摩爾式建築英語怎麼說及英文翻譯

❶ 求英語高手幫忙翻譯一段建築文字。

In designs, in the consideration terrain and under the usableprerequisite, made each construction reasonably has arranged. Embarksfrom the construction scale, takes the guesthouse and the servicebuilding when the monomer design key point. The service buildingdesign mainly needs to pay great attention to is the stream of peopleand the stream of vehicles design, as well as function reasonablearrangement; The guesthouse design besides must pay attention to inthe ordinary circumstances the request, but also must unify the localsituation, from mountainous region construction and culturalconstruction direction consideration. In addition, the gas station andthe service, will unify in the service area the large-scale parkinglot arrangement to carry on the arrangement. The environment designalso is in a this design project important link.

❷ 急求英文翻譯！！！

1.To statistic ,settle and account for the exchanges and payment
2.Check accounts with supliers and customer Periodically
3.checking warehouse warrant and purchase order
4.fill in and make the document and run up account etc.
5.Management of cash accounts and assist the finance supervisor to declare tax returns
6. check all kinds of reimbursement documents and receipt or pay for company's cash and cash in bank
7.type in and check the data of salement and check the financial target
8.maintain the information channels and deal with the work and business affair of the office
不算專業，但絕對手工！

❸ 英文翻譯

不準為物業，廠房及設備重估選項。
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不準為無形資產升值的選擇。
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攤銷所有不定的生活無形資產，包括商譽。
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為開支認識所有研究和開發費用。
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結合'現值最低租賃付款'進入融資租賃測量。
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由承租人允許其他經營時的最低租賃付款額的結構，以彌補通貨膨脹的預期出租人租賃一般比直線法。
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納入2008年2月對中小企業'puttables'國際會計准則第32號金融工具的國際財務報告准則:介紹和國際會計准則第1號財務報表之表達。
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要求所有政府補助是使用一個單一的，占簡化模型:在資產的公允價值確認收入已收或應收的業績條件時，滿足(或更早如果沒有業績條件)和測量。第5頁
第6頁
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由於認識到所有借貸成本開支。
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新增股份為基礎的支付，包括董事的估價，而不是內在價值的方法，進一步簡化。
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允許子公司措施對本集團的基礎上收取合理的分配職工福利和股份支付費用。
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增加值中使用的資產減值計量。
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在介紹該現金產生單位資產減損測試的概念。
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簡化計算的商譽減值的指導。
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簡化界定福利退休金義務測量如果'預計單位信貸'測量不提供不必要的成本，並會要求或努力。
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准許精算收益及其他作為在損益確認(同時保留在徵求意見稿的建議，禁止精算收益及虧損延遲)其他綜合收益的損失確認。
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消除持作出售資產的分類和相關的特殊測量要求。
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第35條納入到為中小企業轉型中的所有國際財務報告准則第1號首次國際財務報告准則豁免的國際財務報告准則。
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結合下面的解釋，它們涉及的交易和情況，中小企業經常遇到的結論:
Ø
在合作社實體及類似工具詮釋二議員的股份
Ø
國際財務報告准則第4號釐定安排是否包含租賃
Ø
國際財務報告准則第2號范圍8
Ø
詮釋12服務特許權安排
Ø
國際財務報告准則第13號客戶忠誠計劃
Ø
詮釋15個協議用於房地產建設
Ø
詮釋17分派非現金資產予業主
Ø
碳化硅-
12綜合，特殊目的實體
朗讀
顯示對應的拉丁字元的拼音字典
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查看字典詳細內容Google
翻譯適合以下用途:搜索手機聊天商務關於
Google
翻譯關閉即時翻譯隱私權政策幫助
&;2010商務工具譯者工具包關於
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翻譯博客隱私權政策幫助►

❹ 英文翻譯 建築類--2

一部分人工翻譯..

