景观空间改造设计外文翻译资料

Nanjing Tech University

毕业设计英文资料翻译

Translation of the English Documents for Graduation Design

英文原文： THE LANGUAGE OF LANDSCAPE

ABSTRACT

The power to read, tell, and design landscape is one of the greatest human talents; it enabled humans to spread from warm savannas to cool, shady forests and even to cold, open tundra. Landscape as a form of language is a tool of survival and a medium of art. The language of landscape permits us to learn from distant ancestors and to speak to generations as yet unborn. Landscape elements combine to shape meaning. Landscape authors employ rhetoric and metaphor to communicate effectively and artfully. Humans have always known the language of landscape, but now use it piecemeal, with much forgotten. Absent, false, or partial readings lead to inarticulate expression: landscape gibberish, dysfunctional,fragmented dialogues, and broken story lines. It is time to relearn and renew the language of landscape, to speak new wisdom into life in city and countryside.

KEY WORDS

Landscape; Language; Meaning; Metaphor

Landscapes speak. They disclose their origins. They proclaim the beliefs of those who made them. They affirm and refute

ideas. They allude to art and literature.There are many messages and many stories embedded in a landscape. Each rock, each river, each tree has its own history which human cultures embellish in gardens and towns. A riverrsquo;s, a treersquo;s story is the sum of all its dialogues with context, nothing more; it contains no emotion, no moral. The stories humans tell are deliberate: stories of survival, identity, power, success, and failure. Like myths and laws, landscape narratives are a way of organizing reality, justifying actions, instructing, persuading, even forcing people to perform in particular ways.

Landscapes have meaning. Rivers reflect, clouds conceal. Water and fire purify and destroy. Circles have centers,paths have directions. Meanings of a landscape feature — a tree, for example — depends upon what it is in itself, its seed, its root, its growth and decaying, its networks of relationships,its setting, whether standing alone on a prairie or surrounded by forest. They depend also on what it has come to mean in a human culture — a person, a god, or the Tree of Knowledge. Trees, in some cultures, stand for humans, as long lived individuals that grow from roots,stand upright, bear fruit, and die. A Tree of Knowledge may derive from treesrsquo; long lifespan and the association of age with wisdom.

Landscapes are the world itself and may also be metaphors of the world. A path can be both a path and The Path. When a path represents the Path of Enlightenment of Buddhism or the Stations of the Cross of Christianity, it is no longer a mere path, but The Path.Landscape meaning is complex,layered, ambiguous. Fire consumes,transforms, and renews. A river flows, provides, creates, destroys,simultaneously a path and a boundary, even a gateway. A circle is hierarchical — it has a center, yet non-hierarchical — all points along the circumference are equidistant from the center. Landscape elements like material (grass, stone), form (shape and structure),process (movement, exchange), and performance space (path, gate, refuge, prospect) combine to shape meaning. Put two or more elements together and potential meanings and associations grow. In sacred landscapes, movement,path, and portal often overlap, with spiritual transformation at the threshold where they meet. The wide path up the Hill of Remembrance in Stockholmrsquo;s

Woodland Cemetery, designed by architects Gunnar Asplund and Sigurd Lewerentz, is steep at first, then the slope tapers, stone steps pass between trees through an open gateway atop the hill, coming to rest just inside low walls. At the beginning of the ascent,steps are set into the grassy hillside, so the slopes enfold the climber; at the end,frames of trees and wall enclose. Form and material shape the experience of path, refuge, and prospect; all modify processes of movement and grieving, in agreement with the meaning its designerteller intended: “giving form to a sorrow that cannot be told.”

Landscape designers use rhetorical devices like placement, contrast,repetition, framing, exaggeration, and distortion, to achieve emphasis. Hill and street may be emphasized for effect,slope steepened to make the climb difficult, street broadened and lined with trees to impress the walker. Exaggeration in religious and political landscapes diminishes the individual and heightens a god, ruler, hero, or State. The vast scale of the seventeenth-century gardens of France, like Versailles and Sceaux —the time it takes to walk from one end to another, the broad avenues, the long staircases, the canals that stretch into the distance — underscore the power of their builders.

Landscape authors employ address,another rhetorical device, to speak to someone or to appeal or pray to one not present or unable to answer, like a supernatural being or a dead person.

Benito Mussolini built a monument in 1938 to those who died in a World War I battle near Redipuglia, Italy. More than 100,000 soldiers are buried there. At the bottom of the hill is the grave of the general, facing the tombs of his soldiers,whose inscriptions answer “Presente.”

One does not need the words to understand the meaning. The landscape says it all.

