工业设计外文翻译外文文献英文文献北欧家具设计
家具设计英语模板作文
家具设计英语模板作文英文回答：## Furniture Design: An Essential Guide。
Introduction。
Furniture design plays a crucial role in enhancing the aesthetic appeal and functionality of living and workspaces. Whether it's a cozy armchair or an ergonomic office chair, furniture can greatly impact our daily lives. This comprehensive guide will provide an in-depth exploration of furniture design, covering various aspects such as history, principles, materials, and trends. By understanding these elements, individuals can make informed decisions about choosing and designing furniture that meets their specific needs and preferences.Historical Evolution of Furniture Design。
Furniture design has a rich history that spans several centuries. From ancient Egyptian and Greek furniture, which emphasized functionality and symbolism, to the elaborate and ornate designs of the Renaissance and Baroque periods, furniture has evolved to reflect different cultural influences and technological advancements.Principles of Furniture Design。
SCANDINAVIAN-FURNITURE-DESIGN北欧家具设计大学毕业论文外文文献翻译及原文
毕业设计（论文）外文文献翻译文献、资料中文题目：北欧家具设计文献、资料英文题目：SCANDINAVIAN FURNITURE DESIGN 文献、资料来源：文献、资料发表（出版）日期：院（部）：专业：工业设计班级：姓名：学号：指导教师：翻译日期： 2017.02.14本科生毕业设计（论文）外文翻译毕业设计（论文）题目：家具设计外文题目：SCANDINAVIAN FURNITURE DESIGN译文题目：北欧家具设计学生姓名： WJL专业：工业设计指导教师姓名：评阅日期：Reference:Judith Gura Thames & Hudson Ltd .Scandinavian Furniture: A Sourcebook of Classic Designs for the 21st Century .2007-11Mike Roemer. INTERIOR AND FURNITURE DESIGN. Thames Hudson Press.2005SCANDINA VIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditions of material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with thepublications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process of industrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offsetprinting production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furnitu re Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an agricultu ral society to an industrialized one towards the end of the last century.The cities almos t exploded in size and social awareness flew with the emergence of the new social clas ses-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of modern consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920’s,when the social housing projects beg an and detached houses started to appear.The second stage was in the 1950’s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge and awareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmake r workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ。
外文翻译----设计基础的基本原理
机械工程学院毕业设计（论文）外文资料翻译教科部：工业设计专业：工业设计姓名：学号：外文出处：Basic design : the cultivation ofwisdom, reason and sensibility 附件：Introduction Philosophy of Basic DesignDesign is a factor to be considered in all endeavors of art. The basic Design course structure is beneficial to every student, irrespective of his or her major. Anyone taking the basic course is treated as a future designer. To achieve this, Basic Design attempts to cultivate within the student:1. The Ability to Discover and Solve ProblemsProjects are developed so one not only finds solutions, but also creates one’s own design problems, and continually re-evaluates one’s progress towa rd achieving a satisfying resolution to the problem. This means that solutions found in earlier assignments can suggest new problems for future assignments.2. The Ability to CompromiseAs one confronts and discovers both the artificial and inherent limitations of a particular assignment, one learns to compromise and alter the original conception of the solution. This mental flexibility allows for continual re- examination and reworking of projects in the attempt to search for more variations as a regular part of all design assignments.3. Increased CreativityEveryone is directed to discard the obvious or traditional in favor of creating one’s own unique solutions. All are encouraged to be different, and to show one’s findings in public. This is the best way to protect original work from being copied or imitated by others. This, along with learning new methods of analyzing design problems, opens the way for increasing creativity. 4. Improved Self-understandingThrough design everyone learns to analyze and im prove one’s own method of problem solving and to find what tends to block one’s creative thinking and to learn ways to overcome such obstacles. Not only dose one discovers one’s design abilities, but also learns how these abilities are able to relate to other art forms.5. CraftsmanshipCareful craftsmanship is required on all projects. Everyone learns patience, precision and the use of basic tools which allows one to create finished works of professional quality.6. RelevanceThis Basic Design course gives an introduction of basic geometry, engineering principles, and their relationship to artistic design. This course helps to develop abilities useful not only by artists or designers such as observation, analysis, innovation, adaptation, planning and creativity.The assignments in this Basic Design course are unique in that each project is built one on each other. This approach allows people to gain new insights by looking at one’s previous work. In addition, this course can direct everyone’s individuality, allowing one’s work to reflect their own personality and cultural background. All aspects of the results obtained will be beneficial.Although this Basic Design course is for teachers and students of design, it can be applied to many other fields as well.This book can be read in any order. However, to take full advantage, it is recommended that all assignments are taken in sequence. It is crucial to use only basic drafting tools to compete each assignment rather than high tech equipment. The assignments in this book are highly adaptable to any future studies by its reader. They are not simply focused on one area of study such as design or art or architecture but are designed to teach principles useful for everyone.This book is divided into two main sections: twenty-six “issues” and twenty-eight assignments, the latter sub-divided into three parts.1) The Introduction includes the philosophy of basic design and twenty-six issues. Each issue reveals the reasons for writing this book and the philosophy of teaching design. Some issues will be illustrated with the author’s own design works.2) Numerous design assignments are included in three parts--each part addresses a problem through a sequence of assignments that may seem, at first, to be unrelated. An illustration appears at the end of each of the parts for review.a. Part one starts with adding a third dimension to a square--challenging 2D and 3D as one. All assignments that follow allow one to go through changes, improving the senses through comparison and the ability to rationally understand the results.b. Part two begins with marking a joint out of two pieces of paper, and follows many related lessons. This leads to the design of a new font based on all 26 letters of the alphabet.c. Part three deals with the visual connection between two letters. Working with geometricprinciples, one learns to simplify the drawing process, and to understand and work with negative spaces. The concepts of mass production and work with 2D and 3D modular systems are introduced.设计基础的基本原理在所有的艺术行业中，设计是一个必须要考虑的因素。
家具设计中英文对照外文翻译文献
家具设计中英文对照外文翻译文献(文档含英文原文和中文翻译)原文：Researches and Development of InteractiveEducational Toys for ChildrenAbstract: For Oriented by the teaching philosophy "game based learning", this paper carried out an in-depth research on the interactive mode of children's educational toys. In the research process, it attempted to build a new immersed educational-game scenario for children by using the new interactive technology so as to inspire the children's interest in learning and exploration. The research object in this paper was an interactive educational toy-"funny tap" English learning machine for children. After integrating the design concept of this product from an industrial designperspective, we selected specific interactive technology and completed the engineering. Moreover, we have conducted tests of work principles and effect of usage based on the sample machine. The final result indicated that there is a promising and huge market potential to apply the new interactive technology to development of educational toys.Keywords: Interactive Educational Toys, Interactive Design, interactive mode1.INTRODUCTIONSince 1980s, human beings including the children have entered a digital age. Under the influence of the advanced information, early stage education machines, electronic building blocks, electronic wall charts, and other new toys have become children's new favorites. With the influence of the west teaching philosophy-"game based learning", parents are strongly agreed with such toys for children. These modern educational toys will become the mainstream of toy development due to their promotion of children's learning, practical ability, creativity and imagination.Interaction exists in all things contacted by humans, and interactive design emerged to design a kind of communication and dialogue between human and objects to minimize the "cognitive conflict". As a new design theory, interactive design has a wide range of applications in designing educational toys.2. THE PLAN AND BENEFITS OF THE INTERACTIVE MODE OFCHILDREN 'S TOYSThe rise of various digital technologies, such as voice recognition, 3D video, and virtual reality technology etc., gives new experience to people's perception. The author aimed to apply these new digital technologies to the researches of interactive educational toys design.The plan of the interactive mode of children's educational toys:2.1. Voice InteractionVoice interaction voice includes touch voice interaction, voice command interaction and intelligent voice interaction. Touch voice interaction and voice command interaction have been very common, such as electronic wall charts, televox;intelligent voice interaction is the author's aim to create a genuine dialogue between children and simulation toys through digital technology, to foster children's language ability, particularly in a family with only one child, the children need a "partner" to accompany them to learn and play with.2.2. Video InteractionVideo interaction can be divided into 2D image interaction and 3D video interaction. The former has been broadly used in toys, such as in multimedia courseware, image or video of horse will appear when referring to "horse"; 3D video interaction is the author's aim to apply 3D projection technology in the "play" process, for instance, when referring to a green grassland, a grassland projection will appear so that children feel like being on the grassland, which enhances children's learning experience; meanwhile, this enhanced emotional experience will prolong the memory retention time or even extend to a ultra- long-term memory.2.3. Narrative InteractionNarrative interaction is to conceive a story for the toy and offer a task role for children to make them participate in the story. The steps are shown in Figure 1:Fig. 1. The steps of narrative interactionBased on children's curiosity and imitation psychology as well as the investigation of the games, the author found the correct application of story interaction in educational toys can greatly mobilize children's learning enthusiasm, for example, we conceive an English learning process as treasure hunt activity. In this activity, the words are hidden in the treasure box, and children themselves are explorers, if they put one or a few words together, they will get a treasure box, and they can also make a competition with peers to get the treasure boxes. Through establishment of game theme, selection of roles, and plot development in the activities, children not only increase their knowledge of English, also learn how to get along with peers and develop good self-awareness.2.4. Web Virtual Reality InteractionWeb virtual reality interaction is virtual imaging through network connections, making you feel like your partners sitting, playing and learning with you, to deliberatethe loneliness in the contemporary families, and promote children's learning initiative in the competitive context.Psychological research shows that with respect to the learners, the learning behavior resulting in emotional pleasure experience will produce a positive emotional resonance, thereby enhancing the learners' learning initiative and enthusiasm. The realistic educational-game scenario created by interactive educational toys for children not only brings emotional pleasure experience to children so that learning is no longer boring for them with a purpose of mobilizing the enthusiasm of study and developing creative thinking, but also enhances children's social communication ability to help children establish good social character favorable for their life.3. DEVELOPMENT OF INTERACTIVE EDUCATIONAL TOY—"FUNNYTAP"Parents are head-ached on children's learning English, so we focus on developing an interactive English learning toy to help the children remembering words in game scenario and stimulate their interests in learning English, and training children's hand operation and brain coordination.The development practice procedure of interactive toy for children-"funny tap" is shown in Figure 2 as following:Fig. 2. The development practice procedure of "funny tap"3.1. The development process of interactive concept of interactive educational toy-"funny tap"It is the development process of "funny tap" interactive concept. After investigating the object group of children and parents about their needs of English learning machine, we summarized six key indicators such as security, fun and incentive. Here we mainly describe three models of interactions shaded in Figure 3.To meet the requirement of fun, the author designed a narrative interactive process, as is shown in Figure 3:Fig. 3. The narrative interactive process of "funny tap"The word learning process is conceived as a game of whack-a-mole, imagining there are N mole holes, and there are M letters in a word (i.e. M moles with a letter). If you tap down M jumping moles in accordance with the order, you will get the cheers, if the tap is not correct, it will continue to call "come on"; meanwhile, the action of "tap" is not only funny, but also effective to train children's hands and brain coordination.Voice interaction was prepared by the microcontroller program to control the voice modules. There are two features regarding the "funny pat": one is word pronunciation; the other is the design of the applause and cheering voices for reward and punishment, which help to reach the goal of incentive.In the first stage, video interaction was prepared by displaying the letters on buttons through LED dot matrix character display modules mainly controlled by microcontroller; in the second stage, we provided toy with 3D projector for projecting the whole process in the air to construct a 3D emotional scenario, and the action of "tap" is to tap the projections in the air.3.2. Principle diagram of interactive educational toy for children-"funny tap" The operation principle of "funny tap" is shown in Figure 4:Fig. 4. The operation principle of "funny tap"The system consists of six components, such as voice module, LED indicator, action back module, MCU, power module and LED dot matrix character display module. Among these, the three formers are connected with MCU through 8-bit data bus; LED dot matrix character display module is connected with the microcontroller through the 12C bus. Voice module stores English word pronunciation documents needed in the game, and MCU pronounces the word by controlling the voice module via the bus. LED dot matrix character display module consists of driver chips and the 8*8 LED matrix. MCU bus control LED dot matrix character display module via I2C to show the corresponding English letters. Action back module tests and captures the player's actions during the game for the MCU to judge whether the player conducts normal actions to control the game process.3.3. Appearance design process of interactive educational toy-"funny tap"The following Figure 5 is a design process from sketch, modelling, model-making to the final product and the drawing of the product structure explosion.Fig. 5. Appearance design process of "funny tap"3.4. Interaction testSample of N (N is an odd number) preschool children was randomly selected to test the product's availability, usability and user's willingness of using it. Mainly onsite testing observation and questionnaire survey, and then we improve the product according to the test results.Testing times are equal to or more than I so as to find the products with highest interaction. In the product final trial, most of parents fed back that this toy combined fun and knowledge well and the whole learning process was very smooth and the children were very happy when "learning".4. SUMMARY AND PROSPECTChina is a large country of toy manufacturing, but it still remains in the stage of imitating foreign design, especially in educational toy design. The research and practice of interactive educational toys in this study is expected to give some thought and inspiration to toy designers so as to further promote the development of Chinese toy industry.REFERENCES[I] Liu Zaihua, Children's Social Intelligence, Anhui People's Publishing House, 2008.[2] KARL T. ULRICH, STEVEN D. EPPINGER, Product Design and Developmen,Higher Education Press, 2005.[3] (U.S.) Robert J. stembeg, Translated by Yang Bingjun, Chen Yan, Chow Zhiling,Cognitive Psychology, Beijing: China Light Industry Press, 2006.[4] Zhang Zhcnzhong, Li Yanjun, Classification Research of Educational Toys,Textiles and Design, December 2008 Vol. 12.[5] Li Qiaodan, Xia Hongwen, On the Function of Digitized Bran-training Toys inElementary Education, China Education Informationalization Issuing Department.[6] Song Jun, Researches on Design Principles of Children's Educational Toys,[Online]. Available: [7] Liu Mingliang, " The Principle Production and Purchasing of Electronic Toys", New Era Press, 1992.Toy development and design based on the needs of olderpersonsAbstract:In china, aging and the life-quality of older persons has become today’s important issues of social concern, and how to solve this problem thus turns to be an important challenge in the design and development of supplies for the old. Now, the ensuing ways to solve varied. For instance, the design community has put emphasis on the design and development of the supplies for the old, but a large part of these de signs were for medical care and medical products of the senior person. The designsfor the vast majority of the healthy people in their senior age are rarely involved. In this, I think, for the function of toys, the emphasis on the development of physical and mental health of older persons is the key, so to rethink the development of toys for the old persons in china is one of the ways.Keywords: Toys for the old, Needs design, humane careMentions of the toys, we always unconsciously think of the innocent children, as if toys are just child’s belongings. With the improvement of living standards, emphasis on the toys is constantly improved. To meet the needs of children, various designs are brought out, and then from luxury goods, toys have gradually become the child’s necessities. However, the authorities of the china toy association state that the toy is no longer the children’s only product: toy concept has been extended and functional and practical range of modern toy has been further expanded. Toys not only inspire children, but also become the recreation products for the seniors. The old also need toys that could meet their spiritual needs and enrich their life in later years.1．Status of the development and design of toys for the seniorsIn china, toy for the old is still an industry to be developed. Senior people, as customers, they have needs and also purchasing power, but no targeted toys for them. There are as much as 130 million seniors in china who would be a huge consumer group, but the research and development of toys for old consumers has lagged behind developed country for more than 30 years.In America, the toys designed for the senior amount to 40% of the toy market. The toy market for old persons is more mature. They have many toy stores for the seniors throughout the urban and rural areas. Also our neighbor Japan does well in the development of toys for the old persons, and most toy companies have produced toys for seniors, and continued to introduce new products.2．The meaning of the development of toys for the seniorsRetiring from work, the senior people get more time than before. Besides watching TV at home, they have no many alternative entertainments. Some old people have been for a long period in loneliness. Over time, they are prone todepression, anxiety disorder and Alzheimer’s, seriously affecting their physical and mental health and become burden to children and society.Li guangqing in department of rehabilitation of Beijing Xuanwu Hospital once said: “with age increasing, the function of the body of the seniors gradually degraded, and their reaction will be clumsier. At the same time, retirement from work, the opportunity for the old to use their brain reduces, which further brings the decline of attention and cognitive ability. Except to maintain good habits and moderate exercise, to slow down brain aging, putting hands and brain in work at the same time is the most effective way, which is exactly the function of toys. for people with Alzheimer’s, playing with toys, to some extent, would alleviate the condition.Therefore, toys can develop people’s thinking ability, and improve our intelligence. If the seniors play with toys constantly, the aging of the brain and the Alzheimer’s would be effectively prevented. Medical experts found that to maintain old people’s intelligence, we must first fully protect the brain. In addition to proper nutrition and adequate sleep, the seniors should make most of the brain. Just as Chinese saying tells that”water does not rot, and the door hinge is never worm-eaten “, the more one use his brain, the more sensitive it becomes. Playing with toys is exactly a good way to use the brain. With toys, the old people not only receive more information, at the same time become more optimistic than before, thereby enhancing their immune system function.3．The needs-analysis of toys for the oldWhat is a needs analysis? This approach is to focus on the users’ needs. Users’needs are sources of many new products.What is the demand-design? it is the most front-end process for new product in its life cycle, and decides the success or failure of the new products. Needs-design starts from the businesses and designers’judgment of the market or the needs of users, and ends at planning proposals or technical specifications on description of the product development. Understand the market or user demand is a high-level investment for the success of the product.The development and design of toys for old persons should start from the needs ofthe seniors. Only a real understanding of the old consumers and their psychological and physiological needs can bring toys that give practical cares for the seniors physically and spiritually.Toys for the old should bring human care. Toy design process should be integrated into this concept. The aim of the toy design for the old is enhanced, with seniors-centered design principles, and with the help of analysis on the seniors’physiological psychological characteristics, cultural level and lifestyle. The toy design principle that shows humane care for the seniors is reflected at the same time.