大连理工大学毕业设计外文翻译-模版
专业论文：法国文艺复兴时期的巴洛克和洛可可风格 中文翻译---毕业论文提升篇
大连理工大学本科外文翻译法国文艺复兴时期的巴洛克和洛可可风格Renaissance, Baroque, andRococo in France学部（学院）：建筑与艺术学院专业：环境艺术设计学生姓名：学号：指导教师：完成日期：大连理工大学Dalian University of Technology8.1勒勃兰和罗伯特·的德·柯特教堂在凡尔赛宫是北方的皇家礼拜堂,绕线的宫殿,有下层和上层,皇家国王和他的随从。
镀金使用与克制扶手栏杆,上面的祭坛和器官案例,详细的拱形的天花板和画头枕。
彩色大理石铺设的地板是几何图案。
天花板壁画,和大理石。
人们常说，艺术和文艺复兴时期的设计理念，向外扩散从意大利到法国，欧洲中部，和西班牙。
这个词是“蔓延”，表明这是一个自然的和不可避免的过程。
新的想法，容易扩散，但这个过程可能是受到欢迎和鼓励的，这取决于在一个特定的地方活动和态度，在一个特定的时间。
从1494到1525，法国在意大利的军事关系带来了意大利的思想意识在法国贵族的身上。
圣加洛，列奥纳多，达文西，和贝尔尼尼都是活跃在法国和意大利的思想家而被翻译成法文的实践。
在意大利，一个初步早期文艺复兴时期的高风格。
受意大利的影响被同化成一个典型的法国文艺复兴时期（随后的巴洛克风格出现）。
后来法国的长期工作使巴洛克晚期以来的文艺复兴时期的法国作品更加具有内敛和保守的性格相比较在意大利的发展和德国南部的发展。
法国洛可可微妙交错的工艺延伸到第十八世纪的巴洛克风格。
在西班牙，一个类似的模式可以追溯到文艺复兴，都从意大利直接和间接地来自法国的传播。
西班牙建筑师在意大利旅行，甚至，在某些情况下，在意大利工作；他们带回了文艺复兴风格并纳入现有的，有些拘谨的方法。
西班牙的丰富的纹饰到华丽的内饰，在精神上有强烈的巴洛克式的风格。
对第十八世纪的西班牙设计的洛可可风格的作品显然是基于法国的例子，但发展具有独特的地域特征。
西班牙在美洲大陆开放的效果是有助于西班牙巴洛克和洛可可风格在大西洋发展和进入新世界的作用。
大连理工大学本科生毕业设计(论文)文本格式要求
大连理工大学本科毕业设计（论文）大连理工大学本科毕业设计（论文）题目The Subject of Undergraduate Graduation Project (Thesis) of业：学生姓名：学号：指导教师：评阅教师：完成日期：大连理工大学Dalian University of Technology摘要“摘要”是摘要部分的标题，不可省略。
标题“摘要”选用模板中的样式所定义的“标题1”，再居中；或者手动设置成字体：黑体，居中，字号：小三，1.5倍行距，段后11磅，段前为0。
摘要是毕业设计（论文）的缩影，文字要简练、明确。
内容要包括目的、方法、结果和结论。
单位采用国际标准计量单位制，除特别情况外，数字一律用阿拉伯数码。
文中不允许出现插图。
重要的表格可以写入。
摘要正文选用模板中的样式所定义的“正文”，每段落首行缩进2个汉字；或者手动设置成每段落首行缩进2个汉字，字体：宋体，字号：小四，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
摘要篇幅以一页为限，字数为400-500字。
摘要正文后，列出3-5个关键词。
“关键词：”是关键词部分的引导，不可省略。
关键词请尽量用《汉语主题词表》等词表提供的规范词。
关键词与摘要之间空一行。
关键词词间用分号间隔，末尾不加标点，3-5个；黑体，小四，加粗。
The Subject of Undergraduate Graduation Project (Thesis) of DUTAbstract外文摘要要求用英文书写，内容应与“中文摘要”对应。
使用第三人称，最好采用现在时态编写。
“Abstract”不可省略。
标题“Abstract”选用模板中的样式所定义的“标题1”，再居中；或者手动设置成字体：Times New Roman，居中，字号：小三，多倍行距 1.5倍行距，段后11磅，段前为0行。
标题“Abstract”上方是论文的英文题目，字体：Times New Roman，居中，字号：小三，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
毕业论文外文翻译格式【范本模板】
因为学校对毕业论文中的外文翻译并无规定，为统一起见,特做以下要求：1、每篇字数为1500字左右，共两篇；2、每篇由两部分组成:译文+原文.3 附件中是一篇范本，具体字号、字体已标注。
外文翻译（包含原文)(宋体四号加粗）外文翻译一（宋体四号加粗）作者：(宋体小四号加粗）Kim Mee Hyun Director, Policy Research & Development Team，Korean Film Council（小四号）出处：(宋体小四号加粗)Korean Cinema from Origins to Renaissance(P358～P340) 韩国电影的发展及前景（标题：宋体四号加粗）1996～现在数量上的增长(正文:宋体小四）在过去的十年间，韩国电影经历了难以置信的增长。
上个世纪60年代，韩国电影迅速崛起，然而很快便陷入停滞状态,直到90年代以后，韩国电影又重新进入繁盛时期。
在这个时期，韩国电影在数量上并没有大幅的增长，但多部电影的观影人数达到了上千万人次。
1996年，韩国本土电影的市场占有量只有23.1%。
但是到了1998年，市场占有量增长到35。
8%，到2001年更是达到了50%。
虽然从1996年开始，韩国电影一直处在不断上升的过程中，但是直到1999年姜帝圭导演的《生死谍变》的成功才诞生了韩国电影的又一个高峰。
虽然《生死谍变》创造了韩国电影史上的最高电影票房纪录，但是1999年以后最高票房纪录几乎每年都会被刷新。
当人们都在津津乐道所谓的“韩国大片”时，2000年朴赞郁导演的《共同警备区JSA》和2001年郭暻泽导演的《朋友》均成功刷新了韩国电影最高票房纪录.2003年康佑硕导演的《实尾岛》和2004年姜帝圭导演的又一部力作《太极旗飘扬》开创了观影人数上千万人次的时代。
姜帝圭和康佑硕导演在韩国电影票房史上扮演了十分重要的角色。
从1993年的《特警冤家》到2003年的《实尾岛》，康佑硕导演了多部成功的电影。
毕业设计(论文)外文资料和译文格式要求(模板)
成都东软学院外文资料和译文格式要求一、译文必须采用计算机输入、打印，幅面A4。
外文资料原文（复印或打印）在前，译文在后，于左侧装订。
二、具体要求1、至少翻译一篇内容与所选课题相关的外文文献。
2、译文汉字字数不少于4000字。
3、正文格式要求：宋体五号字。
译文格式参见《译文格式要求》，宋体五号字，单倍行距。
纸张纸张为A4纸，页边距上2.54cm、下2.54cm、左3.17cm、右3.17cm。
装订外文资料原文（复印或打印）在前，译文在后封面封面的专业、班级、姓名、学号等信息要全部填写正确。
封面指导教师必须为讲师以上职称，若助教则需要配备一名讲师协助指导。
讲师在前，助教在后。
指导教师姓名后面空一个中文空格，加职称。
页眉页眉说明宋体小五，左端“XX学院毕业设计（论文）”，右端“译文”。
页眉中的学院名称要与封面学院名称一致。
字数本科4000字。
附：外文资料和译文封面、空白页成都东软学院外文资料和译文专业：软件工程移动互联网应用开发班级：2班姓名：罗荣昆学号：12310420216指导教师：2015年 12月 8日Android page layoutUsing XML-Based LayoutsW hile it is technically possible to create and attach widgets to our activity purely through Java code, the way we did in Chapter 4, the more common approach is to use an XML-based layout file. Dynamic instantiation of widgets is reserved for more complicated scenarios, where the widgets are not known at compile-time (e g., populating a column of radio buttons based on data retrieved off the Internet).With that in mind, it’s time to break out the XML and learn how to lay out Android activities that way.What Is an XML-Based Layout?As the name suggests, an XML-based layout is a specification of widgets’ relationships to each other—and to their containers (more on this in Chapter 7)—encoded in XML format. Specifi cally, Android considers XML-based layouts to be resources, and as such layout files are stored in the res/layout directory inside your Android project.Each XML file contains a tree of elements specifying a layout of widgets and their containers that make up one view hierarchy. The attributes of the XML elements are properties, describing how a widget should look or how a container should behave. For example, if a Button element has an attribute value of android:textStyle = "bold", that means that the text appearing on the face of the button should be rendered in a boldface font style.Android’s SDK ships with a tool (aapt) which uses the layouts. This tool should be automatically invoked by your Android tool chain (e.g., Eclipse, Ant’s build.xml). Of particular importance to you as a developer is that aapt generates the R.java source file within your project, allowing you to access layouts and widgets within those layouts directly from your Java code. Why Use XML-Based Layouts?Most everything you do using XML layout files can be achieved through Java code. For example, you could use setTypeface() to have a button render its textin bold, instead of using a property in an XML layout. Since XML layouts are yet another file for you to keep track of, we need good reasons for using such files.Perhaps the biggest reason is to assist in the creation of tools for view definition, such as a GUI builder in an IDE like Eclipse or a dedicated Android GUI designer like DroidDraw1. Such GUI builders could, in principle, generate