第一篇：建筑文章的“預(yù)制板”

“萬丈高樓平地起”，積累豐富的詞匯是寫好作文的前提。不然眼前閃爍著美好事物的形象，筆下卻不能用適當(dāng)?shù)脑~語來表達(dá)，豈不遺憾？你見過蓋樓房用的現(xiàn)成的材料——預(yù)制板嗎？建筑工人建筑好墻和梁后，使用預(yù)制板很快就蓋好了，省工省力，真方便。在我們現(xiàn)代漢語詞匯中也有這種現(xiàn)成的造句材料——熟語。熟語包括成語、諺語、慣用語、歇后語、格言。

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成語”是最具中國特色的漢語詞匯，是漢語語匯中的精粹。他結(jié)構(gòu)緊湊，修辭豐富，生動(dòng)形象而有表現(xiàn)力，成語中記載著許多故事典故，蘊(yùn)含深刻，概括力強(qiáng)。因此，用成語來來表達(dá)較深刻較復(fù)雜的意思，可使文章言簡意明，生動(dòng)形象，同時(shí)文章的句式整齊，節(jié)奏和諧，增強(qiáng)文章的感染力。

“諺語”是人們在口頭上流傳的固定語句，是一種現(xiàn)成的話。如“三個(gè)和尚沒水吃”、“三個(gè)臭皮匠頂一個(gè)諸葛亮”、“人心齊，泰山移”?！耙恢粺煻捎停活D飯一頭牛，一屁股坐一座樓”。諺語通俗易懂、精煉傳神、整齊押韻；說起來順口，細(xì)想想意味深長。作文或說話時(shí)用它來表達(dá)意思，簡明生動(dòng)、通俗易懂，給人鮮明印象而又耐人尋味。

“歇后語”是流行于民間的俗語之一，它由兩部分組成，前一部分是一個(gè)比喻或隱語，而后部分是意義的解釋，好像謎底，有時(shí)候前半部分歇而不講，留給人去回味。歇后語分“喻意”“諧音”兩種。前者如“小和尚念經(jīng)——有口無心”，后者如“老虎拉車——沒人敢”。歇后語幽默含蓄，生動(dòng)活潑，耐人尋味。掌握一定數(shù)量的歇后語，在作文中靈活運(yùn)用，可以增強(qiáng)語言的表現(xiàn)力，使文章生動(dòng)活潑，文風(fēng)幽默風(fēng)趣。

某些說法形象通俗、詼諧，大伙喜歡這么說，流傳開去就成了“慣用語”。比如通過“冷”比喻引申而成的慣用語有：“炒冷飯”、“冷板凳”、“吹冷風(fēng)”、“潑冷水”，如由“吃”引申比喻而產(chǎn)生的：“打游擊”“定心丸”“閉門羹”“吃啞巴虧”“炒魷魚”“鐵飯碗”。恰當(dāng)?shù)倪\(yùn)用慣用語可以增強(qiáng)語言的表現(xiàn)力，使文章獨(dú)具形象、通俗、詼諧的風(fēng)格

格言指言簡意賅、寄寓哲理具有教育和啟發(fā)作用的名言警句。他與諺語相似，但用語莊重，大多來源于名家學(xué)者的書信日記，著名詩詞中。格言內(nèi)容豐富、包羅萬象，可做有力的道理論據(jù)或當(dāng)作文章的中心論點(diǎn)、分論點(diǎn)；可用以概括某些材料的中心用在記敘文上；可置于文首，用以“首句標(biāo)其目”統(tǒng)領(lǐng)全文；在文末用以畫龍點(diǎn)睛，點(diǎn)化中心。

熟語貴在積累，積累方法有三：一是在生活中留心虛心向群眾學(xué)；二是在課外閱讀中勤記錄，向書本學(xué)；三是收集多了，注意分類整理，既是鞏固記憶又便于查找應(yīng)用。

熟語運(yùn)用，忌濫用、亂用，宜適時(shí)、適境、貼切、傳神。同學(xué)們在你寫作時(shí)，當(dāng)你每每要表達(dá)一個(gè)意思（尤其是復(fù)雜的意識）時(shí)，請你問問自己：“可否用一個(gè)熟語？”長此以往，不愁練不出一手好文字功夫。

第二篇：混凝土預(yù)制板技術(shù)員工作總結(jié)

2011年工作總結(jié)

2011，對我來說是非常有意義的一年。學(xué)到了很多，也成長了許多。馬上就要進(jìn)入嶄新的充滿希望的一年了，回望2011年在公司所走過的歷程感慨頗多。下面我針對2011年所做的工作，作一個(gè)總結(jié)，這也算是我個(gè)人對2011年工作所遞交的答卷吧。

年初的時(shí)候，我還是從事庫管工作。根據(jù)實(shí)際情況對庫存板和帳外板進(jìn)行了調(diào)整。為每個(gè)業(yè)務(wù)員提供翔實(shí)可靠的庫存數(shù)據(jù)。后來來了一位新的同事從事庫管工作。我把總結(jié)完善成品庫管理方法付諸紙上，仔細(xì)交接工作重點(diǎn)及注意事項(xiàng)，并與新庫管通力合作。圓滿的完成了工作的交接。

