新建筑像雨后春筍般到處出現(xiàn)，一座座造型各異的建筑聳立在城市之中。下面小編整理了關(guān)于美國建筑的英語文章，希望大家喜歡!

　　關(guān)于美國建筑的英語文章摘抄

　　ON THE EMPIRE STATE PLAZA, ALBANY

　　紐約州奧爾巴尼帝國廣場

　　“Against my better judgment, I like this complex. It’s sculptural, architectural abstraction to the extreme. At a distance, the scale of the skyline exudes a sense of identity and strength for Albany, while at the pedestrian level the Plaza plays an important role in the community. I know that others find it too brutal or forbidding, but I think it’s beautiful in its monumentality and starkness. Monumentality always suggests supreme power, and that’s scary. I somehow think that if you could populate the Plaza with more gardens, and make it feel more part of everyday life — which they’ve tried to do with farmers’ markets and using the basin for ice skating — then it wouldn’t feel so hostile. Ultimately it has to do with the sense of feeling included and welcome. When life is allowed to enter, it makes a space feel alive. Then it becomes an outlet for the expression of our democratic values of assembly and freedom of speech.”

　　“我知道這不對，但我喜歡這個綜合體。它把雕塑、建筑抽象做到了極致。在遠(yuǎn)處看，天際線的尺度流露出一種奧爾巴尼的身份和強(qiáng)韌，而在行人的層面上，廣場在社區(qū)中扮演著一個重要角色。我知道所有人都覺得它太過粗野或冷峻，但我覺得它的美就體現(xiàn)在這種雄偉和嚴(yán)厲中。雄偉總是能暗示一種至高權(quán)力，令人生畏。有時候我在想，如果在廣場里布置更多的花園，讓它有更貼近百姓生活的感覺，這樣就不會顯得太不友好。而他們的確也曾嘗試在那里開設(shè)臨時的農(nóng)產(chǎn)品市場，還有把水池改成溜冰場，歸根結(jié)底是要有一種容納和歡迎的感覺。一旦生命得以進(jìn)入，一個空間就活了。然后它就可以用來表達(dá)我們主張集會和言論自由的民主價值觀。”

　　關(guān)于美國建筑的英語文章鑒賞

　　ON THE ORANGE COUNTY GOVERNMENT CENTER, GOSHEN, N.Y.

　　紐約州歌珊的奧蘭治縣政府中心

　　“The 1960s were a remarkable moment of social reform. The ideas of change, liberation and freedom were critical. Now people think public buildings should be more flowery, but these were times when people did tough projects. The complex is arranged as a sequence of interconnected indoor and outdoor public spaces that flow into each other. There is an integrity within the design that displays a commitment to engagement and connectivity. As a center for civic governance, it enacted democracy through spatial integration, not through the separation of elected representatives from their constituents. Many similar projects around the world have also suffered neglect; yet sensitive renovation and new programming reveal a profound lightness and generosity, creating exciting and popular spaces where people can connect. Rudolph’s work is pure, but the beauty is in its austerity. There are no additions to make it polite or cute. It is what it is.”

　　“1960年代是社會改革的一段格外出彩的時間。改變、解放和自由這些理念在那時異常重要。如今人們認(rèn)為公共建筑應(yīng)該更美觀，但那時候人們是會去做一些艱難的項目的。整個綜合體的布局是一系列相互駁接的室內(nèi)和室外公共空間，彼此之間是流暢的。這個設(shè)計有種完整性，表達(dá)了保持參與和溝通的決心。作為公民治理的中心，它通過空間的整合來施行民主，而不是將民選議員和他們的選民隔離開來。世界各地的這類建筑里，有許多也已年久失修;然而細(xì)心的改造和新的項目安排可以展露出一種深邃的輕盈和寬容，創(chuàng)造出令人振奮和喜歡的空間，讓民眾可以在那里進(jìn)行交流聯(lián)絡(luò)。魯?shù)婪虻淖髌肥羌兇獾?，但它的美感在于樸素。沒有任何附加的東西，去把它變得客氣或可愛一些。它就這樣。”

　　關(guān)于美國建筑的英語文章賞析

　　洪水威脅美國標(biāo)志性建筑

　　It is literally a glass house, situated along the Fox River in rural Plano, Illinois.

　　For Dr.Edith Farnsworth, the glass house was her retreat.

