(完整版)_毕业设计外文资料翻译_13885760

(完整版)_毕业设计外文资料翻译_13885760
(完整版)_毕业设计外文资料翻译_13885760

Title:

The Poetics of City and Nature: T oward a New Aesthetic for Urban Design

Journal Issue:

Places, 6(1)

Author:

Spirn, Anne Whiston

Publication Date:

Publication Info:

Places, College of Environmental Design, UC Berkeley

Citation:

Spirn, Anne Whiston. (1989). The Poetics of City and Nature: T oward a New Aesthetic for Urban

Design. Places, 6(1), 82.

Keywords:

places, placemaking, architecture, environment, landscape, urban design, public realm, planning, design, aesthetic, poetics, Anne Whiston Spirn

The city compared to a poem, a sculpture, a machine. But the city is more than a text,and more than an artistic or technological. It is a place where natural forces pulse and millions of people live—thinking,feeling,dreaming,doing. An aesthetic of urban design must therefore be rooted in the normal processes of nature and of living.

I want to describe the dimensions of such an aesthetic. This aesthetic encompasses both nature and culture; it embodies function,sensory perception, and symbolic meaning; and it embraces both the making of things and places and the sensing, using, and contemplating of them. This aesthetic is concerned equally with everyday things and with art: with small things, such as fountains, gardens, and buildings, and with large systems, such as those that transport people or carry wastes. This aesthetic celebrates motion and change, encompasses dynamic processes rather than static objects and scenes, and embraces multiple rather than singular visions. This is not a timeless aesthetic, but one that recognizes both the flow of passing time and the singularity of the moment in time, and one that demands both continuity and revolution.

Urban form evolves in time,in predictable and unpredictable ways, the result of complex, overlapping, and interweaving dialogues. These dialogues are all present and ongoing; some are sensed intuitively;others are clearly legible. Together, they comprise the context of a place and all those who dwell within it.This idea of dialogue, with its embodiment of time, purpose, communication, and response, os central to this aesthetic.

Concomitant with the need for continuity in the urban landscape is the need for revolution. Despite certain constants of nature and nature, we live in a world unimaginable to societies of the past. Our perceptions of nature, the quality of its order,and the nature of time and space are changing, as is our culture, provoking the reassessment of old forms and demanding new ones. The vocabulary of forms—buildings, streets, and parks—that are often deferred to as precedents not only reflects a response to cultural processes and values of the time in which those forms were created. Some of these patterns and forms sill express contemporary purposes and values, but they are abstractions. What are the forms that express contemporary cosmology, that speak to us in an age in which photographs of atomic particles and of galaxies are commonplace, in which time and space are not fixed, but relative, and in which we are less certain of our place in the universe than we once were? Conceiving of new forms that capture the knowledge, beliefs, purposes, and values of contemporary society demands that we return to the original source of inspiration, be it nature or culture,rather than the quotation or transformation of abstractions of the past.

Time,Change,and Rhythm

"For the artist," observed Paul Klee," dialogue with nature remains a conditiosine que non. The artist is a man, natural space." Before body are still conditioned by the natural world outside ourselves: the daily path of the sun, alternating light with dark; the monthly phases of the moon, tugging the tides; and the annual passage of the seasons.

In contrast to the repetitive predictability of daily and seasonal change

is the immensity of the geological time scale. From a view of the world that measured the age of the earth in generations, we terms of thousands of millions of years and life span now seems but a blip, and the earth but a small speck in the universe.

The perception of time and change is essential to developing a sense of who we are, where we that fosters and intensifies the experience of temporal and spatial scales facilitates both a reflection upon personal change and identity and a sense of unity with a larger whole. Design that juxtaposes and contrasts nature's order and order prompts contemplation of what if means to be . Design that resonates with a place's natural and cultural rhythms, that echoes, amplifies, clarifies, or extends them, contributes to a sense of rootedness in space time.

Process,Pattern,and Form

Great,upright, red rocks,thrust from the earth,rising mountain and plain along the Front Range of the Rockies. Red Rocks Amphitheater is set in these foothills, its flat stage dwarfed by the red slabs that frame it and the panoramic view out across the city of Denver, Colorado and the Great Plains. The straight lines of the terraced seats, cut from sandstone to fit the body, and the tight curve of the road, cut to fit the turning car, seem fragile next to the rocks' awesome scale and magnificent geometry.

Denver is a city of sediments many peaks, remnants of rock layers that once arched space and time created by the enduring rhythm of nature's processes and recorded in patterns in the land. The amphitheater affords not only a view of the city, but also a prospect for reflecting upon time, change, and the place of man and city in nature.

When we neglect natural processes in city design, we not only risk the intensification of natural of natural resources, but also forfeit a sense of connection to a larger whole beyond ourselves. In contrast, places such as Red Rocks Amphitheater provoke a vivid experience of natural processes that permits us to extend our imagination beyond the limits of memory into the reaches of geological and astronomical time and to traverse space from the microscopic to the cosmic. However permanent rock may seem, it is ultimately worn smooth by water and reduced finally to dust. The power of a raindrop, multiplied by the trillions over thousands into plains. The pattern of lines etched by the water in the sand of a beach echos the pattern engraved on the earth by rivers over time.

These are the patterns that connect. They connect us to scales of space and time beyond our grasp; they connect our bodies and minds to the pulse of the natural world outside our skin. The branching riverbed cut by flowing water and the branching tree within which the sap rises are patterns that mirror the branching arteries and veins through which our blood courses.

Patterns formed by nature's processes and their symmetry across scales appreciated by close observers of the natural world. Recent developments in science afford new insights into the geometry of form generated by dynamic processes, be they natural or cultural, and point to new directions for design.

The forms of mountain ranges, riverbanks, sand dunes, trees, and snow crystals, are poised, jelled, at a moment in time, the physical embodiment of dynamic processes. Their beauty consists of a peculiar

combination of order and disorder, moment, with the processes that produced them. Such forms and the phenomenon of their symmetry across scales of time and space, described by a new geometry,"fractal" geometry, which one of its originators, Benoit Mandelbrot calls "the geometry of nature"—"pimply,""pocky,""tortuous," and "intertwined." A sensibility steeped in classical geometry perceivers these forms as too complex to descibe.

However, as fractals, such patterns can be described with simplicity, the result of repetitive processes, such as bifurcation and development. The variety of forms that stem from the same process os the result of response to differing conditions of context, of to the interaction with other processes.

Strange and wonderful forms, mirroring those of nature, created by repeating a single computer program. Early in the process, the resulting form, as seen on the computer screen appears chaotic; gradually an order unfolds. Such experiments are the subject of a new field,coined Chaos by its pioneers, who feel that they are defining a new paradigm. Their subjects are diverse, their objective is to identify the underlying order in seemingly random fluctuations. Many of those working in field to the mathematics of fractal geometry in contrast to what they term the "Euclidean sensibility."

This is a geometry foreign to that of Euclid, with its lines and planes, circles and spheres, triangles and cones. Euclidean geometry is an abstraction of reality; its beauty lies in smooth, clean, ideal shapes. It is a geometry based on the belief that rest, not motion, is the natural state; it describes three-dimensional space but neglects time.

That does not mean that we should avoid using Euclidean geometry in the design of landscapes. Indeed, such use may our perception of the natural forms of rivers and trees and the processes that produce them, especially when it is employed as a visual counterpoint that both expresses and contrasts with those forms.

In Dinan, France, a monumental are of poplars takes its inspiration from the sweeping out the irregularities of the river bank. The are represents the idea of that sweep. Through the abstraction and echo of the the vertical dimension, in what is clearly a line inscribed by the landscape, the experience of the river's meander is intensified. Though set in a tight,evenly-spaced row along the banks of the river, the individual trees assert their own quirky growth, which is seen more clearly in contrast to the regularity of their placement.