在3月份的時(shí)候，也就是我剛剛從事設(shè)計(jì)工作的時(shí)候。我參與了新加坡項(xiàng)目SP板數(shù)量的統(tǒng)計(jì)，并且主要負(fù)責(zé)了出口裝箱單的設(shè)計(jì)工作，同時(shí)還積極的學(xué)習(xí)制圖技巧和原則。有機(jī)會就和業(yè)務(wù)員到工地進(jìn)行現(xiàn)場學(xué)習(xí)觀摩和測量數(shù)據(jù)。極大的提高了自己的業(yè)務(wù)水平。

從5月份開始，我開始接受韓國足球場蓋板項(xiàng)目的設(shè)計(jì)工作。針對不同客戶的不同要求。和施工的實(shí)際需要。進(jìn)行了從新排版布板工作。并主要承擔(dān)了裝箱單的編制工作。雖然在長度和寬度上面有過很糾結(jié)的經(jīng)歷，但是經(jīng)過領(lǐng)導(dǎo)上層溝通和對我們的指導(dǎo)。我和同事共同努力克服了種種難關(guān)。最終搞定了這個(gè)硬骨頭。

后來，又接觸了昌黎、張家口酒店和萬昌物流等大項(xiàng)目的圖紙。并進(jìn)行了布板排版，在這個(gè)過程中積極學(xué)習(xí)本行業(yè)的專業(yè)知識：施工現(xiàn)場的安裝布板原則及技巧，與客戶特別是負(fù)責(zé)現(xiàn)場施工的人員的溝通技巧等。認(rèn)真學(xué)習(xí)預(yù)應(yīng)力板的板長、板寬、板厚與抗剪力、荷載及其他的力學(xué)性能的關(guān)系，混凝土強(qiáng)度的決定因素及控制方法等。

在十月份的時(shí)候我全權(quán)負(fù)責(zé)了順天商務(wù)酒店工程。從現(xiàn)場測量尺寸。到布板排版。出板改板。到最后現(xiàn)場上板指導(dǎo)。特別是現(xiàn)場指導(dǎo)這個(gè)環(huán)節(jié)，給我思想和認(rèn)知上帶來了很大的沖擊。讓我真正認(rèn)識到：理論必須聯(lián)系實(shí)際。并且實(shí)際還是需要成熟的理論進(jìn)行指導(dǎo)的。

在學(xué)習(xí)理論并聯(lián)系實(shí)際的同時(shí)，針對自己工作中存在的性格急躁，不善自查，對施工現(xiàn)場及鋼結(jié)構(gòu)圖紙不夠熟悉等問題也要端正態(tài)度、認(rèn)真學(xué)習(xí)、努力克服。并且我對于明年工作也做出了進(jìn)一步規(guī)劃，一是繼續(xù)加強(qiáng)理論學(xué)習(xí)，充分體現(xiàn)設(shè)計(jì)人員的重要性和牢靠性，二是繼續(xù)加強(qiáng)業(yè)務(wù)學(xué)習(xí)，積極熟悉行業(yè)知識，做業(yè)務(wù)上的行家能手，提高工作效率，使工作再上新臺階；三是出圖方面，我要努力學(xué)好CAD為以后的企業(yè)進(jìn)一步發(fā)展做好充分準(zhǔn)備。

作為一名設(shè)計(jì)人員。不斷地開拓設(shè)計(jì)思路，更好的與市場融合，是我們目前需要改進(jìn)和加強(qiáng)的，所以我會和公司一起努力，為公司的不斷壯大，更好的發(fā)展，來盡自己的一份微薄之力。

