艺术设计中英文对照外文翻译文献
艺术设计外文翻译--美的传统与新生
艺术设计外文翻译--美的传统与新生The nal and NewAbstract:XXX of art and design for XXX has been appreciated and valued for ns。
but with the advent of XXX and ideas。
XXX of design。
as well as its properties.n of Beauty:Beauty is not just about XXX。
it XXX。
XXX is essential。
Although the laws of the United States are not a constraint。
they may have XXX "nality"。
By examining the n of beauty。
XXX its essence.Natural Beauty:One of the most XXX is natural beauty。
It is similar to the beauty of nature and is appreciated for XXX is something that can be captured and understood。
XXX.Overall。
XXX always be valued。
XXX。
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they can create designs that are not only beautiful but also useful and effective.have changed。
and the focus is now on XXX。
This style is often associated with minimalism and simplicity。
and can be seen in many modern designs.The use of clean lines and simple shapes is a hallmark of the geometric style。
中英文外文文献翻译中性化服装设计
本科毕业设计（论文）中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处：House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
室内装饰装修设计外文文献翻译中英文
外文文献翻译(含：英文原文及中文译文)文献出处：Y Miyazaki. A Brief Description of Interior Decoration [J]. Building & Environment, 2005, 40(10):41-45.英文原文A Brief Description of Interior DecorationY Miyazaki一、An interior design element1 Spatial elementsThe rationalization of space and giving people a sense of beauty is the basic task of design. We must dare to explore the new image of the times and technologies that are endowed with space. We should not stick to the spatial image formed in the past.2 color requirementsIn addition to affecting the visual environment, indoor colors also directly affect people's emotions and psychology. Scientific use of color is good for work and helps health. The proper color processing can meet the functional requirements and achieve the beauty effect. In addition to observing the general laws of color, interior colors also vary with the aesthetics of the times.3 light requirementsHumans love the beauty of nature and often direct sunlight into theinterior to eliminate the sense of darkness and closure in the interior, especially the top light and the soft diffuse light, making the interior space more intimate and natural. The transformation of light and shadow makes the interior richer and more colorful, giving people a variety of feelings.4 decorative elementsThe indispensable building components such as columns, walls, and the like in the entire indoor space are combined with the function and need to be decorated to jointly create a perfect indoor environment. By making full use of the texture characteristics of different decorative materials, you can achieve a variety of interior art effects with different styles, while also reflecting the historical and cultural characteristics of the region.5 furnishingsIndoor furniture, carpets, curtains, etc., are all necessities of life. Their shapes are often furnished and most of them play a decorative role. Practicality and decoration should be coordinated with each other, and the functions and forms of seeking are unified and changed so that the interior space is comfortable and full of personality.6 green elementsGreening in interior design is an important means to improve the indoor environment. Indoor flowering trees are planted, and the use ofgreenery and small items to play a role in diffusing indoor and outdoor environments, expanding the sense of interior space, and beautifying spaces all play an active role.二、The basic principles of interior design1 interior decoration design to meet the functional requirementsThe interior design is based on the purpose of creating a good indoor space environment, so as to rationalize, comfort, and scientize the indoor environment. It is necessary to take into account the laws of people's activities to handle spatial relationships, spatial dimensions, and spatial proportions; to rationally configure furnishings and furniture, and to properly resolve indoor environments. V entilation, lighting and lighting, pay attention to the overall effect of indoor tone.2 interior design to meet the spiritual requirementsThe spirit of interior design is to influence people's emotions and even influence people's will and actions. Therefore, we must study the characteristics and laws of people's understanding; study the emotions and will of people; and study the interaction between people and the environment. Designers must use various theories and methods to impact people's emotions and sublimate them to achieve the desired design effect. If the indoor environment can highlight a certain concept and artistic conception, then it will have a strong artistic appeal and better play its role in spiritual function.3 Interior design to meet modern technical requirementsThe innovation of architectural space is closely related to the innovation of structural modeling. The two should be harmonized and unified, fully considering the image of the structural Sino-U.S. and integrating art and technology. This requires that interior designers must possess the necessary knowledge of the type of structure and be familiar with and master the performance and characteristics of the structural system. Modern interior design is in the category of modern science and technology. To make interior design better meet the requirements of spiritual function, we must maximize the use of the latest achievements in modern science and technology.4 Interior design must meet the regional characteristics and national style requirementsDue to differences in the regions where people live, geographical and climatic conditions, the living habits of different ethnic groups are not the same as cultural traditions, and there are indeed great differences in architectural styles. China is a multi-ethnic country. The differences in the regional characteristics, national character, customs, and cultural literacy of various ethnic groups make indoor decoration design different. Different styles and features are required in the design. We must embody national and regional characteristics to evoke people’s national self-respect and self-confidence.三、Points of interior designThe interior space is defined by the enclosure of the floor, wall, and top surface, thus determining the size and shape of the interior space. The purpose of interior decoration is to create a suitable and beautiful indoor environment. The floor and walls of the interior space are the backdrop for people and furnishings and furnishings, while the differences on the top surface make the interior space more varied.1 Base decoration ----- Floor decorationThe basic surface ----- is very important in people's sights. The ground floor is in contact with people, and the line of sight is near, and it is in a dynamic change. It is one of the important factors of interior decoration. Meet the following principles:2 The base should be coordinated with the overall environment to complement each other and set off the atmosphereFrom the point of view of the overall environmental effect of space, the base should be coordinated with the ceiling and wall decoration. At the same time, it should play a role in setting off the interior furniture and furnishings.3 Pay attention to the division, color and texture of the ground patternGround pattern design can be roughly divided into three situations: The first is to emphasize the independent integrity of the pattern itself,such as meeting rooms, using cohesive patterns to show the importance of the meeting. The color should be coordinated with the meeting space to achieve a quiet, focused effect; the second is to emphasize the pattern of continuity and rhythm, with a certain degree of guidance and regularity, and more for the hall, aisle and common space; third It emphasizes the abstractness of the pattern, freedom, and freedom, and is often used in irregular or layout-free spaces.4 Meeting the needs of the ground structure, construction and physical properties of the buildingWhen decorating the base, attention should be paid to the structure of the ground floor. In the premise of ensuring safety, it is convenient for construction and construction. It cannot be a one-sided pursuit of pattern effects, and physical properties such as moisture-proof, waterproof, thermal insulation, and thermal insulation should be considered. need. The bases are available in a wide variety of types, such as: wooden floors, block floors, terrazzo floors, plastic floors, concrete floors, etc., with a wide variety of patterns and rich colors. The design must be consistent with the entire space environment. Complementary to achieve good results.四、wall decorationIn the scope of indoor vision, the vertical line of sight between the wall and the person is in the most obvious position. At the same time, thewall is the part that people often contact. Therefore, the decoration of the wall is very important for the interior design. The following design principles must be met: 1 IntegrityWhen decorating a wall, it is necessary to fully consider the unity with other parts of the room, and to make the wall and the entire space a unified whole.2 PhysicalThe wall surface has a larger area in the interior space, and the status is more important and the requirements are higher. The requirements for sound insulation, warmth protection, fire prevention, etc. in the interior space vary depending on the nature of the space used, such as the guest room, high requirements. Some, while the average unit canteen, requiresa lower number.3 ArtistryIn the interior space, the decorative effect of the wall plays an important role in rendering and beautifying the indoor environment. The shape of the wall, the partition pattern, the texture and the interior atmosphere are closely related to each other. In order to create the artistic effect of the interior space, the wall The artistry of the surface itself cannot be ignored.The selection of wall decoration styles is determined according to the above principles. The forms are roughly the following: plasteringdecoration, veneering decoration, brushing decoration, coil decoration. Focusing on the coil decoration here, with the development of industry, there are more and more coils that can be used to decorate walls, such as: plastic wallpaper, wall cloth, fiberglass cloth, artificial leather, and leather. These materials are characterized by the use of It is widely used, flexible and free, with a wide variety of colors, good texture, convenient construction, moderate prices, and rich decorative effects. It is a material that is widely used in interior design.五、Ceiling decorationThe ceiling is an important part of the interior decoration, and it is also the most varied and attractive interface in the interior space decoration. It has a strong sense of perspective. Through different treatments, the styling of lamps and lanterns can enhance the space appeal and make the top surface rich in shape. Colorful, novel and beautiful.1 Design principlesPay attention to the overall environmental effects.The ceiling, wall surface and base surface together make up the interior space and jointly create the effects of the indoor environment. The design should pay attention to the harmonization of the three, and each has its own characteristics on a unified basis.The top decoration should meet the applicable aesthetic requirements.In general, the effect of indoor space should be lighter and lighter. Therefore, it is important to pay attention to the simple decoration of the top decoration, highlight the key points, and at the same time, have a sense of lightness and art.The top decoration should ensure the rationality and safety of the top structure. Cannot simply pursue styling and ignore safety2 top design(1) Flat roofThe roof is simple in construction, simple in appearance, and convenient in decoration. It is suitable for classrooms, offices, exhibition halls, etc. Its artistic appeal comes from the top shape, texture, patterns, and the organic configuration of the lamps.(2) Convex ceilingThis kind of roof is beautiful and colorful, with a strong sense of three-dimensionality. It is suitable for ballrooms, restaurants, foyers, etc. It is necessary to pay attention to the relationship between the primary and secondary relationships and the height difference of various concavo-convex layers. It is not appropriate to change too much and emphasize the rhythm of rhythm and the artistry of the overall space. .(3) Suspended ceilingV arious flaps, flat plates or other types of ceilings are hung under the roof load-bearing structures. These ceilings are often used to meetacoustic or lighting requirements or to pursue certain decorative effects. They are often used in stadiums, cinemas, and so on. In recent years, this type of roof has also been commonly used in restaurants, cafes, shops, and other buildings to create special aesthetics and interests.(4) Well format ceilingIt is in the form of a combined structural beam, in which the main and secondary beams are staggered and the relationship between the wells and beams, together with a ceiling of lamps and gypsum floral designs, is simple and generous, with a strong sense of rhythm.(5) Glass ceilingThe halls and middle halls of modern large-scale public buildings are commonly used in this form, mainly addressing the needs of large-scale lighting and indoor greening, making the indoor environment richer in natural appeal, and adding vitality to large spaces. It is generally in the form of a dome, a cone, and a zigzag. In short, interior decoration design is a comprehensive discipline, involving many disciplines such as sociology, psychology, and environmental science, and there are many things that we need to explore and study. This article mainly elaborated the basic principles and design methods of interior decoration design. No matter what style belongs to the interior design door, this article gives everyone a more in-depth understanding and comprehension of interior design. If there are inadequacies, let the criticism correct me.中文译文室内装饰简述Y Miyazaki一室内装饰设计要素1 空间要素空间的合理化并给人们以美的感受是设计基本的任务。
室内设计装饰风格中英文对照外文翻译文献
(文档含英文原文和中文翻译)中英文对照外文翻译浅释室内设计中的女性装饰风格美国著名的女艺术家弗洛琳•斯蒂海默曾经在她的绘画《家庭画像第2号》中传递了一个她所钟爱的被繁华织锦与鲜花包围着的住所，画面中的室内空间和女人们以极其艳丽的姿态占据了整个视觉中心。
一切正如她诗歌里描述的那样“韦罗内塞绿的蕾丝紧身衣，深色花纹的长裙还有针织荷叶边，丝制珠宝盒里装满串串罗马珍珠；非常喜爱的淡色水洗丝窗帘，带有轻快罗马条纹的缎带，满布花束的地毯，塞夫尔瓷花瓶和镀金饰边的桌子上洒满清晨的光辉；母亲为我们朗读的童话故事，还有花园繁华盛开和梅拉德的甜点和沃尔特•迪斯尼的卡通……”在这些文字里，跳跃性的细节描述和纯感官的认知特征解读了女性的感知体验特性，而所叙述的鲜花、织物、摆设、童话正是女性对于家的最温柔、最甜美的期待，这所有的一切也都是女性装饰风格最完美的诠释。
古往今来由于女性特殊的生理本能，女性风格的装饰艺术在历史上一直占有很大的市场空间，尤其是十七至十八世纪在意大利文艺复兴发展起来的具有强烈女性特征的巴洛克艺术(BAROQNE ART)装饰风格更是风靡和影响了整个欧洲，其艺术语言多少的影响了紧跟其后的是新艺术运动的产生与发展。
然而，作为一种爱好和时尚风格，巴洛克也只局限在奢华的宫廷和达官贵人的居室装饰中流行，装饰风格的概念局限了，从而与女性装饰风格的内涵上产生了偏离。
今天，社会经济飞速发展，女性的地位也因其教育和收入水平的提高达到了一个相对合理的高度，一个崭新的女性话语世界正在全面构建。
就如人类学家海伦费希认为的那样，21世纪的女性将是“第一性”。
由于她们的介入，直接或间接地影响了现代的审美意识和消费观，一种独特的以女性为代表的消费文化和审美思潮正潜移默化的流行于时尚消费层。
这就是我们称之为“她”时代的女性消费文化，依照国际广告协会主席卡波尔对“她”时代的内涵的解释：“今天，以男性为主的消费主义正在向以女性为中心的消费主义平衡。
艺术类文献翻译英文原文
