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English to Chinese: China has just built the world’s longest elevated cycle path General field: Bus/Financial Detailed field: Business/Commerce (general)
Source text - English China has just built the world’s longest elevated cycle path
We’ve heard of Beijing’s nine million bikes and China referred to as the “Kingdom of Bicycles”. But the reality in many Chinese cities is that the car is king, and getting from A to B has become increasingly difficult – and dangerous – for the country’s cyclists.
However, the emergence of popular bike-sharing schemes, frustration with gridlocked roads, and efforts to tackle the country’s air pollution crisis are all helping to rekindle China’s love affair with cycling.
The southeast city of Xiamen has gone even further with the construction of a 7.6km elevated skyway for bikes – the world’s longest elevated cycle path.
Connecting the major residential and business sectors of the city, the aerial cycleway sits below Xiamen’s existing overhead bus transport system. At 4.8 m wide it has capacity for over 2000 bikes at a time, and will join up with 11 bus stations and two subway stations. As well as space to park bikes, it will also have bikes available to hire.
Designed and completed in six months, the project was the latest in a number of raised cycleways by Danish architects Dissing+Weitling. Another project, the ‘Bicycle Snake’, was completed in 2014. The 230 m bridge connects Copenhagen’s harbour area to the city.
More bikes than cars: this is the world's most bike-friendly city
Copenhagen had already cemented its status as a bike-friendly city with a cycle super-highway that connects the city with the suburban town of Albertslund, 22 km away. The eventual aim is to build a network of 28 cycle superhighways, covering 500 km. It is estimated the network will increase the number of cycle lanes in Greater Copenhagen by 15% and reduce public expenditure by €40.3m annually thanks to improved health.
Meanwhile, London is among other cities considering proposals for elevated bike paths. Architect Norman Foster unveiled plans to create a 220 km car-free cycle network around the city and surrounds. The city has already introduced a network of cycle superhighways on roads.
English to Chinese: Creating Compelling Destinations General field: Art/Literary Detailed field: Architecture
Source text - English Title: How Do We Move People?
Subtitle: Creating Compelling Destinations
The creation of every compelling destination begins with a vision. As designers, it’s our job to ask the right questions to tease out the details of each project’s unique vision and understand how to translate the intangibles of experience into the built environment. By thinking holistically and asking tough questions, we deliver our clients’ visions, so nothing is lost in translation.
Asking the right questions is about asking the questions that uncover the experiences people crave. People always come first.
How do we move people?
Designing heathy cities begins with understanding how we can better help people thrive in every aspect, including how they live, work, and play. Healthy cities also enable people to move around freely and easily. Robust public transportation systems offer safe, convenient, and affordable options for getting around. Meanwhile, easy connections between spaces and places increase pedestrian movement. The more we can get people walking to their destinations, the healthier they’ll be. How we get around is also changing dramatically as mobility evolves, including ride hailing and the proliferation of small vehicles in our urban spaces such as bikes, scooters, e-bikes, skateboards, “hoverboards” and other small battery-powered personal use transportation vehicles. With burgeoning mobility choices, less people are choosing to drive or even own cars.
The master plan for Coquitlam Centre repurposes the existing suburban shopping mall, located about 40 minutes east of Vancouver as a massive mixed-use development that could create a regional Town Centre that rivals those nearby. With the arrival of SkyTrain running along the border of the site, the site is positioned to become a major local transit hub and mixed-use community. The first phase is planned at Lincoln Station and will include a commercial component connected directly to the station. Development adjacent to the station will include restaurants, pubs, lounges, nightclubs, movie theatres, and live entertainment venues.
The Coquitlam Centre redevelopment is a high-density mixed-use plan that will feature a new street grid and pedestrian and bike infrastructure that revolves around creating the site as a destination rather than a through route. A strong focus on public realm introduces a preference for street retail over indoor mall or strip mall concepts, engaging people at ground level. Creating a new and exciting downtown core, the new Coquitlam Centre offers a community for people to live, work, play and move with ease.