(1)Safety firstTo varying degrees, the judgment, cognitive ability and ability to respond of the old people weaken, thus in the process of using the product, they inevitably make mistakes. In case a threat to physical and mental health occurs, they usually are unable to escape the danger. Therefore, toys for the seniors should be fault-tolerant. So that, the old people even make a mistake, there will be no danger. Here the reduction of operation process and the set of message for safe operation is an effective way to ensure the safety of the seniors with toys.(2)Moderate difficultThe design of toys for the old should be of moderate difficulty, and the purpose is to arouse their interest in playing. If too simple, it would not enhance the interest of the seniors and thus would not achieve the aim of exercising the brain; if too difficult, it would be strenuous for them to learn, and consequently cause a sense of failure which is not conducive to their mental health.(3)Easy to identifyThe toy should have a familiar form and an understandable functional theory for the old. It should also be equipped with an interface in keeping with the experience and habits of the seniors. Besides, the toys that need interface design, should take into account the graphic symbols, size, color, clarity of sound, light intensity.(4)Facilitate communicationPeople’s feelings need to vent and exchange, especially for the seniors. For them, emotional communication is indispensable to maintain their vitality, andimprove the quality of life. Playing with toys, there are many ways for the old to choose, such as: taking turns to participate, working together and racing in the game. The development of multiple-persons playing toys is to create a harmonious environment in which they can talk when play. So the core of toy-development is to involve the participants as much as possible. For the participating ways, common collaborative participatory approach is the best, which is more conducive to conversation, and get to know some new friends. In this way the seniors can expand their social circle with emotional exchange.(5)The effect for keeping fitness and developing intelligenceIncreasing with age, people’s organ recession becomes an objective physiological phenomenon. In order to maintain good physical function and mental state, and improve the quality of life, fitness puzzle is a very important content in the lives of older persons. Body-building that can achieve with playing toys is the most basic needs of older persons. Old people by playing intellectual toys can effectively prevent Alzheimer’s disease, so to maintain the flexibility of the seniors’mind is the main direction of the toy development.(6)Cultural connotationsLife experiences bring the old people with more comprehensive concept of life, thus toys with a certain ideological and cultural depth usually put them in recollecting and thinking of issues. Toys for the seniors are different from those for children: a child plays a toy intuitively, while the old emphasize the toy’s inherent fun, and show great interest in the toys with cultural connotations. Of course, this culture must be familiar with the elderly, has gone deep into the ideological deep.Summing up, toys for the seniors have a promising market, for each one of us would inevitably become old. The design industry should make more efforts to improve the living standard of the seniors. One way is to develop toys for the old and help them improve their life quality with theses design. We all know, care for the old is to care for all mankind, and designing from the needs of the old has become an urgent task of today’s society.References：[1]Yang Guanghui. China’s Population Aging and the Industrial Structure [m].Liaoning Science and Technology Press, 2008.7.[2] Wang Lianhai. Chinese Toys, Art History [m], Hunan Fine Arts Publishing House, 2006.8.[3] Wang court. Toys And Innovative Design [m], Chemical Industry Press, 2005.12.儿童家具的人性化设计摘要：本文以儿童家具设计问题为出发点,提出人性化的概念在新的时代环境下的新解释,并指出新的人性化设计原则在儿童家具的设计方法中的实现,分析儿童家具的现状,并提出一些建议。
家具专业外国文献
Procedia Social and Behavioral Sciences 1 (2009) 129–135Available online at World Conference on Educational SciencesEducational satisfaction and expectation of future careers of the students in the furniture and design educationO÷uzhan Uzun a, Hamza Çınar b*a Furniture and Design Education Department, Düzce University , 81100 Konuralp, DÜZCE, Turkeyb Furniture and Design Education Department, Gazi University, , 06500 Teknikokullar, Ankara, TurkeyReceived September 25, 2008; revised December 10,2008; accepted January 3, 2009AbstractIn Turkey, the furniture industry, consists of %3 of the country’s industry, is an important industrial sector over 7 billions of US dollars in trade with export and import capacity. The use of information and technology within the furniture manufacturing industry is a crucial factor in respect to national and international competition. However, the production of information and technology is more important than usage of these two factors. The existence and usage of these two can only be achieved with professional education and qualified workforce. From the perspective drawn, an investigation into the furniture and design education is worth to carry out in terms of identifying students’ educational satisfaction and expectation for future careers concerned with the Turkish furniture industry.A research questionnaire was designed for this purpose and conducted to 200 students, randomly selected from Furniture and Design Education Departments in 5 different universities. The obtained data was analyzed in SPSS for Windows software. The spider method was used for evaluating the data. According to the findings of the research, 40 % of the students want to be professional teacher within the corresponding area, 50 % of them want to have a job within the industry and 10 % of them do not want to continue with this profession. 1643 students enrolled but 1341 students were graduated to be a teacher for the furniture and design departments but only a ratio of 7 % was appointed as a teacher, and remaining ratio of 93 % involuntarily addressed to the furniture industry or other related sectors. With the possible reason of this, the students were not happy (87 %) with the subject area and afraid of future because of not being nominated as a technical teacher by the Ministry of Education. The study ends with the recommendation to improve the furniture and design education in Turkey.Keywords: Technical education; furniture and design education; teacher nominees.1. The Importance of Professional EducationAcross the industrialised and developing world, economic growth is increasingly linked to skill formation to raise labour productivity and average living standards. The twin forces of global integration and technical change have *Hamza Çınar. Tel.: +90 0 312 202 88 33; fax: + 90 0 312 212 00 59.E-mail: Hamzacinar@.tr1877-0428/$–see front matter © 2009 Elsevier Ltd. All rights reserved.doi:10.1016/j.sbspro.2009.01.024130O˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135increased the focus on and importance of education and training in the competitive process. The role of the education and training system in this process is becoming increasingly important [1].As O’Dubhslainé (2006) argues; there are two theories that explain the importance of education to the economy: human capital theory and the signalling theory [1]. Human capital theory argues that the accumulation of human capital is an important element of economic growth. In contrast, signalling theory states that the level of education is an indication of behavioural traits that employers are looking for. Human capital theory is an analysis of the relationship between the functions of education and economic growth. E ducation enables people to develop analytical skills and cognitive abilities. Education teaches students to analyze information and to utilize this acquired knowledge. These skills enable the labourer to increase his productivity in two ways. Firstly, a labourer can use his existing working capital more efficiently. Welch (1970) argues that education increases the worker’s speed and quality due to increased knowledge and understanding of the specific tasks within the context of a larger firm structure. In addition the worker makes better decisions about the allocation of resources [2]. Secondly, this acquired knowledge can then be utilized to innovate and to create technological developments. Positive changes in technology improve the production of materials and the communication of information. An educated labour force will be able to adapt to technology change. Therefore this human capital investment will reduce the costs of production and increase firms’ production possibilities.As Stiglitz (1975:283) points out, important information for the economy is the knowledge about “the qualities of factor or a commodity” [3]. Skills required for furniture and design are specific to that industry or even that particular job. Education consists of teaching general cognitive abilities. There is a mismatch between the demand and supply of certain skills. The signalling theory argues that education is a socialization process. Education instils behavioural traits of persistence, punctuality and ability. The usefulness of education to the economy is not the material students learn at school or university. This work simply demonstrates the students’ capacity to learn. On the basis of economic development of the countries while educating students, considering the era, society, business life, participation of individuals to the production in order to maintain sustainability of the society, reaching to an economically welfare and security level, and increasing competition power are all important factors to be considered. But, failure of policy makers of Turkey to establish long term policies on high school and university level can be seen particularly in the last 15 years and the failure of giving possibilities to study university degrees for young people cause accumulations for the universities. However, the purpose of government interference in the education market is that there are positive externalities associated with investment in education. The government should consider all benefits to make a Pareto optimal allocation of investment in education [4]. This situation is directly being reflected to the industrial production and economic development of the county. While today’s world is both economically and socially rapidly changing, richness of countries are related with the richness of their natural resources as well as human resources and how far this richness is educated.In this context, to consider and see ‘furniture and design education’ as only transferring skills, artefacts, or practice works as the mastership of the profession does not reach the understanding level of 21st century for education. During the last century, training within the many developed countries, especially professional and technical training, were planned, assessed, supervised and realized so as to grow human labour with multiple skills for increasing competition powers of the countries [5].Scientific researches related with training, teaching – learning processes and sample models on training are performed. Majority of these studies are directly or indirectly related with teachers or system [6 - 8]. Impact of teacher on teaching and learning processes is multidirectional. Teacher, an individual of both arranging training environment and scheduling as well as realizing training process and supporting mental, emotional and social development of the student, is an important element for maintaining effectiveness of teaching process. Lots of studies and researches are implemented about qualifications of the teacher, maintaining effective teaching [9-14]. There are also very valuable studies on the importance of education for the economy and economic development of the countries [1-3 and 15-20]. However, with specific reference to Turkey, few studies were found in furniture and design education e.g. “A General Overview to Historical Development of Furniture Training” [21] and “Impact of Student Profile on Furniture and Design Education at the Technical Education Faculty” [22].In connection with this, worldwide furniture trade, foreseen to be 1 trillion USD in 2020, was subjected to a trade of 300 billion dollars on 2007. From this trade, Turkey benefited with over 1 billion dollar export and 700 million dollars import. Turkey’s biggest obstacle of this trade to increase the export capacity is seen the lack of qualified labour [23-24].O˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135131Receiving a share from global furniture trading can only be realized by qualified manpower with multiple skills and answers to the expectations of 21st century. Therefore, it is interesting to find out how the furniture education system in Turkey. This research particularly aims to find out opinions of students about their education and expectation for future careers.2. Material & Method2.1. Space and samplingStudy scope of this research was composed of 200 randomly selected students, enrolled in 2007 – 2008 academic programs of the department of Furniture and Design Education, the Technical Education Faculty, at the universities of Gazi, Ankara, Mu÷la, Düzce, Kütahya and Karabük in Turkey. In the selected departments, programs of Doctor of Philosophy, Master of Science and Bachelor of Science were taught in the Gazi University; Master of Science and Bachelor of Science Programs in Mu÷la, Kütahya and Karabük Universities. The rest has only Bachelor programs. Although the main aim of Furniture and Design Department is to train teachers to vocational high schools, the department in the last 10 years has shifted its direction to the furniture industry and interior design.2.2. 2.2. Data collection and analysisIn order to reach to the aim of this research, a research questionnaire was used among descriptive research methods. Firstly questionnaire questions were designed and a pilot questionnaire was conducted to 10 respondents. After that, corrections were redesigned in accordance with the opinions of students and experts. The final format of the questionnaire, composed of questions with multiple choices, was applied. In compliance with the aim of the study, obtained data were grouped by the help of Spider method [25], and transferred into tables on SPSS for Windows software. A final discussion of the analyzed data and conclusion with recommendation is given in the final section.3. FindingsThe number of students, enrolled to the Furniture and Design Education Departments in 2003 and 2008 academic years, are given in Table 1.Table 1. Student Enrolment in 2003 – 2008YearsGaziI.Ö/II.ÖDüzceI.Ö/II.ÖKarabük(Karaelmas)I.Ö/II.ÖDumlupınarI.Ö/II.ÖMu÷laI.Ö/II.ÖTotalI.Ö/II.ÖGeneral Total2008 52 + 52 41 57 + 57 52 62 262 + 109 3712007 31+31 31 31 41 52 186+31 2172006 43+31 31 31 41 52 198+31 2292005 49 + 31 31 31 41 + 41 52 204 + 72 2762004 49 + 31 31 31 41 + 41 52 204 + 72 2762003 47 +31 31 31 41 + 41 52 202 + 72 274Toplam 271 + 207 196 212 + 57 257 + 123 322 1256 + 387 1643I.Ö: Date Teaching Program, II.Ö: Night Teaching ProgramYOK [26]1643 students were enrolled to these departments between the academic years of 2003 – 2008, an approximate number of 275 students were accepted in the academic years of 2003 – 2005. The student acceptance in 2006 and 2007 was reduced to 225 but in 2008, the number sharply increased to 371.The sex genders of participated students are given on Table 2.1.132O˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135Table 2. Sex genderMu÷la Düzce D.pınar Karabük Gazi Toplam(F)Toplam(%)Male 40 38 40 40 36 194 97Female 0 2 0 0 4 6 3Total 404040 4040200100High ratio difference between female and male students draws attention while the number of female students is very low with 3 %. It is possible to say that the department is not populated for girls and it is still thought as a department for carpentry or wood works. Number of reasons can be underlined for this as discussed in the conclusion section.Table 3. The high school type the students come from to furniture and design departmentHigh School Type Mu÷la Düzce D.pınar Karabük Gazi Toplam(F)Toplam(%)Industrial Vocational 37 38 28 35 30 168 81Technical 1 0 2 1 6 10 5General 0 1 5 2 0 8 4Anatolian Technical 0 0 3 0 0 3 2Religion schools 0 1 1 0 1 3 2Health high schools 0 0 1 0 1 2 2Anatolian vocational 0 0 0 1 2 3 2Others 2 0 0 1 0 3 2oplam 4040404040200100Although majority of the students enrolled to the programs from the industrial vocational high schools, there arealso students from different types of high schools e.g. health high schools, religion schools which consist of theminor part. The majority of the students come from industrial vocational high schools. The reason might be directlyconnected to the central examination system of Higher E ducation Institute (YÖK) as discussed in the conclusionsection.Preference reasons of students for furniture and design area are given in Table 4.Table 4. Student Preferences to study furniture and designMu÷la Düzce D.pınar Karabük Gazi Total (F) Total (%) Family force 2 6 6 3 5 22 11Compulsory preference 11 7 9 7 8 42 21Close to the hometown 0 3 2 1 0 6 3Family participants in the sector 2 6 1 3 0 12 6Random 33432158 Get a profession 8 4 5 6 10 33 17To be a teacher 14 11 13 17 15 70 34oplam 4040404040200100 34 % of students preferred to be a teacher in the furniture and design departments in vocational high schools orcolleges. 21% of the students were obligated to choose this department because of the education they had before theuniversity. Another interesting result was the family force to the student to choose this department. Accidentalselection (%8) was also made. According to the results, a failure or lack of guiding to the students about theprofessions after secondary or high schools can be seen. This can end with non-volunteer profession and reflect tomany areas including self happiness to general welfare of people.Plans of students for employment after their graduations are listed in Table 5.O˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135133Table 5. Working areas after graduationsMu ÷la Düzce D.pınar Karabük Gazi Total (F) Total (%)Teacher in furniture and design 28 13 15 19 6 81 40Furniture and Design Industry 10 22 20 16 32 100 50Not want to this profession 2 5 5 5 2 19 10oplam 40 40 40 40 40 200 100 According to Table 5, 40 % of the students aim to be a department teacher when they graduate, 50 % of themwant to work in the furniture industry or other related areas and 10 % of them do not want to continue the subject.Although the 40% of the students want to work as a teacher; the Ministry of National E ducation appoints a verylimited number of the graduates to be a teacher as seen in Table 6.Table 6. 2002–2008 Teachers Appoints in Furniture and Design Table 7. Hesitations and Expectation of the students Number ofGraduates Appointed teachersYears F % F %Student views (%) 2002 172 0 Weakness in self confidence 15 2003 225 2 Can not make right decisions5 2004 272 20 Highly worried17 2005 204 50 No worried16 2006 265 21 Afraid of furniture industry12 2007 233 0 Do not have expectation from future52008 - 13 Afraid of not being teacher30 Total 137193 1067MEB [27]According to Table 6, although 1371 students were graduated from Furniture and Design Education programs, only a ratio of 7 %was appointed as teachers, and remaining ratio of 93 % addressed to the furniture industry or other sectors.According to Table 7, when hesitations of students taken into account, the most important results were the lowappointments of the teacher by the Ministry of National Education. The students emphasized that they were trainedto be a teacher, but they were worried about future due to reduce on appointments. Another important worry of themwas to fail finding a job or to be unsuccessful in the found job in the furniture sector. The students mentioned thatthe given education was at the back of the actual industry and was not enough to adapt to the rapidly developingsector. According to the students, the teaching program had few lecture addressing to the needs of the furnitureindustry, and this increases more worries about the adaptation and integration to the industry. It can be said that theinsufficiency of the departments in guiding, and low relations with the industry increase the worries of the studentsabout the furniture industry.Educational satisfaction statuses of the students from their departments are given in Table 8.Tablo 8. Student HappinessMu ÷la Düzce D.pınar Karabük Gazi Toplam (F) Toplam (%)vet 5 3 6 4 7 25 13Hayır 35 37 34 36 33 175 87T oplam 40 40 40 40 40 200 10087 % of students stated that they were not happy in the furniture and design departments. Several factors can belisted related with this non-satisfaction ratio but it is thought that statuses of students, who came here with the aim ofbeing a teacher but not appointed as teachers, increase this non-satisfaction ratio. In case of failure to be appointedas a teacher, determinations related with changing curriculums and restructuring for removal of current non-satisfaction are given on Table 9.134O˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135Table 9. Insights to increase the happiness of the studentsStudent opinions (%)Lectures should be selected 7Lectures for computer (CAD, CAM) and Foreign language should be increased 30Updated lectures should be given in accordance with the furniture industry 20Update lecture material, workshops and classroom 4Improvement of physical conditions 4Increase the dialogues between students and lecturers 2Accreditation of the lectures 10Students should be directed to the furniture industry 23According to Table 9, the most emphasized issue was to increase the computer use, computer aided programs for design and manufacture, and foreign language education. It is seen that they advocate the importance of foreign language and computer in order to adapt and follow the knowledge and technology with the world, which becomes universal. Another issue was to put new lectures addressing to the furniture industry, and to increase the relation with the related industries. According to the fact, it can be said that students are willing to prepare for the furniture industry and want their educational programs are redesigned due to reduction of teacher appointments. Another interesting evaluation was that course intensity within the curriculum should be reduced, and they should turn into selective courses.4. Conclusions, Discussions and SuggestionsSignificant numbers of students are enrolled to these departments ranging from industrial vocational high schools to health schools, and religion schools which are the minor part in the academic years of 2003 – 2008. The student acceptance in 2006 and 2007 was reduced to 225 but in 2008, the number was sharply increased to 373. This is directly connected to the central examination system of Higher Education Institute (YÖK) because the numbers of the students to study in universities are not decided by the related departments, which are forced to accept with the decision of the Higher Education Institute. This is an important insight that causes problems and directly affects the quality of education and training. In this case, a freedom or an alternative way of the student acceptance might be given for these departments, where theoretical and practical courses are taught in connection with furniture production.In respect to gender differences, high ratio difference was found between female and male students. A number of reasons can be said: but the most important criteria are that the department of furniture and design is not commonly populated or known in the public. Due to generally being from families with low income levels [22], the subject of furniture and design is preferred and seen as a guaranteed profession by the students to be a technical teacher in the vocational schools. 