原文：•Update:2009-12-08•Justin 0'Connor•Source: No.199 | November2009[…]The basic difference between a creative artist and an industrial designer lies in the tasks they perform and the environment in which they operate. The creative artist is respon-sible only to himself. On the work of the designer, however, depends thecommercial profit of his factory, and thus the welfare of the workers in this factory. His world is the worldof businessmen and technicians. His language must be the language of businessmen and technicians. Artistic arguments are not subject to proof. The artist is allowed to dream. The designer must be awake at every minute of his working day. He is a manager. Objectivity and clear thinking determine his actions. He must make all his dispositions with a sure hand. The artist works alone. The designer is a member of a team. The artist is silent. The designer needs to talk about his ideas. He must be able to communicate with his partners.[…][…]We must say goodbye to the familiar image of the artist in industry who, dreaming of good design, tinkers round with his spoon, the last craft worker in industry, as he was once called. We shall have to accustom ourselves to a new type of designer, one who is hard-ly to be distinguished from a clever manager –the word ›manager‹ being meant in a positive sense here. It is natural for this designer to be as familiar withquestions of production and sales as his client is. Design alone is nowadays only a part of his work. […] The industrial desi gner of today must be put in much greater touch with the values of commerce and mar-keting if he is to be successful in his work, if he is to conceive the right product for the right market at the right time.Industrial design is the creation of industrial products. The industrial designer must have the knowledge, the abilities and the experience needed to grasp the facts governing the pro-duct, to conceive the design, and to carry it out in collaboration with all those involvedin product planning, development and manufacture, up to the finished product. In his coor-dinating design activity he will benefit from his knowledge of the sciences and oftechnology as a basis. The aim of his work is to create industrial products to serve society in both a cultural and social aspect.The industrial designer is the advocate of the people. It is amazing that the user or con-sumer is only indirectly involved in the decision process governing things he requires to satisfy his needs. So, in the first place, the desig ner is the user’s or consumer’s advocate. But at the same time this makes him a product of the people. Everyone has his own yardstick. Everyone makes their own decision. The particular task of the designer is to anticipate the de-cisions which others will make in the future as if they were his own. […] The difference from previous occupational descriptions [of the industrial designer –Editor’s note] is this – that German designers speak of coordinated design work and include the social aspect to which industrial design must be subject. I do not believe that this occupational description will be the last one. This profession, which is constantly involved in a dynamic devel-opment, is seeking new fields of work and new orientations.This service, from designs by Sigrid and Günter Kupetz, is not without its charms. Excellently finished ebony handles, a straight upper camber with a flat cover and counter-sunk ebony handle, a rather higher three-cor-nered spout (useful when carrying full pots) and an idiosyncratically curved body. One would perhaps enjoy it without reservation if there were not already an ›m‹ service. Butit provides enjoyment enough. For whether this careful transfer of a ›stile cristallino‹ to silver really signifies the ultimate solution, or just an attractive preliminary stage – the fact remains that WMF has been honestly en-gaged in producing something genuine, some-thing of high quality.This monograph is the first comprehensive overview of the creative work of designer Günter Kupetz. At the same time it presents a picture of the development of industrial design in Germany. There are few other personalities in the design world whose profession-al career reflects as well as Kupetz’s does, the sense of being one of the founders of a disci-pline in the fifties and sixties of the twentieth century. Against the background of the completely changed social and economic contexts of that time, Kupetz and, with him a whole generation of young German designers, frees himself from the artisanal image of the industrial artist imposed by the Bauhaus tradition, enters into an international dialogue about contemporary industrial design and ends up by creating the profession of industrial designer in Germany.Even though Kupetz’s debut was as an artist. Bernhard Heiliger’s outstanding student de-cided, after his first successes in sculpture, to take up a position with WMF in Geislingen/ Steige. He became head of the design studio and in subsequent years createdhundreds of products for the various branches of the company. These products have also found high international acclaim. Kupetz was represented by pieces at the World Exhibition in Brussels and at the ›Triennale 1957‹ in Milan and, equally, some of his designs have found their way into the collection of the Museum of Modern Art in New York.Kupetz’s organic, sculptural forms developed from his work as a sculptor find an echo in contemporary taste. They represent an optimistic modernity oriented towards the future, a modernity which became ever more popular during those years and which, with increasing affluence, more and more people were able to afford. Against the background of his paid work in industry, Kupetz’s wish to set his work in some sort of context and to give it the status of an independent professional discipline began to crystallise. He was increasingly re-occupied by issues surrounding the nature of the job and the professional ethics of the designer. He became a member of the Deutscher Werkbund association of artists and sought contacts with national and international colleagues. Influenced by the first International Design Congress, organised by the German Design Council in 1957 and the British designer Sir Paul Reilly, Kupetz became in 1959 one of the co-founders of the Association of German Industrial Designers (VDID) the first professional association for industrial designers.It was no more than consistent that the professional occupation of industrial designer as he had experienced it should lead him into fully freelance work in 1960 and finally, in 1962, into teaching. Thus, in taking over the newly founded teaching department of Industrial Design at the Kassel School of Industrial Art, he saw an opportunity to bring this new pro-fessional occupation into the purview of teaching and to test it in practice.The more important teaching was to him, the more Kupetz realised the dilemma in which he was placed. He knew the importance of technical, economic and social influences on the design process and wanted to integrate the sciences into design training as auxiliary disciplines. At the same time, he rejected any approach to the design process which was overly scientific. Kupetz therefore used the architectural term of (design) planning, a process in which of course scientific knowledge had an influence on design, but without dominating it. On the other hand – in contradistinction to the Ulm school – he considered the artisticaspect of design to be important. Here in his publications he made use of an enabling for-mulation by which, instead of art, he introduced the concept of intuition into his ideas of teaching. It was intuition, he said, which distinguished the designer from the engineer.Increasingly his interests were no longer restricted to training students. In his opinion, neither the industrial-art schools of his time nor the polytechnics of fine art were adequately structured for design training in Germany. He devoted himself to an evaluation of the school of industrial art, which led in 1971 to the foundation of the Polytechnic of Art and Design. In 1973 he was appointed to the Polytechnic of the Fine Arts in Berlin, where he became Professor of Product Design and Product Planning. The reorganisation of the Polytechnic of the Arts in Berlin saw Kupetz as a member of the Organising Commission where he attempted to bring his ideas to bear on the organisation of the Industrial Design Department. In his inaugural lecture as professor in Berlin Kupetz was already summing up in surprising fashion the job definition which he had proposed only a few years before:»The difference from previous occupational descriptions is this: German designers speak of coordinated design work and include the social aspect to which industrial design mustbe subject. I do not believe that this occupational description will be the last one. This pro-fession, which is constantly involved in a dynamic development, is seeking new fields of work and new orientations.« What distinguished Kupetz from his colleagues was his ability to question his own actions and to recognise that there were ever more possibilities of reaching solutions in design – and against a background of social change.For those seeking to classify Kupetz’s creative work, it is the mass market, where what matters first and foremost is meeting basic consumer needs (furniture, utensils and itemsfor everyday use) which provided the initial social context for his endeavour. Even before he had finished his creative career in industry this context had changed radically. From the beginning of the 1970s the German market begins to diversify. In a saturated market, new consumer needs come to the fore. Representation, involvement, identification, hedonism now form the central concerns of design led by market needs.Kupetz designed well over 1.000 products. These included metal-ware, glass, jewellery, packaging, furniture, durables and machinery. Some of his designs, such as the mineral water bottle for the German spring-water company, for which he was awarded the Federal Prize for Good Design in 1982, became best-sellers a million times over and are still inuse today. Other pieces, like many of the containers he designed for WMF or the first key-pad Telefone for AEG Telefunken were real design innovations in their field. Theall-em-bracing and multilayere d way in which Günter Kupetz’s work has developed, is, atthe same time, only conceivable in an industrial context. What characterises his output is his percep-tion that the design of anonymous products for the mass market is a socially important task, which must be accomplished with the highest possible regard to quality.»The professional responsibility of the designer is a personal responsibility to society, which he intends to serve through his work. His work for industry is therefore bound to a continual further development of his knowledge and abilities, but to an ever watchful moral receptivity too. In particular he must gain a comprehensive view of the whole life of man and be familiar with its needs, its customs and its desires. He should recognise theim-portance of his task. Looked at in this way, he is the vehicle of values both ideal and con-crete«, wrote Kupetz in 1963. With the dissolution of a mass market determined by basichuman consumer needs, Kupetz lost the context which shaped his work. He did not regret this, but recognised that his conception of industrial design is today a historical one. The fact that, notwithstanding this, many of his designs still seem contemporary today is attrib-utable to their outstanding formal qualities.The challenge of publishing a book on the work of one's own father has its appeal, though it is not without difficulties as one approaches the task. Many of the things that one knew intimately - and which one therefore never needed to classify - have to be looked at again from a distance. This is not only a question of gaining a certain academic objectivity, but one has also to rekindle an enthusiasm for things that have become a well-known part of one's everyday life. This is not a job that one could risk undertaking alone.I am, therefore, most grateful to Stephan Ott, who, with conceptual creativity, great love of, and attention to detail have worked with me to make this book possible. Annemarie Jaeggi and Florian Hufnagl as well as Marcus Botsch have set out the context of Günter Kupetz’s work in their remarkable and indeed brilliant contributions. In his photographs, Ingmar Kurth has lent a cool poetry to Günter Kupetz’s designs and transposed them into the 21st century. Armin Illion has taken his inspiration from the sculptural character of Kupetz design and created corresponding and equally exciting graphics.My thanks to all friends, collaborators and colleagues for their many comments and good wishes, and to WMF AG, the GDB eG (Registered Association of GermanSpring-Water Pro-ducers) and to the publishers Birkhäuser for their generous support in helping to make this project a reality.When Günter Kupetz started at Württembergische Metallwarenfabrik in Geislingen-Steige on 1 April 1954, the business was enjoying an upswing again for the first time since the end of the Second World War. After dreary years of slog in a time of poverty –when there was certainly a lively demand for daily table cutlery, but no consumption worth speaking of – now WMF intended to expand its range to feature a newly created set of products, expressive of their own age, to attract a new generation of loyal customers.In the years immediately after the war the people at WMF were still basing theirap-proach on what was already available, using the tools which had survived and the company’s well-supplied materials store, to take up production again in as seamless a way as possible. Nor was there any sign of a change in taste, for the range introduced in the 1920s and 1930s was still selling well – a range featuring a bourgeois, cautiously historicising approach, such as the cutlery, largely designed by Kurt Mayer, some of which was still being produced into the 1980s, and which provided the company with its commercial basis.When in 1948 the economic reform brought a new impetus to the market, WMF start-ed to look for new designers. In Wilhelm Wagenfeld they certainly found the most famous one in Germany, someone who represented the objective attitude of form elicited fromfunction of product, fully adapted to the industrial manufacturing process. As a trained sil-versmith, who had studied at the Bauhaus in Weimar and had managed to maintain a modern approach, both in the glass and ceramics industries, all during the National Socialist period, he, almost more than any other, had broad experience as a designer in all product sectors of WMF.The contract agreed with Wagenfeld in 1949 appointed him artistic director for the high-quality-product sector, with his own studio at WMF. Yet initially, to Wagenfeld’s irritation, his designs were largely used for glass products, while those for metal articles were shelved, or even rejected, by the company’s internal new-product committee. The reasons for this were economic considerations, for the production of the wooden models needed to manu-facture glass products meant much lower capital investment than theexpensive tools for producing metal goods. Moreover the majority of consumers in Germany, in the wake of Bauhaus, had no great admiration for these kinds of formally reductive, inconspicuously attractive and timeless consumer goods – something reflected clearly in their sales figures.Wagenfeld’s famous metalwork productions for WMF, which were to bring thecom-pany great success, and which have become a part of design history, found support above all from WMF’s American partner, Gordon Fraser. His sure eye for the US market, the pre-ference there for everything practical and rational, and the lack of a traditional bourgeois table culture in the European way, all made it easier to launch modern forms and to intro-duce stainless steel as a material. While people in the USA associated WMF with a contem-porary objectivity, and the name of Professor Wagenfeld was used here for advertising, i n Germany these products were only a small segment of the company’s broad product range.This thoroughly ambivalent attitude towards Wagenfeld could be plainly seen in the pre-sentation of a model shop window at WMF’s one-hundredth birthday celebrations in 1953. Here his timelessly shaped models were placed in a fashionably colourful setting of curving, kidney-shaped table stands, with a background of asymmetrical wooden frames, beneatha perforated ceiling. On the back wall hung a placard, reading ›G ood Design / WMF / Pro-fessor Wagenfeld‹, which emphasised his international, particularly American reputation. The word ›design‹, which was being increasingly adopted in German usage, was actually a concept for which Wagenfeld had no high opinion. He called himself an industrial pattern maker and even refused to join the Association of German Industrial Designers (Verband der Deutschen Industrie-Designer – VDID), which Kupetz co-founded in 1959.As a result, in 1953 Wagenfeld withdrew somewhat from his employment with WMF, opening his own workshop in Stuttgart in the following year. He kept his studio inGeis-lingen, but was an external member of staff, only there at irregular intervals. Now WMF began to look for someone young and talented, who might possibly be trained up as a fu-ture director of the artistic studio in succession to Kurt Mayer, who had now been working at the company for 25 years. As a result of an advertisement, the choice fell on the 28-year-old sculptor Günter Kupetz, whose sculptural work was just then enjoying its first successful exhibitions in Berlin. It says a great deal for Kurt Mayer’s courage and determi-nation to innovate that he brought to Geislingen – initially for six months – anartist still unversed in industrial design, and gave him a chance to find his feet in a new field.In this probationary period Kupetz familiarised himself with sheet metal as a material and with the production techniques of hollow ware. In complete contrast to Wagenfeld, who译文：as a draughtsman via the handicraft of the silversmith, Kupetz approached his task as a sculptor. By bending, buckling, folding, cutting and soldering the sheet metal, he began by testing the material’s possibilities. Soon he was also experimenting with metal bars and wire. His first creations were bowls and small recepta-cles made from sheet brass, which were themselves by no means intended for production: asymmetrical shapes, suggesting sculptural associations, and representing current demand for table receptacles to hold salted snacks, pretzels and nuts.Günter Kupetz drew his ideas from various sources of inspiration. His pretzel holders, reminiscent of abstract sculptures, his bowls on high stands and standing ashtrays of metal wire contained references on the one hand to contemporary sculptors such as Reg Butler, but were also connected with the light, floating furniture and interior-design items made from finest steel piping of the kind designed by Helmut Magg in those years for Deutsche Werkstätten. Plastic qualities, on the other hand, came to the fore in the organic glass orchid vases in which Kupetz paraphrased the sensuous female torsos of his Berlinsculp-tures. A final impetus came from the organic shapes of Scandinavian design, which Kupetz had already discovered in various journeys to Denmark in the early 1950s. Timo Sarpaneva, Henning Koppel and Tapio Wirkkala were examples of such influences.Among the sales representatives and managers of the WMF branches, whose judgement–close to the customers as it was – w as a yardstick for the general public’s contemporary taste, these first works by Kupetz produced great enthusiasm. Here a young designer had successfully touched the nerve of the period! Sales figures for the goods produced to his designs after 1955 would confirm this assessment. Thus Kupetz had found his place within the WMF –»fresh and unconventional (…), unusual without being eccentric, and modern without being doctrinaire«, was how his models were characterised in one of the com-pany’s own advertisi ng