摩尔式建筑英语怎么说及英文翻译

❶ 求英语高手帮忙翻译一段建筑文字。

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 急求英文翻译！！！

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
不算专业，但绝对手工！

❸ 英文翻译

不准为物业，厂房及设备重估选项。

不准为无形资产升值的选择。

摊销所有不定的生活无形资产，包括商誉。

为开支认识所有研究和开发费用。

结合'现值最低租赁付款'进入融资租赁测量。

由承租人允许其他经营时的最低租赁付款额的结构，以弥补通货膨胀的预期出租人租赁一般比直线法。

纳入2008年2月对中小企业'puttables'国际会计准则第32号金融工具的国际财务报告准则:介绍和国际会计准则第1号财务报表之表达。

要求所有政府补助是使用一个单一的，占简化模型:在资产的公允价值确认收入已收或应收的业绩条件时，满足(或更早如果没有业绩条件)和测量。第5页
第6页

由于认识到所有借贷成本开支。

新增股份为基础的支付，包括董事的估价，而不是内在价值的方法，进一步简化。

允许子公司措施对本集团的基础上收取合理的分配职工福利和股份支付费用。

增加值中使用的资产减值计量。

在介绍该现金产生单位资产减损测试的概念。

简化计算的商誉减值的指导。

简化界定福利退休金义务测量如果'预计单位信贷'测量不提供不必要的成本，并会要求或努力。

准许精算收益及其他作为在损益确认(同时保留在征求意见稿的建议，禁止精算收益及亏损延迟)其他综合收益的损失确认。

消除持作出售资产的分类和相关的特殊测量要求。

第35条纳入到为中小企业转型中的所有国际财务报告准则第1号首次国际财务报告准则豁免的国际财务报告准则。

结合下面的解释，它们涉及的交易和情况，中小企业经常遇到的结论:
Ø
在合作社实体及类似工具诠释二议员的股份
Ø
国际财务报告准则第4号厘定安排是否包含租赁
Ø
国际财务报告准则第2号范围8
Ø
诠释12服务特许权安排
Ø
国际财务报告准则第13号客户忠诚计划
Ø
诠释15个协议用于房地产建设
Ø
诠释17分派非现金资产予业主
Ø
碳化硅-
12综合，特殊目的实体
朗读
显示对应的拉丁字符的拼音字典
-
查看字典详细内容Google
翻译适合以下用途:搜索手机聊天商务关于
Google
翻译关闭即时翻译隐私权政策帮助
&;2010商务工具译者工具包关于
Google
翻译博客隐私权政策帮助►

❹ 英文翻译 建筑类--2

一部分人工翻译..

目前,罗马人造房子依然在用混凝土..发达国家在18世纪都用水泥.。结合比例的金额石灰，铁，硅，氧化铝，并烧毁他们在旋转炉或窑（图6.4 ）约三零零零吨创造了今天奇摩波特兰水泥。该产品从窑称为熟料。要达到最后的可用产品水泥，熟料，是地上一个很好的一致性。袋装水泥是在94 - 1B签证袋或出售由吨散装。该类型的水泥显示在表6.1 。
混凝土是一种混合物，包含水泥，砂，砾石，水和添加剂，通常。水泥是材料的原因，其他的成分，坚持一个另一个。水是需要事业的水泥，以水合物。具体的不硬化干燥，但水化。总结用来制造混凝土应均匀梯度提供一个良好的T “型111的所有位之间的个别件总结。沙子将填补小位在组合。差距分级总量是有一定的颗粒大小，完全或大部分缺席。缺乏两个或两个以上的连续大小可以建立隔离的问题，与混凝土配合比。数额所用的水混合，不应过度，因为多余的水份蒸发，最终，留下小空隙，在空间，它一旦被占领。数额水是由指定的水/水泥的比例，耗水量在有关金额水泥。
水/水泥的比例，是指比例按重量计算的自由水含量，以水泥的内容。它已久的接受一个低游离水/水泥的比例，在一个混凝土配合比是必不可少的具体随后的强度和耐久性。有很多不同的添加剂及他们用于多种用途，改变颜色的混凝土，以缩短或延长时间，为混凝土硬化。

