Question

请帮忙翻译一篇短文，关于建筑英语的

If clarity has become a byword for the design approach of Edward Larrabee Barnes, FAIA, (1) his plan for the new Minneapolis Sculpture Garden also represents a notable synthesis. (2) Barnes’s design draws the envelopes of space within the Walker Art Center outside, where modern sculpture can play against the strong classical foil of his garden plan.
The 7.5-acre sculpture garden is one of the largest urban sculpture centers in the nation. A joint project of the Walker Art Center and the Minneapolis Park and Recreation Board, it will also feature year-round horticultural displays in the new Sage and John Cowles Conservatory, located on the grounds and designed by Barnes’s partner, Alistair Bevington. The sculpture garden was designed by the Barnes firm in association with landscape architect Peter Rothschild of Quennell Rothschild Associates.
In many ways, the Walker Art Center finds itself at the vanguard. Programmatically, under the leadership of Martin Friedman, it has established a national reputation as a leading center for the study of the most avant-garde developments in contemporary art. Physically, the museum nestles comfortably against a residential backdrop to the west, sharing its site and a central lobby with the Guthrie Theater. Yet to the east it confronts 16 lanes of high-speed freeway traffic that sever it from downtown Minneapolis.
But the Walker seems to have a knack for turning liabilities into assets. Barnes’s memorable 1971 design, with its vertical progression of boxlike galleries, was necessitated by the many physical constraints of a difficult site. His plan also reflected Friedman’s strong interest in contemporary sculpture. To provide more space for large works, Barnes designed the rooftops as sculpture terraces, continuing the helical procession from indoors to outdoors. His 1984 addition to the Walker extended its central helix by burrowing underground, creating more sculpture terraces around the base of the building.
Rather than building yet another Minneapolis skybridge to join the two, the Walker commissioned artist Siah Armajani to design a pedestrian crossing. His 375-foot-long footbridge spans the yawning freeway chasm with an inverted pair of catenary arches, painted pale blue and yellow. Minneapolis’s necklace of parks and lakes is unparalleled as a local amenity, and the Irene Hixon Whitney Bridge re-integrates the sculpture park as a link in this chain. Indeed, as one crosses over the bridge, the sculpture garden is seen as a grand new foreground for the Walker and Guthrie Theater complex.

Answer 1

If clarity has become a byword for the design approach of Edward Larrabee Barnes, FAIA, (1) his plan for the new Minneapolis Sculpture Garden also represents a notable synthesis. (2) Barnes’s design draws the envelopes of space within the Walker Art Center outside, where modern sculpture can play against the strong classical foil of his garden plan.
如果说清晰已成为美国建筑师协会会员爱德华•巴恩斯设计方法的一个代名词，那么他为明尼阿波利斯雕塑花园的设计可以称为其杰出的代表作。巴恩斯的设计方案利用在沃克艺术中心内的空间，沃克艺术中心外，现代雕塑可以作为他的花园设计强大的古典衬托。

The 7.5-acre sculpture garden is one of the largest urban sculpture centers in the nation. A joint project of the Walker Art Center and the Minneapolis Park and Recreation Board, it will also feature year-round horticultural displays in the new Sage and John Cowles Conservatory, located on the grounds and designed by Barnes’s partner, Alistair Bevington. The sculpture garden was designed by the Barnes firm in association with landscape architect Peter Rothschild of Quennell Rothschild Associates.
7.5英亩的雕塑园是全国最大的城市雕塑中心之一。它是沃克艺术中心和明尼阿波利斯公园及康乐局的联合项目，它还将在新的圣人和约翰考尔斯学院全年展示地面园艺，由巴恩斯的合作伙伴，阿利斯泰尔贝文顿设计。雕塑园的设计是由巴恩斯公司和来自昆内尔洛希尔协会的景观设计师罗斯柴尔德彼得合作完成。

In many ways, the Walker Art Center finds itself at the vanguard. Programmatically, under the leadership of Martin Friedman, it has established a national reputation as a leading center for the study of the most avant-garde developments in contemporary art. Physically, the museum nestles comfortably against a residential backdrop to the west, sharing its site and a central lobby with the Guthrie Theater. Yet to the east it confronts 16 lanes of high-speed freeway traffic that sever it from downtown Minneapolis.
在许多方面，沃克艺术中心都一马当先。从研究项目方面说，在马丁费德曼的领导下，它已逐步成为当代艺术革新发展研究的领航者，并已经取得了全国性的好评。从地理位置上看，博物馆向西座落于舒适的住宅背景之上，与格思里剧院共享其场所和中央大厅。但它东部面对着16个高速快车道，将它从明尼阿波利斯市中心分离。

But the Walker seems to have a knack for turning liabilities into assets. Barnes’s memorable 1971 design, with its vertical progression of boxlike galleries, was necessitated by the many physical constraints of a difficult site. His plan also reflected Friedman’s strong interest in contemporary sculpture. To provide more space for large works, Barnes designed the rooftops as sculpture terraces, continuing the helical procession from indoors to outdoors. His 1984 addition to the Walker extended its central helix by burrowing underground, creating more sculpture terraces around the base of the building.
但是，沃克似乎有一个从负债变成资产的诀窍。巴恩斯令人难忘的1971年设计，它的盒式画廊垂直发展，由于许多物理限制是需要设立一个要求苛刻的场所上。他的计划也反映弗里德曼对当代雕塑艺术的浓厚兴趣。为了给大型工程提供更多的空间，巴恩斯把屋顶设计成雕塑的平台，连续的螺旋排列从室内到室外。他1984年在沃克艺术中心基础上地下挖洞延长了中央螺旋，围绕建筑基础创造更多的雕塑平台。

Rather than building yet another Minneapolis sky bridge to join the two, the Walker commissioned artist Siah Armajani to design a pedestrian crossing. His 375-foot-long footbridge spans the yawning freeway chasm with an inverted pair of catenary arches, painted pale blue and yellow. Minneapolis’s necklace of parks and lakes is unparalleled as a local amenity, and the Irene Hixon Whitney Bridge re-integrates the sculpture park as a link in this chain. Indeed, as one crosses over the bridge, the sculpture garden is seen as a grand new foreground for the Walker and Guthrie Theater complex.
在此建筑之外另一个明尼阿波利斯天桥连接这两座建筑，沃克艺术中心委托艺术家Siah Armajani设计一个行人通道。他设计的375英尺长的人行天桥横跨张开的高速路间隙，天桥是一对变形的反垂曲线形拱桥，天桥被画成淡蓝色和黄色。明尼阿波利斯的公园和湖泊像它的项链是作为当地无可比拟的宜居特色。艾琳希克森惠特尼桥重新整合雕塑公园，作为在这个链条的一个环节。确实，当我们一个走在桥上，雕塑园可以被看作是沃克艺术中心和Guthrie剧院大楼的盛大的新前景。

Answer 2

这篇文章在中国建筑工业出版社的《建筑学专业英语》第18页。

Answer 3

太长了。