Such landscapes are metaphorical. Metaphor involves a transfer of meaning from one thing or phenomenon to another, often involving a comparison between dissimilar things

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Nanjing Tech University

毕业设计英文资料翻译

Translation of the English Documents for Graduation Design

学生姓名： 谢濮鸿

学 号： 1715170213

所在学院： 艺术设计

专 业： 环境设计

指导老师: 张安华

2021年 1 月 1日

英文原文： The Langvage of Landscape

Abstract

The power to read, tell, and design landscape is one of the greatest human talents; it enabled humans to spread from warm savannas to cool, shady forests and even to cold, open tundra. Landscape as a form of language is a tool of survival and a medium of art. The language of landscape permits us to learn from distant ancestors and to speak to generations as yet unborn. Landscape elements combine to shape meaning. Landscape authors employ rhetoric and metaphor to communicate effectively and artfully. Humans have always known the language of landscape, but now use it piecemeal, with much forgotten. Absent, false, or partial readings lead to inarticulate expression: landscape gibberish, dysfunctional,fragmented dialogues, and broken story lines. It is time to relearn and renew the language of landscape, to speak new wisdom into life in city and countryside.

KEY WORDS

Landscape; Language; Meaning; Metaphor

Landscapes speak. They disclose their origins. They proclaim the beliefs of those who made them. They affirm and refute

ideas. They allude to art and literature.There are many messages and many stories embedded in a landscape. Each rock, each river, each tree has its own history which human cultures embellish in gardens and towns. A riverrsquo;s, a treersquo;s story is the sum of all its dialogues with context, nothing more; it contains no emotion, no moral. The stories humans tell are deliberate: stories of survival, identity, power, success, and failure. Like myths and laws, landscape narratives are a way of organizing reality, justifying actions, instructing, persuading, even forcing people to perform in particular ways.

Landscapes have meaning. Rivers reflect, clouds conceal. Water and fire purify and destroy. Circles have centers,paths have directions. Meanings of a landscape feature — a tree, for example — depends upon what it is in itself, its seed, its root, its growth and decaying, its networks of relationships,its setting, whether standing alone on a prairie or surrounded by forest. They depend also on what it has come to mean in a human culture — a person, a god, or the Tree of Knowledge. Trees, in some cultures, stand for humans, as long lived individuals that grow from roots,stand upright, bear fruit, and die. A Tree of Knowledge may derive from treesrsquo; long lifespan and the association of age with wisdom.

Landscapes are the world itself and may also be metaphors of the world. A path can be both a path and The Path. When a path represents the Path of Enlightenment of Buddhism or the Stations of the Cross of Christianity, it is no longer a mere path, but The Path.Landscape meaning is complex,layered, ambiguous. Fire consumes,transforms, and renews. A river flows, provides, creates, destroys,simultaneously a path and a boundary, even a gateway. A circle is hierarchical — it has a center, yet non-hierarchical — all points along the circumference are equidistant from the center. Landscape elements like material (grass, stone), form (shape and structure),process (movement, exchange), and performance space (path, gate, refuge, prospect) combine to shape meaning. Put two or more elements together and potential meanings and associations grow. In sacred landscapes, movement,path, and portal often overlap, with spiritual transformation at the threshold where they meet. The wide path up the Hill of Remembrance in Stockholmrsquo;s

Woodland Cemetery, designed by architects Gunnar Asplund and Sigurd Lewerentz, is steep at first, then the slope tapers, stone steps pass between trees through an open gateway atop the hill, coming to rest just inside low walls. At the beginning of the ascent,steps are set into the grassy hillside, so the slopes enfold the climber; at the end,frames of trees and wall enclose. Form and material shape the experience of path, refuge, and prospect; all modify processes of movement and grieving, in agreement with the meaning its designerteller intended: “giving form to a sorrow that cannot be told.”

Landscape designers use rhetorical devices like placement, contrast,repetition, framing, exaggeration, and distortion, to achieve emphasis. Hill and street may be emphasized for effect,slope steepened to make the climb difficult, street broadened and lined with trees to impress the walker. Exaggeration in religious and political landscapes diminishes the individual and heightens a god, ruler, hero, or State. The vast scale of the seventeenth-century gardens of France, like Versailles and Sceaux —the time it takes to walk from one end to another, the broad avenues, the long staircases, the canals that stretch into the distance — underscore the power of their builders.

Landscape authors employ address,another rhetorical device, to speak to someone or to appeal or pray to one not present or unable to answer, like a supernatural being or a dead person.

Benito Mussolini built a monument in 1938 to those who died in a World War I battle near Redipuglia, Italy. More than 100,000 soldiers are buried there. At the bottom of the hill is the grave of the general, facing the tombs of his soldiers,whose inscriptions answer “Presente.”

One does not need the words to understand the meaning. The landscape says it all.

Such landscapes are metaphorical. Metaphor involves a transfer of meaning from one thing or phenomenon to another, often involving a comparison between dissimilar things. A synecdoche,fo

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