Three-dimensional interior solutions from Jordan-Brans-Dicke Theory of Gravity

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建筑学 专业英语

建筑学 专业英语

1.The client's needs and desires must be the starting point in planning, as the house will be for him. Some of the factors involved are simple and need no explanation, while others are more complex and will be discussed.客户的需求和心愿必须首先考虑,因为房子是为他设计的。

有一些方面是简单的,不需要解释,然而有一些是复杂的,需要讨论的。

2.Since the 1990s, China has obviously speeded up its steps to open the architectural field to the outside world. That is fully testified by its extensive adoption of the competition mechanism, introducing international bidding for some important constructions. As a result, visions of domestic architects have been expanded, their mentality updated, and a number of prominent masterworks created.自1990年代以来,中国明显加快步伐向外界开放建筑领域。

通过广泛采用竞争机制说充分证实,为一些重要建筑物引入国际招标。

因而,国内的建筑师视野开放了,他们的心态提升了,并且创造了一些杰出的作品。

3.The first step in the development of the floor plan is to determine the approximate area requirements of the client, and to separate them into the three basic areas of a house:sleeping area, living area, and working area.建筑平面图发展的第一步是按照客户的要求决定大概的范围,并且把它分离成三个基础区域:睡眠区、生活区和工作区。

重庆理工大学材料科学基础双语翻译第3章modified翻译

重庆理工大学材料科学基础双语翻译第3章modified翻译
Fundamentals of Materials Science and Engineering
Review
1. Atomic structure结构 2. The two atomic models cited引用, and note the differences between them.
3. The important quantum-mechanical 量子力学principle原理 that relates to electron energies.
Fundamentals of Materials Science and Engineering
Learing Objectives目的

Understand the concept概念 of unit cell (晶包) and know how to utilize使用 it to explain the crystal structures晶体 结构 of metals金属. Know what are the main three metallic crystal structures 金属晶体结构 and illustrate举例 how the atoms are arranged for为 做安排 FCC, BCC and HCP structures. Understand the concepts概念 of the crystallographic 结晶 的directions and planes (晶向和晶面); grasp 抓住the general 一般的steps in插入 determining 决定the index指 数 of a given crystal direction结晶定向 or plane面.

重庆理工大学材料科学基础双语翻译第3章modified翻译

重庆理工大学材料科学基础双语翻译第3章modified翻译

Fundamentals of Materials Science and Engineering





Parallelism (平行, 对应, 类似) axe(轴) projection(投影) divide v. (除) multiply v.(乘) integer(整数) comma(逗点, 逗号) Enclose v.(装入) bracket(括弧) reduced(简化的)
Fundamentals of Materials Science and Engineering
be devoted to专心于: be dedicated to/ dealing with, being used for only one thing. 专于 Entity实体本质 n. pl. entities [c] something that exists as a single and complete unit 实体、整体
This Chapter will be devoted to (专于) the next level of 的等级 the structure of materials, specifically特别的, to some of the arrangements 安排that may be assumed 假定的 by atoms in the solid state固态. All metals金属, many ceramic materials陶瓷材料, and certain某些 polymers 聚合物form crystalline structures晶体结构 under normal 正常solidification 凝固 conditions条件. For those that do not crystallize使晶体, this longrange atomic order命令 is absent缺少; these noncrystalline非晶体 or amorphous非晶体物质 materials are discussed讨论 briefly 短暂at the end of this chapter.

建筑与设计英语主题作文

建筑与设计英语主题作文

建筑与设计英语主题作文Architecture and design are intrinsically linked fields that shape the physical spaces we inhabit. From the grand, iconic structures that define a city's skyline to the intimate details of a well-designed room, the principles of architecture and design play a crucial role in our daily lives. In this essay, we will explore the multifaceted relationship between these two disciplines and their profound impact on our built environment.At the heart of architecture lies the art of creating functional and aesthetically pleasing structures. Architects are tasked with the challenge of transforming abstract ideas into tangible, three-dimensional forms that not only serve a practical purpose but also evoke emotional responses from those who experience them. The design process involves a deep understanding of structural engineering, materials, and environmental factors, as well as a keen eye for proportion, balance, and visual harmony.One of the most striking examples of the power of architecture can be seen in the world's most renowned landmarks. The Eiffel Tower inParis, the Taj Mahal in India, and the Sydney Opera House in Australia are all iconic structures that have become synonymous with their respective cities. These buildings not only serve as functional spaces but also as cultural symbols that captivate and inspire people from around the globe. The architects behind these masterpieces have managed to create structures that transcend their practical purposes, becoming works of art that evoke a sense of wonder and awe.Beyond the grand scale of landmark buildings, architecture also plays a crucial role in shaping the everyday spaces we inhabit. The design of our homes, workplaces, and public spaces can have a profound impact on our well-being and quality of life. A well-designed office space, for example, can enhance productivity and collaboration by fostering a sense of openness, natural light, and ergonomic comfort. Similarly, a thoughtfully designed residential space can create a sense of warmth, serenity, and personal expression.The field of interior design is closely intertwined with architecture, as it focuses on the aesthetic and functional aspects of the spaces within a building. Interior designers work closely with architects to ensure that the overall vision for a space is cohesive and harmonious. They carefully select furnishings, materials, and color schemes to create environments that are not only visually appealing but also tailored to the specific needs and preferences of the occupants.The relationship between architecture and design extends beyond the physical realm and into the realm of sustainability and environmental responsibility. As concerns about climate change and resource depletion have grown, architects and designers have increasingly embraced the principles of sustainable design. This involves the use of energy-efficient materials, the incorporation of renewable energy sources, and the integration of natural elements into the built environment.One prominent example of sustainable architecture is the concept of "green buildings," which aim to minimize the environmental impact of a structure throughout its entire lifecycle, from construction to operation and eventual decommissioning. These buildings incorporate features such as solar panels, rainwater harvesting systems, and energy-efficient heating and cooling systems, all while maintaining a visually appealing and functional design.In addition to the environmental benefits, sustainable design can also have a positive impact on the well-being of the occupants. Studies have shown that exposure to natural light, greenery, and well-designed spaces can have a profound effect on mental health, productivity, and overall quality of life. As a result, the principles of sustainable design are becoming increasingly important in the planning and construction of both residential and commercialbuildings.The relationship between architecture and design is not limited to the physical realm but also extends into the digital world. With the rise of technologies such as virtual reality and augmented reality, architects and designers are able to create immersive, interactive experiences that allow users to explore and interact with proposed designs before they are even built. This has opened up new possibilities for the design process, enabling architects and designers to experiment with different ideas and receive feedback from stakeholders in real-time.Moreover, the integration of digital technologies into the design and construction process has also led to the emergence of new design methodologies, such as parametric design and generative design. These approaches leverage computational algorithms to generate and optimize design solutions, allowing for greater flexibility, complexity, and responsiveness to the unique needs and constraints of a project.As the world continues to evolve, the importance of architecture and design will only continue to grow. These disciplines will play a crucial role in shaping the built environments of the future, addressing challenges such as urbanization, climate change, and the changing needs of our societies. By embracing the principles of sustainability,innovation, and human-centric design, architects and designers have the power to create spaces that not only meet our practical needs but also enrich our lives and inspire us to think differently about the world around us.。

考研英语范文阅读模拟试题及答案解析2

考研英语范文阅读模拟试题及答案解析2

考研英语范文阅读模拟试题及答案解析Much of the language used to describe monetary policy, such as steering the economy to a soft landing or a touch on the brakes, makes itself sound like a precise science. Nothing could be further from the truth. The link between interest rates and inflation is uncertain. And there are long, variable lags before policy changes have any effect on the economy. Hence there is an analogy that likens the conduct of monetary policy to driving a car with a blackened windscreen, a cracked rearview mirror and a faulty steering wheel.Given all these disadvantages, central bankers seem to have had much to boast about of late. Average inflation in the big seven industrial economies fell to a mere 2.3% last year, close to its lowest level in 30 years, before rising slightly to 2.5% this July. This is a long way below the double-digit rates which many countries experienced in the 1970s and early 1980s.It is also less than most forecasters had predicted. In late 1994 the panel of economists which The Economist polls each month said th at America’s inflation rate would average 3.5% in 1995. In fact, it fell to 2.6% in August, and is expected to average only about 3% for the year as a whole. In Britain and Japan inflation is running half a percentage point below the rate predicted at the end of last year. This is no flash in the pan; over the past couple of years, inflation has been consistently lower than expected in Britain and America.Economists have been particularly surprised by favourable inflation figures in Britain and the United States, since conventional measures suggest that both economies, and especially America’s, have little productive slack. America’s capacity utilisation, for example, hit historically high levels earlier this year, and its jobless rate (5.6% in August) has fallen below most estimates of the natural rate of unemployment-the rate below which inflation has taken off on the past.Why has inflation proved so mild? The most thrilling explanation is, unfortunately, a little defective. Some economists argue that powerful structural changes in the world have upended the old economic models that were based upon the historical link between growth and inflation.1. From the passage we learn that ________.(A)there is a definite relationship between inflation and interest rates(B)economy will always follow certain models(C)the economic situation is better than expected(D)economists had foreseen the present economic situation2. According to the passage, which of the following is TRUE?(A)Making monetary policies is comparable to driving a car.(B)An extremely low jobless rate will lead to inflation.(C)A high unemployment rate will result from inflation.(D)Interest rates have an immediate effect on the economy.3. The sentence This is no flash in the pan (line 5, paragraph 3) means that ________.(A)the low inflation rate will last for some time(B)the inflation rate will soon rise(C)the inflation will disappear quickly(D)there is no inflation at present4. The passage shows that the author is ________ the present situation.(A)critical of (B)puzzled by (C)disappointed at (D)amazed at1.(C)意为:经济形势比预想的好。

(完整版)工业设计专业英语词汇

(完整版)工业设计专业英语词汇

设计Industrial design 工业设计modern design 现代设计Product design 产品设计commercial design 商品设计One-dimension design 一维设计toy design 玩具设计environment design 环境设计display design 展示设计Interior design 室内设计costume design 服装设计model change design 改型设计Structure design 结构设计Concept design 概念、构思设计form design 形式设计Dynamic design 动态设计family design 家庭式设计Compact type design 超小型设计set design 成套设计pocket type design 袖珍型设计unit design 组合式设计portable type design 便捷式设计series design 系列化设计bionics design 仿身设计editorial design 编辑设计Layout design 排版,版面设计lettering design 字体设计Window design 橱窗设计design sketch 设计素描Design condition 设计条件design survey 设计调查色彩Object color 固体色proper color 固有色Coloring material 色彩色料unique color 纯色Three primary colors 三原色primary color 一次色Secondary color 二次色third color 三次色Complementary color 互补色analogous color 类似色Three-component theory 色觉三色学说color space 色空间color vector 色矢量Newton's color cycle牛顿色环color mixing 色彩混合Opponent color theory 拮抗色彩理论Hue 色相value 亮度chrome 明亮度,色度chrome 彩度Chromatic color 有彩色achromatic color 无彩色Fashion color 流行色材料Inorganic material 无机材料organic material 有机材料Artificial material 人造材料nature material 天然材料Processing material 加工材料composite material 复合材料ferrous metal 黑色金属nonferrous metal 有色金属Metal material 金属材料material appraisal 材料评价Light metal material 轻金属材料toughened glass 钢化玻璃成型Compression molding pressing 压缩成型Visual sign 视觉符号Visual communication 视觉传播graphic sign 图形符号hearing communication 听觉传播Law of advertising 广告法规advertising effect 广告效益Outdoor advertising 户外广告industry pocking 工业包装Registered trade mark 注册商标美和艺术Acuter beauty 现实美nature beauty 自然美Social beauty 社会美artistic beauty 艺术美Formal beauty 形式美beauty of technology 技术美beauty of machine 机械美functional beauty 功能美Time arts 时间艺术space arts 空间艺术Plastic arts 造型艺术performance arts 表演艺术language arts 语言艺术synthetic arts 综合艺术Practical arts 使用艺术Technology aesthetics 技术美学design aesthetics 设计美学Production aesthetics生产美学commodity aesthetics 商品美学构成compositionTwo dimensional composition 二维构成three dimensional composition 立体构成color composition 色彩构成Composition of space 空间构成Composition of sound 音箱构成Unity of multiplicity 多样化与统一Golden section 黄金分割Organic form 有机形态abstract form 抽象形态Simplified form 简化形态透视perspectiveLiner perspective 线透视parallel perspective 平行透视Angular perspective 成角透视oblige perspective 斜透视Single(two,three)point perspective 单点(两点,三点)透视Birds eye view 鸟瞰图proud plain 平面视图模型modelClay model 粘土模型plaster model 石膏模型Wooden model 木质模型scale model 缩小模型Mock up model 一比一制作模型finished model 仿真模型Frame model 框架模型solid model 实体模型Computer image processing 计算机处理模型比例几何因子在协调产品形态设计中的应用摘要: 现代产品整体通常是由多个功能模块或单元体构成,由于各模块功能不同,其单元体会呈现出不同的形态和空间,协调各单元体之间与整体的形态关系,成为现代产品形态设计中主要问题。

不同载荷形式下复合材料层合板渐进失效行为研究

不同载荷形式下复合材料层合板渐进失效行为研究

第43卷第5期2021年5月舰船科学技术SHIP SCIENCE AND TECHNOLOGYVol.43,No.5May,2021不同载荷形式下复合材料层合板渐进失效行为研究袁昱超,赵新豪,王艺伟,薛鸿祥,唐文勇(上海交通大学海洋工程国家重点实验室,上海200240)摘要:近年来复合材料在船舶与海洋工程领域得到快速发展。

船舶在服役周期内受载复杂,主要承载板材除受典型的面内拉压外载外,免不了遭受横向波浪载荷作用。

研究复合材料层合板在不同载荷形式下结构的响应特征与损伤演化特性,有助于先进复合材料的性能评估及优化设计。

本文采用三维实体单元及内聚力单元建立复合材料层合板模型进行计算分析,考察拉压载荷下层合板的极限承载能力与渐进失效过程,研究在横向载荷下层合板结构强度,对比分析其层内及层间损伤模式的差异性。