The interplay of different processes is also a subject of current research on "chaos." Computer drawings illustrate the patterns that result when several rhythms, such as radio frequencies or planetary orbits, come together. Perhaps this is the contemporary version of the "music of the spheres." They resemble a topographic contour map,prompting the realization that land form results from a similar interplay among multiple forces and processes, including gravity, water flow, and weather. Cultural processes also engage natural processes on the land; the rhythms of food production and transportation, for example, interact with the flow of wind and water to mold a landscape. The patterns that result vary in response to the specific context of natural environment, culture, and the idiosyncrasies of individuals.

It is nature and culture together, as interacting processes, that render a place particular. Natural processes operating over time give rise to the initial form of the land and comprise the base rhythm to which the cultural processes respond, introducing new and changing themes, weaving an intricate pattern, punctuated landscape is a symphony of complex be savored at any given moment,evolve continually in time, in both predictable and unpredictable ways, in response natural processes and changing purposes. It is a symphony in which all the dwellers of the city are composers and players.

Making, Caring, Thinking, Dwelling

The process of dwelling,an irreducible fact of every culture, is an aesthetic act, entailing being and doing, a correspondence between nature and culture. Through cultivation and construction, individuals and societies forge a place within nature that reflects their own identities—their needs, values, and dream. Making and caring for a place, as well as contemplating these labors and their meanings, comprise the aesthetic experience of dwelling.

This concept, as explored by the philosopher Heidegger, settlements.

A major issue for designers is aesthetically pleasing order. The pleasing quality of the allotment gardens of community gardens that are popular in both European and North American cities depends upon a gridded framework of plots. Each garden plot is a whole in itself, an improvisation on similar themes by different individuals. Yet all are part of a whole unified by materials, structure, and the process of cultivation.

In Granada, Spain, allotment gardens lie within the Alhambra and

Generalife. The gardens rest within a the scene rather than detract from it. They complement the formal gardens and courtyards,where vegetables and nut and fruit trees are planted among flowers and vines. There is no arbitrary separation in this Moorish garden between ornamental and productive, between pleasurable and pragmatic,between sacred and secular.

It is possible to create urban landscapes that capture a sense of complexity and underlying order,that express a connection to the natural and cultural lies in an understanding of the processes that underlie these patterns, and there are some principles that can be derived for urban design:establish a framework that lends overall structure—not an arbitrary framework, but one congruent with the "deep" structure of a place, define a vocabulary of forms that expresses natural and cultural processes, the encourage a symphony of variations in response to the conditions of a particular locale and the needs of specific people. The result should be a dynamic, coherent whole that can contine to evolve to meet changing neeeds and desires and that also connects the present with the past.

The Fens, in Boston, is such a place. As originally conceived and constructed in the 1880s and '90s ,the Fens and its extension in the Riverway were innovative models for public open space that integrated engineering, economics, and aesthetics. The Fens and the Riverway created an integrated system of park, parkway, storm drain, flood detention basin, and streetcar line that formed the skeleton for the growth of adjacent neighborhoods.

Frederick Law Olmsted and as a flood control reservoir and that would be a counterpoint to the surrounding city. This marsh was construct dug out of polluted mudflats, but it was designed to appear like a natural salt marsh around which the city irregular edge-and the pattern of plants-bands of grasses and shrubs variably tolerant of fluctuating water levels; even when riverflow was low, its form recalled that it was designed to receive.

Olmsted's imitation of nature represents a divergence from the then prevailing pastoral and formal styles, both of which were domesticated landscapes and abstractions of nature. The fens and the Riverway, in their time, represented a new aesthetic for the urban districts which grew up around them, of sufficient scale to against the large buildings at their edge, and recalling the original condition of the land prior to colonial settlement, they initiated a powerful and poetic dialogue. Imitation of nature was, in this case, a successful design strategy. Today, one must know their "natural" landscape. Olmsted's contemporaries, , Feeling, and Meaning

Just as an individual gains self-knowledge from an ability to perceive life in relation to the past, so does a city gain identity when the shared values of its residents, both past and present, are clearly embodied in urban form. The design for the Fens and the Riverway were not produced overnight, nor did they spring from the mind of a single genius. They were the culmination of public dialogue about the future shape of Boston that extended from 1860 to 1890. This dialogue consisted of published proposals by private citizens and of debates at public 1876 that the organizers

called "Parks for the People." This sustained public dialogue not only produced ideas that were later incorporated in Olmsted's design, but also generated the support necessary to implement these ambitious projects.

Urban from that exploits and celebrate natural and cultural processes and the structure they create provides a framework within which the city can unfold, one that also reveals and intensifies the natural and cultural rhythms and patterns of the place. The overlay and interplay of natural and cultural processes can be employed consciously in urban design (whether in between feeling, utility, and meaning. When the form of the city represents and reveals overlapping natural and cultural processes, the congruence of these processes adds layers of meaning, both functional and symbolic, thereby amplifying the aesthetic experience that each might engender alone. water and its use for purposes man and nature in the city. There is patio in the Alhambra that is an economical, elegant, and powerful statement about the functions, meanings, and sensuous qualities of water. The sound of water spilling from a fountain is amplified by the surrounding walls. The water collects in puddles on the stone floor and, as it evaporates, cools the air. Small, river-worn pebbles, each embodying the action of water over time, are set in a tightly organized, geometric pattern. Elongated black stones are alternately ground and stars. The stones are set in packed earth that permits water to seep beneath them and irrigate cedar trees planted at each corner of the courtyard. The whole forms a deep congruence between sensual perception, iconography, and function." All the rivers run into the sea; yet the sea is not full; unto the place from whence the rivers came, thither they return again." This line from

Ecclesiastes and the Patio de la Reja are among the most concise and poetic descriptions of the important source of inspiration for Lawrence Halprin. He makes a distinction, mimesis and abstraction, between "copying nature's pictures" and "using ." Halprin's notebooks contain many studies of water movement around rocks and of the planes and fracture lines, ledges, and talus of rocky slopes. In these drawings, in the transition from mountain environment to urban plaza. At the Portland Auditorium fountain, the progression from small source, to tributaries; to downstream waterfalls is telescoped into a small space. The fountain permits and even invites participation. The sheer volume and force of the waterfalls, the mystery injected by the many water sources, some , the steep drop from street-level to the base of the fountain, and the dense screen of pines all contribute to an experience of water that resonates with its importance as a source of electric power in this region of rushing rivers.

Like a primordial magnet, water pulls at a primitive and deeply rooted part of nature. Water is a source of life, power, comfort, fear, and delight; it is a symbol of purification, of both the dissolution of life and its renewal.

Many advances to cities over the past century falls to the ground, it is flushed away into underground pipes and transported to sewage treatment plant, which, like garbage dumps, are touched into forgotten corners of the city.

Landscape architects, urban designers, and architects of that public water system. The monuments marked a connection between the people who dwelled in the city and the water that sustained them. They were utilitarian, a source of sensual pleasure and symbolic meaning. Today, few

urban designers concern themselves with water and sewer systems. Yet the impact of these public works on the shape of urban form and aesthetic experience is too great to ignore.

In Denver, the metropolitan open space system is planned and designed to also function as an urban storm drainage and flood control system. The channels, reservoirs, and detention and retention basins that structure the urban landscape are not only congruent with the natural rhythms legible within the city and provide a visible and tangible framework that links downtown, suburbs, and outlying farmland. The form of this parkland reflects the different neighborhoods through which it flows, whether a downtown plaza that is also a detention basin, accepting and revealing the rise and fall of water, or a suburban storm drainage channel whose sinuous landforms echo the movement of water, even when there is only a trickle flowing. The original plan for this drainage channel called for an underground storm sewer; now, the water emerges from under the street into a park. Where the level of the channel drops, a weir breaks the erosive force of the water. At at low water its from is pleasing and meaningful, recalling the power of water at

The current understanding of nature and culture as comprising interwoven processes that exhibit a complex, underlying order that , construction, and cultivation, but also prompts a fresh appreciation for the forms of the past and the processes by which they were created. Fractal geometry, for example, provides a means of understanding the geometry of old urban districts that evolved with a peculiar combination of order and disorder, through purposeful process and repetitive use of forms whose

precise shape was varied in response to varying conditions of nature, culture, and individual preference. The complex order of such districts is now often contrast to the order of new towns, where the form of of such details as exterior paint color and landscaping are prescribed, and to modern cities, which seem a chaos also provide the means to design new places can evolve and adapt to changing needs and that can embody both variety and coherence.

