(完整版)艺术设计与色彩外文翻译文献

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艺术彩灯的设计毕业设计毕业论文及文献综述

东华理工大学长江学院毕业设计(论文)题目艺术彩灯的设计英文题目The Design of Artistic Illumination学生姓名万绍华学号04314117指导教师高浪琴职称教授专业电子信息工程二零08年6月8 日摘要此次课题在彩灯设计方面采用的是基本的三基色原理,来调试出7种不同的颜色.在控制时间方面采用的是PW M调制技术,通过C NT1和C N T2的相互比较来控制彩灯的颜色变化以及变化的时间长短.单片机EM78P153也对此次设计起来很关键的作用,通过了解它的引脚及其功能,才能连接硬件电路,才能实现软件方面的运行.此次研究工作的目的是为拉更好的掌握单片机方面的知识以及汇编程序方面的应用。

此次设计能实现3只普通LE D 灯泡调配出7种颜色按照所规定的时间发生变化。

主要应用的材料为：导线若干,二极管,三极管若干,符合型号的电阻几个.几个电源,E M78P153单片机一个关键字：EM78P153，P W M调制技术，中断程序，C N T1，C N T2，三基色原理ABSTRACTThis task has adopted the principle of three basic colors i n terms of the design concocting seven different colors,while in the regard of controling it has made use of the PWM concocting technique,that is,through the comparison between CNT1and CNT2,it will control the variation of color and the length of the time.Besides ,the monolithic deviceEM78P153 also has played a crucial role during this task which is the center of designing the hard ware and soft ware.The major materials are that several wires, diodes, transistors, batteries and resistances which is a ccordonce with requirements,and a mondithic device EM78P153 as well.Keywords:EM78P154 ,PWM concocting technologl. Cutting of Programme, the priciple of three basic colors目录绪论 (5)1 彩灯原理与设计方案 (6)1.1彩灯实现的原理 (6)1.2色彩转换的分析 (6)1.3系统框架设计 (7)1.4．PWM技术的应用及实现 (8)2 艺术彩灯的硬件电路设计 (10)2.1：单片机系统 (10)2.2 电源电路： (11)2.3 LED控制电路 (11)2.4交流检测电路 (11)2.5系统总电路图： (12)3 艺术彩灯的软件设计 (12)3.1系统主流程的描述如下： (13)3.2状态内部程序流程 (15)3.3系统编程 (17)3.4PWM技术在程序中的应用 (21)3.5交流检测模块 (22)4 系统的调试 (23)总结................................................................................... ...... .. (25)致谢 (26)参考文献 (27)绪论彩灯文化是中华民族百花园中的一朵绚丽奇葩，观灯、赏灯已是民间百姓雅俗共赏，休闲娱乐的重要的传统习俗和文化活动。

平面设计英文参考文献

平面设计英文参考文献Graphic design is an art form that combines visual elements to communicate messages. It plays a crucial role in various industries, from advertising to publishing.The principles of design, such as balance, contrast, and hierarchy, are fundamental in creating effective visual communication. Understanding these principles can elevate a designer's work to new heights.Color theory is another essential aspect of graphic design. The right color palette can evoke emotions and set the tone for a project, making it resonate with the audience.Typography, the art of arranging type, is vital for readability and aesthetic appeal. Choosing the right font and layout can significantly impact the message's clarity and impact.Innovation in graphic design often comes from exploring new software and techniques. Staying updated with the latest design tools and trends can help designers stay relevant and create cutting-edge work.Collaboration with other creatives, such as photographers and illustrators, can enrich a graphic designer's portfolio. These partnerships can lead to unique and dynamic projects.Sustainability is becoming increasingly important in design. Incorporating eco-friendly practices and materials can make a positive impact on the environment and appeal to a growing market segment.Continual learning and practice are key to mastering the craft of graphic design. Attending workshops, participating in design challenges, and seeking feedback from peers can foster growth and improvement.In conclusion, graphic design is a multifaceteddiscipline that requires a combination of technical skills, creative vision, and a deep understanding of the principles that guide it.。

艺术设计外文翻译--美的传统与新生

艺术设计外文翻译--美的传统与新生The nal and NewAbstract:XXX of art and design for XXX has been appreciated and valued for ns。

but with the advent of XXX and ideas。

XXX of design。

as well as its properties.n of Beauty:Beauty is not just about XXX。

it XXX。

XXX is essential。

Although the laws of the United States are not a constraint。

they may have XXX "nality"。

By examining the n of beauty。

XXX its essence.Natural Beauty:One of the most XXX is natural beauty。

It is similar to the beauty of nature and is appreciated for XXX is something that can be captured and understood。

XXX.Overall。

XXX always be valued。

XXX。

By doing so。

they can create designs that are not only beautiful but also useful and effective.have changed。

and the focus is now on XXX。

This style is often associated with minimalism and simplicity。

and can be seen in many modern designs.The use of clean lines and simple shapes is a hallmark of the geometric style。