English to Chinese: ACHS Product & Service Request Form General field: Medical Detailed field: Medical: Health Care
Source text - English Thank you for your interest in the Australian Council on Healthcare Standards (ACHS)
Founded in 1974 by the Australian Hospital Association and the Australian Medical Association, ACHS has become Australia’s oldest, largest, and most well-regarded healthcare quality improvement organisation. We are passionate about strengthening patient safety, quality, and outcomes both domestically and internationally through our unique approach to focusing on assessment, evaluation, and improvement of systems provided by trusted health institutions around the world.
Australia consistently ranks as one of the top healthcare systems internationally for the efficiency, outcomes, and overall care process provided by its public and private organisations. ACHS proudly represents the heart of the world-renowned Australian healthcare industry and looks forward to sharing our experience, expertise, and the unique Australian spirit with you on your continuous quality improvement journey.
We are glad that you are considering partnering with ACHS through our range of product and service offerings focused on quality and safety. To provide you with a proposal tailored to your organisation, we ask that you complete the following form with as much information as possible. This will allow us to determine the scope of services, pricing, and resources to best meet the needs of your organisation.
We are excited to be your potential partners in continuous quality improvement so to provide the best services, experiences, and outcomes for your patients.
Translation - Chinese 首先，感谢您对澳大利亚医疗养护标准委员会（ACHS）的关注和兴趣。
Yves Saint Laurent revolutionized 20th-century fashion. As T profiles his latest successor, Anthony Vaccarello, ahead of his sophomore show for the house, here are 10 of his greatest hits.
In 1960, Yves Saint Laurent unveiled his “Beat” collection for Christian Dior, inspired by the existentialists of Paris’s bohemian Left Bank. The collection was largely black, and featured this black leather jacket embossed with a crocodile pattern and lined in mink. It represented the first time a fashion designer had been openly inspired by youth culture — in effect, the collection was a precursor of the entire youth-obsessed 1960s, and the seismic upheaval about to shake fashion. But the Beat look, with its subcultural undercurrents, was too much for the then-conservative house of Dior, which refused to contest Saint Laurent’s call to compulsory army service later that year. When the designer was conscripted, Dior replaced him with Marc Bohan. The house of Yves Saint Laurent was founded a year later.
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For his spring 1971 collection, Yves Saint Laurent was inspired in part by childhood memories of his mother’s dress in 1940s Algeria — and also by the flea market clothes sported by his coterie of female friends, such as Paloma Picasso and Donna Jordan. This fur coat, with its broad padded shoulders and bright green hue, was a standout piece. But the collection — which is sometimes titled “Libération” — was lambasted by the press. France-Soir called it “Un grand farce,” London’s Guardian “a tour-de-force of bad taste.” The “bad taste” was in reviving the styles of a period of hardship and occupation in France — many saw the clothes as echoing the dress of the Vichy period, and France’s collaboration with the Nazis following the Armistice of June 1940. Despite the outcry, the collection’s emphatic shoulders and platform shoes proved highly influential.
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Yves Saint Laurent’s 1971 collection was frequently denigrated as “tarty,” and the models were compared to 1940s streetwalkers. “For years the eye was used to a boyish girl without breasts, waist or hips. I never thought the appearance of a true woman would provoke such a scandal,” Saint Laurent told The New York Times that year. The sinuous drape of this dress, hung with fox fur, is light-years away from the space age fashions of the 1960s — but indicates the sensuous shapes and styles, with a 1940s flair, that would be embraced throughout the 1970s.
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Devised in tribute to the Dutch artist Piet Mondrian, this jersey shift dress — one of a sequence of dresses in the collection devoted to the artist’s geometric works — caused a sensation when shown as part of Yves Saint Laurent’s fall/winter 1965 haute couture show. Rather than printed, each of the colored blocks and black bands of Mondrian’s original artwork are seamed into the garment — all the darts and fit seams are lost into the image of the painting.
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In the latter half of the 1970s, Yves Saint Laurent began a sequence of collections exploring folkloric dress — the most famous being his 1976 Ballets Russes collection, often dubbed “Rich Peasant” or “Hippy de luxe.” That October, he presented a ready-to-wear collection of 281 outfits; it lasted over two hours. A key piece was a light, front-laced corset top. Saint Laurent revived this and turned underwear into outerwear years before either Jean Paul Gaultier or Vivienne Westwood did.