34 % of the students preferred to be a teacher, 21% of the students were obligated to choose this department because of the education they had before the university. Another interesting result was the family force to the student to choose this department. Accidental selection (%8) was also made. As a result of these findings, it is possible to say that an accidental or unwillingly decision was taken to study in the department of furniture and design. This ends up with the high unhappiness of the students (%87). It is also possible to say that there is a failure or lack of guiding services to the students about the professions after secondary or high school education.In this process, optimal use of self potential by the individual, selecting the most appropriate profession and having universal level training of that profession is very important. While modern training comprehension aims to let individuals to gain productive qualifications, open for development, it also attaches importance to selection of appropriate profession [28 and 29]. During improvement of developed states, training systems have effective functions. These systems are based on “appropriate profession selection” principle, supplying productive training and enabling individuals to identify their interests and skills. But, profession selection resolution of the individual is not being made immediately, and being realized with the professional development studies with commencing from basic training level [30]. In connection with this importance degree, revealing and developing corresponding skills are important in connection with individual and society.Acceleration of liberalization trends of globalization on 21st century, increasing speed of free circulation of capital, liberalization of trading and diversifications on production and service sectors as a result of seeking international standards within product specifications are causing to the need for development of qualified technicalO˘g uzhan Uzun et al. / Procedia Social and Behavioral Sciences 1 (2009) 129–135135 staff labour skills, required by furniture industry. With globalization causing the closure of many large and medium-sized European and North American furniture factories, this focus on "academic" curriculum makes little sense in design education, particularly for domestic furniture design. Many smaller furniture producers, recognizing the need to adjust to the globalized marketplace, use CNC production technology, develop designs that can be "mass customized" and ship faster than their offshore competitors. These manufacturers need graduates with practical CNC experience, knowledge of new materials, sensitivity to the needs of today's consumer and respect for the environment. Many post-secondary design programs lack the required direction and equipment (literally in some cases) to produce competent designers needed by today's industry.ReferencesO’DUBHSLAINÉ, A., (2006). The white Paper On Education: A Failure To Invest Student Economic Review, Vol. 20, 2006, Pg. 115Welch, F. (1970). ‘Education in production’. Journal of Political Economy. 70: 35-59Stiglitz, J. (1975). ‘The theory of “Screening” Education and the Distribution of Income’. American Economic Review. 65:283-300 Weisbrod, B. (1962). ‘Education and Investment in Human Capital’. Journal of Political Economy. 70:106-123Nielsen, S., (2004). An overview of Teachers and Trainers in Vocational E ducation and Training in the Partner Countries. International Coference on VET Teacher Training. January 22-23 2004. Mesut Matbacılık, Ankara.Wang, M. Haertel, and G. Walberg, H. (1993) what helps Student learn? Educationalship. L1 (4). Pp.74-79.McNeill, J. M. (1990) The Essential of Teaching, Decisions, plans, methods. JoneWiles. USA.Gök, F. - Okçabol, R., Ö÷retmen Profili Araútırma Raporu (1988), E÷itim-Sen Sendikası Yay., Ankara, ... Kazaları Araútırma ve Önleme Enstitüsü (1988), Ankara: (50 s).Banks, R. S. ve Thompson, C. L. (1995) Educational Psychology: For Teachers in Training. West Publishing Company. USA.Woolfolk, A. (1995) Educational Psychology. 6. Ed. Allyyn and Bacon. Boston. USA.Rothstein, P. (1990). Education Psychology. New York: McGraw-Hill.Arends, R. (1991) Learning to Teach. 2. Ed. MacGraw-Hill Company. New York.Açıkgöz Ün, K. (1996) Etkili Ö÷renme ve Ö÷retme. Kanyılmaz Matbaası. øzmir.Erden, M. (2001) Ö÷retmenlik Mesle÷ine Giriú. Alkım Yayınları. østanbul.Blaug, M. (198)5. ‘Where are we now in the Economic of Education?’ Economics of Education Review 4:17-28Carnoy, M. (1995). ‘Benefits of Improving the Quality of Education’ in Carnoy, M. (ed) International Encyclopedia of Economics of Education.Oxford: Elsevier Science Ireland Ltd.Levin, H. (1991). ‘The Economics of Educational Choice’. Economics of Education Review. 10:137-58 Centre for Educational Research and Innovation. 1992. Adult Illiteracy and Economic Performance. Paris: OECD.O’Flaherty, J. (1993). ‘Investment in the Future: The Economics of Primary Education’. Student Economic Review, 7: 193-198Schultz, T. (1961). ‘Investment in Human Capital’. American Economic Review. 51: 1-17Weisbrod, B. (1962). ‘Education and Investment in Human Capital’. Journal of Political Economy. 70:106-123.Çınar, H., (2005): An Overview of Furniture Design Education and Furniture Industry in Turkey. E÷itim ve Bilim Dergisi. T.E.D. Kasım Sayısı, Vol, 30. pp 82-88, Ankara. (2005).Çınar, H., Yıldırım, K., Sö÷ütlü, C., ve Döngel, N. (2007.), “Mobilya ve Dekorasyon Örne÷inde Ö÷renci Profilinin Mesleki Teknik E÷itime Etkisi”, proceedings of IETC 2007 International Educational Technology Conference, Educational Technology for Innovation and Change in Education, Volume I, pp 289 – 297. Near East University, Nicosia, North Cyprus.UEA, (2007): Data Base for Furniture Production, Export and Import, the Federation of European Furniture Manufacturers (Avrupa Mobilya Federasyonu), /DPT (2007) A÷aç Ürünleri ve Mobilya Özel øhtisas Raporu. 9. Kalkınma Planı. Devlet Planlama Teúkilatı. Ankara.Rawlings, B. (1991) Quantitive and Qualitative Data Analysis Methods. The Insitute of Advanced Studies. Manchester Polytechnics. Manchester.21-25.YOK 2008. 2003-2008 Ö÷retim Yılı Yüksekö÷retim østatistikleri Kitabı, www..trMEB, (2008) 2002-2008 Teknik Ö÷retmen Atamaları. www..trYeúilyaprak, B. (2002) E÷it6imde Rehberlik Hizmetleri. (Gözden geçirilmiú 5. baskı). Ankara. Nobel Yayınları. s. 205.Can, G ve di÷erleri, (2003) Psikolojik Danıúma ve Rehberlik. 3. Baskı. Pegem Yayıncılık. Ankara. s, 28.Karaa÷açlı, M. (2002) Mesleki E÷itim ve Teknoloji E÷itiminde özel Ö÷retim Yöntemleri. Nobel Yayınları. Ankara. s. 132.。
工业设计产品设计论文中英文外文翻译文献
中英文外文翻译文献原文：DESIGN and ENVIRONMENTProduct design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human.In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products.Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea ofproduct design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product.Product design includes factors of society ,economy, techology and leterae humaniores.Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface.Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.With the development of science and technology ,more and more attention is paid to austerity of environmental promblems ,such as polluting of atmosphere,destroy of forest, soilerosion,land desertification, water resource polluting, a great deal of species becaming extinct,exhansting of petroleum , natural gas and coal and so on . A designer should have a strong consciousness of protecting environment and to make his\her design to be based on avoiding destroying environment and saving natural recourse.Nowadays ,greenhouse effects,destroyed ozone layers and acid rain are three global environmental questions.Greenhouse effect is phenomena of the atmosphere becoming warmer . The forming principle of greenhouse effect is that the Sun shortwave radiation can penetrate into ground through atmosphere ,long wave radiation emitted from ground after ground is warmed ,is absorbed by carbon dioxide of atmosphere , and then atmosphere gets warmer.The carbon dioxide in the atmosphere changes the earth to a large greenhouse like a thick layer of glass . Methane ,ozone,chlorine,Fluorine, hydrocarbon and aqueous vapor also make some contribution to greenhouse effects. With rapid increase of population and rapid development of industry ,more and more carbon dioxide of atmosphere enters into atmosphere. Because forest is cun down in a large amount also ,carbon dioxide increases gradally ,and the greenhouse effects are strengthened constantly .The results of the greenhouse effects are very serious. The great changes will take place in the natural ecology ,such as desert expanding ,land corroding aggravating, forest retreating to the polarregion, calamity of drought and waterlog serious and rainfall increasing. The temperate zone will be wetter in water and will be droughtier in summer . Tropical zone will become wetter and subtropical zone will become more arid . All of these above will forces the existing irrigation works to be adjusted. Coastal regions will be threatened seriously .Because the temperature is rising , ice-cubes will be melted at the two poles so to the sea level will be rising and a lot of cities and ports will be submerged.The ozone layer destroyed shocked academia and the wholeinternational aommunity .American scientists,Monila and Rowland , pointed out that it is human activities bring ozone hole of today . arch-criminal that we now well know is freon and Kazakhstan dragon.Acid rain has already become a kind of air pollution phenomenon in extensive range,crossing over national boundaries at present. Acid rain destroys soil, makes lake acid and endangers growing of abimals and plants. It also stimulates people's skin, brings out the skin disease, causes lung hydronces, lung harden ,and corrodes the metal product,paint ,leather, fabrics and building with carbonate .In a word , the environment of human life has already worsened day by day. The reasons of the worsening mostly come from the human own bad life style, disrespecting the objective law, eager for quick success,use of the earth resource without scientific plan ,and lack of consciousness pratecting the environment in design . So they destroy home by themselves,which not only harm human on contemporary, but also seriously influence existence of descendants.The environmental question is caused by people's bad design and life style to a great extent , which puts forward a serious question for a designer that designers should undertake the historical important task of environment protection.Industry has brought the disaster to world while creates a large amount of wealth for mankind . Industry design has accelerated theconsumpition of the resource and energy resource and has caused enormous destruction to the ecological balance of the earth while creating modern life style and living environment for mankind.So as industry designers, setting up environmental awareness incarnates their morals and social sense of responsibility. Designers must be responsible for their own designs, and must take human health and blessedness , and harmonically coexisting of nature with the human as the rules necessarily obeyed in their own design.Designers must also master the necessary knowledege in material, craft, chemical industry, manufacturing,ect.,in order to be possible for avoiding to danger to environment causing by his design.The concept of "Sustainable development design"has epoch-maling meanings of humanity and real development of the world .It reflects the designer's morals and responsibility , and has already become the trend of designing development in the 21st century .Hence ,mankind's development made of traditional industrial civilization was turned to one of the modern ecological civilization. It is the coordination of social progress,economic growth and environmental protestion.Sustainable development is a kind concept of brand-new ethics,morals and values that people should follow. Its essence lies in fully utilizing the modern science and technongy ,exploiting green resources ,development constantly, impelling harmonious developmentbetween human and nature and pramoting inter-harmony of population ,resource and environment .Solving the problem of sustainable development is a change of technological innovation and behavior made.Sustainable development strategy is to solve the problem of meeting contemporary people's demands in maximum under the precondition of un-hurting several generations' demands of the future . It will realize the unity of the present interests and long-term interest and leave the development space for descendants.The question of the strategic consideration of sustainable development should include circulation, green energy and ecological efficiency.Green design comes from introspection on environmental and ecological disruption caused by design of modern technology and culture. Green design focuses on the balance relation of persons and natural ecology . Designers should consider the environmental benefits at every decision of the disign process, and try their best to reduce the destruction to environment.For industry design, the core of green design is "3R",namely Reduce,Recycle and Reuse.It is necessary not only to reduce consunption of substance and energy sources,and reduce letting of harmful substance,but also to classified reclaim, recycle and reuse products andparts conveniently.Green design is not only technical ,but also an innovative idea. It requires designer to give up some rat-fuck method excessively emphasizing at the style of products, and to focus on the real innovative. He or she would design the form of the products with more responsible method and make the products lengthen their wervice life as much as possible through succinct and permanent modeling.For materials,stock and regeneration of raw materials, consumption and pollution of environmental energy during obtaining materials,machining performance in follow-up manufacturing,low consumption and low pollution of energy ,and reclaimable during discarded should be considered.Problems of manufacturing are that pollution should be reduced or died out during beginning of manufacturing.Consideration on packing, transporting , sale, ect. is meant the environmental performance of packaging, green packing ,good performance of transportation ,decreasing self weight , reducing energy consumption , localized production and reducing consimption of work flow.Consideration on the use of product concerns with waste of energy and resources while produces are used , the modularization of environmental performance , recombined ability , and the mades of using product while products are renewed , as well as other factors.Easy disassembled feature , convenient decomposition and classification , reclaaimable and reusable features of materials, and recombined feature of parts or removes for other use should all be considered during the period while products are renewed , as well as other factors.Easy disassembled feature, convenient decomposition and classification , reclaimable and reusable features of materials, and recombined feature of parts or removed for other use should all be considered during the period while products are discarded .Clean energy souces should be Considered , such as solar ernergy , water, electricity and wind power .Clean materials concern with low pollution , innocuity, disaggregation and reclaimable . Clean manufacturing process is meant production with energy saving and environment protection while used, and reclaimable while discarded.Regeneration and reuse of parts are powerful measure of sustainable strategy. The fact has proved that through disassembly and analysis the proportion of reusable material would be higher after improving design and retread.For example , in a scrap car , metal meterial accounts for 80%.Among them , nonferrous metal accounts for 3%~4.7%. 45%of output of steel comes from scrap steeel in world and 25% output of steel comes from scrap steel in our country.Product Lifecycle Management is meant all life course of product from people's demand for product to be washed out , including the main stages of demand analysis, praduct planning , conceptual design , produce design , digitized simulation, proceess preparation , process planning,production testing and quaality control , sell and distribution, use \maintaining and maintain, as well as scrap and reclaiming . Advanced management idea and first-class information technology are taken into industrial and commercial operation in modern enterprises , which makes enterprises be able to adjust management means and management ways effectively in digital economic era , inoder to exert enterprise's unprecedented competition advantage . Helping enterprise to carry on products innovation , to win the market , and to obtain additional profit would improve the value of the enterprise products.译文：设计与环境产品设计是工业设计的主体和核心。
外文原版家具设计参考教材一
Furniture Industry Has to Reconsider all Products– Call it Customization DesignJ. GrosC-LAB / Department of DesignHochschule fuer Gestaltung / Academy of Art and Design, Offenbach, GermanyAbstractIntroducing mass customization to the furniture industry has one definitive bottleneck: nearly all of our traditional and modern furniture was either designed for handicraft or industrial technologies. It was not, of course, designed for the Computer Numeric Controlled technologies like CNC-milling or laser cutting –which predate mass customization. So we have to develop a full range of new products and consequently replace the concept of industrial design with the concept of customization design.The first step to customization design is the CNC-suitable form, aimed from the very beginning at a proper and cost effective use of the new CNC-technologies. This requires at least a redesign of nearly all products. Four examples of furniture design will illustrate that in detail. Then we will need a lot of research and experimental design in order to incorporate completely new possibilities like, for example, innovative joinery. At the end, customization design becomes “virtual furniture,” but only if the product is produced completely via digital technologies. Then, mass customization opens up further visions and models like decentralized manufacturing, technofactories or product publishers.Keywords: Customization Design, CNC-suitable Form, Technofactory1INTRODUCTIONThis paper is based on the work of C-LAB for customization design at the Academy of Art and Design in Offenbach, Germany. Furniture designs of C-LAB are produced and distributed by an association of medium-size manufacturers under the brand name Newcraft. Given the background of the current change to our production technologies and systems – i.e., of our entire production style – the following article at first tries to clarify the concept of customization design with the example of four furniture designs in details. The core issue is the question about a design that is production-friendly in a new way.Since all of the furniture shown here has to be entirely produced with Computer Numeric Controlled (CNC) technology, various visions and scenarios can be put form on this basis. One attempt is to transfer the term "virtual product" to the furniture industry. The future of the furniture factory and the changing design processes due to mass customization will be a special focus. Additionally, C-LAB has been dealing with the development of digital wood joints since 1995 and is currently working on a joinery project with regard to the subject of C-furniture that is sponsored by the Federal Ministry for Education and Research (BMBF). The point of this project is mainly two goals: the further development of CNC-compatible furniture forms and the development of a comprehensive solution for the customer-specific furniture production in a processing center called technofactory.2CHANGE OF STYLECraft – industry – customization. Everything points at the fact that we're currently experiencing a fundamental change of our production technologies and systems. This change in production style will most likely also change the style of our products. We can find proof for this direct connection between production technology and design in the terminology alone: arts and crafts –industrial design – and now: customization design. Customization design is first of all defined by the fact that it no longer presumes industrial mass production but instead is oriented towards the conditions and possibilities of digital production – as a necessary precondition for individualization and personalization. Form follows production methodNo matter what future is predicted for mass customization, the fact remains: the trends in industrial mass production are reversing and in many aspects again remind us of the customer-specific production that exists in handicraft. This means that in a way the peculiarity of the new production style seems to be post-industrial and neo-handicraft at the same time.What are the conclusions with regard to design? Post-industrial industrial design would be a contradiction in itself. It is therefore no question at all that as a consequence of mass customization the design concept will change in its core. Or, with other words: where the reference point of design is no longer called industry but customization, the past principles, models and business plans of industrial