关键词:复合材料;层合板;不同载荷形式;渐进失效;内聚力单元中图分类号:TV35文献标识码:A文章编号:1672-7649(2021)05-0001-09doi:10.3404/j.issn.l672-7649.2021.05.001Progressive failure behavior of composite laminates under different load forms YUAN Yu-chao,ZHAO Xin-hao,WANG Yi-wei,XUE Hong-xiang,TANG Wen-yong (State Key Laboratory of Ocean Engineering,Shanghai Jiaotong University,Shanghai200240,China)Abstract:Composite materials have been developed rapidly in the naval architecture and ocean engineering over re­cent years.During the service period,ships experience complicated loads.The primary plates suffer not only in-plane ten­sion and compression but also transverse wave loads.Researches on the structural response and damage evolution character­istics of composite laminate plates under different load forms are helpful for the performance evaluation and optimization design of advanced composite materials.This paper adopts three-dimensional solid elements and cohesive elements to estab­lish a composite laminate plate model.Firstly,the ultimate bearing capacity progressive failure process of the laminate plate with tension and compression loads are analyzed.Then,the structure strength of the laminated plate with transverse loads is investigated,and the differences of the inter-and interior-layer damage modes under different load forms are discussed in detail.Key words:composite material;laminate plate;different load forms;progressive failure;cohesive elemento引言复合材料在结构工程中的应用日益广泛,复合材料的损伤与失效问题也受到人们的关注。

我的奇思妙想英语作文优秀范文可折叠式的小房子

我的奇思妙想英语作文优秀范文可折叠式的小房子

我的奇思妙想英语作文优秀范文可折叠式的小房子全文共3篇示例,供读者参考篇1My Fanciful English Composition: An Excellent Model of a Foldable Mini HouseAs an imaginative student, I often find myself daydreaming about fantastical creations that could make our world a little more exciting. One idea that has captured my imagination is the concept of a foldable mini house. This hypothetical dwelling would be compact, portable, and utterly unique – the perfect blend of practicality and whimsy. Allow me to elaborate on this fanciful notion in the form of an English composition.Imagine a structure no larger than a garden shed, yet capable of unfolding into a cozy living space complete with all the essential amenities. At first glance, it might resemble an unassuming rectangular box, but within lies a marvel of engineering and design. Crafted from lightweight yet durable materials, this portable abode could be easily transported from one location to another, making it an ideal choice foradventurers, nomads, or anyone seeking a unique living experience.The true magic of this foldable mini house, however, lies in its ability to transform. With a series of hinges and ingenious folding mechanisms, the structure can expand and contract like a intricate piece of origami. In its compacted state, it occupies minimal space, allowing for easy storage or transportation. But with a few strategic movements, the dwelling unfurls into a fully functional living quarters.As the walls unfold, windows and skylights emerge, flooding the interior with natural light and creating a sense of openness that belies the structure's modest footprint. The efficient layout maximizes every square inch, with a compact kitchen, cozy sleeping area, and a multifunctional living space that can adapt to various needs.Imagine waking up in this remarkable abode, surrounded by the beauty of nature, yet enjoying all the comforts of a modern dwelling. The kitchen, though compact, would be equipped with essential appliances and storage solutions, allowing you to prepare simple meals or indulge in your culinary passions. The sleeping area, while snug, would offer a comfortable retreat for restful nights, with clever storage solutions for your belongings.But the true charm of this foldable mini house lies in its versatility. Envision setting it up in a secluded forest clearing, surrounded by towering trees and the gentle whispers of a nearby stream. Or perhaps you'd prefer to position it on a seaside cliff, with panoramic views of the vast ocean and the soothing sounds of crashing waves. The possibilities are endless, as this portable dwelling can adapt to virtually any environment, offering a unique and ever-changing living experience.Moreover, the foldable mini house could be tailored to suit individual preferences and needs. Customizable features could include solar panels for off-grid living, rainwater collection systems, and even a compact greenhouse for growing fresh produce. The interior design could reflect your personal style, with options for minimalist or cozy decor, allowing you to create a truly personalized living space.Imagine the freedom and adventure that this foldable mini house would bring. You could embark on a cross-country journey, setting up your temporary home in breathtaking locations along the way. Or perhaps you'd prefer a more sedentary lifestyle, moving your abode to a different scenic spot every few months, immersing yourself in the diverse landscapes and cultures of your region.Beyond its practical applications, the foldable mini house represents a celebration of human ingenuity and a harmonious coexistence with nature. By minimizing our environmental footprint and embracing a more sustainable way of living, we can experience the beauty of the world without compromising its integrity.As a student with a vivid imagination, I can envision countless scenarios and possibilities for this foldable mini house. Perhaps it could serve as a remote workspace for artists, writers, or researchers seeking solitude and inspiration. Or it could be a cozy retreat for couples seeking a romantic getaway in the heart of nature. The applications are as boundless as the human imagination.In conclusion, the foldable mini house is a manifestation of our ability to think outside the box and reimagine the way we live. It combines functionality, sustainability, and a sense of adventure, offering a unique and ever-changing living experience. While this concept may currently exist only in the realm of imagination, who knows what the future holds? Perhaps one day, we'll witness these extraordinary dwellings dotting the landscapes, serving as a testament to human creativity and our enduring connection with the natural world.篇2My Fanciful English Composition: An Excellent Model for a Foldable Little HouseAs an imaginative student, I often find myself daydreaming about peculiar concepts that could revolutionize the way we perceive and interact with our surroundings. One such notion that has captivated my mind is the idea of a foldable little house – a compact, portable dwelling that can be easily transported and assembled wherever desired. In this fanciful English composition, I shall paint a vivid picture of my innovative concept, exploring its practicality, potential applications, and the numerous advantages it could offer to modern society.Imagine a structure no larger than a suitcase when folded, yet capable of unfolding into a fully functional living space. This foldable little house would be constructed using lightweight, durable materials that are both environmentally friendly and cost-effective. The exterior could be crafted from aweather-resistant, insulating material, ensuring protection from the elements while maintaining a comfortable interior temperature.At the heart of this design lies the ingenious folding mechanism, which would allow the entire structure to collapse into a compact, easily transportable form. This mechanism could involve a series of hinges, joints, and sliding panels that seamlessly interlock, transforming the dwelling from a flat, condensed state into a three-dimensional living space with the mere push of a button or pull of a lever.Once unfolded, the interior of the foldable little house would reveal a surprisingly spacious layout, complete with all the necessary amenities for comfortable living. A cozy sleeping area, a compact kitchenette, and a multi-purpose living space could all be integrated into the design, maximizing the utilization of every square inch.Imagine the convenience of being able to pack up your entire home and relocate it effortlessly, whether you're embarking on a cross-country adventure, seeking temporary housing during a renovation, or simply yearning for a change of scenery. The foldable little house would eliminate the need for costly and time-consuming moving processes, granting you the freedom to pick up and go whenever the wanderlust strikes.Beyond its portability, this innovative concept could also prove invaluable in emergency situations or disaster relief efforts.Imagine being able to rapidly deploy temporary shelters to provide safe havens for displaced individuals or aid workers in remote or hard-to-reach areas. The foldable little house could offer a sustainable and efficient solution, reducing the logistical challenges and environmental impact associated with traditional temporary housing solutions.Furthermore, the foldable little house could revolutionize the way we approach housing in densely populated urban areas. With its compact footprint, these dwellings could be strategically placed in underutilized spaces, such as vacant lots or rooftops, providing affordable and accessible housing options without the need for extensive construction projects.Envision a future where individuals could own multiple foldable little houses, each serving a specific purpose – a cozy retreat in the mountains, a beachside getaway, or even a mobile office or workspace. The versatility of this concept is truly boundless, limited only by the imagination of its designers and users.Of course, the realization of such an ambitious project would require extensive research, development, and collaboration among engineers, architects, and material scientists. Challenges such as optimizing the folding mechanisms, ensuring structuralintegrity, and integrating efficient utility systems would need to be addressed. However, with the rapid advancements in technology and the growing demand for sustainable and adaptable living solutions, the foldable little house could very well become a reality in the not-too-distant future.In conclusion, my fanciful English composition has aimed to illustrate the incredible potential of the foldable little house concept. From its portability and convenience to its applications in emergency relief and urban housing solutions, this innovative idea holds the promise of revolutionizing the way we perceive and interact with our living spaces. Imagine the freedom and flexibility of being able to pack up your entire home and venture forth, exploring new horizons without the constraints of traditional housing. The foldable little house is a testament to the boundless creativity and ingenuity of the human mind, and I eagerly await the day when this whimsical notion becomes a tangible reality.篇3My Whimsical Idea: A Foldable Mini HouseEver since I was a little kid, I've had a wild imagination that never stops churning. While other children fantasized aboutbeing superheroes or princesses, my mind wandered to the most outlandish contraptions and inventions. From solar-powered roller skates to a remote-controlled pillow that could fluff itself, no idea was too bizarre for my overactive brain. However, one concept has stuck with me through the years, evolving from a rudimentary childhood dream into a full-fledged obsession – the foldable mini house.Now, I know what you're thinking: "A foldable house? Is this kid crazy?" Hear me out, though. In a world of rapidly evolving technology and increasing mobility, the need for compact, portable living spaces is becoming more apparent. Think about it – a house that can fold up into a neat little package, transportable virtually anywhere. It's the ultimate combination of convenience and coziness.The concept is deceptively simple, yet delightfully ingenious. Imagine a structure that resembles a large briefcase or a shipping container when collapsed. But with the push of a button or the turn of a crank, it unfolds like a blossoming flower, transforming into a fully functional miniature home. The walls, floors, and ceilings would be made of lightweight, durable materials that can bend and fold without compromising structural integrity.Picture this: You've just landed in a new city for a work assignment or a spontaneous adventure. Instead of hunting for temporary housing or dealing with the hassle of hotels, you simply whip out your foldable mini house from the trunk of your car or the overhead compartment of an airplane. In a matter of minutes, you've got your own self-contained living space, complete with all the amenities you need – a kitchenette, a bathroom, a cozy sleeping area, and perhaps even a tiny outdoor patio.But the beauty of this invention goes beyond mere convenience. It could potentially revolutionize the way we think about housing, shelter, and even disaster relief efforts. In the aftermath of natural calamities, when entire communities are displaced, these foldable mini houses could be airdropped or truc。

三维声腔模态的等几何计算分析

三维声腔模态的等几何计算分析
Abstract: Three-dimensional interior acoustic modeling and inherent characteristics are investigated using isogeometric analysis ( IGA) , which aims at the modeling of the complex acoustic field. The nonuniform rational B-spines ( NURBS) employed to exactly build acoustic cavities also serve as the basis for interior acoustic fields governed by the Helmholtz equation. Compared with the traditional finite element method, IGA keeps the accurate geometric model, avoids the traditional tedious meshing step, and unifies the geometric modeling and numerical simulation. This paper presents modal calculation and analysis of elliptical cylindrical cavities, whose cross sections are ellipse, elliptical annulus, and ellipse with an eccentric circular hole, respectively. Numerical examples show that IGA has a fast convergence rate and high calculation precision. The wavenumbers of an elliptical cylindrical cavity obtained by cubic NURBS agree well with the analytical values. For an elliptical truncated cone, the wavenumbers increase as the eccentricity increases. For an elliptical annulus cylindrical cavity, the variation of wavenumbers becomes complex. Keywords:isogeometric analysis; NURBS; Helmholtz equation; geometric modeling; numerical simulation; elliptical cylindrical cavity; wavenumber; modal analysis

关于建筑文章中英文对照

关于建筑文章中英文对照

关于建筑文章中英文对照这几年,城里大兴土木,建起许多高层建筑,建筑工地上,工人们干得热火朝天的。

下面小编整理中英文对照的关于建筑文章,希望大家喜欢!中英文对照的关于建筑的文章品析能绘制建筑能效的新工具Architects, engineers and building supervisors will soon be able to quickly collect informationthat once took weeks to measure and process.Scientists have developed a device to gather information about building interiors – the designand exact measurements of a building. The scientists are with the University of California,Berkeley. Their invention connects to a backpack that can be carried on a person's back.The device requires only one pass through a building to create a three-dimensional, or 3D,model of the structure. In other words, the model shows an object's height, width and depth.The device also is able to collect other valuable information related to the building's energyusage.An older building may need a new, more efficient heating and cooling system. Experts say thefirst thing you need to know is the exact shape of all rooms in the building. You have toconsider the size and position of heating and cooling equipment, windows and doors. Anotherconsideration is the placement of electrical outlets –the areas where electrically-operatedequipment can be connected to the power supply.Annie Marston is with Baumann Consulting, the business that developed the new device. Shesays that instead of using a team of experts with laptop computers and other devices, itwillsoon be possible to send only one person with a space-age backpack."The backpack is something you can wear, which has all the sensors on the back, which canthen walk through a building and detect the geometry, the lights, the plug load, and once youtake it out, you can create a 3D model which can show an IR (infrared) image of each of thewalls and look at the thermal capacity of the building, and then it can be transferred into anenergy model, and the energy model could be run and look at how the energy is dispersedwithin the building, and that's when we start looking at saving measures and things like that."Weather experts use a scientific instrument called a barometer to measure pressure inEarth's atmosphere. But the device uses a barometer to estimate height. Instruments calledmagnetometers act as 3D compasses. They gather information about metallic structures.The University of California scientists say they can create a virtual map with an accuracy of plusor minus 10 centimeters. They say the device uses a mathematical problem to add surfaces tothe walls and floors. This can be used for architectural design or to run tests on energy usage.Annie Marston says the device may be very useful to energy testers and engineers but also tobuilders and the construction industry."When they are building a new construction, it will be great to have a model of the ducts andthe pipes before the walls are closed up, so in later years you know where everything is," shesays.Researchers say they are now working to lower the weight of the backpack from 15 to about 10kilograms. But the price of thedevice is about $20,000. Researchers predict the device will beavailable for loan at a much lower price.经典中英文对照的关于建筑的文章The basic feature of Chinese architecture is rectangular units of space joined together into awhole. Temples in ancient Greece also employed rectangular spaces,but the overall effecthad austere tendencies. By contrast, the Chinese style combines rectangular shapes varyingin size and position according to importance into an organic whole with each level andcomponent clearly distinguished. As a result,traditional Chinese style buildings have animposing yet dynamic exterior.中国建筑的基本特征是将矩形空间单位连成一个整体。