Such a proposition poses a challenge to conventional methods of planning, design, construction, and management of the urban landscape and the structure and spaces of which it is composed. It calls for a more inclusive dialogue about values and visions, and for tapping the invention and energy of individuals in small-scale construction and cultivation. For designers, new techniques of notation and representation are required. Conventional techniques are inadequate to the portrayal of time and change, and they encourage the continued focus on visible and static form. Designers may consider time and change and such sensations as sound, smell, and movement, but do not and representation in these fields offer inspiration, as do Lawrence Halprin's exploration of scoring. Jazz and modern dance, for example, employ a choreographed framework within which players improvise, expanding upon and exploring the themes established in the framework. The computer can also provide the means to display patterns generated by processes of nature and culture to enable the perception, manipulation, and evaluation of patterns and forms as they emerge and change over time.

The issues of time change, process and pattern, order and randomness,

being and doing, and form and meaning inherent to the theory outlined music, art, and science. Indeed, this theory and the aesthetic it embodies will bring urban landscape design in tune with theoretical currents in other fields.

Ultimately, landscape is more than a symphony, a poem, a sculpture, a dance, or a scientific experiment. It is the setting in which people dwell, living every day. This aesthetic, as applied to the urban landscape levels: on the level of the senses aroused, the functions served, the opportunities for "doing" provided, and the symbolic associations engendered. These multiple layers of meaning, when congruent, will resonate,combining complexity and coherence, amplifying the aesthetic experience of the city.

城市与自然的诗学:走向城市设计新美学, 1989, 6(1),加州大学伯

克利学院引:

Spirn,安妮惠斯顿。(1989年)。诗学:城市与自然走向城市新的美学

设计。地方,6(1),82。

摘要:

城市景观,是一个多交响乐,一首诗,雕塑,舞蹈,或科学实验。它是设计于在其中的人住、生活的每一天。这种审美,适用于城市景观水平上而引起的感官水平,服务的职能,为“做”提供的机会,并象征性组织产生。意义,这些一致时,多层次的共鸣,结合复杂性和连贯性,健全城市的美的感受。

关键词:

地方,建筑,环境,景观,城市设计,公共领域,规划,设计,美学,

诗学,安妮惠斯顿

这个城市比作一首诗,一个雕塑,一台机器。但这个城市是一个多与文本,多艺术或技术。这是一个地方,自然力量的脉搏,数百万人生活,思想,感情,梦想,做什么。一个城市设计美学,因此,必须植根于大自然的正常秩序和生活。

我想说明这样一个审美的维度。这种审美既包括自然和文化,它体现的功能,感觉知觉,和象征意义,它包含两种事物和场所,使感测,使用,其中考虑。这同样的审美关注与生活用品,并与艺术:小东西,如喷泉,园林,建筑,以及大型系统,如那些运输的人,或进行废物。这种审美庆祝运动和变化,包括动态的过程,而不是静态的物体和场景,并包含奇异的愿景,而不是多个。这不是一个永恒的美感,而是一个既承认传递的时间和时刻的奇异交流,既需要一个连续性和革命。

城市形态演变的时间,以难以预料的方式,是复杂,重叠的结果,交织对话。这些对话都是当前和持续的,有些人凭直觉感到,有些是清晰易读。他们一起组成了一个地方的环境和所有它所对话的人。这些内住的想法,其时间,目的,交流的体现,和响应,系统核心正是这种美学。

与在城市景观连续性的需要随之而来的是创新的需要。尽管自然和人性的某些常数,我们生活的这个世界无法想象的过去社会。自然我们的看法,其秩序的质量,时间和空间的性质正在发生变化,是我们的文化,导致了旧形式的重新评估,并要求创新。表格的词汇,建筑物,街道,公园,经常是推迟到的先例,不仅反映了文化进程和在其中的形式创建的时间的反应。其中一些表达方式和门槛当代目的和价值的形式,但它们是抽象的。什么是形式,表达当代宇宙学,即现代给我们的原子粒子和星系的照片是司空见惯,在时间和空间不是固定的,而是相对的,我们所处的地方与宇宙中比我们有是什么呢?新形式的构想是捕捉到的知识,信念,宗旨和现

代社会要求我们必须回到原来的灵感来源,无论是自然的价值观和文化,而不是过去价值或过去抽象的转变。

时间,变化和节奏

“对于艺术家,”观察保罗克利,“人与自然的对话仍然是一个无条件的。艺术家是一个男人,他自然和自然空间中自然的一部分。”之前,人类建造的城镇,我们的栖息地主要由下令自然的过程。人体最亲密的节奏还是外部条件:自然世界的太阳每天的道路,与黑暗交替光芒的月亮每月的阶段,拉着潮汐和季节的年度通过。

相对于日常和季节变化的可预测性是重复的地质时间尺度的广袤。从测量的是在地球的年龄几代人的世界观,我们得出的计算数千到数百万年地球上的年龄和发展的理论,地球本身。人类的寿命现在看来只是暂时现象,地球不过是宇宙中的小斑点。

对时间的感觉和变化是至关重要的发展对我们是谁,我们在那里来的形式感,我们去的地方,作为个人,社会,和物种。设计,促进和强化了时间和空间范围的经验后,既有利于个人的变化和特征,并以更大的整体的统一感的反映。设计图案并存和对比自然秩序和人类秩序的提示,如果是指什么是人类的思考。能引起共鸣的设计与地方的自然和文化的节奏,这回声,放大,澄清,或其延伸,有助于在空间的时候有根的感觉。

工艺,图案,和形式

伟大的红色岩石,从地球推力,数百英尺上升,两者之间的山区和沿落基山脉的前方平原的边界范围。红色岩石露天剧场设置在这些丘陵地带,其平面阶段的红色砖相形见绌的框架,并在全景跨越丹佛,科罗拉多州和大平原出城。在梯田座位的直线,从砂岩以适合人体,以及严格的道路曲线,以适合车辆,看似脆弱的岩石旁边的庞大的规模和宏伟的几何形状。

丹佛是高原城市,坐落在这些山麓时,它在许多数百英尺深,其细小

的晶粒从古代山脉的斜坡上,一旦落基山脉之上雨水侵蚀沉积物,高高的山峰现有的山区。的是那些古老的山峰被摧毁的根源,残余的岩石层,一旦拱在落基山脉,我们知道今天的高红地砖。由于眼睛遵循其主旨的角度,完成年弧,一个是运送数百万成为过去。这是丹佛,在空间和自然的过程中创造持久的节奏和时间范围内模式记录在土地方面。在竞技场给予的不仅是城市的观点,但也是一个前景时,在自然和人与城市中进行的转变反映。

当我们忽视自然的城市设计过程中,我们不仅风险,自然灾害加剧和自然资源退化,而且还没收超出自己的联系感为一个更大的整体。相反,有些地方,例如红色岩石露天剧场引发的自然过程的生动经验,使我们能够跨越到地质和天文时间到达人类记忆,限制了我们的想象,从微观穿越空间的宇宙。但是永久岩石看起来可能,但最终是穿水顺利和最终减少灰尘。一个雨滴的能量,但到了上千年平原万亿倍的增加。由在一个沙堆的水质蚀刻倒映出河流随着时间雕刻着地球的推移模式。

