架构师提供的文本描述。随着传统天主教信仰和现代技术的融合，圣玛丽大教堂的设想已经成为旧金山城市景观中一个独特的里程碑。由建筑师Pietro Belluschi和Pier Luigi Nervi设计，使用被认为是最顶级的线路工程，教堂的形式吸引了来自世界各地和宗教领域的游客。

Text description provided by the architects. With the fascinating fusion of traditional Catholic faith and modern technology, the Cathedral of St. Mary of the Assumption has become a distinct landmark in the cityscape of San Francisco. Designed by architects Pietro Belluschi and Pier Luigi Nervi using what was considered the most top of the line engineering, the form of the chapel attracts visitors from all parts of the world and religious spectrum.

 © Liao Yusheng

廖玉生

从十字架中汲取灵感，圣玛丽大教堂的建筑既强调垂直，又强调水平。随着冲天炉的清扫，眼睛被向上拉，心就意味着向天堂和上帝升天。

Taking inspiration from the cross, the architecture of the St. Mary’s Cathedral emphasizes both the vertical and the horizontal. As the eyes are drawn upward with the sweeping of the cupola, hearts are meant to uplift towards the heavens and God.

 © Liao Yusheng

廖玉生

圣玛丽大教堂在旧金山的艺术性质唤起了天地之间的结合，通过平衡的简单，成为可能通过现代工程。双曲线抛物面创造了一个优美的向上流动，直到它达到190英尺，在那里的四个角落在一个交叉。这座大教堂占地255平方英尺，顶有一个55英尺高的金色十字架。

The artistic nature of the St. Mary’s Cathedral in San Francisco evokes a union between heaven and earth through the balanced simplicity that becomes possible through modern engineering. The hyperbolic paraboloid creates a graceful flow upwards until it reaches 190 feet where the four corners meet in a cross. The cathedral measures 255 square feet and is crowned with a 55 foot tall golden cross at its apex.

 © Liao Yusheng

廖玉生

塔架支撑着楼面每个角落19层的冲天炉，每个塔的建造都能承受一千万磅的压力。在最窄的地方，塔的周长为24英尺，塔被嵌在基岩下面90英尺处。一个令人惊讶的1680年预铸三角金库包含了冲天炉的内部区域，有128个不同的三角尺寸。这些将结构的所有重量转移到地面，同时允许大窗户框架的城市圣弗朗西斯的阿西西。为了唤起人们对历史使命建筑的记忆，人们在地板上用红砖进行扫地。

Pylons support the 19-story cupola at each corner of the floor plan, each constructed to withstand ten million pounds of pressure. With a circumference of 24 feet at their narrowest points, the pylons are embedded 90 feet down into the bedrock. A surprising 1680 pre-cast triangular coffers comprose the inner area of the cupola, featuring 128 different triangular sizes. These transfer all the weight of the structure down to the ground, while allowing large windows to frame views of the city of Saint Francis of Assisi. To call on memories of historic mission architecture, red brick is used on the floor in sweeping patterns.

 © Liao Yusheng

廖玉生

在传统天主教大教堂的基础上，圣玛丽教堂的设计和经验的一个重要部分是彩色玻璃，它遍布建筑的四面。在结构的顶部，玻璃的四条线改变方向，水平运行，并与镶嵌玻璃图案形成交叉。

Drawing on more traditional roots of Catholic cathedrals, an important portion of the design and experience of St. Mary’s is the stained glass that travels up all four sides of the building. At the top plane of the structure, the four lines of glass change direction, running horizontal and creating a cross with the mosaic glass patterns.

 © Liao Yusheng

廖玉生

透过窗户的五颜六色的灯光突出了旧金山周围的景色，这是为了提醒教堂的与会者他们对上帝王国在地球上的工作的承诺。大教堂里有更多的艺术品挂在祭坛上；理查德·利波德的一座动感雕塑被金丝吊在离地面十五层的地方。

The colorful light that floods through the windows highlights views of the surrounding San Francisco city, which is meant to remind church attendees of their commitment to the work of the Kingdom of God on earth. More artwork in the cathedral hangs above the altar; a kinetic sculpture by Richard Lippold is suspended fifteen stories off the ground by gold wires.

 © Liao Yusheng

廖玉生

开创性事件发生在1965年8月，两年后，使徒代表路易吉·雷蒙迪(Luigi Raimondi)祝福了这块基石。建筑工程于1970年竣工。

Groundbreaking occurred in August of 1965, and two years later Apostolic Delegate Luigi Raimondi blessed the cornerstone. Construction was completed in 1970.

 © Liao Yusheng

廖玉生