室内设计三篇外文翻译

附件1：外文资料翻译译文自然简约—对室内设计现象分析摘要:自然､简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身｡营造的是一种诗意的空间｡关键词:简约;空间;品位;室内设计;感觉远古时期,中国的木构架建筑､东方古印度的石窟建筑､欧洲古希腊､古罗马的石砌建筑等等装饰与构件紧密结合,与建筑主体溶为一体｡然而十七世纪初欧洲巴洛克时代和十八世纪中叶的洛可可时代,开始了室内装饰与建筑主体的分离,外部的建筑主体与内部的装修在使用年限上不匹配,因而导致建筑主体与室内装饰的分离,在营造法国宫廷建筑和贵族宅邸时,新的职业“装饰工匠”诞生了,对建筑物的内部频繁不断地进行改装,不动建筑主体,更换建筑“服装”的时期已经到来｡巴洛克式建筑的室内设计,一反文艺复兴时期的严肃､含蓄､平衡,倾向于豪华､浮夸｡在教堂及宫殿中把建筑､雕塑､绘画结合成一个整体,追求动势与起伏,企图造成幻象｡而洛可可式建筑室内则是皇宫贵族为了得到舒适的､私密的室内而追求优雅的更为亲切的室内装饰效果｡具有纤细､轻巧､华丽和繁琐的装饰性;喜用C形､S形或漩涡形的曲线和轻淡柔和的色彩,多以花鸟､贝壳为题材,并为适应宫廷的异国情趣要求,在室内采用了许多中国式装饰｡巴洛克和洛可可式的手工制作达到了装饰的极致,被称为“室内装饰”的代表｡近代工业革命的大发展,出现了新型的混凝土建筑,它不仅使室内装饰从建筑主体中脱离,而且发展成为不依附于建筑主体而相对独力的部分｡分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾,成为现代主义设计的先驱｡包豪斯学派强调功能决定形式,认为空间是建筑的主角,提倡抛弃表面虚假的装饰,一切围绕着架构合理的空间服务｡要求排除装饰,强调使用功能以及造型的简单化｡自然风格倡导设计自然空间,美学上推崇“自然美”, 力求表现悠闲､舒畅､自然的田园生活情趣,也常运用天然木､石､藤､竹等材质质朴的纹理｡巧于设置室内绿化,创造自然､简朴､清新淡雅的氛围｡只有崇尚自然､结合自然,才能在当今高科技､高节奏的社会生活中,使人们能取得生理和心理的平衡｡简约不等于简单,它是一种生活态度｡当我们在现代生活中,承受太多的压力,我们开始渴望拥有自由的感觉､优雅的姿态和不凡的品位｡我们需要让浮躁的心境趋向平和,于是我们呼唤简约｡从大的建筑空间到普通的居住空间,从职业设计师到普通公民,自然简约风格——开始成为室内设计界非常流行的方向｡简约的精神起源主要源自于二十世纪初期的西方现代主义｡英国JOHNPawson 与法国的ClaudioSilverstein两位室内设计师在80年代中期引领了简约主义的设计潮流｡当时欧美的经济不景气,艺廊老板们开始在艺术品的展示空间上找出路,一些报费的工厂车间简单布置,成为艺术展厅,目的是以最少的经费作出最好的展示空间,而这么做的结果就是简化空间,不装饰多余的东西,实际上,这也反映了一种新审美的出现｡从设计居家引入到艺廊的设计,使得展示空间与艺术品呈现出同一种美学特征｡简约艺术也就在这个时候开始与室内设计相吻合,并逐渐开始流行起来,到现在简约主义成了室内设计追崇的风格｡回归自然的简约主义是人类特有的劳动成果｡其目的是以简洁的表现形式来满足人们对空间环境那种感性的､本能的和理性的需求｡从某种意义上说,简约主义的盛行是人类发展的必然趋势｡自然､简约的室内设计营造的是一种诗意的空间｡我们知道,“诗”的艺术特点就是用极其简洁的语汇,按照一定的规则组合,形成“诗”这样一种语言,其字里行间包含了极大的空间,一种隐含的静态的空间｡在设计中把人的思想情感,人生的向往注入到环境中去,通过“意境”将其立体､空间地再现于现实中,使人入其境,则忘乎其身,这是一种超乎物质感受的精神感受, “意境”的创造,正是通过气氛的营造来达到体现某种精神意义上的“亲和力”｡实际上,简约主义室内设计就是这样一种“诗意”空间的营造｡用极简的物体摆设产生想象使用空间,这个空间实际上是一种副空间,有各个家具组合产生的副空间,它往往给人视觉上“空”的感觉,而“空”犹如诗所产生的“意境”,极大调动着身处其中的人的情绪,激发人的联想能力｡简约室内设计强调形式美感｡如果说,一般的室内设计把家具,诸如沙发､桌子等物品称为主体物的话,那么简约主义室内设计是不存在这样的区分的｡简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用,包括墙面､地面､顶面等｡空间中所有物体的协调组合具有很强的形式美感,这主要体现在点､线､面三个空间元素的表现上｡中国几千年的文化,沉淀出多少恒世佳作,特别是中国汉代建筑更是集精华美妙之灵气,以“简单､厚实､精准､雅致”为原则,将东方特有的审美观念,独立浑厚的气质､凝练渺远的简约神韵,响绝于世｡它至今还影响着国际建筑的设计理念,也影响着室内设计的美感｡设计之所以能以尽量少的语言表达尽量多的信息,有赖于其将诸多设计表现形式要素科学的融合在一起,其中色彩的选择和使用起了十分关键的作用｡我们知道色彩是不同波长的光反射和吸收的结果,光的传播速度比图形文字的传播速度快,这使得它让人在第一时间感受到,所以对空间最先感受到的就是色彩,而不同色彩可以引起人们不同的心理反映和感受｡在自然､简约的室内设计中,黑色和白色以及材料的本色是它的代表色,也是常常使用的颜色,这些颜色被认为是最没有倾向的颜色,对人的视觉干扰最小｡同时室内设计也强调对光的使用,往往通过天窗等获取自然光源,这对塑造一种轻淡整一的色彩空间起着相当重要的作用,也体现了简约主义所宣扬的简洁但不简单的风格｡每一个表现手段都以居住为目的,对每一个局部都强调其功能性和舒适性｡实际上,这种对功能的充分表述体现了设计的基本美学原理,也是很容易理解的,任何设计都是以人为服务对象的,人在消费设计的时候,最主要是消费它的实用功能｡所以,当我们看到一张看似坚硬的座椅,不要马上判断它必然带给你冰冷的感觉,坐上去的一刹那,也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适体验｡应该说,自然､简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身｡对简洁的理解因人而异,由于人们的年龄､见识､素养､生活背景的不同,所产生的品味要求也就不同｡社会的发展,时代的进步,新思维､新结构､新材料的出现必定会产生与此适应的装饰新概念､新形式､新空间｡简洁这一现代的装饰表现形式已经深入影响到建筑产品､工业产品､生活产品等诸多领域｡几根钢管,一个木桩,一个布堆就能做出不同形式的现代家具｡它已悄然让人们的生活方式和思想观念产生质的变化｡有人认为简洁的设计风格必然会一枝独秀,成为21世纪人们生活追求的时尚｡以简洁的表现形式来满足人们对空间环境那种感性的､本能的和理性的需求,这也是当今国际社会流行的设计风格｡而现代人快节奏､高频率､满负荷,已让人到了无可复加的接受地步｡人们在这日趋繁忙的生活中,渴望得到一种能彻底放松､以简洁和纯净来调节转换精神的空间,这是人们在互补意识支配下,所产生的亟欲摆脱繁琐､复杂､追求简单和自然的心理｡在印尼巴里岛旅馆系列设计中,灵感来自巴里岛上的民俗风格,但在空间架构及动线安排上是延伸简约设计的精神｡在材料表现上,出现了自然原始的当地原木,草席及石板｡设计师将这些具有自然民俗的元素用精确及简洁的细部来处理以加强主题,同时也将装饰的部分简单化,所呈现的空间可以说是现代巴里岛风格｡纵观世界建筑设计大师们无论是德国密斯•凡德罗､还是美国的理查德•迈耶､日本的安藤忠雄､美籍华人贝聿铭,他们都以最纯净的形式,用相当普通的材料,使用最精简的手法,表现出非常深度的内涵和崇高的空间气质｡他们一件件充满灵性的作品有着无穷的生命力,他们的设计思想震撼着当今时代｡也引领着时代潮流的发展｡附件2：外文原文Natural simplicity - on interior design AnalysisAbstract:The natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself. create a poetic space.Keywords:minimalism; space; grade; interior design; feelingAncient times, Chinese wooden framework architecture of ancient India, the Orient, Europe, building caves in ancient Greece, ancient Rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into Europe in the early seventeenth century Baroque times and the mid-eighteenth century the Rococo era, began with the interior decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the separation, in the construction of the French court architecture and aristocratic mansion, the new occupation "decorative artisan" was born, the building's internal frequency continuous modification, fixed the main building, the replacement building, "clothing" the time has come. Baroque-style architecture of the interior design, one anti-Renaissance solemn, subtle, balanced, tend to exaggerate. luxury, in churches and palaces in the architecture, sculpture, painting into a whole, the pursuit of momentum with the ups and downs, but an attempt to cause the illusion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of a more intimate interior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and soft pastel colors with flowers and birds, many shells as a theme, and the court order to meet the requirements of the exotic, much used in interior decoration. Chinese-style Baroque and Rococo-style hand-made decoration reached perfection, referred to as "interior decoration". modern representatives of the great development of the industrial revolution, there has been a new type of concrete building, its interior decoration not only from the main building from the Medium, and developed into the main building and not attached to the sole part of the relative separation. Sports camp solved simply decorative building components with a combination of the main contradictions in modernist design become a pioneer in the Bauhaus school of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all around the architecture reasonable space requirements Services. exclude decoration, emphasis on the use of functions and simplified shapes.Advocate the design of the natural style of natural space, aesthetic promoted the idea that "natural beauty" to the performance of relaxed, comfortable, natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings greening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order in today's high-tech, high-paced social life, so that people can achieve physical and psychological balance.Simple does not mean easy, it is an attitude towards life. when we are in modern life, to bear too much pressure, we began to look for the feeling of freedom, graceful posture and extraordinary taste. we need to tend to a peaceful state of mind impetuous, So we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen vocational naturally simple style - interior design has become very popular direction.The spirit of simplicity is mainly derived from the origin to the early twentieth century Western Modernism. Britain and France JOHNPawson two ClaudioSilverstein interior designers in the mid 80s to lead the trend of minimalism design. Europe and the United States at the time of economic downturn, the Art Gallery bosses began to display works of art space to find a way out, some reported costs factory floor layout easy to become art exhibition hall, the purpose of funding is based on at least make the best display space, while the results of doing so is to simplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same type of aesthetic simplicity. art at this time it started with the interior coincide with the design and gradually began to slip to the present minimalism became the style of interior design and pursue careers.Return to nature of minimalism are human-specific labor. its purpose is to concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitable trend of human development.Natural, simple interior design to create a poetic space. We know that the "poem" The Art of the characteristics is to use very simple vocabulary, according to certain rules of composition, form a "poem" of such a language, its between the lines contains a great deal of space, a static implicit in the design space. people's ideological feelings, life, longing for injection into the environment through the "mood" to reproduce the three-dimensional space, in reality, it means its habitat, then forgotten by his body, which is a spiritual experience beyond the physical experience, "mood" of creation, it is by creating an atmosphere to achieve a certain spiritual significance embodied the "affinity".In fact, the interior design is minimalism such a "poetic" to create a space with minimalist objects. have to imagine the use of display space, this space isactually a vice-space, has generated various combinations of furniture, deputy space, it often gives a visual "empty" feeling, while "empty" like poetry generated by the "mood", a great mobilization of the person in which emotions, ability to inspire people association. Simple interior design aesthetic to emphasize the form. If Say, the general design of the interior furniture, such as sofas, tables and other items referred to as the main object, then minimalism interior design is there is no such distinction. Minimalism in interior design consider any part of space will share the same important role, including the walls, ground, and so on top of all the objects in space. coordination portfolio has a strong aesthetic form, which is mainly embodied in point Line, surface, the three elements of the performance space. China for thousands of culture, how much precipitation Heng Bank works, especially the Han Chinese are building a more beautiful set of Aura essence to "simple, solid, precise, elegant" as the principles unique to Oriental aesthetic ideas, independent and vigorous temperament, concise vague distant charm of simplicity, the world should ring. it has also affected the international building design concepts, but also affect the interior design aesthetic.Design is able to express the language as little as possible as much information as possible, depends on its design will be many manifestations of the combined elements of science, in which the choice and use of color plays a very crucial role. We know colors are different wavelengths Light reflection and absorption of the result of the spread of light faster than the spread of graphic language faster, which makes it the first time people feel, so the first sense of space is the color, and different colors can cause different and feelings of psychological reflect. Natural, simple interior design, black and white and color materials are representative of its color, is often used in color, these colors were not inclined to think most are the colors of the visual interference of the smallest person｡Interior design at the same time also emphasized the use of light, often through access to natural light source, such as skylights, which create a pastel color space of one whole plays a very important role, but also embodies the minimalism advocated by the simple but not simple Style.The performance of every means to live for the purpose of, for each partial emphasized its functionality and comfort｡In fact, such a full expression of functional design embodies the basic aesthetic principle, is also very easy to understand, any design Service is based on man-made object, person in the consumer design, are the most important consumer of its practical function｡so, when we see a seemingly hard seat, do not immediately judge it is bound to bring you the feeling of cold, go get the moment, perhaps it is that it backs the arc Road inadvertently bring you down just to experience the benefits of comfort.It should be said that natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself.Concise understanding of the person to person, because of people's age,knowledge, quality of life, different backgrounds, and the taste will be different requirements. social development, the progress of the times, new thinking, new structure, the emergence of new materials will have to adapt to this new concept of decoration, new forms, new space. decorative simplicity of this modern form of expression has depth affect the building products, industrial products, in many fields such as Living Products. several pipe, a timber, a reactor cloth can make different forms of modern furniture. it has quietly let people's way of life and ideas have been a qualitative change. think concise design style is bound to outshine others, to become people's lives, the pursuit of 21st century fashion.A concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs, this is also the international community today. popular design style and modern fast-paced, high-frequency, full load, has no people to Reusable｡point increase in the acceptance of people in this increasingly busy life, a desire to be able to completely relax, simple and pure spirit to regulate the conversion of space, which is dominated in the complementary sense, arising from trying to shake off cumbersome, complicated, easy and natural to pursue the psychological. hostels in Indonesia Bali Series design, inspired by Bali's folk style, but in space architecture and dynamic line arrangements are designed to extend the spirit of simplicity｡performance in the Materials the emergence of the local natural original timber, straw and stone｡designers of these natural elements of folk with accurate and concise detail to deal with in order to strengthen the theme will also be part of decorative simplistic, presented by the space can be said modern Balinese style.Taking a panoramic view of the world's architectural design, whether they are German Master • Mies van der Rohe, or the United States • Richard Meyer, Tadao Ando of Japan, Chinese-American IM Pei, they are the most pure form, with a very ordinary materials, use of the most concise way, showing great depth of meaning and noble qualities｡space a piece of their work is full of spirituality has infinite vitality, and their design idea in today's era of shock｡also led the development trend of the times.Talking about the symbols in the environmentof the use of Art and DesignAbstract:The inheritance and innovation over the years the relationship between art and design environment has been the focus of attention. This article hopes for the design of symbols used to explore the culture, about the mysteries of inheritance and innovation of the trace of sentiment.Keywords:deformation grammar separatist symbols constituteInheritance and innovation over the years the relationship between art and design environment has been the focus of attention. In fact, from the linguistic point of view, this contradiction is the language of stability and variation between the contradiction. As a designer in the form of design successes and failures of the success or failure depends on the master, "the term" the rich and the use of "grammar" of proficiency. Designers to make their works by others can truly understand, we must choose the appropriate "word" and must comply with the "grammar." This does not mean that designers can only follow the beaten track, no personal contribution. Designers skillfully use the new individual symbols, or a conscious change in inter-symbol combination of a number of conventional relations, create new works of moving, which is design innovation.Composition has a "specific" component approach, that seems to be very plain in the composition of the sudden appearance of a "heterogeneous" elements, making the program itself is very plain to achieve unexpected results, with a sense of innovation of new symbols like this "heterogeneous." In people's accustomed to things difficult to arouse enough attention and interest in case, some common symbols deformation, splitting, or the preparation of the code to change the order, you can play a compelling, thought-provoking, the strengthening of environmental messaging language role.United States renowned architect Charles Moore designed the city of Orleans, "Italian Piazza" is bold in design elements taken from a variety of classical symbols, and symbolic means to reproduce them. The entire square to a circular plane Baroque for the composition to the gradual proliferation of black-and-white concentric circles and to the surrounding pavement surface to extend out until the three sides of the street entrance. Classical Roman column, after a face-lift to the face of new shows, such as the Corinthian column is used in stainless steel column, canopies wall carved with the Latin of "this fountain for the public to all the people who offer the gifts" ofthe message; Doric column on the Flowing Down gurgle, round coupon on the molar smiling portrait, water is constantly spit from his mouth ... here is not only full of bright rich atmosphere of a modern commercial, but also a strong attachment to local feelings. Maps and Italian Apennine Peninsula, Sicily and Sardinia's plan; ancient Rome, the five-column, the deformation Motif combinations and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact, you are immediately aware that it is a mockery of classical Marxism. This is a joyous, almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style building was considered aloof in the historic and local above only has the technology and a small number of functional semantic semantics, there is no room for thinking aftertaste, the environment has led to apathy and boring criticism. This use of information theory to explain the principle that effective environmental information contained in the symbol system too. In view of this, post-modern architects Venturi loudly called for: "building a rich content, while building to include other aspects of the multi-dimensional art, even including the language, so that it is no longer a mere tool for the space." It advocates environmental complexity and contradictory nature of modernism promoted by substitute simplicity; to semantic ambiguity and tension in place of straightforward; to the multiplicity of semantic opposition to one or the other of opportunism; should be mixed at a glance rather than unity. Stern designed the "best" product showroom are a typical example, it adopted legislation faces many of the traditional symbols and constitute a form, like the ancient Greek pantheon of elevation, thus suggesting he was trying to convey theme purposive: that is, the building as a "temple of consumerism," the commercialization of society reflect the values of people and commercial activities of daily life today, the importance of. But the way metaphors are complex, multiple, without serious thought, it is difficult to understand immediately apparent from its real significance. This design works, for example, not only the depth of the box thinking is more than simply the pursuit like a sailing boat or a bird of prey such as the symbolism of a more intriguing, more philosophical.The environment as a symbolic phenomenon, in order to address the long-standing problem for the designers of the inheritance and innovation of the paradoxical problem of providing a effective way. Design language as the language of symbols, are rooted in past experience with the rapid development of the society is linked to the new features, new materials, new technology and calls on new ideas. On the one hand, as if it were so general language language changes slowly, on the other hand, with the rapid development of society. How to make the environment not only of historical continuity, but also to adapt to the new requirements of the times?With the advance of science and technology progress and frequent cultural exchanges, "vocabulary" and "grammar" in the developing trend of convergence, but a nation because of natural conditions, economic and technological, socio-culturalpractices of the different environment Association has a number of unique symbols and arrangement. Spoken like the dialect, like the designers cleverly inject this kind of "accent" can enhance the environment for a sense of history and local flavor, and enhance the influence of language environment. Modern Japanese Architecture Master Kenzo Tange designed Kagawa hall is a "new form of the traditional semantic" model. Although the building are used by ordinary reinforced concrete frame structure, but the external form of treatment is the use of Lu Ming Chuan head, beam top traditional symbols, vertical horizontal partition is a natural association to the Japanese main tower of the layers of eaves. Layout has absorbed the advantages of the square tower of the traffic and public facilities on the planar core (similar to the tower Kaguta ventricle), so that they share the smallest Get all floors of the shortest route traffic. So as to show a structure with modern forms of technology to reflect the style of traditional local methods.United States artist Susan Lange once said, "is always a symbol to simplify the form of the performance of its meaning, that is exactly what we can grasp the reasons for it. Regardless of a work of art (or even all of the arts) is how the complexity of , profound and rich, it is easy than real life. Therefore, the art theory is undoubtedly the establishment of an effective hearts and minds in a vivid reality of the concept of such a great cause of the preamble is more. "symbolic activities have been included in the activities of some abstract no longer remain in the individual above the. Visual symbols are an art symbols, but also the performance of sexual symbols. Relative reasoning in terms of sexual symbols, visual symbols do not have their own system, and any visual symbols have a certain degree of cultural content, and only reflected in a certain degree of emotional structure, around a particular theme of organic combination. Educated Youth Hotel, Mao Jia Restaurant commercial building and so on, it also adopted the hats, corn on the cob, rough wooden tables and chairs, wells and so on, and even more in order to create an atmosphere of clothing are to be attendants, as well as the menu were also cleverly integrated into the Among them, these different geographical significance in rural areas typically rich in visual symbols to create an environment here is like an old album, recording a different person's experience, making the design become more cordial, but also worth pondering. Visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke thoughts association, which have empathy, to achieve emotional resonance, thus building more meaningful.The rapid development of urban construction has brought rapid changes, but at the same time we also lost many will never be able to recover things - historical context. The history of the formation of the streets, alleys, arches, religious shrines and so on urban form as a complete expression of architecture and urban image of the symbol system, being into films, Shing Street, into a Square to be removed, threats to the urban form of the compatibility and continuity . Respect for historical traditiondoes not mean, rigidly traditional. Instead, consciously keep these traditions, will make the city more local flavor. In fact, "establishing a new" do not have to "old", the key lies in how to approach traditional and fashion to create a new symbiosis of old and new urban form (symbols). "New World" project is located in Shanghai, Xingye Road Huangpi Road, a major site of the Chinese Communists of the surrounding area. "Venue" opposite the south block, design for the modern architecture is not high, which is dotted with some reservations the traditional architecture, and the "venue" in harmony. And "venue" where the north block, the neighborhood retained a large pattern, carefully preserved and repaired the building exterior facade Shikumen, detail and neighborhood-scale space, the building was made larger internal transformation in order to adapt to office, commercial, accommodation, catering and entertainment and other modern life. Have been built from the current part of view, received much praise, has a greater impact. It is said that sales and cost-effectiveness also very good. In fact, in Shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lifestyle never die off, "New World" just give it a reasonable change and continuity, are left for us to think more and enlightenment.Famous philosopher Ernst Cassirer person think symbols are animals. All human spiritual and cultural activities are the product of symbols. The essence of that person in that he can use to create cultural symbols. Therefore, all cultural forms, is both a symbol of the reality of Events is also the person of the nature of the object. The so-called master culture, in the symbolic level at least, to be skilled to operate constitute the cultural symbols and cultural system rather than the symbol itself, the new experiences and insights woven into symbols go, in fact, symbols themselves are also changing, and the cultural heritage and the innovation of the mysteries of it exist in this variation of the. Confucius and Socrates are still human beings are eternal beacon, and the symbols of modern subjects in this study call for us from the back to Socrates. Will be simple and complex semantics, traditional and fashionable phrase structure, and applied to the design of modern art, thereby creating a personalized, Human Culture's new design symbols.Fiber art and interior designAbstract:Fiber art is a functional fiber art and aesthetic value in one art form. Fiber art is full of natural flavor to the material texture and flavor of the simple hand-woven to meet the emotional needs of a wide range of people, it and other types of interior decoration as compared to an irreplaceable advantages. Fiber art has been to infiltrate the building and environmental matters in all aspects of design, it is mainly the use of various materials and techniques to express the concept of modern design and modern life.Keywords:Fiber arts; not include the indoor environment; fiber artFiber Art collection of classical and modern, romantic and calm, industrial civilization and traditions in one hand, are an ancient and young arts. It is natural animal and plant fiber or synthetic fiber materials, with knitting, ring binding, winding, Stitch and other production means, the creation of planar, three-dimensional image of a form of art. Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling language works.1. fiber texture art interior environmental design on the impact of material selection.The performance of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an unparalleled visual appeal. Fiber art of material selection is very extensive, almost all types of textile fibers may be applicable. The use of different materials through different processing or the use of different structures can produce different textures. Texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and transparency and so on constitute a large number of attributes. Constitute the attributes of diverse, complex portfolio, will also change texture infinite. At the same time, textures are also belong to the common perception of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds of materials are exposed through the texture to its true features and through the texture to express the characteristics of materials. Fiber interior accessories through tactile senses given different psychological feelings, such as hard and soft, thick, hot and cold and so on. At the same time, set up in the memory of visual perception, evoke images of different psychological perception, distinguishing texture characteristics. Modern fiber art is a breakthrough and go beyond the traditional, mainly manifested as fiber。