这些模式的连接。他们连接我们的空间和时间尺度超出了我们的掌握,他们连接我们的身体和自然世界的皮肤外的思想脉搏。该分支的流水和分支树的河床上升模式反映分支动脉和静脉血液,通过我们的课程。

自然的过程而形成的模式和跨尺度的对称性一直赞赏大自然的密切观察者。最近的事态发展科学能力进入其中的动态过程中产生的新见解的几何形式,无论是自然或文化,并指出设计新方向。

促进山区,河岸,沙丘,树木的形式,和雪的晶体,正准备,政府内部的时刻,及时,动态过程的物理体现。他们由一个美丽的有序和无序的独特结合体,和谐安排,而事实上,他们的形式是在平衡,在任何时刻与他们的生产流程。这种形式和其跨越时间和空间尺度对称现象,最近被描述为新的几何,“分形”几何学,其中它的发起人之一,曼德勃罗称之为“大

自然的几何学”- “pimply”,“痘疮“,”曲折“和”交织在一起。“在古典几何充满了感性知觉太复杂,描绘这些形式。

然而,由于分形,这种模式或许可以用简单的重复进程,如分叉和发展的结果。在各种形式,从同一进程干全部的反应不同的背景条件下的结果,向与其他过程的互动。

奇妙的形式,反映的性质的,又创造了一个重复的计算机程序。早在这个过程中,产生的形式,在电脑屏幕上看到出现混乱的秩序,逐步展开。这种实验是在一个新的领域的问题,创造它的开拓者,谁都觉得自己是定义一个新的范例的创始人。他们的主题是多种多样的,其目的是确定在看似随机波动的基本秩序。在这些领域工作的许多人表达了他们的审美吸引力的对比他们所称的“分形几何欧几里德数学感性。”

这是一个陌生的几何与欧几里得的路线和飞机,圆和领域,三角形和圆锥。欧几里德几何是一个现实的抽象,它的美,光滑,清洁,是理想的形状。它是基于一个信念为基础的几何的休息,不运动,是自然状态,它描述了三维空间,但忽略了时间。这并不意味着我们应避免使用在景观设计的欧几里得几何。事实上,这种使用可能会提高对河流和树木的自然形成的看法和他们的生产过程,特别是当它作为一个视觉对位,无论对与这些形式和就业的对比。

在迪南,法国,一个巨大的杨树,即给出河边道路的启示。代表的是该想法。通过抽象和回声在纵向横向的形式是什么明确的景观人类刻线,河流的蜿蜒经验加剧。虽然在紧张的设置,均匀,沿河岸的间隔行,个别树木主张自己的古怪的增长,这是更清楚地看出相对于他们就业的规律。

不同过程的相互作用也是当前研究的“混乱的问题。”计算机绘图说明模式,因此,当几个节奏,如无线电频率或行星轨道,走到一起。也许,这是对领域的“当代音乐版本。”他们像地形等高线图,促使人们认识到从

一个在多个部队和过程,包括重力,水流量类似的相互作用的结果土地的形式,和天气。文化过程也参与土地上的自然过程,我们的粮食生产和运输节奏,例如,互动,风和水来塑造一个景观流。这些模式的结果响应自然,环境,文化的具体情况各不相同,以及个人的特性。

这是自然和文化一起,为相互作用的过程,这使特定的地方。自然过程,随着时间的推移操作引起的土地最初形式,包括基础节奏的文化进程作出反应,推出新的和不断变化的主题,编织一个复杂的图案,穿插着自然和艺术的高点,在这里和那里。每个城市景观是一个复杂的和声,尽管它们可以在任何时候品尝,不断演变的时间都预料和难以预料的方式,交响乐,在应对不断变化的自然过程和人类的目的。这是一首交响乐,所有城市的居民都作曲家和球员。

制作,关心,思考,居住

对住宅的过程中,每一种文化的一个不可约的事实,是一种审美行为,带来幸福和做一个自然与文化之间的对应关系。通过培育和建设,形成个人和社会在本质上是一个地方,反映自己的身份,他们的需要,价值观和梦想。决策和关怀的地方,以及考虑这些劳动者及其含义,包括在住房审美经验。

这个概念,正如哲学家海德格尔探索,已设计和人类住区的规划具有重要意义。一个设计师的主要问题是如何放弃控制(是否允许他人表达自己或允许自然的过程,可将课程),同时保持一个美观的秩序。在花园的社区是在欧洲和北美流行的城市配发花园讨好的质量取决于一个阴谋网格框架。每个园地本身就是一个整体,对不同的人类似主题即兴创作。然而,所有这些都是由材料,结构的统一整体的一部分,种植过程。

在格拉纳达,西班牙,分配的范围之内的花园阿罕布拉和拉里弗。内的墙壁和阳台花园高度组织的框架内休息,活跃现场,而不是有损于它。

毕业设计外文翻译资料

外文出处: 《Exploiting Software How to Break Code》By Greg Hoglund, Gary McGraw Publisher : Addison Wesley Pub Date : February 17, 2004 ISBN : 0-201-78695-8 译文标题: JDBC接口技术 译文: JDBC是一种可用于执行SQL语句的JavaAPI(ApplicationProgrammingInterface应用程序设计接口)。它由一些Java语言编写的类和界面组成。JDBC为数据库应用开发人员、数据库前台工具开发人员提供了一种标准的应用程序设计接口,使开发人员可以用纯Java语言编写完整的数据库应用程序。 一、ODBC到JDBC的发展历程 说到JDBC,很容易让人联想到另一个十分熟悉的字眼“ODBC”。它们之间有没有联系呢?如果有,那么它们之间又是怎样的关系呢? ODBC是OpenDatabaseConnectivity的英文简写。它是一种用来在相关或不相关的数据库管理系统(DBMS)中存取数据的,用C语言实现的,标准应用程序数据接口。通过ODBCAPI,应用程序可以存取保存在多种不同数据库管理系统(DBMS)中的数据,而不论每个DBMS使用了何种数据存储格式和编程接口。 1.ODBC的结构模型 ODBC的结构包括四个主要部分:应用程序接口、驱动器管理器、数据库驱动器和数据源。应用程序接口:屏蔽不同的ODBC数据库驱动器之间函数调用的差别,为用户提供统一的SQL编程接口。 驱动器管理器:为应用程序装载数据库驱动器。 数据库驱动器:实现ODBC的函数调用,提供对特定数据源的SQL请求。如果需要,数据库驱动器将修改应用程序的请求,使得请求符合相关的DBMS所支持的文法。 数据源:由用户想要存取的数据以及与它相关的操作系统、DBMS和用于访问DBMS的网络平台组成。 虽然ODBC驱动器管理器的主要目的是加载数据库驱动器,以便ODBC函数调用,但是数据库驱动器本身也执行ODBC函数调用,并与数据库相互配合。因此当应用系统发出调用与数据源进行连接时,数据库驱动器能管理通信协议。当建立起与数据源的连接时,数据库驱动器便能处理应用系统向DBMS发出的请求,对分析或发自数据源的设计进行必要的翻译,并将结果返回给应用系统。 2.JDBC的诞生 自从Java语言于1995年5月正式公布以来,Java风靡全球。出现大量的用java语言编写的程序,其中也包括数据库应用程序。由于没有一个Java语言的API,编程人员不得不在Java程序中加入C语言的ODBC函数调用。这就使很多Java的优秀特性无法充分发挥,比如平台无关性、面向对象特性等。随着越来越多的编程人员对Java语言的日益喜爱,越来越多的公司在Java程序开发上投入的精力日益增加,对java语言接口的访问数据库的API 的要求越来越强烈。也由于ODBC的有其不足之处,比如它并不容易使用,没有面向对象的特性等等,SUN公司决定开发一Java语言为接口的数据库应用程序开发接口。在JDK1.x 版本中,JDBC只是一个可选部件,到了JDK1.1公布时,SQL类包(也就是JDBCAPI)