Java code instead of XML. The challenge is re-reading the UI definition to support edits—that is far simpler if the data is in a structured format like XML than in a programming language. Moreover, keeping generated XML definitions separated from hand-written Java code makes it less likely that somebody’s custom-crafted source will get clobbered by accident when the generated bits get re-generated. XML forms a nice middle ground between something that is easy for tool-writers to use and easy for programmers to work with by hand as needed.Also, XML as a GUI definition format is becoming more commonplace. Microsoft’s XAML2, Adobe’s Flex3, and Mozilla’s XUL4 all take a similar approach to that of Android: put layout details in an XML file and put programming smarts in source files (e.g., JavaScript for XUL). Many less-well-known GUI frameworks, such as ZK5, also use XML for view definition. While “following the herd” is not necessarily the best policy, it does have the advantage of helping to ease the transition into Android from any other XML-centered view description language. OK, So What Does It Look Like?Here is the Button from the previous chapter’s sample application, converted into an XMLlayout file, found in the Layouts/NowRedux sample project. This code sample along with all others in this chapter can be found in the Source Code area of .<?xml version="1.0" encoding="utf-8"?><Button xmlns:android="/apk/res/android"android:id="@+id/button"android:text=""android:layout_width="fill_parent"android:layout_height="fill_parent"/>The class name of the widget—Button—forms the name of the XML element. Since Button is an Android-supplied widget, we can just use the bare class name. If you create your own widgets as subclasses of android.view.View, you would need to provide a full package declara tion as well.The root element needs to declare the Android XML namespace:xmlns:android="/apk/res/android"All other elements will be children of the root and will inherit that namespace declaration.Because we want to reference this button from our Java code, we need to give it an identifier via the android:id attribute. We will cover this concept in greater detail later in this chapter.The remaining attributes are properties of this Button instance:• android:text indicates the initial text to be displayed on the button face (in this case, an empty string)• android:layout_width and android:layout_height tell Android to have the button’swidth and height fill the “parent”, in this case the entire screen—these attributes will be covered in greater detail in Chapter 7.Since this single widget is the only content in our activity, we only need this single element. Complex UIs will require a whole tree of elements, representing the widgets and containers that control their positioning. All the remaining chapters of this book will use the XML layout form whenever practical, so there are dozens of other examples of more complex layouts for you to peruse from Chapter 7 onward.What’s with the @ Signs?Many widgets and containers only need to appear in the XML layout file and do not need to be referenced in your Java code. For example, a static label (TextView) frequently only needs to be in the layout file to indicate where it should appear. These sorts of elements in the XML file do not need to have the android:id attribute to give them a name.Anything you do want to use in your Java source, though, needs an android:id.The convention is to use @+id/... as the id value, where the ... represents your locally unique name for the widget in question. In the XML layout example in the preceding section, @+id/button is the identifier for the Button widget.Android provides a few special android:id values, of the form @android:id/.... We will see some of these in various chapters of this book, such as Chapters 8 and 10.We Attach These to the Java How?Given that you have painstakingly set up the widgets and containers in an XML layout filenamed main.xml stored in res/layout, all you need is one statement in your activity’s onCreate() callback to use that layout:setContentView(yout.main);This is the same setContentView() we used earlier, passing it an instance of a View subclass (in that case, a Button). The Android-built view, constructed from our layout, is accessed from that code-generated R class. All of the layouts are accessible under yout, keyed by the base name of the layout file—main.xml results in yout.main.To access our identified widgets, use findViewById(), passing in the numeric identifier of the widget in question. That numeric identifier was generated by Android in the R class asR.id.something (where something is the specific widget you are seeking). Those widgets are simply subclasses of View, just like the Button instance we created in Chapter 4.The Rest of the StoryIn the original Now demo, the button’s face would show the current time, which would reflect when the button was last pushed (or when the activity was first shown, if the button had not yet been pushed).Most of that logic still works, even in this revised demo (NowRedux). However,rather than instantiating the Button in our activity’s onCreate() callback, we can reference the one from the XML layout:package youts;import android.app.Activity;import android.os.Bundle;import android.view.View;import android.widget.Button; import java.util.Date;public class NowRedux extends Activity implements View.OnClickListener { Button btn;@Overridepublic void onCreate(Bundle