风景园林专业英语(第一二课翻译)

1、The practice and theory of Landscape Architecture景观规划设计理论【1】Landscape Architecture involves the five major components:They are natural process， human factors， methodology， technology， and values， whatever the scale or emphasis of operation， these five components are consistently relevant.Social and

2、nature factors clearly permeate every facet of a profession that is concerned with people and land.Problem solving， planning， and design methods apply at all scales.Good judgment is consistently required.风景园林设计包含五个主要方面:自然进程、社会进程、方法论、技术、价值观,无论规模尺度或运作的重点各不相同,这五个要素一贯是相关的。社会因素和自然因素的因子充斥着这个关系到人与土地的领域的方方面

3、面。解决问题,规划、设计方法都会用到所有的尺度。正确的判断判断是一贯必须的。【2】Consider how natural factors data are relevant to both planning and design.At the regional scale， the impact of development or change in use on a landscape must be known and evaluated before a policy to allow such action is set.An inventory of the natural fac

4、tors， including geology， soils， hydrology， topography， climate， vegetation and wildlife， and the ecological relationships between them is fundamental to and understanding of the ecosystem to which change is contemplated.Equally important is an analysis of visual quality .Land use policy can thus be

5、made on the basis of the known vulnerability of resistance of the landscape.In other circumstances the natural processes which add up to a given landscape at a give moment in its evolution may， as at Grand Canyon and other unique places， be considered a resource to be preserved， protected， and manag

6、ed as a public trust.On a smaller scale， soil and geological conditions may be critical in the determination of the cost and the form of building foundations: where it is most suitable to build and where it is not.Sun， wind， and rain are important factors of design where the development of comfort z

7、ones for human activity or the growth of plants is a primary objective.Thus，in many ways natural factors influence land use， site planning， and detailer design.自然因素的考虑与规划和设计都有关系。在区域尺度上，关于利用方面的开发变化的影响，在政策制定之前，必须了解和评估景观的脆弱性和敏感性。详细的自然因素,包括地质的、土壤的、水文的、地形地貌的、气候的、植被的和野生动物的、以及它们之间的生态关系是理解它将要改变的生态系统的基础。同样重要

8、的是视觉质量的分析。土地利用政策的基础是由于了解到景观的脆弱性和抗损性的基础上建立的。在某些发展进化的过程中，一些在特定的时刻作用到特定的景观的自然进程会产生一些公共资源,比如科罗拉多大峡谷，让我们后人去保护它和管理它。在小尺度上，土壤和地质条件是决定建筑的成本和建筑基础形态的关键要素哪里适宜建立以及哪里不适宜。设计是为人类发展活动找到适宜的空间或者以植物的生长为主要目标，因此，阳光,风和雨是设计最重要的要素。因此,场地和区域的自然要素在景观规划和设计的许多过程当中相互作用。【3】The social factors apply equally at various scales.In sit

9、e planning and landscape design， cultural variation in the use and appreciation of open space and parks and the physical and social needs of the young and old are some of the many variables to be considered in a design process that aims to be responsive to social values and human needs.In decisions

10、relates to appropriation of landscape for recreation and aesthetic value peoples perception of the environment and the behavioral patterns understand the impact of environment on behavior and also appreciate the basic human need to manipulate and control the environment.社会因素也同样应用在不同尺度上。在场地规划设计中，对开放空

11、间和公园使用和喜好上的文化差异和年轻人与老年人的生理和社会需求，是以创造社会价值和满足人们需求为目的的设计过程中需要考虑的众多因素当中的一部分。为了游憩或者景观价值而投资的决策价值和人的行为模式是息息相关的，设计师必须了解环境对人类行为的影响，同时还要意识到人类对于操纵和控制环境的最基本的人类需求，这两点是非常重要的。【4】Technology is the means by which a design is implemented or on which a policy depends.Some of it changes year by year as new materials， m

12、achinery， and techniques are developed.Specific areas of technology include plants， planting and ecological succession， soil science， hydrology and sewage treatment， microclimate control， surface drainage， erosion control， hard surfaces， and maintenance.工业技术是技术得以实施或政策得以指定的基础，随着每年材料、机器、技术的提高，它们在三种景观规

13、划设计当中的作用是清楚的。具体的技术领域,包括植物栽培和生态进程、土壤科学、水文、污水处理、小气候控制、地表排水、侵蚀控制、道路铺装和维护保养。 【5】设计方法的使用是一个过程，在这个过程中，所有相关的要素和变量都得到了评价，并且对解决问题的过程产生影响。在这个过程中，制图技术、分析技术和标识系统发挥了重要作用。有一个由霍普林提出来的针对创新过程的评价方法值得推荐，他指出像在音乐和舞蹈比赛中使用的打分法一样，使得设计过程更加公开化、可视化。这种方法能允许更多的人参与到设计和政策制定的过程中，并且使大尺度的复杂环境的设计形成更多新的方法，使设计方案更加人性化。 【6】把上述五大要素结合起来的目的