brochures of 1958. Along with Kurt Mayer, who represented conti-nuity and tradition in the company, and Wilhelm Wagenfeld, whose timeless modernity enjoyed great recognition – especially abroad – Günter Kupetz representedthe ›get up and go‹ of the youn ger generation in Germany after the war. The irritation which his designs caused in established client circles was something he himself portrayed, humorously and suc-cinctly, in caricatures for the company’s in-house magazine.Some of the articles subsequently produced by Günter Kupetz also owe their formal origins to the wealth of experience which he gained in his first six months at the WMF. These include his children’s cutlery from 1954-55,with its characteristic bend in the handles of knife, fork and spoon, helping to strengthen the material. And the floatingly light platters and elegant bowls which commenced production in 1956, maintaining their stabili-ty through their flowingly raised edges. None of these items denies its origin in its basic material – sheet metal. Far from it: the impressive simplicity of their form actually seems to emphasise the way they are produced, using few work stages and few tools.It is certainly here that one of the main differences must be found in the external look of designs by Kupetz and Wagenfeld, but in their method of work, too. While Kupetz seems to start more closely from his material, its requirements under machining and its efficiency of production, thus emphasising the character of flat and hollow ware, much of Wagenfeld’s work gives rather the effect of handicraft-developed models for serial production. This is true particularly of his larger metal items, such as cake tins, tea caddies, hotel dishes, soup tureens, sauce boats and beakers, which – particularly in their silvered version – do not look like factory goods, while Kupetz restricts himself largely to stainless steel. One expla-nation for this may be that some of Wagenfeld’s metal designs for the WMF were further developments of earlier work in ceramics or glass and owe their initial form to this other material.A further difference between these two designers, both working for the WMF, can be found in their interest in patterning, which Wagenfeld permitted unwillingly and in few cases. In his early days at WMF Kupetz experimented with ammonium-chloride colouration on brass products and irregular perforations; from the 1960s he even incorporated etched patterns to designs by his wife, Sigrid Kupetz, and worked with her to design a moulded glass with a lively kerb pattern. It was used for glass inlays, which he combined with his simple stainless-steel plates, or for a whisky set –of ice bucket, men’s and women’s cups – which achieved a certain fame, because Louis Armstrong said it was the best in the world.In 1961 Kupetz, like Wagenfeld before him, left WMF in disappointment, since many of his designs had been rejected by the new-products committee. To his irritation, the com-pany did not sell the models he had designed for inexpensive production more cheaply, butassimilated them to the high price levels of the WMF. After founding his own studio in Stuttgart, in 1962 Kupetz joined the Kassel School of Industrial Art, where till 1973 he taught industrial design. During this time he remained associated with the WMF as a free-lance designer and had a significant influence on its product range in the 1960s, particularly with material combinations for glassware and hollow ware.。
艺术与工艺品专业外文文献翻译
毕业设计（论文）译文及原稿译文题目一土著艺术与工艺品及其市场原稿题目一Aboriginal Art and Crafts and the Market译文题目二用于日本传统工艺的以客户为导向的评估模型的任务决策方法原稿题目二A Task-based Decision-Making Approach to Customer-oriented Evaluation Model forJapanese Traditional Crafts土著艺术和工艺品及其市场用于北环阿纳姆地区市场交换的手工艺品的结构与前景北环阿纳姆地区也可随意称为马宁里达地区；因为它包含了马宁里达镇- 该镇人口随季节波动，最少时700人，最多时将近1000人–并有大约20个更小的卫星社区或航站，约有700个土著人，向马宁里达地区提供服务。
本文的定量数据都是我在那进行人类学实地调查期间收集的，时间为1979年和1980年；更多最近的定性印象是基于我1981年和1982年对该地区进行短期访问基础之上的。
本文的重点集中于用于航站市场交换的艺术品和工艺品生产，超过80% 以上的区域产量（按价值计算而不是按物理量计算）来源于这些更小的卫星社区。
可先提出以下三个问题，再开始我们的讨论。
对于地区经济中的市场，手工艺品生产的意义是什么？生产者是哪些人？对于生产者而言，从手工艺品生产中获得的经济回报和非经济回报有哪些？基于本人在1979年和1980年积累的数据库，我尝试预测该地区未来的手工艺品生产水平。
为达到分析目的，本人对需求变量和供应变量作了区分，虽然很容易识别这些变量之间的相互依存关系。
在本文中，我专注于研究供应方面的因素：这些必要的生产要素能够确保未来的手工艺品生产吗？诸如失业救济金可用性、采矿特许权使用费和其他就业机会之类的外部力量，对生产水平有什么影响？地区经济中手工艺品生产的意义目前，马宁里达地区的经济存在着严重分歧。
一方面，马宁里达镇是1957年为土著人建立的一个政府定居点。
艺术设计英文作文模板范文
艺术设计英文作文模板范文英文回答：Art and Design: An Interdisciplinary Discipline。
Art and design are two interconnected and interdependent disciplines that have played a significant role in human civilization throughout history. While they share some common characteristics, they also have distinct features that set them apart.1. Definitions。
Art is generally understood as the expression or application of human creative skill and imagination, primarily for aesthetic purposes. It encompasses a wide range of disciplines, including painting, sculpture, drawing, music, dance, and literature.Design is the process of creating a plan or blueprintfor the production of an object, system, or environment. It involves the application of aesthetic, functional, and technical considerations to achieve a desired result. Design disciplines include industrial design, graphic design, interior design, and fashion design.2. Interrelationship。
外文翻译艺术和设计的知识与研究本科学位论文
2715单词，1.4万英文字符，4100汉字Knowledge and research in art and designBirmingham Institute of Art & Design, University of Central England, MargaretStreet,Birmingham B3 3BX, UKThe idea of research has tended to elicit two sorts of response from artists and designers. On the one hand, it is perceived as the antithesis of art and design activity, something to do with questionnaires and statistics, test-tubes and laboratories, at one remove from the real world with which artists and designers seek to engage. On the other hand, it is argued, artists and designers have been doing research all along, dealing with issues of technology, materials, meaning and communication, at a sophisticated level. Research is simply an integral part of all art and design activity. Although the latter has much to recommend itself, and I would argue constitutes a distinctive tradition of practical research, neither of these responses is entirely satisfactory. Indeed, it could be suggested that the switch from the former to the latter is simply a pragmatic response to changes in the funding of higher education1, an attempt to seek credit for existing practice, without wishing to change that practice in any way.Recent trends in higher education in art and design have combined to make the question of research increasingly important. There is a growing recognition in art and design that in order to achieve parity of status with the more traditional academic disciplines, and, importantly, to attract sufficient funding to develop its potential, there will need to be a greater attentiveness to the needs of research. As Allison points out, there will be important financial and status implications for higher education institutions.Research activity, in terms of volume, quality and direction, will be a major issue in the funding of institutions, courses and programme areas. It would be a reasonable guess that quality 'league tables' of institutions will be devised and that both the allocation to 'leagues' and places in the 'leagues' will be related to institutional research profiles2.However, as Allison also points out, the issue of funding follows from the ability of practitioners and academics within the field of art and design to create an environment appropriate to the development of research, and not the other way around. And, of course, it is more than simply a question of ability: 'There must be an institutional, or pedagogical, or academic, or technical, or some reason for wanting to do research. Not just status, promotion and fund-raising '1.The question of what counts as research in art and design is once again brought to the fore. For funding reasons alone it is important that research in art and design is recognized as such. Yet there is no clear consensus about how this should be achieved. Allison's collection of data for his database of art and design research suggested that, 'research degree registrations are not anadequate measure of the amount of research which is being carried out in art and design as they constitute only a relatively small proportion of total research activity'3. Allison's suggestion is that there is a need within higher education in art and design, to build a “professional attitude to research'2, by which he means a more systematic and rigorous approach to understanding and referring to previously completed research, and to communicating research findings to the field. Of course, this is both commendable and necessary, yet if it is to be successful, I believe there is a prior need to deal with the more philosophical question of why the academic accreditation of research in art and design, in particular by higher degrees by research, should be welcomed, in itself, and not simply as a way of generating funds.The aim of this paper is to explore the question raised by Frayling, 'why research in art and design?' In his paper 'Research in art & design' Frayling makes the distinction, adapted from Herbert Read's ideas on art education, between research into art and design, research through art and design and research for art and design4. Research into art and design is perhaps the most conventional of the three, and accounts for research where art or design is the object of study, for example historical, sociological, and technical approaches, along with a number of others, can all be considered in this way. This represents without doubt the strongest tradition of research within the field of art and design. Art history, particularly, is a long established discipline with its own authorities and approaches to research. However, with the changes taking place in social and cultural theory it is not clear that art history will be able to maintain this privileged and separate status. Research through art and design accounts for research where art or design is the vehicle of the research, and a means of communicating the results. Research for art and design is the most controversial of the three, and the least amenable to traditional academic conceptions of research. Frayling describes it as: 'Research where the end product is an artefact where the thinking is, so to speak, embodied in the artefact, where the goal is not primarily communicable knowledge in the sense of verbal communication, but in the sense of visual or iconic or imagistic communication '2. This final category accords with views which argue that art and design activity, as it stands, already involves a high degree of research, with a small 'r'. Frayling uses the example of Picasso, who, he points out, saw the gathering of reference materials as a means to an end - the painting - and not of interest in themselves, or worthy of communicating to an audience. The question Frayling raises is why, excluding the resource issue, anyone should want to register such activity for an academic research degree, when its primary goal is the art itself, and not knowledge or understanding. The argument is a familiar one, given that there exist institutionally separate ways of recognizing achievement in the arts, is it legitimate to seek academic approval as well. It is, as the argument goes, rather like awarding degrees in literature to great novelists. Although research degree submissions containing a practical element have been recognized for some time,researchers in art and design have been slow to take up the opportunity. One reason for this may be lack of a clearly articulated artistic or design reason for doing so. It is this issue I wish to address.As it stands Frayling's analysis of art and design research activity seems to cover all possibilities, and on this basis one is tempted to conclude with him, that it would be mistaken to seek to justify the research status of solely practical work. However, to base proposals for the future of art and design research on an analysis of the present situation, may be to miss a significant opportunity, and reinforce an ideology of the arts and creativity (Frayling notes Picasso's suspicion of art historians) which inhibits the development of a research culture. What I am suggesting is that Frayling's paper evidences a failure of imagination, and despite the subtleties of his argument, it is underpinned by, and in danger of reinforcing, the institutional divide between theory and practice in art and design. As Coyne and Snodgrass point out, the development of an educational practice of design has been hampered by the adherence of many to, what they refer to as, 'the dual knowledge thesis': 'The argument that there are two ways of thinking - logical, analytical and rational on the one hand, and subjective, idiosyncratic and irrational on the other '5. It is equally clear that such a position militates against the successful development of art and design research.It is the perception of art and design as inherently mysterious activities, which are in some way inaccessible, and about which little can be said, that has provided a conceptual basis for the division between theory and practice, and hence between practical work and communicable research. It is not difficult to see in the emphasis on the intuitive and sensory qualities of art, the Cartesian dualism between mind and body. However, given that (post)modern philosophy has brought this opposition into question, and shown the dangers and limitations of enlightenment rationalism, it seems only right that artists and designers should also question this as an explanation of their own practice 6. The tendency towards self-reflexivity in contemporary culture, and the blurring of the boundaries between the theorist and the practitioner, the critic and artist/designer, provides a unique opportunity for developing a culture of research in art and design, and a genuinely critical and reflexive practice. As Coyne and Snodgrass conclude: 'Where there is mystery then designing is removed from effective dialogue. Design ideas are personal and unavailable for general scrutiny. The designer becomes a party to that other great theme of the Romantic movement, the oppressed and misunderstood hero'5. In place of this Coyne and Snodgrass suggest a dialogical or 'hermeneutical' understanding of design, where the process of design involves interactive dialogue with the design situation. The value of this position is that Coyne and Snodgrass are arguing that there is a considerable degree of continuity between the production of knowledge in design and the production of knowledge in other fields. The idea ofcontinuity is, I believe, a particularly important one. Despite the complexity of the relationship between language and the activity of design7, recent work on protocol studies offers evidence of a productive and rewarding relationship between re- search into the nature of design activity, and the process of design itself 8.To return to Frayling's set of distinctive art and design research practices, I think it is possible to argue that the development of research in art and design depends not so much on the promotion of research in one or all of the categories, but rather in seeing how art and design research can actually dissolve, what may be institutionalized divisions of knowledge, rather than intellectually justifiable ones. The best of art and design research seems to facilitate an interaction between the different research traditions, practical and academic. Given that the majority of practising artists in this country have strong links with the educational sector it seems unnecessary to hold back from this interaction any longer, both traditions have much to gain.Two examples, one of a completed doctoral submission, the other of a research degree in progress, provide an illustration of what I have in mind here. The first example, is Tom Gilhespy's doctoral submission which combined both a written thesis and a practical exhibition of work, under the title, 'A theoretical appraisal and artistic response to Soviet monumental sculpture'. The contribution of the thesis is to reassess the development and artistic significance of Soviet monumental sculpture. What is interesting for my argument here is the interaction between the personal, intuitive and sensory response to the subject, the sculptural research, and the more traditional academic and historical research. Gilhespy refers to a 'positive interactive exchange '9. Consider the comments Gilhespy makes about how the practice of sculptural work influenced the direction of the thesis: "The simple act of using a Russian pointing machine and scaling up and carving a head of Lenin at monumental size led, when combined with other information and reading, to images of Lenin and his 'Plan for monumental propaganda" becoming central to the submission '9. Similarly, the interaction worked in the opposite direction, to the benefit of the practical art work.Although there has, and rightly so. been an intellectual shift in the sculpture produced during the period of the research there remains an element of tracing historical influences. At the beginning of the research I was following the trail of a constructivist language as I understood it, quoting Boccioni, Popova and Tatlin, which did not jell with the information I was acquiring. The trail is now Soviet and I believe follows the influence of Lenin's ideas on monumentalism. Stylistic changes and a more traditional use of torm and materials arc also attributable to the influence of the research and the