最后，祝我們的公司能像巨龍般騰飛，像磐石般堅(jiān)強(qiáng)穩(wěn)固！也祝愿在座的每一個(gè)人身體健康，幸福快樂！

2011-12-24侯曉濤

第三篇：房地產(chǎn)建筑中英文翻譯文章

Architectural aesthetics Description: good architecture is breathtaking beauty.We can compare the strict designed by calculation from the ancient Greek temple of ancient Rome, medieval church or ancient temples, but was unable to predict that Tadao Ando's “l(fā)ight of the Church”, he is born, find the peacefulness.After the priest of the Forum should be sacred for wall, human thinking should be in the wall, but on solidification, Ando has boldly fashionable in the wall of a perpendicular to the horizontal opening of the intersect, forming a “cross” light, the God of light into the room.This means that the gods of light of many people's hearts.Keywords: architectural aesthetics, geographical, natural environment Our physical environment, some content to let long galleries, there are things you as minor and fleeting.Sometimes, it has not been tested by underline things but has an excellent quality, because they are in the environment and the role of one of them in the history of a people cannot be underestimated.The building is the mental and the physical form of a fantasy world, is a people want to constantly improve the world.Even in urban space or building a reality, people can be aware of when building the content, the content determines the atmosphere is not visible.At the same time, building with — the walls between the consciousness of history--also pregnant with significant changes in the future.Good architecture is breathtaking beauty.We can compare the strict designed by calculation from the ancient Greek temple of ancient Rome, medieval church or ancient temples, but was unable to predict that Tadao Ando's “l(fā)ight of the Church”, he is born, find the peacefulness.After the priest of the Forum should be sacred for wall, human thinking should be in the wall, but on solidification, Ando has boldly fashionable in the wall of a perpendicular to the horizontal opening of the intersect, forming a “cross” light, the God of light into the room.This means that the gods of light of many people's hearts.Architectural beauty lies in its natural environment, and rooted in obedience to the natural environment.A variety of architectural form, and varied architectural styles suitable for different natural and scenic forest terrain dissolving into one, creating a variety of architectural culture his beautiful language.Different different natural environment, as man and nature, to the summary of the building, to the plants.Hop, hop, suitable for the various geographical areas at the request of the natural environment, and nature.In the South-East Asia and South Asian countries, in China's Hainan Island and Taiwan island, located at the lush, tropical climate, people use Coconut Grove palm leaf up to adapt to the tropical rainforest left, the wooden floor, ventilation, light and cool and simple, built in the building;the tropical rain forest in the province, in China's Western Alpine region, people use stone barrier wall, according to the Hill jiushi built stone building, Typhoon snow insulation against the cold, built a plateau mountain building.As China's Sichuan and other minorities in Tibet Qinghai in Western China, according to the Hill jiushi built to all kinds of mountain building group.The loess plateau in China, mobei Gobi, rainfall climates, they leverage mountain slope dig to build houses, built of Adobe buildings.Dunhuang Pinakothek construction buried into the hillside, semi-open entrance, hillside retaining wall obtained, Adobe-style architectural characteristics very obvious.In the Eastern United States, Australia, in the South of China, with abundant rainfall, mild climate, people with wood and tile mountains jiushi, local conditions and cover up the shade hood, ventilation, humid area in the building.Visible in the different regions of the building has its own beautiful language.Architectural beauty lies in its rich sound, garden buildings is highly representative of a case.Although he continuously to borrow, King, box sites, and many other visual techniques demonstrated at such as art as the conception, however, only to Visual impact, he was not to be so awesome.In addition to the traditional Chinese garden itself of cultural tradition, philosophy, his heart also lies in the human sensory perception of others.The Phoenix huang class flute, whistle “flowing water when his sound;the bamboo homes Kim Bong, Lotus flowers smell” performance taste;“Poly boxing ring shaped Hill, as the bucket water pool” and reflects his scale, not to mention the claustrophobic to solitude, ascending to the expression of emotion in a lifetime “.The beauty of Chinese architecture: all inclusive-vapour and whirling, wind dance secluded huang, fragrant as years years-heze, by xiangyuan Yi Ching;pool-view heart, tingxie pleasant and so on and so on.It is this otoacoustic eye color, full moon flower, Garden perception of imagery, reflecting his poetically.Architectural beauty is a multi axis coordinate system.In different historical periods, different regional culture, ethnic background are not all the same.Ancient Chinese aesthetic standard who are unified, as was the mobilization of centralization, almost all the buildings means the creation of a common complete form of art.As a result, China's architecture reflects the orthodox Confucian thought, and ambitious;Chinese gardens with the Taoist, strongly imitate nature, extreme freedom and changeable.While ancient Greek philosophy and the arts all knowledge, in pursuit of eternal perfect, so in the spirit of the level of their pursuit of spiritual perfection, nature they are pursuing a lasting image of beauty, to some extent, their beauty is $ 1.1840, Engels in his earlier book, seven Filippo's hometown ”, discusses the classical architecture style of Zhongshan key new features: the Greek architects are brightly coloured, Moore of architecture(of North Africa, southern Europe of Islamic architecture)makes people feel hesitant, Gothic sacred happy;Greek architectural style phase anything, Moore-building style like the stars of the evening, Gothic architecture style like the Golden Dawn.“In short, different architectural expression of beauty are quite different.Architectural beauty lies in its arbitrary and should display fine, although it's almost done by people from the natural and artistic creation.Whether it is a tile, is a variation of, or is incomplete, dangerous, contemporary architectural design of the non-harmony ”consciousness is striking a trend.For example, postmodern architecture will tile formally introduced architecture creation, Isozaki of Tsukuba Center is a typical example.He will appear in the history and contemporary of intensity, Roman, Michelangelo, Moore, years and so many people of fragments from the original context in-out, converted and tile, make up a new system crashing, Vilas Palace of the expensive's maid were “in the Group Portrait, which stimulate the thinking of.The remains of ancient construction, the ruins of war, waste that some artists and architects feel torn beauty or form.For example, an earlier use of torn law-abiding architects Haworth to cause Shihlin jewellery design, he will even granite brick facades tore a large gap, causing a crash, make light projecting from the mysterious.While the deconstruction architects also exaggerated attitude stressed that the composition of dangerous to pose, its taste is represented as instability, weightlessness, sliding, overturning, falling, and so on a non-equilibrium of dangerous composition.Beauty is changing, the tragedy of the ancients, fair, sublime, noble, naive, and so far not able to cover a wide variety of today's emerging aesthetic form.Contemporary architecture in the area of ”non-harmony“ complexity, it widens the architectural modeling and aesthetic space so that the architectural beauty and meaning of ”harmonious“ become more abundant.Architectural beauty lies in the fact that it is reasonable to interleave.The evolution of the building, in a sense is emotional and the rational development of the Union.The relationship between emotion and reason, from had clashed, gradually developed into the amalgamation of the stage.In the field of architecture, emotional and rational boundaries are obscure.The emergence of light to dark, as emotion to rational, reasonable negative Chahar confirmed the existence of reason, and the building is with a certain function, a function of matter.At this level, the building contains natural rational components.When crossing the modern industrial civilization dating back to ancient times, we will surprises, this one's mind old emotional factors.Built on a thick massive form, there is a spirit of flexibility and intangible.In accurate and detailed scale in a fine expression of emotion, ”happy and bright mood, … a bright, sunny day...“(Engels).Back to the contemporary, the construction sector, multicultural coexistence styles;the rise and fall of modernism, postmodernism has just put on the stage of history, it was ”crazy“ heedless of the annihilation of deconstruction.”Wrong,“ ”symbiosis“ ”metaphor“ ”symbol“ a ”high tech“...seems to be in one night, the building became the best media passed emotion.Therefore, in the knowledge of contemporary architecture trends and future architecture, architectural beauty of emotional understanding and is one of the contemplative basis points.Architectural beauty lies in the science and technology on the art and architecture of the 20th century art and architecture development, most dramatic beneficial to past era。