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In September 1966, Saint Laurent opened a boutique on Paris’s Rue de Tournon to sell ready-made clothes, rather than made-to-order haute couture. Because of its place on the Left Bank — the area that originally inspired his “Beat” collection for Dior — he called the venture “Rive Gauche.” In retrospect, this was a revolution: a couturier creating mass-manufactured clothes with as much creativity and thought as his haute couture creations. One such design he introduced was the “Saharienne,” or safari jacket. The boutique founded not only an entire line of ready-to-wear — within five years, the number of Rive Gauche stores had ballooned to 38 across the globe — but democratized fashion and turned it into the industry we know today.
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In 1982, Saint Laurent declared “I am no longer concerned with sensation and innovation, but with the perfection of my style.” From then until his retirement in 2002, he would refine personal signatures and push his creations, specifically within haute couture, to new heights. He often did so through garments created to echo major works of art — there were evening ensembles created in tribute to Pierre Bonnard, capes alluding to Braque, and a pair of evening jackets thickly embroidered with Vincent Van Gogh’s irises and sunflowers, which cost more than $100,000. His spring/summer 1990 haute couture collection featured a series of homages — to his mentor Christian Dior, to the inspiration he found in Coco Chanel’s work, and to his couture house itself. This jacket was titled “Hommage à ma maison” — “Tribute to my couture house” — and its rock-crystal and gilt embellishments superficially resemble the mirrors and chandeliers of Yves Saint Laurent’s couture salons at 5 Avenue Marceau. The homage, however, was more to the people inside the house than the building itself. The embellishments of rock crystal were hand-embroidered by François Lesage’s ateliers. This piece represents 700 hours of work on the embellishment alone.
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By the end of the 1960s, Yves Saint Laurent’s position in fashion history was assured. In 1966, he showed his first “Le Smoking” tuxedos for women — although many were refused entry to fashionable restaurants if they were wearing pants. And he bared breasts, to gasps, in 1968. His enduring interest in art — first demonstrated by his Mondrian dresses — was evoked through collections that consciously referenced contemporary art and artists. This dress demonstrates a collaboration with the artist Claude Lalanne, who created a series of sculptures in gold-galvanized copper worn over chiffon evening dresses. It was an audacious marriage of sculpture and haute couture.
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Diana Vreeland, who was appointed editor in chief of Vogue in 1963, hailed Saint Laurent as the couturier for a new generation. His “Robin Hood” collection featured thigh-high crocodile boots paired with oilskin tunics and leather hooded caps, all of which linked back to the leather jackets that had so outraged Dior; it was barely three years later, and Saint Laurent was pushing couture to new extremes. Throughout the 1960s and 1970s, his innovations would cause scandal, but ultimately they helped invent the wardrobe of the late 20th century.
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Yves Saint Laurent created the wardrobe worn by Catherine Deneuve in Luis Buñuel’s 1967 film “Belle de Jour,” and continued to dress her for the rest of his career. Their styles became inextricably intertwined. Versions of this instantly-recognizable kinky patent trench coat with knitted sleeves — one of several precisely-cut Saint Laurent styles Deneuve wore and subsequently popularized — was simultaneously offered for sale at Saint Laurent Rive Gauche. In 1966, Deneuve had been among the boutique’s first customers, purchasing a trouser suit, a red coat, a jersey dress and several suede miniskirts, which she asked to be made even shorter.
Related:Inside the New Saint Laurent
Fashion and Apparel
Christian Dior SA
Yves Saint Laurent
Chinese to English: StoneGPS helps you buy directly from first-hand manufacturers in China! General field: Tech/Engineering Detailed field: Mining & Minerals / Gems
Translation - English StoneGPS helps you buy directly from first-hand manufacturers in China!