needs of the subject matter9.This submission does not fit neatly into any one of Frayling's categories, but instead draws on knowledge, and research methodologies attributable to all three. Both the written thesis and thepractical submission are successful and coherent on their own terms, both make a contribution and are recognized as doing so by the award of the PhD, and the exhibition of the sculptural work at the lkon Gallery, Birmingham. Frayling looks to the past when he raises the spectre of having to award an honorary PhD, in absentia, to every artist since the Renaissance, it may be equally valuable to look forward, to further fruitful interactions between different research traditions. As Oxman points out 'design studies has now become an interdisciplinary focus for research" in which 'several "'constellations" of research approaches are emerging which are beginning to complement one another10.The second example is a piece of research aiming to offer a new theory for the production of Hellenistic and Roman mosaic glass. The starting point for the proposal was the intuitive feeling that theories put forward by archaeologists, concerning the production of mosaic glass from this period, did not ring true from a glassmaker's point of view, as this student put it, "that was not how a glassmaker would have done it'. The process of research involves the putting to the test of this intuition, and developing a new theory of production based on practical experimentation. Considering this in terms of Frayling's categories, it is possible to argue that the research could be placed in any of the three, and in fact derives at least part of its originality from the way in which it draws upon, and contributes to different research traditions. The research is clearly into art and design, from a technological perspective, it seeks to challenge established archaeological interpretations of a craft practice. It is also research through art and design: practical work is both the vehicle for the research, a practical process of trial and error, and, in the documentation of the stages of the process, a means of communicating the results. Finally, it is also research for art and design: what motivates the student is her commitment to the practice of making glass. The finished pieces of glass have, of themselves, an aesthetic value. It is my guess that the research would never have been embarked on as a purely problem solving exercise, without some sense of the value inherent in the end-products. The research, when complete, will deservedly be recognized as a contribution to knowledge by the award of a research degree. Although any aesthetic value in the glass produced may be incidental to the award, the contribution to knowledge will clearly derive as much from the practical, as from the theoretical work. Both of these examples seek to develop a creative research practice. This could be argued to be a fruitful starting point for art and design research, exploring the 'interplay between intuitive and systematic thinking modes and related procedures'1l, and applicable across the diversity of the field, from engineering design to fine art.What becomes apparent is that it is characteristic of research in art and design that it is motivated by art and design practice. Whether it is research in industrial design or in fine art, the application of knowledge is often at the fore- front of the research. To argue that research into artand design, and research through art and design, should remain institutionally separate from research for art and design is to cling to a Romantic view of the artist that has outlived its usefulness. The development of a research culture in art and design must clearly be a two-way process, leading both to a clearer understanding of art and design, and to the development of art and design work12. Neither of the examples I have cited are academic in the worst sense of the term, yet they are both academic in its best sense. The current position of art and design within higher education, and the scope that exists for the development of art and design research offers an opportunity to foster an interesting range of connections between different disciplines, forms of knowledge and research traditions. The institutionalization of the division between reflection and action, theory and practice, has always been of dubious worth, and should be rejected in favour of a more interactive and interdisciplinary approach, which will be to the benefit of all.1 Frayling, C Research into art & design Royal College of Art, London, Research Paper V ol 1, No1 (1993/4)2 Allison, B 'Research in art & design in the United Kingdom,Higher Education Review V ol 26 No 2 (1994) pp 49-643 Allison, B 'Open door On research in art & design,Design Technology Teaching V ol 23 No 3 (1991) pp 157-160, 1644 cross, N Editorial Design Studies V ol 16 No 1 (1995) pp 2-35 Coyne, R and Snodgrass, A 'Is designing mysterious? Challenging the dual knowledge thesis' Design Studies Vol 12 No 3 (1991) pp 124-1316 The categorical distinction between scientific and artistic forms of knowledge, although still strong in popular conceptions of research, has faced considerable intellectual challenge in number of areas, See for example T Kuhn The structure of scientific revolutions University of Chicago Press, Chicago (1962), or J Clifford and G E Marcus (eds) Writing culture University of California Press, Berkeley (1986)7 Lloyd, P, Lawson, B and Scott, P 'Can concurrent verbalization reveal design cognition?' Design Studies Vol 16 No 2 (1995) pp 237 2598 Dorst, K 'Analysing design activity: new directions in protocot analysis' Design Studies Vo116 No 2 (1995) pp 139-429 GIIhespy, T 'A theoretical appraisal and artistic response to Soviet monumental sculpture' PhD thesis, University of Central England in Birmingham, UK (1993) 100xman, R 'Observing the observers: research issues in analysing design activity' Design Studies V ol 16 No 2 (1995) pp 275-8311 Eder, W E 'Engineering design - art, science and relationships' Design Studies Vol 16 No 1 (1995) pp 117-2712 Agnew, K 'The Spitfire: legend or history? An argument for a new research culture in design' Journal of Design History V ol 6 No 2 (1993)pp 121-30艺术和设计的知识与研究戴伦纽伯里伯明翰艺术设计学院，大学英格兰中部大学，玛格丽特街，伯明翰B3 3bx，英国艺术家和设计师对学术研究的想法引起了两种反应。
室内设计 外文翻译 外文文献 英文文献 自然 简约—对室内设计现象
室内设计外文翻译外文文献英文文献自然简约—对室内设计现象附件 2:外文原文 Natural simplicity - on interior design AnalysisAbstract: The natural simple interior design show is a way of life it allows us closer tonature more emphasis on functionality more concerned about life itself. create apoetic space.Keywords: minimalism space grade interior design feeling Ancient times Chinese wooden framework architecture of ancient India theOrient Europe building caves in ancient Greece ancient Rome and so on decorativestone buildingclosely integrated with the components with the main buildinghowever. dissolved into Europe in the early seventeenth century Baroque times andthe mid-eighteenth century the Rococo era began with the interior decoration of themain building separated from the main building external and internal fitting-outperiod in the use of the mismatch thus leading to the main building and interiordecoration of the separation in the construction of the French court architecture andaristocratic mansion the new occupation quotdecorative artisanquot was born the buildingsinternal frequency continuous modification fixed the main building the replacementbuilding quotclothingquot the time has come. Baroque-style architecture of the interiordesign one anti-Renaissance solemn subtle balanced tend to exaggerate. luxury inchurches and palaces in the architecture sculpture painting into a whole the pursuitof momentum with the ups and downs but an attempt to cause the illusion.Rococointerior architecture is the palace of nobility in order to be intimate and comfortableelegant interior and the pursuit of a more intimate interior decorative effect. with thinlightweight beautiful and complex decorative hi-shaped with C-shaped or S-shapedcurve of the vortex and soft pastel colors with flowers and birds many shells as atheme and the court order to meet the requirements of the exotic much used ininterior decoration. Chinese-style Baroque and Rococo-style hand-made decorationreached perfection referred to as quotinterior decorationquot. modern representatives of thegreat development of the industrial revolution there has been a new type of concretebuilding its interior decoration not only from the main building from the Mediumand developed into the main building and not attached to the sole part of the relativeseparation. Sports camp solved simply decorative building components with acombination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form consider thespace of the building are the protagonist advocate discarding false surface decorationall around the architecture reasonable space requirements Services. excludedecoration emphasis on the use of functions and simplified shapes. Advocate the design of the natural style of natural space aesthetic promoted theidea that quotnatural beautyquot to the performance of relaxed comfortable natural pastorallife and is often the use of natural wood stone rattan bamboo and other materialsrustic texture. clever in interior settings greening create a natural simple fresh andelegant atmosphere. onlyupholds nature combined with the natural order in todayshigh-tech high-paced social life so that people can achieve physical andpsychological balance. Simple does not mean easy it is an attitude towards life. when we are in modernlife to bear too much pressure we began to look for the feeling of freedom gracefulposture and extraordinary taste. we need to tend to a peaceful state of mind impetuousSo we call for simplicity. from the building space to the general living space fromdesigners to the ordinary citizen vocational naturally simple style - interior design hasbecome very popular direction. The spirit of simplicity is mainly derived from the origin to the early twentiethcentury Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designersin the mid 80s to lead the trend ofminimalismdesign. Europe and the United States at the time of economic downturn the ArtGallery bosses began to display works of art space to find a way out some reportedcosts factory floor layout easy to become art exhibition hall the purpose of funding isbased on at least make the best display space while the results of doing so is tosimplify the space not decoration superfluous things in fact this also reflects theemergence of a new aesthetic design. from home into the design of art galleries theexhibition space with works of art showing the characteristics of the same type ofaesthetic simplicity. art at this time it started with the interior coincide with the designand gradually began to slip to the present minimalism became the style of interiordesign and pursue careers. Return to nature of minimalism arehuman-specific labor. its purpose is toconcise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs. In a sense the prevalence of minimalism aretheinevitable trend of human development. Natural simple interior design to create a poetic space. We know that the quotpoemquotThe Art of the characteristics is to use very simple vocabulary according to certainrules of composition form a quotpoemquot of such a language its between the lines containsa great deal of space a static implicit in the design space. peoples ideological feelingslife longing for injectioninto the environment through the quotmoodquot to reproduce thethree-dimensional space in reality it means its habitat then forgotten by his bodywhich is a spiritual experience beyond the physical experience quotmoodquot of creation itis by creating an atmosphere to achieve a certain spiritual significance embodied thequotaffinityquot.In fact the interior design is minimalism such a quotpoeticquot to create a spacewith minimalist objects. have to imagine the use of display space this space isactually a vice-space has generated various combinations of furniture deputy spaceit often gives a visual quotemptyquot feeling while quotemptyquot like poetry generated by thequotmoodquot a great mobilization of the person in which emotions ability to inspirepeople association. Simple interior design aesthetic to emphasize the form. If Say thegeneral design of the interior furniture such as sofas tables and other items referredto as the main object then minimalism interior design is there is no such distinction.Minimalism in interior designconsider any part of space will share the sameimportant role including the walls ground and so on top of all the objects in space.coordination portfolio has a strong aesthetic form which is mainly embodied in pointLine surface the three elements of the performance space. China for thousands ofculture how much precipitation Heng Bank works especially the Han Chinese arebuilding a more beautiful set of Aura essence to quotsimple solid precise elegantquot as theprinciples unique to Oriental aesthetic ideas independent and vigorous temperamentconcise vaguedistant charm of simplicity the world should ring. it has also affectedthe international building design concepts but also affect the interior designaesthetic.Design is able to express the language aslittle as possible as muchinformation as possible depends on its design will be many manifestations of thecombined elements of science in which the choice and use of color plays a verycrucial role. We know colors are different wavelengths Light reflection and absorptionof the result of the spread of light faster than the spread of graphic language fasterwhich makes it the first time people feel so the first sense of space is the color anddifferent colors can cause different and feelings of psychological reflect. Naturalsimple interior design black and white and color materials are representative of itscolor is often used in color these colors were not inclined to think most are the colorsof the visual interference of the smallest personInterior design at the same time alsoemphasized the use of light often through access tonatural light source such asskylights which create a pastel color spaceof one whole plays a very important rolebut also embodies the minimalism advocated by the simple but not simple Style. The performance of every means to live for the purpose of for each partialemphasized its functionality and comfort In fact such a full expression of functionaldesign embodies the basic aesthetic principle is also very easy to understand anydesign Service is based on man-made object person in the consumer design are themost important consumer of its practical function so when we see a seemingly hardseat do not immediately judge it is bound to bring you the feeling of cold go get themoment perhaps it is that it backs the arc Road inadvertently bring you down just toexperience the benefits of comfort. It should be said that natural simple interior design show is a way of life itallows us closer to nature more emphasis on functionality more concerned about lifeitself. Concise understanding of the person to person because of peoples ageknowledge quality of life different backgrounds and the taste will be differentrequirements. social development the progress of the times new thinking newstructure the emergence of new materials will have to adapt to this new concept ofdecoration new forms new space. decorative simplicity of this modern form ofexpression has depth affect thebuilding products industrial products in many fieldssuch as Living Products. several pipe a timber a reactor cloth can make differentforms of modern furniture. it has quietly let peoples way of life and ideas have been aqualitative change. think concise design style is bound to outshine others to becomepeoples lives the pursuit of 21st centuryfashion. A concise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs this is also the international communitytoday. popular design style and modern fast-paced high-frequency full load has nopeople to Reusable point increase in the acceptance of people in this increasinglybusy life a desire to be able to completely relax simple and pure spirit to regulate theconversion of space which is dominated in the complementary sense arising fromtrying to shake off cumbersome complicated easy and natural to pursue thepsychological. hostels in Indonesia Bali Series design inspired by Balis folk stylebut in space architecture and dynamic line arrangements are designed to extend thespirit of simplicity performance in the Materials the emergence of the local naturaloriginal timber straw and stone designers of these natural elements of folk withaccurate and concise detail to deal with in order to strengthen the theme will also bepart of decorative simplistic presented by the space can be said modern Balinesestyle. Taking a panoramic view of the worldsarchitectural design whether they areGerman Master Mies van der Rohe or the United States Richard Meyer TadaoAndo of Japan Chinese-American IM Pei they are the most pure form with a veryordinary materials use of the most concise way showing great depth of meaning andnoble qualities space a piece of their work is full of spirituality has infinite vitalityand their design idea in todays era of shock also led the development trend of thetimes.附件 1:外文资料翻译译文自然简约—对室内设计现象分析摘要: 自然简约的室内设计展现的是一种生活方式它让我们更接近自然更强调功能更关注生活本身营造的是一种诗意的空间关键词: 简约空间品位室内设计感觉远古时期中国的木构架建筑东方古印度的石窟建筑欧洲古希腊古罗马的石砌建筑等等装饰与构件紧密结合与建筑主体溶为一体然而十七世纪初欧洲巴洛克时代和十八世纪中叶的洛可可时代开始了室内装饰与建筑主体的分离外部的建筑主体与内部的装修在使用年限上不匹配因而导致建筑主体与室内装饰的分离在营造法国宫廷建筑和贵族宅邸时新的职业“装饰工匠”诞生了对建筑物的内部频繁不断地进行改装不动建筑主体更换建筑“服装”的时期已经到来巴洛克式建筑的室内设计一反文艺复兴时期的严肃含蓄平衡倾向于豪华浮夸在教堂及宫殿中把建筑雕塑绘画结合成一个整体追求动势与起伏企图造成幻象而洛可可式建筑室内则是皇宫贵族为了得到舒适的私密的室内而追求优雅的更为亲切的室内装饰效果具有纤细轻巧华丽和繁琐的装饰性喜用 C 形S 形或漩涡形的曲线和轻淡柔和的色彩多以花鸟贝壳为题材并为适应宫廷的异国情趣要求在室内采用了许多中国式装饰巴洛克和洛可可式的手工制作达到了装饰的极致被称为“室内装饰”的代表近代工业革命的大发展出现了新型的混凝土建筑它不仅使室内装饰从建筑主体中脱离而且发展成为不依附于建筑主体而相对独力的部分分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾成为现代主义设计的先驱包豪斯学派强调功能决定形式认为空间是建筑的主角提倡抛弃表面虚假的装饰一切围绕着架构合理的空间服务要求排除装饰强调使用功能以及造型的简单化自然风格倡导设计自然空间美学上推崇“自然美” 力求表现悠闲舒畅自然的田园生活情趣也常运用天然木石藤竹等材质质朴的纹理巧于设置室内绿化创造自然简朴清新淡雅的氛围只有崇尚自然结合自然才能在当今高科技高节奏的社会生活中使人们能取得生理和心理的平衡简约不等于简单它是一种生活态度当我们在现代生活中承受太多的压力我们开始渴望拥有自由的感觉优雅的姿态和不凡的品位我们需要让浮躁的心境趋向平和于是我们呼唤简约从大的建筑空间到普通的居住空间从职业设计师到普通公民自然简约风格——开始成为室内设计界非常流行的方向简约的精神起源主要源自于二十世纪初期的西方现代主义英国JOHNPawson与法国的 ClaudioSilverstein 两位室内设计师在 80 年代中期引领了简约主义的设计潮流当时欧美的经济不景气艺廊老板们开始在艺术品的展示空间上找出路一些报费的工厂车间简单布置成为艺术展厅目的是以最少的经费作出最好的展示空间而这么做的结果就是简化空间不装饰多余的东西实际上这也反映了一种新审美的出现从设计居家引入到艺廊的设计使得展示空间与艺术品呈现出同一种美学特征简约艺术也就在这个时候开始与室内设计相吻合并逐渐开始流行起来到现在简约主义成了室内设计追崇的风格回归自然的简约主义是人类特有的劳动成果其目的是以简洁的表现形式来满足人们对空间环境那种感性的本能的和理性的需求从某种意义上说简约主义的盛行是人类发展的必然趋势自然简约的室内设计营造的是一种诗意的空间我们知道“诗”的艺术特点就是用极其简洁的语汇按照一定的规则组合形成“诗”这样一种语言其字里行间包含了极大的空间一种隐含的静态的空间在设计中把人的思想情感人生的向往注入到环境中去通过“意境”将其立体空间地再现于现实中使人入其境则忘乎其身这是一种超乎物质感受的精神感受“意境”的创造正是通过气氛的营造来达到体现某种精神意义上的“亲和力”实际上简约主义室内设计就是这样一种“诗意”空间的营造用极简的物体摆设产生想象使用空间这个空间实际上是一种副空间有各个家具组合产生的副空间它往往给人视觉上“空”的感觉而“空”犹如诗所产生的“意境”极大调动着身处其中的人的情绪激发人的联想能力简约室内设计强调形式美感如果说一般的室内设计把家具诸如沙发桌子等物品称为主体物的话那么简约主义室内设计是不存在这样的区分的简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用包括墙面地面顶面等空间中所有物体的协调组合具有很强的形式美感这主要体现在点线面三个空间元素的表现上中国几千年的文化沉淀出多少恒世佳作特别是中国汉代建筑更是集精华美妙之灵气以“简单厚实精准雅致”为原则将东方特有的审美观念独立浑厚的气质凝练渺远的简约神韵响绝于世它至今还影响着国际建筑的设计理念也影响着室内设计的美感设计之所以能以尽量少的语言表达尽量多的信息有赖于其将诸多设计表现形式要素科学的融合在一起其中色彩的选择和使用起了十分关键的作用我们知道色彩是不同波长的光反射和吸收的结果光的传播速度比图形文字的传播速度快这使得它让人在第一时间感受到所以对空间最先感受到的就是色彩而不同色彩可以引起人们不同的心理反映和感受在自然简约的室内设计中黑色和白色以及材料的本色是它的代表色也是常常使用的颜色这些颜色被认为是最没有倾向的颜色对人的视觉干扰最小同时室内设计也强调对光的使用往往通过天窗等获取自然光源这对塑造一种轻淡整一的色彩空间起着相当重要的作用也体现了简约主义所宣扬的简洁但不简单的风格每一个表现手段都以居住为目的对每一个局部都强调其功能性和舒适性实际上这种对功能的充分表述体现了设计的基本美学原理也是很容易理解的任何设计都是以人为服务对象的人在消费设计的时候最主要是消费它的实用功能所以当我们看到一张看似坚硬的座椅不要马上判断它必然带给你冰冷的感觉坐上去的一刹那也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适.。