自然简约的室内设计外文翻译文献

自然简约的室内设计外文翻译文献Abstract:Natural and simple r design represents a way of life thatbrings us closer to nature。

___。

and focuses on the essence of living。

It ___: simplicity。

space。

taste。

___。

___.Analysis of the Phenomenon of Natural and Simple r DesignIn ancient times。

___。

ancient Indian rock-cut architecture。

and ___ and components with the main body of the building。

However。

in the early ___ century。

the Baroque era in Europe and the Rococo era in the mid-___ ___ and the main body of the building。

The external main body of the building and the internaln did not match in terms of usage years。

leading to the n of the main body of the building and ___ palace buildings and noble ns。

___ "decorative craftsmen" emerged。

who ___ the main body of the building。

ushering in the era of changing the "clothing" of buildings。

外文文献翻译中性化服装设计

外文文献翻译中性化服装设计shirts。

XXX。

With the development of society and the progress of science and XXX。

people'XXX challenged。

and the XXX。

the design of XXX.2 Design of Neuter ClothingThe design of XXX。

It aims to break the XXX。

and present a more inclusive and diverse style。

The design of neuter clothing should be comfortable。

practical。

and nable。

It should not be XXX。

age。

or body shape。

The use of neutral colors。

simple lines。

and minimalist style is the main feature of XXX.The design of XXX the social and cultural background。

Different ns and XXX。

the design of neuter clothing should be adapted to the local culture and market demand。

The use of local materials。

nal crafts。

and cultural elements can add more value to the XXX.3 Market of Neuter ClothingIn recent years。

the market of XXX。

such as Zara。

H&M。

and Uniqlo。

The neuter clothing market share is increasing。

艺术设计中英文对照外文翻译文献

中英文对照外文翻译The traditional and newAbstractIts usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving the transformation of beauty -- full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into" rationality". From the function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty. Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, function of beauty can be achieved.Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Function of beauty is not useful to both beauty""Function of beauty is not useful to both beauty""The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of" transformation" is what? First of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialized training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditions,and can bring the enjoyment of the material. Aesthetic enjoyment is" care in enjoyment", this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to care, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not functional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, auditory or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as" usefulness". So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceThe so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against" function determines form". Consumer products of different shape change request. We use the" degree of freedom" and" definition" two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of" degrees of freedom", the form of freedom, refers to the product structure and appearance for the designer to control the extent of. The 2form of definition is followed by a form of " definition", form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form the basic conditions. From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty -- the direct expression of the form, and the function of the com., is to the thing itself some characteristics of externala kind of beauty.The traditional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion "human nature", the aesthetic form of the accumulation of social content. 1be handed down from age to age" style " and " style" here refers to those containing the traditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2" reproduction " of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding things related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revolution triggered by the" anti traditional"Design revolution triggered by the" traditional" trend of thought 1"1" decoration decorative worship" worship" the so-called" loaded worship" refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved theshould be large quantities of production machines, only exclusive decoration will have a large number of cheap products to market. Function of" worship" function" worship" the so-called functional worship", refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throughout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely " form follows function" or" form and function of the high degree of unity", the attendantSimple and unadorned geometric style is very natural, with " Decor worship " for the characteristics of the traditional design has also been completely subvert.Forms of worship"The form of worship" the worship of modernism design can be understood as" functionalism" design, modern design and good atcoordination function and design of coordinating the relationship between function and form, making them reach a" harmonious". Therefore, it is not a pure function, and also not the pure form type. " From its structure and aesthetic characteristics, the international style building was eventually replacing it with the Renaissance tradition is the opposite." 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism" postmodernism " is a construction led, spread all areas of design, the mainstream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous contrast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3" ugly beauty"3" ugly beauty" ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthetic consideration, classical beauty ugliness as beauty all the negative state, and humanity" evil " contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. Tosum up : the proof of design art in the" beauty" of modernism design challenge, or say to" function determines form" beyond. Modern beauty modern beauty beyond the beyond is refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the" anti traditional" Design revolution triggered by the" traditional" trend of thoughtSince twentieth Century the modern aesthetic concepts, essentially everything "and the traditional " are linked, but" unconventional " idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the cornerstone of the" innovation", the most common words in the" avant-garde " and "modern". The thought is the core of" anti traditional". On the other hand, is the new concept of art" the feed" design, making it a departure from the traditional design concept and has the" avant-garde" and" modern" features.美的传统与新生摘要人造物的有用性与功能美——人造物的形式与形式美——传统美的积淀——现代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括：完善转化的美——充分的有效性就是合理和完善，如有有效性相应的合理结构和材料加工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。

外文翻译--浅谈室内设计中色彩的环境与功能

2500 单词，1. 2 万英文字符，4000 汉字本科生毕业设计(论文)外文翻译原文标题Discussion about the ColorEnvironmenta ndFunc t ions in Interio r Design译文标题浅谈室内设计中色彩的环境与功能作者所在系别材料工程系作者所在专业作者所在班级作者姓名作者学号指导教师姓名指导教师职称完成时间2013 年12 月共 6 页第 1 页论是在事实上还是在情感上，人们会对温度、距离、重量、尺寸等有不同的心理感受，因此色彩的物理功能也可以被很好地应用在室内设计中。

1. 1.1色彩的温度感受在色彩学上，不同色调的色彩可分为暖色，冷色和中性色。

从色相环的色彩来看，很显然导致感冒的色彩是从蓝绿色到紫蓝色色块。

在色彩美学上色彩的温度具有很重要的意义。

根据视觉经验，色彩的温度会使人产生奇妙的，生动的，活泼的感觉。

这是人类根据长期的积累与经验总结出来的。

例如，红色，橙色，黄色，会让人感觉到他们好像看到了太阳，火，转换器等，因此感觉热；蓝色和绿色，让人感觉就像看到河流，湖泊和海洋，绿色的田野，森林，所以会有清新凉爽的感觉。