Thanks to international logistics, you can now skip the above multiple intermediaries and buy various stone products directly from first-hand manufacturers in China to meet your demands:
1. On stoneGPS.cn, there are 2,391 kinds of natural stones from over 50 countries including Italy, Spain, Greece, Turkey, Brazil, India and China that can meet your personalized demands. Over 3,000 manufacturers are exhibiting these stones to international customers in large-scale stone supermarkets in China’s main stone production bases. (slabs supermarkets photos) By visiting stoneGPS.cn, you will never suffer again from the limitation of local retailers. And we will assist you in buying stones from first-hand slab manufacturers and tailor to your needs. All slabs displayed on stoneGPS.cn are for you to choose from. (Click to view all 2,381 kinds of stones)
2. There are 3,321 professional factories of stone products, providing various types of stone products including countertops, sheets, mosaics, parquets, stone carvings and garden floor coverings, etc., to meet all the indoor and outdoor needs. You can find stones products for countertops, walls and floors for the living room, hallway, kitchen, dining room, bathroom, and garden. (Click to view all stone products available from Chinese manufacturers) stoneGPS.cn also displays a variety of complex hand-carved products in addition to flat products.
3. The stoneGPS.cn customer service team will consult with you to ensure that all products are customized according to your demand. We provide a one-stop solution for your purchase. You can inquiry and purchase directly from these Chinese manufacturers, or you can entrust us to purchase and arrange delivery to your location through your designated exporter.
English to Chinese: Imagination General field: Social Sciences Detailed field: Psychology
Source text - English IMAGINATION: The Science of Your Mind’s Greatest Power JIM DAVIES
CONTENTS
A Note from the Author Imagination: What It Is
Perception and Memory
Imagining the Future
Imagination, Feelings, and Morality Hallucination
Dreaming
Mind-Wandering and Daydreaming
Imagination as Mental Training, Healing, and Self-Improvement Imaginary Companions
Imagination and Technology
How Imagination Works
Final Words
Endnotes
Index
A Note from the Author
When I set out to write this book, I wanted to write something that bright high school graduates and university students could understand, but would also be a volume that scientists would appreciate, too.
This book uses information gleaned from hundreds of studies and scholarly works. In my field, many papers are coauthored, sometimes by six or more people. To reduce excess verbiage, I mention only the first author for a study in the text. The endnotes have all of the authors’ names. This does not necessarily mean that the first author did all or most of the work, though, in general, this is true. In science, the person in charge of the laboratory is usually the last author listed.
Furthermore, most of the scientists I cite here are psychologists. If I mention a name without referring to their field, assume they are a psychologist. When I cite someone from another field, such as philosophy or computer science, I will mention it.
Imagination: What It Is
Imagine a jar of peanut butter.
When you do this, you’re creating, in your mind, something that doesn’t exist—even if you’re imagining the jar you actually have in your cupboard, you’re creating something new. There’s the actual jar
of peanut butter, and then there is a separate thing in your mind: a representation of the jar, here and now, not where and when the physical thing actually is. The actual jar of peanut butter is made of plastic and peanut butter. The thing in your head, the “imagining,” is some pattern of neurons firing in your brain. Even when you use your imagination to remember something that actually happened to you, you’re creating a simulation of a time and place that no longer exists.
This is the essence of imagination: the creation of ideas in your head, composed from ideas, beliefs, and memories. Often, they are not simple ideas, but complex structures. The most spectacular use of imagination is in creativity, but this book isn’t about creativity, which requires the generation of something new and effective in some way. Acts of imagination need not be new or useful. Imagination also has great uses in more mundane tasks we do every day, such as planning the day. When you think of what route you want to use to get home, or you go through the logistics of where to park your bike, or figure out what order you should run your errands in, you’re thinking of possible realities that do not yet exist. Though we don’t often call these acts “creative,” they are fantasies, possible futures that don’t currently exist outside your mind. Even the simple act of considering what to do next is using your imagination.
When you picture a jar of peanut butter, if you’re like most people, you have an experience that is kind of like, but not exactly the same as, seeing it in real life. Likewise, when you have a song stuck in your head, or when you’re having a vivid dream, it can be a profoundly sensory experience. It’s called your “mind’s eye,” because it feels like you’re actually seeing things in your head. Likewise, we have a mind’s ear, nose, and tongue.
MENTAL IMAGERY
For most people, imagination in its clearest and most obvious form is mental imagery. You have the experience of “seeing” in both perception and in imagination, but in perception, the light or sound comes in from the outside world, and for imagination, the information comes from your memories.
