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| Carrie Kuok |
Macau, Macau, Macau
Local time: 15:32 CST (GMT+8)
: Chinese (Variants: Cantonese, Traditional)
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|English to Chinese: All a-flutter with a fan|
General field: Other
Detailed field: Architecture
|Source text - English|
Client European Land
Architect Knight Architects
Structural engineer AKT II
Main contractor Mace
Steelwork contractor S H Structures
Mechanical designer Eadon Consulting
1. Bridge-spotters now have another reason to go to Paddington Basin in west London. For 10 years, Thomas Heatherwick’s unfurling Rolling Bridge has been demonstrated every Friday at midday. Now it has been joined by an even more spectacular new footbridge nearby, which creates a distinctive fan shape in its open position by splitting the fabricated steel deck into five ‘fingers’ raised in an action similar to that of a Japanese hand fan.
2. Martin Knight says it was important that the new bridge, positioned a short distance from the end of the basin, should have a touch of visual theatre in its opening mode. ‘We wanted it to be a spectacle because it is ultimately a folly. But even though it’s a folly it still had to be robust and reliable and meet a challenging budget,’ he says.
3. The first key decision was finalising the location. Knight challenged the direct crossing position given in the brief, which would have produced a span of 15m. Instead, he proposed a skewed alignment offset by 3m in response to the contours of a footpath and building on the north quay.
4. Like the Rolling Bridge, Knight’s 17.1m long crossing needed to fulfill the British Waterways requirement for all its waterways to be navigable. This left the designer with three main choices: a fixed elevated bridge, a horizontally opening swing bridge, or a vertically opening bridge.
5. The elevated option had the disadvantage of taking people away from the quayside and would lead to land ownership issues on the south quay. A swing bridge would also take out use of some of the quayside, and would crucially lack drama. In particular, Knight thought the side-opening mechanism would be too resonant of the 20m long narrow boats that manouvered at the end of the basin.
6. The chosen option is a far more exciting vertical-opening design achieved by a hydraulically operated hinged bascule mechanism, supported primarily from the north quay. To develop the design, the engineer and architect used Rhino with a Grasshopper modelling plug-in.
7. For the vast majority of the time, the bridge is closed, clearing the high tide by just 100mm to give a sense of walking on water. In this position, the bridge is sober in appearance, each deck beam slotting down onto a conical-tipped steel bar on a shelf on the southern quay. The most visible element is not the bridge deck itself but the integral five steel counterweights on the northern quay which balance the cantilevers. These counterweights, says Knight, are conceived as sculptural objects in the landscape that give a clue to the raised form of the bridge. A great deal of deliberation went into their scale – they needed to be visible but don’t compete in any way with the main event.
8. ‘There’s something nice about the understated quality of the bridge compared to the drama of when it’s open... We didn’t want a peacock there all the time,’ says Knight. The fabricated, 600mm wide trapezoid box girders are tapered from 900mm deep at the pivot point on the north of the quay to 300mm at the tip on the other side. These lock together laterally to form a rigid, single deck. One of the challenges was achieving only the narrowest of gaps – the client was adamant that there would be no danger of anyone catching a heel in the gap or of a glimpse of the water beneath. Each has a stainless steel edge strip which contains anti-skid surfacing.
9. ‘The 0-3mm tolerance required was very difficult to achieve for a moving bridge with pivoting,’ says Mark Randerson, operations director of S H Structures.
The bridge when lowered with the counterweights (to the left) forming part of the landscape.
10. As the bridge deck is raised by the hydraulic mechanism, the counterweights rotate down flush into the ground. Added spectacle is created by splitting the 3m wide deck into five parallel, equal beams that rise intentionally slowly in a graduated, sequenced flourish from 67° to 16°. This lowest beam achieves the required clearance at mid channel. The design allows each beam to move in windy conditions and to avoid any contact by offsetting the axis of rotation by 784mm between each finger. Each beam moves faster than the next to co-ordinate the fanning effect during the opening sequence, with manual override possible if necessary.
11. Five shaped counterweights are set behind the bridge’s hinge points to assist the hydraulic mechanism by reducing the energy required to raise the deck structure. These sculptural forms stand 3m high on the north quay and form the main visual interest to the bridge in its down mode.
12. The counterweights are continuous with the cantilever steelwork, having been fabricated as hollow boxes and welded to the beams at the workshop (below). They were fabricated from flat steel plates in sculptural conical form with one side flat and the other shaped to resemble, according to Randerson, segments of a flat-bottomed discus. They were welded, ground, sanded, shot-blasted and painted before being barged to the site with the deck. Because of the combined weight, they had to be transported hollow and filled with concrete only once they were installed on the quayside. Close fitting slots around the counterweights are designed to avoid any openings for people or objects to fall into. The concrete fill increased the weight of the counterweights from approximately four to eight tonnes each, with plates added to cover the nozzle holes.