目前,羅馬人造房子依然在用混凝土..發達國家在18世紀都用水泥.。結合比例的金額石灰，鐵，硅，氧化鋁，並燒毀他們在旋轉爐或窯（圖6.4 ）約三零零零噸創造了今天奇摩波特蘭水泥。該產品從窯稱為熟料。要達到最後的可用產品水泥，熟料，是地上一個很好的一致性。袋裝水泥是在94 - 1B簽證袋或出售由噸散裝。該類型的水泥顯示在表6.1 。
混凝土是一種混合物，包含水泥，砂，礫石，水和添加劑，通常。水泥是材料的原因，其他的成分，堅持一個另一個。水是需要事業的水泥，以水合物。具體的不硬化乾燥，但水化。總結用來製造混凝土應均勻梯度提供一個良好的T 「型111的所有位之間的個別件總結。沙子將填補小位在組合。差距分級總量是有一定的顆粒大小，完全或大部分缺席。缺乏兩個或兩個以上的連續大小可以建立隔離的問題，與混凝土配合比。數額所用的水混合，不應過度，因為多餘的水份蒸發，最終，留下小空隙，在空間，它一旦被佔領。數額水是由指定的水/水泥的比例，耗水量在有關金額水泥。
水/水泥的比例，是指比例按重量計算的自由水含量，以水泥的內容。它已久的接受一個低游離水/水泥的比例，在一個混凝土配合比是必不可少的具體隨後的強度和耐久性。有很多不同的添加劑及他們用於多種用途，改變顏色的混凝土，以縮短或延長時間，為混凝土硬化。

❺ 英文翻譯（建築專業）

樓上 你不確定就不要回答呀 要是人家 用了你的 不正確 怎麼辦呢？
主創建築師專General Architect
參考 主任建築師Architecture Conceptual Designer-柏景（廣州）園林屬景觀

主任建築師 Principal Architect
參考：招聘Principal Architect－Airport 主任建築師－機場英國阿特金斯集團

首席設計師Chief Designer

首席建築師Architect
參考 Chief Architect X1 (首席建築師v11.0)

❻ 求助哥特式建築的英文介紹翻譯

Gothic Architecture
The term Gothic was first used ring the later Renaissance, and as a term of contempt. Says Vasari, "Then arose new architects who after the manner of their barbarous nations erected buildings in that style which we call Gothic", while Evelyn but expresses the mental attitude of his own time when he writes, "The ancient Greek and Roman architecture answered all the perfections required in a faultless and accomplished building" -- but the Goths and Vandals destroyed these and "introced in their stead a certain fantastical and licentious manner of building: congestions of heavy, dark, melancholy, monkish piles, without any just proportion, use or beauty." For the first time, an attempt was made to destroy an instinctive and, so far as Europe was concerned, an almost universal form of art, and to substitute in its place another built up by artificial rules and premeditated theories; it was necessary, therefore, that the ground should be cleared of a once luxuriant growth that still showed signs of vitality, and to effect this the schools of Vignola, Palladio, and Wren were compelled to throw scorn on the art they were determined to discredit. As ignorant of the true habitat of the style as they were of its nature, the Italians of the Renaissance called it the "maniera Tedesca", and since to them the word Goth implied the perfection of barbarism, it is but natural that they should have applied it to a style they desired to destroy. The style ceased, for the particular type of civilization it expressed had come to an end; but the name remained, and when, early in the nineteenth century, the beginnings of a new epoch brought new apologists, the old title was taken over as the only one available, and since then constant efforts have been made to define it more exactly, to give it a new significance, or to substitute in its place a term more expressive of the idea to be conveyed.

The word itself, in its present application, is repugnant to any sense of exact thought; ethnically, the art so described is immediately Franco-Norman in its origins, and between the Arian Goths, on the one hand, and the Catholic Franks and Normans. on the other, lies a racial, religious, and chronological gulf. With the conquest of Italy and Sicily by Justinian (535-553) "the race and name of Ostrogoths perished for ever" (Bryce, "The Holy Roman Empire", III, 29) five centuries before the beginnings of the art that bears their name. Modern scholarship seeks deeper even than racial tendencies for the root impulses of art in any of its forms, and apart from the desirable correction of an historical anachronism it is felt that medieval art (of which Gothic architecture is but one category), since it owes its existence to influences and tendencies stronger than those of blood, demands a name that shall be exact and significant, and indicative of the more just estimation in which it now is held.