Coming up with a precise definition of mental imagery is difficult, but coming up with a vague definition is pretty easy. Mental imagery tends to have some common characteristics: first, it is like experience with the senses. That is, if you create a mental picture of a boy chasing a fox, or imagine the sound of what the fox says, the experience is like a less-vivid version of actually looking at a boy or listening to a fox in the real world. Second, it happens in the absence of input from the environment that would normally cause it—it’s created by your own mind. Or, put more simply, the image in your head is not caused by what you’re currently perceiving.
This bit is important because even when your eyes are open, your mind can rope in memories and project imagination into the scene you’re seeing in the world. You might look at your living room and imagine how a red couch would look in it, in a kind of organic augmented reality. Imagining doesn’t have to be in the absence of all perceptual imagery, just in the absence of the stimulation that would normally produce the experience—in this case, an actual red couch.
In these examples, we generate imaginings with an act of will, but sometimes imagery comes automatically. For example, many people get spontaneous images when they’re reading novels. I’ve described disturbing things to people to have them tell me, sarcastically, “Thanks for that image.” People who experience trauma sometimes imagine the event, again and again. Not only do they not decide to reimagine the trauma, they can’t stop.
Chinese to English: Shared destiny, brilliant match General field: Art/Literary Detailed field: Advertising / Public Relations
Source text - Chinese 澳洲龙岩同乡会成立以后，积极为家乡龙岩市与澳洲五龙岗市缔结友好城市牵线搭桥。1998年上半年，同乡会陪同五龙岗市时任市长大卫.堪培尔先生率市政府代表团访问龙岩市，受到时任市委书记张夑飞、市长黄坤明的热情接待, 双方签署了缔结友好城市意向书。此后，双方市政府代表团实现了多次互访，龙岩同乡会都积极陪同和参与，为双方缔结友好城市，开展经贸文化交流，做出了独特贡献。
Translation - English The Australia Longyan Association has been actively facilitating Longyan and Wolongong City to become twin cities. Early in 1998, a delegation of the association accompanied David Andrew Campbell, the mayor of Wolongong City at that time, on an official visit to Longyan and were warmly received by ZHANG Xiefei, the party secretary of Longyan municipal committee of the CPC at that time, and HUANG Kunming, the mayor of Longyan at that time. The two sides signed the letter of intention for becoming twin cities. Since then, the government of the two cities paid many official visits to one another. The association actively participated in these visits and made unique contributions in forming twin cities and facilitating economic, trade and cultural exchanges.
In August 2015, the Australia Longyan Business Association was established in Sydney and Mr. LIAN Jinming was elected as the founding chairman. For the past few years, works have been done to grow the association as well as fostering cooperation with the Australia Longyan Association. Such cooperation further facilitated the economic, trade and cultural exchanges between Wolongong City and Longyan and promoted the friendly relationship between the two cities.
Chinese to English: Impact of Climate Change on Tibet Tourism industry Based on Tourism-Climate Index General field: Science Detailed field: Environment & Ecology
Source text - Chinese 摘要：气候变化是影响旅游地可持续发展的重要因素。本文基于1960-2016年西藏地区地面主要气象站的逐月观测数据，构建了包括海拔因素的旅游气候舒适度评价的改进模型，定量评估西藏各地区的旅游气候适宜性变化情况，划分了变化类型并提出相应的适应策略。结果表明：1960-2015年，西藏地区的气温增高了1.35℃，旅游气候舒适度变化明显，尤以羌塘高原、阿里山地、昆仑山地等区域为主，这些区域的温湿指数、风寒指数和着衣指数的变化幅度大于其他地区；不同月份的各类指数变化具有差异性，春季变化较大、夏季变化较小，藏西北地区的舒适指数有较大上升，气候舒适期在增长；藏东南地区的舒适度指数有所下降，中间地区的舒适度有缓慢增长趋势。根据本文构建的包括温湿指数、风寒指数、着衣指数和海拔适应性指数的综合评价方法，可以将西藏地区的旅游适宜性变化类型划分为降低型、低速增长型、中速增长型和快速增长型四种类型，不同区域应根据变化情况分类采用替代性旅游产品、加强节能减排技术应用和绿色基础设施建设等适应措施，合理控制旅游活动规模来适应和减缓气候变化对旅游地的影响。
Translation - English Abstract: Climate change is an important factor affecting the sustainable development of tourism destinations. Based on the monthly observation data of the main meteorological stations on the ground in Tibet from 1960 to 2016, this paper constructs an improved model of tourism climate comfort level assessment including altitude factors, quantitatively assesses the climate suitability trends in various regions of Tibet, divides the types of trends and put forward corresponding adaptation strategies. The results show that from 1960 to 2015, the temperature in Tibet increased by 1.35 °C, and the tourism climate comfort level changed significantly, especially in