1. 1. 2色彩对空间的影响色彩的温度，纯度，明度等特征，会在经济的发展和衰退，粗糙度，距离上给人不同的感觉。

一般来说，暖色调和光的色彩会产生膨胀和开阔的感觉，而冷色调和深色会有衰退和萎缩的效果。

色彩的这些特点往往在室内设计中被用来制造不同的空间视觉效果。

例如，当室内空间太大了，我们可以采取冷色调和深色来削弱宽敞的感觉，从而提高空间与人的亲和性。

另一方面，当空间狭小低矮时，我们应该利用暖色调和浅色来提升空间，给人以心理上的安慰。

1. 1.3色彩的尺寸感受上文提到了色彩对空间的视觉效果的影响，同样的，色彩对对象的影响效果体现在色相和明度上。

暖色调和光的色彩有扩展功能，使对象看起来很大。

冷色调和深色调有衔接功能，使对象看起来很小。

艺术类文献翻译英文原文

原文：•Update:2009-12-08•Justin 0'Connor•Source: No.199 | November2009[…]The basic difference between a creative artist and an industrial designer lies in the tasks they perform and the environment in which they operate. The creative artist is respon-sible only to himself. On the work of the designer, however, depends thecommercial profit of his factory, and thus the welfare of the workers in this factory. His world is the worldof businessmen and technicians. His language must be the language of businessmen and technicians. Artistic arguments are not subject to proof. The artist is allowed to dream. The designer must be awake at every minute of his working day. He is a manager. Objectivity and clear thinking determine his actions. He must make all his dispositions with a sure hand. The artist works alone. The designer is a member of a team. The artist is silent. The designer needs to talk about his ideas. He must be able to communicate with his partners.[…][…]We must say goodbye to the familiar image of the artist in industry who, dreaming of good design, tinkers round with his spoon, the last craft worker in industry, as he was once called. We shall have to accustom ourselves to a new type of designer, one who is hard-ly to be distinguished from a clever manager –the word ›manager‹ being meant in a positive sense here. It is natural for this designer to be as familiar withquestions of production and sales as his client is. Design alone is nowadays only a part of his work. […] The industrial desi gner of today must be put in much greater touch with the values of commerce and mar-keting if he is to be successful in his work, if he is to conceive the right product for the right market at the right time.Industrial design is the creation of industrial products. The industrial designer must have the knowledge, the abilities and the experience needed to grasp the facts governing the pro-duct, to conceive the design, and to carry it out in collaboration with all those involvedin product planning, development and manufacture, up to the finished product. In his coor-dinating design activity he will benefit from his knowledge of the sciences and oftechnology as a basis. The aim of his work is to create industrial products to serve society in both a cultural and social aspect.The industrial designer is the advocate of the people. It is amazing that the user or con-sumer is only indirectly involved in the decision process governing things he requires to satisfy his needs. So, in the first place, the desig ner is the user’s or consumer’s advocate. But at the same time this makes him a product of the people. Everyone has his own yardstick. Everyone makes their own decision. The particular task of the designer is to anticipate the de-cisions which others will make in the future as if they were his own. […] The difference from previous occupational descriptions [of the industrial designer –Editor’s note] is this – that German designers speak of coordinated design work and include the social aspect to which industrial design must be subject. I do not believe that this occupational description will be the last one. This profession, which is constantly involved in a dynamic devel-opment, is seeking new fields of work and new orientations.This service, from designs by Sigrid and Günter Kupetz, is not without its charms. Excellently finished ebony handles, a straight upper camber with a flat cover and counter-sunk ebony handle, a rather higher three-cor-nered spout (useful when carrying full pots) and an idiosyncratically curved body. One would perhaps enjoy it without reservation if there were not already an ›m‹ service. Butit provides enjoyment enough. For whether this careful transfer of a ›stile cristallino‹ to silver really signifies the ultimate solution, or just an attractive preliminary stage – the fact remains that WMF has been honestly en-gaged in producing something genuine, some-thing of high quality.This monograph is the first comprehensive overview of the creative work of designer Günter Kupetz. At the same time it presents a picture of the development of industrial design in Germany. There are few other personalities in the design world whose profession-al career reflects as well as Kupetz’s does, the sense of being one of the founders of a disci-pline in the fifties and sixties of the twentieth century. Against the background of the completely changed social and economic contexts of that time, Kupetz and, with him a whole generation of young German designers, frees himself from the artisanal image of the industrial artist imposed by the Bauhaus tradition, enters into an international dialogue about contemporary industrial design and ends up by creating the profession of industrial designer in Germany.Even though Kupetz’s debut was as an artist. Bernhard Heiliger’s outstanding student de-cided, after his first successes in sculpture, to take up a position with WMF in Geislingen/ Steige. He became head of the design studio and in subsequent years createdhundreds of products for the various branches of the company. These products have also found high international acclaim. Kupetz was represented by pieces at the World Exhibition in Brussels and at the ›Triennale 1957‹ in Milan and, equally, some of his designs have found their way into the collection of the Museum of Modern Art in New York.Kupetz’s organic, sculptural forms developed from his work as a sculptor find an echo in contemporary taste. They represent an optimistic modernity oriented towards the future, a modernity which became ever more popular during those years and which, with increasing affluence, more and more people were able to afford. Against the background of his paid work in industry, Kupetz’s wish to set his work in some sort of context and to give it the status of an independent professional discipline began to crystallise. He was increasingly re-occupied by issues surrounding the nature of the job and the professional ethics of the designer. He became a member of the Deutscher Werkbund association of artists and sought contacts with national and international colleagues. Influenced by the first International Design Congress, organised by the German Design Council in 1957 and the British designer Sir Paul Reilly, Kupetz became in 1959 one of the co-founders of the Association of German Industrial Designers (VDID) the first professional association for industrial designers.It was no more than consistent that the professional occupation of industrial designer as he had experienced it should lead him into fully freelance work in 1960 and finally, in 1962, into teaching. Thus, in taking over the newly founded teaching department of Industrial Design at the Kassel School of Industrial Art, he saw an opportunity to bring this new pro-fessional occupation into the purview of teaching and to test it in practice.The more important teaching was to him, the more Kupetz realised the dilemma in which he was placed. He knew the importance of technical, economic and social influences on the design process and wanted to integrate the sciences into design training as auxiliary disciplines. At the same time, he rejected any approach to the design process which was overly scientific. Kupetz therefore used the architectural term of (design) planning, a process in which of course scientific knowledge had an influence on design, but without dominating it. On the other hand – in contradistinction to the Ulm school – he considered the artisticaspect of design to be important. Here in his publications he made use of an enabling for-mulation by which, instead of art, he introduced the concept of intuition into his ideas of teaching. It was intuition, he said, which distinguished the designer from the engineer.Increasingly his interests were no longer restricted to training students. In his opinion, neither the industrial-art schools of his time nor the polytechnics of fine art were adequately structured for design training in Germany. He devoted himself to an evaluation of the school of industrial art, which led in 1971 to the foundation of the Polytechnic of Art and Design. In 1973 he was appointed to the Polytechnic of the Fine Arts in Berlin, where he became Professor of Product Design and Product Planning. The reorganisation of the Polytechnic of the Arts in Berlin saw Kupetz as a member of the Organising Commission where he attempted to bring his ideas to bear on the organisation of the Industrial Design Department. In his inaugural lecture as professor in Berlin Kupetz was already summing up in surprising fashion the job definition which he had proposed only a few years before:»The difference from previous occupational descriptions is this: German designers speak of coordinated design work and include the social aspect to which industrial design mustbe subject. I do not believe that this occupational description will be the last one. This pro-fession, which is constantly involved in a dynamic development, is seeking new fields of work and new orientations.« What distinguished Kupetz from his colleagues was his ability to question his own actions and to recognise that there were ever more possibilities of reaching solutions in design – and against a background of social change.For those seeking to classify Kupetz’s creative work, it is the mass market, where what matters first and foremost is meeting basic consumer needs (furniture, utensils and itemsfor everyday use) which provided the initial social context for his endeavour. Even before he had finished his creative career in industry this context had changed radically. From the beginning of the 1970s the German market begins to diversify. In a saturated market, new consumer needs come to the fore. Representation, involvement, identification, hedonism now form the central concerns of design led by market needs.Kupetz designed well over 1.000 products. These included metal-ware, glass, jewellery, packaging, furniture, durables and machinery. Some of his designs, such as the mineral water bottle for the German spring-water company, for which he was awarded the Federal Prize for Good Design in 1982, became best-sellers a million times over and are still inuse today. Other pieces, like many of the containers he designed for WMF or the first key-pad Telefone for AEG Telefunken were real design innovations in their field. Theall-em-bracing and multilayere d way in which Günter Kupetz’s work has developed, is, atthe same time, only conceivable in an industrial context. What characterises his output is his percep-tion that the design of anonymous products for the mass market is a socially important task, which must be accomplished with the highest possible regard to quality.»The professional responsibility of the designer is a personal responsibility to society, which he intends to serve through his work. His work for industry is therefore bound to a continual further development of his knowledge and abilities, but to an ever watchful moral receptivity too. In particular he must gain a comprehensive view of the whole life of man and be familiar with its needs, its customs and its desires. He should recognise theim-portance of his task. Looked at in this way, he is the vehicle of values both ideal and con-crete«, wrote Kupetz in 1963. With the dissolution of a mass market determined by basichuman consumer needs, Kupetz lost the context which shaped his work. He did not regret this, but recognised that his conception of industrial design is today a historical one. The fact that, notwithstanding this, many of his designs still seem contemporary today is attrib-utable to their outstanding formal qualities.The challenge of publishing a book on the work of one's own father has its appeal, though it is not without difficulties as one approaches the task. Many of the things that one knew intimately - and which one therefore never needed to classify - have to be looked at again from a distance. This is not only a question of gaining a certain academic objectivity, but one has also to rekindle an enthusiasm for things that have become a well-known part of one's everyday life. This is not a job that one could risk undertaking alone.I am, therefore, most grateful to Stephan Ott, who, with conceptual creativity, great love of, and attention to detail have worked with me to make this book possible. Annemarie Jaeggi and Florian Hufnagl as well as Marcus Botsch have set out the context of Günter Kupetz’s work in their remarkable and indeed brilliant contributions. In his photographs, Ingmar Kurth has lent a cool poetry to Günter Kupetz’s designs and transposed them into the 21st century. Armin Illion has taken his inspiration from the sculptural character of Kupetz design and created corresponding and equally exciting graphics.My thanks to all friends, collaborators and colleagues for their many comments and good wishes, and to WMF AG, the GDB eG (Registered Association of GermanSpring-Water Pro-ducers) and to the publishers Birkhäuser for their generous support in helping to make this project a reality.When Günter Kupetz started at Württembergische Metallwarenfabrik in Geislingen-Steige on 1 April 1954, the business was enjoying an upswing again for the first time since the end of the Second World War. After dreary years of slog in a time of poverty –when there was certainly a lively demand for daily table cutlery, but no consumption worth speaking of – now WMF intended to expand its range to feature a newly created set of products, expressive of their own age, to attract a new generation of loyal customers.In the years immediately after the war the people at WMF were still basing theirap-proach on what was already available, using the tools which had survived and the company’s well-supplied materials store, to take up production again in as seamless a way as possible. Nor was there any sign of a change in taste, for the range introduced in the 1920s and 1930s was still selling well – a range featuring a bourgeois, cautiously historicising approach, such as the cutlery, largely designed by Kurt Mayer, some of which was still being produced into the 1980s, and which provided the company with its commercial basis.When in 1948 the economic reform brought a new impetus to the market, WMF start-ed to look for new designers. In Wilhelm Wagenfeld they certainly found the most famous one in Germany, someone who represented the objective attitude of form elicited fromfunction of product, fully adapted to the industrial manufacturing process. As a trained sil-versmith, who had studied at the Bauhaus in Weimar and had managed to maintain a modern approach, both in the glass and ceramics industries, all during the National Socialist period, he, almost more than any other, had broad experience as a designer in all product sectors of WMF.The contract agreed with Wagenfeld in 1949 appointed him artistic director for the high-quality-product sector, with his own studio at WMF. Yet initially, to Wagenfeld’s irritation, his designs were largely used for glass products, while those for metal articles were shelved, or even rejected, by the company’s internal new-product committee. The reasons for this were economic considerations, for the production of the wooden models needed to manu-facture glass products meant much lower capital investment than theexpensive tools for producing metal goods. Moreover the majority of consumers in Germany, in the wake of Bauhaus, had no great admiration for these kinds of formally reductive, inconspicuously attractive and timeless consumer goods – something reflected clearly in their sales figures.Wagenfeld’s famous metalwork productions for WMF, which were to bring thecom-pany great success, and which have become a part of design history, found support above all from WMF’s American partner, Gordon Fraser. His sure eye for the US market, the pre-ference there for everything practical and rational, and the lack of a traditional bourgeois table culture in the European way, all made it easier to launch modern forms and to intro-duce stainless steel as a material. While people in the USA associated WMF with a contem-porary objectivity, and the name of Professor Wagenfeld was used here for advertising, i n Germany these products were only a small segment of the company’s broad product range.This thoroughly ambivalent attitude towards Wagenfeld could be plainly seen in the pre-sentation of a model shop window at WMF’s one-hundredth birthday celebrations in 1953. Here his timelessly shaped models were placed in a fashionably colourful setting of curving, kidney-shaped table stands, with a background of asymmetrical wooden frames, beneatha perforated ceiling. On the back wall hung a placard, reading ›G ood Design / WMF / Pro-fessor Wagenfeld‹, which emphasised his international, particularly American reputation. The word ›design‹, which was being increasingly adopted in German usage, was actually a concept for which Wagenfeld had no high opinion. He called himself an industrial pattern maker and even refused to join the Association of German Industrial Designers (Verband der Deutschen Industrie-Designer – VDID), which Kupetz co-founded in 1959.As a result, in 1953 Wagenfeld withdrew somewhat from his employment with WMF, opening his own workshop in Stuttgart in the following year. He kept his studio inGeis-lingen, but was an external member of staff, only there at irregular intervals. Now WMF began to look for someone young and talented, who might possibly be trained up as a fu-ture director of the artistic studio in succession to Kurt Mayer, who had now been working at the company for 25 years. As a result of an advertisement, the choice fell on the 28-year-old sculptor Günter Kupetz, whose sculptural work was just then enjoying its first successful exhibitions in Berlin. It says a great deal for Kurt Mayer’s courage and determi-nation to innovate that he brought to Geislingen – initially for six months – anartist still unversed in industrial design, and gave him a chance to find his feet in a new field.In this probationary period Kupetz familiarised himself with sheet metal as a material and with the production techniques of hollow ware. In complete contrast to Wagenfeld, who译文：as a draughtsman via the handicraft of the silversmith, Kupetz approached his task as a sculptor. By bending, buckling, folding, cutting and soldering the sheet metal, he began by testing the material’s possibilities. Soon he was also experimenting with metal bars and wire. His first creations were bowls and small recepta-cles made from sheet brass, which were themselves by no means intended for production: asymmetrical shapes, suggesting sculptural associations, and representing current demand for table receptacles to hold salted snacks, pretzels and nuts.Günter Kupetz drew his ideas from various sources of inspiration. His pretzel holders, reminiscent of abstract sculptures, his bowls on high stands and standing ashtrays of metal wire contained references on the one hand to contemporary sculptors such as Reg Butler, but were also connected with the light, floating furniture and interior-design items made from finest steel piping of the kind designed by Helmut Magg in those years for Deutsche Werkstätten. Plastic qualities, on the other hand, came to the fore in the organic glass orchid vases in which Kupetz paraphrased the sensuous female torsos of his Berlinsculp-tures. A final impetus came from the organic shapes of Scandinavian design, which Kupetz had already discovered in various journeys to Denmark in the early 1950s. Timo Sarpaneva, Henning Koppel and Tapio Wirkkala were examples of such influences.Among the sales representatives and managers of the WMF branches, whose judgement–close to the customers as it was – w as a yardstick for the general public’s contemporary taste, these first works by Kupetz produced great enthusiasm. Here a young designer had successfully touched the nerve of the period! Sales figures for the goods produced to his designs after 1955 would confirm this assessment. Thus Kupetz had found his place within the WMF –»fresh and unconventional (…), unusual without being eccentric, and modern without being doctrinaire«, was how his models were characterised in one of the com-pany’s own advertisi ng brochures of 1958. Along with Kurt Mayer, who represented conti-nuity and tradition in the company, and Wilhelm Wagenfeld, whose timeless modernity enjoyed great recognition – especially abroad – Günter Kupetz representedthe ›get up and go‹ of the youn ger generation in Germany after the war. The irritation which his designs caused in established client circles was something he himself portrayed, humorously and suc-cinctly, in caricatures for the company’s in-house magazine.Some of the articles subsequently produced by Günter Kupetz also owe their formal origins to the wealth of experience which he gained in his first six months at the WMF. These include his children’s cutlery from 1954-55,with its characteristic bend in the handles of knife, fork and spoon, helping to strengthen the material. And the floatingly light platters and elegant bowls which commenced production in 1956, maintaining their stabili-ty through their flowingly raised edges. None of these items denies its origin in its basic material – sheet metal. Far from it: the impressive simplicity of their form actually seems to emphasise the way they are produced, using few work stages and few tools.It is certainly here that one of the main differences must be found in the external look of designs by Kupetz and Wagenfeld, but in their method of work, too. While Kupetz seems to start more closely from his material, its requirements under machining and its efficiency of production, thus emphasising the character of flat and hollow ware, much of Wagenfeld’s work gives rather the effect of handicraft-developed models for serial production. This is true particularly of his larger metal items, such as cake tins, tea caddies, hotel dishes, soup tureens, sauce boats and beakers, which – particularly in their silvered version – do not look like factory goods, while Kupetz restricts himself largely to stainless steel. One expla-nation for this may be that some of Wagenfeld’s metal designs for the WMF were further developments of earlier work in ceramics or glass and owe their initial form to this other material.A further difference between these two designers, both working for the WMF, can be found in their interest in patterning, which Wagenfeld permitted unwillingly and in few cases. In his early days at WMF Kupetz experimented with ammonium-chloride colouration on brass products and irregular perforations; from the 1960s he even incorporated etched patterns to designs by his wife, Sigrid Kupetz, and worked with her to design a moulded glass with a lively kerb pattern. It was used for glass inlays, which he combined with his simple stainless-steel plates, or for a whisky set –of ice bucket, men’s and women’s cups – which achieved a certain fame, because Louis Armstrong said it was the best in the world.In 1961 Kupetz, like Wagenfeld before him, left WMF in disappointment, since many of his designs had been rejected by the new-products committee. To his irritation, the com-pany did not sell the models he had designed for inexpensive production more cheaply, butassimilated them to the high price levels of the WMF. After founding his own studio in Stuttgart, in 1962 Kupetz joined the Kassel School of Industrial Art, where till 1973 he taught industrial design. During this time he remained associated with the WMF as a free-lance designer and had a significant influence on its product range in the 1960s, particularly with material combinations for glassware and hollow ware.。