关于汽车造型设计的英文文献

关于汽车造型设计的英文文献

Developing a vehicle is an arduous process of design and evaluation, trial and error - constant improvement and adaptation. Initial design concepts go through a range of stages to bring them closer to realisation and modelling is key to evaluating a design at each stage.Modelling can take several forms. Traditionally, clay models have been used at various scales to help understand and resolve the form and proportions of a vehicle. To varying degrees, this has been supplemented, sometimes even replaced, by CAD modelling. Whilst clay is still a medium used to evaluate predominantly visual characteristics, CAD systems can additionally help evaluate other factors such as aerodynamics, impact scenarios and other physical considerationsClay ModellingClay modelling is one of the most established 3D visualisation techniques used in the automotive industry.Clay modelling is one of the oldest a nd most traditional methods used in car design. Studios are divided in their preferences relating to CAD or clay but many believe that it remains one of the best ways to visualise developing designs in three-dimensionsGM modellers use renderings, sketches and tape drawings as reference to create a 1/4 scale half model. Using a mirror in this way enables modellers to produce results more quickly. With full proportioned models, substantial time is spent balancing one side with the other.In this view it is possible to see the rig beneath the clay. In the rear wheel arch the base can be seen along with the core of light blue modelling foam.Clay has been used since the earliest stages of car design and emphasises the strong links between three-dimensional automotive styling and sculpture. Working on the form of a vehicle in clay is a very tight form of sculpture, reliant upon a expert eye and an advanced perception of form and proportion.Clay modellers work on the Holden FJ many decades ago. This practice is still common today. The modellers shown here are using, amongst other things, gauges to measure height and depth (to balance both sides) and profile guides to ensure the model corresponds to the design. Manual MethodWith the rig configured, clay is applied. Using a system of '10-lines', reference points are transferred from the drawings to the model. Clay is built up to match the profile from the drawings and is then added to fill out all the proportions.From here, designers can either rigidly follow their drawings, creating guides and templates to help develop the model from the package drawing, or they can begin to experiment and develop the form freely. The beauty of automotive styling clay is its ability to be reworked and continually adjusted. This freedom of form development is rarely matched by computer.Chevrolet designers work on a full scale Corvette model. Dynoc has been applied to give the impression of real glass and upper body paintwork. Real wheels add to the effect whilst designers make final adjustments to the surfaces Automated MethodInstead of designers and modeler labouring over a clay for weeks, many car firms are now in the habit of sending a CAD model directly to a specialist milling machine. The machine can precisely mill out the form and proportions of the 3D computer design in a relatively short period of time, although humans may still be called in to finish the surfaces or make slight adjustments. Although most aspects of a design can be resolved on computer, especially with the aid of virtual reality evaluation, almost all companies will still produce a full size clay towards the end of the process. The cold light of day can produce suprie that manufacturers want to be aware of beforea vehicle enters tooling and production phases.Once a vehicle is completed, one of several next steps may be taken. If the vehicle is to be shown as a concept, it might be painted and detailed but will more likely become the template for 'hard modellers' to use to create a production look-a-like with individual panels, real glass and details as well as an interior.If the vehicle is ready for production, it will usually be scanned using 3D digital equipment which will in turn create a new CAD wireframe model. This will be tweaked by CAD specialists to remove imperfections before being passed on to engineers who will begin the arduous process of creating panels, componentry, drivetrain and propulsion based on the design.Of course, if a vehicle was simply an in-house research project, as many are, it may never be seen by the public; in fact the clay may be reused in later projects. These Holden models give an idea of the processes involved and their purpose. Both vehicles are full-size clays that give an accurate representation of the proposed vehicles. Applying a neutral coloured paint and sitting the model outside in a typical working environment is about the most accurate way to assess a concept's visual impact without actually building it.The vehicle in the upper image appears to be in the later stages of development. Details such as light graphics, shut lines and Dynoc to imitate glass allow designers to quickly and effectively evaluate the model.SketchingThe earliest stage of the design process is the creation of initial concept sketches. The sketches are a relatively quick way to visualise ideas, themes and styles. In a typical design studio, a team of designers may be asked to submit initial ideas for a vehicle which will subsequently be narrowed down and further developed. Often, a dozen or so initial ideas will be evaluated, with further development of two or three before a final solution is chosen. At each stage, designers whose work is not chosen will be redeployed to assist in the development of the chosen ideas or posted to another project. Typically, one team is responsible for the interior whilst another takes charge of the exterior.As the sketches develop, more time will be spent on creating resolved an accurate views. These drawings will form the basis for a simple package and, in the later stages, will be developed alongside a scale model clay or CAD model.The interior rendering above is a hand-drawn, highly finished view of the dashboard of the Avantime. Following initial ideas, after resolving the view, proportions and perspective a rendering like this is produced. It is drawn lightly in pencil before colour is added using markers. This illustration uses mainly light yellows and cool greys. The metallic effect is achieved by banding white with very light blues. Additional light, shade and line definition is added with coloured pencil. Light mapping lines (as visible vertically on the driver's door) are sometimes used to help illustrate changes in form in addition to colour and tone. Image courtesy & ©Renault.This illustration of Ford's Mustang GT Coupe concept has most likely been developed from a sketch and then reworked in a programme such as Adobe Photoshop. The image is particularly powerful because of its crisp lines and blurred movement effect. Creating this effect is arduous with traditional airbrush techniques but is far more straight-forward in Photoshop. First of all, an image is scanned in and cleaned up, removing unwanted elements and adjusting the brightness and contrast. To create the airbrushed effects, a path is drawn around an area - accurately demarcating the section to be airbrushed.then, the path is made into a selection marquee, a new layer is created and the desired brush tool can be used within the specific area. This can be repeated and adjusted until the right result is achieved.Each section in turn is treated this way; this is not the only process involved, but it is the most significant.CAD ModellingComputers are now used to accelerate virtually every aspect of vehicle development. Computer aided design (CAD) modelling allows designers and engineers to resolve increasingly large amounts of a vehicle before even the first model is made.CAD - Computer Aided DesignComputers have been used in the design of cars for many years. The automotive industry has been one of the leading forces for CAD development alongside aerospace and the military. In fact, some years ago, the British military research unit - DERA - and Ford initiated a joint development programme to investigate new computer design technologies.As with all the things in the world of computers, things started big and expensive and eventually became cheaper and smaller. Although design studios may now have large CAD walls to visualise developing vehicles, it is also possible to work on the design of a car from a single PC. There are a few, core systems and programmes used in the automotive industry. In this section, we look at the key features of each ranging from specifications to usage.Key CAD Programmes1 Alias AutoStudioAlias began in the early 80's in Toronto as 'Alias Research'. In 1995, Silicon Graphics (SGI) bought Alias Research of Toronto and Wavefront Technologies of Santa Barbara forming 'Alias Wavefront'. In 2003, twenty years after its inception, the company took the name 'Alias'.Alias produces the leading automotive design software AutoStudio. AutoStudio is a programme to design and visualise full scale automotive projects. It is accompanied by a range of hardware and software products including sketching tools and advanced rendering and visualisation functions. AutoStudio customers include: BMW, Fiat, Ford, General Motors, Honda and Italdesign.What it doesAlias AutoStudio allows a user to access a range of features which assists them in everything from concept sketches to Class-A surfacing.Principle FeaturesSketchingConcept DesignCloud Data ProcessingAdvanced ModellingAdvanced Surface EvaluationVisualisationCAD IntegrationIn BriefUser InteractionA user interface that enables creativity and efficiencySketchingA complete set of tools for 2D design work tightly integrated into a 3D modelling environment 2D / 3D IntegrationTake advantage of your sketching skills throughout the design process. Add details and exploreideas quickly by sketching over 3D forms before taking the time to model them.Modelling (Modeling)Industry-leading, NURBS-based surface modeller.Advanced Automotive Surfacing ToolsSurface creation tools that maintain positional, tangent or curvature continuity between surfaces - for high quality, manufacturable results.Reverse EngineeringTools for importing and configuring cloud data sets from scanners for visualising, as well as extracting feature lines and building surfaces based on cloud data.Evaluation ToolsTools to analyse and evaluate the styling and physical properties of curves and surfaces interactively, while creating and editing geometry.RenderingCreate photorealistic images using textures, colours, highlights, shadows, reflections and backgrounds.AnimationAnimations can be used for high quality design presentations, design analysis of mechanisms, motion and ergonomic studies, manufacturing or assembly simulation.Data IntegrationSupport for industry-standard data formats and a wide range of peripheral devices.2 Alias SurfaceStudioAlias SurfaceStudio™ is a technical surfacing product designed for the development of Class-A surfaces. It offers advanced modeling and reverse engineering tools, real-time diagnostics and scan data processing technology. SurfaceStudio is comprised of a complete suite of tools for creating surface models to meet the high levels of quality, accuracy and precision required in automotive styling.Key FeaturesCloud data processingDirect, Patch-based modellingProcedural, curve based modellingReal-time diagnostic feedbackDynamic surface evaluationCAD integrationIn BriefUser InteractionA user interface that enables creativity and efficiencySketchingA complete set of tools for 2D design work tightly integrated into a 3D modelling environment Modelling (Modeling)Industry-leading, NURBS-based surface modeller.Advanced Automotive Surfacing ToolsSurface creation tools that maintain positional, tangent or curvature continuity between surfaces - for high quality, manufacturable results.Reverse EngineeringTools for importing and configuring cloud data sets from scanners for visualising, as well as extracting feature lines and building surfaces based on cloud data.Evaluation ToolsTools to analyse and evaluate the styling and physical properties of curves and surfaces interactively, while creating and editing geometry.Data IntegrationSupport for industry-standard data formats and a wide range of peripheral devices.3 ICEM SurfICEM Surf is an industry standard in automotive A-Class surfacing. In the final stages of a vehicle design, ICEM Surf is used to clarify and fully resolve vehicle surfaces before beginning tool and die fabrication. Designers can use ICEM Surf to create extremely accurate computer visualisations, through static and dynamic renderings as well as 3D virtual reality views using stereo mode.In order to facilitate end-stage design evaluation and development, ICEM Surf can process data from digitised physical models which can in turn be modified, corrected, balanced and otherwise resolved as required.Key FeaturesIt is possible to create and modify aesthetic free-form surfaces directly and in real-time'Virtual clay modelling' can be performed by direct modelling and diagnosis of point clouds or facet data without prior surface generationDirect surface modelling is possible through stereo, shaded display and real-time renderer modesSafety analyses (Head Impact Diagnoses) allow for early detection and resolution of possible safety issuesICEM Surf is used for Class A surfaces for automotive exterior and interior design as well as consumer goods, structural surfaces (Body-in-White) and free form surfaces in tool and die design.Digitised physical model or CAD data can be used to create free-form surfaces with automated smoothing and approximationSurface models can be quickly developed from ordered or unordered (point clouds) digitised dataFully feasible, high-quality aesthetic designs can be developed quicklWith the 'Global Modelling' feature, whole detailed models can be modified in total, interactively and dynamicallyThe rendering process is independent; rendering can be computed in the background or remotely whilst work continues4 ICEM StyleStyle is ICEM's designer-orientated vehicle creation programme. Style builds on ICEM's existing expertise in the field of advanced CAD surfacing and provides the user with a more direct transition from the design stages through to advanced surface preparation and ultimately tooling. Key to the appeal of ICEM Style is the programme's abilities for real-time visualisation. "No longer are third-party, stand-alone visualisation products required to visualise the complete design, nor a time-consuming wait for a static rendering to be generated".The nature of ICEM Style's interoperability with the down-stream ICEM Surf means that inputfrom designers can be taken from tablet sketches, through preparatory stages and full scale models ready in anticipation of final A-Class surfacing. This simplifies the flow of work, eliminating certain transition stages which in turn saves time and translatio n discrepencies. ICEM Surf can then be used earlier to resolve a design and finalise production quality surfaces5 CATIACATIA is an integrated suite of Computer Aided Design (CAD), Computer Aided Engineering (CAE), and Computer Aided Manufacturing (CAM) applications for digital product definition and simulation. It is ideal for true integration of people, tools, methodologies and resources within an enterprise. CATIA provides advanced 3D Product Lifecycle Management (PLM) solutions for collaborative product development.Made up from many different elements, or 'products', CATIA can perform a range of tasks depending upon its configuration. Within the automotive industry these tasks include Class A surfacing, body-in-white template design, body-in-white fastening design and many more. Some of the main applications are listed below. Shape design talks directly to people’s heart. Successful products in the market are usually those with designs that elicit positive emotional response from their consumers. Creative designers must be equipped with software tools that enable them to easily craft and adjust the product's emotional content through their designs, all while collaborating with the engineering department to ensure proper coverage of product functional scope.Vehicle SynthesisAnalysis and decision support throughout the vehicle development processBodyThe full BODY in WHITE Process from the first stylist idea to tool generationChassisSuspensions and steering wheels, integration of the chassis in the vehicle.PowertrainCATIA is used to design and evaluate the full spectrum of powertrain components and is used to design the processes and tooling required for manufacture.Electrical and ElectronicsSoftware to manage the electrical behavior of components and their integration into the 3D digital mock-up.Interior and Exterior TrimAutomotive Interior process is handled by the whole Dassault Systemes V5 line of product, covering all aspects of automobile plastic parts conception from design to manufacturing. Some of the Available CATIA Automotive ProductsAutomotive Body-In-White Fastening 3 (ABF) is dedicated to the design of Automotive Body In White Fasteners. It supports Welding technologies and mechanical clinching, along with Adhesives, Sealers, and Mastics.From eletronics to automotive and consumer packaged goods, design plays an important part in determining product success in the market. How do you deliver aesthetically pleasing and functionally superior products? CATIA covers all produc t shape design needs from industrial design to Class A, enhancing designer abilities to produce any kind of complex shapesAutomotive Body in White Templates is an advanced product that uses uniqueskilled features to boost body in white design phase productivity. These powerful features allow body in white design teams to quickly create or modify a car body in an associative styling and engineering context. For instance, a user can create an associative shape, place welding poi nts on it, and then assemble the two parts with unprecedented rapidity.Automotive Class A Optimizer 3 (ACO) offers extended tools to create and model aesthetic and ergonomic shapes to highest Class A quality. Powerful tools like using global surface modelingtechniques, Shape Modeling, and global feature creation methods, Global Flange, on top of the ACA product speed up the total development styling process.。

