办公家具设计外文翻译
外贸英语词汇——家具风格.doc
外贸英语词汇——家具风格家具英译(6) 家具风格Aa generation of chairs办公椅的改进型a proven program 一个已经落实的新项目a relaxed posture in every seating position 适应各种从姿，令人倍感舒适aesthetic design 美学设计allow an ambience to be harmoniously created 营造和谐温馨的气氛appealing design 造型优美artisan craftsmanship 手工工艺BBaroco style 巴洛克风格CColonial plantation furniture 殖民种植风格家具Contemporary design 现代风格设计Copy 复制，模仿，仿冒DDesign studio 设计事务所Design trend 设计趋势Designer 设计师Distinct grain pattern 清晰的木纹图案EEconomical, versatile and efficient 经济实惠，用途多，效率高Emphasize the magnificent features of the range 更烘托出豪华气氛Energy and comfort 方便舒适Essential, functional design 基本功能设计Ethnic African style 非洲民族风格FFocus on the essential 注重本质Freelance 自由职业者Functional, ergonomic, long-lasting 功能齐全，人体工艺，经久耐用Functionality, quality and appealing design 功能全，质量优，造型佳GGraphic design 图片(装帧)设计HHigh quality 优质的IIdeal combination between 两者完美的结合Imitate 模仿In a Italian walnut finish 意大利胡桃木效果Innovative 创新的Intelligent design 理智的设计Interior decorator 室内美术师Interior design室内设计Interior designer室内装饰师Italian style意大利风格LLight color浅色，淡色MMarbled effect 大理石效果Meet the standards of all areas of the modern world of work可满足现代化办公要求Ming Dynasty 明朝NNatural feeling of warmth and texture 质感温暖自然Neoclassic style 新古典式风格PPerfect in shape and function 造型优美，功能完善Product image development 产品形象推广Product industrialization 产品工业化(设计)QQing Dynasty 清朝RRectangular 矩形Rococo style洛可可风格TTerra-cotta granulated paint finish 陶式沙砾漆效果The strength of the company 公司工作重点Traditional design传统风格设计WWith a classic trend 带有古典风格With the experience of specialist 由专家设计制作Without compromise 面面俱到。
办公家具设计理念范文英文
办公家具设计理念范文英文Office Furniture Design ConceptIn today's fast-paced and competitive business world, a well-designed office space with functional and aesthetically pleasing furniture is vital. It not only enhances productivity and efficiency but also reflects the company's values and culture. With this in mind, our office furniture design concept focuses on creating a harmonious and flexible workspace that fosters collaboration, innovation, and employee well-being.First and foremost, our design concept revolves around the idea of flexibility. We believe that office furniture should be adaptable to meet the ever-changing needs of modern businesses. To achieve this, we incorporate modular furniture systems that can be easily rearranged and reconfigured as required. This allows for seamless collaboration and smooth transitions between different work modes, such as individual work, group discussions, or presentations. By providing flexible solutions, we enable employees to create their own personalized workspaces that suit their working styles and preferences.Another important aspect of our design concept is the integration of technology. In today's digital age, technology plays a crucial role in daily office operations. Our furniture designs incorporate built-in power outlets, USB charging ports, and cable management systems to ensure easy access to power and connectivity. This eliminates the need for unsightly and hazardous cables, creating a clean and clutter-free workspace. By seamlessly integrating technology into our furniture, we enable employees to stayconnected and productive throughout the workday.Furthermore, our design concept emphasizes the importance of employee well-being. We understand that a comfortable and healthy workspace is essential for employee satisfaction and productivity. To achieve this, our furniture designs prioritize ergonomics. Adjustable chairs with lumbar support, ergonomically designed desks with adjustable height, and monitor arms that promote proper posture are just a few examples of our commitment to ergonomic design. Additionally, we incorporate elements of nature, such as plants and natural lighting, to create a calm and refreshing office environment. By creating a workspace that supports employee well-being, we aim to enhance overall job satisfaction and reduce employee turnover.Lastly, our design concept also considers sustainability. As global citizens, it is our responsibility to minimize our environmental impact. All our furniture is made from eco-friendly and sustainable materials, such as recycled and FSC certified wood. We also prioritize energy efficiency by incorporating LED lighting and energy-saving technologies into our designs. By adopting sustainable practices, we not only contribute to a greener planet but also inspire and encourage others to do the same.In conclusion, our office furniture design concept aims to create a flexible, technology-driven, employee-centric, and sustainable workspace. By incorporating these principles into our designs, we strive to enhance productivity, well-being, and overall job satisfaction. We believe that a thoughtfully designed office spacecan have a profound impact on employee performance and the success of a company as a whole.。
办公家具设计外文翻译