14、是为了搭建一个基础，使得在这个基础上编制的规划方案和详细设计方案，能够满足人们的行为方式，并适应环境的条件特征。因为这两者（行为方式和环境特征）是会随着文化区域和邻里关系而产生差异的，所以不可能有一劳永逸的设计方案。在复杂问题的判断中，对于自然和社会的分析是关键的。从而编制出一个合适的设计形态和平面关系。【7】设计的过程可以比作创造了设计上最伟大景观的原始造型过程，（设计的目的是为了让形态的发展及它们之间的相互关系更符合人们的需求，）山脊与山谷，充满水的盆地，山峰都反映了地质结构和外力侵蚀的相互作用，我们现在看见的地表形态是无机物在强加于它之上的外界风化作用的结果。从南坡到北坡，从草地到高原，

15、从山谷到乱石堆的植被覆盖的差异是由于景观分异造成的不同环境条件的反映，生物的分布也是受到植被的类型和它的分布的影响，任何结果都是有原因的。 所有都不可逆转的落入到一个持续的发展的生态系统当中。它反映在某个时期特定的时段，自然力和自然过程的意志。这种潜在的、改变地形的强大力量和绝心，正是景观规划和设计师追求的目标。ON GARDEN说园【1】The best gardens are much more than an assortment of beautiful plants.Successful gardens generally represent a careful Integratio

16、n of diverse elements， ranging from the purely ornamental to the strictly functional.Paths， pools， planters， trellises， arbors， fountains， and fences can contribute enormously to the creation of an exciting and harmonious garden.The same attention one bring to decorating a home and making it “livabl

17、e” can be used to make a garden a pleasant place to find Privacy， to meditate， and to escape the pressures of a fast-moving， machine-oriented world.最好的园林不仅是一个各式各样美丽植物的集合。成功的园林通常代表一个不同元素的精心整合,从纯观赏性的到有实际功能的。小径、水池、花槽、棚架、凉亭，喷泉以及栅栏可以为创造一个令人愉悦兴奋、心旷神怡的花园起到重要作用。同样引起重视的是,装修一个家并使之“适宜居住”可以创造一个花园，它是一个找到个人生活并令人愉

18、快的地方,冥想,逃避移动迅速和面向机器的世界带来的的压力。【2】Its a fact that man-made garden accents establish the “style” of a garden more definitively than plants alone .Period gardens Victorian， French， Elizabethan， American Colonialall demand the proper placement of structural and design elements to make them recognizable.I

19、ndeed， the simple addition of a particular style of gazebo， bench， or arbor can instantly “identify” a garden.Similarly， with ethnic gardenssuch as an English cottage garden， Chinese meditation garden ， or an Italian water garden the selection of appropriate fences， bridges， and ornaments brings sty

20、le and a sense of permanence to the environment.事实上,人造花园的独特风格不仅仅是园中的植物本身来决定的。维多利亚时期园林,法式园林,伊丽莎白园林,美国殖民地风格都需要合理的结构安排和设计要素以便使他们声名远振。事实上,简单添加一个风格独特的露台,长凳,或凉亭能立即“识别”一个花园。同样的,关于“民族的”花园，例如英国的乡村园、中国的冥思园、意大利水园都具有特别的篱笆、桥和有式样的装饰物以及一种永久的场所感觉。【3】The world over， there are structures that “make” a gardens reputat

21、ion.At Magnolia Gardens， near Charleston， South Carolina， for example， a sleek trellised footbridge called The Long Bridge Is a “trademark” of the garden.Its distinctive design， traversing the corner of a cypress lake， is immediately identifiable.Somewhat French in style， painted white to contrast w

22、ith the dark water and the tall cypress trees draped with the Spanish moss.The bridge helps create a romantic atmosphere， which probably makes it the subject of more photographs and paintings than any other garden structure in the world.在全世界，构筑物使花园成名。在靠近南加利福尼亚查理斯顿的木兰园。例如，一座被称为“长”的整洁的步行廊桥是柏树湖的标志，这是很显