软件开发概念和设计方法大学毕业论文外文文献翻译及原文

毕业设计(论文)外文文献翻译 文献、资料中文题目:软件开发概念和设计方法文献、资料英文题目: 文献、资料来源: 文献、资料发表(出版)日期: 院(部): 专业: 班级: 姓名: 学号: 指导教师: 翻译日期: 2017.02.14

外文资料原文 Software Development Concepts and Design Methodologies During the 1960s, ma inframes and higher level programming languages were applied to man y problems including human resource s yste ms,reservation s yste ms, and manufacturing s yste ms. Computers and software were seen as the cure all for man y bu siness issues were some times applied blindly. S yste ms sometimes failed to solve the problem for which the y were designed for man y reasons including: ?Inability to sufficiently understand complex problems ?Not sufficiently taking into account end-u ser needs, the organizational environ ment, and performance tradeoffs ?Inability to accurately estimate development time and operational costs ?Lack of framework for consistent and regular customer communications At this time, the concept of structured programming, top-down design, stepwise refinement,and modularity e merged. Structured programming is still the most dominant approach to software engineering and is still evo lving. These failures led to the concept of "software engineering" based upon the idea that an engineering-like discipl ine could be applied to software design and develop ment. Software design is a process where the software designer applies techniques and principles to produce a conceptual model that de scribes and defines a solution to a problem. In the beginning, this des ign process has not been well structured and the model does not alwa ys accurately represent the problem of software development. However,design methodologies have been evolving to accommo date changes in technolog y coupled with our increased understanding of development processes. Whereas early desig n methods addressed specific aspects of the

毕业设计方案英文翻译资料中文

故障概率模型的数控车床 摘要:领域的失效分析被计算机数字化控制

毕业设计(论文)外文文献译文

毕业设计(论文) 外文文献译文及原文 学生:李树森 学号:201006090217 院(系):电气与信息工程学院 专业:网络工程 指导教师:王立梅 2014年06月10日

JSP的技术发展历史 作者:Kathy Sierra and Bert Bates 来源:Servlet&JSP Java Server Pages(JSP)是一种基于web的脚本编程技术,类似于网景公司的服务器端Java脚本语言—— server-side JavaScript(SSJS)和微软的Active Server Pages(ASP)。与SSJS和ASP相比,JSP具有更好的可扩展性,并且它不专属于任何一家厂商或某一特定的Web服务器。尽管JSP规范是由Sun 公司制定的,但任何厂商都可以在自己的系统上实现JSP。 在Sun正式发布JSP之后,这种新的Web应用开发技术很快引起了人们的关注。JSP为创建高度动态的Web应用提供了一个独特的开发环境。按照Sun的说法,JSP能够适应市场上包括Apache WebServer、IIS4.0在内的85%的服务器产品。 本文将介绍JSP相关的知识,以及JavaBean的相关内容,当然都是比较粗略的介绍其中的基本内容,仅仅起到抛砖引玉的作用,如果读者需要更详细的信息,请参考相应的JSP的书籍。 1.1 概述 JSP(Java Server Pages)是由Sun Microsystems公司倡导、许多公司参与一起建立的一种动态网页技术标准,其在动态网页的建设中有其强大而特别的功能。JSP与Microsoft的ASP技术非常相似。两者都提供在HTML代码中混合某种程序代码、由语言引擎解释执行程序代码的能力。下面我们简单的对它进行介绍。 JSP页面最终会转换成servlet。因而,从根本上,JSP页面能够执行的任何任务都可以用servlet 来完成。然而,这种底层的等同性并不意味着servlet和JSP页面对于所有的情况都等同适用。问题不在于技术的能力,而是二者在便利性、生产率和可维护性上的不同。毕竟,在特定平台上能够用Java 编程语言完成的事情,同样可以用汇编语言来完成,但是选择哪种语言依旧十分重要。 和单独使用servlet相比,JSP提供下述好处: JSP中HTML的编写与维护更为简单。JSP中可以使用常规的HTML:没有额外的反斜杠,没有额外的双引号,也没有暗含的Java语法。 能够使用标准的网站开发工具。即使是那些对JSP一无所知的HTML工具,我们也可以使用,因为它们会忽略JSP标签。 可以对开发团队进行划分。Java程序员可以致力于动态代码。Web开发人员可以将经理集中在表示层上。对于大型的项目,这种划分极为重要。依据开发团队的大小,及项目的复杂程度,可以对静态HTML和动态内容进行弱分离和强分离。 此处的讨论并不是说人们应该放弃使用servlet而仅仅使用JSP。事实上,几乎所有的项目都会同时用到这两种技术。在某些项目中,更适宜选用servlet,而针对项目中的某些请求,我们可能会在MVC构架下组合使用这两项技术。我们总是希望用适当的工具完成相对应的工作,仅仅是servlet并不一定能够胜任所有工作。 1.2 JSP的由来 Sun公司的JSP技术,使Web页面开发人员可以使用HTML或者XML标识来设计和格式化最终

毕业设计外文翻译附原文

外文翻译 专业机械设计制造及其自动化学生姓名刘链柱 班级机制111 学号1110101102 指导教师葛友华

外文资料名称: Design and performance evaluation of vacuum cleaners using cyclone technology 外文资料出处:Korean J. Chem. Eng., 23(6), (用外文写) 925-930 (2006) 附件: 1.外文资料翻译译文 2.外文原文

应用旋风技术真空吸尘器的设计和性能介绍 吉尔泰金,洪城铱昌,宰瑾李, 刘链柱译 摘要:旋风型分离器技术用于真空吸尘器 - 轴向进流旋风和切向进气道流旋风有效地收集粉尘和降低压力降已被实验研究。优化设计等因素作为集尘效率,压降,并切成尺寸被粒度对应于分级收集的50%的效率进行了研究。颗粒切成大小降低入口面积,体直径,减小涡取景器直径的旋风。切向入口的双流量气旋具有良好的性能考虑的350毫米汞柱的低压降和为1.5μm的质量中位直径在1米3的流量的截止尺寸。一使用切向入口的双流量旋风吸尘器示出了势是一种有效的方法,用于收集在家庭中产生的粉尘。 摘要及关键词:吸尘器; 粉尘; 旋风分离器 引言 我们这个时代的很大一部分都花在了房子,工作场所,或其他建筑,因此,室内空间应该是既舒适情绪和卫生。但室内空气中含有超过室外空气因气密性的二次污染物,毒物,食品气味。这是通过使用产生在建筑中的新材料和设备。真空吸尘器为代表的家电去除有害物质从地板到地毯所用的商用真空吸尘器房子由纸过滤,预过滤器和排气过滤器通过洁净的空气排放到大气中。虽然真空吸尘器是方便在使用中,吸入压力下降说唱空转成比例地清洗的时间,以及纸过滤器也应定期更换,由于压力下降,气味和细菌通过纸过滤器内的残留粉尘。 图1示出了大气气溶胶的粒度分布通常是双峰形,在粗颗粒(>2.0微米)模式为主要的外部来源,如风吹尘,海盐喷雾,火山,从工厂直接排放和车辆废气排放,以及那些在细颗粒模式包括燃烧或光化学反应。表1显示模式,典型的大气航空的直径和质量浓度溶胶被许多研究者测量。精细模式在0.18?0.36 在5.7到25微米尺寸范围微米尺寸范围。质量浓度为2?205微克,可直接在大气气溶胶和 3.85至36.3μg/m3柴油气溶胶。

本科毕业设计方案外文翻译范本

I / 11 本科毕业设计外文翻译 <2018届) 论文题目基于WEB 的J2EE 的信息系统的方法研究 作者姓名[单击此处输入姓名] 指导教师[单击此处输入姓名] 学科(专业 > 所在学院计算机科学与技术学院 提交日期[时间 ]