Advances in technology make it possible to dream of architect.The role of art and nature and man, society, so that the full of life, from emotionally experience of nature and life of rhyme and poetic.At this time of the construction sector evolved ”reverse form of aesthetics“ aesthetic ”high tech“ ”ecological aesthetics“ and ”to maintain development of aesthetics“ as the representative of the emerging architectural aesthetic system.The inverse form of aesthetics ”intentional violation of the law in the form of aesthetics.Classical aesthetic pursuit in harmony, and he advocated conflict broken by expanding and American antithesis of conflict, warfare requirements, funny, humor, and other ways and means to improve the performance of buildings.“Aesthetic” stressed the high tech application, stressing the cultural expression of emotion, focusing on building flexibility and diversity, local and historical culture, such as Jean Nouvel * Design Center for the Arab world.The ecological aesthetics “ecology of full, stable, harmonious aesthetic standards, the pursuit of natural beauty and man-made beauty, Norman Foster's design in Wales * gardens, will naturally into them create artificial climate, this is not possible in the past.In support of science and technology, could hardly have been able to break through the nature and structure of the constraint.The sustainable development of natural aesthetics ”, ecology, society as a complete system, people and nature of interdependence and mutual harmony, as aesthetic ideals, chasing meet human needs, and create a good environment.The network era buildings form already appeared-e building.The magic of the computer network is now like a storm swept across the world, its biggest huge impact changing our every aspect of life.Science and technology of every advancement affect to the building and the development of the city, just as the invention of the cinema also means cinema such as architecture.Winston * Churchill that widespread warning said “we bring up the building, the building makes us”.E architectural beauty lies in its performance of the network age art architectural space, architect, or at least is the art of a special form, building with building language authoring, artistic expression to the outside world a thought or a explains a significance.The architectural language in the creative process in writing these meanings.While the network age of a main interpretation of the expression of every thought.E building is the author of a creative passion, artistic, aesthetic taste, social experience, the internal state of mind and to describe the depth of understanding of the object.The e-age, and paper are no longer the only vector of architecture, as history and bamboo from Oracle to ask, and development to paper and printing.Computer architecture expression, in fact already started showing up, is different from the previously static drawings, it displays the information of the expression, and broadband Internet use media real-time interactive publication makes the comprehensive development of the architectural design.All in all, a cultural background of the building, the accumulation of a rich cultural connotations of the building, either the environment it reflected the cultural heritage of the human spirit, but also with their own interpretation to the concept of beauty, building rich language and of endless aftertaste.http://004km.cn / http:// 004km.cn

建筑美學(xué)淺談

簡介：好的建筑是令人窒息的美麗。我們幾乎可以比較嚴(yán)格的由計(jì)算而設(shè)計(jì)出古希臘古羅馬的神廟，中世紀(jì)的教堂或是古代的寺廟，但卻無法預(yù)測到安藤忠雄的“光的教堂”，他的誕生著實(shí)令人為之一振。在牧師的講壇后應(yīng)該是神圣的永恒不變的墻體，人類的思維應(yīng)該在這面墻體上凝固，可是，安藤卻大膽地在墻上流出了一個(gè)垂直于水平的相交的開口，形成了一個(gè)“光的十字”，把神的光芒引到人間。這種光的神靈意味更強(qiáng)烈的震撼著人的心靈。

關(guān)鍵字：建筑美學(xué),地域,自然環(huán)境

我們所處的物質(zhì)環(huán)境中,有些內(nèi)容讓人長久無法忘懷，有些東西則如過眼云煙轉(zhuǎn)瞬即逝。有時(shí)，沒有經(jīng)過刻意雕琢過的東西卻擁有著精良的品質(zhì)，因?yàn)樗麄冊诃h(huán)境中所扮演的角色令人折服，他們在歷史中上演的一幕令人不能小覷。建筑是精神和幻想世界的物化形式，是一個(gè)人們想不斷完善的世界。即使是在城市空間或建筑成為現(xiàn)實(shí)后，人們依然可以察覺到當(dāng)初建筑所要表達(dá)的內(nèi)容，這種內(nèi)容決定了不可見的氣氛的情緒。同時(shí)，建筑標(biāo)志著過去——墻壁之間可自覺的歷史——也孕育著將來顯著的變化。