23、而易见的。有时，在法式风格里，白色的油漆和深色水面形成的对比与长满苔藓的高大柏树以及这座桥共同营造了浪漫的氛围，这种更像主题照片和油画的场景可能使它胜过于全世界其它花园的构筑物。 【4】Though some structures look good unadorned， as part of a garden composition， others are enhanced by some kind of plant decoration.The British are especially fond of training climbing roses， wisteria， honeysu

24、ckle， and Ivy up walls， fences gazebos， and summer house， sometimes so successfully that the structure becomes completely covered in vines， flowers， or foliage.虽然一些建筑没有其他装饰,看起来也很不错,其他的建筑物则被植物点缀装饰而增强效果。英国人尤其喜欢在凉亭、围墙和篱笆跳台上培育攀爬玫瑰、紫藤、金银花、和常春藤等植物，这种效果是如此成功以至于构筑物被完全掩映在植物中了。【5】Then there are accents that r

25、ely on plants alone for dramatic impact.At the Ladew Topiary Gardens， near Baltimore， Maryland， a fox-hunting scene of clipped Japanese yew provides such a whimsical highlight that it has made the garden famous.The realistic， life-size composition of a topiary fox being chased by five topiary hounds

26、 and a topiary horse and rider across a section of lawn at the entrance to the garden sets the scene for even more surprising and amusing topiary work in other sections of garden.也有一些完全靠植物本身来形成自己独特风格的，在马里兰州的巴尔的摩的修剪型园林，用修剪的日本紫杉呈现给人们的一个古怪离奇猎狐场面使得这个园林声名远扬。构图里，修剪如实物大小的狐狸正在被五个修剪的猎犬和一个修剪的马和骑士追逐着穿越一片草坪，把场景

27、引向园林中其他更加精彩离奇的作品。【6】The roles of plants-man and architect in the creation of a beautiful garden are important， but their efforts may fall short without a third important influence the contribution of artist.The best gardens today seem to combine the talents of plants-man， architect， and artist.Somet

28、imes these three skills are embodied in a single person but more frequently they are achieved by a pooling of talents.For example， the beautiful American estate garden of Filoli， near San Francisco， is a result of the collaboration of Isabella Worn， a plants person， and Bruce Porter， a landscape pai

29、nter.Porter did the overall arrangement of spaces and accents; Worn developed the planting schemes and selected the plants.虽然园艺师和建筑师在园林发展当中起的作用是非常重要的，但是如果没有艺术家作为第三方面参与的作品和贡献，他们的作品也会有所暇疵。当前最好的园林就是集中了园艺师、建筑师、和艺术家的智慧。有时候这三种智慧集于一身，但更多的时候，是众人智慧的结晶。例如,在美国旧金山附近美丽的地产园林Filoli,是做植物设计的园艺师伊丽莎白·沃恩，做空间布局的规划师

30、波特和画家布鲁斯波特合作的结果。【7】Impressionist painter Claude Monet was an artist who embodied skills as a plants-man and architect in designing his garden at Giverny， in France.Monet created very simple but stunning flower beds for the entrance of his home.To complement his pink stucco house with distinctive gre

31、en shutters he planted solid blocks of pink geraniums studded with pink and white rose standards.He bordered these raised flowerbeds with gray foliages dianthus.Bold blocks of color， carefully selected to blend with the nearby structure， is the key to success of this particular garden space.印象派画家克劳德

32、·莫奈在设计法国他自家的花园时，体现了园艺师和建筑师智慧。莫奈在自己家入口处设计了一个非常简单,但令人惊奇的花坛。为了补充他有着独特的绿色百叶窗的粉色房子，他定植了一些粉红色的天竺葵中间点缀粉色和白色玫瑰的花砖。在花墙的边缘，他用灰叶的石竹来镶边。他给这些都增加了以灰色dianthus南市城区花床一事著实感到抓狂。精心挑选以配合附近建筑的大块强烈颜色,正是这个独特的园林空间成功的关键所在。【8】Gardens can also be repositories for works of art.These artworks need not be realistic to be an

33、effective embellishment.Garden art began as symbolism in rocks and dead wood， the ancient Chinese bringing into their gardens boulders representing images of mammals.They gave these rock formations names such as “turtle rock”， “owl rock” and “dragon rock” for the objects they resembled.From symbolis

34、m in rocks and dead wood， garden makers became obsessed with realism.The more anatomically correct a sculpture， the more highly valued it became， reaching its height in Ancient Greece and Italy with statuses of gods and heroes placed on pedestals in garden settings.花园也可以用来艺术品保护。这些艺术品不见得是现实的,引人注目的装饰品