基于WEB的J2EE的信息系统的方法研究 摘要:本文介绍基于工程的Java开发框架背后的概念,并介绍它如何用于IT 工程开发。因为有许多相同设计和开发工作在不同的方式下重复,而且并不总是符合最佳实践,所以许多开发框架建立了。我们已经定义了共同关注的问题和应用模式,代表有效解决办法的工具。开发框架提供:<1)从用户界面到数据集成的应用程序开发堆栈;<2)一个架构,基本环境及他们的相关技术,这些技术用来使用其他一些框架。架构定义了一个开发方法,其目的是协助客户开发工程。 关键词:J2EE 框架WEB开发 一、引言 软件工具包用来进行复杂的空间动态系统的非线性分析越来越多地使用基于Web的网络平台,以实现他们的用户界面,科学分析,分布仿真结果和科学家之间的信息交流。对于许多应用系统基于Web访问的非线性分析模拟软件成为一个重要组成部分。网络硬件和软件方面的密集技术变革[1]提供了比过去更多的自由选择机会[2]。因此,WEB平台的合理选择和发展对整个地区的非线性分析及其众多的应用程序具有越来越重要的意义。现阶段的WEB发展的特点是出现了大量的开源框架。框架将Web开发提到一个更高的水平,使基本功能的重复使用成为可能和从而提高了开发的生产力。 在某些情况下,开源框架没有提供常见问题的一个解决方案。出于这个原因,开发在开源框架的基础上建立自己的工程发展框架。本文旨在描述是一个基于Java的框架,该框架利用了开源框架并有助于开发基于Web的应用。通过分析现有的开源框架,本文提出了新的架构,基本环境及他们用来提高和利用其他一些框架的相关技术。架构定义了自己开发方法,其目的是协助客户开发和事例工程。 应用程序设计应该关注在工程中的重复利用。即使有独特的功能要求,也

毕业设计外文翻译原文.

Optimum blank design of an automobile sub-frame Jong-Yop Kim a ,Naksoo Kim a,*,Man-Sung Huh b a Department of Mechanical Engineering,Sogang University,Shinsu-dong 1,Mapo-ku,Seoul 121-742,South Korea b Hwa-shin Corporation,Young-chun,Kyung-buk,770-140,South Korea Received 17July 1998 Abstract A roll-back method is proposed to predict the optimum initial blank shape in the sheet metal forming process.The method takes the difference between the ?nal deformed shape and the target contour shape into account.Based on the method,a computer program composed of a blank design module,an FE-analysis program and a mesh generation module is developed.The roll-back method is applied to the drawing of a square cup with the ˉange of uniform size around its periphery,to con?rm its validity.Good agreement is recognized between the numerical results and the published results for initial blank shape and thickness strain distribution.The optimum blank shapes for two parts of an automobile sub-frame are designed.Both the thickness distribution and the level of punch load are improved with the designed blank.Also,the method is applied to design the weld line in a tailor-welded blank.It is concluded that the roll-back method is an effective and convenient method for an optimum blank shape design.#2000Elsevier Science S.A.All rights reserved. Keywords:Blank design;Sheet metal forming;Finite element method;Roll-back method

毕业设计外文翻译

毕业设计(论文) 外文翻译 题目西安市水源工程中的 水电站设计 专业水利水电工程 班级 学生 指导教师 2016年

研究钢弧形闸门的动态稳定性 牛志国 河海大学水利水电工程学院,中国南京,邮编210098 nzg_197901@https://www.360docs.net/doc/329662689.html,,niuzhiguo@https://www.360docs.net/doc/329662689.html, 李同春 河海大学水利水电工程学院,中国南京,邮编210098 ltchhu@https://www.360docs.net/doc/329662689.html, 摘要 由于钢弧形闸门的结构特征和弹力,调查对参数共振的弧形闸门的臂一直是研究领域的热点话题弧形弧形闸门的动力稳定性。在这个论文中,简化空间框架作为分析模型,根据弹性体薄壁结构的扰动方程和梁单元模型和薄壁结构的梁单元模型,动态不稳定区域的弧形闸门可以通过有限元的方法,应用有限元的方法计算动态不稳定性的主要区域的弧形弧形闸门工作。此外,结合物理和数值模型,对识别新方法的参数共振钢弧形闸门提出了调查,本文不仅是重要的改进弧形闸门的参数振动的计算方法,但也为进一步研究弧形弧形闸门结构的动态稳定性打下了坚实的基础。 简介 低举升力,没有门槽,好流型,和操作方便等优点,使钢弧形闸门已经广泛应用于水工建筑物。弧形闸门的结构特点是液压完全作用于弧形闸门,通过门叶和主大梁,所以弧形闸门臂是主要的组件确保弧形闸门安全操作。如果周期性轴向载荷作用于手臂,手臂的不稳定是在一定条件下可能发生。调查指出:在弧形闸门的20次事故中,除了极特殊的破坏情况下,弧形闸门的破坏的原因是弧形闸门臂的不稳定;此外,明显的动态作用下发生破坏。例如:张山闸,位于中国的江苏省,包括36个弧形闸门。当一个弧形闸门打开放水时,门被破坏了,而其他弧形闸门则关闭,受到静态静水压力仍然是一样的,很明显,一个动态的加载是造成的弧形闸门破坏一个主要因素。因此弧形闸门臂的动态不稳定是造成弧形闸门(特别是低水头的弧形闸门)破坏的主要原是毫无疑问。

毕业设计英文资料翻译

毕业设计英文资料翻译 篇一:毕业设计(论文)外文资料与译文 大连东软信息学院高等教育自学考试毕业设计(论文)外文资料及译文 姓名: 准考证号: 专业: 助学单位: 大连东软信息学院 Dalian Neusoft University of Information张校辉020*********项目管理大连东软信息学院继续教育学院外文资料和译文格式要求 一、装订要求 1、外文资料原文(复印或打印)在前、译文在后、最后为指导教师评定成绩。 2、译文必须采用计算机输入、打印。 3、A4幅面打印,于左侧装订。 二、撰写要求 1、外文文献内容与所选课题相关。 2、译文汉字字数不少于3000字。 三、格式要求 1、译文字号:中文小四号宋体,英文小四号“Times New

Roman”字型,全文统一,首行缩进2个中文字符,1.5倍行距。 2、译文页码:页码用阿拉伯数字连续编页,字体采用“Times New Roman”字体,字号小五,页底居中。 3、译文页眉:眉体使用单线,页眉说明五号宋体,居中“大连东软信息学院高等教育自学考试毕业设计(论文)译文”。 -1- -2- -3- 篇二:毕业设计外文资料翻译 毕业设计外文资料翻译 题目静压轴承密封件的水压特性水泵和电机学院专业机械工程及自动化 班级 学生王道国 学号指导教师王栋梁 二〇一三年六月五日 济南大学毕业设计外文资料翻译 静压轴承/密封件的水压特性水泵和电机。第1部分:理 论和实验

X 王 A山口 横滨国立大学工学部,日本横滨240-8501 XX年11月26日,在修订后的XX年2月25日收到XX 年3月7日接受 摘要 在这项研究中,磁盘型静压推力轴承的特性支承同心的负载,模拟的主要水液压泵和马达, 轴承/密封件。该轴承是由不锈钢,钢/不锈钢和不锈钢/塑料组成。通过研究作为载荷之间的关 系的特性进行评估容量,口袋压力,膜厚,泄漏流率。对于弹性材料的杨氏模量是一个非线性应 力作用在密封件上表面和压缩应变之间的关系。的承载能力所表示的比例流体静力平衡不是只依 XX Elsevier科学有限公司版权所有 关键词:静压推力轴承,喷嘴,不锈钢,热塑性弹性变形,承载能力,水液压泵和马达 1介绍 近年来,已经引起了水的液压系统主要的兴趣,因为他们的特点是用户友好和环 境安全。他们有很多优势,因为它们是无公害,无火灾造成风险,成本低,并提供高

