作文范文之英文作文新老建筑
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2021年01月18日 21:26
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英文作文新老建筑
【篇一：建筑类雅思作文高分范文及点评】
建筑类雅思作文高分范文及点评
建筑风格
modern buildings are appearing in large numbers but some
people
believe that we should build our buildings in traditional styles.
to what extent do you agree or disagree
？
in recent years
，
an interesting trend has emerged. countries
with long histories and rich cultures have been modernizing
the quickest
，
especially in terms of architecture. many have
criticized this as not respecting traditional
culture. while traditional architecture should be protected
，
however
，
i feel it is not necessary to stop building modern
structures as we move reason for this is that
modern buildings are more practical and
comfortable to live and work in. while traditional buildings
might look nice from the outside
，
they are often not very
user- friendly. modern buildings usually have lots of windows
and light and are clean and energy efficient. surely this will
make those inside them happier.
another point to consider is that modern buildings will give a
good
impression to those visiting from abroad. consider beijing
during the
olympics
，
for example. many foreigners were surprised to
see all of the
stunning new building designs. in the long run
，
this will
probably attract more business and tourists to the country.
of course
，
traditional architecture still has its value.
everyone loves visiting famous historical places and admiring
architectural styles from
throughout history. we should protect and appreciate such
places for future generations
，
but at the same time
，
we don’t
have to live in the past.
ultimately
，
each city needs to find its own balance between
“old” and “new” when it comes to building styles
，
but
modern buildings are for sure a positive thing. after all
，
if we
don’t continue to explore new building styles we won’t be able
to let future generations know what our period of history was
like.
（
264 words
）
harvey
点评：
写作线索：首段，现代建筑必要；第二段，因为现代建筑的实用性
和舒适性；
第三段，代表城市现代化；第四段；让步，传统建筑的价值。末段
总结。
本文末句很有趣味，再仔细读读：
after all
，
if we don’t
continue
to explore new building styles we won’t be able to let future
generations know what our period of history was like.
（毕竟，
如果我们不继续开发新建筑的风格，我们的下一代将不会知道我们
这一代的历史是什么样）历史是相对的，对于我们的子孙来说，我
们现在的现代化建筑将成为他 们眼里的古代建筑。
先学习下面的词汇和短语，然后再重读范文，体会它们在文中的运
用词汇
emerge vi.
显现出来
architecture n.
建筑物
practical adj.
实用的
user-friendly adj.
用户友好的，方便用户使用的
stunning adj.
足以使人晕倒的，极好的
admire v.
赞美，钦佩，羡慕
ultimately adv.
最后，
短语
in terms of
在。
..
方面
move forward
前进
in the long run
从长远看
for sure
确实
after all
毕竟
let sb. do sth.
让某人做某事
三分钟熟读或背诵本文最实用的三个句子
in recent years
，
an interesting trend has emerged.
one reason for this is that modern buildings are more practical
and comfortable to live and work in.
after all
，
if we don’t continue to explore new building styles
we won’t be able to
let future generations know what our
period of history was like.
——
摘自刘洪波
2010
新作《最简化 雅思
写作》
【篇二：专业建筑英语文章】
c i t y cultures
seeing manhattan from the 110th floor of the world trade
center. beneath the
haze stirred up by the winds, the urban island, a sea in the
middle of the sea,
lifts up the skyscrapers over wall street, sinks down at
greenwich, then rises
again to the crest of midtown, quietly passes over central park
and finally
undulates off into the distance beyond harlem. a wave of
verticals. its agitation
is momentarily arrested by vision. a gigantic mass is
immobilized before our
eyes.
(de certeau 1988: 91)
who built it? anon, thats who. nobody built the new york
skyline. nobody
by the thousands.
(helene hanff, apple of my eye, 1984: 35)
introduction: a city imagined
on 11 september 2001, graphic images of the destruction of
two of the
worlds tallest buildings - the north and south towers of the
world trade
center in new york city - unfolded on television sets around
the world.