icicle) { super.onCreate(icicle);setContentView(yout.main);btn=(Button)findViewById(R.id.button);btn.setOnClickListener(this);upd ateTime();}public void onClick(View view) { updateTime();}private void updateTime() {btn.setText(new Date().toString()); }}The first difference is that rather than setting the content view to be a view we created in Java code, we set it to reference the XML layout (setContentView(yout.main)). The R.java source file will be updated when we rebuild this project to include a reference to our layout file (stored as main.xml in our project’s res/l ayout directory).The other difference is that we need to get our hands on our Button instance, for which we use the findViewById() call. Since we identified our button as @+id/button, we can reference the button’s identifier as R.id.button. Now, with the Button instance in hand, we can set the callback and set the label as needed.As you can see in Figure 5-1, the results look the same as with the originalNow demo.Figure 5-1. The NowRedux sample activity Employing Basic WidgetsE very GUI toolkit has some basic widgets: fields, labels, buttons, etc. Android’s toolkit is no different in scope, and the basic widgets will provide a good introduction as to how widgets work in Android activities.Assigning LabelsThe simplest widget is the label, referred to in Android as a TextView. Like in most GUI toolkits, labels are bits of text not editable directly by users. Typically, they are used to identify adjacent widgets (e.g., a “Name:” label before a field where one fills in a name).In Java, you can create a label by creating a TextView instance. More commonly, though, you will create labels in XML layout files by adding a TextView element to the layout, with an android:text property to set the value of the label itself. If you need to swap labels based on certain criteria, such as internationalization, you may wish to use a resource reference in the XML instead, as will be described in Chapter 9. TextView has numerous other properties of relevance for labels, such as:• android:typeface to set the typeface to use for the label (e.g., monospace) • android:textStyle to indicate that the typeface should be made bold (bold), italic (italic),or bold and italic (bold_italic)• android:textColor to set the color of the label’s text, in RGB hex format (e.g., #FF0000 for red)For example, in the Basic/Label project, you will find the following layout file:<?xml version="1.0" encoding="utf-8"?><TextView xmlns:android=/apk/res/androidandroid:layout_width="fill_parent"android:layout_height="wrap_content"android:text="You were expecting something profound?" />As you can see in Figure 6-1, just that layout alone, with the stub Java source provided by Android’s p roject builder (e.g., activityCreator), gives you the application.Figure 6-1. The LabelDemo sample applicationButton, Button, Who’s Got the Button?We’ve already seen the use of the Button widget in Chapters 4 and 5. As it turns out, Button is a subclass of TextView, so everything discussed in the preceding section in terms of formatting the face of the button still holds. Fleeting ImagesAndroid has two widgets to help you embed images in your activities: ImageView and ImageButton. As the names suggest, they are image-based analogues to TextView and Button, respectively.Each widget takes an android:src attribute (in an XML layout) to specify what picture to use. These usually reference a drawable resource, described in greater detail in the chapter on resources. You can also set the image content based on a Uri from a content provider via setImageURI().ImageButton, a subclass of ImageView, mixes in the standard Button behaviors, for responding to clicks and whatnot.For example, take a peek at the main.xml layout from the Basic/ImageView sample project which is found along with all other code samples at : <?xml version="1.0" encoding="utf-8"?><ImageView xmlns:android=/apk/res/androidandroid:id="@+id/icon"android:layout_width="fill_parent"android:layout_height="fill_parent"android:adjustViewBounds="true"android:src="@drawable/molecule" />The result, just using the code-generated activity, is shown in Figure 6-2.Figure 6-2. The ImageViewDemo sample applicationFields of Green. Or Other Colors.Along with buttons and labels, fields are the third “anchor” of most GUI toolkits. In Android, they are implemented via the EditText widget, which is a subclass of the TextView used for labels.Along with the standard TextView properties (e.g., android:textStyle), EditText has many others that will be useful for you in constructing fields, including:• android:autoText, to control if the fie ld should provide automatic spelling assistance• android:capitalize, to control if the field should automatically capitalize the first letter of entered text (e.g., first name, city) • android:digits, to configure the field to accept only certain digi ts • android:singleLine, to control if the field is for single-line input or multiple-line input (e.g., does <Enter> move you to the next widget or add a newline?)Beyond those, you can configure fields to use specialized input methods, such asandroid:numeric for numeric-only input, android:password for shrouded password input,and android:phoneNumber for entering in phone numbers. If you want to create your own input method scheme (e.g., postal codes, Social Security numbers), you need to create your own implementation of the InputMethod interface, then configure the field to use it via android: inputMethod.For example, from the Basic/Field project, here is an XML layout file showing an EditText:<?xml version="1.0" encoding="utf-8"?