超声心动图学缩写字注释

超声心动图学缩写字注释

超声心动图学缩写字注释2D:two-dimensional 二维3D: three-dimensional 三维AAO: ascending aorta 升主动脉AbAO: abdominal aorta 腹主动脉ABD: automatic borderline determination 自动边缘检测AC: accessory chamber 附属腔AD: acoustic densitometry 声学密度定量AML: anterior mitral leaflet 二尖瓣前叶AMV: anterior mitral valve 二尖瓣前叶AN: anuerysm 动脉瘤AO: aorta or aorta root 主动脉或主动脉根部AoAR: aortic arch 主动脉弓AoS: aortic sinus 主动脉窦AQ: acoustic quantification 声学定量ARCH: aortic arch 主动脉弓ARV: atrialized right ventricle 房化右室ASD: atrial septal defect 房间隔缺损ATL: anterior tricuspid leaflet 三尖瓣前叶ATV: anterior tricuspid valve 三尖瓣前叶A V: aortic valve 主动脉瓣AW: anterior wall 前壁CABG: coronary artery bypass grafting冠状动脉旁路血管移植术CDFI: color Doppler flow imaging 彩色多普勒血流成像CDFM: color Doppler flow mapping 彩色多普勒血流成像CK: color kinesis 彩色室壁动态技术CO: cardic output 心排出量CPV: common pulmonary vein 肺总静脉CS: coronary sinus 冠状静脉窦CS: crista supraventricularis 室上嵴CT: chordae tendinae 腱索CV: common ventricle 共同心室CW: continuous wave Doppler 连续型多普勒DA: dissecting aneurysm 夹层动脉瘤DAO: descending aorta 降主动脉DSE: Dobutamine stress echocardiography 多巴酚丁胺负荷超声心动图DTI: Doppler tissue imaging 组织多普勒成像技术DV: ductus venosus 静脉导管ECG: electrocardiogram 心电图EN: endocardium 心内膜EP: epicardium 心外膜EPSS: E point-septal seperation E 峰至室间隔间距ET: ejection time 射血期FCR: flow convergence region 血流汇聚区FFT: fast Fourier transformation 快速富利叶转换FL: false lumen 假腔HPLA: high pressure left atrium 左房高压腔HR: heart rate 心率HV: hepatic vein 肝静脉Hz: Hertz 赫兹IAS: interatrial septum 房间隔IBS: integral of backscatter 背向散射积分IVC: inferior vena cava 下腔静脉IVS: interventricular septum 室间隔IVUS: intravascular ultrasound 血管内超声IW: interior wall 下壁LA: left atrium 左房LAA: left atrial auricle 左心耳LAD: left anterior descending coronary atery 左冠状动脉前降支LCA: left coronary artery 左冠状动脉LCC: left circumflex coronary artery 左冠状动脉回旋支LD: long diameter 长径LIV: left innominate vein 左无名静脉LPA: left pulmonary artery 左肺动脉LPEP: left ventricular pre-ejection period左室射血前期LPLA: low pressure left atrium 左房低压腔LPV: left pulmonary vein 左肺静脉L-RD: left-right diameter 左右径LSVC: left superior vena cava 左位上腔静脉LV: left ventricle 左室LVC: left ventricular cavity 左室腔LVET: left ventricular ejection time 左室射血时间LVIT: left ventricular inflow tract 左室流入道LVOT: left ventricular outflow tract 左室流出道LVPW: left ventricular posterior wall 左室后壁LW: lateral wall 侧壁m/s: 米/秒MCE: mycardial contrast echocardiogrphy 心肌声学造影MHz: 兆赫M-LD: medial-lateral diameter 内外径M-mode: motion mode M型(超声心动图)MPA: main pulmonary artery 主肺动脉MV: mitral valve 二尖瓣MVP: mitral valve prolapse 二尖瓣脱垂PA Bif: pulmonary artery bifurcation 肺动脉分叉PDA: patent ductus arteriousus 动脉导管未闭PE: pericardial effusion 心包积液PM: papillary muscle 乳头肌PMV: posterior mitral valve 二尖瓣后叶PRF: pulsed repetition frequency 脉冲重复频率PTV: posterior tricuspid valve 三尖瓣后叶PW: pulsed wave Doppler 脉冲型多普勒RA: right atrium 右房RCA: right coronary artery 右冠状动脉RIV: right innominate vein 右无名静脉RPA: right pulmonary artery 右肺动脉RPEP: right ventricular pre-ejection period 右室射血前期RPV: right pulmonary vein 右肺静脉RSVC: right superior vena cava 右位上腔静脉RUPV: right upper pulmonary vein 右上肺静脉RLPV: right low pulmonary vein 右下肺静脉RV: right ventricle 右室RV AW: right ventricular anterior wall 右室前壁RVC: right ventricular cavity 右室腔RVET: right ventricular ejection time 右室射血时间RVOT: right ventricular out tract 右室流出道RWMA: regional wall motion abnormality 节段性室壁运动异常SAM: systolic anterior motion 二尖瓣收缩期前向运动SHI: second harmonic imaging 二次谐波成像技术SV: sampling volume or strake volume 取样容积或心搏量TEE: transesophageal echocardiography 经食管超声心动图TGA: transposition of the great arteries 大动脉转位TH: thrombosis 血栓形成ThAO: thoracic aorta 胸主动脉TL: true lumen 真腔TMLR or TMR: transmyocardial laser revascularization 激光心肌血运重建术TTE: transthoracic echocardiography 经胸超声心动图TV: tricuspid valve 三尖瓣V: vegetation 赘生物VC: vena cava 腔静脉VSD: ventricular septal defect 室间隔缺损VV: vertical vein 垂直静脉。