the areas of Qiangtang Plateau, Alishan Mountain and Kunlun Mountain. The fluctuation of temperature and humidity index, wind-chill index and Index of Clothing of these areas was larger than that of other regions. The changes of each index in different months are different, where the spring observes larger changes while the summer observes smaller changes. The comfort level in northwestern Tibet has increased, and the climate comfort period is expanding. In southeastern Tibet, the comfort level has declined and the comfort level in the middle has been slowly increasing. According to the comprehensive assessment method including temperature and humidity index, wind-chill index, Index of Clothing and altitude adaptability index, the types of tourism suitability in Tibet can be divided into reduced, low-speed growth, medium-speed growth and rapid growth. Different regions should adopt alternative tourism products, strengthen energy conservation and emission reduction technology applications and green infrastructure construction, and appropriately control the scale of tourism activities to adapt to and mitigate the impact of climate change on tourism destinations.
Chinese to English: Speech Script on the 20th Baselworld Watch Industry Leaders Meeting General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Translation - English On the 20th Baselworld Watch Industry Leaders Meeting
Speech Script
Dear Mr. President Jean-Daniel Pasche,
Distinguished leaders of watch industry,
I would like to extend my appreciation to all of you. Now please allow me to brief you on china’s development in watch industry.
1. Overall Development:
In 2017, the Chinese watch industry’s output amounted to 69.8 billion yuan, up 2.3% from a year earlier, showing a moderate upward trend. Export decreased while import increased. In terms of production, China produced 1.069 billion watches and movement—a 3.79% increase from a year earlier. Production of clock and movement amounted to 535 million, a 0.9% decrease than last year.
2. Export
According to Chinese Customs statistics, clock import and export amounted to $7.99 billion in 2017 and the total exports was $4.66 billion, a 7.8% drop than last year. Watch and watch movement export volume amounted 860 million which accounts for $2.53 billion, a 7.3% increase in volume but an 8.3% decrease in sell year on year. Clock and clock movement export volume amounted to 370 million, falling 6.2%; and their sells drops to $850 million, a 12% decrease year on year. Other exports value was $1.28 billion, falling 20.8% from a year earlier.
3. Import
Clocks imports totaled $3.33 billion in 2017, up 6.4% year on year. 24.61 million watches were imported in 2017, up 82% and its import value was $2.2 billion, up 18.8% year-on-year.
4. The current Chinese market,
In addition to the slow recovery of a small number of high-end watches in the Chinese market, most of the mid- to high-end watch have resumed a modest growth. This is a reflection of the increase in China’s spending power and consumption levels. The rigid demand driven by rational consumption is bound to develop steadily. On the sales channel, the development of online sales continues to increase, and offline sales show a shrinking trend.
I sincerely welcome you to China for cooperation and exchanges, and would love to provide you with convenience and relevant information!
Thank you all!
President of China Horologe Association
Hongguang Zhang
On March 23, 2018
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Master's degree - The Hong Kong Polytechnic University
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Years of experience: 8. Registered at ProZ.com: Feb 2020.
Help or teach others with what I have learned over the years
Bio
Yan Sifan is a Shanghai based CN-EN conference interpreter with a bachelor’s degree in English and a master’s degree in translating and interpreting.
He is trained by AIIC member and top-tier interpreters in Hong Kong and once worked as an intern simultaneous interpreter in UNFAO. He has provided simultaneous and consecutive interpreting service to Alibaba, FIBA, SCO, State Grid, Ping’an Bank, Schneider, Baidu, PUXIN Education, Baker Furniture, SASAC, etc.He also holds CATTI Level 2 Certificates for translators and interpreters. He sees simultaneous interpreting as an exciting, challenging and rewarding career and would love to devote his passion and energy to it.
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