好的建筑是令人窒息的美麗。我們幾乎可以比較嚴(yán)格的由計(jì)算而設(shè)計(jì)出古希臘古羅馬的神廟，中世紀(jì)的教堂或是古代的寺廟，但卻無法預(yù)測到安藤忠雄的“光的教堂”，他的誕生著實(shí)令人為之一振。在牧師的講壇后應(yīng)該是神圣的永恒不變的墻體，人類的思維應(yīng)該在這面墻體上凝固，可是，安藤卻大膽地在墻上流出了一個(gè)垂直于水平的相交的開口，形成了一個(gè)“光的十字”，把神的光芒引到人間。這種光的神靈意味更強(qiáng)烈的震撼著人的心靈。

建筑之美在于其根植于自然環(huán)境，又服從于自然環(huán)境。多樣的建筑形式，各異的建筑風(fēng)格適宜于不同的自然環(huán)境，與風(fēng)景林木地形溶為一體，形成了各種建筑文化自己的美的語言。

不同的地域，不同的自然環(huán)境，作為人與自然總結(jié)的建筑，向植物一樣落地生根。合天時(shí)，合地利，適宜于各種地區(qū)自然環(huán)境的要求，與大自然融為一體。

在東南亞和南亞各國，在中國的海南島和臺灣島，椰林茂密，氣候炎熱，人們用椰樹林棕櫚葉蓋起了適應(yīng)熱帶雨林的茅草房，小木樓，通風(fēng)輕盈涼爽簡潔，建起了熱帶雨林建筑；在中亞西亞，在中國的西部高寒地區(qū)，人們用石塊壘砌，依山就勢蓋起了石板建筑，避風(fēng)擋雪保溫御寒，筑成了高原山地建筑。如中國的西藏青海四川等少數(shù)民族在中國西部，依山就勢建起可各式各樣的山地建筑群。在中國的黃土高原，漠北戈壁，雨量稀少，氣候干燥，人們利用山邊土坡挖地筑房，建起了具有鮮明特色的生土建筑。甘肅敦煌藝術(shù)陳列館把建筑埋入山坡下，半開敞式入口，山坡?lián)鯄︷溃潦浇ㄖ卣魇置黠@。在美國的東部，在澳大利亞，在中國的南方，雨量充沛，氣候溫和，人們用木材磚瓦依山就勢，因地制宜，蓋起了遮陽避雨，通風(fēng)透氣，造型別致的濕熱地區(qū)建筑?？梢?，不同地區(qū)的建筑有著自己美的語言。

建筑之美在于其詩情畫意，中國古典園林的建筑就是卓有代表的一例。盡管他不間斷地以借景，對景，框景等諸多視覺手法向人們展示著如畫般的意境,然而僅以視覺沖擊，他還無以有如此撼人的魅力。除了中國古典園林自身所蘊(yùn)含的文化底蘊(yùn)，哲學(xué)思想外，他的深意還在于調(diào)動(dòng)了人的其他感官知覺。“鳳篁類長笛，流水當(dāng)鳴笛”表現(xiàn)其聲；“竹院金風(fēng)細(xì)，荷塘花氣香”表現(xiàn)其味；“聚拳石為山，環(huán)斗水為池”又體現(xiàn)了他的尺度，更不用說“幽閉以獨(dú)處，登高以暢懷”表達(dá)的情緒了。中國建筑之美包羅萬象：竹影婆娑，風(fēng)舞幽篁，菏香苒苒，香遠(yuǎn)益清；池景賞心，亭榭宜人等等等等。正是這耳聲目色，月圓花好，造就了中國古典園林的知覺意象，體現(xiàn)了他的詩情畫意。

建筑之美是一個(gè)多軸的坐標(biāo)系。在不同的歷史時(shí)期，不同地域文化，不同民族背景下都不盡相同。中國古代人們心中的美學(xué)標(biāo)準(zhǔn)則是統(tǒng)一的，正如當(dāng)時(shí)的中央集權(quán)，幾乎動(dòng)員了全部當(dāng)時(shí)的建筑手段共同創(chuàng)造出完整的藝術(shù)形式。因此，中國的建筑體現(xiàn)了儒家思想，正統(tǒng)而有氣魄;中國園林蘊(yùn)含著道家思想，極力效法自然，極度自由，變化多端。而古希臘在哲學(xué)與藝術(shù)等等的一切知識，都是在追求永恒的完美，所以在精神層次上他們追求靈性的完美，在自然界中他們則追求一種永恒的形象美，在某種程度上，他們的美是一元的。