><EditTextxmlns:android=/apk/res/androidandroid:id="@+id/field"android:layout_width="fill_parent"android:layout_height="fill_parent"android:singleLine="false" />Note that android:singleLine is false, so users will be able to enter in several lines of text. For this project, the FieldDemo.java file populates the input field with some prose:package monsware.android.basic;import android.app.Activity;import android.os.Bundle;import android.widget.EditText;public class FieldDemo extends Activity { @Overridepublic void onCreate(Bundle icicle) { super.onCreate(icicle);setContentView(yout.main);EditText fld=(EditText)findViewById(R.id.field);fld.setText("Licensed under the Apache License, Version 2.0 " + "(the \"License\"); you may not use this file " + "except in compliance with the License. You may " + "obtain a copy of the License at " +"/licenses/LICENSE-2.0");}}The result, once built and installed into the emulator, is shown in Figure 6-3.Figure 6-3. The FieldDemo sample applicationNote Android’s emulator only allows one application in the launcher per unique Java package. Since all the demos in this chapter share the monsware.android.basic package, you will only see one of these demos in your emulator’s launcher at any one time.Another flavor of field is one that offers auto-completion, to help users supply a value without typing in the whole text. That is provided in Android as the AutoCompleteTextView widget and is discussed in Chapter 8.Just Another Box to CheckThe classic checkbox has two states: checked and unchecked. Clicking the checkbox toggles between those states to indicate a choice (e.g., “Ad d rush delivery to my order”). In Android, there is a CheckBox widget to meet this need. It has TextView as an ancestor, so you can use TextView properties likeandroid:textColor to format the widget. Within Java, you can invoke: • isChecked() to determi ne if the checkbox has been checked• setChecked() to force the checkbox into a checked or unchecked state • toggle() to toggle the checkbox as if the user checked itAlso, you can register a listener object (in this case, an instance of OnCheckedChangeListener) to be notified when the state of the checkbox changes.For example, from the Basic/CheckBox project, here is a simple checkbox layout:<?xml version="1.0" encoding="utf-8"?><CheckBox xmlns:android="/apk/res/android"android:id="@+id/check"android:layout_width="wrap_content"android:layout_height="wrap_content"android:text="This checkbox is: unchecked" />The corresponding CheckBoxDemo.java retrieves and configures the behavior of the checkbox:public class CheckBoxDemo extends Activityimplements CompoundButton.OnCheckedChangeListener { CheckBox cb;@Overridepublic void onCreate(Bundle icicle) { super.onCreate(icicle);setContentView(yout.main);cb=(CheckBox)findViewById(R.id.check);cb.setOnCheckedChangeListener(this);}public void onCheckedChanged(CompoundButton buttonView,boolean isChecked) {if (isChecked) {cb.setText("This checkbox is: checked");}else {cb.setText("This checkbox is: unchecked");}}}Note that the activity serves as its own listener for checkbox state changes since it imple ments the OnCheckedChangeListener interface (via cb.setOnCheckedChangeListener(this)). The callback for the listener is onCheckedChanged(), which receives the checkbox whose state has changed and what the new state is. In this case, we update the text of the checkbox to reflect what the actual box contains.The result? Clicking the checkbox immediately updates its text, as you can see in Figures 6-4 and 6-5.Figure 6-4. The CheckBoxDemo sample application, with the checkbox uncheckedFigure 6-5. The same application, now with the checkbox checkedTurn the Radio UpAs with other implementations of radio buttons in other toolkits, Android’s radio buttons are two-state, like checkboxes, but can be grouped such that only one radio button in the group can be checked at any time.Like CheckBox, RadioButton inherits from CompoundButton, which in turn inherits fromTextView. Hence, all the standard TextView properties for font face, style, color, etc., are available for controlling the look of radio buttons. Similarly, you can call isChecked() on a RadioButton to see if it is selected, toggle() to select it, and so on, like you can with a CheckBox.Most times, you will want to put your RadioButton widgets inside of aRadioGroup. The RadioGroup indicates a set of radio buttons whose state is tied, meaning only one button out of the group can be selected at any time. If you assign an android:id to your RadioGroup in your XML layout, you can access the group from your Java code and invoke:• check() to check a specific radio button via its ID (e.g., group.check(R.id.radio1))• clearCheck() to clear all radio buttons, so none in the group are checked• getCheckedRadioButtonId() to get the ID of the currently-checked radio button (or -1 if none are checked)For example, from the Basic/RadioButton sample application, here is an XML layout showing a RadioGroup wrapping a set of RadioButton widgets: <?xml version="1.0" encoding="utf-8"?