the enormity and complexity of this tragedy, while manifest,
were, nevertheless,
compounded by the fact that most people witnessed it as a
media
spectacle. thus, it was within established media interpretative
frames
(including the plots and images of countless hollywood
movies) that their
initial reactions were formed. but then in many respects new
york is a
media construction - the skyline of manhattan is instantly and
globally
familiar even though the majority of the worlds population has
never been
there and will never go. indeed, manhattan emerged as a
landscape of
towers at the same time as film technology and the movie
industry were
developing in the united states. it was largely as a result of
this coincidence
that the manhattan backdrop became one of the most
significant and defining
images not just of architectural modernism, but also of the
values and
achievements of the twentieth century. manhattan equals neiy
york and
new york is perhaps the worlds greatest city. it was within this
set of imaginings that in the early 1970s the twin towers
assumed their place both as
potent symbols of late modernity and testimonies to the
global economic
power of new york and the united states. rising 411 metres
above ground
level, the towers dominated the citys skyline and provided
some of the most
sought-after postcard views and establishing shots of new
york. the
destruction of the towers, therefore, was considerably more
than a personal
or local tragedy. it was imbued with a range of national, global,
cultural,
urban and symbolic significances. indeed, it went to the core
of what it
meant to be modern.
those who are old enough can remember when the twin
towers passed
the empire state building (also in new york city) as the worlds
tallest
buildings. even in the 1970s, such facts were still regarded as
important
markers of mans ability to conquer nature and nowhere was
evidence of
this supremacy more visible and irrefutable than in the great
cities of the
world and their architectural and engineering triumphs - in
particular, their
bridges and skyscrapers. the metropolis was the antithesis of
nature and the
symbol of its defeat. in order to appreciate the depth of this
sentiment and
the cultural significances that the new york skyline came to
assume, it is
necessary first to understand the social and economic
contexts within which
its early skyscrapers were constructed and the skyscraper
building frenzy
that gripped new york between the first world war and the
great depression
of the 1930s.
robert hughes (1997: 404ff) suggests in his book american
visions
about the history of american art that it was during this period
that the
new york skyscraper emerged both as a cultural icon and
artform. he
argues that from 1926 in particular, the building boom in new
york was
dominated by a race to the sky - a race ultimately won by the
empire state
building on its completion in 1930. skyscrapers were seen as
heroic not only
because of their breathtaking height. the entire process of
building them
was regarded with fascination and awe, while speculation
abounded regarding
how high these buildings might eventually go. in addition, key
milestones
reached during the construction of many skyscrapers became
the
focus of public celebrations which often featured such
attractions as girl
dancers [being] hired to perform on . . . bare girders, hundreds
of feet up in
the dizzying air, for the avid media (hughes 1997: 405).
needless to say, it
was opportunistic local politicians and the commercial
enterprises responsible
for building the towers who staged such promotional stunts.
until the
early 1930s, the construction, completion, official opening and
final form
of each new skyscraper were events - central elements of the
spectacle of
new york city. what developed, according to hughes (1997:
405) was a
romance between new yorkers, their skyscrapers and their
city. although
all americans were dazed by the force of their new imagery
(hughes 1997:
405) to such an extent that, hughes goes on to assert:
no american painting or sculpture . . . was able to accumulate,
at least
in the ordinary publics eyes, the kind of cultural power that
the skyscrapers
had. nor indeed, could it have done so - most americans
didnt care about art, especially modern art . . . big buildings
were
always before you; mere paintings were not.
(hughes 1997: 419)
and courtesy of film, art and photography the big buildings
were also
before the rest of the world, and it too was mesmerized. the
landscape of
new york looked vastly different from those of european cities:
in paris, only monumental buildings devoted to sacred or
governmental
institutions were allowed to exceed the height limit; in london,
only
purely ornamental towers could rise above the roofscape. in
new york,
however, the soaring commercial tower had already become
the salient
ornament of the city-scape and the inalienable right of realtors.
(stern et al. 1987:508)
one visits new york first and foremost to see and experience
its landscape.
in the passage quoted at the start of this chapter cultural
theorist michel de
certeau describes the elation he felt at seeing (from the
observation deck of
the world trade center) the city of new york laid out and
immobilized
before him. similarly, philip kasinitz (1995), echoing de certeau,
celebrates
the worlds great cities (and the significant structures we gaze
on them
from) in the following way:
the exhilaration we feel when we view a great city from one of
those
rare vantage points where one can take it all in - paris from the
eiffel
tower, lower manhattan from the brooklyn bridge - is the thrill
of
seeing in one moment the enormity of . . . human work.
(kasinitz 1995: 3)
despite the exhilaration that might be felt when viewing a
great city from
the top of a great built structure, our feelings towards the city
and its skyscrapers are also deeply contradictory, being
simultaneously sources of
exhilaration, fear and apprehension - cities are great as well as
fearsome
(zukin 1997: vii). they also represent the basest instincts of
human society