附录In the consciousness of people, office furniture always gives people a heavy, restrained and even inflexible feeling. But in recently usa.in group its new office furniture exhibition hall in new century, the reporter hands-on revealed to the new office furniture style.According to usa.in group introduce Mr. YangHuaMing floral general manager, said the new concept of office furniture, it is in the group "new era, the new idea of" guiding ideology roll out. With the development of The Times, especially the network time arrival, office furniture also need to adapt to the social features, give office staff more displays of space.Save energy is consider for the customer"A new era, the new idea", is an important aspect of facing the future, fully considering modern office environment inch land inch gold question, thus in the space use on maximum consider for the customer, at the same time to the greatest extent save resources. Like usa.in of 338 partition series, from this face the look may is the simple side partition wall, and on the other side is a very practical wardrobe.If the office environment requires adjustment, 338 partition series furniture still can change combinations. Previously closed meeting rooms can easily into personal workstations, without the need to purchase any new materials, the original material also won't be wasted, this is actually advocate a save resources of new ideas. Usa.in providing customers the many ornaments, can use telephone etc many originally to occupy desktop objects hang up, not only saved a space, and fashionable and interesting, is very humanized design. And the Vatican usa.in Clover high series, flexible and minimalist design, use the simplest, basic parts, this series can evolve into all kinds of combination, which can be applied to different purposes.In the new products, to usa.in increased a lot of unique design details. For example in some desk underneath, renovated unique big roller. The original each other two workbench, a spell can form a very beautiful and practical conference table. Roller have braking switch, need not use when a foot to trample can firmly in place.Now desktop computer is the mainstream of office equipment, and the future, laptop computers, affirmation is the development trend of office furniture, so usa.in in mobility, also made full consideration.Because office space is limited, but usa.in can through office furniture flexibility, to make full use of limited space.Reveal personality increase gradeIn order to break the traditional office furniture inflexible, inanimate situation, launched the latest product -- usa.in Kristall glass hobson table series. This series of office furniture, the whole desktop into translucent grind arenaceous glass, desktop by metal support, desktop is unique arc, give a person a kind of strong contemporary feeling.Kristall series of form a complete set of Hera seat also focused on the dermis, metal, matt metal, rubber wheel and so on several kind of material, not only give the customer a range of options, and also more show concise, modern. This product after it was introduced, the welcome by customers.A network clients of the company at a glance the phase of this product, all will be three sets. This also reflects usa.in in product design new ideas are meet the demand of customers.In addition, any product to usa.in considerable pertinence, even for customers "custom-made2". Like the Vatican Pope John Paul ii, Hong Kong chief executive tungchee-hwa is usa.in valued customers.The new idea means perfect service"A new era, the new idea" also have a content is perfect service system. If a customer plans to buy usa.in products, professional project managers will advance to the photos, then the design gives optimal office furniture layout scheme for the customer to choose, from design to usa.in wiring, installation, the professional service staff will provide free all-round "close-fitting service". komatsu。
办公家具常用英文单词
办公家具常用英文单词Office furniture is an essential part of any workspace, providing comfort and functionality to employees. Desks, chairs, and filing cabinets are the backbone of a productive office environment.A well-organized office starts with ergonomic chairs that support the back and promote good posture. These are crucial for long hours of work and can make a significant difference in employee well-being.Desks come in various shapes and sizes, from compact workstations to large executive desks. They are the primary surface for tasks like typing and meeting discussions.Storage solutions like filing cabinets and bookcases are vital for keeping documents and materials organized. They help maintain a clutter-free space, which is conducive to focus and efficiency.Conference rooms often feature conference tables and presentation equipment, facilitating team meetings and brainstorming sessions.Cubicles are a common sight in open-plan offices,offering a degree of privacy and personal space while still allowing for easy communication with colleagues.Reception areas are the first impression of a company, often furnished with reception desks and comfortable seating to welcome visitors and clients.Breakout areas, equipped with sofas and coffee tables, provide a relaxed space for informal meetings or a quick break from the daily grind.In summary, office furniture plays a critical role in creating a conducive and efficient work environment. It's not just about aesthetics but also about functionality and employee comfort.。
