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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2021年1月18日发(作者:强之麟)
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

我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福


我依然爱你-守候我们的幸福