艺术设计色彩和形式中英文对照外文翻译文献
文献信息文献标题：Form and Colour—Two Basic Elements of Design（形式与色彩——设计的两个基本元素）文献作者：S.Saleem Ahmed，B.Gurumoorthy文献出处：《Research into Design for Communities》,2017,2:893-902 字数统计：英文 3004 单词，15932 字符；中文 5516 汉字外文文献Form and Colour—Two Basic Elements of DesignAbstract There is no consensus among the designers and design educators on the number of design elements. For well over 100 years of formal design education, design students are trained to use varying number of elements in their pursuit of designing products. In the design literature, there are different sets of design elements mentioned for the purpose of designing products. This inconsistency has often led to confusion among design students and designers about what really are the elements. This paper is an attempt to bring some clarity to this state of confusion. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design, Form and Colour, into varying number of elements for meeting their purpose. Results of this study will help designers to make use of the popular method of designing with more clarity and customize it to suit one’s requirements.Keywords: Design elements, Design principles, Form, Colour1.IntroductionThere is no consensus among the designers and design educators on the number of design elements. According to Lauer, who wrote a book on Design Basics, “no two designers will ever agree on the same list of design elements and principles or on which are which”. There has not been any work on finding why there are many design elements and principles. So, this gap is partly being filled up through investigation on the design elements in this paper.Chapman, while describing the process of designing, stated that, “When artists plan their work, they must see and think about the elements and principles of design. The elements of design are: line, shape, color, texture, and value (light and dark). Artists also use ideas known as principles of design to plan their work. A principle of design is a guide for relating the visual elements. Some principles of design are: balance, rhythm, proportion, pattern, unity and variety.”For well over 100 years of formal design education, design students are trained to use varying number of elements in their pursuit of designing products. In design literature, there are different sets of design elements mentioned for the purpose of designing products. This inconsistency has often led to confusion among design students and designers about what really are the elements. This paper is an attempt to bring some clarity to this state of confusion. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design into varying number of elements for meeting their purpose.Elements and Principles Approach to design has been the method used widely by art and design educators throughout the world since the beginning of 20th century. Kim in her studies on the history of design theory in art education observed that, “the elements and principles of design have taken a firm place in various art curricula, textbooks, and national and state Visual Arts Standard s” and she concluded that, “I do not expect that design elements and principles will disappear as aspects of art education in the fore-seeable future, or that their disappearance would be desirable”.Nowadays the boundaries of the domain of design are fast expanding and many new branches of design such as interaction design, web design, and app design are being introduced. It is important to adapt the existing elements and principles method to suit the needs of the newer branches of design.2.OverviewWorks of 12 authors who have majorly contributed to the field of design education since the beginning of 20th century have been considered. The design elements proposed by them have been analyzed. In this paper, attempts have been made to find why there has been no consensus and find out if there are any universal design elements possible. These have done by defining the design elements, criteria- check on the proposed elements, and categorizing the accepted design elements based on their function/nature/characteristics. Form and Colour are the basic design elements that finally emerge out of the analysis. The results are discussed and the recommendations for application to different branches of design are suggested.3.Assumptions and MethodsWhen people engage with products, it is typically a multi-sensory experience. In addition to product’s visual form, other product qualities like tactile, auditory, sometimes olfactory and gustatory are also used in a product experience. However product’s visual form is considered particularly important for the following reasons:(a)Vision is the dominant sense for majority of the people.(b)Vision is a sense that is effective over distance and because of this products are typically seen before they are touched.(c)Consumers approach a product to explore its non-visual qualities because often the product’s visual form initially attracted them.Perhaps because of these reasons, the majority of the literature focusses on visual aspects in comparison to other senses. Visual aesthetics and visual perceptions are commonly used terms in the literature. For the purpose of this paper, assumptions and definitions are made based on the dominance of the visual sense.3.1.Definition of a Design ElementAny discrete visual and/or tactile entity is considered as a design element. A design is composed of several design elements. Pixels, Points, Lines, and Surfaces are used for constructing a design in the virtual media. They are building blocks and not design elements. At a micro level, Atoms are building blocks. Traditionally design elements are the ones used for composing the appearance or styling of a new design.Design elements are unit-less entities. So, Length and Width cannot be design elements. Design elements are perceived through visual (optical) and/or tactile senses. Design elements are the optimal independent visual and/or tactile entities for a particular domain of design. They are either individually or collectively account for all that we see or feel in a product design.3.2.MethodsMajor contributors to the knowledge base of design aesthetics, design education, and design philosophy over the last about 100 years have been considered. All the design elements as proposed by these authors have been tabulated and analyzed. They have been sequenced to one order, checked against the definition of design elements, and categorized according to their nature/characteristics. The results were observed and checked for any patterns.4.AnalysisDow authored a book on Composition in 1899. This was one of the widely followed books for formal training of artists and designers in the first half of 20thcentury. Subsequently Denman Ross authored a book called The Pure Design in 1907. The third one was on Art Education for High Schools authored by Louis Prang in 1908. All these authors proposed three design elements—Line, Tone, and Colour. These books ran into several editions and for decades these were the ones referred. In 1972, Malcolm authored a book on Design Elements and Principles. Several publications came soon after. We have taken 12 authors, including the above four, who have contributed majorly to the field of Design Aesthetics/Art Education since 1900. Table 1 lists all the different authors and what they proposed as design elements. The order of sequence of the design elements is the same as what the authors have originally proposed. Johnson sai d, “There is very little consensus as to what the design elements and principles really are, or what they mean”. Table 1 confirms her observation.Table 1 Comparative study on design elements4.1.Sequencing of All Design Elements to One OrderWe notice that the sequence of the order of design elements is not same for all authors. For clarity and the ease of comparison, we have first rearranged the list of design elements in the following sequence—Space, Point, Line, Type, Surface, Texture, Shape, Form, Tone, Colour and any other. The arrangement is based on the tactile and visual qualities of the design elements. The resultant arrangement is given in Table 2.Table 2 Comparative study on design elements4.2.Checking of All Design Elements Against Definition (Criteria-Check)All the design elements were checked against the criteria for design element as given in Sect. 3.1. As a result, some of the tabled elements such as length, direction, position, orientation, size, dimension, and illusion of motion were disqualified as design elements in our list and marked out with the use of gray colored blocks. The resultant set of design elements are given in Table 3.Table 3 Comparative study on design elementsGray coloured elements Not considered as they are not meeting the criteria-checkFor the subsequent analysis, these so called marked out elements were not considered. The ones that meet the criteria for the design elements were categorized based on the function/nature/characteristics. This is to identify if there are any patterns in the agreed design elements.In Table 4, all the design elements listed are after they have been sequenced, screened, and categorized. There are nine sets of design elements present in the table. We notice that there are elements related to the form and colour present in all of them. Elements that are related to form have visual and tactile qualities whereas elements that are related to colour have only visual qualities. For the ease of better clarity and for ease of comparison, we have given warm colours to all the elements related to Form and cool colours to all elements related to Colour. Then what emerges is given in Table 4.Table 4 Comparative study on design elementsWarm colours Elements related to form Cool colours Elements related to colourGray colours Not considered as not meeting criteria5.Results and Discussion5.1.Form and ColourInterestingly in all the sets of design elements, we notice that there are representations from two areas—Form and Colour. Every design element mentioned is actually an extension of either one of these two—Form and Colour. In other words, we can deal with only two elements for tackling design problems. But that would complicate the matters as referring and composing solutions becomes difficult. So, for achieving certain visual effect in the composition and/or to apply different design principles conveniently, having different extensions of Form and Colour becomes necessary.Interestingly though several authors have proposed different sets of design elements and principles, they also have proposed means to compose design solutions (read ‘new designs’). All were complete by themselves.Also which area of design, one is dealing with for a solution, necessitates as what may be taken as design elements.Following are some of the well-known areas of design: Industrial design, Automobile design, Packaging design, Furniture design, Interface design, Web design, App design, Interaction design, Ceramic design, Interior design, Fashion design, Textile design, Graphic design, Typography, Photography, Animation design, and Communication design.Each domain or area of design has a slightly different way of analyzing and synthesizing during the course of problem-solving (read designing). All cannot deal with one set of design elements. For example, typography is treated as a separate element in communication design whereas in ceramic design or interior design,typography (or type) is treated as kind of line, which is by itself a design element. Another example can be pattern. In the domain of textile design or fashion design pattern is required as a design element because the designers deal with it regularly for their design expressions. Whereas pattern is not considered as a separate design element in the domain of industrial design or furniture design as the frequency of usage is limited.5.2.Recent Designs Are More TactileIn Table 4, the works of different authors are chronologically arranged. We notice that in recent times, the number of design elements, though from one of the two groups (form and colour), have increased. There are more elements on the Form group (warm colored ones). This group is more concerned with the tactile and optical (visual) qualities of the products. The number of elements listed by each author is also an indication of the complexity that the elements can possibly handle. So, could we conclude that the recent designs have more tactile features than theones that came out, say until 1960s? It may be premature to conclude without analyzing with sufficient data, but we can take it as a pointer for exploration.6.Conclusion and RecommendationsBased on the studies here, we can conclude that form and colour are the basic elements with which composition of appearance or styling is done for a design. One can extend the form into line, texture, and shape and the colour into tone, value, transparency, and brightness. These extensions are based on what area of design, like Product design and Interface design, one is dealing with. It is not important to limit the number of design elements; as long as a designer is comfortable to deal with it, any number of elements which are extensions of form and colour is alright. This also explains why there are varying number of elements used by designers and how one can expand the basic elements of design into varying number of elements for meetingtheir purpose.Also it is recommended that terms like length, size, dimension, direction, and position shall not be used as design elements as they fail to meet the conventional criteria for being termed as design elements.中文译文形式与色彩——设计的两个基本元素摘要在设计元素的数量上，设计师和设计教育者之间并没有达成共识。
色彩在平面设计中的运用相关中英对照外文文献翻译毕业设计论文高质量人工翻译原文带出处
Fashion,which is as old as time and as new as tomorrow,is one of the most powerful forces in our lives .It influences what we wear,the way we talk,the foods we eat,the way we live,how and where we travel,what we travel,what we look at,and what we listen to.Fashion is what lead us todiscard a product that is still useful but is no Ion ger —n lilt is also what makes us sometimes wear more clothes than we may actually need,and sometimes less than is needed to product us from the ccold or the suni流行是这样一种事物，是我们抛弃了还可以使用，但不再时髦的产品。
有时候使我们穿比我们真正穿的衣服多，有时候比我们穿抵御严寒酷暑的少。
lf there is one absolute constant pertaining to fashion,it is the fact that it is always changing-sometimes rapidly,sometimes slowly,but it is never static or dormantiThis element of change is recognized in the definitions of fashion itself cited earlier,by the use of such words as -prevailing Ibr -a given period of time. To ignore the element of change is like looking at a still photograph in place of a motion pictureiThe still tells you what is happening here and now ;the motion picture shows you what came before and what may lie ahead.如果存在着一种符合流行的绝对永恒，那就是流行是永远变化着的这一事实，（这种变化）时快时慢，但绝不会固定下来或呈休止状态。
艺术设计与色彩外文翻译文献