本科毕业设计外文翻译

Section 3 Design philosophy, design method and earth pressures 3.1 Design philosophy 3.1.1 General The design of earth retaining structures requires consideration of the interaction between the ground and the structure. It requires the performance of two sets of calculations: 1)a set of equilibrium calculations to determine the overall proportions and the geometry of the structure necessary to achieve equilibrium under the relevant earth pressures and forces; 2)structural design calculations to determine the size and properties of thestructural sections necessary to resist the bending moments and shear forces determined from the equilibrium calculations. Both sets of calculations are carried out for specific design situations (see 3.2.2) in accordance with the principles of limit state design. The selected design situations should be sufficiently Severe and varied so as to encompass all reasonable conditions which can be foreseen during the period of construction and the life of the retaining wall. 3.1.2 Limit state design This code of practice adopts the philosophy of limit state design. This philosophy does not impose upon the designer any special requirements as to the manner in which the safety and stability of the retaining wall may be achieved, whether by overall factors of safety, or partial factors of safety, or by other measures. Limit states (see 1.3.13) are classified into: a) ultimate limit states (see 3.1.3); b) serviceability limit states (see 3.1.4). Typical ultimate limit states are depicted in figure 3. Rupture states which are reached before collapse occurs are, for simplicity, also classified and

毕业设计外文资料翻译译文

附件1:外文资料翻译译文 包装对食品发展的影响 一个消费者对某个产品的第一印象来说包装是至关重要的,包括沟通的可取性,可接受性,健康饮食形象等。食品能够提供广泛的产品和包装组合,传达自己加工的形象感知给消费者,例如新鲜包装/准备,冷藏,冷冻,超高温无菌,消毒(灭菌),烘干产品。 食物的最重要的质量属性之一,是它的味道,其影响人类的感官知觉,即味觉和嗅觉。味道可以很大程度作退化的处理和/或扩展存储。其他质量属性,也可能受到影响,包括颜色,质地和营养成分。食品质量不仅取决于原材料,添加剂,加工和包装的方法,而且其预期的货架寿命(保质期)过程中遇到的分布和储存条件的质量。越来越多的竞争当中,食品生产商,零售商和供应商;和质量审核供应商有显着提高食品质量以及急剧增加包装食品的选择。这些改进也得益于严格的冷藏链中的温度控制和越来越挑剔的消费者。 保质期的一个定义是:在食品加工和包装组合下,在食品的容器和条件,在销售点分布在特定系统的时间能保持令人满意的食味品质。保质期,可以用来作为一个新鲜的概念,促进营销的工具。延期或保质期长的产品,还提供产品的使用时间,方便以及减少浪费食物的风险,消费者和/或零售商。包装产品的质量和保质期的主题是在第3章中详细讨论。 包装为消费者提供有关产品的重要信息,在许多情况下,使用的包装和/或产品,包括事实信息如重量,体积,配料,制造商的细节,营养价值,烹饪和开放的指示,除了法律准则的最小尺寸的文字和数字,有定义的各类产品。消费者寻求更详细的产品信息,同时,许多标签已经成为多语种。标签的可读性是为视障人士的问题,这很可能成为一个对越来越多的老年人口越来越重要的问题。 食物的选择和包装创新的一个主要驱动力是为了方便消费者的需求。这里有许多方便的现代包装所提供的属性,这些措施包括易于接入和开放,处置和处理,产品的知名度,再密封性能,微波加热性,延长保质期等。在英国和其他发达经济体显示出生率下降和快速增长的一个相对富裕的老人人口趋势,伴随着更加苛

毕业设计外文翻译

毕业设计(论文) 外文文献翻译 题目:A new constructing auxiliary function method for global optimization 学院: 专业名称: 学号: 学生姓名: 指导教师: 2014年2月14日

一个新的辅助函数的构造方法的全局优化 Jiang-She Zhang,Yong-Jun Wang https://www.360docs.net/doc/329662689.html,/10.1016/j.mcm.2007.08.007 非线性函数优化问题中具有许多局部极小,在他们的搜索空间中的应用,如工程设计,分子生物学是广泛的,和神经网络训练.虽然现有的传统的方法,如最速下降方法,牛顿法,拟牛顿方法,信赖域方法,共轭梯度法,收敛迅速,可以找到解决方案,为高精度的连续可微函数,这在很大程度上依赖于初始点和最终的全局解的质量很难保证.在全局优化中存在的困难阻碍了许多学科的进一步发展.因此,全局优化通常成为一个具有挑战性的计算任务的研究. 一般来说,设计一个全局优化算法是由两个原因造成的困难:一是如何确定所得到的最小是全球性的(当时全球最小的是事先不知道),和其他的是,如何从中获得一个更好的最小跳.对第一个问题,一个停止规则称为贝叶斯终止条件已被报道.许多最近提出的算法的目标是在处理第二个问题.一般来说,这些方法可以被类?主要分两大类,即:(一)确定的方法,及(ii)的随机方法.随机的方法是基于生物或统计物理学,它跳到当地的最低使用基于概率的方法.这些方法包括遗传算法(GA),模拟退火法(SA)和粒子群优化算法(PSO).虽然这些方法有其用途,它们往往收敛速度慢和寻找更高精度的解决方案是耗费时间.他们更容易实现和解决组合优化问题.然而,确定性方法如填充函数法,盾构法,等,收敛迅速,具有较高的精度,通常可以找到一个解决方案.这些方法往往依赖于修改目标函数的函数“少”或“低”局部极小,比原来的目标函数,并设计算法来减少该?ED功能逃离局部极小更好的发现. 引用确定性算法中,扩散方程法,有效能量的方法,和积分变换方法近似的原始目标函数的粗结构由一组平滑函数的极小的“少”.这些方法通过修改目标函数的原始目标函数的积分.这样的集成是实现太贵,和辅助功能的最终解决必须追溯到

毕业设计(论文)外文资料翻译〔含原文〕

南京理工大学 毕业设计(论文)外文资料翻译 教学点:南京信息职业技术学院 专业:电子信息工程 姓名:陈洁 学号: 014910253034 外文出处:《 Pci System Architecture 》 (用外文写) 附件: 1.外文资料翻译译文;2.外文原文。 指导教师评语: 该生外文翻译没有基本的语法错误,用词准确,没 有重要误译,忠实原文;译文通顺,条理清楚,数量与 质量上达到了本科水平。 签名: 年月日 注:请将该封面与附件装订成册。

附件1:外文资料翻译译文 64位PCI扩展 1.64位数据传送和64位寻址:独立的能力 PCI规范给出了允许64位总线主设备与64位目标实现64位数据传送的机理。在传送的开始,如果回应目标是一个64位或32位设备,64位总线设备会自动识别。如果它是64位设备,达到8个字节(一个4字)可以在每个数据段中传送。假定是一串0等待状态数据段。在33MHz总线速率上可以每秒264兆字节获取(8字节/传送*33百万传送字/秒),在66MHz总线上可以528M字节/秒获取。如果回应目标是32位设备,总线主设备会自动识别并且在下部4位数据通道上(AD[31::00])引导,所以数据指向或来自目标。 规范也定义了64位存储器寻址功能。此功能只用于寻址驻留在4GB地址边界以上的存储器目标。32位和64位总线主设备都可以实现64位寻址。此外,对64位寻址反映的存储器目标(驻留在4GB地址边界上)可以看作32位或64位目标来实现。 注意64位寻址和64位数据传送功能是两种特性,各自独立并且严格区分开来是非常重要的。一个设备可以支持一种、另一种、都支持或都不支持。 2.64位扩展信号 为了支持64位数据传送功能,PCI总线另有39个引脚。 ●REQ64#被64位总线主设备有效表明它想执行64位数据传送操作。REQ64#与FRAME#信号具有相同的时序和间隔。REQ64#信号必须由系统主板上的上拉电阻来支持。当32位总线主设备进行传送时,REQ64#不能又漂移。 ●ACK64#被目标有效以回应被主设备有效的REQ64#(如果目标支持64位数据传送),ACK64#与DEVSEL#具有相同的时序和间隔(但是直到REQ64#被主设备有效,ACK64#才可被有效)。像REQ64#一样,ACK64#信号线也必须由系统主板上的上拉电阻来支持。当32位设备是传送目标时,ACK64#不能漂移。 ●AD[64::32]包含上部4位地址/数据通道。 ●C/BE#[7::4]包含高4位命令/字节使能信号。 ●PAR64是为上部4个AD通道和上部4位C/BE信号线提供偶校验的奇偶校验位。 以下是几小结详细讨论64位数据传送和寻址功能。 3.在32位插入式连接器上的64位卡

毕业设计外文翻译格式实例.