艺术与工艺品专业外文文献翻译

毕业设计（论文）译文及原稿译文题目一土著艺术与工艺品及其市场原稿题目一Aboriginal Art and Crafts and the Market译文题目二用于日本传统工艺的以客户为导向的评估模型的任务决策方法原稿题目二A Task-based Decision-Making Approach to Customer-oriented Evaluation Model forJapanese Traditional Crafts土著艺术和工艺品及其市场用于北环阿纳姆地区市场交换的手工艺品的结构与前景北环阿纳姆地区也可随意称为马宁里达地区；因为它包含了马宁里达镇- 该镇人口随季节波动，最少时700人，最多时将近1000人–并有大约20个更小的卫星社区或航站，约有700个土著人，向马宁里达地区提供服务。

本文的定量数据都是我在那进行人类学实地调查期间收集的，时间为1979年和1980年；更多最近的定性印象是基于我1981年和1982年对该地区进行短期访问基础之上的。

本文的重点集中于用于航站市场交换的艺术品和工艺品生产，超过80% 以上的区域产量（按价值计算而不是按物理量计算）来源于这些更小的卫星社区。

可先提出以下三个问题，再开始我们的讨论。

对于地区经济中的市场，手工艺品生产的意义是什么？生产者是哪些人？对于生产者而言，从手工艺品生产中获得的经济回报和非经济回报有哪些？基于本人在1979年和1980年积累的数据库，我尝试预测该地区未来的手工艺品生产水平。

为达到分析目的，本人对需求变量和供应变量作了区分，虽然很容易识别这些变量之间的相互依存关系。

在本文中，我专注于研究供应方面的因素：这些必要的生产要素能够确保未来的手工艺品生产吗？诸如失业救济金可用性、采矿特许权使用费和其他就业机会之类的外部力量，对生产水平有什么影响？地区经济中手工艺品生产的意义目前，马宁里达地区的经济存在着严重分歧。

一方面，马宁里达镇是1957年为土著人建立的一个政府定居点。

视觉传达设计中英文对照外文翻译文献

视觉传达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)翻译：艺术性与观察传达设计艺术性是指人们反映社会生活和表达思想感情所体现的美好表现程度。

艺术性的词语常出现在文化领域。

艺术性作为对一部艺术作品艺术价值的衡量标准，主要是指在艺术处理、艺术表现方面所达到的完美程度，主要包括：艺术形象的鲜明具体性和典型性；艺术情节的生动性和曲折性；艺术结构的严谨性和完整性；艺术语言的准确性和鲜明性；艺术手法的精当性和多样性；艺术表现的民族性和独创性等。

各门艺术的艺术性的表现是不同的。

视觉传达设计这一术语流行于1960年在日本东京举行的世界设计大会，其内容包括：报刊环境视觉设计杂志、招贴海报及其他印刷宣传物的设计，还有电影、电视、电子广告牌等传播媒体，它们把有关内容传达给眼睛从而进行造型的表现性设计统称为视觉传达设计电影海报，简而言之，视觉传达设计是“给人看的设计，告知的设计起源: 从视觉传达设计的发展进程来看，在很大程度上，它是兴起于19世纪中叶欧美的印刷美术设计的扩展与延伸。

随着科技的日新月异，以电波和网络为媒体的各种技术飞速发展，给人们带来了革命性的视觉体验。

而且在当今瞬息万变的信息社会中，这些传媒的影响越来越重要。

设计表现的内容已无法涵盖一些新的信息传达媒体，因此，视觉传达设计便应运而生特点：视觉传达设计是通过视觉媒介表现并传达给观众的设计，体现着设计的时代特征图形设计和丰富的内涵，其领域随着科技的进步、新能源的出现和产品材料的开发应用而不断扩大，并与其他领域相互交叉，逐渐形成一个与其他视觉媒介关联并相互协作的设计新领域。

其内容包括：印刷设计、书籍设计、展示设计、影像设计、视觉环境设计、（即公共生活空间的标志及公共环境的色彩设计）等。

视觉传达设计多是以印刷物为媒介的平面设计，又称装潢设计。

从发展的角度来看，视觉传达设计是科学、严谨的概念名称，蕴含着未来设计的趋向。

就现阶段的设计状况分析，其视觉传达设计的主要内容依然是GraphicDesign一般专业人士习惯称之为“平面设计”。

优秀艺术设计专业论文参考文献(3篇)

优秀艺术设计专业论文参考文献（3篇）优秀艺术设计专业论文参考文献(一)[1] Krumhansl, C. L. 2002. Music: A Link between Cognition and Emotion [A]. InCurrent Directions in Psychological Science, Vol. 11 [C]: 45-50. Oxford: BlackwellPublishers.[2] Mitnick, K. D., and W. L. Simon. 2002. The Art of Deception: Controlling theHuman Element of Security [M]. Indianapolis: Wiley.[3] Ekman, P. 2003. Emotions Revealed: Recognizing Faces and Feelings to ImproveCommunication and Emotional Life [M]. New York: Henry Holt & Co./Times Books.[5] Quentin Newark. 2007. What Is Graphic Design? Essential Design Handbooks [M].RotoVision.[6] Berryman, Gregg. 1990. Notes on graphic design and visual communication [M].Crisp Publications.[7] Bojko, Szymon. 1972. New graphic design in revolutionary Russia [M]. LundHumphries.[8] Thompson, Bradbury. 1988. The art of graphic design: Bradbury Thompson [M]. YaleUniversity Press.[9] Ades, Dawn, Brown, Robert K.，Friedman, Mildred S.1984. The 20th-century poster:Design of the avant-garde [M]. Abbeville Press.[10] White, Jan V. 1988. Graphic design for the electronic age [M].Watson-GuptillPublications.[11]吴国欣.标志设计[M].上海：上海人民美术出版社，2002.[12]朱锷.现代平面设计巨匠田中一光的设计世界[M].北京：中国青年出版社，1998.[13](日)Works 社编辑部编著.日本平面创意设计年鉴 2005[M].北京：中国青年出版社，2006.[14]王受之.世界平面设计史[M].北京：中国青年出版社，2002.[15]何家讯.现代广告案例理论与评析[M].上海：复旦大学出版社，1998.[17]威廉阿伦斯著，丁俊杰，程坪，苑菲，张溪. 当代广告学[M].北京：华夏出版社，2001.[18] [日]直条则夫著，俞纯鳞. 广告文稿策略-策划、创意与表现[M].北京：中国财政经济出版社，2002.[19]汤义勇. 招贴设计[M].北京：人民美术出版社，2001.[21]王红卫. 商业海报设计创意解析范例导航(附光盘)[M].北京：清华大学出版社，2007.[22](美)斯科勒司，(美)伟德尔. 创意海报版式设计[M].大连：大连理工大学出版社，2008.45～48.[23]周进. 世博会视觉传播设计[M].上海：东华大学出版社，2008.22～30.[24]朱维理. 大型活动标志设计实战案释[M].北京：北京理工大学出版社，2009.[25]梁明珠. 城市旅游开发与品牌建设研究[M].广州：暨南大学出版社，2009.[26](日本)秋山孝. 秋山孝海报作品集[M].上海：上海人民美术出版社，2005.62～67.[27]朱锷. 日本海报设计的形态[M].广西：广西美术出版社，2001.51～60.[28](英)赫利. 什么是品牌设计[M].北京：中国青年出版社，2000.[29](美)马特、马图斯. 设计趋势之上[M].山东：山东画报出版社，2009.78～86[30]刘金平. 视觉青岛[M].北京：中国旅游出版社，2007.[31]金志国. 一杯沧海：我与青岛啤酒[M].北京：中信出版社，2008.[32]香港设计中心，艺术与设计出版联盟. 设计的精神[M].辽宁：辽宁科学技术出版社，2008.[33](日)原研哉.设计中的设计[M].山东：山东人民出版社，2006.55～57.[34](日)原研哉，阿部雅世. 为什么设计[M].山东：山东人民出版社，2010.24～32.[35](日)佐藤可士和. 佐藤可士和的超整理术[M].江苏：江苏美术出版社，2009.[36]季峰. 中国城市雕塑:语义,语境及当代内涵[M].南京：东南大学出版社，2009.36～39.[37]王建国. 城市设计[M].北京：中国建筑工业出版社，2009.59～65.[38]宋连威. 青岛城市老建筑人文青岛丛书[M].青岛：青岛出版社，2005.[39]胡飞. 艺术设计符号基础[M].北京：清华大学出版社，2008.[40]朱永明. 视觉传达设计中的图形、符号与语言[J].南京艺术学院学报(美术与设计版)，2004, 1 (2):53～56.优秀艺术设计专业论文参考文献(二)[1] Krumhansl, C. L. 2002. Music: A Link between Cognition and Emotion [A]. InCurrent Directions in Psychological Science, Vol. 11 [C]: 45-50. Oxford: BlackwellPublishers.[2] Mitn#from 优秀艺术设计专业论文参考文献（3篇）来自 end#ick, K. D., and W. L. Simon. 2002. The Art of Deception: Controlling theHuman Element of Security [M]. Indianapolis: Wiley.[3] Ekman, P. 2003. Emotions Revealed: Recognizing Faces and Feelings to ImproveCommunication and Emotional Life [M]. New York: Henry Holt & Co./Times Books.[5] Quentin Newark. 2007. What Is Graphic Design? Essential Design Handbooks [M].RotoVision.[6] Berryman, Gregg. 1990. Notes on graphic design and visual communication [M].Crisp Publications.[7] Bojko, Szymon. 1972. New graphic design in revolutionary Russia [M]. LundHumphries.[8] Thompson, Bradbury. 1988. The art of graphic design: Bradbury Thompson [M]. YaleUniversity Press.[9] Ades, Dawn, Brown, Robert K.，Friedman, Mildred S.1984. The 20th-century poster:Design of the avant-garde [M]. Abbeville Press.[10] White, Jan V. 1988. Graphic design for the electronic age [M].Watson-GuptillPublications.[11]吴国欣.标志设计[M].上海：上海人民美术出版社，2002.[12]朱锷.现代平面设计巨匠田中一光的设计世界[M].北京：中国青年出版社，1998.[13](日)Works 社编辑部编著.日本平面创意设计年鉴 2005[M].北京：中国青年出版社，2006.[14]王受之.世界平面设计史[M].北京：中国青年出版社，2002.[15]何家讯.现代广告案例理论与评析[M].上海：复旦大学出版社，1998.[17]威廉阿伦斯著，丁俊杰，程坪，苑菲，张溪. 当代广告学[M].北京：华夏出版社，2001.[18] [日]直条则夫著，俞纯鳞. 广告文稿策略-策划、创意与表现[M].北京：中国财政经济出版社，2002.[19]汤义勇. 招贴设计[M].北京：人民美术出版社，2001.[21]王红卫. 商业海报设计创意解析范例导航(附光盘)[M].北京：清华大学出版社，2007.[22](美)斯科勒司，(美)伟德尔. 创意海报版式设计[M].大连：大连理工大学出版社，2008.45～48.[23]周进. 世博会视觉传播设计[M].上海：东华大学出版社，2008.22～30.[24]朱维理. 大型活动标志设计实战案释[M].北京：北京理工大学出版社，2009.[25]梁明珠. 城市旅游开发与品牌建设研究[M].广州：暨南大学出版社，2009.[26](日本)秋山孝. 秋山孝海报作品集[M].上海：上海人民美术出版社，2005.62～67.[27]朱锷. 日本海报设计的形态[M].广西：广西美术出版社，2001.51～60.[28](英)赫利. 什么是品牌设计[M].北京：中国青年出版社，2000.[29](美)马特、马图斯. 设计趋势之上[M].山东：山东画报出版社，2009.78～86[30]刘金平. 视觉青岛[M].北京：中国旅游出版社，2007.[31]金志国. 一杯沧海：我与青岛啤酒[M].北京：中信出版社，2008.[32]香港设计中心，艺术与设计出版联盟. 设计的精神[M].辽宁：辽宁科学技术出版社，2008.[33](日)原研哉.设计中的设计[M].山东：山东人民出版社，2006.55～57.[34](日)原研哉，阿部雅世. 为什么设计[M].山东：山东人民出版社，2010.24～32.[35](日)佐藤可士和. 佐藤可士和的超整理术[M].江苏：江苏美术出版社，2009.[36]季峰. 中国城市雕塑:语义,语境及当代内涵[M].南京：东南大学出版社，2009.36～39.[37]王建国. 城市设计[M].北京：中国建筑工业出版社，2009.59～65.[38]宋连威. 青岛城市老建筑人文青岛丛书[M].青岛：青岛出版社，2005.[39]胡飞. 艺术设计符号基础[M].北京：清华大学出版社，2008.[40]朱永明. 视觉传达设计中的图形、符号与语言[J].南京艺术学院学报(美术与设计版)，2004, 1 (2):53～56.建筑施工组织设计参考文献(三)[1] 《房屋建筑制图统一标准》(GB 50001-2001)[2] 《建筑制图标准》(GB 50104-2001)[3] 《混凝土结构设计规范》(GB 50010-2010)[4] 《建筑结构荷载规范》(GB 50009-2010)[5] 《建筑地基基础设计规范》(GB 50007-2002)[6] 《建筑结构制图标准》(GB 50105-2001)[7] 《建筑施工组织》[8] 《建筑施工手册》[9] 《混凝土结构施工图平法表示方法制图规则和构造详图》[10] 《钢筋混凝土结构构造手册》[11] 《建筑工程施工质量验收统一标准》(GB 50300-2001)[12] 《土木工程施工》，毛鹤琴主编，第三版，武汉理工大学出版社，2007[13] 《建筑工程项目施工组织及进度控制》，刘瑾瑜、吴洁主编，武汉理工大学出版社，2012。