1840年，恩格斯在他的早期著作《七個(gè)菲利特的故鄉(xiāng)》一文中，論述了古典建筑中山重點(diǎn)新風(fēng)格的美學(xué)特征：“希臘式的建筑師人感到明快，摩爾時(shí)的建筑（指北非，南歐的伊斯蘭建筑）使人覺得猶豫，哥特式建筑神圣的令人心醉神迷；希臘式的建筑風(fēng)格相艷陽天，摩爾式的建筑風(fēng)格像星光閃爍的黃昏，哥特式建筑的風(fēng)格像朝霞?！笨傊煌慕ㄖ兄煌赖谋磉_(dá)。

建筑之美在于其隨意之處竟顯精致，雖由人做宛自天成的藝術(shù)創(chuàng)作。無論是拼貼，是變異，抑或是殘缺，奇險(xiǎn)，當(dāng)代建筑設(shè)計(jì)中的“非和諧”意識引人注目的一種傾向。

例如，后現(xiàn)代主義建筑將拼貼正式引入建筑創(chuàng)作中,磯崎新的筑波中心是典型事例。他將歷史上和當(dāng)代的烈度，羅曼諾，米開朗基羅，穆爾，霍來因等很多人的片斷從原來的文脈中撕拉出來，進(jìn)行了轉(zhuǎn)換和拼貼，構(gòu)成了一個(gè)相互撞擊的新系統(tǒng)，猶如維拉斯貴茲的《宮廷的侍女們》中的群體肖像，從而激起人們的思索。古代建筑的遺跡，戰(zhàn)爭廢墟，廢棄物使一些藝術(shù)家和建筑師感受到殘缺的美感或造型上的力度。比如較早運(yùn)用殘缺守法的建筑師霍來因，在士林珠寶店的設(shè)計(jì)中，他將平整的花崗巖砌成的外立面撕開了一個(gè)大缺口，造成一種撞擊感，使得光線從種神秘的投射出來。而解構(gòu)主義建筑師同樣以夸張的姿態(tài)強(qiáng)調(diào)構(gòu)圖的奇險(xiǎn)于動(dòng)勢的感覺，其審美意趣表現(xiàn)為失穩(wěn)，失重，滑動(dòng)，翻傾，墜落等等非平衡的奇險(xiǎn)構(gòu)圖。

美是發(fā)展變化的，古人提出的悲劇，秀雅，崇高，尊貴，樸素等遠(yuǎn)不能涵蓋當(dāng)今出現(xiàn)的各種各樣的審美形態(tài)。當(dāng)代建筑領(lǐng)域的“非和諧”具有復(fù)雜性，它開拓了建筑造型與審美的空間，使建筑之美與“和諧”的含義變得更為豐富。

建筑之美在于其是情理交織的。建筑的演進(jìn)，在某種意義上是情感與理性的交織發(fā)展過程。情感與理性的關(guān)系，從曾經(jīng)相互抵觸，逐漸發(fā)展到相互融合的階段。

建筑學(xué)領(lǐng)域中,情感與理性的界限正變的模糊。光之于黑暗的出現(xiàn)，正如情感之于理性，對理性的否定恰確認(rèn)了理性的存在，而建筑物正是憑借了一定的功能，成為了使用功能的物質(zhì)承擔(dān)者。在這個(gè)層面上，建筑包含與生俱來的理性成分。

當(dāng)越過現(xiàn)代工業(yè)文明追溯到遠(yuǎn)古，我們會驚喜的發(fā)現(xiàn)，這種人的心靈情感因素早已有之。建筑在厚重巨大的形態(tài)下，蘊(yùn)藏了心靈的柔性與無形的時(shí)間。在精確細(xì)致的比例尺度中營造著細(xì)膩的情感，“表達(dá)了愉快與明朗的情緒，??燦爛，陽光照耀的白晝??”（恩格斯語）?；氐疆?dāng)代，建筑界多元共存，風(fēng)格多變；現(xiàn)代主義潮起潮落，后現(xiàn)代主義剛在歷史舞臺上上演，又被“瘋狂”的解構(gòu)狂嘯湮沒?！板e(cuò)時(shí)”“共生”“隱喻”“象征”“高技”??.似乎在一夜之間,建筑成了傳遞情感的最佳媒介。因此，在認(rèn)識當(dāng)代建筑思潮以及對未來建筑時(shí)，建筑之美的情理解和則是思辨的基點(diǎn)之一。

建筑之美在于科學(xué)技術(shù)對藝術(shù)和建筑創(chuàng)作的影響，這是20世紀(jì)藝術(shù)和建筑發(fā)展中，最鮮明的有益于以往時(shí)代的特征。

技術(shù)的進(jìn)步使得建筑師的夢想成為可能。藝術(shù)的作用表現(xiàn)與人與自然，社會的關(guān)系，使生活的爆滿，從感性上體驗(yàn)自然和人生的韻律和詩意。這時(shí)候的建筑界逐漸形成了“反形式美學(xué)”“高技美學(xué)”“生態(tài)美學(xué)”和“可維持發(fā)展的美學(xué)”為代表的新興建筑美學(xué)體系。