理工学院毕业设计(论文)外文资料翻译 专业:热能与动力工程 姓名:赵海潮 学号:09L0504133 外文出处:Applied Acoustics, 2010(71):701~707 附件: 1.外文资料翻译译文;2.外文原文。

附件1:外文资料翻译译文 基于一维CFD模型下汽车排气消声器的实验研究与预测Takeshi Yasuda, Chaoqun Wua, Noritoshi Nakagawa, Kazuteru Nagamura 摘要目前,利用实验和数值分析法对商用汽车消声器在宽开口喉部加速状态下的排气噪声进行了研究。在加热工况下发动机转速从1000转/分钟加速到6000转/分钟需要30秒。假定其排气消声器的瞬时声学特性符合一维计算流体力学模型。为了验证模拟仿真的结果,我们在符合日本工业标准(JIS D 1616)的消声室内测量了排气消声器的瞬态声学特性,结果发现在二阶发动机转速频率下仿真结果和实验结果非常吻合。但在发动机高阶转速下(从5000到6000转每分钟的四阶转速,从4200到6000转每分钟的六阶转速这样的高转速范围内),计算结果和实验结果出现了较大差异。根据结果分析,差异的产生是由于在模拟仿真中忽略了流动噪声的影响。为了满足市场需求,研究者在一维计算流体力学模型的基础上提出了一个具有可靠准确度的简化模型,相对标准化模型而言该模型能节省超过90%的执行时间。 关键字消声器排气噪声优化设计瞬态声学性能 1 引言 汽车排气消声器广泛用于减小汽车发动机及汽车其他主要部位产生的噪声。一般而言,消声器的设计应该满足以下两个条件:(1)能够衰减高频噪声,这是消声器的最基本要求。排气消声器应该有特定的消声频率范围,尤其是低频率范围,因为我们都知道大部分的噪声被限制在发动机的转动频率和它的前几阶范围内。(2)最小背压,背压代表施加在发动机排气消声器上额外的静压力。最小背压应该保持在最低限度内,因为大的背压会降低容积效率和提高耗油量。对消声器而言,这两个重要的设计要求往往是互相冲突的。对于给定的消声器,利用实验的方法,根据距离尾管500毫米且与尾管轴向成45°处声压等级相近的排气噪声来评估其噪声衰减性能,利用压力传感器可以很容易地检测背压。 近几十年来,在预测排气噪声方面广泛应用的方法有:传递矩阵法、有限元法、边界元法和计算流体力学法。其中最常用的方法是传递矩阵法(也叫四端网络法)。该方

毕业设计(论文)外文翻译(译文)

编号:桂林电子科技大学信息科技学院 毕业设计(论文)外文翻译 (译文) 系(部):机电工程系 专业:机械设计制造及自动化 学生姓名:李汉显 学号:1153100506 指导教师单位:桂林航天工业学院 姓名:陈志 职称:讲师 2015年5 月28日

无损检测技术在检测石油管道时的可靠性 卡瓦略·库切答(a);雷贝洛(b);米纳拉辛苏扎·苏哲(b); 湖奈保尔·苏格瑞勒(c);萨拉?迪基·苏亚雷斯(d) a、华盛顿苏亚雷斯马路大学科学技术中心,1321;巴西福塔雷萨行政长官,埃德森奎罗兹临时选举委员会:60,811 - 905 b、巴西里约热内卢联邦大学临时选举委员会:21941 - 972 c、巴西里约热内卢联邦大学土木工程系 d、巴西里约热内卢大学城临时选举委员会:21949 - 900 文章内容 文章背景:2006年11月9日收到 2008年5月21日修改后的表格 2008年5月27日认可 关键词:无损检测;可靠性;超声检测;X线摄影 摘要 这项工作的目的是评估无损检测技术(NDT)在检查石油工业中的管道焊缝的可靠性。X射线,手动和全自动的超声波都利用了脉冲回波和光线干涉原理。三个层面的缺陷分析为:缺乏渗透(LP),缺乏融合(LF)和削弱(UC)。这些测试是对含焊缝缺陷已被人为地确定为标本的管道进行测试。结果表明:全自动超声波检测缺陷与手动超声波、X光测试相比更具有优越性。此外,人工神经网络已被用于探测缺陷和缺陷的自动分类。 1简介 在长距离的流体(包括石油和天然气)传输过程中,管道运输时最安全最经济的方法。由于这一点和管道的效率,他们已用了几十年。但是由于种种因素,如腐蚀,疲劳,甚至侵蚀所增加泄漏的危险,甚至破裂,这些都是现在应该考虑的关键问题。还应该指出,许多管道铺设在接近道路,铁路,水路甚至在城市或在其下方。因此,必须有方法监测,评价和肯定管道的完整性,减少泄漏的风险,从而避免环境破坏和人群危害。多年来,无损检测在石油管道的状态检测中显示了其高效性。 无损检测技术正被研究的越来越深,同时已经作为评估工程结构、工程系统使用寿命的方法。这项研究特别注意了石油工业可能发生的设备故障导致严重后果,比如环境污染和人员伤亡。然而,一般认为应考虑采取最适当的参数来选择无损技术,剩下的就是它的使用可靠性,其中一个检测与确定缺陷大小的评估检测概率曲线(POD)是最具代表性的。 对于管道检测的两种技术超声波和X线检查比传统方法更具有出色的效率和易于

毕业设计英文翻译原文

Highway Subgrade Construction in Expansive Soil Areas Jian-Long Zheng1 Rui Zhang2 and He-Ping Yang3 1 Professor and President, ChangSha Univ. of Science and Technology, Chiling Road 45, Changsha, Hunan 410076, China. E-mail: zjl_csust@https://www.360docs.net/doc/329662689.html, 2 Ph.D. Candidate and Lecturer, School of Highway Engineering, ChangSha Univ. of Science and Technology, Chiling Road 45, Changsha, Hunan 410076, China. E-mail: zr_csust@https://www.360docs.net/doc/329662689.html, 3Professor, School of Highway Engineering, ChangSha Univ. of Science and Technology, Chiling Road 45, Changsha, Hunan 410076, China. E-mail: cscuyang@https://www.360docs.net/doc/329662689.html, (Accepted 22 May 2007) Introduction Expansive soil is predominantly clay soil that undergoes appreciable volume and strength changes following a change in moisture content. These volume changes can cause extensive damage to the geotechnical infrastructure, and the damage is often repeatable and latent in the long term (Liao 19848). China is one of the countries with a wide distribution of expansive soils. They are found in more than 20 provinces and regions, nearly 600,000?km2in extent. It has been estimated that the planned highways totaling 3,300?km in length pass through expansive soils areas (Zheng and Yang 200422). Improper highway construction in such areas could well lead to great losses and damage to the environment. In 2002, the Chinese Ministry of Communications (CMOC) sponsored a research project, “A Complete Package for Highway Construction in Expansive Soil Areas,” whose primary objective was to solve expansive soil problems in highway engineering. A research group with personnel from Changsha University of Science and Technology (CUST) was set up. Comprehensive laboratory tests, field investigations, and analyses were carried out, aimed at solving highway engineering problems in several different expansive soil areas. A complete presentation of the results of this research is beyond the scope of this paper, but the research on subgrade

相关文档
最新文档