑材料特性知识缺乏,⼀些早期建筑失败. 直到1830年初,伊顿Hodgkinson预计推出了型钢梁, 导致⼴泛使⽤钢架建设，⼯业结构完全改变了这种窘迫的⾯貌,英国北部领导的描述, "⿊暗魔⿁作坊"的地⽅如曼彻斯特和西约克郡. ⽔晶宫由约瑟夫paxton的重⼤展览, 1851年,是⼀个早期的例⼦,钢铁及玻璃施⼯; 可能是⼀个最好的例⼦,就是1890年由William乐男爵延长和路易沙利⽂在芝加哥附近发展的⾼层钢结构摩天楼. 早期结构采⽤混凝⼟作为⾏政⼿段的建筑表达(⽽⾮纯粹功利结构) ,包括建于1906年在芝加哥附近,劳埃德赖特的统⼀宫, 建于1926年瑞⼠巴塞尔附近的鲁道夫斯坦纳的第⼆哥特堂,.但⽆论原因为何, 约有1900多位建筑师,在世界各地开始制定新的建筑⽅法,将传统的先例(⽐如哥特式)与新的技术相结合的可能性.路易沙利⽂和赖特在芝加哥⼯作,维克多奥尔塔在布鲁塞尔,安东尼⾼迪在巴塞罗那, 奥托⽡格纳和查尔斯景mackintosh格拉斯哥在维也纳,其中之⼀可以看作是⼀个新与旧的共同⽃争.2现代主义风格由1920年代的最重要⼈物,在现代建筑⾥确⽴了⾃⼰的名声. 三个是公认的柯布西耶在法国, 密斯范德尔德罗和⽡尔特格罗⽪乌斯在德国. 密斯范德尔德罗和格罗⽪乌斯为董事的包豪斯, 其中欧洲有不少学校和有关团体学习调和⼯艺和传统⼯业技术.赖特的建筑⽣涯中,也影响了欧洲建筑的现代艺术,特别是通过⽡斯穆特组合但他拒绝被归类与他们. 赖特与格罗⽪乌斯和Van der德罗对整个有机体系有重⼤的影响.在1932年来到的重要moma展览,是现代建筑艺术的国际展览,艺术家菲利普约翰逊. 约翰逊和合作者亨利-罗素阁纠集许多鲜明的线索和趋势, 内容相似,有⼀个共同的⽬的,巩固了他们融⼊国际化风格这是⼀个重要的转折点. 在⼆战的时间包豪斯的代表⼈物逃到美国,芝加哥，到哈佛⼤学设计⿊⼭书院. 当现代建筑设计从未成为主导风格单⼀的住宅楼，在成为现代卓越的体制和商业建筑, 是学校(专业领导)的唯⼀可接受的, 设计解决⽅案,从约1932年⾄约1984年.那些从事国际风格的建筑师想要打破传统建筑和简单的没有装饰的建筑物。