design also lose their traditional foundation. They at least have to be reconsidered.One principle of design, however, applies to all forms of design – and in times of technological change it does so on a special scale. According to this principle the form of all objects of daily life should first of all follow the appropriate production method. It should be conceived in a producible and production-compliant way from the beginning and at the same time aesthetically reflect the schools of thinking that pertain to a specific production style. After all, industrial design became one of the most important forms of expression of our industrial culture. Its theory exclusively follows the historic transition from handicraft to industry.12Production method follows formIn the practice of design the conditions often have an opposite effect. Here, it seems, a new production method experiences a breakthrough only when we also develop new products. For example, the design of Michael Thonet is considered a necessary precondition for the first industrial production of chairs and almost all classics of industrial design make new materials and technologies accessible to the industrial production process – take,for example, Marcel Breuer, Charles Eames or Verner Panton.Now, we can have the analogous presumption that mass customization will not have its real breakthrough without new specially designed products that are production-compliant in a new way – at least not as far as furniture production is concerned.Only in the beginning of mass customization was design not an issue. There's a simple reason for this: in the case of custom-tailored jeans, for example, the first successes were based on two-dimensional patterns that can be cut very easily with CNC technology. As soon as we enter into the area of more complicated production processes, such as for furniture, we recognize immediately that the new production method also presumes new products and fundamentally new designs.Given the fact that all furniture in the past was designed and optimized for the handicraft or industrial production these designs are either entirely unsuitable or not optimally suitable for mass customization. With respect to customer-specific production, they have to be seen in a new light, need to go through a redesign or be replaced with new designs.3 FURNITURE CUSTOMIZATIONDesign for customer-specific furniture production begins with the replacement of characteristic elements that have thus far been developed for the handicrafts or industrial production with CNC-compatible design. In this process – as the term of the joiner lets us presume – the joinery plays a key role.Digital WoodjointsIn a basic study of C-LAB for customization design,digital wood joints have been developed and tested since 1995. One interesting experience was that we were able to reproduce the most complex joints in the history of handicrafts in a new way with a 3-axle CNC mill – figure 2.Fifty other digital wood joints, including more every-day joints and completely new types – figure 1 –, areavailable on CD ROM with German and English text [1].Figure 1: New type of woodjoints.Figure 2: Digital woodjoints.3C-StoolNext, let us look at the transition from the digital wood joints to CNC-compatible furniture design. One of the first examples is the C-stool designed in 1995 – a redesign of the traditional 3-board stool. This furniture style was already produced with dovetail joints in handicraft; slum inhabitants nailed it together with a cross-strip and in Max Bill's version it became an icon of industrial design.In this place, the C-stool – figure 4 – illustrated the basic idea of customization design. On one hand, this case also confirms that even simple furniture cannot be produced without production-compliant modifications suitable with CNC technology such as computer-controlled milling. On the other hand, we can understand especially easily how the CNC-compatible redesign develops from a digital wood joint. The C-stool is thus first of all based on a transformation of dovetail joints into fingertip joints – figure 3.As a consequence, we can produce the stool in a single pass from a plywood board via computer controls. In its second version it can then also be programmed and varied in the sense of mass customization via amouseclick as a bench, base or desk – figure 5.Figure 3: Fingertip joints.Figure 4: C-stool, 1995Figure 5: C2-stool, bench, desk, parts and milling tool.4Post-IKEA DesignIKEA, the furniture brand, embodies an outstanding success story of industrial design. And although the rise of this Swedish enterprise is certainly due to many factors, its design follows primarily one simple principle:IKEA develops cost-efficient self-assembled furniture.In the context of industrial production sophisticated joints, special screws, angle irons or crossbeams are used – and delivered with more or less understandable assembly instructions. However, the IKEA design is neither intended nor suitable for mass customization. The question, therefore, is how would comparable and CNC-compatible furniture be designed for mass customization?Again wood joints integrated into the furniture design that we can change via software in any size and from case to case would seem appropriate.Here the demo example is a double hook that enables especially simple and cost-efficient plug joints. Among others, a desk was designed with it that basically consists of nothing but the "intelligent cutting" of a panel material. The assembly is self-explanatory in a way that IKEA clients can only dream of.However, such furniture will be presented in the future not only with pictures and in exhibitions but also in virtual reality, as VR objects – figures 6 and 7.Such representations can be transferred via the Internetstarting 2003 in a better quality, as well.Figure 6: Post-IKEA desk, assembly.Figure 7: Post-IKEA desk, VR-Movie.5Figure 8: Frame shelf, 1998.New Conditions and New PossibilitiesThe shelf in figure 8 at first also follows the conditions of CNC-compatible design: it is based on the use of digital plug joints and can be entirely produced with a CNC mill.To assemble it, the plug joints are locked by the slit side parts and the shelves spread and fix the latter.Customization design should not only comply with the new conditions but also exhaust the new possibilities step by step: for example, in the field of cutting forms without waste and material conserving constructions.Design lightWhen we assemble the shelf in figure 9 from angular forms we not only save two corner joints but the angles that interlock can now also be milled out of one of thevarious panel materials with minimal waste.Figure 9: Frame shelf, design light.Added is a construction where the frames interlock with the grooved side parts with a small tongue on the left and right side thus providing two elements with the structural stability of a T-beam. The result: clearly reduced material thicknesses.This small detail is illustrative of a big opportunity of computer-controlled production, the so-called design light. Its principle consists of designing in a material-conserving way with more complex forms.Finally, the next steps of mass customization can be easily imagined with the example of this shelf: versions are generated digitally via a product configurator, and if the shelf exceeds a certain width, for example, the configurator automatically adds a central element.6Figure 10: Table with Newcraft image.Different ImagesCNC-compatible design – for example in the case of the table in figure 10 – gains an almost neo-handicraft image with even more complex joints and fine woods, but with new high-tech characteristics.This table only illustrates one of the many development paths on which customization design could differentiate and individualize. With CNC-compatible technologies that will be even more advanced in the future and growing experiences in CNC-compatible design, these stylistic differentiations will develop especially higher quality forms that, for example, with a new design come to the level of the former arts and crafts. Added is the expansion of our design possibilities through the use of various materials.4 FURTHER VISIONSCertainly, customization design is still in its early beginnings. But the fundamental technological and economic dynamics starts to unfold only on many levels.And the further we go, the clearer it becomes. The digital media is followed by the digitization of products.If this is correct only in part then the cultural revolution initiated by the new media will soon ignite its second phase. Based on the beginnings of mass customization we could then imagine visions and scenarios of the digital revolution that go much further. However, we will restrict ourselves here to two questions: the future of the factory and the design processes.TechnofactoryDevelopments that are – as one would have said in former times – on the drawing board can be most easily predicted. There is hardly any doubt that CNC technology – the foundation of mass customization – will still have a considerable development: with faster, more cost-efficient and much easier to operate 5-axle mills, with laser beam and water beam cutters with a much higher performance, with 3D plotters and entirely new machine concepts, for example the hexapods.Then there is the combination of various CNC technologies in so-called processing centers. This combination could absolutely result in a developmental thrust that is similar to the combination of individual devices into an assembly line. Contrary to the assembly line, however, now flexible universal machines like the CNC mill and laser beam cutter are grouped into new processing centers. This is how the factory of the future is created with a fundamentally different technology, in a sense, as a high-tech system for the production of individual products – we call it technofactory.This technofactory is about in the middle between the joiner's shop and the furniture factory. Since the production no longer is based on a multitude of devices for each individual working cycle but instead can do with just a few universal machines that each fulfill several working cycles, the new production unit should be considerably smaller than a comparable assembly line.Therefore, a medium-size company that decentralizes furniture production and in the end equals the model of print-on-demand is conceivable.Pilot ProjectsOne of the first companies that tried to establish a chain of decentralized furniture factories was the Italian Op Top. The attempt, however, failed after a few years. The time was not ripe for the project in several respects. After all, Op Top was able to produce and deliver custom-tailored furniture within 48 hours in several decentralized facilities. Among the most serious problems was the restriction of the design to box-shaped furniture. The standard of an individualized furniture production therefore could not be communicated.The German company InVIDO, which has been trying to introduce the procedures of mass customization into furniture production for a short time now, has thus far not gone beyond the stage of box-shaped furniture. InVIDO also discovered that Op Top had already anticipated: in the case of bulky products – like furniture – mass customization can be better produced in decentralized units that are close to the customers. Technological possibilities were already sounded out by Op Top. In its pilot projects the company had discovered that it would probably be best to operate only two computer controlled processing centers in various locations instead of gathering a multitude of identical processing centers beneath one roof. In the meantime, InVIDO is striving towards a cooperation with regional joiner's workshops.7However, it could also be possible to bridle the horse from the other end. Currently 15-20% of the German joiners are equipped with CNC processing centers, and it now becomes absolutely conceivable to develop the procedures of mass customization from the existing structures of the handicrafts – especially through cooperations.Since 1998 ten joiner's workshops in North-Rhine Westphalia have joined forces and have been producing customer-specific furniture with CNC controlled machines under the brand name Newcraft since then.This model is still in the test phase, as well.It seems remarkable, however, that a comprehensive discourse about the question of computer controlled furniture production has already developed in the professional trade magazines, and that a few joiner's associations have obviously come to the insight that the further development of customer-specific furniture production requires the broad development of CNC-compatible furniture design. This is shown, among others, in the design competition CNCconFORM that wasfirst held in the year 2001.Figure 11: M. Schein, T. Herok, Chaise lounge, design competition CNC-conFORM 2001.We can conclude that the race for the technofactory in furniture production is still open for the most part. Since we're dealing with a convergence model of the industry and trade, it can probably be tackled from both sides.The industry provides greater resources and the trade provides the home field advantage. If someone from the ranks of the industry starts off, they may establish a kind of McDonalds for furniture, and the joiner's trade could grow into the structures of a specialty restaurant. The winner is, at any rate, mass customization.5 NEW DESIGN PROCESSESLet us combine the perspective of customization design and the outlook on the technofactory into reference points for yet another question: in which way do not only the forms of the products but also the procedures, the organization and not least the creative processes of design change?The Customer as a Co-DesignerWhen the customer determines the color, proportions and versions of a product, he already begins to take over tasks that the industrial designers generally rack their brains over for a long time. The customer becomes a co-designer in an even more obvious way when he adds his own ideas about forms, inscriptions or, for example, thecontour of a table top, to the production process – seefigure 12.Figure 12: Freehand drawing, table top.Marketing experts now say that the customer is neither a motivated nor capable co-designer. This may apply to today and even tomorrow. But if we remember the do-it-yourself-movement and the fact that individuals are increasingly familiar with computers, then a design-it-yourself-movement could emerge in the near future whereby ideas are formulated in a CAD program,transferred online to the nearest technofactory and produced there.“Fitting Form”Theoretically, we can no longer even exclude the idea that the design profession that has emerged only with the age of industrialization may disappear along with industrial mass production. In fact, the design processes in the context of mass customization already resemble those of pre-industrial handicraft and the arts and crafts more than those of industrial design. The procedure that produced rather handsome furniture without a designer back then is described as "fitting form" in design theory.It is based on continuous feedback processes between producers and customers – both gain in design competence in this process.Type ScoutsBut what tasks then remain for the professional designer? First of all, new ground is broken. The changeover from industrial design to customization design is professional work. But after that furniture customization will develop in two directions according to its logic: as a reduction of the multitude of types and an explosion of the formation of versions.The customer-specific product does not involve new inventions, nor new construction, nor independent design – it is a version. On one hand, it meets with ourneed for differentiation in a much more individual way than does industrial design, and on the other hand, it allows a concentration of the various types – for example, a kitchen table – to sensitive, technologically mature and aesthetically striking solutions.The development of such basic types remains the task of the designer. Their further development, differentiation and individualization hence only occur continuously with versatile interactions between the producer and customer – following the old model of the "fitting form." Designer Consulting HoursThe customer often won't be able to do without professional help even in the case of the formation of versions. Especially as a co-designer he will need a trainer in the beginning, and in difficult cases, an advisor. Such design services, however, have to be organized in an entirely different way than in a design office – for example, as designer consulting hours or as a hotline. Product PublishersIn the end, what might change the role of the designer most is the fact that he will no longer make designs but produce "virtual products." The design then not only includes the blueprint but also programs for the computer-aided manufacturing.Wherever production is developed following the model of print-on-demand, the production is regionalized and the trade with virtual products is globalised. With respect to the furniture production, on one hand, furniture "publishers" could develop and distribute digital designs like book publishers distribute texts. On the other hand, production companies or chains will develop that produce every globally offered design locally and modify them on site individually for their customers.From Design to the Applied ArtsIt remains to be seen how satisfying, lucrative and glamorous the different roles of design will become in the end as a result of mass customization. Much depends on whether we can only appreciate the ergonomically custom-tailored version of a product, or whether we truly exhaust the new technologies of individualization and personalization. May be to the point of creating a renaissance in the applied arts. Theoretically, quite a bit stands in favor of this. Just as the old connection between art and everyday objects was torn apart by mass production, it would have to be connected again today by overcoming mass production.Only one thing is certain. If renewed forms of the applied arts indeed develop, they will no longer be produced with handicrafts but with the new technologies and procedures of mass customization – but that's a different story, call it art customization.6REFERENCES[1]Sulzer, F., Gros J., 1999, Holzverbindungen DigitalWoodjoints, Krebs, CD-ROM, www.dds-medienservice.de8。
家具设计中英文对照外文翻译文献
家具设计中英文对照外文翻译文献(文档含英文原文和中文翻译)原文：Researches and Development of InteractiveEducational Toys for ChildrenAbstract: For Oriented by the teaching philosophy "game based learning", this paper carried out an in-depth research on the interactive mode of children's educational toys. In the research process, it attempted to build a new immersed educational-game scenario for children by using the new interactive technology so as to inspire the children's interest in learning and exploration. The research object in this paper was an interactive educational toy-"funny tap" English learning machine for children. After integrating the design concept of this product from an industrial designperspective, we selected specific interactive technology and completed the engineering. Moreover, we have conducted tests of work principles and effect of usage based on the sample machine. The final result indicated that there is a promising and huge market potential to apply the new interactive technology to development of educational toys.Keywords: Interactive Educational Toys, Interactive Design, interactive mode1.INTRODUCTIONSince 1980s, human beings including the children have entered a digital age. Under the influence of the advanced information, early stage education machines, electronic building blocks, electronic wall charts, and other new toys have become children's new favorites. With the influence of the west teaching philosophy-"game based learning", parents are strongly agreed with such toys for children. These modern educational toys will become the mainstream of toy development due to their promotion of children's learning, practical ability, creativity and imagination.Interaction exists in all things contacted by humans, and interactive design emerged to design a kind of communication and dialogue between human and objects to minimize the "cognitive conflict". As a new design theory, interactive design has a wide range of applications in designing educational toys.2. THE PLAN AND BENEFITS OF THE INTERACTIVE MODE OFCHILDREN 'S TOYSThe rise of various digital technologies, such as voice recognition, 3D video, and virtual reality technology etc., gives new experience to people's perception. The author aimed to apply these new digital technologies to the researches of interactive educational toys design.The plan of the interactive mode of children's educational toys:2.1. Voice InteractionVoice interaction voice includes touch voice interaction, voice command interaction and intelligent voice interaction. Touch voice interaction and voice command interaction have been very common, such as electronic wall charts, televox;intelligent voice interaction is the author's aim to create a genuine dialogue between children and simulation toys through digital technology, to foster children's language ability, particularly in a family with only one child, the children need a "partner" to accompany them to learn and play with.2.2. Video InteractionVideo interaction can be divided into 2D image interaction and 3D video interaction. The former has been broadly used in toys, such as in multimedia courseware, image or video of horse will appear when referring to "horse"; 3D video interaction is the author's aim to apply 3D projection technology in the "play" process, for instance, when referring to a green grassland, a grassland projection will appear so that children feel like being on the grassland, which enhances children's learning experience; meanwhile, this enhanced emotional experience will prolong the memory retention time or even extend to a ultra- long-term memory.2.3. Narrative InteractionNarrative interaction is to conceive a story for the toy and offer a task role for children to make them participate in the story. The steps are shown in Figure 1:Fig. 1. The steps of narrative interactionBased on children's curiosity and imitation psychology as well as the investigation of the games, the author found the correct application of story interaction in educational toys can greatly mobilize children's learning enthusiasm, for example, we conceive an English learning process as treasure hunt activity. In this activity, the words are hidden in the treasure box, and children themselves are explorers, if they put one or a few words together, they will get a treasure box, and they can also make a competition with peers to get the treasure boxes. Through establishment of game theme, selection of roles, and plot development in the activities, children not only increase their knowledge of