35、。园林艺术开始于用在岩石和朽木的象征手法,古代的中国人把石块纳入他们的花园用来表达一些神兽。他们根据石块和某些对象的相似度给这些石块起了名字,如“龟石”,“鹰石”和“龙石”。造园师开始追求现实主义。从解剖学上来说越正确，雕塑的价值就越高。在古希腊和意大利一些园林的基座上会发现一些神和英雄的雕像，这个时段达到了现实主义的一个顶峰。【9】Today the art world has turned full circle， with an emphasis once again on symbolism and impressionism.Indeed， artist Esteban Vicent

36、e put it well when asked to explain an apparent paradox between the modernistic style of his art and his love of gardening as a hobby “You cannot make art if you are not involved with nature” he said， “Anything to do with nature has to do with art.”当今的艺术世界又进行了一个轮回,再一次走向象征主义和印象派。实际上,艺术家埃斯特班·文森特当

37、被问及他做现代艺术风格作品又喜好传统园林的自相矛盾时，他解决的非常好“艺术源于自然”他说，“与自然有关的都与艺术有关” 【10】The best gardens seem to combine the talents of plants-man， architect， and artist.In a way， all three contributors are artists， for there are many examples of plantings and architecture that can be described as artistic.最好的花园是园艺师、建筑师、和艺

38、术家三类人智慧的结晶。从某种意义上，三类人都应视为是艺术家,因为有许多种植和建筑上出色的实例,都可以被称作艺术品。Harmony with the Living Earth景观设计（风景园林）专业英语翻译It is believed that the lifetime goal and work of the landscape architect is to help bring people, the things they build, their communities, their citiesand thus their livesinto harmony with the liv

39、ing earth. By John Ormsbee Simonds人们普遍认为，风景园林师的终身目标和工作是引领人类以及他们的作品、社区和城市也就是他们的生活与地球的和谐共处。 约翰·O·西蒙兹 Harmony with the Living Earth与地球和谐共处 We are the victims of our own building. We are trapped, body and soul, in the mechanistic surroundings we have constructed about ourselves. Somewhere in t

40、he complex process of evolving our living spaces, cities, and roadways, we have become so absorbed in the power of machines, so absorbed in the pursuit of new techniques of building, so absorbed with new materials the we have neglected our human needs. Our own deepest instincts are violated. Our bas

41、ic human desires remain unsatisfied. Divorced from our natural habitat, we have almost forgotten the glow and exuberance of being healthy animals and feeling fully alive.我们是自身建设的受害者。我们的身与灵都被困在了自己建造的机械环境中。在生活空间、城市和道路逐步发展的复杂进程中，我们太过于依赖机械的力量，太过于追求新的建造技术和新的材料，以至于反而忽视了人的需求。这种最深处的本能被违反了。最基本的人类欲望也得不到满足。远离了

42、自然生境的我们几乎忘却了作为一种健康的动物感受生命意义时的那种活力与激情。Many contemporary ailmentsour hypertensions and neuroses are no more than the physical evidence of rebellion against our physical surroundings and frustration at the widening gap between the environment we yearn for and the stifling, artificial one we planners ha

43、ve so far contrived.这一时代的许多疾病，譬如高血压和神经衰弱，正是我们的身体反抗外界环境的表现，而我们所渴望的的环境与我们作为规划师规划的那种沉闷的人工环境之间不断增大的裂痕也令人沮丧。Life itself is dictated by our moment-by-moment adjustment to our environment. Just as the bacterial culture in the petri dish must have its scientifically compounded medium for optimum development

44、 and the potted geranium cutting its proper and controlled conditions of growth to produce a thriving plant, so weas complicated, hypersensitive human organismsmust have for our optimum development a highly specialized milieu. It is baffling that the nature of this ecological framework has been so l

45、ittle explored. Volumes have been written on the conditions under which rare types of orchids may best be grown; numerous manuals can be found on the proper raising and care of guinea pigs, white rats, goldfish, and parakeets, but little has been written about the nature of the physical environment

46、best suited to human culture. Here is a challenging field of research.生活取决于我们每时每刻对环境的适应。就像培养皿中培养的细菌，必须具备科学的复合介质才能促进其繁殖；亦或是盆栽的天竺葵扦插条，也必须在适合的、可控的条件下才能生长茂盛。我们作为复杂且高度敏感的人类有机体，也必须有适合我们发展的高度专业化环境。令人费解的是，这种生态框架的本质却很少被人探寻。有关于稀有兰花在什么环境下生长最好的研究写了一卷又一卷，介绍如何正确的饲养几内亚的猪、白老鼠、金鱼以及长尾小鹦鹉的手册更是数不胜数。然而却几乎没有一本书来介绍什么样的物质环