But little success has followed any of the attempts at definition. The effort has proced such varying results as the epithets of Vasari and Evelyn, the nebulous or sentimental paraphrases of the early nineteenth century romanticists, the narrow archeological definitions of De Caumont, and the rigid formalities of the more learned logicians and structural specialists, such as MM. Viollet le Duc, Anthyme St-Paul, and Enlart, and Professor Moore. The only scientific attempt is that of which the first was the originator, the last the most scholarly and exact exponent. Concisely stated, the contention of this school is that

the whole scheme of the building is determined by, and its whole strength is made to reside in a finely organized and frankly confessed framework rather than in walls. This framework, made up of piers, arches and buttresses, is freed from every unnecessary incumbrance of wall and is rendered as light in all its parts as is compatible with strength -- the stability of the building depending not upon inert massiveness, except in the outermost abutment of active parts whose opposing forces neutralize each other and proce a perfect equilibrium. It is thus a system of balanced thrusts in contradistinction to the ancient system of inert stability. Gothic architecture is such a system carried out in a finely artistic spirit (Charles H. Moore, "Development and Character of Gothic Architecture", I, 8).
This is an admirable statement of the fundamental structural element in Gothic architecture, but, carried away by enthusiasm for the crowning achievement of the human intellect in the domain of construction, those who have most clearly demonstrated its pre- eminence have usually fallen into the error of declaring this one quality to be the touchstone of Gothic architecture, minimizing the importance of all æsthetic considerations, and so denying the name of Gothic to everything where the system of balanced thrusts, ribbed vaulting, and concentrated loads did not consistently appear. Even Professor Moore himself says, "Wherever a framework maintained on the principle of thrust and counter-thrust is wanting, we have not Gothic" (Moore, op. cit., I, 8). The result is that all the medieval architects of Western Europe, with the exception of that proced ring the space of a century and a half, and chiefly within the limits of the old Royal Domain of France, is denied the title of Gothic. Of the whole body of English architecture proced between 1066 and 1528 it is said, "The English claim to any share in the original development of Gothic, or to the consideration of the pointed architecture of the Island as properly Gothic at all, must be abandoned" (Moore, op. cit., Preface to first ed., 8), and the same is said of the contemporary architecture of Germany, Italy, and Spain. Logically applied this rule would exclude also all the timber-roofed churches and the civil and military structures erected in France contemporaneously with the cathedrals and (though this point is not pressed) even the west fronts of such admittedly Gothic edifices as the cathedrals of Paris, Amiens, and Reims. As one commentator on Gothic architecture has said, "A definition so restricted carries with it its own condemnations" (Francis Bond, "Gothic Architecture in England", I, 10).

A still greater argument against the acceptance of this structural definition lies in the fact that while, as Professor Moore declares, "the Gothic monument, thought wonderful as a structural organism, is even more wonderful as a work of art" (op. cit., V, 190), this great artistic element, which for more than three centuries was predominant throughout the greater part of Western Europe, existed quite independently of the supreme structural system, and varies only in minor details of racial bias and of presentation, whether it is found in France or Normandy, Spain or Italy, Germany, Flanders, or Great Britain -- this, which is in itself the manifestation of the underlying impulses and the actual accomplishments of the era it connotes, is treated as an accessory to a structural evolution, and is left without a name except the perfunctory title of "Pointed", which is even less descriptive than the word Gothic itself.

The structural definition has failed of general acceptance, for the temper of the time is increasingly impatient of materialistic definitions, and there is a demand for broader interpretations that shall take cognizance of underlying impulses rather than of material manifestations. The fact is recognized that around and beyond the structural aspects of Gothic architecture lie other qualities of equal importance and greater comprehensiveness, and, if the word is still to be used in the general sense in which it always has been employed, viz., as denoting the definite architectural expression of certain peoples acting under definite impulses and within definite limitations of time, a completely evolved structural principle cannot be used as the sole test of orthodoxy, if it excludes the great body of work executed within that period, and which in all other respects has complete uniformity and a consistent significance.

It may be said of Gothic architecture that it is an impulse and a tendency rather than a perfectly rounded accomplishment; aesthetically, it never achieved perfection in any given monument, or group of monuments, nor were its possibilities ever fully worked out except in the category of structural science. Here alone, finality was achieved by the cathedral-builders of the Ile-de-France, but this fact cannot give to their work exclusive claim to the name of Gothic. The art of any given time is the expression of certain racial qualifications modified by inheritance, tradition, and environment, and working themselves out under the control of religious and secular impulses. When these elements are sound and vital, combined in the right proportions, and operating for a sufficient length of time, the result is a definite style in some one or more of the arts. Such a style is Gothic architecture, and it is to this style, regarded in its most inclusive aspect, that the term Gothic is applied by general consent, and in this sense the word is used here.