English, also learn how to get along with peers and develop good self-awareness.2.4. Web Virtual Reality InteractionWeb virtual reality interaction is virtual imaging through network connections, making you feel like your partners sitting, playing and learning with you, to deliberatethe loneliness in the contemporary families, and promote children's learning initiative in the competitive context.Psychological research shows that with respect to the learners, the learning behavior resulting in emotional pleasure experience will produce a positive emotional resonance, thereby enhancing the learners' learning initiative and enthusiasm. The realistic educational-game scenario created by interactive educational toys for children not only brings emotional pleasure experience to children so that learning is no longer boring for them with a purpose of mobilizing the enthusiasm of study and developing creative thinking, but also enhances children's social communication ability to help children establish good social character favorable for their life.3. DEVELOPMENT OF INTERACTIVE EDUCATIONAL TOY—"FUNNYTAP"Parents are head-ached on children's learning English, so we focus on developing an interactive English learning toy to help the children remembering words in game scenario and stimulate their interests in learning English, and training children's hand operation and brain coordination.The development practice procedure of interactive toy for children-"funny tap" is shown in Figure 2 as following:Fig. 2. The development practice procedure of "funny tap"3.1. The development process of interactive concept of interactive educational toy-"funny tap"It is the development process of "funny tap" interactive concept. After investigating the object group of children and parents about their needs of English learning machine, we summarized six key indicators such as security, fun and incentive. Here we mainly describe three models of interactions shaded in Figure 3.To meet the requirement of fun, the author designed a narrative interactive process, as is shown in Figure 3:Fig. 3. The narrative interactive process of "funny tap"The word learning process is conceived as a game of whack-a-mole, imagining there are N mole holes, and there are M letters in a word (i.e. M moles with a letter). If you tap down M jumping moles in accordance with the order, you will get the cheers, if the tap is not correct, it will continue to call "come on"; meanwhile, the action of "tap" is not only funny, but also effective to train children's hands and brain coordination.Voice interaction was prepared by the microcontroller program to control the voice modules. There are two features regarding the "funny pat": one is word pronunciation; the other is the design of the applause and cheering voices for reward and punishment, which help to reach the goal of incentive.In the first stage, video interaction was prepared by displaying the letters on buttons through LED dot matrix character display modules mainly controlled by microcontroller; in the second stage, we provided toy with 3D projector for projecting the whole process in the air to construct a 3D emotional scenario, and the action of "tap" is to tap the projections in the air.3.2. Principle diagram of interactive educational toy for children-"funny tap" The operation principle of "funny tap" is shown in Figure 4:Fig. 4. The operation principle of "funny tap"The system consists of six components, such as voice module, LED indicator, action back module, MCU, power module and LED dot matrix character display module. Among these, the three formers are connected with MCU through 8-bit data bus; LED dot matrix character display module is connected with the microcontroller through the 12C bus. Voice module stores English word pronunciation documents needed in the game, and MCU pronounces the word by controlling the voice module via the bus. LED dot matrix character display module consists of driver chips and the 8*8 LED matrix. MCU bus control LED dot matrix character display module via I2C to show the corresponding English letters. Action back module tests and captures the player's actions during the game for the MCU to judge whether the player conducts normal actions to control the game process.3.3. Appearance design process of interactive educational toy-"funny tap"The following Figure 5 is a design process from sketch, modelling, model-making to the final product and the drawing of the product structure explosion.Fig. 5. Appearance design process of "funny tap"3.4. Interaction testSample of N (N is an odd number) preschool children was randomly selected to test the product's availability, usability and user's willingness of using it. Mainly onsite testing observation and questionnaire survey, and then we improve the product according to the test results.Testing times are equal to or more than I so as to find the products with highest interaction. In the product final trial, most of parents fed back that this toy combined fun and knowledge well and the whole learning process was very smooth and the children were very happy when "learning".4. SUMMARY AND PROSPECTChina is a large country of toy manufacturing, but it still remains in the stage of imitating foreign design, especially in educational toy design. The research and practice of interactive educational toys in this study is expected to give some thought and inspiration to toy designers so as to further promote the development of Chinese toy industry.REFERENCES[I] Liu Zaihua, Children's Social Intelligence, Anhui People's Publishing House, 2008.[2] KARL T. ULRICH, STEVEN D. EPPINGER, Product Design and Developmen,Higher Education Press, 2005.[3] (U.S.) Robert J. stembeg, Translated by Yang Bingjun, Chen Yan, Chow Zhiling,Cognitive Psychology, Beijing: China Light Industry Press, 2006.[4] Zhang Zhcnzhong, Li Yanjun, Classification Research of Educational Toys,Textiles and Design, December 2008 Vol. 12.[5] Li Qiaodan, Xia Hongwen, On the Function of Digitized Bran-training Toys inElementary Education, China Education Informationalization Issuing Department.[6] Song Jun, Researches on Design Principles of Children's Educational Toys,[Online]. Available: [7] Liu Mingliang, " The Principle Production and Purchasing of Electronic Toys", New Era Press, 1992.Toy development and design based on the needs of olderpersonsAbstract:In china, aging and the life-quality of older persons has become today’s important issues of social concern, and how to solve this problem thus turns to be an important challenge in the design and development of supplies for the old. Now, the ensuing ways to solve varied. For instance, the design community has put emphasis on the design and development of the supplies for the old, but a large part of these de signs were for medical care and medical products of the senior person. The designsfor the vast majority of the healthy people in their senior age are rarely involved. In this, I think, for the function of toys, the emphasis on the development of physical and mental health of older persons is the key, so to rethink the development of toys for the old persons in china is one of the ways.Keywords: Toys for the old, Needs design, humane careMentions of the toys, we always unconsciously think of the innocent children, as if toys are just child’s belongings. With the improvement of living standards, emphasis on the toys is constantly improved. To meet the needs of children, various designs are brought out, and then from luxury goods, toys have gradually become the child’s necessities. However, the authorities of the china toy association state that the toy is no longer the children’s only product: toy concept has been extended and functional and practical range of modern toy has been further expanded. Toys not only inspire children, but also become the recreation products for the seniors. The old also need toys that could meet their spiritual needs and enrich their life in later years.1．Status of the development and design of toys for the seniorsIn china, toy for the old is still an industry to be developed. Senior people, as customers, they have needs and also purchasing power, but no targeted toys for them. There are as much as 130 million seniors in china who would be a huge consumer group, but the research and development of toys for old consumers has lagged behind developed country for more than 30 years.In America, the toys designed for the senior amount to 40% of the toy market. The toy market for old persons is more mature. They have many toy stores for the seniors throughout the urban and rural areas. Also our neighbor Japan does well in the development of toys for the old persons, and most toy companies have produced toys for seniors, and continued to introduce new products.2．The meaning of the development of toys for the seniorsRetiring from work, the senior people get more time than before. Besides watching TV at home, they have no many alternative entertainments. Some old people have been for a long period in loneliness. Over time, they are prone todepression, anxiety disorder and Alzheimer’s, seriously affecting their physical and mental health and become burden to children and society.Li guangqing in department of rehabilitation of Beijing Xuanwu Hospital once said: “with age increasing, the function of the body of the seniors gradually degraded, and their reaction will be clumsier. At the same time, retirement from work, the opportunity for the old to use their brain reduces, which further brings the decline of attention and cognitive ability. Except to maintain good habits and moderate exercise, to slow down brain aging, putting hands and brain in work at the same time is the most effective way, which is exactly the function of toys. for people with Alzheimer’s, playing with toys, to some extent, would alleviate the condition.Therefore, toys can develop people’s thinking ability, and improve our intelligence. If the seniors play with toys constantly, the aging of the brain and the Alzheimer’s would be effectively prevented. Medical experts found that to maintain old people’s intelligence, we must first fully protect the brain. In addition to proper nutrition and adequate sleep, the seniors should make most of the brain. Just as Chinese saying tells that”water does not rot, and the door hinge is never worm-eaten “, the more one use his brain, the more sensitive it becomes. Playing with toys is exactly a good way to use the brain. With toys, the old people not only receive more information, at the same time become more optimistic than before, thereby enhancing their immune system function.3．The needs-analysis of toys for the oldWhat is a needs analysis? This approach is to focus on the users’ needs. Users’needs are sources of many new products.What is the demand-design? it is the most front-end process for new product in its life cycle, and decides the success or failure of the new products. Needs-design starts from the businesses and designers’judgment of the market or the needs of users, and ends at planning proposals or technical specifications on description of the product development. Understand the market or user demand is a high-level investment for the success of the product.The development and design of toys for old persons should start from the needs ofthe seniors. Only a real understanding of the old consumers and their psychological and physiological needs can bring toys that give practical cares for the seniors physically and spiritually.Toys for the old should bring human care. Toy design process should be integrated into this concept. The aim of the toy design for the old is enhanced, with seniors-centered design principles, and with the help of analysis on the seniors’physiological psychological characteristics, cultural level and lifestyle. The toy design principle that shows humane care for the seniors is reflected at the same time.(1)Safety firstTo varying degrees, the judgment, cognitive ability and ability to respond of the old people weaken, thus in the process of using the product, they inevitably make mistakes. In case a threat to physical and mental health occurs, they usually are unable to escape the danger. Therefore, toys for the seniors should be fault-tolerant. So that, the old people even make a mistake, there will be no danger. Here the reduction of operation process and the set of message for safe operation is an effective way to ensure the safety of the seniors with toys.(2)Moderate difficultThe design of toys for the old should be of moderate difficulty, and the purpose is to arouse their interest in playing. If too simple, it would not enhance the interest of the seniors and thus would not achieve the aim of exercising the brain; if too difficult, it would be strenuous for them to learn, and consequently cause a sense of failure which is not conducive to their mental health.(3)Easy to identifyThe toy should have a familiar form and an understandable functional theory for the old. It should also be equipped with an interface in keeping with the experience and habits of the seniors. Besides, the toys that need interface design, should take into account the graphic symbols, size, color, clarity of sound, light intensity.(4)Facilitate communicationPeople’s feelings need to vent and exchange, especially for the seniors. For them, emotional communication is indispensable to maintain their vitality, andimprove the quality of life. Playing with toys, there are many ways for the old to choose, such as: taking turns to participate, working together and racing in the game. The development of multiple-persons playing toys is to create a harmonious environment in which they can talk when play. So the core of toy-development is to involve the participants as much as possible. For the participating ways, common collaborative participatory approach is the best, which is more conducive to conversation, and get to know some new friends. In this way the seniors can expand their social circle with emotional exchange.(5)The effect for keeping fitness and developing intelligenceIncreasing with age, people’s organ recession becomes an objective physiological phenomenon. In order to maintain good physical function and mental state, and improve the quality of life, fitness puzzle is a very important content in the lives of older persons. Body-building that can achieve with playing toys is the most basic needs of older persons. Old people by playing intellectual toys can effectively prevent Alzheimer’s disease, so to maintain the flexibility of the seniors’mind is the main direction of the toy development.(6)Cultural connotationsLife experiences bring the old people with more comprehensive concept of life, thus toys with a certain ideological and cultural depth usually put them in recollecting and thinking of issues. Toys for the seniors are different from those for children: a child plays a toy intuitively, while the old emphasize the toy’s inherent fun, and show great interest in the toys with cultural connotations. Of course, this culture must be familiar with the elderly, has gone deep into the ideological deep.Summing up, toys for the seniors have a promising market, for each one of us would inevitably become old. The design industry should make more efforts to improve the living standard of the seniors. One way is to develop toys for the old and help them improve their life quality with theses design. We all know, care for the old is to care for all mankind, and designing from the needs of the old has become an urgent task of today’s society.References：[1]Yang Guanghui. China’s Population Aging and the Industrial Structure [m].Liaoning Science and Technology Press, 2008.7.[2] Wang Lianhai. Chinese Toys, Art History [m], Hunan Fine Arts Publishing House, 2006.8.[3] Wang court. Toys And Innovative Design [m], Chemical Industry Press, 2005.12.儿童家具的人性化设计摘要：本文以儿童家具设计问题为出发点,提出人性化的概念在新的时代环境下的新解释,并指出新的人性化设计原则在儿童家具的设计方法中的实现,分析儿童家具的现状,并提出一些建议。
(完整版)工业设计外文翻译旅行产品类毕业设计
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毕业设计(论文)外文资料翻译学院：机械工程学院专业：工业设计姓名： xxxxx学号： xxxx 外文出处：Design Implications ofProduct LiablityBy J.G Roche附件： 1.外文资料翻译译文；2.外文原文。
附件1：外文资料翻译译文产品责任制为设计带来的启示产品使用的舒适性不是根据设计者、制造商或者零售商自身的需求作为设计标准的，而是根据使用者的需要进行设计的。
Juran等人就将以下内容作为主要舒适性能的判断参数—产品设计质量—产品的适用性—特定性能—适用领域的服务性设计质量是在指在一项设计中所针对的三个分别独立的步骤：(1)满足使用舒适性的构成要素；(2)产品或服务的设计观念的选择，需要满足使用者对必要功能的需要；(3) 如果可以严格执行将已确定的产品设计观念融入到一系列具体的设计规范中这一理念，那么就会满足使用者的需求。
Juran将四个和使用舒适性相关的使用参数以及它们彼此的关系进行了归纳总结，正如表一所示。
而所设计产品的好坏会受到市场调查效果的影响。
产品的好坏的标准可能是很模糊的，而对于设计师或者是一个设计团队而言就有必要将不完整的市场信息列出一个设计理念框架进行研究。
市场上对生产设施的可用性和它们的承载能力的了解是必不可少的，因为对这一过程的了解和生产息息相关。
但工人们都有这种必要的技能吗？什么样的材料可用而它们的成本是多少？是否是人们依据预期的售价对成本估计过高？许多工程材料的可靠性和可维护性的基本性能还没确定，因此备件的应急使用能力对许多产品可能是至关重要的。
而产品适用领域的服务性也同样具有重要意义。
严格的产品责任的落实这些因素影响了使用的舒适性而且应该在设计师的设计中得到体现，可是设计师们在他们的设计工作中有多少成功的满足了这一要求呢？在过去的20年里消费者运动的大规模增长反映了消费者对产品以及服务的不满。
家具设计外文翻译参考文献
家具设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)SCANDINA VIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditionsof material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process ofindustrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an agricultu ral society to an industrialized one towards the end of the last century.The cities almos t exploded in size and social awareness flew with the emergence of the new social clas ses-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of moder n consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920’s,when the social housing projects began and detached houses started to appear.The second stage was in the 1950’s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge andawareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmake r workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ an market,caught sight of Danish furniture design-Danish modern.The development of Danish furniture design continued forcefully up through the 1950’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology develop ed ,production became increasingly industrialized and this affected the way in which a rchitects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsen’s famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed i n cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning,It was designed as an industrial product for mass production. Some years later, in 195 7,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chai rs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 19 71. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeed ed in creating a long series of Danish furniture classics, such as the easy chairs “Aegg et”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Roy al Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jaco bsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furnitu re. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studi o. Borge Mogensen was a former student of Kaare Klint, and Mogensen further devel oped Klint’s ideas regarding quality functional furniture for the ordinary consumer. F DB’s furniture was manufactured in wood, especially in the domestic wood sorts of oa k and beech. These chairs were designed for industrial manufacture and despite the fa ct this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for him self by designing exclusive furniture in an altogether different price bracket for afflue nt clientele. Despite this, he never diverged from his principles of functionality and us er-friendliness.The two designers who really put Denmark on the world map were Hans J.Wegn er (born 1914) and Finn Juhl (1912-1989). These two men came from radically differe nt backgrounds. Hans J.Wegner was the country craftsman who had received his traini ng as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Cr afts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educ ated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their prod uction of quality furniture is so extensive-Hans J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Partic ular examples of Hans J.Wegner’s unique design work are Kinastolen (“The Chinese Chair”) from 1945, The Chair from 1949, and Cirkelstolen (“The Circle Chair”) from 1986. Among Finn Juhl’s furniture are such highlights as his armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that designers had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto and the Swedish designer, Bruno Mathsson had already created a long line of beautiful la minated furniture in the 1930’s and 40’s–and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & Johnny Soe rens en’s approach so unique was the fact that they regarded their furniture as industria l products instead of one-of-a-kind, craftsman-made goods. Their furniture was highly adapted to rational mass production, almost kike industrial design. More inportant stil l was the fact that an extremely viable model for collaboration between designers and manufacturers had been found. This model created a school of thought and convinced the furniture industry that good design could actually pay!As we approach a new century, there is every reason to have high expectations fo r the continued development of Danish furniture design. Never before has so much qu ality furniture been manufactured, and young, new designers are making their mark. P eople like the designer Troels Grum-Schwensen, Kasper Salto, Henrik Tengler, HansSandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work approach which will probably guarantee the leading position of Danish furniture design for ma ny years to come: innovation via tradition.Given the fact that the western concept of art from the end of the 18th century m oved towards the ever-increasing independence of artistic expression, part of the task of modern art became to reassemble what had been dismantled. The boundary betwee n fine and mass culture narrowed.Visual art, architecture and applied art were to be se en as aspects of a common dream; the ideal of powerful, modern expression. The begi nning of the 20th century saw the introduction of the term “Gesamtkunstwerk”. A hou se was no longer a frame around random content. Buildings, furniture design, decorati ve art and interior design generally were to support the integral whole, which became greater than the sum of its individual parts.From the 1920’s and 30’s, the dominant German Bauhaus School greatly influenced design in Europe and America. Architect and School Director, WalterGropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished fo rever”.In Denmark, architects led by Arne Jacobsen, among others, were extremely stim ulated by this way of thinking. Here lay the keystone to the tradition of interrelationsh ip between architecture and interior design, which to this day remains an important ha llmark of Danish architects and designers. Since 1971,the architectural firm of Dissing +Weitling A/S has continued to run and develop Arne Jacobsen’s architect business, w ith employees in Denmark and around the world. The depth in Dissing+Weitling’s wo rk is exceptional but this also says something characteristic about the Danish approach . Here we find both a sense of wholeness as well as an attention to detail, and especiall y, the challenge of getting both elements to form a synthesis. Nothing is too small, let alone irrelevant to warrant care and attention.In addition to architectural buildings, Dissing+Weitling also carry out work in th e fields of furniture, lighting design, and medico-technical equipment. In all events, it is an attempt to merge the various parameters such as form, function, construction, ma terials and color to form a balanced expression whose hallmark is a strong visual ident ity, which is the leitmotif of the design process: A clarity and purity which has timeles s and universal qualities. In this regard, Dissing+Weitling have done a supreme job of carrying on the legacy of Arne Jacobsen.Whereas at the close of this century, we have witnessed the noisier, mishmash of diversity of international design reflecting the spiri t of the times, here in Denmark-and the Nordic countries-the modernistic method and approach has prevailed. Design has been carried forward with moderation and variatio ns based on a tighter minimalism, focusing on the elements and dynamics of the indivi dual form, as well as a pronounced sensitivity for materials. There are many examples of how this subtle dialogue between space, furniture and interior design have found p owerful expression; designs which break up and imprint a different rhythm on the spa ce and the way in which fine contrasts such as the lineatity of the room are juxtaposed by the curvature of the reception area-a common, repeated theme in many interiors.It is important to remember that interior designers are not housebuilders like arch itects. Interior designers are given finished rooms whose interiors they have to design.For this reason, all interior design deals with “treatment of the room” and the Scandin avian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism a nd democracy paired with functionalism, which again is linked to the architectural tra dition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored wi th respect for existing architecture and the qualities of past design. Many buildings ha ve been thoroughly renovated with an eye to meeting new functions and modern requi rements.The balance between maintaining the original distinctive architectural feature s and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can becom e a means of ensuring a uniformity of style and expression.参考文献:朱迪思·古拉泰晤士和哈德逊公司.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11迈克•罗莫. 室内与家具设计. Thame Hudson出版社.2005北欧家具设计斯堪的纳维亚设计是在20世纪30年代即已取得较大成就,并获得了国际声誉的设计风格。