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。

外文翻译---中国传统图案在服装设计中的应用

附录Traditional Patterns In Fashion DesignArt Fashion Design Fashion design is basic and decorative fabrics and specific forms of the fundamental expression, following the style, materials and colors later an important design element. With the apparel industry, apparel design more and more respected by the designer.Existence as a nation must have its own national culture, heritage and folk culture to the development of communication is an important part. In today's world economy, cultural exchanges and integration continue to "accelerate" the rolling tide, the "popular culture without borders," the awareness has been more accepted. "National is the world's" five thousand years of Chinese traditional culture of our origin a long, more designers paying attention to the Chinese nation's traditional arts, and applied to the design work. How to mix traditional Chinese design practice in fashion design, fashion designers have become common at home and abroad in the area.Why are more and more people to pay attention to Chinese traditional culture? The first is rising to meet the aesthetic needs of consumers. Aesthetic needs of people today tend to simplify, naturalization, simple technology. The use of traditional Chinese designs to fashion design, in line with people's mentality to make the design simple and strong ethnic characteristics have to meet the consumers of traditional culture and artistic pursuits. Chinese traditional pattern for the elements of style and fashion design with the design, to the clothing into the rich cultural connotation and flavor of the times. Second, national culture, open up new design. Outstanding costume design, not only in function, shape, color and decorative elements to be unified with the same time, should be implied in the design of a values, cultural attributes, aesthetic taste and fashion sense. From the current design trends can be seen, both in the domestic market or international market, decorated with Chinese traditional style of clothing pattern design can always attract more attention, not only can produce good economic returns, but also to promote national culture, Costume Design for the international market in China, played a major role in promoting.Chinese traditional patterns behind the "meaning" people obsessed with the shape of the key. Whether ancient or modern, all the good things feel the same desire, so its auspicious meaning behind the traditional style also applies to fashion design, suitable for modern design to convey ideas. In the pattern creation, the theme of the role of performance is crucial, and chooses a good subject matter, often can make the viewermemories, never forget. Chinese traditional patterns are the essence of Chinese culture, both as a symbol of the Chinese nation and the performance of a long history, but also modern art inexhaustible source. People think the traditional pattern, turned out mostly good things, even depicting the reality of things, but also through the processing and deformation, is trying to convey the mood of a complete harmony and beauty.The performance of Chinese traditional patterns, from its appearance features to be divided: animal pattern, plant lines, symbols, patterns, characters pattern, integrated profiling and so on, which are mainly used in animal costumes patterns, patterns of plant patterns and symbols. The overall meaning is "symbolic meaning, than by the material objects to convey ideas, to give good luck." The implication has always stressed the theme, such as the pattern for good luck, form the theme of: "Lucky (chicken sheep) Ruyi", "Dragon and Phoenix", "Vientiane update", "Gold and Jade (fish) full house," "bumper harvest" "Five children Corrections", "more than auspicious (fish)", "Fu (bat) from the days", "I wish (bamboo) reported safety", "the year to come," and so on; to the theme of love and marriage patterns in the form of: "Magpie Dengmei", "mandarin ducks playing in the water," "Peacock opera Peony", "Carp in Lotus", "Search" and so on; to the family pattern of reproduction in the form of the theme: "Even the (Lotus) Takako" "Kirin Songzi", "Durian open a hundred times", "Songzi Goddess", "endless", etc.; to the town of evil spirits demon form the theme of pattern: "top five evil spirits", "Dragon," "White Tiger" "Suzaku", "basaltic" and so on; to the theme of divine saints are: "Dragon", "Phoenix", "Turtle," "Heaven" and "land", "Day", "month", "Buddha" "Eight Immortals" and so on. Throughout the works of international fashion design masters, each a winner in the subject's performance also has its unique perspective. Artistic creation, although the performance of a wide range of subjects, but the good subject matter, first of all is human nature to be "true", "good" and "emotion" sincere expression, followed by the people should be deeply concerned about, or need to know, or novel strange, surprising, or sincere, moving, or the characteristics of the times, or lead times, and so the theme works. Only then can cause the viewer's attention, and attractive, resonate.Costume design, the use of examples of Chinese traditional patterns a lot, but the designers for China's understanding and grasp of traditional design is not enough to make a lot of work left a regret, some works appeared pure imitation and similar. Design to innovation, but in itself is a traditional auspicious patterns, its content and form nearly perfect for thousands of years ago, how to change it, only to give it a newform of expression, sparking a strong visual impact of the design, but also retain and extend its meaning rich, deep Chinese culture, make the design work and integration with Chinese characteristics that reflect the culture in the world, this is the new designers and craftsmen of the difference between civil. I think the modern costume drama can best be reflected in the existence of carrier concentration from a studio set, the actors costumes, props vessel patterns on the decorative pattern can not be separated. Romance of the different historical dynasties auspicious patterns should be used and different, but the audience was concerned only with their own entertaining drama, for which the use of patterns in a form is correct, whether the different historical backgrounds, the plot needs, social life is not important. However, in design, the use of traditional Chinese designs with more stringent accuracy requirements. Designers must have knowledge of the designer's art and design skills, the designer of the natural and social science knowledge and skills, as well as designers of social responsibility.Let us keep up the trend of innovation, bring a new feel. Should be a traditional style, is a fashion, through a variety of ways in the traditional sense of the times reflected a pattern. Traditional patterns in fashion design and performance using the new direction of development will be more affected by the economic, market, culture, society, history, tradition and the designer itself, the impact of various factors, develop for the plural and diverse. Different countries, different regions or different models for the domestic market, the use of traditional development of traditional, targeted at foreign markets, the development of modern blend of traditional and modern, in development for unity, the Chinese tradition into the world total, making the traditional Chinese patterns in fashion design and performance by the use of extreme.中国传统图案在服装设计中的应用服饰图案是服饰艺术中设计的基础，它与面料都是具体装饰形式的根本体现，是继款式、材质和色彩后又一重要的设计元素。

室内设计风格外文翻译参考文献

室内设计风格外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)浅释室内设计中的女性装饰风格美国著名的女艺术家弗洛琳•斯蒂海默曾经在她的绘画《家庭画像第2号》中传递了一个她所钟爱的被繁华织锦与鲜花包围着的住所，画面中的室内空间和女人们以极其艳丽的姿态占据了整个视觉中心。

一切正如她诗歌里描述的那样“韦罗内塞绿的蕾丝紧身衣，深色花纹的长裙还有针织荷叶边，丝制珠宝盒里装满串串罗马珍珠；非常喜爱的淡色水洗丝窗帘，带有轻快罗马条纹的缎带，满布花束的地毯，塞夫尔瓷花瓶和镀金饰边的桌子上洒满清晨的光辉；母亲为我们朗读的童话故事，还有花园繁华盛开和梅拉德的甜点和沃尔特•迪斯尼的卡通……”在这些文字里，跳跃性的细节描述和纯感官的认知特征解读了女性的感知体验特性，而所叙述的鲜花、织物、摆设、童话正是女性对于家的最温柔、最甜美的期待，这所有的一切也都是女性装饰风格最完美的诠释。

古往今来由于女性特殊的生理本能，女性风格的装饰艺术在历史上一直占有很大的市场空间，尤其是十七至十八世纪在意大利文艺复兴发展起来的具有强烈女性特征的巴洛克艺术(BAROQNE ART)装饰风格更是风靡和影响了整个欧洲，其艺术语言多少的影响了紧跟其后的是新艺术运动的产生与发展。

然而，作为一种爱好和时尚风格，巴洛克也只局限在奢华的宫廷和达官贵人的居室装饰中流行，装饰风格的概念局限了，从而与女性装饰风格的内涵上产生了偏离。

今天，社会经济飞速发展，女性的地位也因其教育和收入水平的提高达到了一个相对合理的高度，一个崭新的女性话语世界正在全面构建。

就如人类学家海伦费希认为的那样，21世纪的女性将是“第一性”。

由于她们的介入，直接或间接地影响了现代的审美意识和消费观，一种独特的以女性为代表的消费文化和审美思潮正潜移默化的流行于时尚消费层。

这就是我们称之为“她”时代的女性消费文化，依照国际广告协会主席卡波尔对“她”时代的内涵的解释：“今天，以男性为主的消费主义正在向以女性为中心的消费主义平衡。

色彩在平面设计中的运用相关中英对照外文文献翻译毕业设计论文高质量人工翻译原文带出处

Fashion,which is as old as time and as new as tomorrow,is one of the most powerful forces in our lives .It influences what we wear,the way we talk,the foods we eat,the way we live,how and where we travel,what we travel,what we look at,and what we listen to.Fashion is what lead us todiscard a product that is still useful but is no Ion ger —n lilt is also what makes us sometimes wear more clothes than we may actually need,and sometimes less than is needed to product us from the ccold or the suni流行是这样一种事物，是我们抛弃了还可以使用，但不再时髦的产品。

有时候使我们穿比我们真正穿的衣服多，有时候比我们穿抵御严寒酷暑的少。

lf there is one absolute constant pertaining to fashion,it is the fact that it is always changing-sometimes rapidly,sometimes slowly,but it is never static or dormantiThis element of change is recognized in the definitions of fashion itself cited earlier,by the use of such words as -prevailing Ibr -a given period of time. To ignore the element of change is like looking at a still photograph in place of a motion pictureiThe still tells you what is happening here and now ;the motion picture shows you what came before and what may lie ahead.如果存在着一种符合流行的绝对永恒，那就是流行是永远变化着的这一事实，（这种变化）时快时慢，但绝不会固定下来或呈休止状态。

室内设计外文翻译外文文献英文文献(2)