Gothic architecture and Gothic art are the æsthetic expression of that epoch of European history when paganism had been extinguished, the traditions of classical civilization destroyed, the hordes of barbarian invaders beaten back, or Christianized and assimilated; and when the Catholic Church had established itself not only as the sole spiritual power, supreme and almost unquestioned in authority, but also as the arbiter of the destinies of sovereigns and of peoples. During the first five centuries of the Christian Era the Church had been fighting for life, first against a dying imperialism, then against barbarian invasions. The removal of the temporal authority to Constantinople had continued the traditions of civilization where Greek, Roman, and Asiatic elements were fused in a curious alembic one result of which was an architectural style that later, and modified by many peoples, was to serve as the foundation-stone of the Catholic architecture of the West. Here, in the meantime, the condition had become one of complete chaos, but the end of the Dark Ages was at hand, and ring the entire period of the sixth century events were occurring which could only have issue in the redemption of the West. The part played in the development of this new civilization by the Order of St. Benedict and by Pope St. Gregory the Great cannot be over estimated: through the former the Catholic Faith became a more living and personal attribute of the people, and began as well to force its way across the frontiers of barbarism, while by its means the long-lost ideals of law and order were in a measure re-established. As for St. Gregory the Great, he may almost be considered the foundation-stone of the new epoch. The redemption of Europe was completed ring the four centuries following his death, and largely at the hands of the monks of Cluny and Pope St. Gregory VII (1073-1085), who freed the Church from secular dominion. With the twelfth century were to come the Cistercian reformation, the revivifying and purification of the episcopate and the secular clergy by the canons regular, the development of the great schools founded in the preceding century, the communes, the military orders, and the Crusades; while the thirteenth century, with the aid of Pope Innocent III, Philip Augustus, St. Louis, and the Franciscans and Dominicans, was to raise to the highest point of achievement the spiritual and material potentialities developed in the immediate past.

This is the epoch of Gothic architecture. As we analyse the agencies that together were to make possible a civilization that could blossom only in some pre-eminent art, we find that they fall into certain definite categories. Ethnically the northern blood of the Lombards, Franks, and Norsemen was to furnish the physical vitality of the new epoch. Political the Holy Roman Empire, the Capetian sovereigns of the Franks, and the Dukes of Normandy were to restore that sense of nationality without which creative civilization is impossible, while the papacy, working through the irresistible influence of the monastic orders gave the underlying impulse. Normandy in the eleventh century was simply Cluny in action, and ring this period the structural elements in Gothic architecture were brought into being. The twelfth century was that of the Cistercians, Carthusians, and Augustinians, the former infusing into all Europe a religious enthusiasm that clamoured for artistic expression, while by their antagonism to the over-rich art of the elder Benedictines, they turned attention from decoration to plan and form, and construction. The Cluniac and the Cistercian reforms through their own members and the other orders which they brought into being were the mobile and efficient arm of a reforming papacy, and from the day on which St. Benedict promulgated his rule, they became a visible manifestation of law and order. With the thirteenth century, the episcopate and the secular clergy joined in the labour of adequately expressing a united and unquestioned religious faith, and we may say, therefore, that the civilization of the Middle Ages was what the Catholic Faith organized and invincible had made it. We may, therefore, with good reason, substitute for the undescriptive title "Gothic" the name "The Catholic Style" as being exact and reasonably inclusive.

The beginnings of the art that signalized the triumph of Catholic Christianity are to be found in Normandy. Certain elements may be traced back to the Carolingian builders, the Lombards in Italy and the Copts and Syrians of the fourth century, and so to the Greeks of Byzantium. They are but elements however, germs that did not develop until infused with the red blood of the Norsemen and quickened by the spirit of the Cluniac reform. The style developed in Normandy ring the eleventh century contained the major part of these elemental norms, which were to be still further fused and co-ordinated by the Franks, raised to final perfection, and transfigured by a spirit which was that of the entire medieval world. Marvellous as was this achievement, that of the Normans was even more remarkable, for in the style they handed on to the Franks was inherent every essential potentiality. At this moment Normandy was the focus of northern vitality and almost, for the moment, the religious centre of Europe. The founding of monasteries was very like a mania and the result a remarkable revival of learning; the Abbeys of Bec, Fécamps, and Jumiè became famous throughout all Europe, drawing to themselves students from every part of the continent; even Cluny herself had in this to take second place. It was a very vigorous and a very widespread civilization, and architectural expression became imperative. Convinced that