外文文献翻译(含：英文原文及中文译文)英文原文THE IMPORTANCE OF THE USE OF COLOR IN ART DESIGNClaire CampbelPima Community College, Claire Campbell, "Appropriation, Transformation and Contemporary Fiber Art:. Textile Society ofAmerica Symposium Proceedings.In art and design "the use of color is very important". At the same time, the performance of color is infinite, it has the meaning of existence, at the same time, a mysterious hidden charm, how to use color expressive force, to create new works, to attract the masses.Color because of its physical properties, namely, different colors have different wavelengths,therefore, will directly or indirectly affect people's emotional, mental and psychological activities.Different color through the reflection of people's vision to the brain, but can cause people to feelthe dark, cold, weight, distance, can generate excitement, depression, tension, irritability, stability,ease the psychological effect. Such as cream makes people feel lovable, naive, simple; yellow,orange, red and relaxing; exciting, give a person with bold, strong feeling; pink romantic breath is grumous; rose, lavender is full of elegant, mysterious, beautiful mood; green, vibrant, moral ofyouth and hope, the symbol ofnew life in the spring; the deep color, Coffee olive steady, calm;blue can play relaxed, cool effect; white is a solemn, stately, pure artistic conception.Art design is a creative activity -- perceptual art design combined with rational is an art and science and technology, technology, science, aesthetics, style, color, design solutions. Is thedesign of a comprehensive, such as the activities of daily living appearance design, with water as an example, except the design of pure beauty, but also meet the fitness of human body engineering, to study what kind of grip handle is comfortable, what kind of the cup is convenient for people drinking problems, and so art design is not just sentimental, still need to analyze theargument, do a lot of experiments. In addition, art design and simple artistic creation is different,we should consider not only the creator's preferences, but also to consider the needs of consumers and the cost of production, creation faster. At the same time, need to learn a lot of knowledge science.Through the above analysis we can see that the scope of the design art design is very wide, butthe use of color is also very important, but playing each university, professional open coursecurriculum design direction have color. Then we can through the following examples to illustrate the importance of color in art design.A caseGraphic design is an art and design direction, however clever use of a plane advertisement designis successful or not is one of the factors of color, the color for the plane advertisement designwork, and its importance is obviously. "Color" and advertising designers, like Punch line, is a important strength of advertising works wonderful, moving and not. There is color is not isolated, to embody the texture of products, features, and can beautify the advertising space; at the same time to adapt with the environment, climate, appreciation and so on, but also consider the far and near, big, small, visual changes, make the advertisement more aesthetic.A physiological function, colorHumans will have different physiological responses to different color, which has been proved by science. Red, orange, yellow and other colors to give people the feeling of fire, we call it warm; blue, green another colors will be reminiscent of the sea, the sky and the river, which we call cool.We are in the color design, color hue, lightness, purity is not the same in the mutual collocationuse should pay attention to the following points:1 the intensity of the color sense. Generally speaking, more warm color visual effect and highcolor purity and brightness is lower than cool color and brightness. In addition, hue, lightness and purity is more big,the color contrast is stronger.2 colors of the advance and retreat. Warm color and higher color purity and brightness is forward,cool and low purity and green colors give people retreat feeling.3 color sense the severity of. High brightness color than low lightness feels lighter, more deep color to feel more heavy.The above example is some physiological functions of color, in the packaging design, flexible use of these will get beat all the magical effect. For example, large area as a background color should try to avoid moving and strong sense of color, you avoid the relationship between primary and secondary disorders, prevent consumers to quickly understand the commodity information.Two, color and psychologyPsychological function of colors is due to physiological function in the brain are formed, it was affected by age, gender, nationality, environment, education and other factors. Such as greysystem most older people like lightness and purity are relatively low, but children are like brightand vibrant colors.Color design in packaging needs to consider the color to the viewer's physiological and psychological factors, but also consider the nature and characteristics of the product packaging.As mentioned above Coffee and chocolate packaging are mostly brown. Packaging the color as far aspossible to be able to properly reflect the product's personality.Color influence on people's psychology, it can produce different feeling, it can lead to mood,imagination. This is because people feel about things often have the association, the color alsoinitiates the emotion. Design is very important in advertising color this association and emotionaleffect. Effects of advertising colors on people's psychological, as a result of people's life experience, personality, age, gender, occupation, hobbies, habits and customs, religious beliefs,social consciousness and so on are not the same and the formation of. Different psychologicalfeelings also raises different association of emotion.Color matching rules three, advertisement designIdentify 1 Main ColorHow to express the specific theme in advertising, you need through the text, images, color and other factors to the performance of. For the color, want to a proper extent of foiling the theme and the theme, the emotional association and symbolism, the central idea conforms to the advertisement subject. For example: cosmetics advertising, this kind of product on skin care beauty, so fresh and beautiful, safe and reliable. In the color choose neutral colors and elegantcolors, such as pink, light green, milk white color, give a person with health, elegant, fresh andtender feeling.Application of 2 advertising color affection lawIn the aspect of color preference and advertising design, color can have the association and emotional, which ultimately affect people's choice.(1) the age, gender and experience different preferences for color also has a great influence. It ispure bright children, this is because this kind of color are very attractive to them, with their lively character. Women more than men love white, because white is a symbol of purity, while men like blue, because blue symbolizes the straightforward, calm, mature and open minded. The villagepeople are favorite color is pure color, but in the city people love the purity is relatively low, therelatively rich, soft color and light color.(2) the national customs and preferences for color trends influence is also very obvious, make people reflect on the color also each are not identical. Such as the European multi use black to express sorrow, but I have more white. The western white dress to show the bride's pure and noble, but our country is indicated in red festive. But as the international exchanges become more frequent, the custom has also gradually assimilation.Attention 3 color in advertisingThe advertisement color tips, induction, can arouse people to products of interest. People today have been surrounded by the multitude, a multitude of names color media, fashion trend of colorchanges in themoment, the eyes have become inured to the unusual, almost can accept any of the color of the processing mode.Case twoColor is very important in interior decoration, it is the most powerful language of human visual symbols. On holidays, friends and coworkers mutual friends, as long as you pay attention will find,some people even though the decoration is very luxurious, spent a lot of money, but always feelto the visual feel uncomfortable, one very important reason is the interior color is not uniform.Differences in colorUniform color design plays in the interior decoration to create some kind of change or the role of style, will bring some visual differences and the enjoyment of art, let a person shine at the moment "". According to the survey, a space to enter the first few seconds to get the impression,seventy-five percent is the feeling of color, and then only to understand the physical. Therefore,the color is an important factor in interior design can not be ignored, the important role of different functions and people understand the different colour generated its request for color isself-evident.One, unified rulesIn interior design, the use of color is rich and varied, the color itself is not beautiful or not beautiful, the key is to look at how to mix, how tomatch, but must be consistent with the overall style interior interior design in the process of combining, otherwise it will appear anduncoordinated, like a traditional Chinese style, with color trend of European fashion series ofgaudy, that the proper. Color coordination means that the three elements of color: hue,harmonious application between lightness and purity, the formation of a unity consciousness, butto avoid too monotonous, boring and too dull. Therefore, color harmony should show aharmonious contrast, from the background (including thermal contrast, contrast, brightness,purity.) So, to create a good indoor environment, color cannot be ignored, we have a harmonious relationship between serious analysis and contrast, the interior color with good collocation, the atmosphere will be more good.Two, people of color feeling rulesDifferent color makes people feel effects on mental, emotional, psychological or big or small.Therefore, in determining the color and the use of interior design.中文译文在艺术设计中色彩运用的重要性克莱尔·坎贝尔皮马社区学院在艺术和设计中“颜色的使用非常重要”。
(完整版)艺术设计与色彩外文翻译文献
外文文献翻译(含：英文原文及中文译文)英文原文THE IMPORTANCE OF THE USE OF COLOR IN ART DESIGNClaire CampbelPima Community College, Claire Campbell, "Appropriation, Transformation and Contemporary Fiber Art:. Textile Society ofAmerica Symposium Proceedings.In art and design "the use of color is very important". At the same time, the performance of color is infinite, it has the meaning of existence, at the same time, a mysterious hidden charm, how to use color expressive force, to create new works, to attract the masses.Color because of its physical properties, namely, different colors have different wavelengths,therefore, will directly or indirectly affect people's emotional, mental and psychological activities.Different color through the reflection of people's vision to the brain, but can cause people to feelthe dark, cold, weight, distance, can generate excitement, depression, tension, irritability, stability,ease the psychological effect. Such as cream makes people feel lovable, naive, simple; yellow,orange, red and relaxing; exciting, give a person with bold, strong feeling; pink romantic breath is grumous; rose, lavender is full of elegant, mysterious, beautiful mood; green, vibrant, moral ofyouth and hope, the symbol ofnew life in the spring; the deep color, Coffee olive steady, calm;blue can play relaxed, cool effect; white is a solemn, stately, pure artistic conception.Art design is a creative activity -- perceptual art design combined with rational is an art and science and technology, technology, science, aesthetics, style, color, design solutions. Is thedesign of a comprehensive, such as the activities of daily living appearance design, with water as an example, except the design of pure beauty, but also meet the fitness of human body engineering, to study what kind of grip handle is comfortable, what kind of the cup is convenient for people drinking problems, and so art design is not just sentimental, still need to analyze theargument, do a lot of experiments. In addition, art design and simple artistic creation is different,we should consider not only the creator's preferences, but also to consider the needs of consumers and the cost of production, creation faster. At the same time, need to learn a lot of knowledge science.Through the above analysis we can see that the scope of the design art design is very wide, butthe use of color is also very important, but playing each university, professional open coursecurriculum design direction have color. Then we can through the following examples to illustrate the importance of color in art design.A caseGraphic design is an art and design direction, however clever use of a plane advertisement designis successful or not is one of the factors of color, the color for the plane advertisement designwork, and its importance is obviously. "Color" and advertising designers, like Punch line, is a important strength of advertising works wonderful, moving and not. There is color is not isolated, to embody the texture of products, features, and can beautify the advertising space; at the same time to adapt with the environment, climate, appreciation and so on, but also consider the far and near, big, small, visual changes, make the advertisement more aesthetic.A physiological function, colorHumans will have different physiological responses to different color, which has been proved by science. Red, orange, yellow and other colors to give people the feeling of fire, we call it warm; blue, green another colors will be reminiscent of the sea, the sky and the river, which we call cool.We are in the color design, color hue, lightness, purity is not the same in the mutual collocationuse should pay attention to the following points:1 the intensity of the color sense. Generally speaking, more warm color visual effect and highcolor purity and brightness is lower than cool color and brightness. In addition, hue, lightness and purity is more big,the color contrast is stronger.2 colors of the advance and retreat. Warm color and higher color purity and brightness is forward,cool and low purity and green colors give people retreat feeling.3 color sense the severity of. High brightness color than low lightness feels lighter, more deep color to feel more heavy.The above example is some physiological functions of color, in the packaging design, flexible use of these will get beat all the magical effect. For example, large area as a background color should try to avoid moving and strong sense of color, you avoid the relationship between primary and secondary disorders, prevent consumers to quickly understand the commodity information.Two, color and psychologyPsychological function of colors is due to physiological function in the brain are formed, it was affected by age, gender, nationality, environment, education and other factors. Such as greysystem most older people like lightness and purity are relatively low, but children are like brightand vibrant colors.Color design in packaging needs to consider the color to the viewer's physiological and psychological factors, but also consider the nature and characteristics of the product packaging.As mentioned above Coffee and chocolate packaging are mostly brown. Packaging the color as far aspossible to be able to properly reflect the product's personality.Color influence on people's psychology, it can produce different feeling, it can lead to mood,imagination. This is because people feel about things often have the association, the color alsoinitiates the emotion. Design is very important in advertising color this association and emotionaleffect. Effects of advertising colors on people's psychological, as a result of people's life experience, personality, age, gender, occupation, hobbies, habits and customs, religious beliefs,social consciousness and so on are not the same and the formation of. Different psychologicalfeelings also raises different association of emotion.Color matching rules three, advertisement designIdentify 1 Main ColorHow to express the specific theme in advertising, you need through the text, images, color and other factors to the performance of. For the color, want to a proper extent of foiling the theme and the theme, the emotional association and symbolism, the central idea conforms to the advertisement subject. For example: cosmetics advertising, this kind of product on skin care beauty, so fresh and beautiful, safe and reliable. In the color choose neutral colors and elegantcolors, such as pink, light green, milk white color, give a person with health, elegant, fresh andtender feeling.Application of 2 advertising color affection lawIn the aspect of color preference and advertising design, color can have the association and emotional, which ultimately affect people's choice.(1) the age, gender and experience different preferences for color also has a great influence. It ispure bright children, this is because this kind of color are very attractive to them, with their lively character. Women more than men love white, because white is a symbol of purity, while men like blue, because blue symbolizes the straightforward, calm, mature and open minded. The villagepeople are favorite color is pure color, but in the city people love the purity is relatively low, therelatively rich, soft color and light color.(2) the national customs and preferences for color trends influence is also very obvious, make people reflect on the color also each are not identical. Such as the European multi use black to express sorrow, but I have more white. The western white dress to show the bride's pure and noble, but our country is indicated in red festive. But as the international exchanges become more frequent, the custom has also gradually assimilation.Attention 3 color in advertisingThe advertisement color tips, induction, can arouse people to products of interest. People today have been surrounded by the multitude, a multitude of names color media, fashion trend of colorchanges in themoment, the eyes have become inured to the unusual, almost can accept any of the color of the processing mode.Case twoColor is very important in interior decoration, it is the most powerful language of human visual symbols. On holidays, friends and coworkers mutual friends, as long as you pay attention will find,some people even though the decoration is very luxurious, spent a lot of money, but always feelto the visual feel uncomfortable, one very important reason is the interior color is not uniform.Differences in colorUniform color design plays in the interior decoration to create some kind of change or the role of style, will bring some visual differences and the enjoyment of art, let a person shine at the moment "". According to the survey, a space to enter the first few seconds to get the impression,seventy-five percent is the feeling of color, and then only to understand the physical. Therefore,the color is an important factor in interior design can not be ignored, the important role of different functions and people understand the different colour generated its request for color isself-evident.One, unified rulesIn interior design, the use of color is rich and varied, the color itself is not beautiful or not beautiful, the key is to look at how to mix, how tomatch, but must be consistent with the overall style interior interior design in the process of combining, otherwise it will appear anduncoordinated, like a traditional Chinese style, with color trend of European fashion series ofgaudy, that the proper. Color coordination means that the three elements of color: hue,harmonious application between lightness and purity, the formation of a unity consciousness, butto avoid too monotonous, boring and too dull. Therefore, color harmony should show aharmonious contrast, from the background (including thermal contrast, contrast, brightness,purity.) So, to create a good indoor environment, color cannot be ignored, we have a harmonious relationship between serious analysis and contrast, the interior color with good collocation, the atmosphere will be more good.Two, people of color feeling rulesDifferent color makes people feel effects on mental, emotional, psychological or big or small.Therefore, in determining the color and the use of interior design.中文译文在艺术设计中色彩运用的重要性克莱尔·坎贝尔皮马社区学院在艺术和设计中“颜色的使用非常重要”。