工业设计英文文献
工业设计英文文献Design is a particular human beings in order to achieve the purposes of the creative activities, which includes all man-made goods in the formation process.Industrial design concepts: the current widely used definition of the international Federation of Associations of Industrial Design (ICSID) in 1980 for the annual meeting of the Paris industrial design under the amended definition: "the mass production of industrial products, by virtue of training, technical know-how , Experience and feelings and give visual materials, structure, shape, color, surface processing and decoration to a new quality and qualifications, called industrial design. "1. Traditional industrial designIndustrial design for the people truly understand and play a role in the outbreak of the industrial revolution, to the industrialized mass production conditions to develop. At that time, a large number of industrial products ugly, has seriously affected people's daily life, industrial design as a change in the situation at the time the inevitable means boarded the historical stage. The traditional industrial design refers to the means of production of industrial products conducted by the planning and design, so that with the use of achieving the best possible match between the creative activities. From this concept of the nature of industrial design: first, industrial design aims to obtain a product with the best match between people. This match, not only to meet the demand for use, but also with the physical, psychological and other areas to demand the right match, which precisely reflects the people-oriented design ideas. Second, the industrial design is a must? Quot; creative activities. "Industrialdesign of nature that it is a very broad coverage of the cross-integrate the science, get involved in the many areas of research disciplines, like the industrial society of the adhesive, so that the original Isolated disciplines such as: physics, chemistry, biology, marketing, aesthetics, ergonomics, sociology, psychology, philosophy, etc., mutual contact and mutual exchanges, the form of organic unity. Realization of the objective to reveal the natural The laws of science and subjective, dynamic and creative activities for the arts once again joined hands.2. Modern Industrial DesignTraditional industrial design is the core product design. Accompanied by a history of the development, design content also tends to the development of more extensive and in-depth. Now, the development of human society has entered a modern industrial society, brought about by the design of the material achievements of human existence and its status and way of life is affected by the past can not compare any era, modern industrial design, the concept of this came into being . Modern industrial design can be divided into two levels: general industrial design and narrow industrial design.General Industrial Design (Generalized Industrial Design)Means to achieve a particular purpose, from conception to the establishment of a practical implementation plan, with clear and that by means of a series of acts. It contains all the use of modern means of production and services in the design process.Narrow industrial design (Narrow lndustrial Design)Referring only to product design, that is, against man and nature in the relevance of the tools and equipment made by the response to the demand. In order to survive, including life and to maintain and develop the necessary such as tools, equipmentand products, and other material and equipment carried out by design. Product design is the core of products on the user's body, the heart has a good affinity with the match.Narrow the definition of industrial design and industrial design of the traditional definition is the same. As industrial design since have always been based on product design, product design often referred to as industrial design. Industrial Design CategoryAs the field of industrial design increasingly expanding, and in different areas but also has their own characteristics, we can from different angles on the field of industrial design division:1. The existence of art as a form of classification:One-dimensional design, refers only to the design time for the variable;two-dimensional design, also known as graphic design, is targeted at the plane change the subject, such as graphics, text, trademarks, advertising design. Three-dimensional design, also known as three-dimensional design, such as product, packaging, construction and the environment; four-dimensional design, is accompanied by one-dimensional three-dimensional space time (that is, in the form of 3 +1) the design, such as stage design.2. From the human, natural and social correspondence between starting, in accordance with the disciplines form the essence of the meaning of Category: Human, natural, social composition of the most basic relations between the circles and classification of the relationship generally is:◆product design: the equivalent narrow indust rial design, 3D design is based;◆environmental design: including all types of building design, urban and regional planning, construction plans, environmentalengineering, etc.;◆spread to the design of the language, text or graphics as the media and achieve the transfer activities carried out by design. According to the different media Kegui Wei two categories: the text and graphics as the medium of visual communication; language and. Audio media for dissemination of the hearing.3. In accordance with the concept of industrial design and to define Category:With the development of technology and the use of modern technology, industrial design and process design of the boundaries are becoming blurred mouth benefits, some of the original Arts and Crafts design of the design activities of both the industrial design features, such as furniture design and fashion design . Industrial design as a connecting bridge between technology and the market, the rapid expansion of commercial areas in all its aspects:◆advert ising design: including newspapers, magazines, posters, brochures, trademarks, etc.;◆display design: including the pavement, Showcase, Showcase, signs, exhibitions, advertising tower;◆packaging design: including wrapping paper, packaging, labelling and packaging of goods;◆binding design: including magazines, books, artwork, cartoons and layout design.Even in Zichengtiji in the field of construction, industrial design also play an increasingly important role.The content of Industrial DesignIndustrial design in the enterprise has broad application of space. Therefore, enterprises in the industrial design from thelevel of demand for industrial design point of view of the contents of the enterprises make better use of industrial design, to create greater value, will provide great convenience.1. Product DesignProduct Design industrial design is the core of enterprise application design is the key link, it will achieve a change in the form of raw materials for a more valuable form. Industrial designers of the people through the physical, psychological, living habits, and so on all the natural attributes of the cognitive and social attributes, product features, performance, form, price, location of the use of the environment, with materials, technology, structure, technology , Shape, color, surface treatment and decoration, cost and other factors, from the social, economic and technical point of view of creative design, production and management in enterprises in achieving design quality assurance, under the premise that the product is a product enterprises, market Of goods, but also the ordinary people of supplies to customer needs and business benefits of perfect unity.2. Corporate image design (Corporate ldenlti-fication System, referred to CIS) Enterprise recognition system from a unified corporate philosophy, standardize enterprise behavior and consistent posed by the visual image. Through theCIS design, so that enterprises have the visual impact can be clearly shows that corporate personality, strength and confidence in enterprises is a manifestation. A successful business must be a cohesive internal and external consumers can trust and identity, thereby enhancing corporate reputation, and corporate management objectives and development goals.3. Environmental Design (and the interface between thehardware design) Industrial design as a communication and the environment (construction, transportation, room, shopping malls, streets……) between the interface language to intervene in environmental design. Through the different acts, objectives and the needs of awareness, to object to the design - kind of language, people and the environment for the financial - physical, to give a cordial and convenient, comfortable feeling. Focus on solving urban environmental design of human interface between the building and all the problems, such as: information, signal systems, environmental protection programmes, so as to also participate in solving the social life of the major issues.4. Design Management (Des; 8n Mana8ement, referred to DM)Design activities soon as the operation of enterprises in important part in project management, interface management, design management systems, such as the development of product line management, be good at using design tools, and implementing design-oriented thinking and behavior, and with the strategy or technological achievements Into a product or service process. Design management into the enterprise is an indispensable element for the success of enterprises to follow the design principles and strategies in the development of enterprises in production and business activities of various departments for guidance, to achieve the design objective, value-added products. Successful use of design management, will enable enterprises in the strategic planning stage to contain the operating strategy, strategic advantages for products and enterprises in the competition-set a good foundation.The ultimate aim of industrial design is to meet the physical and psychological needs of many of the largest. Industrialproducts, arts and crafts people is to meet production and daily needs, no doubt for the industrial design is modern services, to meet the demands of modern people. Therefore, it is first necessary to meet people's physical needs - product features. 1 cup must be able to drink water, a pen must be able to write, a bike must be able to travel, a truck must be able to load and so on. The first industrial design is aimed through the rational planning of products due to people more easily use them to better play its effectiveness. In research on the basis of product performance, industrial design also adopted a reasonable shape means so that products can have very spirit of the times, in line with performance, andcoordination of environmental products form so that people can have the enjoyment of the United States.Industrial design and industrial modernization is the inevitable product of market competition, designed to target the mass production methods of industrialized products, industrial design of modern human life has a huge impact, but also constrained by the realities of production and living standards. Industrial design companies in the position and role: Design is a bridge between enterprises and the market: On the one hand, production and technology into the market demand for products, on the one hand the market feedback to promote the development of enterprises enterprises.design is a means of value-added products: the biggest role in the enterprise is to raise the value-added products. The value of this additional material is not visible presence, more of the performance of the invisible. Appearance, product image Design is an important enterprise resources: good design enterprises will have a better reputation, making enterprisesmore dynamic, a company's development toolsdesign integrity of the enterprise is to establish a means of visual images: the visual image of business is to establish the appearance of the best brand image, which is the company a unique style.Industrial design creativity is a good product design the most important prerequisite for simplicity is an important indicator of good design, product design is a measure of applicability of another important criterion, a reasonable man-machine relations, human-computer interface harmony, their own language products should be good at self - Notes, and carefully handle every detail, emphasis on regional ethnic characteristics, contains cultural identity, attention to ecological balance, beneficial to the protection of the environment, product design of the eternal.Industrial design should pay attention to follow the following principles: the principle of creativity; principles of market demand; principle of giving priority to the user; business goals principle easy to grasp the principle of aesthetic principles, protection of ecological environment principles.Industrial design related to psychology, sociology, aesthetics, ergonomics, mechanical construction, photography, color science, methodology and design of the three constitute a basis for Into the United States, Europe, Japan and other developed countries for industrial design and industrial design definition of the development processU.S. industrial design information ageThe United States is the first country to enter the information age, information technology is the most developed countries. Whether in the computer hardware and software, or in the application of computer technology in all aspects of the world'sleading status. In particular, the popularity of the Internet, so that the United States more fully into society by the information industry as a leader of the new era. In the new economic, cultural background, the United States of industrial design from the beginning of the end of the 20th Century 80, great changes have taken place.At the same time, to Rowe as the representative of the U.S. pioneer in the design has passed away, despite their name to the design of some companies still exist, but these masters of the location of a number of new independent replaced by a design firm. The new design firm in terms of knowledge structure, services or design with the traditional means in the clear very different firms, because they firmly grasp the pulse of the information age, design and rapid expansion of business, established in the industrial sector Good reputation, the U.S. business magazine called American industry a new generation of heroes. The new design consulting company no longer well-known designer for the signs, but in a "design" the name of the word named, stressed that the design is a team event rather than individual work, such as the New York Smart Design, Chicago Design Logic, such as California's Lunar Design. In many cases, the person in charge of these companies are the first generation or second generation of European immigrants, and the famous Forgdesign is originally a German company, the new generation of designers to more European concept to the United States, which will U.S. advanced technology and the European deep historical and cultural traditions closer together so that the design of the United States in the information age has made a great leap forward. This is in California, particularly Silicon Valley, particularly conspicuous in this regard because there are manyEuropeans settled here, on the other hand is also here because of the emerging high-tech industry and the United States earlier in the design of machines predecessors did not have much contact. Here, the design of many new companies have been for Apple, and other high-tech companies.With the traditional industrial design firms to provide industrial products mainly different designs, the new design companies to be able to provide more comprehensive services, they can not only provide product design and engineering design of appearance, can also provide market research, consumer Investigation, human-computer research, public relations and corporate planning site design and maintenance, and other aspects of the services, and global activities. In fact, some new design company has established a global network of services to meet the increasing globalization ofworld economic trends. Industrial design such a change reflects the changes in the management of enterprises, more and more enterprises in the futurein-house research organizations to reduce, instead of social cooperation, not only to reduce expenditure, but also the wider community to seek professional Resources cooperation. In addition, many enterprises to upgrade design as a business quality and to stimulate creative strategic management tool, not only confined to a single product design development activities, thereby greatly expanded the scope of application of industrial design. Given the design of a greater range of needs, design company personnel are not limited to design, but more professional cooperation. In addition, the design company's design also means a lot because of a computer-aided design and revolutionary changes have taken place, SGI (Silicon Graphic)graphics workstations and Alias, Pro-Designer, such as industrial design software to design more flexible, fast, industrial design itself so And the high-tech.U.S. industrial design in the 1990s Another major change is the high-tech products, including computers, modern office equipment, medical equipment, communications equipment, and so became the main areas of industrial design. Industrial design in the high-tech humanity, in the process of commercialization has played an important role as a bridge. It is the efforts of designers, the previously daunting become high-tech day-to-day work and life indispensable partners.Headquartered in Portland, Oregon, the Ziba (ZIBA) design companies is considered the best international design companies. Ziba's design philosophy is simple to win, and stressed that the products of the plane, the company's product design is the attention to detail, the "God in the details of." At the same time, Ziba also designed the pursuit of fun and harmony through color, shape, details and graphic design products so that a cordial and pleasant and cute humor to Yasugongshang. Ziba companies in recent years with Microsoft, HP, Fujitsu, Intel and other companies to design a number of excellent products, the company developed for Microsoft's "natural" keyboard of its ease of use, human-computer interface comfortable, unique and novel shape Users are welcome. Ziba also designed a large number of high-tech medical equipment, the design of such products by more concise and bright pieces of modeling to facilitate the operation and cleaning, and trying to make previously complex and daunting process of becoming a medical simple and easy. Ziba Design of the hemodialysis machines with clear, concise touch screen has replaced the previous complexcontrols and switches, automatic control and install the software, so that medical personnel can easily facilitate the operation, addition, since the use of a modular design, can also Easy entry, to provide on-site services。
工业设计外文文献翻译及原文