13. When the cantilevered deck beams are raised, the counterweights pivot down into a 4m deep pit.
|Translation - Chinese|
鋼材承包人：S H Structures
1. 觀橋愛好者又有新的理由到訪西倫敦的帕丁頓流域(Paddington Basin)了。10年來，Thomas Heatherwick設計的捲橋(Rolling Bridge)都會在週五的正午時分打開，進行展示。現在，捲橋附近建起了一座全新的、更加吸引眼球的行人橋。這座橋在打開時會呈現獨特的扇形，組合而成的不鏽鋼橋面會展開成五根「手指」，在空中擺弄成日本和扇的形狀。
2. Martin Knight 認為這道距離河流盡頭不遠的新橋，在打開的時候，應該要帶點視覺劇場的味道。他說：「我們希望它能特別點，因為它終究是用於觀賞的。可儘管如此，這設計還是得穩健、可靠，而且造價不能超出預算。」
3. 首先要落實的是建造地點，這是一個重要決定。Knight否決了簡介會中提出的正交橋設計方案，此方案中，橋的跨徑長度(span)為15m。為了配合北岸行人道與建築物的景觀，Knight建議改為建造偏移量(offset) 3m的斜交橋 。
4. 這道長17.1m的橋也需要像捲橋一樣符合英國水路委員會 （British Waterways)的規定，即所有英國國內的水路需可通航。因為這個規定，設計師只能從以下三種設計中選擇了：固定的高架橋、水平開啓平轉橋和立轉式開啓橋。
5. 高架橋的缺點在於會減少岸邊的人流量和會引起南岸的土地擁有權糾紛。而平轉橋則會佔用岸邊部分土地，更重要的是它沒甚麼看頭。 考慮到在河流盡頭航行的是20m長的窄型船隻，Knight認為單側平轉開啓的機制會對來往船隻造成太大的共振反應。
6. 最終落實的是一個非常有趣的立轉式開啓設計，操作原理是以液壓驅動鉸接平衡機制，主要支撑點在北岸。在落實建造地點後，工程師和建築師利用安裝了Grasshopper 插件的Rhino軟件建模。
8. Knight 說：「對橋身質量的輕描淡寫與它升高時的出人意表形成了對比，這樣很好……我們可不想它一直孔雀開屏。 」裝配式梯形箱樑寛600mm，其深度從北岸樞杻點處的900mm遞減至南岸橋末的300mm。5根箱樑並排構成一扎實的橋面。當中的一個挑戰是要實現最窄間縫，因為委托人堅持不能讓行人鞋跟卡在間縫或者是從間縫看到橋下的河水。因此，每條間縫都配有防滑緣條。
9. S H Structure 的營運總監Mark Randerson表示：「對於有鉸鏈的開啓橋，要控制間縫在0-3mm範圍內是很困難的。」
10. 當橋面靠液壓機制升起時，各配重會旋轉至與地面齊平。更令人注目的是3m寬的橋面分成五條平行、等寬等長的橋面樑，依次緩緩升起，呈67o至16o 不等。當中最低的橋面樑也符合運河上的通航要求。扇橋的設計令橋身在大風天依舊能打開，并不會互相碰撞，這是因為每一條懸臂樑之間都與鉸鏈處呈784mm的偏移距 （offset)。每條橋面樑的轉動速度都較相鄰的快，以在升起過程營造開扇的效果。有需要時，這速度可進行人為修改。
11. 配重位於鉸鏈點後方，作用是節約液壓機制升起橋身結構時所需的能源。在橋身放下的時候，配重的造型就像是一座3m高的雕塑， 讓它成為北岸一道標誌性的風景。
|Master's degree - University of Newcastle Upon Tyne|
|Years of translation experience: 5. Registered at ProZ.com: Feb 2012. Became a member: Sep 2015.|
|English to Chinese (University of Newcastle)|
Chinese to English (University of Newcastle)
|Adobe Photoshop, Dreamweaver, Frontpage, Microsoft Excel, Microsoft Word, Powerpoint, SDL TRADOS|
|CV available upon request|
I am native in Cantonese and fluent in English and Mandarin. Moreover, I can write traditional and simplified Chinese.
I have received my postgraduate program on Translation Studies in Newcastle University and gained a bachelor degree on English (Translation) in Sun Yet-San University in China. As you can see on my CV, during the period of my university studies, I worked freelance or volunteered in translation and interpretation projects. (The reason why I stopped working as freelancer during my postgraduate studies is because my student visa did not allow me to do so in the UK. )
I am confident that six years of systematic training in translation and interpretation, along with my freelance experience, enable me to complete translation and interpretation task with professional quality.
Keywords: Subtitle translation, translation, interpretation
Profile last updated
Oct 31, 2015