“反形式美學(xué)”有意違反了形式美學(xué)的規(guī)律。古典美學(xué)追求和諧統(tǒng)一，而他提倡沖突破碎，通過拓展美的對立面要求采用沖突，對抗，滑稽，幽默等方式與手法來提高建筑的表現(xiàn)力?！案呒济缹W(xué)”強(qiáng)調(diào)高技術(shù)的應(yīng)用，講究文化情感的表述，注重建筑靈活性和多樣性，努力表現(xiàn)地方性與歷史文化的內(nèi)涵，如讓*努維爾設(shè)計(jì)的阿拉伯世界研究中心?！吧鷳B(tài)美學(xué)”以自然生態(tài)的完整，穩(wěn)定，和諧為審美標(biāo)準(zhǔn)，追求自然美與人工美的完美結(jié)合，諾曼*福斯特設(shè)計(jì)的威爾士國家植物園，將自然納入其中營造人工氣候，這在過去是不可能想象的。在科技的支持下，簡直已經(jīng)能夠突破自然，結(jié)構(gòu)的約束?！翱沙掷m(xù)發(fā)展美學(xué)”把自然，生態(tài)，社會作為一個(gè)完整的系統(tǒng)，將人與自然的相互依賴和相互和諧，作為審美理想，追求著滿足人類生存需要，又創(chuàng)造良好的生態(tài)環(huán)境美學(xué)價(jià)值。

網(wǎng)絡(luò)時(shí)代的建筑形式已經(jīng)出場——e建筑。神奇的計(jì)算機(jī)網(wǎng)絡(luò)現(xiàn)在像一場風(fēng)暴席卷著全球，正以其無法估量的巨大沖擊力改變著我們生活的每一個(gè)方面。科技的每一次進(jìn)步都或多或少影響到建筑和城市的發(fā)展，就像電影的發(fā)明同時(shí)也就意味著電影院這類的建筑產(chǎn)生一樣。

溫斯頓*丘吉爾那就廣為傳播的警句說“我們造就建筑，建筑也造就我們”。e建筑之美在于它表現(xiàn)網(wǎng)絡(luò)時(shí)代的建筑空間，建筑師藝術(shù)，或者至少是藝術(shù)的一種特殊形式，建筑時(shí)采用建筑的語言創(chuàng)作，凡是藝術(shù)都要向外界表達(dá)一種思想或說明一種意義。建筑語言在創(chuàng)作過程中書寫了這些意義。而網(wǎng)絡(luò)時(shí)代的一件主詮釋了每一個(gè)思想的表達(dá)。e建筑凝聚了作者的創(chuàng)作激情，藝術(shù)修養(yǎng)，審美趣味，社會閱歷，內(nèi)在心境和對描繪對象深度的理解。

e時(shí)代，紙不再只是建筑的唯一載體，正像歷史上從甲骨文到竹簡問，又發(fā)展到紙和印刷術(shù)一樣。計(jì)算機(jī)建筑表達(dá)，事實(shí)上已經(jīng)開始顯示出強(qiáng)大的說服力，不同于一張張靜止的圖紙，它顯示了信息的動(dòng)態(tài)表達(dá)，并在寬帶互聯(lián)網(wǎng)上利用媒體實(shí)時(shí)交互式發(fā)布，使得建筑設(shè)計(jì)全面發(fā)展。

總之，孕育著一個(gè)文化背景的建筑，積淀著豐富的文化內(nèi)涵的建筑，既可以折射出所處環(huán)境的文化傳統(tǒng)，人文精神，同時(shí)也以其自身詮釋著美的概念，建筑豐富的語言中裹著的是讓人無盡的回味。

第四篇：文章簡介：《建筑實(shí)習(xí)報(bào)告》

文章簡介：《建筑實(shí)習(xí)報(bào)告范文》

一、實(shí)習(xí)目的通過接觸和參加實(shí)際工作，充實(shí)和擴(kuò)大自己的知識面，培養(yǎng)綜合應(yīng)用的能力，為以后走上工作崗

《建筑實(shí)習(xí)報(bào)告范文》《其他范文》

關(guān)于《其他范文》的文章《建筑實(shí)習(xí)報(bào)告范文》正文開始>>-

一、實(shí)習(xí)目的通過接觸和參加實(shí)際工作，充實(shí)和擴(kuò)大自己的知識面，培養(yǎng)綜合應(yīng)用的能力，為以后走上工作崗位打下基礎(chǔ)。

二、實(shí)習(xí)內(nèi)容

參加測量工程、鋼筋工程、模板工程、混凝土工程、砌筑工程施工全過程的操作實(shí)習(xí)，學(xué)習(xí)每個(gè)工種的施工技術(shù)和施工組織管理方法，學(xué)習(xí)和應(yīng)用有關(guān)工程施工規(guī)范及質(zhì)量檢驗(yàn)評定標(biāo)準(zhǔn)，學(xué)習(xí)施工過程中對技術(shù)的處理方法。

三、實(shí)習(xí)概況

在實(shí)習(xí)期間遵守實(shí)習(xí)單位和學(xué)校的安全規(guī)章制度，出勤率高，積極向工人師傅請教善于發(fā)現(xiàn)問題，并運(yùn)用所學(xué)的理論知識，在工地技術(shù)員的幫助下解決問題。對鋼筋工程、模板工程、混凝土工程等有了很具體的了解，同時(shí)對部分工程進(jìn)行實(shí)踐操作。