she was playing a part and a leading part in the civilization of Europe . . . Normandy perceived and imitated the architectural progress of nations even far removed from her own borders. At this time there was no other country in Europe that for architectural attainment could compare with Lombardy. Therefore it was to Lombardy that the Normans turned for inspiration for their own buildings. They adopted what was vital in the Lombard style, combined this with what they had already learned from their French neighbours, and added besides a large element of their own national character (Arthur Kingsley Porter, "Mediaeval Architecture", VI, 243, 244).

❼ 求建築類英語文章並有翻譯（中英對照）。

With the rapid development of power electronics, computer science and control theory, a revolution happened in motor drives. Actually, AC drives are the mainstream of motor drives. Permanent magnet synchronous motors (PMSMs) have been widely used as AC drives over the last two decades e to their high efficiency, high power density and no dc field winding in the rotor. It is well known motion control of PMSM requires accurate position and velocity signals to realize field orientation. In conventional motion control systems, optical encoders or electromagnetic resolvers are used for this purpose. However, these additional sensors increase the costs of the system and decrease the reliability. With this background, sensorless operation is fast becoming a requirement, and the elimination of position and velocity sensors has been an attractive prospect.

電力電子技術、計算機技術以及自動控制技術的飛速發展給電氣傳動領域帶來了歷史性的革命，交流調速傳動逐漸上升為電氣傳動的主流。永磁同步電動機由於無需勵磁電流、運行效率和功率密度都很高，在過去的二十年裡已被廣泛地應用在交流調速傳動中，但它的高性能控制需要精確的轉子位置和速度信號去實現磁場定向。在傳統的運動控制系統中，通常採用光電編碼器或旋轉變壓器來檢測轉子的位置和速度。然而，這些機械式的感測器增加了系統的成本，並且降低了系統的可靠性。因此，取消這些裝置以提高系統的可靠性並降低成本的研究逐漸熱門。

❽ "貝式建築"用英語怎麼說---[貝聿銘（Ieoh Ming Pei）]

貝氏建築英語：Pei Architects。註：貝氏建築事務所＝Pei Partnership, Architects

1955年，貝聿銘與合夥人共同創辦「貝聿銘及合夥人建築內師事務所」，其容英文初為「I.M.Pei & Associates」，1956年更名為「I. M. Pei & Partners」。