Talking about the symbols in the environmentof the use of Art and DesignAbstract：The in herita nee and inno vati on over the years the relati on ship betwee n art and desig n en vir onment has bee n the focus of atte nti on. This article hopes for the desig n of symbols used to explore the culture, about the mysteries of inheritanee and inno vati on of the trace of sen time nt.Keywords:deformati on grammar separatist symbols con stituteIn herita nee and inno vati on over the years the relati on ship betwee n art and desig n en vir onment has bee n the focus of atte nti on. In fact, from the lin guistic point of view, this con tradicti on is the Ian guage of stability and variati on betwee n the con tradict ion. As a designer in the form of design successes and failures of the success or failure depe nds on the master, "the term" the rich and the use of "grammar" of proficie ncy. Designers to make their works by others can truly understand, we must choose the appropriate "word" and must comply with the "grammar." This does not mean that designers can only follow the beaten track, no personal contribution. Designers skillfully use the new in dividual symbols, or a con scious cha nge in in ter-symbol comb in atio n of a nu mber of conven ti onal relatio ns, create new works of movi ng, which is desig n inno vatio n.Compositi on has a "specific" comp onent approach, that seems to be very pla in in the compositi on of the sudde n appeara nee of a "heteroge neous" eleme nts, making the program itself is very plain to achieve un expected results, with a sense of inno vati on of new symbols like this "heteroge neous." In people's accustomed to things difficult to arouse eno ugh atte nti on and in terest in case, some com mon symbols deformati on, splitti ng, or the preparati on of the code to cha nge the order, you can play a compelli ng, thought-provok ing, the stre ngthe ning of en vir onmen tal messag ing Ian guage role.United States renowned architect Charles Moore designed the city of Orleans, "Italia n Piazza" is bold in desig n eleme nts take n from a variety of classical symbols, and symbolic means to reproduce them. The en tire square to a circular pla ne Baroque for the compositi on to the gradual proliferati on of black-a nd-white concen tric circles and to the surro unding paveme nt surface to exte nd out un til the three sides of the street entran ce. Classical Roma n colu mn, after a face-lift to the face of new shows, such as the Corin thia n colu mn is used in sta ini ess steel colu mn, can opies wall carved with the Lat in of "this foun tai n for the public to all the people who offer the gifts" of the message; Doric colu mn on the Flow ing Down gurgle, ro und coup on on the molar smiling portrait, water is constantly spit from his mouth ... here is not only full ofbright rich atmosphere of a moder n commercial, but also a stro ng attachme nt to local feelings. Maps and Italian Apennine Peninsula, Sicily and Sardinia's plan; ancient Rome, the five-colu mn, the deformati on Motif comb in ati ons and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact, you are immediately aware that it is a mockery of classical Marxism. This is a joyous, almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style buildi ng was con sidered aloof in the historic and local above only has the tech no logy and a small nu mber of functional sema ntic sema ntics, there is no room for thi nki ng aftertaste, the en vir onment has led to apathy and boring criticism. This use of information theory to explain the principle that effective environmental information contained in the symbol system too. In view of this, post-moder n architects Ven turi loudly called for: "build ing a rich content, while building to include other aspects of the multi-dimensional art, even including the Ian guage, so that it is no Ion ger a mere tool for the space." It advocates en vir onmental complexity and con tradictory n ature of modernism promoted by substitute simplicity; to sema ntic ambiguity and tension in place of straightforward; to the multiplicity of sema ntic oppositi on to one or the other of opport uni sm; should be mixed at a gla nee rather tha n un ity. Stern desig ned the "best" product showroom are a typical example, it adopted legislati on faces many of the traditi onal symbols and con stitute a form, like the ancient Greek pan the on of elevati on, thus suggest ing he was trying to convey theme purposive: that is, the building as a "temple of consumerism," the commercializatio n of society reflect the values of people and commercial activities of daily life today, the importanee of. But the way metaphors are complex, multiple, without serious thought, it is difficult to un dersta nd immediately appare nt from its real sig nifica nee. This desig n works, for example, not on ly the depth of the box thi nki ng is more than simply the pursuit like a sailing boat or a bird of prey such as the symbolism of a more in trigu ing, more philosophical.The environment as a symbolic phenomenon, in order to address the Iong-standing problem for the designers of the inheritanee and innovation of the paradoxical problem of providi ng a effective way. Desig n Ian guage as the Ian guage of symbols, are rooted in past experie nee with the rapid developme nt of the society is lin ked to the new features, new materials, new tech no logy and calls on new ideas. On the one hand, as if it were so gen eral la nguage Ian guage cha nges slowly, on the other hand, with the rapid developme nt of society. How to make the en vir onment not only of historical eon ti nuity, but also to adapt to the new requireme nts of the times?With the adva nee of scie nee and tech no logy progress and freque nt cultural excha nges, "vocabulary" and "grammar" in the develop ing trend of eonv erge nee, but a n atio n because of n atural eon diti ons, econo mic and tech no logical, socio-cultural practices of the different environment Association has a number of unique symbols and arran geme nt. Spoke n like the dialect, like the desig ners cleverly inject this ki nd of"accent" can enhancethe environment for a sense of history and local flavor, and enhance the in flue nee of Ian guage en vir onment. Moder n Japa nese Architecture Master Kenzo Tange desig ned Kagawa hall is a "new form of the traditi onal sema ntic" model. Although the buildi ng are used by ordinary rein forced con crete frame structure, but the external form of treatment is the use of Lu Ming Chuan head, beam top traditional symbols, vertical horizontal partition is a natural association to the Japa nese main tower of the layers of eaves. Layout has absorbed the adva ntages of the square tower of the traffic and public facilities on the pla nar core (similar to the tower Kaguta ven tricle), so that they share the smallest Get all floors of the shortest route traffic. So as to show a structure with moder n forms of tech no logy to reflect the style of traditi on al local methods.Un ited States artist Susa n Lange once said, "is always a symbol to simplify the form of the performa nee of its meaning, that is exactly what we can grasp the reas ons for it. Regardless of a work of art (or eve n all of the arts) is how the complexity of , profo und and rich, it is easy tha n real life. Therefore, the art theory is un doubtedly the establishme nt of an effective hearts and mi nds in a vivid reality of the con cept of such a great cause of the preamble is more. "symbolic activities have bee n in cluded in the activities of some abstract no Ion ger rema in in the in dividual above the. Visual symbols are an art symbols, but also the performanee of sexual symbols. Relative reas oning in terms of sexual symbols, visual symbols do not have their own system, and any visual symbols have a certa in degree of cultural content, and on ly reflected in a certain degree of emotional structure, around a particular theme of organic comb in atio n. Educated Youth Hotel, Mao Jia Restaura nt commercial buildi ng and so on, it also adopted the hats, corn on the cob, rough woode n tables and chairs, wells and so on, and even more in order to create an atmosphere of clothing are to be atte ndan ts, as well as the menu were also cleverly in tegrated into the Among them, these differe nt geographical sig nifica nee in rural areas typically rich in visual symbols to create an environment here is like an old album, recording a different person's experie nee, making the desig n become more cordial, but also worth pon deri ng. Visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke thoughts association, which have empathy, to achieve emoti onal res onan ce, thus buildi ng more meanin gful.The rapid developme nt of urba n eon structi on has brought rapid cha nges, but at the same time we also lost many will never be able to recover things - historical eon text. The history of the formatio n of the streets, alleys, arches, religious shri nes and so on urba n form as a complete expressi on of architecture and urba n image of the symbol system, being into films, Shi ng Street, into a Square to be removed, threats to the urban form of the compatibility and continuity . Respect for historical tradition does not mean, rigidly traditi on al. In stead, eon sciously keep these traditi ons, will make the city more local flavor. I n fact, "establishi ng a n ew" do not have to "old", the key lies in how toapproach traditi onal and fashi on to create a new symbiosis of old and new urba n form (symbols). "New World" project is located in Sha nghai, Xin gye Road Huan gpi Road, a major site of the Chin ese Communi sts of the surro unding area. "Venue" opposite the south block, design for the modern architecture is not high, which is dotted with some reservati ons the traditi onal architecture, and the "ve nue" in harmony. And "venue" where the north block, the neighborhood retained a large patter n, carefully preserved and repaired the buildi ng exterior facade Shikume n, detail and n eighborhood-scale space, the buildi ng was made larger in ternal tran sformati on in order to adapt to office, commercial, accommodati on, cateri ng and en terta inment and other moder n life. Have bee n built from the curre nt part of view, received much praise, has a greater impact. It is said that sales and cost-effective ness also very good. In fact, in Shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lifestyle never die off, "New World" just give it a reasonablechange and con ti nuity, are left for us to thi nk more and en lighte nment.Famous philosopher Ernst Cassirer pers on think symbols are ani mals. All huma n spiritual and cultural activities are the product of symbols. The esse nee of that pers on in that he can use to create cultural symbols. Therefore, all cultural forms, is both a symbol of the reality of Events is also the person of the nature of the object. The so-called master culture, in the symbolic level at least, to be skilled to operate con stitute the cultural symbols and cultural system rather tha n the symbol itself, the new experie nces and in sights wove n in to symbols go, in fact, symbols themselves are also cha nging, and the cultural heritage and the inno vati on of the mysteries of it exist in this variation of the. Confucius and Socrates are still human beings are eternal beac on, and the symbols of moder n subjects in this study call for us from the back to Socrates. Will be simple and complex sema ntics, traditi onal and fashi on able phrase structure, and applied to the design of modern art, thereby creating a personalized, Huma n Culture's new desig n symbols.Fiber art and interior designAbstract：Fiber art is a fun cti onal fiber art and aesthetic value in one art form. Fiber art is full of n atural flavor to the material texture and flavor of the simple han d-wove n to meet the emotional needs of a wide range of people, it and other types of interior decorati on as compared to an irreplaceable adva ntages. Fiber art has bee n to in filtrate the buildi ng and en vir onmen tal matters in all aspects of desig n, it is mai nly the use of various materials and tech niq ues to express the con cept of moder n desig n and moder n life. Keywords：Fiber arts; not in clude the in door en vir onment; fiber artFiber Art collecti on of classical and moder n, roma ntic and calm, in dustrial civilization and traditions in one hand, are an ancient and young arts. It is natural ani mal and pla nt fiber or syn thetic fiber materials, with kn itti ng, ri ng binding, winding, Stitch and other product ion means, the creati on of pla nar, three-dime nsional image of a form of art. Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling Ianguage works.1. fiber texture art interior environmental design on the impact of material selecti on.The performanee of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an un paralleled visual appeal. Fiber art of material selection is very extensive, almost all types of textile fibers may be applicable. The use of different materials through different processing or the use of differe nt structures can produce differe nt textures. Texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and tran spare ncy and so on con stitute a large nu mber of attributes. Con stitute the attributes of diverse, complex portfolio, will also cha nge texture infin ite. At the same time, textures are also bel ong to the com mon percepti on of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds of materials are exposed through the texture to its true features and through the texture to express the characteristics of materials. Fiber interior accessoriesthrough tactile senses given differe nt psychological feeli ngs, such as hard and soft, thick, hot and cold and so on. At the same time, set up in the memory of visual perception, evoke images of different psychological perception, distinguishing texture characteristics. Modern fiber art is a breakthrough and go bey ond the traditi on al, mainly mani fested as fiber such material on a higher level of un dersta nding and applicati on. Traditi onal fiber art, mai nly in n atural fiber materials. These materials in clude silk, wool, hemp, cott on and so on. Used in modern fiber art materials, has broken through the traditional con stra in ts. Here the "fiber" is no Ion ger just cott on, hemp, wool, brow n, ratta n and other traditi onal fiber materials, in clud ing chemical fiber and latitude of the hard and soft wove n material, as well as all of the lin ear material, and eve n some metal fibers have also bee n artists of allages. America n fiber artists such as Nan cy's work "The Golde n Wave" used wool, viscose fiber and copper wire as material. Bulgaria Cayma n million fiber artists work "with the weft" a plastic tube and wool as a material. Moder n fiber art of pain ti ng from n ature tha n from the pursuit and bega n to focus on the performanee of materials in the United States itself, the natural form of fiber materials, rich texture, just betwee n the differe nt fibers and Sophie, straight and curly, miscella neous and pure, Ming with dark, light and heavy con trast, and to appreciate those who bring a wealth of aesthetic experie nee. Fiber Art has always bee n known as the artistic and texture. Whoof weaving is a traditional fiber arts major process. However, moder n tech no logy of fiber art practices have not bee n listed out in full, such as weav ing, hitch, winding, Stitch, collage, as well as dye ing, painting, spray ing, printing and so on . Many artists will also scie nee and tech no logy into the field of fiber art creations. American artist Cynthia's "Runs", "Lake rain" looms for the creative use of computer tools, the use of three-way warp space to create a unique effect in the fabric texture and structure to show the en dless imag in ati on, differe nt types and color overlay with the cover lin e, result ing in the traditi onal process can not be achieved on many levels of subtle cha nges. There are many artists, make use of the existi ng products to create, but also the effect of unu sually touch ing. For example, the pion eer of moder n fiber arts - Un ited States Miss Lei Nuo senior artists in the early 80s of last cen tury the Un ited Nati ons buildi ng in New York desig ned the gia nt fiber works of art "white flutteri ng fiber." This work of art from the in terior of the buildi ng about 6m square vertical hoisti ng the roof dow n coun tless articles and white fibers, this fiber bun dle with a bunch of slightly swinging the wind, both light also gen erous, we also implicitly simple, it reveals a hazy and in cludes the state of tune of the realm of the Un ited States. These works and the use of materials through the excavati on of the Un ited States itself and the in tegrati on with the en vir onment, so as to achieve the unu sual decorati on of the Un ited States can not match the artistic realm.2 .fiber art sculpture on the in terior of the impact of en vir onmen tal desig n Compared with traditi onal fiber art, con temporary fiber art is an importa nt feature of its sculpture. Traditional fiber arts such as carpet, wa缂革丝and other works, the mai n works are flat. Si nee the 60s of last cen tury, fiber arts gradually to semi-relief from two-dime nsio nal un til the emerge nee of fully three-dime nsio nal space of the work of "soft sculptures" - with the flexibility and elasticity of the sculpture. Some artists take into acco unt in the desig n works are works of more space for the overall situati on brought about by decorative. Polish artists work "red " Wall yes to sculpture, to works of the Ian dmark space. Rui forward into the corner after their full deep oval to form a strong eontrast, like a could not suppressthe passion agitatedly erupti on. 1992 ~ 1993 created to "n est" as represe nted by the works, she will be of good pulp Pour in bamboo was carried out on a fan has created a sin gular effect. Along this line of thought, she works more extensive space, she created a "wrapped", "chain" a series of works, with the exception of paper pulp, bamboo, wood, but also the use of flax fiber. I n the "colu mn", she bega n topursue an upward exte nsion of the work results. If we say that the above works in the outdoor air can give the magic questi on, fresh visual feel, she's "kno t" and "Box" series of works, the n created an in terior space, mysterious, the dust-lade n effect, they give people is the lost in a dista nt era, but it is also a lin geri ng mirage con temporary. a series of creative break the draw species boundaries to new material as well as the process of art to in troduce the art of sculpture area, expa nded the borders of sculpture, such positive efforts to change the sculpture for the shelf thinking, to break the closed state, pion eeri ng visi on in the broader field of sculpture space for developme nt to seek to play a positive role in promot ing.3 .fiber comb in ati on of art and architectureFiber art as a symbol of warm, soft, warm symbols, comb ined with the buildi ng has bee n the embodime nt of perfecti on. Around the end of the 1970s to the 1980s, the moder n fiber art bega n to be applied by architects thi nk are apathy, lack of emoti on in the build ing. 70's, published "Bey ond Craft: Con temporary Fiber Art" and "Fiber Art: mai nstream" book on the two specific on moder n fiber art in a variety of buildi ng space and public space to the importa nt role and sig nifica nee.With the developme nt of the times, fiber art has in filtrated into in terior architecture and en vir onmen tal desig n in all its aspects, has en tered the moder n family, with other in terior decorative materials of orga nic comb in ati on of each other, with its shape, texture and with comb in ati on of decorative and enhance the in terior decorati on of the artistic effect. It is main ly the use of various materials and tech niq ues to express the con cept of moder n desig n and moder n life, while Sophie All moder n decorative shapes, colors, and tak ing with the walls, the in door en vir onment, spatial relati ons. Fiber art be able to add artistic effects of space, easy to create wealth to the "huma n touch" of the n atural space, and thus ease the buildi ng and the in terior space of rigid sense of space to play the role of blur, but also added a buildi ng with the in terior space of the color, gives a harmonious and comfortable, practical experienee perfect. Because of the special properties of fibers, fiber art brings not only a visual sense of beauty, more warm, frie ndly, comfortable, etc. enjoy. In additi on, from modeli ng to color, from pla nar to three-dime nsio nal, from the subject to have a very broad cultural conno tati on of the performa nee space, and thus developed very rapidly and has now bee n widely used in buildi ng the overall desig n and decorati on in the bedroom. Fiber art as the in door en vir onment an importa nt comp onent of the en vir onment in the in terior occupies an importa nt positi on, also play a decisive role. It can not only be able to decorating the space, rich environment, the performanee of culture,architecture and interior space and be able to color, lighting, materials to build an organic whole, one of the art of building space and integration, thus building the internal en vir onment received a warm elega nt artistic realm, and create a variety of huma n space.4 .moder n fiber art and other in terior decorative materials of orga nic comb in ati onBuild ing outdoor space and in door en vir onment are equally importa nt. I n order to fully enjoy the well-bei ng and privacy n eeds, there is room comfort requireme nts continue to grow. Wall and soft sculpture such as fiber arts as in terior decorati ons, in Europe, America and developed a wide range of applicati ons. People depe nding on fabric wall hanging with painting, piano, etc. as a symbol of wealth, its interior decorati on and furnishings on the importa nt positi on. They were wool, cott on, hemp, silk as raw material, or several kinds of soft materials, mix, to textiles, win di ng, hitch, Stitch and other product ion means, the creati on of pla nar and three-dime nsional image of a form of art. for the Doubletree Suites Hotel in Seattle, the Un ited States desig ned the fabric of space are "soft sculpture" masterpiece. The eno rmous size of the painting, covered the en tire buildi ng in terior space. Eno rmous stretchi ng to differe nt direct ions with different curvature of the surface, so that people's attention in line with the surface and the exercise of the process, have a relaxed feel. Ren oir's "Autu mn n atural" is also such a work. In domestic hotels, restaurants, senior housing has been in creas in gly used in fabrics, to beautify the room. The use of decorative fabric walls, the thick ness of the fabric itself and visual thick ness attached to the wall for people to add a warm feeling for the add gorgeous home atmosphere. Color of the interior environment of the interior space sensitivity, comfort, atmosphere, efficient use of people's psychological and physical have a great impact, in door en vir onment, color is the soul of the desig n of the in door en vir onmen t. In a fixed environment, the first to break into our visual sen ses are color, while the most appeali ng is the color. Differe nt colors can give rise to differe nt psychological feeli ngs, good color en vir onment is the ideal comb in ati on of these feeli ngs. People from the harm onious and eye color in the United States have a reverie, Transformation for the love, go far beyond the limitations of the interior. Those who can move the furniture, fabrics, such as the middle area of color in fact con stitute the in door en vir onment are the most importa nt part, but also to create various shades of the most basic factors. In door en vir onment in the most easy to change a small area of color, such as wall hanging, cushion, decorative products, are ofte n the most prominent use of strong color played a role in the fin ishi ng touch. Moder n fiber art has bee n to en ter the moder n family, with other in terior decorative materials of orga nic comb in ati on of each other, with its light color, shape, texture and permutati on and comb in ati on, more decorative and enhance the in terior decoratio n of the artistic effect, and the use of color cha nges in the stre ngth and scope of con trol has received prominent and ren deri ng in terior of the main cen ters and the level of the proporti on of space, add space for artistic effect, gives luxuriousstyle, comfort and harm onio us, practical experie nee perfect.5. Con clusi onModern fiber art materials are natural fiber, synthetic fiber, metal fiber, etc.; tech niq ues can be dyed, embroidery, kn itt ing, guitar, pesteri ng, bypass, loop ing, up, etc.; shape can be pla nar, three-dime nsional space. It relies on differe nt patter ns, togetherwith the space en vir onmen t, it's visual, tactile perceptio n, such as the Un ited States get more pleasure. An absolutely beautiful, high taste fiber art, be able to establish a more pleasa nt atmosphere of the in door en vir onment. In the moder n in terior desig n en vir onment, fiber art has a moder n in terior decorati on is beco ming an importa nt comp onent of its decorati on in the family played a very importa nt role.。