47、境最适合人类发展。这是一块非常具有挑战性的研究领域。The naturalist tells us that if a fox or a rabbit is snared in a field and then kept in a cage, the animals clear eyes will soon become dull, its coat will lose its luster, and its spirit will flag. So it is with humans too long or too far removed from nature. For we are, f

48、irst of all, animals. We are creatures of the meadow, the forest ,the sea, and the plain. We are born with a love of fresh air in our lungs, dry paths under our feet, and the penetrating heat of the sun on our skin. We are born with a love for the feel and smell of rich, warm earth, the taste and sp

49、arkle of clear water, the refreshing coolness of foliage overhead, and the spacious blue dome of the sky. Deep down inside we have for these thingsa longing, a desire sometimes compelling, sometimes quiescent but always it is there.自然博物学家告诉我们，如果狐狸或兔子被捕以后关在笼子里，他们清澈的眼睛很快会变得灰暗，皮毛会失去光泽，精神也会萎靡不振。人类远离大自然也

50、会如此，因为人类首先是一种动物。我们是草地、森林、海洋还有平原的动物。我们在出生之时，肺里就充满了爱的新鲜空气，脚下踏着干燥的小路，阳光普照于我们的肌肤之上。我们天性有爱，那是一种感受大地的富饶温暖的爱，那是一种品味清澈水源的爱，那是一种对头顶的枝叶带来的丝丝凉爽的爱，那是一种对广阔的蓝色苍穹的爱。我们内心深处的这这些渴望，有时是明显的，有时又是含蓄的，但是它总是一直在那里。It has been proposed by many sages that, other things being equal, the happiest person is one who lives in clos

51、est, fullest harmony with nature. It might then be reasoned: why not restore humans to the woods? Let them have their water and earth and sky, and plenty of it. But is the primeval forest-preserved, untouched, or simulatedour ideal environment? Hardly. For the story of the human race is the story of

52、 an unending struggle to ameliorate the forces of nature. Gradually, laboriously, we have improved our shelters, secured a more sustained and varied supply of food, and extended control over the elements to improve our way of living.许多圣人都谈到：在其他条件都相同的情况下，最开心的人是那些最能与自然和谐共处之人。按照这种说法，为何不使人类回归自然？让他们拥有充沛的

53、水源、土地和天空呢。但是这种原始的、未经开发的森林保护地会是我们理想的生存环境吗？很难这么说。因为人类的历史就是一部通过无休止的斗争来改善自然的历史。在经历了一个逐步的、充满艰辛的过程之后，我们改善了我们的住所，获得了源源不断的、各式各样的食物供给，也通过增强对其他事物的控制力改进了我们生活的方式。What alternatives, then, are left? Is it possible that we can devise a wholly artificial environment in which to better fulfill our potential and more

54、 happily work out our destiny? This prospect seems extremely doubtful. A perceptive analysis of our most successful ventures in planning would reveal that we have effected the greatest improvements not by striving to subjugate nature wholly, not by ignoring the natural conditioning or by the thought

55、less replacement of the natural features, contours, and covers with our constructions, but rather by consciously seeking a harmonious integration. This can be achieved by modulating ground and structural forms with those of nature, by bringing hills, ravines, sunlight, water, plants, and air into ou

56、r areas of planning concentration, and by thoughtfully and sympathetically spacing our structures among the hills, along the rivers and valleys, and out into the landscape.还有其他的选择吗？我们有可能通过创造一个完全人工的环境来更好的满足我们的潜在需求和掌控我们的命运吗?这种前景令人质疑。通过深入分析那些最成功的规划，可以看出：我们的成功之处在于有意识的寻求一种和谐的整体而不是粗暴的征服自然，不是忽略自然条件，也不是武断的用

57、人工建筑掩盖自然特征和外观。而这种和谐是通过调整土地和结构形式以适应自然，是通过将丘陵，沟壑，阳光，水，植物，空气引入集中规划区域，是通过将构筑物间筑于群山之间，河流和山谷沿线以及风景之中来完成的。We are perhaps unique among the animal in our yearning for order and beauty. It is doubtful whether any other animal enjoys a “view”, contemplates the magnificence of a venerable oak, or delights in tr

58、acing the undulations of a shoreline. We instinctively seek harmony; we are repelled by disorder, friction, ugliness, and the illogical. Can we be content while our towns and cities are still oriented to crowded streets rather than to open parks? While highways slice through our communities? While f

59、reight trucks rumble past our churches and our homes? Can we be satisfied while our children on their way to school must cross and recross murderous traffic ways? While traffic itself must jam in and out of the city, morning and evening, through clogged and noisy valley floors, although these valley routes should, by all