　　“Dr. Farnsworth was a practicing kidney specialist in the city of Chicago and wanted to havesome place away from town where she could relax from the stresses of her career.”

　　Parrish, who works with the National Trust for Historic Preservation, says that in 1945,Farnsworth turned to well-known architect Ludwig Mies van der Rohe to come up with theplans.

　　The design set off a trend.

　　“This is the house that made modernism popular in the United States and around the world.”

　　Ludwig Mies Van der Rohe knew the lot was in a flood plain, and designed the house with thatin mind.

　　"He elevated the house five feet three inches above the ground, which, according to hisresearch, would make it at least a foot higher than the highest recorded flood level up until thattime.”

　　But even during construction in the early 1950s, the water came up higher than anticipated.

　　Since then, floodwaters have penetrated the home numerous times, causing extensivedamage.

　　The National Trust for Historic Preservation now manages the property, and Parrish said it isconsidering relocating the structure.

　　“Unfortunately there is no perfect solution.

　　One option that is not on the table is doing nothing."

　　Farnsworth House is more than a trend-setting design for Chicago architect Dirk Lohan.

　　It was designed by his grandfather, Ludwig Mies Van Der Rohe, and inspired his own career.

　　“If he had been his own client, he would have designed the house exactly the way it is.”

　　Lohan favors installing a hydraulic elevator system to lift the home above rising floodwatersand keep it where it is.

　　“I think he would say what I am saying, that that house was designed for that location.

　　Why would we have to move it if we have the technical ability to protect it in that location?”

　　The National Trust for Historic Preservation,together with the non-profit groupLandmarkIllinois,will make the final decision later this year on where future visitors will experience LudwigMies van der Rohe’s minimalist architectural masterpiece.

　　字面上講這是座玻璃房子，它位于伊利諾斯州鄉(xiāng)村地區(qū)普萊諾的狐貍河畔。

　　對伊迪特·范士沃斯醫(yī)生而言，這是她的靜居之處。

　　“范士沃斯醫(yī)生曾是芝加哥市的一名腎臟方面的專家，她希望有個地方遠(yuǎn)離城市煩擾，能夠讓她從職業(yè)壓力中緩解放松。”

　　全國文物保護(hù)信托基金會的帕里斯表示1945年范士沃斯邀請知名建筑師路德維格·邁爾斯·凡德羅進(jìn)行房子的設(shè)計。

　　而這項設(shè)計開啟了一輪新風(fēng)尚。

　　“這座房子使現(xiàn)代主義建筑風(fēng)尚席卷美國及全世界。”

　　路德維格·邁爾斯·凡德羅獲悉房子所屬地區(qū)是洪泛區(qū)后將這一點納入設(shè)計規(guī)劃范疇。

　　“他把房子升高到離地5英尺3英寸，據(jù)他的研究，按當(dāng)時的情況這是比記錄以來最高洪水水位至少高一英尺。”

　　但即使是到了20世紀(jì)50年代初施工期間，水位就超過了預(yù)期。

　　從那以后范士沃斯住宅多次遭洪水侵襲造成嚴(yán)重?fù)p壞。

　　現(xiàn)在這座房子歸全國文物保護(hù)信托基金會管理。帕里斯表示他們正考慮遷走房子。

　　“很不幸沒有完美解決方案。”

　　沒有任何可行之道。

　　對芝加哥建筑師迪克·洛漢而言，范士沃斯大宅不僅是創(chuàng)立新風(fēng)尚的設(shè)計。

　　這座房子出自他的祖父路德維格·邁爾斯·凡德羅之手，這也是他投身建筑行業(yè)的理由。

　　“假如由他擔(dān)當(dāng)設(shè)計重任，他會選擇完全一樣的方式。”

　　洛漢贊同安裝一套水力液壓升降系統(tǒng)將房子升高到洪水之上并維持在原地。

　　“我認(rèn)為祖父會同意我的觀點，這座房子的設(shè)計初衷就是為了這個地方，

　　如果我們能提供技術(shù)幫助，為什么房子要換地方呢?”

　　至于游客們在何地才能再次體驗到路德維格·邁爾斯·凡德羅極簡主義建筑風(fēng)格的魅力，全國文物保護(hù)信托基金會將與非營利組織伊利諾伊地標(biāo)合作在今年晚些時候做出最終決定。