The impact of “3r” principles to industrial designAbstractWhile industrial design creates modem life and living surroundings for people，it also accelerates the exhaustion of the natural resources and the energy resources．Besides，it has done harm to the ecological balance，and threatened the existence and the sustainable development of human beings．Confront with this situation，the strategy of sustainable development，proposed in 1990s，is accepted by many people．Recycling economy and its key point，“3r” prin ciple，were born for this situation and become important principle in all kinds of economic activities and in the area of design and manufacture．By decoding the connotation of “3r” principle，the article analyzes the influence and the guidance over industria l design of “3r” principle．Furthermore，the article tries to discuss the conception of redesign，which is the extension of the “3r” principle in the area of industrial design，and explicates 4R principle of industrial design for recycling economy at last．Key words3 R principle；industrial design；recycling economy；Redesign1 IntroductionIndustrial design as a cross-cutting technology and the arts disciplines，it is closely related to the economy and to maintain its development and progress of society. It can be summarized：First，it services for industrial mass production，making industrial products enhance the value and value-added. Second，It leads the fashion，to effectively stimulate consumption，so that consumers not only use the product at the same time，but also enjoy the new technology and material；Third，it puts technology to link up with the market，making products enhance competitiveness；Last but not the least，it can bring the innovation into the enterprise. Therefore，the economic development needs industrial design which has become indispensable to the country's economic construction .However，along with the traditional industrial design creating high-quality modern lifestyle and living environment and promoting economic development ，it also speeds up the consumption of resources and energy. What is more ，it dose harm to the ecological balance of the Earth and brings about a serious of great damage to human survival and sustainable development. Especially the excessive commercialization of industrial design，utilitarian and excessive pursuit of profit，the implementation of "merchandise has plans to abolish the system"without taking into account production，use，process waste，such as the environment，the impact of resources. It can be said that people are in inappropriate and excessive consumption patterns of life，the industrial design objectively becomes essential medium to encourage people to uncontrolled consume，which is countered to the essence of industrial design—creating a science and healthy way of life.Facing the threat of human survival and sustainable development，in the 20th century，people began to question the sustainable development of humanity ，to carry out a profound reflection on sustainable development and to put forward a suitable model of circular economy ，the principle of circular economy is “3r” (i.e. Reduce，Reuse，Recycle) which is of great significance to the implementation and promotion of socio-economic stability，sustainable development Against this background，the concept of sustainable development into rapid economic development is inextricably linked to the design，based on this ongoing exploration and practice. “3r” principles intended to sort out this article on various aspects of industrial design and the guiding role，and attempts to explore the “3r” principles of industrial design at the extension.2 Cycle economic model and the principle of “3r”Economy is engaged in production，consumption and reproduction activities，which is to meet human material needs of their own material .Recycling economy is considered following the original economy，the agricultural economy，industrial economy after the time of the post-industrial economy，with the industrial economy is different between the resources and environment relationship. Following the economic cycle refers to the natural ecosystem of the material circulation and energy flow reconstruction of the economic system so that it harmoniously into the natural ecosystems of the material energy recycling process to product clean production，resource recycling and efficient recycling characterized eco-economic development patterns，also known as eco-economy，green economy.2.1 The relationship between economic model，environment and the resourcesHuman survival and economic activities rely on the resources and the environment. On one hand ，it is the source of the human beings material system；on the other hand，it bears the economic activities of human waste generated by the various roles. The Earth can provide resources but are limited，even though it must have the ability to purify，however it is subject to human economic activity the ability of emissions is also limited.Industrial economic development patterns are from "One Product One resource pollution" posed by one-way flow of material and an open economy，this openness has led to a global depletion of resources and waste，as well as the serious deterioration of the ecological environment.Circular economy development pattern is from "one of resources of renewable resources，one of green products" posed by the material energy of the closed-loop feedback loop process，this closed loop system，can maintain economic production of low，high-quality，low-waste，which will be economic activity of natural resources and environmental impacts to minimize damage.2.2 Interpretation of the circular economy mode “3r” principle“3r” principle is the basic manifestation of the economic cycle，and its specific contents are as follows："Reduction" principle is the first principle of circular economy，that is the source of control method，which requires the source of economic activity - the design stage，pay attention to the use of resources-saving and pollution reduction requirements with fewer resources to achieve the established purpose of the production or consumption In the production areas，usually the energy-saving production processes，materials and conservation of resources，the products of small size and lightweight，and easy and simple packaging requirements in order to achieve the purpose of reducing waste emissions；In the consumer area，reduction of the supremacy of the principle of a change in consumer lifestyles and advocate moderate consumption and green consumption. "Reuse" principle is the second principle of circular economy，that is，process control methods，with the aim to improve the products and resources use efficiency，it calls for product design to initial the form of packaging for multiple items to prevent premature become waste. In the design，to the use ofstandard-sized parts，repair and upgrade in order to replace，thus prolonging the service life of products；In the consumer area，to promote the purchase of durable consumer goods，to reduce the use of disposable products，such as after-sales service by strengthening the means to extend the product life as possible and not waste."Recycling" principle is the third principle of circular economy，that is，terminal control method of production and consumption in the process of waste generated，through the "resources" of the means of its re-processing of raw materials can be re-used or product，put it back on consumption. Resources of the so-called class of resources usually include the originaland secondary resources. The original class of resources is the waste of resources after the formation of the same with the original products，sub-resource is the waste of resources into different types of after the new products. To promote waste recycling economy will be the source of the original and sub-class of combining resources in order to fully realize the recycling use of resources.3. The impact of the “3r” principle of to industrial design“3r” principle is not only on products from the design，production，sales，use，disposal and so on throughout the life cycle have an impact on all aspect，but also on the industrial design itself，a more extensive and profound changes：3.1 The impact of design conceptIn modern industrial economy，the product design is often to serve the people，just from the people to meet needs and solve the problem as the starting point，and do not consider the follow-up products，use of resources and energy consumption and emissions on the environment and other ecological problems. “3r” principle in the design concept under the influence from the "people-oriented" towards the "harmony between man and nature" of green design，while respecting the needs of people，but also consider the safety of the ecosystem. Cycle economic model of the industrial design under the design concept，put people and nature live in harmony and common development in the first place，the use of systems theory and Calibration of all acts of industrial design，from product design at the beginning of themacro-environment had priority to consider and pay attention to the coordination of products that run the various elements of the process in order to achieve system optimization. Here，the environmental factors are the starting point of the whole design and end points，through the design，efforts to improve and reduce the products in the production，use，recycling process，such as the adverse impact of the environment. So Green Design Products are in the "harmony between man and nature" under the guidance of thought to the harmonious development of man and nature，the principle of human - machine system one considers the environment，a comprehensive optimization of the industrial design of a new concept.3.2 The impact of design styleSimple is an aesthetic pursuit of extremists on the design of easy style，popular in the 20th century，in the United States age 80. If we say that in the industrial economic model，the simple style of product design aesthetic is a subjective pursuit of people，then in the recycling economy mode，the structure of the simplest and most parsimonious of the materials，the mostbeautiful modeling，the most pristine appearance simplicity of product design，sustainable development concept is a concrete manifestation. “3r” Products doctrine of the meaning of this simple style more in-depth，specific，practical significance.First，the premise of ensuring the functionality as far as choice of materials can be recycled，such as biological materials，so less material on refined，appropriate；Second，to promote. Small is beautiful ". Less Is More"，the lightweight and pleasant form of products. Third，the design features of the object collation，evaluation，definition，must always focus on the merger，to simplify，optimize，and makes the core functions briefly products；Fourth，the product is intended to be simple and clear language；Fifth，the structure of simple，easy to create；Sixth，the choice of degradable material，the structure of easy solutions，such as withholding together.3.3 The impact of design methodThe impact of the “3r” principle and under the guidance of the implementation of green design methods are：modular design，removable design，recyclable design，long-life design.Modular design is at a certain range of different functions or different functions the same performance，different specifications of the products on the basis of functional analysis，and design into a series of functional modules，through the selection and combination of modules can constitute different products to designed to meet the different needs of the Ways. The benefits of modular design：First，make products with good performance Recycling demolition，settled design different types of products and waste of resources；Second，it will be able to be easy to use or duplicate the functions of independent recovery，enhance the versatility of the components，once the end-of-life products，they can re-use or recycling；Third，improve the repair of products can extend the life of the product.Product design is removable at the design stage，so that parts of the Products has a good performance of the demolition. Conducive to the re-use of components or recycled materials to save not only protect the environment and Materials. The demolition of the design requirements，Product First，connect the various parts and components，as far as possible the use of detachable connection，such as threaded connections，unified type fasteners，reducing the number of fasteners，try not to use welding，riveting，bonding and other non-removable the connection；Second，in the selection and processing of raw materials，the demolition of the connection；to use and reuse of recyclable materials，the types of materials，such as less as possible.Recyclable design refers to product design，to take full account of the various materials Product components the possibility of recycling，recovery treatment，recycling and product recovery of costs related to a series of questions，thus saving materials and reducing waste，minimum of environmental pollution for the purpose of a design method. Long-life design is the design of products based on life in the economic indicators to ensure that products，value and environmental requirements at the same time try to make our products to extend the life to achieve the slow resource consumption of a design method. Specifically include the following：First，improving product reliability and durability；Second，products are easy to repair and maintenance；Third，using standard，modular product structure3.4 The impact of design material“3r” principle in guidance and norms，product design，material selection should be taken into consideration：First of all，minimize the use of materials. Try using high quality materials to enhance the service life of products；the prohibition of the use of contaminated material against big，look for the corresponding sound material substitution；Reuse as much as possible the use of recyclable materials. Secondly，the preferred sound of the ecological environment of the material，after the preferred decomposition of waste and the natural world to absorb the material，preferred low power，low cost，low-polluting materials，preferred easy processing，and processing of non-polluting or less polluting materials，preferred materials recycling. Finally，to reduce the use of the types of materials in order to reduce the cost of Recycling Materials；maintain original material，as far as possible the use of simple materials，the use of alloy materials，to avoid material harm to the environment of the surface treatment；Marked parts Products material composition for the materials to facilitate recycling and so on.4. From “3r” to 4RIn the recycling economy mode，the product life cycle from the previous end-of-life for the end product，after the extension to the end-of-life recycling. It should be noted that starting from the waste products for the consideration of a second use for them，so that the product design is no longer a product before，but the other products. Therefore，the design process we will call it "re-engineering (Redesign)"4.1 The concept of re-engineeringThe so-called re-engineering，that is，through the product components as well as their overall utilization of the re-design method to save resources. Given the United Kingdom Environmental Design Alliance is defined as："Materials by Product，the structure of ameaningful way to re-use，in order to save resources for the purpose of the premise，to extend the product life cycle，and tap the potential ecological value of the design method." In short，the product re-engineering refers to the product life cycle after the re-use design.Whether they are re-engineering the design of a new trend，or the design of a self-activity changes，which are related to the sustainable development strategy in line belong to the scope of green design. If it is said that green design is usually considered the entire product life-cycle environmental impact，and re-design considerations are at the end of product life-weeks to reduce the environmental impact of problem，it is the “3r” principle in the extension of the field of industrial design. Therefore，the re-engineering in conjunction with the “3r” principle，as a mode of circular economy 4R principles of industrial design.4.2 The form of re-engineeringProduct re-engineering is aimed at new products to effectively use the original parts and components products and materials. Product re-engineering have a variety of forms，for the same product re-engineering can have a variety of forms，can be divided into assimilation and alienation of the re-engineering.Assimilation refers to re-design is a before and after re-engineering products，have been recycling their own re-engineering of the parts not changed before and after. For example，before the re-design car audio，re-engineering the home was converted into sound.Alienation refers to the re-engineering re-design before and after are different products，re-use of components was necessary in order to be used transformation. For example，re-engineering before the cell phone components，into a walkie-talkie after the re-engineering of an important part of；In another example，the re-engineering of old jeans before，byre-engineering can be turned into shorts，vest and so on.5. ConclusionsCircular economy is to achieve sustainable human development of new economic development model，“3r” principle is the core substance of the economic cycle，the idea of circular economy is the fundamental expression. "Re-design" are able to make the best of “3r” in the extension of the field of industrial design and development，is a matter of deep study and practice the new task，it should be，together with the “3r” principle，become a model of circular economy are industrial 4R principles of design.As the international chairman of the Federation of Societies of Industrial Design，Mr. Peter said "the design of human development as an important factor，with the exception ofself-destruction might be the ruin of mankind，human arrival may also become a shortcut to a better world." Today，in the framework of national sustainable development strategies，the role of industrial design is changing，and actively looking for a new direction for the development of circular economy at all levels play a role. Industrial design will become a powerful for cycling of our country economic.“3r”原则对的工业设计的影响摘要在工业设计为人类创造了现代生活和生活环境的同时，也进一步加速自然资源和能源资源的消耗。
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。
家具专业外国文献
Determining anthropometric variables as a tool in the preparation of furniture and designs of interior spaces: the case of children 6 to 11 years old of Vicosa, State of Minas Gerais, BrazilSharinna Venturim Zanuncio a , Simone Caldas Tavares Mafra b 1, Carlos Emílio Barbosa Antônio b ,Jugurta Lisboa F ilho b , , Elza Maria Vidigal Guimarães b , Vania Eugênia da Silva b , Amaury Paulo de Souza b , Luciano José Minette ba,bDepartment of Home Economics, Federal University of Vicosa, Avenue Peter Henri Rolfs, s/n, 36570-000, Vicosa, State of Minas Gerais, Brazil.Abstract. The adequacy of facilities and the individual securities in their different age groups is importance to ensure greater functionality to them, allowing full development of daily activities. For this to occur more efficiently it is necessary the use of ergonomics which can ensure more comfort and safety for end users of products and spaces. The present study aimed to measure body dimensions of a representative sample of children aged 6 to 11 years old, children of graduate and pos graduate students, faculty and staff of the Federal University of Vicosa and also residents of the city of Vicosa, State of Minas Gerais,Brazil, coming from different municipalities of State of Minas Gerais, to organize a database that will provide the furniture industry, anthropometric variables more appropriate to design products for both the leisure activities, and for the school sector. To realize this research we used the methodology proposed by the authors Panero and Zelnik, based on samples distributed in six age groups, and providing a measurement of 10 variables. By applying the methodology to the field was possible to compare the observed data, with the tables of the aforementioned authors. The main results revealed a significant variation of the 10 variables analyzed, and it is believed that this variation could lead to possible flaws in the designs of products that use the data from these authors. The completion of the study provided data on Vicosa considered more appropriate for the design of products and environments for the population of the study, considering age and region, of Brazil (State of Minas Gerais) and it is believed that the future may expand to the Brazilian population, with the progress of study of this nature. Keywords: Anthropometry; Ergonomics; Planning Interior Spaces; Quality of Life1Corresponding author: sctmafra@ufv.br1. IntroductionThe adequacy of the work environment and leisure, and products that compose them are developed by ergonomic studies, which associated with anthropometry and biomechanics allow more efficient planning of the man.According to Couto (1996, cited in Falcão, 2006) [2] anthropometry measures human studies, which is an essential and important variable in determining a workplace, whereas work is detached from any action by the individual to live in the place, be it survival, interaction with their environment daily, or even leisure. In this study, in particular, workplace environment that is every child from 6 to 11 years experience and interact to perform their daily activities.1051-9815/12/$27.50©2012–IOS Press and the authors.All rights reserved4626Work 41 (2012) 4626-4632DOI: 10.3233/WOR-2012-0757-4626IOS PressConsidering these aspects to be presented and the population of children 6 to 11 years exposed to risk situations in interaction with their daily environments, it is believed that this study using data obtained may contribute to the reduction of these risks and thus ensure better health comfort, safety and quality of life. 1.1 General Aims Measuring body size of a representative sample ofchildren 06 to 11 years old, in order to get proper dimensions to design spaces, products and work surfaces effective for them. 1.2 Specific Aims- Evaluate anthropometric variables predefined forchildren 06 to 11 years old, the city of Vicosa, Stateof Minas Gerais, Brazil;- Compare the data obtained in this research study,with the authors' data Panero and Zelnik.2. Methodology2.1. Selection and description of the study area and sampleThis study was carried out in Vicosa, located in the State of Minas Gerais, region southwest. Its development is due to the presence of the F ederal University of Vicosa with a population of approximately 12,000 inhabitants, plus the city's population that according to preliminary data presented by the IBGE Census 2010 [3] is around 70,923 inhabitants, numbering about 80,000 inhabitants.The city has a close relationship with the University. There are several projects in the area of services designed to meet the demand from students, professors and others employees of the F ederal University of Vicosa. In the city of Vicosa, it can be seen high rates of urbanization and social and economic life influenced by the student community, especially the university.To collect the data from this study, we used a sample of children aged 06 to 11 years old, children of employees, professors or students of the F ederal University of Vicosa, as well as residents of this city, coming from the different municipalities of the State of Minas Gerais, considering this age group to be in frequent situations of risk, due to the use of inappropriate products and spaces that often lead to accidents because children should be seen as a developing human being in need of constant protection.Of a total of 1,124 children, who formed the study population, 597 were boys and 527 were girls. These were randomly chosen a value of 54.3% boys and 65.3% of girls to be measured and composed the study sample. The Table 1 presented below shows the distribution of the sample in question. Table 1 Distribution of the sample measured by age6years 7years 8years 9years 10years 11yearsTotal Boys59 51 55 61 48 50 324 Girls Total 127 104 114 134 96 93 668 2.2. Description of Study Variables As the study aims to compare, we used the same 10 anthropometric variables suggested by Panero and Zelnik (2002) [5], which are described in the following Table 2: Table 2Definition of anthropometric analyzed measured in the study V ARIABLES DEFINITION 1 – Stature Height is vertical distance from the floor tothe top of the head, with the individual in a position lifted his gaze directed ahead.2 – Weight (Kg) Product of the mass of a body by the acceleration of gravity3 – Elbow width (seated) Width of the lateral surface between the elbow of an individual sitting with arms foldedforward and horizontally supported slightly against his own body.4 – Hip width (seated)Maximum width of the hips of an individual sitting. This measure can also beobtained with the patient in standing position.5 – Distance buttock-knee(sittingposition)It is the horizontal distance from the posteriorsurface of the buttocks to the front of the knees.6 – Distance buttock-popliteal(seated)It is the horizontal distance, considering theposterior surface of the buttocks to the back of the knees. 