> <RadioGroupxmlns:android=/apk/res/androidandroid:orientation="vertical"android:layout_width="fill_parent"android:layout_height="fill_parent" ><RadioButton android:id="@+id/radio1"android:layout_width="wrap_content"android:layout_height="wrap_content"android:text="Rock" /><RadioButton android:id="@+id/radio2"android:layout_width="wrap_content"android:layout_height="wrap_content"android:text="Scissors" /><RadioButton android:id="@+id/radio3"android:layout_width="wrap_content"android:layout_height="wrap_content"android:text="Paper" /></RadioGroup>Figure 6-6 shows the result using the stock Android-generated Java forthe project and this layout.Figure 6-6. The RadioButtonDemo sample application Note that the radio button group is initially set to be completely unchecked at the outset. To pre-set one of the radio buttons to be checked, use either setChecked() on the RadioButton or check() on the RadioGroup from within your onCreate() callback in your activity.It’s Quite a ViewAll widgets, including the ones previously shown, extend View, and as such give all widgets an array of useful properties and methods beyond those already described.Useful PropertiesSome of the properties on View most likely to be used include:• Controls the focus sequence:• android:nextFocusDown• android:nextFocusLeft• android:nextFocusRight• android:nextFocusUp• android:visibility, which controls wheth er the widget is initially visible• android:background, which typically provides an RGB color value (e.g., #00FF00 for green) to serve as the background for the widgetUseful MethodsYou can toggle whether or not a widget is enabled via setEnabled() and see if it is enabled via isEnabled(). One common use pattern for this is to disable some widgets based on a CheckBox or RadioButton selection.You can give a widget focus via requestFocus() and see if it is focused via isFocused(). You might use this in concert with disabling widgets as previously mentioned, to ensure the proper widget has the focus once your disabling operation is complete.To help navigate the tree of widgets and containers that make up an activity’s overall view, you can use:• get Parent() to find the parent widget or container• findViewById() to find a child widget with a certain ID• getRootView() to get the root of the tree (e.g., what you provided to the activity via setContentView())Android 页面布局使用XML进行布局虽然纯粹通过Java代码在activity上创建和添加部件，在技术上是可行的，我们在第4章中做的一样，更常见的方法是使用一种基于XML的布局文件。
毕设设计类外文翻译
Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。
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毕业设计外文文献翻译专业学生姓名班级学号指导教师优集学院外文资料名称：Knowledge-Based Engineeri--ng Design Methodology外文资料出处：Int.J.Engng Ed.Vol.16.No.1附件： 1.外文资料翻译译文2.外文原文基于知识工程(KBE)设计方法D. E. CALKINS1.背景复杂系统的发展需要很多工程和管理方面的知识、决策，它要满足很多竞争性的要求。
设计被认为是决定产品最终形态、成本、可靠性、市场接受程度的首要因素。
高级别的工程设计和分析过程(概念设计阶段)特别重要，因为大多数的生命周期成本和整体系统的质量都在这个阶段。
产品成本的压缩最可能发生在产品设计的最初阶段。
整个生命周期阶段大约百分之七十的成本花费在概念设计阶段结束时，缩短设计周期的关键是缩短概念设计阶段，这样同时也减少了工程的重新设计工作量。
工程权衡过程中采用良好的估计和非正式的启发进行概念设计。
传统CAD工具对概念设计阶段的支持非常有限。
有必要，进行涉及多个学科的交流合作来快速进行设计分析(包括性能，成本，可靠性等)。
最后，必须能够管理大量的特定领域的知识。
解决方案是在概念设计阶段包含进更过资源，通过消除重新设计来缩短整个产品的时间。
所有这些因素都主张采取综合设计工具和环境，以在早期的综合设计阶段提供帮助。
这种集成设计工具能够使由不同学科的工程师、设计者在面对复杂的需求和约束时能够对设计意图达成共识。
那个设计工具可以让设计团队研究在更高级别上的更多配置细节。
问题就是架构一个设计工具，以满足所有这些要求。
2.虚拟(数字)原型模型现在需要是一种代表产品设计为得到一将允许一产品的早发展和评价的真实事实上原型的过程的方式。
虚拟样机将取代传统的物理样机，并允许设计工程师，研究“假设”的情况，同时反复更新他们的设计。
真正的虚拟原型，不仅代表形状和形式，即几何形状，它也代表如重量，材料，性能和制造工艺的非几何属性。
本科毕业设计外文文献翻译
（Sheaｒ waｌl ｓt ｒuctural desigｎ ofh ｉgh-ｌev ｅl fr ａmeworkＷｕ Jiche ｎgＡbstract ： In t ｈis pape ｒ the basic c ｏｎcepts of ｍａn ｐow ｅr ｆｒom th ｅ ｆra ｍｅ sh ｅａr w ａｌl str ｕc ｔｕｒｅ, analy ｓis of the ｓtruct ｕr ａｌ des ｉgn ｏf th ｅ c ｏnt ｅnt ｏｆ t ｈe fr ａme she ａr wall, in ｃｌudi ｎg the ｓeism ｉc wa ｌl she ａr spa本科毕业设计外文文献翻译学校代码： 10128学 号：题 目：Shear wall structural design of high-level framework 学生姓名： 学 院：土木工程学院 系 别：建筑工程系 专 业：土木工程专业（建筑工程方向） 班 级：土木08-（5）班 指导教师： (副教授)ｎratiｏdesign, ａnd a concrｅtｅｓtruｃtuｒe in thｅmｏst co ｍmonｌy useｄframe shear walｌstｒｕcturｅtｈｅdesign of p ｏiｎｔs to note.Keyworｄs: cｏncrｅｔｅ; fｒaｍｅshｅａｒwall sｔｒucｔｕre；hiｇh－risｅbuildｉｎｇsThe wall is aｍoｄern high－rｉｓe buiｌdiｎgs is an iｍpo ｒｔant buiｌdinｇconｔｅnt, the ｓize of thｅfraｍe sheａr wall must comｐly with buildｉng reguｌａtｉons. The pｒｉnｃipｌe is ｔhat the largeｒsｉzｅbｕt the thｉｃknessｍuｓt ｂｅsmaller gｅoｍetric featｕrｅｓshoｕlｄｂe ｐｒeｓented ｔo the pｌatｅ,ｔｈe forｃe is close to cylｉndrｉcal.Ｔhe waｌl sｈｅar wa ｌl strｕｃｔure ｉs a flaｔcomｐonent. Itｓeｘposure to tｈe force aｌoｎg ｔhe ｐlane leｖｅl of theｒole ofｓｈear and momｅｎt, must also take ｉｎtｏａccounｔthe veｒｔical preｓsure.Opeｒate unｄer thｅcomｂiｎed actｉｏn oｆbenｄing momeｎts and axial force aｎｄsheａr forcｅbｙthe caｎtilｅｖｅr deep beａm uｎder ｔｈe acｔion of the force leveｌｔo lｏo ｋinto ｔｈe bottom mouｎted on ｔhe basｉs of. Sheaｒｗaｌl ｉｓdiｖidｅｄinｔo a whole walｌand ｔheａssoｃiated ｓｈeａr wall in thｅactual project,a wholｅwａlｌfor ｅxａmpl ｅ, suｃh as ｇenｅraｌhｏusiｎｇｃonstｒuction in tｈe gablｅｏr fish bｏne strｕcture ｆｉlｍwａｌls ａnd small opｅningｓwall.Cｏupled Sｈeａr ｗalls are ｃonnｅcted bｙｔhｅcｏupｌing ｂeam shｅａr wall.Buｔｂecause tｈeｇｅnerａlｃｏupling beaｍstｉｆfness is less thaｎｔhe wall stiｆfnｅsｓof the lｉmbs，ｓｏ. Wａlｌliｍb aｌonｅis obviｏus.The ｃｅntral beam of tｈeｉnflｅｃtion pｏｉnｔtｏpay aｔtenｔiｏｎto tｈeｗaｌl pressｕre thａn the limiｔs of the lｉmb axis. Will forｍa shortｗiｄe beａms，widｅcolｕmn wａll liｍｂｓhear wａll ｏpｅnings toｏlarge ｃomｐonｅnt aｔbothｅn ｄs ｗith jｕst the domain of vａｒiabｌe crosｓ－ｓecｔｉon ro ｄin ｔhe intｅrｎａｌforcｅｓｕnder tｈｅaｃtioｎof maｎy Ｗalｌlｉmb iｎflｅcｔion point Ｔhｅｒeｆoｒe, ｔhe cａｌcula ｔions ａｎd consｔruction sｈouldAccordinｇtｏappｒoxiｍａｔe tｈe framｅstｒucｔure to ｃonsideｒ.Tｈe desｉｇｎof ｓhｅａr walls ｓhoulｄbe based on the cｈａractｅrisｔics ｏf ａvａｒｉｅty oｆwall itseｌｆ,ａnd dｉfferｅnｔmeｃhanical ch ａrａcteｒisｔｉcｓand requireｍents,wall oｆthｅinternａｌforceｄistrｉbutｉon and failurｅmoｄｅs ｏf sｐecific and cｏmprehensive ｃonｓideration of the design rｅinｆorcemｅnt aｎd stｒuctural measｕres. Ｆrame sｈear wall ｓｔrｕctuｒe deｓiｇn is to cｏｎsider the ｓtructｕre of the oｖerall ａnａｌysis for ｂoｔh dｉrecｔｉｏｎsｏｆthｅhｏrｉzontal and vｅrtiｃalｅfｆects. Oｂtain thｅinternal force ｉs reｑuirｅd in ａccｏrdancｅｗｉｔｈtｈe bias or paｒtｉal ｐull normal sｅcｔｉon forｃｅｃaｌculatiｏn.The waｌl strｕcture oｆtheｆｒame sｈear ｗall ｓｔructural dｅsign of ｔhe coｎtent frame hｉgh-rise buildings, in ｔhe actual ｐrｏjeｃｔiｎｔhｅuse of thｅｍoｓt seisｍic ｗａlls have suffiｃient quantitｉeｓto meｅt ｔheｌｉmitsｏf the lａyer displacement, the loｃation iｓｒelａtiｖely flexiblｅ. Seiｓmic wａll for cｏntinuous layout，ｆulｌ-length ｔhroｕgh．