交互式计算机图形学1-7章课后题答案

交互式计算机图形学1-7章课后题答案

Angel: Interactive Computer Graphics, Fifth Edition Chapter 1 SolutionsThe main advantage of the pipeline is that each primitive can be processed independently. Not only does this architecture lead to fast performance, it reduces memory requirements because we need not keep all objects available. The main disadvantage is that we cannot handle most global effects such as shadows, reflections, and blending in a physically correct manner.We derive this algorithm later in Chapter 6. First, we can form the tetrahedron by finding four equally spaced points on a unit sphere centeredat the origin. One approach is to start with one point on the z axis (0, 0, 1). We then can place the other three points in a plane of constant z.One of these three points can be placed on the y axis. To satisfy the requirement that the points be equidistant, the point must be at(0, 2p2/3,−1/3). The other two can be found by symmetry to be at(−p6/3,−p2/3,−1/3) and (p6/3,−p2/3,−1/3).We can subdivide each face of the tetrahedron into four equilateral triangles by bisecting the sides and connecting the bisectors. However, thebisectors of the sides are not on the unit circle so we must push these points out to the unit circle by scaling the values. We can continue this process recursively on each of the triangles created by the bisection process.In Exercise , we saw that we could intersect the line of which the line segment is part independently against each of the sides of the window. We could do this process iteratively, each time shortening the line segmentif it intersects one side of the window.In a one–point perspective, two faces of the cube is parallel to the projection plane, while in a two–point perspective only the edges of the cube in one direction are parallel to the projection. In the general case of athree–point perspective there are three vanishing points and none of the edges of the cube are parallel to the projection plane.Each frame for a 480 x 640 pixel video display contains only about 300k pixels whereas the 2000 x 3000 pixel movie frame has 6M pixels, or about 18 times as many as the video display. Thus, it can take 18 times asmuch time to render each frame if there is a lot of pixel-level calculations.There are single beam CRTs. One scheme is to arrange the phosphorsin vertical stripes (red, green, blue, red, green, ....). The major difficulty isthat the beam must change very rapidly, approximately three times as fast a each beam in a three beam system. The electronics in such a system the electronic components must also be much faster (and more expensive).Chapter 2 SolutionsWe can solve this problem separately in the x and y directions. The transformation is linear, that is xs = ax + b, ys = cy + d. We must maintain proportions, so that xs in the same relative position in the viewport as x is in the window, hencex − xminxmax − xmin=xs − uw,xs = u + wx − xminxmax − xmin.Likewiseys = v + hx − xminymax − ymin.Most practical tests work on a line by line basis. Usually we usescanlines, each of which corresponds to a row of pixels in the frame buffer.If we compute the intersections of the edges of the polygon with a line passing through it, these intersections can be ordered. The first intersection begins a set of points inside the polygon. The second intersection leaves the polygon, the third reenters and so on.There are two fundamental approaches: vertex lists and edge lists. With vertex lists we store the vertex locations in an array. The mesh is represented as a list of interior polygons (those polygons with no other polygons inside them). Each interior polygon is represented as an array ofpointers into the vertex array. To draw the mesh, we traverse the list ofinterior polygons, drawing each polygon.One disadvantage of the vertex list is that if we wish to draw the edges inthe mesh, by rendering each polygon shared edges are drawn twice. We can avoid this problem by forming an edge list or edge array, each element is a pair of pointers to vertices in the vertex array. Thus, we can draw eachedge once by simply traversing the edge list. However, the simple edge listhas no information on polygons and thus if we want to render the mesh in some other way such as by filling interior polygons we must add something to this data structure that gives information as to which edges form each polygon.A flexible mesh representation would consist of an edge list, a vertex listand a polygon list with pointers so we could know which edges belong to which polygons and which polygons share a given vertex.The Maxwell triangle corresponds to the triangle that connects the red, green, and blue vertices in the color cube.Consider the lines defined by the sides of the polygon. We can assign a direction for each of these lines by traversing the vertices in a counter-clockwise order. One very simple test is obtained by noting that any point inside the object is on the left of each of these lines. Thus, if wesubstitute the point into the equation for each of the lines (ax+by+c), weshould always get the same sign.There are eight vertices and thus 256 = 28 possible black/white colorings. If we remove symmetries (black/white and rotational) there are 14 unique cases. See Angel, Interactive Computer Graphics (Third Edition) or the paper by Lorensen and Kline in the references.Chapter 3 SolutionsThe general problem is how to describe a set of characters that might have thickness, curvature, and holes (such as in the letters a and q). Suppose that we consider a simple example where each character can be approximated by a sequence of line segments. One possibility is to use amove/line system where 0 is a move and 1 a line. Then a character can be described by a sequence of the form (x0, y0, b0), (x1, y1, b1), (x2, y2, b2), .....where bi is a 0 or 1. This approach is used in the example in the OpenGL Programming Guide. A more elaborate font can be developed by using polygons instead of line segments.There are a couple of potential problems. One is that the application program can map different points in object coordinates to the same point in screen coordinates. Second, a given position on the screen when transformed back into object coordinates may lie outside the user’s window.Each scan is allocated 1/60 second. For a given scan we have to take 10% of the time for the vertical retrace which means that we start to draw scan line n at .9n/(60*1024) seconds from the beginning of the refresh. But allocating 10% of this time for the horizontal retrace we are at pixel mon this line at time .81nm/(60*1024).When the display is changing, primitives that move or are removed from the display will leave a trace or motion blur on the display as the phosphors persist. Long persistence phosphors have been used in text only displays where motion blur is less of a problem and the long persistence gives a very stable flicker-free image.Chapter 4 SolutionsIf the scaling matrix is uniform thenRS = RS(α, α, α) = αR = SRConsider R x(θ), if we multiply and use the standard trigonometric identities for the sine and cosine of the sum of two angles, we findR x(θ)R x(φ) = R x(θ + φ)By simply multiplying the matrices we findT(x1, y1, z1)T(x2, y2, z2) = T(x1 + x2, y1 + y2, z1 + z2)There are 12 degrees of freedom in the three–dimensional affine transformation. Consider a point p = [x, y, z, 1]T that is transformed top_ = [x_y_, z_, 1]T by the matrix M. Hence we have the relationshipp_ = Mp where M has 12 unknown coefficients but p and p_ are known. Thus we have 3 equations in 12 unknowns (the fourth equation is simply the identity 1=1). If we have 4 such pairs of points we will have 12 equations in 12 unknowns which could be solved for the elements of M. Thus if we know how a quadrilateral is transformed we can determine the affine transformation.In two dimensions, there are 6 degrees of freedom in M but p and p_ have only x and y components. Hence if we know 3 points both before and after transformation, we will have 6 equations in 6 unknowns and thus in two dimensions if we know how a triangle is transformed we can determine the affine transformation.It is easy to show by simply multiplying the matrices that the concatenation of two rotations yields a rotation and that the concatenationof two translations yields a translation. If we look at the product of arotation and a translation, we find that the left three columns of RT are the left three columns of R and the right column of RT is the right column of the translation matrix. If we now consider RTR_ where R_ is a rotation matrix, the left three columns are exactly the same as the left three columns of RR_ and the and right column still has 1 as its bottom element. Thus, the form is the same as RT with an altered rotation (which is the concatenation of the two rotations) and an altered translation. Inductively, we can see that any further concatenations with rotations andtranslations do not alter this form.If we do a translation by -h we convert the problem to reflection about a line passing through the origin. From m we can find an angle by which we can rotate so the line is aligned with either the x or y axis. Now reflect about the x or y axis. Finally we undo the rotation and translation so thesequence is of the form T−1R−1SRT.The most sensible place to put the shear is second so that the instance transformation becomes I = TRHS. We can see that this order makes sense if we consider a cube centered at the origin whose sides are aligned with the axes. The scale gives us the desired size and proportions. The shear then converts the right parallelepiped to a general parallelepiped. Finally we can orient this parallelepiped with a rotation and place it wheredesired with a translation. Note that the order I = TRSH will work too. R = R z(θz)R y(θy)R x(θx) =⎡⎡⎡⎡⎡cos θy cos θz cos θz sin θx sin θy −cos θx sin θz cos θx cos θz sin θy + sin θx sin θz 0cos θy sin θz cos θx cos θz + sin θx sin θy sin θz −cos θz sin θx + cos θx sin θy sin θz 0−sin θy cos θy sin θx cos θx cos θy 00 0 0 1⎡⎡⎡⎡⎡One test is to use the first three vertices to find the equation of the plane ax + by + cz + d = 0. Although there are four coefficients in the equation only three are independent so we can select one arbitrarily or normalize so that a2 + b2 + c2 = 1. Then we can successively evaluate ax + bc + cz + d for the other vertices. A vertex will be on the plane if weevaluate to zero. An equivalent test is to form the matrix⎡⎡⎡⎡⎡1 1 1 1x1 x2 x3 x4y1 y2 y3 y4z1 z2 z3 z4⎡⎡⎡⎡⎡for each i = 4, ... If the determinant of this matrix is zero the ith vertex isin the plane determined by the first three.Although we will have the same number of degrees of freedom in the objects we produce, the class of objects will be very different. For exampleif we rotate a square before we apply a nonuniform scale, we will shear thesquare, something we cannot do if we scale then rotate.The vector a = u × v is orthogonal to u and v. The vector b = u × a isorthogonal to u and a. Hence, u, a and b form an orthogonal coordinate system.Using r = cos θ2+ sin θ2v, with θ = 90 and v = (1, 0, 0), we find forrotation about the x-axisr =√22(1, 1, 0, 0).Likewise, for rotation about the y axisr =√22(1, 0, 1, 0).Possible reasons include (1) object-oriented systems are slower, (2) users are often comfortable working in world coordinates withhigher-levelobjects and do not need the flexibility offered by a coordinate-free approach, (3) even a system that provides scalars, vectors, and points would have to have an underlying frame to use for the implementation.Chapter 5 SolutionsEclipses (both solar and lunar) are good examples of the projection ofan object (the moon or the earth) onto a nonplanar surface. Any time a shadow is created on curved surface, there is a nonplanar projection. All the maps in an atlas are examples of the use of curved projectors. If the projectors were not curved we could not project the entire surface of a spherical object (the Earth) onto a rectangle.Suppose that we want the view of the Earth rotating about the sun. Before we draw the earth, we must rotate the Earth which is a rotation about the y axis. Next we translate the Earth away from the origin. Finally we do another rotation about the y axis to position the Earth in itsdesired location along its orbit. There are a number of interesting variantsof this problem such as the view from the Earth of the rest of the solar system.Yes. Any sequence of rotations is equivalent to a single rotation about a suitably chosen axis. One way to compute this rotation matrix is to form the matrix by sequence of simple rotations, such asR = RxRyRz.The desired axis is an eigenvector of this matrix.The result follows from the transformation being affine. We can also take a direct approach. Consider the line determined by the points(x1, y1, z1) and (x2, y2, z2). Any point along can be written parametricallyas (_x1 + (1 −_)x2, _y1 + (1 −_)y2, _z1 + (1 −_)z2). Consider the simple projection of this point 1d(_z1+(1−_)z2) (_x1 + (1 − _)x2, _y1 + (1 − _)y2)which is of the form f(_)(_x1 + (1 − _)x2, _y1 + (1 − _)y2). This form describes a line because the slope is constant. Note that the function f(_)implies that we trace out the line at a nonlinear rate as _ increases from 0to 1.The specification used in many graphics text is of the angles the projector makes with x,z and y, z planes, the angles defined by the projection of a projector by a top view and a side view.Another approach is to specify the foreshortening of one or two sides of acube aligned with the axes.The CORE system used this approach. Retained objects were kept indistorted form. Any transformation to any object that was defined with other than an orthographic view transformed the distorted object and the orthographic projection of the transformed distorted object was incorrect.If we use _ = _ = 45, we obtain the projection matrixP =266641 0 −1 00 1 −1 00 0 0 00 0 0 137775All the points on the projection of the point , z) in the direction dx, dy, dz) are of the form (x + _dx, y + _dy, z + _dz). Thus the shadow ofthe point (x, y, z) is found by determining the _ for which the line intersects the plane, that isaxs + bys + czs = dSubstituting and solving, we find_ =d − ax − by − czadx + bdy + cdz.However, what we want is a projection matrix, Using this value of _ we findxs = z + _dx =x(bdy + cdx) − dx(d − by − cz)adx + bdy + cdzwith similar equations for ys and zs. These results can be computed by multiplying the homogeneous coordinate point (x, y, z, 1) by the projectionmatrixM =26664bdy + cdz −bdx −cdx −ddx−ady adx + cdz −cdy −ddy−adz −bdz adx + bdy −ddz0 0 0 adx + bdy + cdz37775.Suppose that the average of the two eye positions is at (x, y, z) and the viewer is looking at the origin. We could form the images using the LookAt function twice, that isgluLookAt(x-dx/2, y, z, 0, 0, 0, 0, 1, 0);/* draw scene here *//* swap buffers and clear */gluLookAt(x+dx/2, y, z, 0, 0, 0, 0, 1, 0);/* draw scene again *//* swap buffers and clear */Chapter 6 SolutionsPoint sources produce a very harsh lighting. Such images are characterized by abrupt transitions between light and dark. The ambient light in a real scene is dependent on both the lights on the scene and thereflectivity properties of the objects in the scene, something that cannot becomputed correctly with OpenGL. The Phong reflection term is not physically correct; the reflection term in the modified Phong model is evenfurther from being physically correct.If we were to take into account a light source being obscured by an object, we would have to have all polygons available so as to test for thiscondition. Such a global calculation is incompatible with the pipeline model that assumes we can shade each polygon independently of all other polygons as it flows through the pipeline.Materials absorb light from sources. Thus, a surface that appears red under white light appears so because the surface absorbs all wavelengths oflight except in the red range—a subtractive process. To be compatible withsuch a model, we should use surface absorbtion constants that define the materials for cyan, magenta and yellow, rather than red, green and blue.Let ψ be the angle between the normal and the halfway vector, φ be the angle between the viewer and the reflection angle, and θ be the anglebetween the normal and the light source. If all the vectors lie in the sameplane, the angle between the light source and the viewer can be computer either as φ + 2θ or as 2(θ + ψ). Setting the two equal, we find φ = 2ψ. Ifthe vectors are not coplanar then φ < 2ψ.Without loss of generality, we can consider the problem in two dimensions. Suppose that the first material has a velocity of light of v1 andthe second material has a light velocity of v2. Furthermore, assume that the axis y = 0 separates the two materials.Place a point light source at (0, h) where h > 0 and a viewer at (x, y) where y < 0. Light will travel in a straight line from the source to a point(t, 0) where it will leave the first material and enter the second. It willthen travel from this point in a straight line to (x, y). We must find the tthat minimizes the time travelled.Using some simple trigonometry, we find the line from the source to (t, 0)has length l1 = √h2 + t2 and the line from there to the viewer has length 1l2 = _y2 + (x − t)2. The total time light travels is thus l1v1 + l2v2 .Minimizing over t gives desired result when we note the two desired sines are sin θ1 = h√h2+t2 and sin θ2 = −y √(y2+(x−t)2 .Shading requires that when we transform normals and points, we maintain the angle between them or equivalently have the dot productp ·v = p_ ·v_ when p_ = Mp and n_ = Mp. If M T M is an identity matrix angles are preserved. Such a matrix (M−1 = M T ) is called orthogonal. Rotations and translations are orthogonal but scaling and shear are not.Probably the easiest approach to this problem is to rotate the given plane to plane z = 0 and rotate the light source and objects in the same way. Now we have the same problem we have solved and can rotate everything back at the end.A global rendering approach would generate all shadows correctly. Ina global renderer, as each point is shaded, a calculation is done to see which light sources shine on it. The projection approach assumes that we can project each polygon onto all other polygons. If the shadow of a given polygon projects onto multiple polygons, we could not compute these shadow polygons very easily. In addition, we have not accounted for the different shades we might see if there were intersecting shadows from multiple light sources.Chapter 7 SolutionsFirst, consider the problem in two dimensions. We are looking for an _ and _ such that both parametric equations yield the same point, that is x(_) = (1 − _)x1 + _x2 = (1 − _)x3 + _x4,y(_) = (1 − _)y1 + _y2 = (1 − _)y3 + _y4.These are two equations in the two unknowns _ and _ and, as long as the line segments are not parallel (a condition that will lead to a division byzero), we can solve for _ _. If both these values are between 0 and 1, thesegments intersect.If the equations are in 3D, we can solve two of them for the _ and _ where x and y meet. If when we use these values of the parameters in the two equations for z, the segments intersect if we get the same z from both equations.If we clip a convex region against a convex region, we produce the intersection of the two regions, that is the set of all points in both regions,which is a convex set and describes a convex region. To see this, consider any two points in the intersection. The line segment connecting them must be in both sets and therefore the intersection is convex.See Problem . Nonuniform scaling will not preserve the anglebetween the normal and other vectors.Note that we could use OpenGL to, produce a hidden line removed image by using the z buffer and drawing polygons with edges and interiors the same color as the background. But of course, this method was not used in pre–raster systems.Hidden–line removal algorithms work in object space, usually with either polygons or polyhedra. Back–facing polygons can be eliminated. In general, edges are intersected with polygons to determine any visible parts.Good algorithms (see Foley or Rogers) use various coherence strategies tominimize the number of intersections.The O(k) was based upon computing the intersection of rays with the planes containing the k polygons. We did not consider the cost of filling thepolygons, which can be a large part of the rendering time. If we consider ascene which is viewed from a given point there will be some percentage of1the area of the screen that is filled with polygons. As we move the viewer closer to the objects, fewer polygons will appear on the screen but each will occupy a larger area on the screen, thus leaving the area of the screen that is filled approximately the same. Thus the rendering time will be about the same even though there are fewer polygons displayed.There are a number of ways we can attempt to get O(k log k) performance. One is to use a better sorting algorithm for the depth sort. Other strategies are based on divide and conquer such a binary spatial partitioning.If we consider a ray tracer that only casts rays to the first intersection and does not compute shadow rays, reflected or transmitted rays, then the image produced using a Phong model at the point of intersection will be the same image as produced by our pipeline renderer. This approach is sometimes called ray casting and is used in volume rendering and CSG. However, the data are processed in a different order from the pipeline renderer. The ray tracer works ray by ray while the pipeline renderer works object by object.Consider a circle centered at the origin: x2 + y2 = r2. If we know that a point (x, y) is on the curve than, we also know (−x, y), (x,−y), (−x,−y), (y, x), (−y, x), (y,−x), and (−y,−x) are also on the curve. This observation is known as the eight–fold symmetry of the circle. Consequently, we need only generate 1/8 of the circle, a 45 degree wedge, and can obtain the rest by copying this part using the symmetries. If we consider the 45 degree wedge starting at the bottom, the slope of thiscurve starts at 0 and goes to 1, precisely the conditions used for Bresenham’s line algorithm. The tests are a bit more complex and we have to account for the possibility the slope will be one but the approach is thesame as for line generation.Flood fill should work with arbitrary closed areas. In practice, we can get into trouble at corners if the edges are not clearly defined. Such can bethe case with scanned images.Note that if we fill by scan lines vertical edges are not a problem. Probably the best way to handle the problem is to avoid it completely by never allowing vertices to be on scan lines. OpenGL does this by having vertices placed halfway between scan lines. Other systems jitter the y value of any vertex where it is an integer.Although each pixel uses five rays, the total number of rays has only doubled, . consider a second grid that is offset one half pixel in both thex and y directions.A mathematical answer can be investigated using the notion of reconstruction of a function from its samples (see Chapter 8). However, avery easy to see by simply drawing bitmap characters that small pixels lead to very unreadable characters. A readable character should have some overlap of the pixels.We want k levels between Imin and Imax that are distributed exponentially. Then I0 = Imin, I1 = Iminr,I2 = Iminr2, ..., Ik−1 = Imax = Iminrk−1. We can solve the last equation forthe desired r = ( ImaxImin)1k−1If there are very few levels, we cannot display a gradual change in brightness. Instead the viewer will see steps of intensity. A simple rule ofthumb is that we need enough gray levels so that a change of one step is not visible. We can mitigate the problem by adding one bit of random noise to the least significant bit of a pixel. Thus if we have 3 bits (8 levels),the third bit will be noise. The effect of the noise will be to break up regions of almost constant intensity so the user will not be able to see astep because it will be masked by the noise. In a statistical sense the jittered image is a noisy (degraded) version of the original but in a visualsense it appears better.。

Chinese garden 中英对照

Chinese garden 中英对照

Chinese garden1.Garden is an artifact, made by someone. At the same time its elements are independent of man (they have a life of their own, which may take a different course beyond the designers’ intention, if not attended). The garden is created and received within a framework of conventions, but it can exist, although in deteriorated way, even if there is no gardener to keep it. Many Chinese gardens were in a state of deterioration when Siren visited them. The garden is designed to be perceived aesthetica lly, for the “production of aesthetic pleasure.” This pleasure is the joint result of all the values of the object, of the connoisseur’s contemplation and communion with the mysterious forces present in the garden and its design.1、园林是由人创造的。

同时它的组成元素又是独立于人的意志之外(他们有自己的生命,如果不是刻意照管,他们会超出设计者的意图,按另外的方式发展)。

三维五向编织复合材料的力学性能分析细观结构模型

三维五向编织复合材料的力学性能分析细观结构模型

三维五向编织复合材料的力学性能分析:细观结构模型1李金超,陈利*,张一帆,孙菲天津工业大学复合材料研究所,天津市和教育部共建先进纺织复合材料重点实验室,天津 (300160)E-mail:chenli@摘 要:建立合理的三维编织复合材料的细观结构模型,对其力学性能的有限元分析具有重要影响。

在实验观察基础上,建立了三维五向编织复合材料的单胞模型,该模型合理地反映了纱线的交织状态和截面形状。

基于该模型建立了编织工艺参数之间的几何关系。

将预制件的外型尺寸和体积含量的计算值与实测值进行比较,吻合较好。

关键词:复合材料;编织复合材料;三维五向;单元胞体中图分类号:TB3321.引言随着三维编织复合材料应用的日益广泛,为了准确预测其力学性能,对其细观结构的深入研究显的尤为重要.特别是随着计算机的快速发展,利用有限元方法进行力学分析越来越广泛。

以往三维编织复合材料细观结构的研究主要集中在三维四向编织结构上[1-5],而三维五向编织复合材料由于第五向轴纱(以下简称为轴纱)的加入,纱线交织以及纱线间的挤压变形更为复杂,相关研究较少。

李典森[6]在分析了三维五向编织物纱线运动规律的基础上,建立了三维五向编织结构的单胞模型,并推导了有关参数之间的关系,但其轴纱椭圆横截面假设与实验观察存在较大差异。

陈利[7]通过对三维五向编织复合材料的截面进行观察,分析了编织物纱线的排列规律及其截面形态的变化,为进一步研究材料的细观结构模型提供了依据。

本文以成型后的编织复合材料为研究对象,在实验观察的基础上,基于纱线运动规律及横截面形状变化,推导了编织工艺参数之间的关系, 建立了三维五向编织复合材料的有限元单元胞体模型,为进一步的有限元分析奠定了基础。