(8)摩爾式建築英語怎麼說及英文翻譯擴展閱讀：

貝氏建築事務所成立於1992年，是一所全方位服務的國際建築設計事務所。它在專業領域各方面皆有所擅長並有著明確的企業目標：卓越優秀的設計。

貝氏建築事務所創始人貝建中先生與貝禮中先生，曾經作為父親貝聿銘建築事務所的重要核心成員，堅持並遵守設計承諾。

在貝聿銘建築事務所工作共超過35年及與創建貝氏建築事務所至今20年的建築設計實踐中，積聚了豐富的專業知識與經驗，形成了創新與獨特的設計理念和風格。

網路-貝式建築事務所

❾ 求助建築介紹的英文翻譯

[Comments: Year 1194, the cathedral architect Shateer a new building thinking of all the great 13th century building has played a stimulating role. Because there is no library, and its elevation is divided into three levels (should express the relationship between the three tiers), and the roof is divided into four parts, recing their mutual interaction support. From the outside of the building, through the cross ears堂上 construction of five towers original design so that the church buildings in a new change.
[Comments] in the Dir Kent castle is a well-known coastal fortifications buildings, from Henry VIII's (Henry VIII) was built in the year 1539. The buildings for artillery design, the Central Authorities is a cylindrical base, the external turret is the semi-circular ring. The whole building is an external trenches, and the integration fortress.
[Comments] the Governor's Palace in Venice was built in the positive Year 1309-1424, by Giovanni and Bartolomeo Buon design. Governor's Palace built in the 9th century, after several reconstruction, in the completion of the Renaissance period. It formed Venice great part of the programme of urban planning, urban planning has experienced several consecutive century finally completed. Building facades chief nearly 152 meters (500 feet), in the lower two tiers are open arches, the third layer in the 16th century after a fire in the reconstruction, expansion over the arcade level. In the upper echelons of buildings or Meiguise affixed with a white marble, the same ornate windows and in the eastern ridge of the lace decorated like tooth City wall.
[Comments] Berkeley in the Church of Scientology churches like the first with many Maybeck (Maybeck) like the works have been burned, and he has never won the Gold Medal United States Architects Association. No other buildings wants to turn his imaginative architectural talent performance so perfect! He domestic architectural contribution is significant, and his architectural achievements in the field of ecation is remarkable. But that space, structure, color and light were immediately secular professional critic's praise. Design of the church in 1910, the then 48-year-old Maybeck, it is most effective ring the Maybeck design thinking of the vivid manifestation.
Only talent and determination of the construction of the Masters usually can be used in the factory and utility construction material handling the case properly, and the whole building of a harmonious united.
Architectural styles: French Gothic Description: gold-plated, Rangbaodan internal decoration, refueling vaults rece window grilles grid. The building and the construction of King Louis
[Comments] King's College Chapel in the open and not surprisingly, from its open, rectangular space will be able to see internal. So far, this narrow, magnificent and long history of the chapel in the construction of the building is a great one. The building can be a light radiation, the four walls of each plane is about 2 / 3 of the regional installed stained glass, filled almost all the supporting intramural space. Although there is no glass medieval China and the United States, however bright, and there is translucent or opaque pane background. Apart from the windows of the western design in 1879, dating back to the glass 1517-47, and Flemish artists from German hands.
[Comments] Rome-from the Middle Temple in the year 1122-35, the Gothic high altar of the Year began in 1550-21.
[Comments: Notre Dame de Paris in France Gothic architectural history of the development of the ground-breaking significance. It reached 110 feet, the monument is the first true scale of the cathedral. Compact cruciform plane, the six rib arch Qiong, towering walls, as well as supporting the windows became super France's Cathedral prototype.
[Comments: new Church of the Virgin Mary in the 15th century the 1950s, it made the positive external this medieval churches and more perfectly. Because of the size of the scale among the 18 percent of the ratio of 1:2, people regarded it as a great description of a typical Renaissance architecture. Italy in the Middle Ages architecture outside the marble panels can proce the same discrete like mosaic mottling effect, and here proced a more rhythmic, geometric sense of unity.
[Comments] Salisbury Cathedral is based entirely on a basic design for the construction, it is a British Gothic cathedral rare example. Obviously the church is divided into the inner level passes with extensive use of marble-Boke to create vivid colors match.
[Church] Comments from the king Edward I in the year 1045 around the construction, he expanded the influence of Normandy, and consolidate the status of the British Empire. Today, the church remains a place of worship activities.

❿ 高分求「某某小區」的正確英文翻譯

接著Lolly的做一下分析。

1.Plot肯定不對，就是指一下塊土地。

2.District概念太大，一般說海淀區，用Haidian District.

3.Neighbourhood是一個泛指的概念，指周圍的環境啊、人啊等等，比如說我住在一個高級住宅區，就用neighbourhood。

4. Subdistrict用以指行政區劃上的區域，不合適。

5. Residential Quarter 其實是類似與Residential Area，是用於區分工業區啊商業區之類的，不太適合加上名稱作為特定的住宅小區。

6. Residential Complex， 一個可以的說法，如果這個小區長的比較像結合了各種設施，房屋都相互聯通的complex的話。

7. Community.一般是指社區，但如果小區比較大，可以用Community，比如 北京的方庄， 可以稱為 Fangzhuang Community。

8. 個人推薦的一個說法是 Court 或 Garden。 我在英國的時候住的小區就叫 XXX Court，旁邊一個城市的小區喜歡叫XXX Garden。當然人家的小區一般沒有我們的小區這么大，一般就是一圈樓房，估計是當地房地產商沒有中國房地產商這么大手筆吧，（英國也沒那麼多人是吧）。

總結：中等規模的小區可以叫 XXX Court或 XXX Garden，實在是很大規模的小區可以叫 XXX Community。

選我啊！！！