Should bｅdesigned to avoid the waｌl mutaｔioｎs ｉn limb ｌｅｎgth and alignment is noｔuｐａnd down the ｈolｅ. The samｅtｉme．Tｈe inｓide of ｔhe hole marginｓcｏlｕｍｎshｏｕld not ｂｅｌｅssｔhan３00mm ｉｎordｅｒtｏguaraｎteｅtheｌengtｈof the colｕｍn ａs the edgｅof tｈe coｍponent and constｒａiｎt eｄgｅcｏｍponeｎts．Thｅbi-direc ｔiｏnal laｔerａl forｃe ｒesiｓting strucｔurａl fｏrm of verticａl aｎｄhorｉzontaｌwalｌcoｎnected.Eａｃh ｏｔhｅr as ｔhe ａffiｎiｔｙof the shｅar wall. Ｆor ｏnｅ, two seismic frａme sｈe ａr ｗalｌｓ,ｅｖen beam highｒatio ｓhould noｔgreateｒthan 5 aｎd a height of nｏt less thaｎ400mm.Midline colｕmnａnd beａmｓ,wall ｍｉdline shouｌdｎoｔbe greaｔer tha ｎthe ｃoｌｕmｎwidｔｈof1/4，ｉn ordｅr ｔｏreｄuce thｅtoｒsional eｆfect of the sｅiｓmｉｃacｔion ｏnｔｈｅｃolｕmn．Oｔhｅrwｉsｅcan be taken tｏstrengthｅn theｓtirruprａｔｉo iｎｔhe cｏlｕmn tｏmake ｕp.If thｅshear wａｌl sheａｒsｐａn ｔhａnｔhe ｂig twｏ. Ｅveｎthe beａｍcro ｓs-heｉｇht ratiｏgreateｒthan 2.5, ｔhen tｈe design presｓｕｒe ｏf thｅｃｕt shoulｄnoｔmａkｅａｂig 0.2. Howevｅｒ, ｉf the sheａｒwallｓheａr sｐａｎｒatiｏof ｌess than two couｐlinｇｂeａms sｐan of ｌeｓs than ２．5, then the shear coｍｐres ｓiｏn rａｔiｏis noｔgreaｔer thａn 0.15. Thｅｏther haｎｄ，ｔhe bｏttom oｆthe fraｍe ｓhｅar walｌstructure ｔo enhａnce tｈｅdｅsign sｈould ｎoｔbe leｓs thaｎ２０0mmａnd noｔlesｓthaｎstorey 1/１6，othｅｒｐaｒtｓｓhｏulｄnot be lｅss than 160mm ａnd ｎｏt ｌｅss thaｎｓtoｒey １/20. Arounｄthe wall of the frame ｓhｅar ｗall strucｔure sｈｏulｄbe set ｔo the beａm or dark bｅamａnd the sｉｄe columｎｔｏform a borｄｅr. Ｈoｒizｏntａl ｄｉｓtrｉbuｔioｎoｆsｈear waｌls cａn from the sheａr effect，tｈｉs design wｈen ｂuilｄｉng higｈｅr longeｒor fｒaｍｅｓtructｕre reinfoｒcｅment shｏuld be aｐprｏpｒiatelｙincｒeａｓed, ｅspｅcｉａlｌy in the sｅnｓitivｅｐarts of the beam pｏsition ｏr teｍperaｔuｒe, stiffnｅsｓchａnge is besｔappｒopriatｅly increased, ｔｈeｎcｏnsidｅration sｈoulｄbe ｇｉveｎｔo the wａlｌvertｉcaｌreiｎforｃemeｎt,becaｕse ｉt is mａinly fｒom the bｅnding efｆecｔ, aｎｄtake in ｓome ｍｕlti-ｓtorｅｙshｅａｒｗａll structuｒereinforcｅｄreｉnｆorceｍent rate -likｅlｅsｓconｓtｒained edgｅｏｆｔhｅcomｐonent or components reinforｃemeｎt of thｅedge ｃomｐｏnent.Referｅnces: [1 sad Hａyaｓhi,He Yaming. Ｏn the shorｔshｅar ｗall ｈigh-riｓe bｕilｄinｇｄesign ［J]．Kｅｙｕaｎ, 2008, (O2).高层框架剪力墙结构设计吴继成摘要: 本文从框架剪力墙结构设计的基本概念人手, 分析了框架剪力墙的构造设计内容, 包括抗震墙、剪跨比等的设计, 并出混凝土结构中最常用的框架剪力墙结构设计的注意要点。
毕业设计英文翻译》【范本模板】
外文文献翻译（译成中文1000字左右）：【主要阅读文献不少于5篇，译文后附注文献信息，包括：作者、书名（或论文题目）、出版社（或刊物名称）、出版时间（或刊号）、页码。
提供所译外文资料附件(印刷类含封面、封底、目录、翻译部分的复印件等，网站类的请附网址及原文】太阳能—地源热泵的热源性能Y。
Bi1,2，L. Chen1＊and C. Wu3本论文研究了中国天津冬季里的太阳能—地源热泵的太阳能与地源性能。
结果被用于设计和分析的太阳能集热器和地面热交换器。
太阳能-地源热泵在这个地区的使用可行性是成立的. 关键词：太阳能，地源热泵，可行性。
介绍地源热泵（GSHP）利用地下相对稳定的温度作为热源或水槽提供热源或调节空气。
GSHP 系统寻求利用常规空气—空气热泵系统的两方面可用的功能。
首先，地下环境温度缓慢地变化，归结于其高的热质量，导致了相对稳定的源或者散热器的温度而不受较大的极限。
其次，被地面吸收的太阳能在整个冬季可以热源。
自从地源热泵的观念在二十世纪四十年代被发展，大量的理论和实验工作都完成了，实验研究审查了具体的地源热泵系统和现场数据。
理论研究已经集中于用数值方法模拟地下盘管换热器以及研究参数对系统性能的影响。
太阳能—地源热泵（SGSHP)采用太阳能集热器和大地作为热源开始发展于1982年。
热泵实验系统用垂直双螺旋线圈（VSDC）地下换热器(GHX)为太阳能—地源热泵（SGSHP）利用低品位能源，这种方法已经被作者们所创造。
（图1）蒸汽压缩热泵的加热负荷和性能系数（COP）取决于蒸发温度和热源温度。
SGSHP采用太阳能集热器和大地作为热源,因此，其应用主要是依靠太阳能和土壤源性能。
在本论文中，中国天津的气象数据被用来分析SGSHP在该区域的应用可行性。
太阳能源分析天津的太阳能在中国处于中等水平。
1966—1976年期间天津的太阳能辐射月平均变化如图2所示。
结果表明，该太阳能集热器在夏天可以直接用于提供热水。
(论文)外文翻译模版
沈阳工业大学
本科生外文翻译
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(完整版)大连理工大学_毕业设计外文翻译_-模版
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大连理工大学
Dalian University of Technology
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大连理工大学本科毕业设计(论文)
大连理工大学本科毕业设计（论文）大连理工大学本科毕业设计（论文）题目业：学生姓名：学号：指导教师：评阅教师：完成日期：大连理工大学Dalian University of Technology摘要“摘要”是摘要部分的标题，不可省略。
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关键词：写作规范；排版格式；毕业设计（论文）The Subject of Undergraduate Graduation Project (Thesis) of DUTAbstract外文摘要要求用英文书写，内容应与“中文摘要”对应。
使用第三人称，最好采用现在时态编写。
“Abstract”不可省略。
标题“Abstract”选用模板中的样式所定义的“标题1”，再居中；或者手动设置成字体：黑体，居中，字号：小三，多倍行距1.5倍行距，段后11磅，段前为0。
标题“Abstract”上方是论文的英文题目，字体：Times New Roman，居中，字号：小三，行距：多倍行距 1.25，间距：前段、后段均为0行，取消网格对齐选项。
毕业设计外文文献翻译【范本模板】
毕业设计（论文)外文资料翻译系别：专业：班级:姓名：学号:外文出处:附件： 1. 原文; 2。
译文2013年03月附件一：A Rapidly Deployable Manipulator SystemChristiaan J。
J。
Paredis, H. Benjamin Brown，Pradeep K. KhoslaAbstract:A rapidly deployable manipulator system combines the flexibility of reconfigurable modular hardware with modular programming tools，allowing the user to rapidly create a manipulator which is custom-tailored for a given task. This article describes two main aspects of such a system，namely，the Reconfigurable Modular Manipulator System （RMMS)hardware and the corresponding control software。
1 IntroductionRobot manipulators can be easily reprogrammed to perform different tasks, yet the range of tasks that can be performed by a manipulator is limited by mechanicalstructure。
Forexample，a manipulator well-suited for precise movement across the top of a table would probably no be capable of lifting heavy objects in the vertical direction. Therefore，to perform a given task,one needs to choose a manipulator with an appropriate mechanical structure.We propose the concept of a rapidly deployable manipulator system to address the above mentioned shortcomings of fixed configuration manipulators。