2. 三维五向编织原理三维五向编织复合材料是在三维四向编织复合材料的基础上, 在编织过程中引入沿编织成型方向伸直不动的轴纱而形成的一种新的整体编织结构。

通过加入轴纱, 可以有效提高材料沿编织成型方向的刚度、强度等性能。

三维四向编织复合材料疲劳性能分析

三维四向编织复合材料疲劳性能分析

三维四向编织复合材料疲劳性能分析冯继强;王新峰;刘海;于健【摘要】建立基于八边形纤维束截面假设的三维四向编织复合材料单胞模型.基于单向复合材料疲劳剩余刚度和剩余强度模型,结合组分材料的疲劳失效判据和性能突降方法,建立了三维四向编织复合材料疲劳寿命预测模型.利用ABAQUS有限元软件 UMAT 开发了疲劳寿命预测与渐进损伤分析程序,研究了三维四向编织复合材料在不同应力水平下的损伤扩展过程和疲劳寿命.研究表明,疲劳损伤是从纤维束之间的接触面的单元开始发生损伤破坏,然后向纤维束表面以及纤维束内部开始扩散,并且损伤扩展速率随着应力水平的提高而加快.本文研究为预测三维四向编织复合材料的疲劳寿命提供了一种途径.%The unit cell model of three-dimensional and four-directional braided composites with an octag-onal fiber cross section is established.Based on the fatigue residual stiffness and strength model of uni-directional composites,the fatigue life prediction model of three-dimensional and four-directional braided composites is created by combining the fatigue failure criteria and performance damping method of com-ponent materials.The fatigue life prediction and progressive damage analysis program is developed by using ABAQUS finite element software UMAT to simulate the fatigue life and damage propagation process of three-dimensional and four-directional braided composites under fatigue loading.The results show that fatigue damage starts from the elements of contact area between the fiber bundles,and then it spreads to the surface and interior of fiber bundles.Moreover,the damage propagation accelerates with the increase of stress level.This is a new way for predictingthe fatigue life of three-dimensional and four-directional braided composites.【期刊名称】《南京航空航天大学学报》【年(卷),期】2018(050)001【总页数】8页(P45-52)【关键词】编织复合材料;单胞;疲劳寿命;刚度退化;Hashin准则【作者】冯继强;王新峰;刘海;于健【作者单位】南京航空航天大学机械结构力学与控制国家重点实验室,南京,210016;南京航空航天大学机械结构力学与控制国家重点实验室,南京,210016;中航工业成都飞机工业(集团)有限责任公司,成都,610092;南京航空航天大学机械结构力学与控制国家重点实验室,南京,210016【正文语种】中文【中图分类】TB332随着航空航天领域以及军工领域向轻质高强方向发展,纤维增强复合材料逐渐受到重视并得到广泛应用。

