1、 沈阳工业大学 本科生外文翻译 中文书名： 泛光 灯 文化建筑 外文书名： Omni Culture 学 院： 建筑工程学院 专业班级： 建筑学 0702 学生姓名： 侯文锋 指导教师： 徐博 2011 年 04 月 15 日 外文翻译原文 Opera House,OLSO Snohetta/kjetil traedal thorsen,craig dykers The Opera House, which is the largest cultural building to be raised in Norway since Nidarosdomen, shall be an import
2、ant symbol of what modern Norway represents as a nation, and express the role opera and ballet shall have in society. The construction of the new Opera House is the largest single culture-political initative in contemporary Norway. The base area of the Opera House is the same as the total area cover
3、ed by four international standard football fields. The building has 1,100 rooms grouped in a number of sections. Front of Opera House The public areas are located in the buildings western section, with access from the area nearby the citys central train station. These include the main foyer, a large
4、 performance auditorium with 1,350 seats and a small auditorium with 400seats.The large auditorium is designed in classical from with a horseshoe type plan and a high ceiling height, providing natural acoustics and good sight lines to the stage. In addition to the main stage there is also an under s
5、tage complete with elevator, side stages, back stages and a back side stage that can be used as a choir rehearsal room accessible to the public. The small auditorium considerable flexibility, not only for the stage arrangements but also for the seating areas and acoustics. The foyer arrangements but
6、 also for the seating areas and acoustics. The foyer is a grand, open room with a variety of lighting conditions and views to the surroundings. This space is characterized by its simple use of materials and minimal details. a tall undulating wall formed the separation between foyer and auditoriums.
7、Between reality and fiction. In addition the foyer will contain rest areas, a coatroom, cafe, bars and a restaurant. Rear of Opera House These are the production areas of the building. Here one can find all the workshops, storage areas, rehearsal rooms, changing rooms, offices, and every facility ne
8、cessary to produce an opera or ballet. Here the building has 4 floors and a basement. The production areas are flexible and robust, able to accept changes over time. The architecture and the use of materials are functionally appropriate, the exterior faade is composed of metal panels. Roof garden Th
9、e roofscape describes the buildings monumental character. The horizontal and sloping plane of the roof provides the opera with an unusually dramatic expression, quite different from the surrounding buildings Its openness and accessibility will allow for a wide range of visitors to traverse its many
10、terraces. The roofscape will be open to the public, its clad in white stone, and its details will provide a holistic and symbolic character to the building while also allowing for a variety of experiences as one moves past it. Valencia Opera House Santiago Calatrava S.A. / Santiago Calatrava The peo
11、ple of Valencia have traditionally shared a deep love of music. The region is sometimes known as the Land of 1,000 Bands since every village and town has its musical association. In fact Volencia, called the City of Music, has two, which are respected throughout the world. The project of creating th
12、e Valencia Opera House is therefore highly significant-because of the role that music plays in the life of the region, and because of the role that the building plays in the physical evolution of the city. The Valencia Opera House was the first major element in the City of Arts and Sciences, and whe
13、n it is completed, in 2006, it will be the last. It was the first, because my involvement with this great development began in 1991, when I won a competition to design a structure where the Opera House now stands. It will be the last, because the original commission was not for a cultural building b
14、ut for a telecommunications tower. It was in 1996 that the Valencian government altered the programfor the City of Arts and Sciences. That was when a magical transformation took place on the original site, as the planned telecommunications towe was changed into a proposed opera house. So the plan fo
15、r the entire sequence of buildings, strung from west to east along the dry bed of the Turia River, began from this one site and has returned to it. The Planetrarium / IMAX Therater (Hemispheric Theater) was completed in 1996 ； the Principe Felipe Science Museum in 2000. Now, in 2006, we come back to
16、 the westernmost part of the project area, to celebrate the first concert in the Valencia Opera House. Looking back, I feel as if the deeper meaning of the Valencia Opera House may be bound up with this project history, with its themes of trans-formation and recurrence. As a grand urban intervention
17、, intened to link two areas that had been separated geographically, socially and economically, the City of Arts and Sciences both changes Valencia and returns it to a condition of wholeness. The means we have used -engineering and construction- have been technical, as symbolized perhaps by the telec
18、ommunications tower. But the place at which we arrive is artisitic : the Opera House. As a native of Valencia, who was formed by this city and who is attached to it deeply, I feel both proud and humble to have played a role in this process of change and reunion. It is very moving to me that this story should culminate as it does, not with a burst of microwaves being emitted from a tower, but with our citizens gathering together in a new puclic space, to be surrounded with the music they love.