❺ 英文翻译（建筑专业）

楼上 你不确定就不要回答呀 要是人家 用了你的 不正确 怎么办呢？
主创建筑师专General Architect
参考 主任建筑师Architecture Conceptual Designer-柏景（广州）园林属景观

主任建筑师 Principal Architect
参考：招聘Principal Architect－Airport 主任建筑师－机场英国阿特金斯集团

首席设计师Chief Designer

首席建筑师Architect
参考 Chief Architect X1 (首席建筑师v11.0)

❻ 求助哥特式建筑的英文介绍翻译

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 求建筑类英语文章并有翻译（中英对照）。

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.

电力电子技术、计算机技术以及自动控制技术的飞速发展给电气传动领域带来了历史性的革命，交流调速传动逐渐上升为电气传动的主流。永磁同步电动机由于无需励磁电流、运行效率和功率密度都很高，在过去的二十年里已被广泛地应用在交流调速传动中，但它的高性能控制需要精确的转子位置和速度信号去实现磁场定向。在传统的运动控制系统中，通常采用光电编码器或旋转变压器来检测转子的位置和速度。然而，这些机械式的传感器增加了系统的成本，并且降低了系统的可靠性。因此，取消这些装置以提高系统的可靠性并降低成本的研究逐渐热门。

❽ "贝式建筑"用英语怎么说---[贝聿铭（Ieoh Ming Pei）]

贝氏建筑英语：Pei Architects。注：贝氏建筑事务所＝Pei Partnership, Architects

1955年，贝聿铭与合伙人共同创办“贝聿铭及合伙人建筑内师事务所”，其容英文初为“I.M.Pei & Associates”，1956年更名为“I. M. Pei & Partners”。

(8)摩尔式建筑英语怎么说及英文翻译扩展阅读：

贝氏建筑事务所成立于1992年，是一所全方位服务的国际建筑设计事务所。它在专业领域各方面皆有所擅长并有著明确的企业目标：卓越优秀的设计。

贝氏建筑事务所创始人贝建中先生与贝礼中先生，曾经作为父亲贝聿铭建筑事务所的重要核心成员，坚持并遵守设计承诺。

在贝聿铭建筑事务所工作共超过35年及与创建贝氏建筑事务所至今20年的建筑设计实践中，积聚了丰富的专业知识与经验，形成了创新与独特的设计理念和风格。

网络-贝式建筑事务所

❾ 求助建筑介绍的英文翻译

[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“某某小区”的正确英文翻译

接着Lolly的做一下分析。

1.Plot肯定不对，就是指一下块土地。

2.District概念太大，一般说海淀区，用Haidian District.

3.Neighbourhood是一个泛指的概念，指周围的环境啊、人啊等等，比如说我住在一个高级住宅区，就用neighbourhood。

4. Subdistrict用以指行政区划上的区域，不合适。

5. Residential Quarter 其实是类似与Residential Area，是用于区分工业区啊商业区之类的，不太适合加上名称作为特定的住宅小区。

6. Residential Complex， 一个可以的说法，如果这个小区长的比较像结合了各种设施，房屋都相互联通的complex的话。

7. Community.一般是指社区，但如果小区比较大，可以用Community，比如 北京的方庄， 可以称为 Fangzhuang Community。

8. 个人推荐的一个说法是 Court 或 Garden。 我在英国的时候住的小区就叫 XXX Court，旁边一个城市的小区喜欢叫XXX Garden。当然人家的小区一般没有我们的小区这么大，一般就是一圈楼房，估计是当地房地产商没有中国房地产商这么大手笔吧，（英国也没那么多人是吧）。

总结：中等规模的小区可以叫 XXX Court或 XXX Garden，实在是很大规模的小区可以叫 XXX Community。

选我啊！！！