毕业设计-中英文翻译模板
毕业设计（论文）外文资料
原文及译文
专业计算机科学与技术班级05104000
学号0510400000
姓名学生姓名
指导教师教师姓名
原文出处：建议按照参考文献的格式填写到此处。
原文标题
原文作者
[原文一般应是一篇文章或书中连续的内容，不能挑着译。
原文给出译文部分的原文即可。
]
译文：
译文标题
原文作者
[译文写在此处]
[译文5页左右即可。
图、表、程序代码等一般可不译，译文中可略去。
]
[如译文篇幅不足，可将原文、译文部分重复1~2次（注意页眉），翻译2~3篇文献。
] 指导教师意见：
指导教师：
年月日。
大连理工大学本科生毕业设计(论文)文本格式要求
附件5大连理工大学本科生毕业设计（论文）文本格式要求1.基本要求·纸型：B5纸，单面打印；·字体：中文宋体；英文 Times New Roman；·页面设置：页边距：上2.54cm，下2.54cm，左3cm、右2cm；纸张：16开（18.4×26厘米）·行距：多倍行距：1.3倍。
2.封面格式·封皮：大连理工大学（二号、加粗、居中）；Dalian University of Technology （三号、加粗、居中）；本科生毕业设计（论文）（二号、加粗、居中）；学院（系）：（四号、加粗、右下角）；专业：（四号、加粗，与上一项对齐）；学生：（四号、加粗，与上一项对齐）；指导教师：（四号、加粗，与上一项对齐）；评阅人：（四号、加粗，与上一项对齐）；完成日期：（四号、加粗，与上一项对齐）。
·内封：大连理工大学本科生毕业设计（论文）(小三、居中)；本科生毕业设计（论文）题目(二号、加粗、居中)；本科生毕业设计（论文）英文题目（三号、加粗、居中）；总计毕业设计（论文）页（小四，左下角）；表格表（小四，与上一项对齐）；插图幅（小四，与上一项对齐）。
3.中外文摘要·中文摘要：标题“摘要”（三号、加粗、居中）；正文（小四，不少于400字）；关键词：关键词（五号、加粗）：3-5个（五号、加粗）。
·外文摘要（另起一页）：标题“Abstract”（三号、加粗、居中）；外文（五号，用第三人称）；关键词：Key words（五号、加粗）：关键词与中文关键词对应（五号、加粗）。
4.目录·标题：目录（三号、加粗、居中）；·目录：章标题（四号、加粗、居左）；节标题、级标题（小四、居左）。
5.论文正文·页眉：1.5cm，论文题目（小五、加粗、居中）；·页脚：1.75cm（五号、居中、底部）；·标题：章标题（三号、加粗、居左）；节标题（四号、加粗、居左）；级标题（小四、加粗、居左）。
毕业设计(论文)外文资料及译文(模板)
大连东软信息学院
毕业设计（论文）外文资料及译文
系所：
专业：
班级：
姓名：
学号：
大连东软信息学院
Dalian Neusoft University of Information
外文资料和译文格式要求
一、装订要求
1、外文资料原文（复印或打印）在前、译文在后、最后为指导教师评定成绩。
2、译文必须采用计算机输入、打印。
3、A4幅面打印，于左侧装订。
二、撰写要求
1、外文文献内容与所选课题相关。
2、本科学生译文汉字字数不少于4000字，高职学生译文汉字字数不少于2000字。
三、格式要求
1、译文字号：中文小四号宋体，英文小四号“Times New Roman”字型，全文统一，首行缩进2个中文字符，1.5倍行距。
2、译文页码：页码用阿拉伯数字连续编页，字体采用“Times New Roman”字体，字号小五，页底居中。
3、译文页眉：眉体使用单线，页眉说明五号宋体，居中“大连东软信息学院本科毕业设计（论文）译文”。
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文。
(完整版)_毕业设计(论文)外文翻译_(原文)
毕业设计（论文）——外文翻译（原文）NEW APPLICATION OF DATABASERelational databases in use for over two decades. A large portion of the applications of relational databases in the commercial world, supporting such tasks as transaction processing for banks and stock exchanges, sales and reservations for a variety of businesses, and inventory and payroll for almost of all companies. We study several new applications, which recent years.First. Decision-support systemAs the online availability of data , businesses to exploit the available data to make better decisions about increase sales. We can extract much information for decision support by using simple SQL queries. Recently support based on data analysis and data mining, or knowledge discovery, using data from a variety of sources.Database applications can be broadly classified into transaction processing and decision support. Transaction-processing systems are widely used today, and companies generated by these systems.The term data mining refers loosely to finding relevant information, or “discovering knowledge,” from a large volume of data. Like knowledge discovery in artificial intelligence, data mining attempts to discover statistical rules and patterns automatically from data. However, data mining differs from machine learning in that it deals with large volumes of data, stored primarily on disk.Knowledge discovered from a database can be represented by a set of rules. We can discover rules from database using one of two models:In the first model, the user is involved directly in the process of knowledge discovery.In the second model, the system is responsible for automatically discovering knowledgefrom the database, by detecting patterns and correlations in the data.Work on automatic discovery of rules influenced strongly by work in the artificial-intelligence community on machine learning. The main differences lie in the volume of data databases, and in the need to access disk. Specialized data-mining algorithms developed to which rules are discovered depends on the class of data-mining application. We illustrate rule discovery using two application classes: classification and associations.Second. Spatial and Geographic DatabasesSpatial databases store information related to spatial locations, and provide support for efficient querying and indexing based on spatial locations. Two types of spatial databases are particularly important:Design databases, or computer-aided-design (CAD) databases, are spatial databases used to store design information about databases are integrated-circuit and electronic-device layouts.Geographic databases are spatial databases used to store geographic information, such as maps. Geographic databases are often called geographic information systems.Geographic data are spatial in nature, but differ from design data in certain ways. Maps and satellite images are typical examples of geographic data. Maps may provide not only location information -such as boundaries, rivers and roads---but also much more detailed information associated with locations, such as elevation, soil type, land usage, and annual rainfall.Geographic data can be categorized into two types: raster data (such data consist a bit maps or pixel maps, in two or more dimensions.), vector data (vector data are constructed from basic geographic objects). Map data are often represented in vector format.Third. Multimedia DatabasesRecently, there much interest in databases that store multimedia data, such as images, audio, and video. Today multimedia data typically are stored outside the database, in files systems. When the number of multimedia objects is relatively small, features provided by databases are usually not important. Database functionality becomes important when the number of multimedia objects stored is large. Issues such as transactional updates, querying facilities, and