7 – Sitting height Vertical measurement, considering the initial surface of the seat to the top of the head(the individual must be seated in normal position).8 – Knee height (sitting)It is the vertical distance that is obtained from ground to the kneecap.9 – Popliteal height (sitting) Vertical distance from the floor to the posterior knee of the individual sitting withthe trunk upright.10 – The thigh Considering the vertical distance from seatsurface to the top of it, where it meets the abdomen.S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designs 46272.3. Methods and procedures for data collectionThe study data were collected through anthropometric measurements of the sample in question, using anthropometric instruments suitable for such, as suggested by Panero and Zelnik (2002) [5].To measure children beyond parental permission considering letter of invitation was requested support from the school to give space for the realization of the case study.Was adopted to study the same research methodology of Panero and Zelnik (2002) [5], since the principal aims would be to compare the study data, considering the data presented by both. The authors consider two types of body size as being essential for the design of products and spaces, the structural or static, or dynamic and functional, for this study specifically used the static measurements, which are those that are collected body measurements human in standardized positions, as shown in Table 2.To gather the data necessary for the study, children were measured in a static position, is standing for height and weight, and sitting for width measurements of hip, elbow, thigh, buttock-knee distance, and buttock-popliteal knee height, popliteal, sitting position. The procedures mentioned herein may be better understood from Table 3 and Figures 1 to 6, showing the positions of the individual during the collection process and instruments used.Table 3Description of methods for obtaining anthropometricmeasurements, considering the use of anthropometryVARIABLES POSITION OF THEINDIVIDUALPOSITION ANTHROPOMETRY1 – Stature Individual standing,arms at your sides,look to the skyline.Vertical, with the base floor, and the stem touches the hoghest part of the head.2 – Weight (Kg) Guy with feet positioned on the scale.3 – Elbow width (seated) Individual standing.Arms forming anangle with theforearms forward,hands clasped.Horizontally, with thedepression that formsthe basis of the unionof the arm and forearmand the shaft ondepression of the otherback.4 – Hip width (seated)Subject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings – hands onthighs.Horizontal, with thebase and stem in themaximum width of thehips, back.5 – Distancebuttock-knee(sittingposition)Subject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Horizontal, with thebase and stem in themaximum width of thehips, back.6 – Distancebuttock-popliteal(seated)Subject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Horizontally, seatheight, the wall withthe base and stem inthe popliteal fossa(read as superior to thestem).7 – SittingheightSubject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Horizontally, seatheight, the wall withthe base and stem inthe popliteal fossa(read as superior to thestem).8 – Kneeheight(sitting)Subject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Vertical, with the basefloor, side leg, and thestem in the poplitealfossa (read as superiorto the stem).9 – Poplitealheight(sitting)Subject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Vertical, with the basefloor, side leg, and thestem in the poplitealfossa (read as superiorto the stem).10 – ThethighSubject seated, torsoupright, feet flat onfloor, legs at a rightangle with yourthings.Vertical, with the seatbase and stem in thehighest part of thething.F or the measurement of children were used thefollowing equipment: digital scale; anthropometry;seat; measuring tape fiberglass; anthropometry small;trine and caliper. That allowed us to obtain thenecessary variables to the study. Some of theequipment can be seen in the following figures:Figure 1 - Equipment used to measuring children (seat, differentkinds of anthropometers, different kind of meters tape, digitalscale)After data collection, based on the study Paneroand Zelnik (2002) [5], using the descriptions ofvariables and the suggested equipment for the samesetting, it was the determination of 5 and 95%4628S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designspercentiles, which indicate the percentage of test sample which has smaller and larger body size. 3. Procedure for data analysisAfter the measurement of 10 anthropometric variables to children in the study were able to calculate the mean and standard deviation for each variable and all age groups. The data obtained allowed the definition of 5 and 95 percentiles, ie, we could define the smallest and largest measured respectively, and the number of children among the population studied, inserted in each percentile. This data allows the designer to make decision about which percentile to use considering a greater number of end users, using particular space or object. F or according to Panero and Zelnik (2002) [5] percentiles show the number of individuals in a given population that are part of a given body size.4. Data collection periodData collection occurred from April 2006 to September 2010, with frequent visits to schools to obtain the necessary variable in quality and quantitysufficient to achieve effective results, were performed in parallel tabulation and analysis of data obtained. 5. Results and discussionThe children measured were selected according to the parental bond with the F ederal University ofVicosa, ie, were measured in children aged 6 to 11 years, children of faculty, staff or students at Federal University of Vicosa. However, these were not sufficient to fill the sample to be measured. Thenchildren were sought in two public schools in the cityobserving the requirement that families should have their origin in the State of Minas Gerais. Being measured a total of 668 children, divided intodifferent age groups as can be seen in the tablebelow. Table 4 Sample measured considering the period of the April/2006 to September/2010 6years 7years 8years 9years 10years 11years Total Boys Girls 68 53 59 73 48 43 344Total 127 104 114 134 96 93 668Source: Survey data (2006-2010)The anthropometric variables measured throughout the study were a total of 10, whose description was presented in the methodology (Table 2). However, the table below (Table 5) presents the application of the variables measured, considering its use in projects, and recommended percentile, as suggested by the study of Panero and Zelnik (2002) [5].Table 5Application of the measured anthropometric measurements andselection of percentilesV ARIABLES APLICATION SELECTIONPERCENTILES1 – Stature Used for setting theminimum heights of doors, among otherobstacles above. Determine areas of work, considering the height and the same layout.952 – Weight (Kg) To determine the strength of materials,products and equipment, as well as area of movement and scaling of widths.-3 – Elbow width (seated) Space occupation of chairs around tables todetermine the number of seats, given a desk orleisure.954 – Hip width (seated)Widths of chairs and seats used in differenteveryday situations of the individual.955 – Distance buttock-knee(sittingposition) Depth of seats ingeneral, and circulation area considering developing the individual sittingactivity.956 – Distance buttock-popliteal (seated)Seat width in general. 957 – Sitting height Used to determine thepossible time to place an obstacle in order not toobstruct access to other users. 958 – Knee height (sitting)It is essential to delineatethe distance from thefloor to the lower base ofa table for the individualto be seated in comfort.The degree of closenessbetween the user and the object is directly related to the knee and thigh ofthe user. 959 – Popliteal height (sitting) Determination of seat height to the ground, considering the highest5S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designs 4629point.10 – The thigh Important indetermining the heightbetween the worksurface and seat, to allowmovement of the legs.95In this study, we sought to define the 5th percentile, ie, the percentage of children in the sample, with the smaller body size, as well as those that fit the 95 percentile, which would be the percentage of children with the highest body size, and later to compare data Panero and Zelnik (2002) [5].With the calculation of percentages for each age group and also separated by gender (boys and girls), it was possible to develop graphics that will be presented throughout this work, to provide a better comparison of data obtained with the field determined by Panero and Zelnik (2002) [5], as if the proposed study. These graphs also allow to observe the trend of variation of data obtained with the of Panero and Zelnik (2002) [5].According to Alvarez and Pavan (2003) [1] is necessary to use measures of lengths and heights for the preparation of projects and products, whether for home or work. The authors emphasize that the measures used in the project will cover most of the population. In this respect, it is believed that use the 5 percentile for determining patterns of height measurements, to allow much higher, as the lowest use the space comfortably. And width measurements for the 95 percentile, to include both thinner people as those who are overweight, use and development activities effectively in everyday environments. Considering the survey data obtained in this study were presented from 10 variables measured, using graphs. These will be responsible for presenting the data and enable comparison of the same with those presented by Panero and Zelnik (2002) [5] for the same age group.5.1 HeightBy comparing measurements of stature collected and determined by Panero and Zelnik (2002) [5] can be observed that children of both sexes showed higher values than those determined by the authors. As they have higher measures of stature, products and spaces designed from the table values Panero and Zelnik (2002) [5] will not be attending the children in the study sample, may become a risk to the physical integrity of same. 5.2 WeightWith regard to weight, the data obtained during the research shows that boys tend to lose weight over the years, however, there is a considerable increase in weight at the age of 10 years old for boys and girls of larger body size. Girls who are included in the group of smaller body size (5% percentile) have lower weight compared to those determined by the authors. But the girls of 11 years old, 5 percentile, showed a tendency to decrease the weight.According to with the data, in some age groups will increase the weight from the data Panero and Zelnik (2002) [5], if used the author’s data as the basis for the manufacture of chairs, the strength of the security may not be sufficient to provide security for this sample.5.3 Width of elbowsOf the children measured in this study, all showed greater than elbow width measurements obtained by Panero and Zelnik (2002) [5].The authors explain that this measure is useful for determining space needed for distribution of chairs around the tables, for example. As the table values are smaller than citizens, the use of data Panero and Zelnik (2002) [5] for considering children of Vicosa projects, would generate the same discomfort, and incompatibility of the work surface to develop activities for the same.5.4 Width of hipThe variable width of the hip was higher both for girls and for boys evaluated, with a rising trend over the years, being a little smaller for the age of 11 years old in girls higher percentiles.According to Panero and Zelnik (2002) [5] this measure is very important when sizing the width of chairs and stools, so the designer must be aware of the variations presented for space planning or product considering the end user.To ensure comfort and safety for users in the study, due to the variation found among the measurements, it is necessary to use specific measures of the sample in the case of projects for the local population.4630S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designs5.5 Distance buttock-kneeThe measure of buttock-knee distance is greater than in the population studied in particular the study of Panero and Zelnik (2002) [5], with a decrease in the age group 10 years old and an increase in the next track. This measure helps to calculate the depth of seats, is essential for maintaining good posture, considering the activity performed sitting in this case by using the measures defined by the authors of the study would be impaired, since it has higher values and can therefore discomfort during the time of activities while seated. According to Panero and Zelnik (2002) [5] also contributes to this measure to determine the required distance from the back seat to the object that is in front of the knee, for example.5.6 Distance buttock-poplitealBy comparing the measured distance buttock-popliteal, there was minor variation of the measures of research data and data Panero and Zelnik. Considering the variable in the analysis, we found that the children analyzed in Vicosa, State of Minas Gerais, Brazil, showed a lower value than those determined by the authors mentioned above. Because they are not compatible values of the research data and those of Panero and Zelnik (2002) [5], could not be used in a project, for example, a seat is a chair, bench, benches, etc., The authors' data because they do not guarantee the optimal length of the seat for these children.5.7 Height sitting normal positionThe average height of boys and girls field obtained in the sitting position proved to be lower in almost all age groups for both the highest percentile (95%) and as for the lower percentiles (5%) considering the comparisons with the data presented by Panero and Zelnik (2002) [5]. The variable in question is very important for the calculation and measures considering the production of bunk beds, heights of walls, height of the backs of chairs, among others, so it is important to use measures that satisfy the users of the products, so the measures tables the authors would not be appropriate for children of Vicosa, since there was a variance between the measures, which would bring the user back pain due to poor posture. 5.8 Height of kneeThe boys presented for this variable, height greater than those determined by the study of Panero and Zelnik (2002) [5], this fact also being observed for the data of the girls evaluated.According to the authors Panero and Zelnik (2002) [5] measured the height of the knees is essential to establish the distance from the floor to the inside of a table, desk or counter, as well as the width of the thighs. And if the data used are not compatible with the user, and generate discomfort during use of the furniture mentioned above may worsen the case of deep vein thrombosis (WORK, 2007) [6]. Considering the aspect emphasized Nicholl and Boueri (2001) [4] conclude that in some cases you must use data from larger individuals, ie within the 95th percentile, with emphasis, the authors cite the calculation of free space on the lower surface of the table to receive the subject seated.Thus, we see the need, in the case of children measured in Vicosa, using their own measures, as measures of the authors of the tables would not be appropriate to provide the necessary space for comfort while walking legs on the bottom surface ofa desk, for example.5.9 Popliteal HeightBoth boys and girls assessed in the field, showed higher values of the variable popliteal height, in relation to the higher percentile, considering the data table Panero and Zelnik (2002) [5].The data for this variable are critical for estimating the height of chairs, or the like on the floor, so the measures proposed by the authors would not give the necessary comfort to the sample measured in Vicosa, as this is presented with higher values.5.10 Thigh height (sitting position)While working in a sitting position, it is sometimes necessary to modify the position of the legs under the surface where the activity takes place, so it is essential that there is space for a good positioning of the legs (Panero and Zelnik, 2002) [5].The measures of the population obtained in this research, thigh alternated between equivalent measures smaller or even larger than those presented by the authors in their tables, this fact indicates that the use and planning of products that were based on measures of Panero and Zelnik (2002) [5],S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designs4631considering this study, would cause discomfort to use them.When considering all data presented and discussed throughout this study realized, that it is essential to preparation of products for the age group analyzed, anthropometric measures that would provide them comfort and security, so that activities are carried out more efficiently and efficiency, without compromising the health of ourselves.During the measurement of children in schools has been observed that many of them do not use furniture suited to their physical dimensions, which forces the use of awkward positions, which can compromise their health and academic performance.Given this, it is necessary to perform further studies to enable the correct use of measures for children in this age group, since the elaboration of projects using U.S. measures could compromise their safety, considering the physical characteristics of the children.6. Final ConsiderationsThis study aimed to measure body size of children aged 6 to 11 years old to provide the end subsidies for project development of products considered most appropriate for the population studied, and thus ensure comfort, safety, efficiency and effectiveness. According to the results obtained, it was noted during the interactive process that there is a trend of variation between the data of the study carried out in Vicosa, State of Minas Gerais, Brazil, with the data presented in the Panero and Zelnik’s research (2002) [5]. This fact can be constituted as a risk factor for the user space and products, which are generally designed using data tables of the authors in question. Therefore, the use of anthropometry in the development of products and work spaces, it is necessary to promote the user well-being and qualityof life, ensuring their safety. It is believed that studies like this that seek to compare international data with the Brazilian reality, arise as urgent to demystify the idea of the inadequacy of data, or otherwise display the points where they would not be recommended, considering the physical type of the Brazilian people. With the completion of the measurements of children 06 to 11 years old and the subsequent comparison with data provided by Panero and Zelnik (2002) [5], has as the next stage of the project, structure a software with the data to support the industry furniture in the process of manufacturing furniture as well as the definition of work situationsto children (6 at 11 years old), thus providing, a toolthat will allows comfort, safety and convenience forusers of products and spaces in your daily life, intendto provide theoretical basis for more comprehensive studies related to the subject anthropometry.Noting also that the present study, as well as itslater stages aims to provide the CD-ROM anthropometric variables to be used as a tool in the process of drafting of work situations, because it believes it will be an enabling better quality of lifefor the subjects users of these projects.KnowledgmentThis research receive the financial support of National Council for Scientific and Technological Development (NCSTD).References[1] Alvarez, Barbara R., and Pavan, Andre Luis heights andlengths. In: Edio Luiz Petroski, editor. Anthropometry:techniques and standards. 3rd ed. Blumenau: New Letter,2007. p. 31-44.[2] F Alcão, F ranciane. Problematization of SHTM. F UCAPI,Manaus. Available at: <http://www.portal.fucapi.br>, access:10 November 2010.[3] IBGE - Brazilian Institute of Geography and Statistics. Census2010. 2010. Available at: <.br/home/estatistica/populacao/censo2010/default_uf.shtm>. Accessed: November 09, 2010.[4] Nicholl, Robert Anthony, and Boueri Filho, José Jorge. Sizingof Equipment and Housing Securities. Magazine HumanSettlements. Marilia, v.3, n.1, p. 75-92, 2001.[5] Panero, Julius, and Zelnik, Martin. Scaling to human indoors.Translation: Anita R. Di Marco. Barcelona: Gustavo Gilli,2002. 320p.[6] Work sitting increases risk of blood clots, says study. Availableat:<.br/imprimir.jpg?id=45243>.Accessed: November 13, 2010.4632S.V.Zanuncio et al./Determining Anthropometric Variables as a Tool in the Preparation of Furniture and Designs。
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。
北欧设计
L型腿凳 1932-1933年
躺椅 1936年
hans j.wagner
hans sandgren jakobsen
Eero aarnio
Verner Panton
灯具
Alvar Aalto
阿尔瓦•阿尔托（1898－1976）
“建筑应永远是一种媒介，它有机地把房子和自然连接起来。（即是说，一种媒介，
通过它人和人类生活有更重要的意义。）” 对人类生理心理幸福的关心是贯穿阿尔托的广泛的作品的主线。自1929年赢得 Paimio疗养院的设计竞赛始，阿尔托便作为功能主义的建筑师而闻名。 在三十和四十年代，，砖和木这样的自然材料再次取代了水泥而走上前台。阿尔托 试验用胶合板并在家具设计上创了许多革新。 同时，建筑与其自然环境之间的对话也成为阿尔托作品的一个重要主题。这点既表 现在建造尺度的空间的分配上也表现在其动态的外形上。 终其一生，阿尔托在这方面拓展了越来越大的自由和越来越丰富的形式语言。他的 晚期作品以生动有力而有节制而为特色，如从周围自然出现的回声并带给生活内在 的清新。
现代设计史
A HISTORY OF MODERN DESIGN
丹麦
童话王国
现代设计史
A HISTORY OF MODERN DESIGN
芬兰
千湖之国
现代设计史
A HISTORY OF MODE源自N DESIGN挪威峡湾王国
现代设计史
A HISTORY OF MODERN DESIGN
冰岛
冰火之国
•
世界树的枝作成无敌的流星之枪昆古 尼尔，枪身上刻着神圣的契约：“持有此 矛者，将统治世界”
火花注定往上飞， 人生下来就有哀愁。 勇敢承受 是人生问题的唯一答案
北欧家具设计作品
这一阶段的另一个代表人物是被称为集大成者的库卡波罗。 在他之前，人们对芬兰家具设计的印象主要是以Alato为代表的 胶合板家具，而库卡波罗根据自己对塑料和钢木家具的精心研 究和经典设计，彻底改变了人们对芬兰现代家具设计的呆板印 象.
库卡波罗的设计的鼎盛时刻是在60年 代之后，尤其是他的玻璃钢材料及塑料材 料家具，成为60年代产量最大的种类。难 能可贵的是70年代后，库卡帕罗开发出了 一批又一批的简洁高雅而又符合人体工学 的现代办公家具，从而彻底打破了长期以 来办公家具原始、笨重的风尚。
汉斯·威格纳 Hans·J·Wegnet
1914-1989
与芬居尔不同，汉斯威 格纳是木匠出身。他的家具 作品在很大程度上立足于他 对材料和机构上的完美理解 和掌握。他极善于简化和净 化造型，从而使基于手工制 作的设计完全符合现代化工 业生产。
威格纳对中国传统家具 设计情有独钟，早年即以设 计一组“中国椅”闻名于世， 后来又有大量设计与“中国 造型元素”密不可分。
宜家家居用品的风格是瑞典家居设计文化史的凝聚，而瑞典家居 设计文化源远流长：19世纪末，艺术家Carl和Karin Larsson将古典 风格与瑞典的民间格调相结合，他们创造了瑞典家居设计的典范，流 传至今；到了50年代，随着现代主义和实用主义风格在瑞典得到了发 展。时至今日，我们在宜家产品上看到的是：现代但不追赶时髦，很 实用而不乏新颖，注重以人为本，在多方面体现了瑞典家居的古老传 统。
FAABORG CHAIR
1914
设计师: Kaare Klint
材料：桃花心木，藤
红椅（巴塞罗那椅）
RED CHAIR or BARCELONA CHAIR
1927
设计师：Kaare Klint