室内设计 外文翻译 外文文献 英文文献 自然 简约—对室内设计现象分析
室内设计外文翻译外文文献英文文献自然简约—对室内设计现象分析附件2:外文原文Natural simplicity - on interior design AnalysisAbstract:The natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself. create a poetic space.Keywords:minimalism; space; grade; interior design; feelingAncient times, Chinese wooden framework architecture of ancient India, the Orient, Europe, building caves in ancient Greece, ancient Rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into Europe in the early seventeenth century Baroque times and the mid-eighteenth century the Rococo era, began with the interior decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the separation, in the construction of the French court architecture and aristocratic mansion, the new occupation "decorative artisan" was born, the building's internal frequency continuous modification, fixed the main building, the replacement building, "clothing" the time has come. Baroque-style architecture ofthe interior design, one anti-Renaissance solemn, subtle, balanced, tend to exaggerate. luxury, in churches and palaces in the architecture, sculpture, painting into a whole, the pursuit of momentum with the ups and downs, but an attempt to cause the illusion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of a more intimateinterior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and soft pastel colors with flowers and birds, many shells as a theme, and the court order to meet the requirements of the exotic, much used in interior decoration. Chinese-style Baroque and Rococo-stylehand-made decoration reached perfection, referred to as "interior decoration". modern representatives of the great development of the industrial revolution, there has been a new type of concrete building,its interior decoration not only from the main building from the Medium, and developed into the main building and not attached to the sole partof the relative separation. Sports camp solved simply decorativebuilding components with a combination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all around the architecture reasonable space requirements Services. exclude decoration, emphasis on the use of functions and simplified shapes.Advocate the design of the natural style of natural space, aesthetic promoted the idea that "natural beauty" to the performance of relaxed, comfortable, natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings greening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order intoday's high-tech, high-paced social life, so that people can achieve physical and psychological balance.Simple does not mean easy, it is an attitude towards life. when weare in modern life, to bear too much pressure, we began to look for the feeling of freedom, graceful posture and extraordinary taste. we need to tend to a peaceful state of mind impetuous, So we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen vocational naturally simple style - interior design has become very popular direction.The spirit of simplicity is mainly derived from the origin to the early twentieth century Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designers in the mid 80s to lead thetrend of minimalism design. Europe and the United States at the time of economic downturn, the Art Gallery bosses began to display works of art space to find a way out, some reported costs factory floor layout easyto become art exhibition hall, the purpose of funding is based on atleast make the best display space, while the results of doing so is tosimplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same type of aesthetic simplicity.art at this time it started with the interior coincide with the design and gradually began to slip to the present minimalism became the style of interior design and pursue careers.Return to nature of minimalism are human-specific labor. its purpose is to concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitable trend of human development.Natural, simple interior design to create a poetic space. We know that the "poem"The Art of the characteristics is to use very simple vocabulary, according to certain rules of composition, form a "poem" of such a language, its between the lines contains a great deal of space, a static implicit in the design space. people's ideological feelings, life, longing for injection into the environment through the "mood" to reproduce the three-dimensional space, in reality, it means its habitat, then forgotten by his body, which is a spiritual experience beyond the physical experience, "mood" of creation, it is by creating an atmosphere to achieve a certain spiritual significance embodied the "affinity".In fact, the interior design is minimalism such a "poetic" to create a space with minimalist objects. have to imagine the use of display space,this space is actually a vice-space, has generated various combinations of furniture, deputy space, it often gives a visual "empty" feeling, while "empty" like poetry generated by the "mood", a great mobilization of the person in which emotions, ability to inspire people association. Simple interior design aesthetic to emphasize the form. If Say, the general design of the interior furniture, such as sofas, tables andother items referred to as the main object, then minimalism interior design is there is no such distinction. Minimalism in interior design consider any part of space will share the same important role, including the walls, ground, and so on top of all the objects in space. coordination portfolio has a strong aesthetic form, which is mainly embodied in point Line, surface, the three elements of the performance space. China for thousands of culture, how much precipitation Heng Bank works, especially the Han Chinese are building a more beautiful set of Aura essence to "simple, solid, precise, elegant" as the principles unique to Oriental aesthetic ideas, independent and vigorous temperament, concise vague distant charm of simplicity, the world should ring. it has also affected the international building design concepts, but alsoaffect the interior design aesthetic.Design is able to express the language as little as possible as much information as possible, depends on its design will be many manifestations of the combined elements of science, in which the choice and use of color plays a very crucial role. We know colors are different wavelengths Light reflection and absorption of the result of the spread of light faster than the spread of graphiclanguage faster, which makes it the first time people feel, so the first sense of space is the color, and different colors can cause differentand feelings of psychological reflect. Natural, simple interior design, black and white and color materials are representative of its color, is often used in color, these colors were not inclined to think most arethe colors of the visual interference of the smallest person:Interior design at the same time alsoemphasized the use of light, often through access to natural light source, such asskylights, which create a pastel color space of one whole plays avery important role, but also embodies the minimalism advocated by the simple but not simple Style.The performance of every means to live for the purpose of, for each partial emphasized its functionality and comfort: In fact, such a full expression of functionaldesign embodies the basic aesthetic principle, is also very easy to understand, any design Service is based on man-made object, person inthe consumer design, are the most important consumer of its practical function: so, when we see a seemingly hardseat, do not immediately judge it is bound to bring you the feelingof cold, go get the moment, perhaps it is that it backs the arc Road inadvertently bring you down just to experience the benefits of comfort.It should be said that natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself.Concise understanding of the person to person, because of people's age, knowledge, quality of life, different backgrounds, and the taste will be different requirements. social development, the progress of the times, new thinking, new structure, the emergence of new materials will have to adapt to this new concept of decoration, new forms, new space. decorative simplicity of this modern form of expression has depth affect the building products, industrial products, in many fields such asLiving Products. several pipe, a timber, a reactor cloth can make different forms of modern furniture. it has quietly let people's way of life and ideas have been a qualitative change. think concise designstyle is bound to outshine others, to become people's lives, the pursuit of 21st century fashion.A concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs, this is also the international community today. popular design style and modern fast-paced, high-frequency, full load, has no people to Reusable: point increase in the acceptance of people in this increasingly busy life, a desire to be able to completely relax, simple and pure spirit to regulate the conversion of space, which is dominated in the complementary sense, arising from trying to shake off cumbersome, complicated, easy and natural to pursue the psychological. hostels inIndonesia Bali Series design, inspired by Bali's folk style, but in space architecture and dynamic line arrangements are designed to extend the spirit of simplicity: performance in the Materials the emergence of the local natural original timber, straw and stone: designers of these natural elements of folk withaccurate and concise detail to deal with in order to strengthen the theme will also bepart of decorative simplistic, presented by the space can be said modern Balinese style.Taking a panoramic view of the world's architectural design, whether they are German Master • Mies van der Rohe, or the United States • Richard Meyer, Tadao Ando of Japan, Chinese-American IM Pei, they are the most pure form, with a very ordinary materials, use of the most concise way, showing great depth of meaning and noble qualities: space a piece of their work is full of spirituality has infinite vitality, and their design idea in today's era of shock: also led the development trend of thetimes.附件1:外文资料翻译译文自然简约—对室内设计现象分析摘要:自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:营造的是一种诗意的空间:关键词: 简约;空间;品位;室内设计;感觉远古时期,中国的木构架建筑,东方古印度的石窟建筑,欧洲古希腊,古罗马然而十七世纪初欧的石砌建筑等等装饰与构件紧密结合,与建筑主体溶为一体: 洲巴洛克时代和十八世纪中叶的洛可可时代,开始了室内装饰与建筑主体的分离,外部的建筑主体与内部的装修在使用年限上不匹配,因而导致建筑主体与室内装饰的分离,在营造法国宫廷建筑和贵族宅邸时,新的职业“装饰工匠”诞生了,对建筑物的内部频繁不断地进行改装,不动建筑主体,更换建筑“服装”的时期已经到来:巴洛克式建筑的室内设计,一反文艺复兴时期的严肃,含蓄,平衡,倾向于豪华,浮夸:在教堂及宫殿中把建筑,雕塑,绘画结合成一个整体,追求动势与起伏,企图造成幻象:而洛可可式建筑室内则是皇宫贵族为了得到舒适的,私密的室内而追求优雅的更为亲切的室内装饰效果:具有纤细,轻巧,华丽和繁琐的装饰性;喜用C形,S形或漩涡形的曲线和轻淡柔和的色彩,多以花鸟,贝壳为题材,并为适应宫廷的异国情趣要求,在室内采用了许多中国式装饰:巴洛克和洛可可式的手工制作达到了装饰的极致,被称为“室内装饰”的代表:近代工业革命的大发展,出现了新型的混凝土建筑,它不仅使室内装饰从建筑主体中脱离,而且发展成为不依附于建筑主体而相对独力的部分:分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾,成为现代主义设计的先驱:包豪斯学派强调功能决定形式,认为空间是建筑的主角,提倡抛弃表面虚假的装饰,一切围绕着架构合理的空间服务:要求排除装饰,强调使用功能以及造型的简单化:自然风格倡导设计自然空间,美学上推崇“自然美”, 力求表现悠闲,舒畅,自然的田园生活情趣,也常运用天然木,石,藤,竹等材质质朴的纹理:巧于设置室内绿化,创造自然,简朴,清新淡雅的氛围:只有崇尚自然,结合自然,才能在当今高科技,高节奏的社会生活中,使人们能取得生理和心理的平衡:简约不等于简单,它是一种生活态度:当我们在现代生活中,承受太多的压力,我们开始渴望拥有自由的感觉,优雅的姿态和不凡的品位:我们需要让浮躁的心境趋向平和,于是我们呼唤简约:从大的建筑空间到普通的居住空间,从职业设计师到普通公民,自然简约风格——开始成为室内设计界非常流行的方向: 简约的精神起源主要源自于二十世纪初期的西方现代主义:英国JOHNPawson与法国的ClaudioSilverstein两位室内设计师在80年代中期引领了简约主义的设计潮流:当时欧美的经济不景气,艺廊老板们开始在艺术品的展示空间上找出路,一些报费的工厂车间简单布置,成为艺术展厅,目的是以最少的经费作出最好的展示空间,而这么做的结果就是简化空间,不装饰多余的东西,实际上,这也反映了一种新审美的出现:从设计居家引入到艺廊的设计,使得展示空间与艺术品呈现出同一种美学特征:简约艺术也就在这个时候开始与室内设计相吻合,并逐渐开始流行起来,到现在简约主义成了室内设计追崇的风格:回归自然的简约主义是人类特有的劳动成果:其目的是以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求:从某种意义上说,简约主义的盛行是人类发展的必然趋势:自然,简约的室内设计营造的是一种诗意的空间:我们知道,“诗”的艺术特点就是用极其简洁的语汇,按照一定的规则组合,形成“诗”这样一种语言,其字里行间包含了极大的空间,一种隐含的静态的空间:在设计中把人的思想情感,人生的向往注入到环境中去,通过“意境”将其立体,空间地再现于现实中,使人入其境,则忘乎其身,这是一种超乎物质感受的精神感受, “意境”的创造,正是通过气氛的营造来达到体现某种精神意义上的“亲和力”:实际上,简约主义室内设计就是这样一种“诗意”空间的营造:用极简的物体摆设产生想象使用空间,这个空间实际上是一种副空间,有各个家具组合产生的副空间,它往往给人视觉上“空”的感觉,而“空”犹如诗所产生的“意境”,极大调动着身处其中的人的情绪,激发人的联想能力:简约室内设计强调形式美感:如果说,一般的室内设计把家具,诸如沙发,桌子等物品称为主体物的话,那么简约主义室内设计是不存在这样的区分的:简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用,包括墙面,地面,顶面等:空间中所有物体的协调组合具有很强的形式美感,这主要体现在点,线,面三个空间元素的表现上:中国几千年的文化,沉淀出多少恒世佳作,特别是中国汉代建筑更是集精华美妙之灵气,以“简单,厚实,精准,雅致”为原则,将东方特有的审美观念,独立浑厚的气质,凝练渺远的简约神韵,响绝于世:它至今还影响着国际建筑的设计理念,也影响着室内设计的美感: 设计之所以能以尽量少的语言表达尽量多的信息,有赖于其将诸多设计表现形式要素科学的融合在一起,其中色彩的选择和使用起了十分关键的作用:我们知道色彩是不同波长的光反射和吸收的结果,光的传播速度比图形文字的传播速度快,这使得它让人在第一时间感受到,所以对空间最先感受到的就是色彩,而不同色彩可以引起人们不同的心理反映和感受:在自然,简约的室内设计中,黑色和白色以及材料的本色是它的代表色,也是常常使用的颜色,这些颜色被认为是最没有倾向的颜色,对人的视觉干扰最小:同时室内设计也强调对光的使用,往往通过天窗等获取自然光源,这对塑造一种轻淡整一的色彩空间起着相当重要的作用,也体现了简约主义所宣扬的简洁但不简单的风格:每一个表现手段都以居住为目的,对每一个局部都强调其功能性和舒适性:实际上,这种对功能的充分表述体现了设计的基本美学原理,也是很容易理解的,任何设计都是以人为服务对象的,人在消费设计的时候,最主要是消费它的实用功能:所以,当我们看到一张看似坚硬的座椅,不要马上判断它必然带给你冰冷的感觉,坐上去的一刹那,也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适体验: 应该说,自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:对简洁的理解因人而异,由于人们的年龄,见识,素养,生活背景的不同,所产生的品味要求也就不同:社会的发展,时代的进步,新思维,新结构,新材料的出现必定会产生与此适应的装饰新概念,新形式,新空间:简洁这一现代的装饰表现形式已经深入影响到建筑产品,工业产品,生活产品等诸多领域:几根钢管,一个木桩,一个布堆就能做出不同形式的现代家具:它已悄然让人们的生活方式和思想观念产生质的变化:有人认为简洁的设计风格必然会一枝独秀,成为21世纪人们生活追求的时尚: 以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求,这也是当今国际社会流行的设计风格:而现代人快节奏,高频率,满负荷,已让人到了无可复加的接受地步:人们在这日趋繁忙的生活中,渴望得到一种能彻底放松,以简洁和纯净来调节转换精神的空间,这是人们在互补意识支配下,所产生的亟欲摆脱繁琐,复杂,追求简单和自然的心理:在印尼巴里岛旅馆系列设计中,灵感来自巴里岛上的民俗风格,但在空间架构及动线安排上是延伸简约设计的精神:在材料表现上,出现了自然原始的当地原木,草席及石板:设计师将这些具有自然民俗的元素用精确及简洁的细部来处理以加强主题,同时也将装饰的部分简单化,所呈现的空间可以说是现代巴里岛风格:纵观世界建筑设计大师们无论是德国密斯•凡德罗,还是美国的理查德•迈耶,日本的安藤忠雄,美籍华人贝聿铭,他们都以最纯净的形式,用相当普通的材料,使用最精简的手法,表现出非常深度的内涵和崇高的空间气质:他们一件件充满灵性的作品有着无穷的生命力,他们的设计思想震撼着当今时代:也引领着时代潮流的发展:。
室内与家具设计 外文翻译 外文文献 英文文献 中英对照 室内设计风格
室内与家具设计外文翻译外文文献英文文献中英对照室内设计风格XXX features classic furniture and ornate details。
XXX。
XXX.XXX what style you choose。
it'XXX in your design。
This means taking a deeper look at the shapes。
colors。
XXX.When choosing a style。
consider your personal taste and the n of the space。
A XXX living room。
while a simple and nal style may be better for a home office.In the end。
the key to XXX it's classical。
simple。
or exquisite。
your XXX of your unique style and taste.XXX journey。
XXX。
you'll start to develop a sense of your preferences and what doesn't appeal to you。
This process will also give you a better understanding of the design process and the vast array of XXX.Be bold and try out different colors and materials to decorate each room according to its intended purpose。
Maximizing natural light is always a great idea。
艺术设计英文作文模板
艺术设计英文作文模板Art and Design: The Essence of Creativity。