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。

（完整版）艺术设计与色彩外文翻译文献

（完整版）艺术设计与色彩外文翻译文献外文文献翻译(含：英文原文及中文译文)英文原文THE IMPORTANCE OF THE USE OF COLOR IN ART DESIGNClaire CampbelPima Community College, Claire Campbell, "Appropriation, Transformation and Contemporary Fiber Art:. Textile Society ofAmerica Symposium Proceedings.In art and design "the use of color is very important". At the same time, the performance of color is infinite, it has the meaning of existence, at the same time, a mysterious hidden charm, how to use color expressive force, to create new works, to attract the masses.Color because of its physical properties, namely, different colors have different wavelengths,therefore, will directly or indirectly affect people's emotional, mental and psychological activities.Different color through the reflection of people's vision to the brain, but can cause people to feelthe dark, cold, weight, distance, can generate excitement, depression, tension, irritability, stability,ease the psychological effect. Such as cream makes people feel lovable, naive, simple; yellow,orange, red and relaxing; exciting, give a person with bold, strong feeling; pink romantic breath is grumous; rose, lavender is full of elegant, mysterious, beautiful mood; green, vibrant, moral ofyouth and hope, the symbol ofnew life in the spring; the deep color, Coffee olive steady, calm;blue can play relaxed, cool effect; white is a solemn, stately, pure artistic conception.Art design is a creative activity -- perceptual art designcombined with rational is an art and science and technology, technology, science, aesthetics, style, color, design solutions. Is thedesign of a comprehensive, such as the activities of daily living appearance design, with water as an example, except the design of pure beauty, but also meet the fitness of human body engineering, to study what kind of grip handle is comfortable, what kind of the cup is convenient for people drinking problems, and so art design is not just sentimental, still need to analyze theargument, do a lot of experiments. In addition, art design and simple artistic creation is different,we should consider not only the creator's preferences, but also to consider the needs of consumers and the cost of production, creation faster. At the same time, need to learn a lot of knowledge science.Through the above analysis we can see that the scope of the design art design is very wide, butthe use of color is also very important, but playing each university, professional open coursecurriculum design direction have color. Then we can through the following examples to illustrate the importance of color in art design.A caseGraphic design is an art and design direction, however clever use of a plane advertisement designis successful or not is one of the factors of color, the color for the plane advertisement designwork, and its importance is obviously. "Color" and advertising designers, like Punch line, is a important strength of advertising works wonderful, moving and not. There is color is not isolated, to embody the texture of products, features, and can beautify the advertising space; at the same time to adapt with the environment, climate, appreciation and so on, but also consider the far and near, big, small, visual changes, make theadvertisement more aesthetic.A physiological function, colorHumans will have different physiological responses to different color, which has been proved by science. Red, orange, yellow and other colors to give people the feeling of fire, we call it warm; blue, green another colors will be reminiscent of the sea, the sky and the river, which we call cool.We are in the color design, color hue, lightness, purity is not the same in the mutual collocationuse should pay attention to the following points:1 the intensity of the color sense. Generally speaking, more warm color visual effect and highcolor purity and brightness is lower than cool color and brightness. In addition, hue, lightness and purity is more big,the color contrast is stronger.2 colors of the advance and retreat. Warm color and higher color purity and brightness is forward,cool and low purity and green colors give people retreat feeling.3 color sense the severity of. High brightness color than low lightness feels lighter, more deep color to feel more heavy.The above example is some physiological functions of color, in the packaging design, flexible use of these will get beat all the magical effect. For example, large area as a background color should try to avoid moving and strong sense of color, you avoid the relationship between primary and secondary disorders, prevent consumers to quickly understand the commodity information.Two, color and psychologyPsychological function of colors is due to physiological function in the brain are formed, it was affected by age, gender,nationality, environment, education and other factors. Such as greysystem most older people like lightness and purity are relatively low, but children are like brightand vibrant colors.Color design in packaging needs to consider the color to the viewer's physiological and psychological factors, but also consider the nature and characteristics of the product packaging.As mentioned above Coffee and chocolate packaging are mostly brown. Packaging the color as far aspossible to be able to properly reflect the product's personality.Color influence on people's psychology, it can produce different feeling, it can lead to mood,imagination. This is because people feel about things often have the association, the color alsoinitiates the emotion. Design is very important in advertising color this association and emotionaleffect. Effects of advertising colors on people's psychological, as a result of people's life experience, personality, age, gender, occupation, hobbies, habits and customs, religious beliefs,social consciousness and so on are not the same and the formation of. Different psychologicalfeelings also raises different association of emotion.Color matching rules three, advertisement designIdentify 1 Main ColorHow to express the specific theme in advertising, you need through the text, images, color and other factors to the performance of. For the color, want to a proper extent of foiling the theme and the theme, the emotional association and symbolism, the central idea conforms to the advertisement subject. For example: cosmetics advertising, this kind of product on skin care beauty, so fresh and beautiful, safe and reliable. In the color choose neutral colors and elegantcolors, such as pink,light green, milk white color, give a person with health, elegant, fresh andtender feeling.Application of 2 advertising color affection lawIn the aspect of color preference and advertising design, color can have the association and emotional, which ultimately affect people's choice.(1) the age, gender and experience different preferences for color also has a great influence. It ispure bright children, this is because this kind of color are very attractive to them, with their lively character. Women more than men love white, because white is a symbol of purity, while men like blue, because blue symbolizes the straightforward, calm, mature and open minded. The villagepeople are favorite color is pure color, but in the city people love the purity is relatively low, therelatively rich, soft color and light color.(2) the national customs and preferences for color trends influence is also very obvious, make people reflect on the color also each are not identical. Such as the European multi use black to express sorrow, but I have more white. The western white dress to show the bride's pure and noble, but our country is indicated in red festive. But as the international exchanges become more frequent, the custom has also gradually assimilation.Attention 3 color in advertisingThe advertisement color tips, induction, can arouse people to products of interest. People today have been surrounded by the multitude, a multitude of names color media, fashion trend of colorchanges in themoment, the eyes have become inured to the unusual, almost can accept any of the color of the processing mode.Case twoColor is very important in interior decoration, it is the most powerful language of human visual symbols. On holidays, friends and coworkers mutual friends, as long as you pay attention will find,some people even though the decoration is very luxurious, spent a lot of money, but always feelto the visual feel uncomfortable, one very important reason is the interior color is not uniform.Differences in colorUniform color design plays in the interior decoration to create some kind of change or the role of style, will bring some visual differences and the enjoyment of art, let a person shine at the moment "". According to the survey, a space to enter the first few seconds to get the impression,seventy-five percent is the feeling of color, and then only to understand the physical. Therefore,the color is an important factor in interior design can not be ignored, the important role of different functions and people understand the different colour generated its request for color isself-evident.One, unified rulesIn interior design, the use of color is rich and varied, the color itself is not beautiful or not beautiful, the key is to look at how to mix, how tomatch, but must be consistent with the overall style interior interior design in the process of combining, otherwise it will appear anduncoordinated, like a traditional Chinese style, with color trend of European fashion series ofgaudy, that the proper. Color coordination means that the three elements of color: hue,harmonious application between lightness and purity, the formation of a unity consciousness, butto avoid too monotonous, boring and too dull. Therefore, color harmony should showaharmonious contrast, from the background (including thermal contrast, contrast, brightness,purity.) So, to create a good indoor environment, color cannot be ignored, we have a harmonious relationship between serious analysis and contrast, the interior color with good collocation, the atmosphere will be more good.Two, people of color feeling rulesDifferent color makes people feel effects on mental, emotional, psychological or big or small.Therefore, in determining the color and the use of interior design.中文译文在艺术设计中色彩运用的重要性克莱尔·坎贝尔皮马社区学院在艺术和设计中“颜色的使用非常重要”。

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