工业设计专业英语词汇

工业设计专业英语词汇

设计的分类与方法学英语1 设计 Design2 现代设计 Modern Design3 工艺美术设计 Craft Design4 工业设计 Industrial Design5 广义工业设计 Generalized Industrial Design6 狭义工业设计 Narrow Industrial Design7 产品设计 Product Design8 传播设计 Communication Design8 环境设计 Environmental Design9 商业设计 Commercial Design10 建筑设计 Architectural11 一维设计 One-dimension Design12 二维设计 Two-dimension Design13 三维设计 Three-dimension Design14 四维设计 Four-dimension Design15 装饰、装潢 Decoration16 家具设计 Furniture Design17 玩具设计 Toy Design18 室内设计 Interior Design19 服装设计 Costume Design20 包装设计 packaging Design21 展示设计 Display Design22 城市规划 Urban Design23 生活环境 Living Environment24 都市景观 Townscape25 田园都市 Garden City26 办公室风致 Office Landscape27 设计方法论 Design Methodology28 设计语言 Design Language29 设计条件 Design Condition30 结构设计 Structure Design31 形式设计 Form Design32 设计过程 Design Process33 概念设计 Concept Design34 量产设计,工艺设计 Technological Design35 改型设计 Model Change36 设计调查 Design Survey37 事前调查 Prior Survey38 动态调查 Dynamic Survey39 超小型设计 Compact type40 袖珍型设计 Pocket able Type41 便携型设计 Portable type42 收纳型设计 Selfcontainning Design43 装配式设计 Knock Down Type44 集约化设计 Stacking Type45 成套化设计 Set Design46 家族化设计 Family Design47 系列化设计 Series Design48 组合式设计 Unit Design49 仿生设计 Bionic Design50 功能 Function51 独创性 Originality52 创造力 Creative Power53 外装 Facing54 创造性思维 Creative Thinking55 等价变换思维 Equivalent Transformation Thought58 集体创造性思维法 Brain Storming59 设计决策 Design Decision Making62 印象战略 Image Strategy 64 功能分化 Functional Differentiation 65 功能分析Functional Analysis 66 生命周期Life Cycle 67 照明设计Illumination Design68 结构素描 Structure Sketching设计色彩方法英1 色 Color2 光谱 Spectrum3 物体色 Object Color4 固有色 Proper Color5 色料 Coloring Material6 色觉三色学说 Three-Component Theory7 心理纯色 Unique Color10 色彩混合 Color Mixing11 基本感觉曲线 Trisimulus Valus Curves12 牛顿色环 Newton's Color Cycle13 色矢量 Color Vector14 三原色 Three Primary Colors15 色空间 Color Space16 色三角形 Color Triangle17 测色 Colourimetry18 色度 Chromaticity19 XYZ表色系 XYZ Color System20 实色与虚色 Real Color and Imaginary Color21 色等式 Color Equation22 等色实验 Color Matching Experiment23 色温 Color Temperature24 色问轨迹 Color Temperature Locus25 色彩三属性 Three Attributes of Color26 色相 Hue27 色相环 Color Cycle28 明度 lightness29 彩度纯度 Chroma30 环境色 Environmental Color31 有彩色 Chromatic Color32 无彩色 Achromatic Colors33 明色 Light Color34 暗色 Dark Color35 中明色 Middle Light Color36 清色 Clear Color37 浊色 Dull Color38 补色 Complementary Color39 类似色 Analogous Color40 一次色 Primary Color41 二次色 Secondary Color42 色立体 Color Solid43 色票 Color Sample44 孟塞尔表色系 Munsell Color System45 奥斯特瓦德表色系 Ostwald Color System46 日本色研色体系 Practical Color Co-ordinate System47 色彩工程 Color Engineering48 色彩管理 Color Control49 色彩再现 Color Reproduction50 等色操作 Color Matching51 色彩的可视度 Visibility of Color52 色彩恒常性 Color Constancy53 色彩的对比 Color Contrast54 色彩的同化 Color Assimilation55 色彩的共感性 Color Synesthesia56 暖色与冷色 Warm Color and Cold Color57 前进色与后退色 Advancing Color Receding Color58 膨胀色与收缩色 Expansive Color and Contractile Color59 重色与轻色 Heavy Color and Light Color60 色阶 Valeur61 色调 Color Tone62 暗调 Shade63 明调 Tint64 中间调 Halftone65 表面色 Surface Color66 平面色 Film Color67 色彩调和 Color Harmony68 配色 Color Combination69 孟塞尔色彩调和 Munsell Color Harmony70 奥斯特瓦德色彩调和 Ostwald Color Harmony71 孟.斯本瑟色彩调和 ' Color Harmony 72 色彩的感情 Feeling of Color 73 色彩的象征性 Color Symbolism 74 色彩的嗜好 Color Preference 75 流行色Fashion Color 76 色彩的功能性 Color Functionalism 77 色彩规划 Color Planning 78 色彩调节 Color Conditioning 79 色彩调整 Color Coordination 80 色彩设计 Color Design材料与加工成型技术英1 材料 Material2 材料规划 Material Planning3 材料评价 Material Appraisal4 金属材料 Metal Materials5 无机材料 Inorganic Materials6 有机材料 Organic Materials7 复合材料 Composite Materials8 天然材料 Natural Materials9 加工材料 Processing Materials10 人造材料 Artificial Materials11 黑色金属 Ferrous Metal12 有色金属 Nonferrous Metal13 轻金属材料 Light Metal Materials14 辅助非铁金属材料 By player Nonferrous Metal Materials15 高熔点金属材料 High Melting Point Metal Materials16 贵金属材料 Precious Metal Materials17 辅助非铁金属材料 By player Nonferrous Metal Materials18 高熔点金属材料 High Melting Point Metal Materials19 贵金属材料 Precious Metal Materials20 陶瓷 Ceramics21 水泥 Cement22 搪瓷、珐琅 Enamel23 玻璃 Glass25 钢化玻璃 toughened Glass26 感光玻璃 Photosensitive Glass27 玻璃纤维Glass Fiber28 耐热玻璃 Hear Resisting Glass29 塑料 Plastics30 通用塑料 Wide Plastics31 工程塑料 Engineering Plastics32 热塑性树脂 Thermoplastic Resin33 热固性树脂 Thermosetting Resin34 橡胶 Rubber35 粘接剂 Adhesives36 涂料 Paints37 树脂 Resin38 聚合物 Polymer39 聚丙烯树脂 Polypropylene40 聚乙烯树脂 Polyethylene Resin41 聚苯乙烯树脂 Polystyrene Resin42 聚氯乙烯树脂Polyvinyl Chloride Resin43 丙烯酸树脂 Methyl Methacrylate Resin44 聚烯胺树脂,尼龙 Polyamide Resin45 氟化乙烯树脂 Polyfurol Resin46 聚缩醛树脂 Polyacetal Resin47 聚碳酸脂树脂 Polycarbonate Resin48 聚偏二氯乙烯树脂 Polyvinylidene Resin49 聚醋酸乙烯脂树脂 Polyvinyl Acetate Resin50 聚烯亚胺树脂 Polyimide Resin51 酚醛树脂 Phenolic Formaldehyde Resin52 尿素树脂 Urea Formaldehyde Resin53 聚酯树脂 Polyester Resin54 环痒树脂 Epoxy Resin55 烯丙基树脂 Allyl Resin56 硅树脂 Silicone Resin57 聚氨酯树脂 Polyurethane Resin58 密胺 Melamine Formaldehyde Resin59 ABS树脂 Acrylonitrile Butadiene Styrene Redin60 感光树脂 Photosensition Plastics61 纤维强化树脂 Fiber Reinforced Plastic62 印刷油墨 Printing Ink63 印刷用纸 Printing Paper64 铜板纸 Art Paper65 木材 Wood66 竹材 Bamboo67 树脂装饰板 Decorative Sheet68 蜂窝机制板 Honey Comb Core Panel69 胶合板 Veneer70 曲木 Bent Wood71 浸蜡纸 Waxed Paper72 青铜 Bronze 73 薄壳结构 Shell Construction 74 技术 Technique 75 工具Tool 76 金工 Metal Work 77 铸造 Casting 78 切削加工 Cutting 79 压力加工Plastic Working 80 压力加工 Plastic Working 81 焊接 Welding 82 板金工Sheet metal Work 83 马赛克 Mosaic 84 塑性成型 Plastic Working 85 灌浆成型 Slip Casting 86 挤出成型 Squeezing 87 注压成型 Injection Molding 88 加压成型 Pressing 89 水压成型 Cold Isostatic Pressing 90 加压烧结法 Hot Pressing 91 HIP成型Hot Isostatic Pressing 92 压缩成型Compression Molding Pressing 93 气压成型 Blow Molding 94 压延成型 Calendering 95 转送成型 Transfer Molding 96 雌雄成型 Slash Molding 97 铸塑成型 Casting 98 喷涂成型 Spray Up 99 层积成型 Laminating 100 FW法 Fillament Winding 101 粘接与剥离 Adhesion and Excoriation 102 木材工艺 Woodcraft 103 竹材工艺Bamboo Work 104 表面技术 Surface Technology 105 镀饰 Plating 106 涂饰Coating 107 电化铝Alumite 108 烫金Hot Stamping 109 预制作Prefabrication 110 预制住宅 Prefabricated House 111 悬臂梁 Cantilever 112 金属模具 Mold 113 型板造型 Modeling of Teplate 114 染料 Dyestuff 115 颜料 Artist Color传播与传媒设计英1 传播 Communication2 大众传播 Mass Communication3 媒体 Media4 大众传播媒体 Mass Media5 视觉传播 Visual Communication6 听觉传播 Hearing Communication7 信息 Information8 符号 Sign9 视觉符号 Visual Sign10 图形符号 Graphic Symbol11 符号论 Semiotic12 象征 Symbol13 象征标志 Symbol Mark14 音响设计 Acoustic Design15 听觉设计 Auditory Design16 听觉传播设计 Auditory Communication Design17 图象设计 Visual Communication Design18 视觉设计 Visual Design19 视觉传播设计 Visual Communication Design20 图形设计 Graphic Design21 编辑设计 Editorial Design22 版面设计 Layout23 字体设计 Lettering24 CI设计 Corporate Identity Design25 宣传 Propaganda26 广告 Advertising27 广告委托人 Advertiser28 广告代理业 Advertising Agency29 广告媒体 Advertising Media30 广告目的 Advertising Objectives 31 广告伦理 Morality of Advertising 32 广告法规 Law of Advertising 33 广告计划 Advertising Plan 34 广告效果Advertising Effect 35 广告文案 Advertising Copy 36 广告摄影 Advertising Photography 37 说明广告 Informative Advertising 38 招贴画海报 Poster 39 招牌 Sign-board 40 小型宣传册 Pamphlet 41 大型宣传册 Portfolio 42 商品目录 Catalogue 43 企业商报 House Organ 44 户外广告 Outdoor Advertising 45 POP广告 Point of Purchase Advertising 46 展示 Display 47 橱窗展示 Window Display 48 展示柜Cabinet 49 博览会Exposition 50 万国博览会World Exposition 51 包装 Packaging 52 工业包装Industrial Packing 53 标签Label 54 企业形象Corporate Image 55 企业色Company Color 56 动画Animation 57 插图 Illustration 58 书法 Calligraphy 59 印刷 Initial 60 设计费 design fee 61 标准 standard 62 注册商标 registered trade mark设计美学与设计实验英1 美 Beauty2 现实美 Actual Beauty3 自然美 Natural Beauty4 社会美 Social Beauty5 艺术美 Artistic Beauty6 内容与形式 Content and Form7 形式美 Formal Beauty8 形式原理 Principles and Form9 技术美 Beauty of Technology10 机械美 Beauty of Machine11 功能美 Functional Beauty12 材料美 Beauty of Material13 美学 Aesthetics14 技术美学 Technology Aesthetics15 设计美学 Design Aesthetics16 生产美学 Production Aesthetics17 商品美学 Commodity Aesthetics18 艺术 Art19 造型艺术 Plastic Arts20 表演艺术 Performance Art21 语言艺术 Linguistic Art22 综合艺术 Synthetic Arts23 实用艺术 Practical Art24 时间艺术 Time Art25 空间艺术 Spatial Art26 时空艺术 Time and Spatial Art27 一维艺术 One Dimension28 二维艺术 two Dimension29 三维艺术 Three Dimension30 四维艺术 Four Dimension31 舞台艺术 Stagecraft32 影视艺术 Arts of Movie and Television33 环境艺术 Environment Art34 美术 Fine Arts35 戏剧 Drama36 文学 Literature37 意匠 Idea38 图案 Pattern39 构思 Conception40 构图 Composition41 造型 Formation42 再现 Representation43 表现 Expression44 构成 Composition45 平面构成 Tow Dimensional Composition46 立体构成 Three Dimensional Composition47 色彩构成 Color Composition48 空间构成 Composition of Space49 音响构成 Composition and Sound50 多样与统一 Unity of Multiplicity51 平衡 Balance52 对称 Symmetry53 调和、和声 Harmony54 对比 Contrast55 类似 Similarity56 比例 Proportion57 黄金分割 Golden Section58 节奏 Rhythm59 旋律 Melody60 调子 Tone61 变奏 Variation62 纹样 Pattern63 形态 Form64 有机形态 Organic Form65 抽象形态 Abstract Form66 简化形态 Simplified Form67 变形 Deformation68 图学 Graphics69 透视画法 Perspective70 线透视 Linear Perspective71 视点 Eye on Picture Plane72 灭点 Vanishing Point73 平行透视 Parallel Perspective74 成角透视 Angular Perspective75 斜透视 Oblique Perspective76 单点透视 Single Paint Perspective77 两点透视 Tow-Point Perspective78 三点透视 Three-Point Perspective79 鸟瞰图 Bird's Eye View80 平面视图 Ground Plain81 轴侧投影 Axonometric Projection82 设计素描 Design Sketch83 预想图 Rendering84 模型 Model85 粘土模型 Clay Model86 石膏模型 Plaster Model87 木制模型 Wooden Model88 缩尺模型 Scale Model89 原大模型 Mock Up90 仿真模型 Finished Model91 制造原形 Prototype92 计算机图形学 Computer Graphics93 框架模型 Frame Model94 实体模型 Solid Model95 计算机辅助设计 COMPUTER AIDED DESIGN96 计算机辅助制造 Computer Aided Manufacture97 计算机三维动画 Computer Three Dimensional Animation 98 计算机艺术Computer Arts 99 计算机书法 Computer Calligraphy 100 计算机图象处理Computer Image Processing 101 计算机音响构成 Computer Sound Composition实验心理学与人机工程学1 人类工程学 Human Engineering2 人机工程学 Man-Machine Engineering3 工效学 Ergonomic4 人因工程学 Human Factors Engineering5 人因要素 Human Factors6 人机系统 Man-Machine System7 人体工程学 Human Engineering8 人本位设计 Human Standard Design9 实验心理学 Experimental Psychology10 物理心理学 Psychophysics11 感觉 Sensation12 知觉 Perception13 感觉阙限 Threshold of Sensation14 心理量表 Psychological Scaling15 视觉 Visual Perception16 视觉通道 Visual Pathway17 听觉 Hearing Perception18 肤觉 Skin Sensation19 视觉心理学 Visual Psychology20 听觉心理学 Hearing Psychology21 感光元 Photoreceptor Cell36 空间知觉 Space Perception38 运动知觉 Movement Perception39 视错觉 Optical Illusion40 残像 After Image41 似动 Apparent Movement42 视觉后效 Aftereffects in Visual43 瀑布效应 Waterfall Effect44 视线记录仪 Eye Camera45 听觉刺激 Auditory Stimulus46 声压 Sound Pressure47 声压水平 Sound Pressure Level48 频谱 Spectrum49 乐音与非乐音 Tone and Nontone50 噪声 Noise51 听觉阙限 Auditory Threshold52 响度 Loudness53 听觉掩蔽 Auditory Masking54 音乐心理学 Psychology of Music55 音响心理学 Psychology of Sound56 音的四属性 Four Attribute Sound57 音高 Pitch58 音色 Timbre59 力度 Loudness60 频率辨别阙限 Difference Threshold of Frequency61 强度辨别阙限 Difference Threshold of Loudness62 混响 Reverberation63 音源距离感 Distance Perception of Sound64 音源方位感 Orientation Perception of Sound65 立体声 Stereophony66 语言心理学 Psycholinguistics67 语言声谱 Language Spectrum68 语言清晰度 Articulation69 人体尺寸 body dimension70 作业空间 Work Space71 模数 Module72 心理尺度 Psychological Measure73 动作分析 Motion Analysis74 时间研究 Time Study75 动作时间研究 Motion and Time Study79 脑波 Brain Wave80 生物钟 Bio-o'clock81 睡眠 Sleep82 疲劳 Fatigue83 姿态 Body Posture86 肌肉运动学 Kinesiology87 肌电图 Electromyography88 形态学 Morphology89 仿生学 Bionics90 人、环境系统 Man-Environment System91 照明 illumination 92 振动 Oscillate 93 气候 Climate 94 空气调节 Air Conditioning 95 功能分配 Functional Allocation设计团体与部分人物英1 维也纳工厂 Wiener Werksttate2 德意志制造联盟 Der Deutsche Werkbund3 克兰布鲁克学院 The Cranbrook Academy4 国际现代建筑会议 Congres Internationaux D'Architecture Moderne5 现代艺术馆 Museum Of Modern Art6 芝加哥设计学院 Chicago Institute of Design7 英国工业设计委员会 Council of Industrial Design8 设计委员会 The Desgin Council9 国际建筑师协会 Union Internationale des Architects10 设计研究组织 Design Research Unit11 日本工业设计师协会 Japan Industrial Desginers Association12 日本设计学会 Japanese Society for Science of Design13 乌尔姆造型学院 Ulm Hochschule fur Gestallung14 国际设计协会联合会International Council of Societies Industrial Desgin15 国际工业设计会议 International Design Congress ,ICSID Congress16 国际设计师联盟 Allied International Designers17 国际室内设计师联合会 International Federation of Interior Designers18 国际图形设计协会 International Graphic Desgin Associations19 国际流行色协会International Commission for color in fashion and Textiles20 工业产品设计中心 The Centre de Creation Industrielle21 中国工业设计协会 China Industrial Design Association22 阿尔齐米亚集团 Alchymia Studio23 中国流行色协会 China Fashion Color Association24 中国技术美学委员会 China Technological Aesthetics Association25 莫里斯 Willian Morris 1834-1896E26 奥斯特瓦德 Wilhelm Friedrich Ostwald1853-1932G27 孟赛尔 Albert 1858-1918A 28 凡.德.维尔德 Henry Vande Velde 1863-1957 29 莱特 Lloyd Wright 1867-1959A 30 贝伦斯 Peter Behrens1868-1940G 31 霍夫曼 Joseph Hoffmann1870-1956 32 皮克 Frank Pick1878-1941 33 维斯宁兄弟Alexander Leonid and Victor Vesnin 34 格罗皮乌斯 Walter Gropius1883-1969 35 蒂格 Walter Dorwin Teague 36 利奇 Bernard Leach 37 勒.柯不西埃 Le Corbusier法 38 伊顿 Johennes Itten 39 里特维尔德 Gerrit Thomas Rietvela 40 庞蒂 Gio Ponti 41 拉塞尔 Gordon Russel 42 格迪斯 Norman Bel Geddes 43洛伊 Raymond Fermam 44 里德 Herbert Read 45 莫荷利.纳吉 Laszlo Moholy Nagy 46 凡.多伦 Harold Van Doren 47 阿尔托 Alvar Aalto 48 拜耶 Herbert Bayer 50 佩夫斯纳 Nikolans 51 布劳耶尔 Marcel Breuer 52 佩里安 Charlotte Perriand 53 德雷夫斯 Henry Dreyfuss 54 迪奥 Christian Dior 55 鲍登 Edward Bawden 56 贾戈萨 Dante Giacosa 57 伊姆斯 Charles Eames 58 伊娃齐塞尔 Eva Zeiesl 59 比尔MaxBill设计法规与标准英1 知识产权Intellectual Property2 着作权 Copyright3 工业产权 Industrial Property4 专利 Patent5 发明专利 Patent for Invention6 实用新型 Utility Model7 外观设计专利 Registration of Design8 注册商标 Registered Trade Mark9 广告法 Advertising Law10 反不正当竞争 Repression of Unfair Competition 11 设计费 Design Fee 12 标准 Standard 13 德国工业标准 Deutsche Industrial Normen 设计生产经营与评价 1 工业工程学Industrial Engineering 2 工业心理学Industrial Psychology 3 科学管理法 Scientific Management 4 生产管理 Production Control 5 质量管理 Quality Control 6 系统工程 System Engineering 7 批量生产Mass Production 8 流水作业Conveyer System 9 互换式生产方式Interchangeable Production Method 10 标准化 Standardization 11 自动化Automation 12 市场调查 Market Research 13 商品化计划 Merchandising 14 产品开发 Product Development 15 产品改型 Model Change 16 产品测试 Product Testing 17 产品成本 Product Cost 18 营销学 Marketing 19 买方市场 Buyer's Market 20 卖方市场Seller's Marker 21 促销Sales Promotion 22 适销Marketability 23 消费者 Consumer 24 购买动机调查 Motivation Research 25 深层面接法 Depth Interview 26 销售热点 Selling Point 27 卡通测试法Cartoon Test 28 产品形象 Product Image 29 形象策略 Image Strategy 30 公共关系 Public Relations 31 运筹学 Operations Research 32 设计策略 Design Policy 33 艺术总监 Art Director 设计思潮与流派英 1 学院派 Academicism 2 理性主义 Rationalism 3 非理性主义 Irrationalism 4 古典主义 Classicism 5 浪漫主义 Romanticism 6 现实主义 Realism 7 印象主义 Impressionism 8 后印象主义 Postimpressionism 9 新印象主义 Neo-Impressionism法 10 那比派The Nabject 11 表现主义 Expressionism 12 象征主义 Symbolism 13 野兽主义Fauvism 14 立体主义 Cubism 15 未来主义 Futurism 16 奥弗斯主义 Orphism 17 达达主义 Dadaism法 18 超现实主义 Surrealism 19 纯粹主义 Purism 20 抽象艺术Abstract Art 21 绝对主义,至上主义Suprematism 22 新造型主义Neo-plasticisme法 23 风格派 De Stiji 24 青骑士 Der Blaus Reiter 25 抒情抽象主义 Lyric Abstractionism 26 抽象表现主义 Abstract Expressionism 27 行动绘画 Action Painting 28 塔希主义 Tachisme法 29 视幻艺术 Op Art 30 活动艺术、机动艺术Kinetic Art 31 极少主义Minimalism 32 概念主义Conceptualism 33 波普艺术 Pop Art 34 芬克艺术、恐怖艺术 Funk Art 35 超级写实主义 Super Realism 36 人体艺术 Body Art 37 芝加哥学派 Chicago School 38 艺术与手工艺运动 The Arts & Crafts Movement 39 新艺术运动 Art Nouveau 40 分离派Secession 41 构成主义Constructivism 42 现代主义Modernism 43 包豪斯 Bauhaus 44 阿姆斯特丹学派 Amsterdam School 45 功能主义 Functionalism 46 装饰艺术风格 Art Deco法 47 国际风格 International Style 48 流线型风格 Streamlined Forms 49 雅典宪章 Athens Charter 50 马丘比丘宪章 Charter of Machupicchu 51 斯堪的纳维亚风格 Scandinavia Style 52 新巴洛克风格New Baroque 53 后现代主义Postmodernism 54 曼菲斯Memphis 55 高技风格 High Tech 56 解构主义 Deconstructivism 57 手工艺复兴 Crafts Revival 58 准高技风格 Trans High Tech 59 建筑风格 Architecture 60 微建筑风格 Micro-Architecture 61 微电子风格 Micro-Electronics 62 晚期现代主义 Late ModernismApplication产品应用Telecommunication通讯行业Medical医疗行业Automotive汽车行业 PC Peripherals计算机行业 TV / Audio & Visual 电视;音响 OA Equipment 自动化办公设备 Products产品种类 General Silicone Rubber 普通硅胶 Key-Film IMD 薄膜注塑键 Key-Film IMD + RubberKEY-Film+硅胶 Plastic + Rubber P + 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铝箔带Anchor锚Appearance外观approve 认可AQL 允收水准Armature电枢/转子assembly部件Assembly装配物料清单Ball holder铜珠套筒bar 杆bar code 条形码Barbed connector 有倒扣的连接片Bar棒Battery cave cover电池盒/盖Battery cave电池底壳Battery tag电池片battery电池bearing 轴承Bearing-lock轴承-锁belt 皮带bit 铁嘴Bit guard防护罩Bit storage批嘴储存件Blocks 量块BMC 工具盒Bottle connector瓶口连接Bottom cabinet-charger充电座底壳bottom 底部Box 箱Box 组件Bracket固定架/支架Brand label商标贴纸Bristle brush毛刷Bristle holder毛刷柄Brush roller 毛刷巻轴Brush刷子/碳刷Bubble lever 水平珠Bucket箱Bulb reflector 电灯反射器Bulb support电灯泡支撑座Bundle捆/扎burr 毛刺bush 轴套Bushing-bearing lock轴套锁製Bushing-case adaptor轴套外套适配器Bush-output shaft带轴套的输出轴Bush轴套button 按钮cabinet 壳Cabinet-cover面壳Cabinet-support底壳Cabinet壳cable 电缆Cable clamp plate电线夹片Cable电缆Calibration校正Caliper 卡尺Cam plate偏心片Cam凸轮cap 帽,杯Cap杯帽Carbon film resistor碳膜电阻Card 卡片Carrying strip手带carton 箱case 箱cavity 模腔cell电池Charger bracket充电座支架charger 充电座/器check 检查chuck 锁头Circuit ass’y循环装置conformity 合格cord 电线cover 上盖current 电流cycle 循环defect 缺陷description名称Dial indication 百分表die cast 铸件dimension 尺寸dispose处理Drill 电钻driver 电批electric 电气件Fasten-knob钮扣状旋钮Felt seal毛毡封Ferrite bead磁珠Fiber glass sleeve玻纤套Field 定子线圈Filler填空件Filter bag bracket 过滤袋支架Filter frame过滤栏架filter 滤网Filter过滤器finished表面处理Finished完成的First layer internal gear第一层内齿轮圈First layer sun gear第一层行星齿轮fitting 装配Fitting装置fit配合flash 披锋Flash闪光flex hose 软管Flex hose弯管flow mark 流痕Flow mark流痕Foam holder泡沫支架force 力Force力frequency频数Front cover cabinet前面壳Front grill前脚架Front housing-gear box牙箱前壳Front support cabinet前底壳Function功能fuse保险丝Fuse clip保险管夹Fuse ass’y 保险丝底板组件Fuse保险丝function功能Gasket 垫片/圈gate 水口Gauge量规gear齿轮Gear box adaptor牙箱调整装置Gear box housing 牙箱壳Gear housing cover牙箱盖Gift box 彩盒go-no go通尺规Go-no go gauge通止规Grass trimmer剪草机Grease leak 漏油Grease油脂Handle catch手柄扣Handle grip手柄hardness硬度Heat sink散热器Heat treatment 热处理Hex nut六角螺帽HI-POT高压测试holder支座Holder cover支座盖Holder支座Hole test 内径千分尺Hose elbow弯管Hose wrap plate软管扎带Housing cover机壳上盖Housing handle机壳手柄Housing support机壳底座housing 壳检查报告IC集成电路Idler gear-A变速齿轮“A”Idler gear-B变速齿轮“B”Idler shaftImpact drillcap冲击钻杯impeller 风扇 Impeller风扇叶Indicator cover指示器盖Indicator switch knob指示开关旋钮injection 注射Insert refill bottle插入式替换瓶insert型,芯Insert型芯/插入inspection 检验Instruction manual 说明书Instrument 仪器Insulator绝缘体Inverted retaining ring 反向保持介子key 锁匙Key holder锁匙支架Key锁匙Label 标签Lanyard手带Latch锁扣/门锁Led发光二极管Left head screw左牙螺丝Lens透镜Leveler accessory 水平珠组件Leveler body水平珠本体Leveler cover水平珠盖Lever oil水平珠油Lever-speed change调速杆Lever控制杆Location spacer定位隔离器Louver天窗Lubricant润滑油订单Machine screw机器螺丝mark 标记Mark 标记Massage ring按摩环material 材料Material材料metal 金属Metal washer ring 金属介子Metal金属Micrometer千分尺multimeter 万用表model型号motor电机Motor accessory马达组件Motor bracket 马达支架Motor fixity-external马达外定位件Motor fixity-internal马达内定位件Motor mounting bracket马达定位架Motor mounting马达定位Motor pulley 马达滑轮Mounting plate杯片nameplate 铭牌Nonconformity不合格/不一致Nut 螺母o-ring 胶圈output shaft 轴芯,输出轴oven 烤炉P&A 人事电路板p/p cover电池盒上座p/p support 电池盒底座packing包装part line分型线part 零件pedestal台座,基座,垫座PIE生产工业工程pin 小轴pin gauge芯棒pinion小齿轮pinion-motor马达牙仔pin销Pivot tube 转轴套plain washer-motor平面介子plant gear 行星齿轮plastic gear塑胶齿轮plastic tape胶纸plastic washer胶介子Plastic 塑胶plate片plug插头PMC 物料控制Poly bag 塑料袋powdermetal 粉末冶金power pack电池组power功率Project management项目管理projector 投影仪Pulley flange 滑轮法兰pulley flange泵翼purchasing 采购push rod推杆PVC sleevePVC tubeQA质量保证QC 质量控制R&D工程研发. 接收单Ratchet plate转轮片Ratchet 转轮rating 额定值Rear cover cabinet后面盖Rear housing-gear box牙箱后壳Rear support cabinet后底盖Receptacle 插座Rectifier整流器Recycling label环保标签Reflector cap反光杯reject 退货remark 注释Remark备注/注释resistor电阻Reverse反向Revise更改rework 加工ring 垫圈Ring bolt有环螺钉Ring gear内齿轮圈Rocker switch摇杆开关roller 转子Roller滚筒/辊子Rotary cap旋转杯run out摆动/跳动Run-out跳动rusty 铸跡rusty生锈的Safety switch安全开关sampling 抽样Sander base磨沙机底座Scrap报废scratch刮花screw 螺丝Screwdriver bit批嘴Screwdriver电批Screw螺丝SDS来货检验资料Second layer internal gear第二层内齿轮圈Second layer planet gear第二层行星齿轮Second layer run gear第二层恒星齿轮Secondary blower flangeSelf-tapping screw自攻螺丝SER 样本评估报告shaft 轴Shaft轴芯Sharp edge锐边Sheet 纸/表格Shrinkable sleeve热缩管Silkscreen 丝印Sinkage缩水Sketch简图Sleeve套子Sliding rod滑动杆Solution tank溶解槽sort 拣货Sort分类Spacer隔离件speed 速度Speed change knob变速钮Spindle gear-A转动齿轮“A”Spindle gear-B转动齿轮“B”Spindle轴芯Spine-ball刺珠Sponge海绵Spotter nozzle定心喷嘴Spring clip弹性夹子Spring plate弹弓片Spring washer弹性介子spring 弹弓Spring-torque control扭力控制弹簧Stator定子Steel roller钢辊子Stopper-motor马达制动Stopper-right右制动Sun gear恒星/太阳齿轮Support cabinet下壳Support下盖switch 开关Switch button knob开关按钮Switch lock锁掣Switch 开关tape 带Tapping type攻牙形式Terminal holder接触片支座Terminal接触片terms 术语Term术语/期间texture 纹理Thermal protector热保护器Thermal-fuse热感应保险丝Thermostat热敏开关Third layer internal gear第三层内齿轮圈Third layer planet gear第三层行星齿轮Third layer sun gear 第三层恒星齿轮Thread 螺纹Timer定时器Tolerance 公差Top cabinet-charger 充电座面壳toque 扭矩torque meter 扭力表Torque control knob 扭力调节器Transformer变压器treatment 热处理trimmer 剪草机Twisting screwdriver螺旋形电批UL approval power cord UL认可的电线UL wire AWG 16 black UL16号黑色电线UL wire AWG 16 red UL16号红色电线Unit & accessory主机及附件Urgent紧急U-spring U型弹弓vacuum cleaner 吸尘器Vacuum cleaner真空吸尘器Variable speed switch变速开关Vibration振动voltage电压W/o battery paper sleeve 无纸套电池Wall anchors挂墙胶条washer 垫片。