1.鋼筋工程鋼筋使用必須堅(jiān)持先檢查后使用的原則;鋼筋必須有出廠合格證和檢驗(yàn)報(bào)告，按國家規(guī)范進(jìn)行復(fù)檢合格后方可用于工程中，鋼筋在現(xiàn)場加工，制作加工工序?yàn)椋轰摻顧C(jī)械安裝→鋼筋對焊→錐螺紋加工→彎曲成型→鋼筋綁扎。

2.模板工程模板及其支架應(yīng)根據(jù)工程結(jié)構(gòu)形式、荷載大小、地基土類別、施工設(shè)備和材料供應(yīng)等條件進(jìn)行設(shè)計(jì)。模板及其支架應(yīng)具有足夠的承載能力、剛度和穩(wěn)定性，能可靠地承受澆筑混凝土的重量、側(cè)壓力以及施工荷載。澆筑混凝土?xí)r模板及支架在混凝土重力、側(cè)壓力及施工荷載等作用下脹模(變形)、跑模(位移)甚至坍塌的情況時(shí)有發(fā)生。為避免事故，保證工程質(zhì)量和施工安全，提出了對模板及其支架進(jìn)行觀察、維護(hù)和發(fā)生異常情況時(shí)進(jìn)行處理的要求。

3.混凝土工程結(jié)構(gòu)混凝土的強(qiáng)度等級必須符合設(shè)計(jì)要求。用于檢查結(jié)構(gòu)構(gòu)件混凝土強(qiáng)度的試件，應(yīng)在混凝土的澆筑地點(diǎn)隨機(jī)抽取。取樣與試件留置應(yīng)符合下列規(guī)定：

1、每拌制100盤且不超過100m3的同配合比的混凝土，取樣不得少于一次;

2、每工作班拌制的同一配合比的混凝土不足100盤時(shí)，取樣不得少于一次;

3、當(dāng)一次連續(xù)澆筑超過100m3時(shí)，同一配合比的混凝土每200m3取樣不得少于一次;

4、每一樓層、同一配合比的混凝土，取樣不得少于一次;

5、每次取樣應(yīng)至少留置一組標(biāo)準(zhǔn)養(yǎng)護(hù)試件，同條件養(yǎng)護(hù)試件的留置組數(shù)應(yīng)根據(jù)實(shí)際需要確定。

四、實(shí)習(xí)主要工作任務(wù)

我們這次實(shí)習(xí)的主要任務(wù)就是看懂實(shí)習(xí)工地的建筑類型，了解工程的性質(zhì)，規(guī)模，建筑結(jié)構(gòu)特點(diǎn)與施工條件等內(nèi)容，了解不同機(jī)械設(shè)備的操作范圍和規(guī)程，多多請教了解看到的不知道的知識。盡量爭取參與并了解工程開工前和施工中的各項(xiàng)準(zhǔn)備工作，參與進(jìn)入施工現(xiàn)場的材料，收集有關(guān)技術(shù)資料，整理施工實(shí)習(xí)日記，做好實(shí)習(xí)收尾工作。

我們應(yīng)該去了解或者熟悉工地上常用的機(jī)械設(shè)備的性能。帶著各種各樣的疑問，我們一邊參觀一邊詢問著，嘗試了解常用的機(jī)械設(shè)備。

第五篇：建筑專業(yè)土木工程專業(yè)英語文章

第一篇

Architecture is the art and science of designing buildings and structures like gates, bridges, and other things that are built.Sometimes, the areas surrounding the building, such as paths and gardens, are included in the design too.People who design buildings are architects.They may need skills in many fields, for example: mathematics, science, art, technology, social sciences, politics, history, and philosophy.The Colosseum, Rome, Italy People in different countries and periods of history have designed buildings in different styles.This may depend on the climate, the materials available for building, and fashion.The earliest architecture was the building of simple shelters, huts and houses.As people first began to live together in towns and cities, types of architecture became more complex.Some of the oldest buildings that have been found include the pyramids in Egypt and the ziggurats in Mesopotamia, and other early temples.The houses common people lived in were fairly simple, small and close together.The architecture of the Ancient Greeks and Romans is called Classical architecture.Some important classical buildings have stone columns with complex designs.Greek columns have beams placed across them, but Romans developed the arch in their architecture which was spread across the Roman Empire.Indian architecture is famous for the stone carving of its temples and palaces.Different archectural styles developed in China, Japan, Southeast Asia, Africa, Mexico, and Central and South America.People in Western Europe in the Middle Ages made Romanesque architecture, then Gothic architecture.Gothic buildings have tall, pointed windows and arches.Many churches have Gothic architecture.When the Normans invaded England it was noticed that the English liked small houses with a lot of things in them, while the French liked big houses that were almost empty of furniture.Many castles were also built at this time.In Eastern Europe, the Byzantine influence meant that churches usually have domes.Mosques may also have domes which are a way of building a wide open space which can hold a lot of people.This is important for religious buildings.The Industrial Revolution led to new types for buildings for machines and for people to work in.Industrial architecture is the architecture of factories, mills, and other working buildings.Modern architecture was a new type of architecture created in about 1900.Modern buildings often have little decoration(designs to make something more beautiful)and are often made of steel, glass, and concrete.