Art and design are two closely related disciplines that play a crucial role in shaping the world around us. From the clothes we wear to the buildings we inhabit, art and design are everywhere, influencing our lives in ways we may not even realize. In this article, we will explore the essence of art and design, their importance in society, and their impact on our daily lives.Art is a form of expression that encompasses a wide range of mediums, including painting, sculpture, music, literature, and more. It is a way for individuals to communicate their thoughts, emotions, and experiences, and it often serves as a reflection of the society in which it is created. Art has the power to evoke strong emotions, provoke thought, and inspire change. It can be a source of beauty, solace, and inspiration, and it has the ability to transcend cultural and linguistic barriers.Design, on the other hand, is the process of creating solutions to problems, whether they be functional, aesthetic, or both. Design is everywhere, from the layout of a website to the shape of a chair. It is the result of a thoughtful and intentional process that considers the needs and desires of the end user. Good design is not only visually appealing but also functional, user-friendly, and sustainable. It has the power to improve our quality of life, enhance our experiences, and shape our interactions with the world around us.Art and design are closely intertwined, with each influencing and informing the other. Art often serves as a source of inspiration for designers, and design can be a means of bringing art to life. Both disciplines require creativity, imagination, and a deep understanding of the human experience. They have the power to challenge the status quo, push boundaries, and create new possibilities.The importance of art and design in society cannot be overstated. They are essential components of culture, contributing to the richness and diversity of human experience.Art and design have the ability to shape our perceptions, challenge our assumptions, and foster empathy and understanding. They play a crucial role in education, helping to develop critical thinking, problem-solving, and communication skills. They also contribute to the economy, driving innovation and creativity in industries such as fashion, advertising, and technology.In our daily lives, art and design are ever-present, whether we realize it or not. The clothes we wear, the furniture we use, and the buildings we inhabit are all products of design. The music we listen to, the books we read, and the paintings we admire are all forms of art. Art and design have the power to enhance our surroundings, evoke emotion, and enrich our experiences.In conclusion, art and design are essential components of human culture and society. They have the power to inspire, challenge, and transform the world around us. Whether through a thought-provoking painting, an innovative product design, or a captivating piece of music, art and design have the ability to shape our perceptions, influence our behaviors, and bring beauty and meaning to our lives. As we continue to navigate an increasingly complex and interconnected world, the importance of art and design will only continue to grow. It is through creativity, imagination, and a deep understanding of the human experience that art and design will continue to shape the world for generations to come.。
室内设计 外文翻译 外文文献 英文文献 室内设计风格
Interior design stylesMary v .knackstedt shanghai 2004Abstract:Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body.Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.Key words:Style Classical Simple ExquisiteArticle:HOW DO YOU CHOOSE AN interior design style that suits you and your home? You can draw inspiration from numerous styles but try to keep to a similar theme so your interior is coordinated.Modern retro interior design incoprates bright colours and bold patternsThe best place to start is by looking at styles that appeal to you, which suit your budget and lifestyle. You will soon work out what you like and what you don’t. After looking through a few of these you will begin to understand the design process, along with the wide variety of materials and styles available.Don’t be afraid to experiment with different colours and materials; and decorate the room in a style that suits its purpose. There’s nothing better than a room flooded with sunlight so take full advantage of all the natural light in each room.Interior design style and genre, an indoor environment in the spirit of the art modeling and functional areas. Interior design style and genre and construction is often the furniture as well as in close connection with the style and genre; sometimes to the corresponding period of the painting, plastic arts, and even literature, music, etc. in close connection with the style and genre; sometimes to the corresponding periodof the painting, plastic arts, and even literary, musical style and genre, such as their origin and mutual influence. For example, in architecture and interior design of the"post-modernism" and the meaning of the word, and "camp style" is the distinctive characteristics of a plastic arts schools. Can be seen that the construction addition to interior design and material art materials, engineering and technology beyond the characteristics of close contact, and also literature, music and painting, sculpture and other categories of communication between the arts.The formation of interior design styles, different ideas and characteristics of the times, by creative ideas and performance, and gradually developed into a representative form of interior design. The form of a typical style, usually in the humanities and local factors and is closely related to natural conditions and the need for creativity in design and modeling characteristics. The formation of external and internal style factors.Although the performance in the form of style, but the style of art, culture, social development, such as profound connotation; from this deeper meaning, the style does not stop or equivalent form. A style or genre, once formed, it can turn a positive or a negative impact on culture, arts and many social factors can not be limited to as a form of performance and visual experience.The style of interior design features in the embodiment of art and creative personality at the same time, relatively speaking, to that style across a longer time, will include wide geographical. Interior design style can be divided into: Traditional style, modern style, post-modern style, natural style, as well as hybrid style.Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body. Here, to brief Members on the present 10 kinds of the more common style of interior design.Classical Style (luxurious rich)The rise in the age of just decoration, decoration of most of the pursuit of prosperity is more luxurious style. Especially in the early 20th century, interior decoration to show off their status is often a special form. Owners will be asked to design a variety of embedded symbolic luxury decoration, such as painting the glassceiling, fireplaces, decorative panels, decorative wood and so on, but basically similar to the Baroque style combined with the material there The main decorative way. Simple style (arbitrary)The 20th century, in some areas a Home heat. Due to technical and material constraints, the time has not yet the true sense of the Home Designer for guidance, so casual is the best portrayal of that time. Owners have begun the pursuit of a clean and bright indoor effect. Today, this style is still the most first-time home buyers are the first choice for the decoration.Exquisite style (noble solemn)After nearly 10 years of exploration, with the improvement of living standards of residents, opening to the outside world increased, people began to yearn for and the pursuit of high-quality life. From about the mid-20th century, there is the decoration of the decorative use of sophisticated materials and furniture, especially at this time, the designer of the domestic into the ranks of Home Design, which has brought a new concept of decoration.Natural style (art)The beginning of the 20th century decorative boom has brought many people to the concept of decoration. A large number of emerging market, Taiwan, Hong Kong journal of decorative eye-opener for people, before we dare to imagine such a small garden, culture, decorative stone walls and decorative stone such as tactics have appeared in the reality of the design. In particular, we used to see red elm caused by large-scale use of "national renovation a yellow" after the phenomenon of the decoration, close to nature has become a people one of the objectives pursued. Natural style of advocacy, "return to nature," highly aesthetic nature, combined with the natural order in today's high-tech, high-paced social life, so that people can achieve the balance of physical and psychological, so indoor use of wood, fabric, stone and other natural materials shows that the material texture, fresh and elegant. In addition, because of their similar aims and practices, which may be classified as a natural style of garden-style category. Pastoral style sought in indoor environment performance of leisurely, comfortable, natural life of the countryside, and is often the use of naturalwood, stone, rattan, bamboo and other materials simple texture. Coincidentally in the green room settings, creating a natural, simple, elegant atmosphere.Light style (bold Dafang)The mid-20th century, home design ideas have been a lot of liberation, people began to pursue a wide range of design, including modernism, postmodernism, such as the design of a series of more comprehensive system formed in the interior design. Turning to the decoration of people, these "isms" frequently appear in the mouth. This style basically cherry wood finishes as a major.Soft style (smooth independent)In the last century, the beginning of this century, a kind of smooth pursuit in the club like a little luxury design all kinds of real estate properties in the model room and the office appeared, and then appear in a large number of home decoration in general. This style of art is a relatively simple compared to emphasize the content and yet decorative forms, and gradually formed a black walnut wood decorative panels for the main style. Among them, the simplicity and minimalism the beginning of the surface. Style (quiet gentle)This is not in the last century, the beginning of this century as a design style, it is basically a wallpaper based on the surface as the main decoration material, combined with the woodworking practices Mixing this style emphasized the harmony of proportion and color. People will be the last part of a wall and the ceiling the same color, and the wall with the use of a light texture of the wallpaper. The whole style of it is elegant and quiet, with no trace of the impetuous.City style (independent personality)The 21st century, the housing reform, and many young first-time home buyers who appear to have this style impetus. Young people have just bought a house, many of them cos I'm always skint, but this time the real estate and are essentially rough Housing (a non-basic style of decoration), and these young people are forced to carry out the renovation of the revolution . Limited by its financial resources, people are starting to come through a variety of forms has been stressed that "decoration" of perception, in which large-scale use of bright colors is a typical example. It will be athome in the large-scale use of a variety of colors, sometimes even in the same space, the use of three or more than three colors.Fresh style (freehand pastel)This is a simple and derived under the influence with a "petty bourgeoisie" flavor of the interior design style. Particularly as many of the emergence of single people, the petty bourgeoisie in the style of a great deal of variety in the decoration of the apartment. As many times, they do not, such as the residents like the elderly and the children of members, so do not consider the decoration of many of the functions of the problem. They are often stressed and dull of an arbitrary. White纱帘buoyant with a soft fabric of the sofa, and then stacked with a variety of colors of the pillow pile to form a full atmosphere of the interior space lazily.Chinese style (retro)With the emergence of large number of modernist doctrine, the rise of the domestic and a retro style, it is the revival of Chinese-style decoration. Chinese painting, calligraphy and the Ming and Qing furniture constitute the most important elements of Chinese design. However, these expensive retro furniture has become a major obstacle to the lovers.Hybrid styleIn recent years, the architectural design and interior design in general has diversified, inclusive of the situation. Indoor layout also tends to have a modern and practical, but also learn the characteristics of traditional, in the decoration and furnishings in the ancient and modern China and the West melting into one, such as traditional screens, and table setting, with modern style decoration of the walls, windows and doors, a new type of sofa; European classical glass lamps and wall decoration, with the traditional oriental furniture and furnishings in Egypt, and so short. Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.室内设计风格杰里米•迈尔森上海2004摘要：从建筑风格衍生出多种室内设计风格，根据设计师和业主审美和爱好的不同，又有各种不同的幻化体。
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中英文对照外文翻译The traditional and newAbstractIts usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving the transformation of beauty -- full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into" rationality". From the function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty. Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, function of beauty can be achieved.Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Function of beauty is not useful to both beauty""Function of beauty is not useful to both beauty""The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of" transformation" is what? First of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialized training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditions,and can bring the enjoyment of the material. Aesthetic enjoyment is" care in enjoyment", this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to care, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not functional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, auditory or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as" usefulness". So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceThe so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against" function determines form". Consumer products of different shape change request. We use the" degree of freedom" and" definition" two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of" degrees of freedom", the form of freedom, refers to the product structure and appearance for the designer to control the extent of. The 2form of definition is followed by a form of " definition", form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form the basic conditions. From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty -- the direct expression of the form, and the function of the com., is to the thing itself some characteristics of externala kind of beauty.The traditional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion "human nature", the aesthetic form of the accumulation of social content. 1be handed down from age to age" style " and " style" here refers to those containing the traditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2" reproduction " of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding things related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revolution triggered by the" anti traditional"Design revolution triggered by the" traditional" trend of thought 1"1" decoration decorative worship" worship" the so-called" loaded worship" refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved theshould be large quantities of production machines, only exclusive decoration will have a large number of cheap products to market. Function of" worship" function" worship" the so-called functional worship", refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throughout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely " form follows function" or" form and function of the high degree of unity", the attendantSimple and unadorned geometric style is very natural, with " Decor worship " for the characteristics of the traditional design has also been completely subvert.Forms of worship"The form of worship" the worship of modernism design can be understood as" functionalism" design, modern design and good atcoordination function and design of coordinating the relationship between function and form, making them reach a" harmonious". Therefore, it is not a pure function, and also not the pure form type. " From its structure and aesthetic characteristics, the international style building was eventually replacing it with the Renaissance tradition is the opposite." 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism" postmodernism " is a construction led, spread all areas of design, the mainstream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous contrast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3" ugly beauty"3" ugly beauty" ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthetic consideration, classical beauty ugliness as beauty all the negative state, and humanity" evil " contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. Tosum up : the proof of design art in the" beauty" of modernism design challenge, or say to" function determines form" beyond. Modern beauty modern beauty beyond the beyond is refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the" anti traditional" Design revolution triggered by the" traditional" trend of thoughtSince twentieth Century the modern aesthetic concepts, essentially everything "and the traditional " are linked, but" unconventional " idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the cornerstone of the" innovation", the most common words in the" avant-garde " and "modern". The thought is the core of" anti traditional". On the other hand, is the new concept of art" the feed" design, making it a departure from the traditional design concept and has the" avant-garde" and" modern" features.美的传统与新生摘要人造物的有用性与功能美——人造物的形式与形式美——传统美的积淀——现代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括：完善转化的美——充分的有效性就是合理和完善，如有有效性相应的合理结构和材料加工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。