八年级英语几何原理单选题50题

八年级英语几何原理单选题50题

八年级英语几何原理单选题50题1. The shape of a basketball is a _.A.circleB.sphereC.cylinderD.cone答案:B。

A 选项circle 是圆形;B 选项sphere 是球体;C 选项cylinder 是圆柱体;D 选项cone 是圆锥体。

篮球的形状是球体。

2. A box of chocolates is usually in the shape of a _.A.cubeB.cylinderC.sphereD.cone答案:A。

A 选项cube 是正方体;B 选项cylinder 是圆柱体;C 选项sphere 是球体;D 选项cone 是圆锥体。

一盒巧克力通常是正方体形状。

3. The tip of a pencil is in the shape of a _.A.circleB.coneC.sphereD.cube答案:B。

A 选项circle 是圆形;B 选项cone 是圆锥体;C 选项sphere 是球体;D 选项cube 是正方体。

铅笔的笔尖是圆锥体形状。

4. A coin is in the shape of a _.A.circleB.sphereC.cylinderD.cone答案:A。

A 选项circle 是圆形;B 选项sphere 是球体;C 选项cylinder 是圆柱体;D 选项cone 是圆锥体。

硬币是圆形的。

5. A drinking straw is usually in the shape of a _.A.cylinderB.coneC.sphereD.cube答案:A。

A 选项cylinder 是圆柱体;B 选项cone 是圆锥体;C 选项sphere 是球体;D 选项cube 是正方体。

吸管通常是圆柱体形状。

6.The triangle is known for its _____.A.flexibilityB.stabilityC.changeabilityD.weakness答案:B。

三维技术在室内灯光照明设计中的模拟和使用研究

三维技术在室内灯光照明设计中的模拟和使用研究

南京邮电大学高等教育自学考试专接本专业毕业设计 (论文)设计题目:三维技术在室内灯光照明设计中的模拟和使用研究专科学校镇江高等专科学校姓名李骥准考证号112911202032本科专业广告学指导教师蒋纯利完成日期2013 年 5 月 4 日摘要人类的生活态度和生活方式以及人们的物质需求和审美价值取向在计算机技术迅猛发展的今天正在发生巨大的变化。

就室内设计而言,三维技术的发展不仅对我们的设计观念、设计思维、工作方式提出了新的要求,同时也对我们的创意表达、方案表现手段与方法提出了挑战。

主动探索室内设计在三维表现方面的新技术和其发展趋势,成为今天摆在每一位设计师面前急需思考和解决的一个主要课题。

三维表现技术的研究既具有学科综合交叉的知识背景,又具备实践性强的特征。

本文论述了室内设计灯光三维表现技术的模拟和使用,总结了三维软件、三维表现技术的发展历程、人类的灯光发展历程。

利用3dsmax、v-ray系列表现软件完整呈现出三维表现技术在室内灯光设计中的具体运用。

本文详细介绍3dsmax 软件中,室内灯光的处理设计过程,并对3dsmax软件中的各类灯光参数、灯光设置、灯光类型进行介绍。

关键词:室内设计表现;三维表现;3DSMAX;室内灯光照明AbstractHuman attitude towards life and lifestyle as well as people's material needs and aesthetic value orientation in the rapid development of computer technology today is undergoing great changes. In terms of interior design, the development of three-dimensional technology, not only for our design concept, design thinking, ways of working with the new requirements, but also presents a challenge to our creative expression, means and methods of program performance. Take the initiative to explore the interior design in 3D performance, new technologies and trends, today placed in front of every designer urgent need to think and solve a major topic. 3D performance technology research both cross disciplinary background, but also with practical features.This article discusses the interior design lighting three-dimensional simulation of the performance of technology and use, summed up the three-dimensional software, the 3D performance technology development process, the light of the human development course. With 3dsmax, v-ray series performance software still show a three-dimensional performance in indoor lighting design. This paper describes 3dsmax software processing design process for indoor lighting, and various types of lighting parameters 3dsmax software, lighting setup, light type are introduced.Keywords: interior design performance; 3D performance; 3dsmax; Indoor lighting目录第一章绪论 (4)1.1研究背景 (4)1.2 研究意义和目的 (4)1.3 相关研究综述…………………………………………………………错误!未定义书签。

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1
field equations reproduces Newtonian gravity when the low energy regimen is consistently analysed [4].
In general we expect that the task of finding solutions of field equations in 3+1 dimensions to be much more involved than in 2+1. Therefore it will be useful to find a exact interior solutions to the JBD equations from 2+1 dimensions. In this paper we will show that for a static perfect fluid with the proper energy density proportional to the proper pressure this can be done.
α = α0 + Cα ln
r r0
,
(8)
β = β0 + Cβ ln
r r0
,
(9)
r Cφ
φ = φ0 r0
.
(10)
3
Hawking [5] has pointed out that the stationary space containing a black hole is a solution of the JBD field equations if and only if it is a solution of the Einstein field equations. Thus, stationary black hole solutions in the JBD theory are the same as stationary black hole solutions in the Einstein theory. However, JBD theory can be thought of as a minimal extension of general relativity designed to properly accommodate both Mach’s principle [6] and Dirac’s large number hypothesis [6]. The point is that the field equations admit curved vacuum solutions and also solutions that are asymptotically flat, at the same time such solutions as vacuum, a single matter particle etc. are anti-machian and, hence, has no meaning in the absence of matter.
The action principle with suitable boundary conditions gives rise to the D-dimensional field equations:
Gµν
=

8π φ
Tµν

ω φ2
(φ,µφ,ν

1 2
gµν
φ,ρφ,ρ)

1 φ
(φ,µ;ν
S
=
1 16π
dDx√−g (φR − ω(φ)gµν∂µφ∂νφ − λ(φ)) + Sm.
(1)
Here, R is the Ricci scalar curvature with respect to the space-time metric gµν. We use units in wich gravitational constant G=1 and speed of light c=1. The dynamics of the scalar field φ depends on the functions ω(φ) and λ(φ). It should be mentioned that the different choices of such function give different scalar tensor theories. We restrict our discussion to the JBD theory which characterized by the functions λ(φ) = 0 and ω(φ) = ω/φ, where ω is a constant.
2 Scalar-tensor theories in D–dimensions
Scalar-tensor theories are described by the following action in the Jordan frame in D-dimensional space-time is:
ds2 = e2βdt2 − e2αdr2 − r2dϕ2,
(7)
where α and β are functions of r alone. In vacuum (Tµν = 0) Eqs. (2), (3) have the solution gµν = ηµν and φ = 1, where ηµν is the Minkowski metric tensor. On the other hand in vacuum Eqs. (2), (3) yield
The investigate of a JBD field equations in dimensions lower than 3+1 is interesting because it may allow to study phenomena characteristic of gravity, which have 3+1 dimensional analogues in a simplified context [3]. In 2+1 dimensions, the Riemann- Christoffel tensor is uniquely determined by the Ricci tensor, which vanishes outside the sources. Hence, spacetime of Einstein General Relativity is flat in regions devoid of matter, and test particles do not feel any gravitational field. However, in 2+1 dimensions JBD

gµν φ;;ρρ),
(2)
φ;;ρρ
=
k 2(ω +
1)T ,
(3)
where semi-colon denotes the covariant derivative with respect to the metric
gµν and Tµν is the usual energy momentum tensor which obeys the conservation equation Tµν;ρgνρ = 0, and k is a function of ω and dimension D:
1 Introduction
The most studied and hence the best known alternative of classical Einstein’s gravity is the scalar-tensor Jordan-Brans-Dicke (JBD) theory.[1][2].The essential feature of JBD theory is the presence of a massless scalar field to describe gravitation together with the metric. Scalar-tensor theories contain arbitrary functions of the scalar field that determine the scalar potential as a dynamical variable, the analog of gravitational permittivity is allowed to vary with space and time which defined using Newton’s gravitational constant as G = 1/φ.

3 Interior solutions.
Finding exact solutions of scalar-tensor theories equations in the presence of a matter is a difficult task due to their complexity in the general case. Bruckman and Kazes [7] derive the relation between the scalar field φ and g00:
ds2 = e2βdt2 − e2αdr2 − r2dΩ2(D−2),
(5)
where dΩ2(D−2) is the line element on a unit D-2 sphere:
D−3
n
dΩ2(D−2) = dθ(20)+
dθ(2n)
sin2 θ(m−1) .
(6)
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