indexing then become important. Multimedia objects often they were created, who created them, and to what category they belong. One approach to building a database for such multimedia objects is to use database for storing the descriptive attributes, and for keeping track of the files in which the multimedia objects are stored.However, storing multimedia outside the database makes it the basis of actual multimedia data content. It can also lead to inconsistencies, such a file that is noted in the database, but whose contents are missing, or vice versa. It is therefore desirable to store the data themselves in the database.Forth. Mobility and Personal DatabasesLarge-scale commercial databases stored in central computing facilities. In the case of distributed database applications, there strong central database and network administration. Two technology trends which this assumption of central control and administration is not entirely correct:1.The increasingly widespread use of personal computers, and, more important, of laptop or “notebook” computers.2.The development of a relatively low-cost wireless digital communication infrastructure, base on wireless local-area networks, cellular digital packet networks, and other technologies.Wireless computing creates a situation where machines no longer at which to materialize the result of a query. In some cases, the location of the user is a parameter of the query. A example is a traveler’s information system that provides data on the current route must be processed based on knowledge of the user’s location, direction of motion, and speed.Energy (battery power) is a scarce resource for mobile computers. This limitation influences many aspects of system design. Among the more interesting consequences of the need for energy efficiency is the use of scheduled data broadcasts to reduce the need for mobile system to transmit queries. Increasingly amounts of data may reside on machines administered by users, rather than by database administrators. Furthermore, these machines may, at times, be disconnected from the network.SummaryDecision-support systems are gaining importance, as companies realize the value of the on-line data collected by their on-line transaction-processing systems. Proposed extensions to SQL, such as the cube operation, of summary data. Data mining seeks to discover knowledge automatically, in the form of statistical rules and patterns from large databases. Data visualization systems data as well as geographic data. Design data are stored primarily as vector data; geographic data consist of a combination of vector and raster data.Multimedia databases are growing in importance. Issues such as similarity-based retrieval and delivery of data at guaranteed rates are topics of current research.Mobile computing systems , leading to interest in database systems that can run on such systems. Query processing in such systems may involve lookups on server database.毕业设计（论文）——外文翻译（译文）数据库的新应用我们使用关系数据库已经有20多年了，关系数据库应用中有很大一部分都用于商业领域支持诸如银行和证券交易所的事务处理、各种业务的销售和预约，以及几乎所有公司都需要的财产目录和工资单管理。
毕设翻译
大连理工大学本科外文翻译碱矿渣混凝土受到约束收缩时的开裂倾向Cracking tendency of alkali-activated slag concrete subjected torestrained shrinkage学部（院）：建设工程学部专业：土木工程学生姓名：姚文山学号：201151259指导教师：董伟完成日期：2015年三月三十日大连理工大学Dalian University of Technology碱矿渣混凝土受到约束收缩时的开裂倾向Frank Collinsa,*, J.G. Sanjayanb摘要：碱矿渣水泥（AASC）比普通硅酸盐水泥混凝土（OPCC）具有较高的干燥收缩能力。
然而，AASC的干燥条件下开裂倾向，抑制时，被报道。
AASC具有较低弹性模量，较高的抗蠕变和较高的拉伸强度比OPCC，以及这些的组合效应可影响AASC的开裂倾向。
本文报道了利用约束环试验开裂倾向的结果，并讨论了约束梁试验的发展。
材料养护，聚合类型，加上在AASC的开裂倾向上缩减化学外加剂掺入的影响被报道出来。
D2000 Elsevier 科学有限公司保留所有权利。
关键词：粒化高炉矿渣；碱激发水泥；养护；收缩；探伤1.简介：碱矿渣水泥（AASC）的干燥收缩可以比普通硅酸盐水泥（OPC）砂浆和混凝土[1±11]大1.6〜2.1倍。
这意味着AASC比普通硅酸盐水泥混凝土（OPCC）有更大的开裂倾向，AASC的这种高程度的干燥收缩并没有在文献上报道。
我们在小棱镜上测得的干燥收缩大小不一定和有开裂倾向时构件受到的约束有关。
当比较AASC和OPCC，由于显著不同的收缩，徐变，弹性模量和两个混凝土的抗拉强度性能，我们很难辨别开裂的风险。
此调查旨在评估AASC开裂倾向和研究固化的影响和替换正常重量粗骨料与BFS骨料和和减缩使用化学外加剂的效果。
2.实验方案：化学组成和该水泥粘合剂的性质总结于表1中。
大连理工大学本科生毕业设计论文文本格式要求
大连理工大学本科毕业设计（论文）大连理工大学本科毕业设计（论文）题目师：评阅教师：完成日期：大连理工大学Dalian University of Technology摘要“摘要”是摘要部分的标题，不可省略。
标题“摘要”选用模板中的样式所定义的“标题1”，再居中；或者手动设置成字体：黑体，居中，字号：小三，1.5倍行距，段后11磅，段前为0。
摘要是毕业设计（论文）的缩影，文字要简练、明确。
内容要包括目的、方法、结果和结论。
单位采用国际标准计量单位制，除特别情况外，数字一律用阿拉伯数码。
文中不允许出现插图。
重要的表格可以写入。
摘要正文选用模板中的样式所定义的“正文”，每段落首行缩进2个汉字；或者手动设置成每段落首行缩进2个汉字，字体：宋体，字号：小四，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
摘要篇幅以一页为限，字数为400-500字。
摘要正文后，列出3-5个关键词。
“关键词：”是关键词部分的引导，不可省略。
关键词请尽量用《汉语主题词表》等词表提供的规范词。
关键词与摘要之间空一行。
关键词词间用分号间隔，末尾不加标点，3-5个；黑体，小四，加粗。
The Subject of Undergraduate Graduation Project (Thesis) of DUTAbstract外文摘要要求用英文书写，内容应与“中文摘要”对应。
使用第三人称，最好采用现在时态编写。
“Abstract”不可省略。
标题“Abstract”选用模板中的样式所定义的“标题1”，再居中；或者手动设置成字体：Times New Roman，居中，字号：小三，多倍行距1.5倍行距，段后11磅，段前为0行。
标题“Abstract”上方是论文的英文题目，字体：Times New Roman，居中，字号：小三，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
Abstract正文选用设置成每段落首行缩进2字，字体：Times New Roman，字号：小四，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
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大连理工大学本科外文翻译
部（院）：
专业：
学生姓名：
学号：
指导教师：
完成日期：
大连理工大学
Dalian University of Technology
外文翻译要求：
1．毕业设计（论文）外文翻译的译文不得少于5千汉字。
2．译文内容必须与题目（或专业内容）有关，且正式出版日期为近5年内的外文期刊。
3．外文原文、译文应用标准A4纸单面打字成文。
4．译文的基本格式与外文格式相同，页边距：上3.5cm，下2.5cm，左2.5cm、右2.5cm；页眉：2.5cm，页眉：译文的中文题目，页脚：2cm。
文中标题为宋体，小四号，字体加粗。
5．原文中的图、表等名称必须翻译，参考文献内容不翻译。
6．外文翻译装订顺序：封面、外文原文、中文译文。
翻译外文的中文题目（宋体、三号、加粗）
author（外文，不翻译，小三）
工作单位（中文，宋体、四号）
摘要：(原文中如果无摘要，此内容不写)
要求忠于原文，语意流畅。
关键词： (黑体、小四)
（此处空一行）
每段落首行缩进2个汉字；或者手动设置成每段落首行缩进2个汉字，字体：宋体，字号：小四，行距：多倍行距 1.25，间距：段前、段后均为0行，取消网格对齐选项。
图、表、公式如果不加入到译文中，则必须在相应位置空一行。
标出图名、表名或公式编号。
参考文献：略（翻译到此为止，此行不省略）。