办公家具的英语作文
办公家具的英语作文The Essentials of Office Furniture.Office furniture plays a crucial role in creating a productive and comfortable workspace. It is not merely about the aesthetics of a room; it's about functionality, ergonomics, and employee well-being. In this article, we delve into the importance of various office furniture pieces and how they contribute to the overall efficiency of an office environment.1. The Role of Desks.The desk is the central hub of any office setup. It's where the majority of work takes place, from document preparation to computer-based tasks. The ideal desk should be adjustable to accommodate different heights and sitting postures, promoting good ergonomics. It should also have ample space for a computer, paperwork, and other office essentials.Moreover, desks can be customized to fit the specific needs of the job. For instance, creative professionalsmight prefer a larger workspace with ample room for drawing or sketching, while executives might prefer a more compact desk with built-in storage for files and electronic devices.2. The Importance of Chairs.Just as desks are integral to office productivity,chairs are equally important. An uncomfortable chair can lead to back pain, neck strain, and other health issues, affecting employee morale and productivity. Ergonomicchairs are designed to provide support to the back, neck, and hips, ensuring that employees can sit comfortably for extended periods.Some chairs even offer adjustable height and tilt, allowing individuals to customize their sitting position based on their body type and preferences. This flexibilityis crucial in ensuring that employees can maintain good posture throughout the day, reducing the risk of discomfortand injury.3. The Role of Storage Solutions.Efficient storage is essential in maintaining a tidy and organized workspace. Cabinets, shelves, and drawers are all integral to keeping paperwork, files, and other office supplies neatly organized. This not only improves the aesthetics of the office but also makes it easier for employees to find what they need quickly.Well-designed storage solutions can also help save space, which is especially beneficial in smaller offices. By utilizing vertical space with wall-mounted cabinets or shelves, for example, businesses can maximize their floor area for more productive purposes.4. The Impact of Conference Tables.Conference tables are the backbone of collaborative workspaces. They provide a central meeting point for teams to gather, discuss, and brainstorm ideas. The idealconference table should be large enough to accommodate all participants comfortably but not too big to make itdifficult to maintain eye contact or engage in conversation.In addition to size, the table's design should also encourage interaction. Round or oval tables, for instance, tend to foster a more informal and collaborative atmosphere, while rectangular tables might be more suitable for larger meetings where presenters need to share information with a larger audience.5. The Aesthetic Aspect.While functionality is paramount, office furniture should also complement the overall aesthetic of the workspace. Furniture pieces that are visually appealing and fit with the company's branding can help create a positive work environment that enhances employee morale.From the color scheme to the material used, everydetail of the office furniture should contribute to the overall ambiance. For instance, wooden furniture might lenda sense of warmth and tradition to a space, while modern metal and glass designs might convey a sense of innovation and forward-thinking.In conclusion, office furniture is not just about providing a place to work; it's about creating an environment that supports employee well-being, enhances productivity, and reflects the values and branding of the organization. By investing in functional, ergonomic, and aesthetically pleasing furniture, businesses can create a workspace that not only looks good but also performs well.。
介绍办公家具的英文作文
介绍办公家具的英文作文I. The desk is the centerpiece of any office. It'swhere all the work gets done, where ideas come to life, and where productivity thrives. A good desk should be spacious and sturdy, providing ample space for a computer, paperwork, and other essentials. It should also have drawers orstorage compartments to keep things organized and within reach. A comfortable chair is also essential for long hours of work, with adjustable height and backrest for optimal support.II. Shelves and cabinets are essential for storing books, files, and office supplies. They come in various sizes and styles, from open shelves to closed cabinets with doors. They can be made of wood, metal, or even glass, depending on the desired aesthetic and functionality. Shelves and cabinets not only keep things organized butalso add a touch of personality to the office, showcasing personal items or decorative pieces.III. A filing cabinet is a must-have for any officethat deals with a large amount of paperwork. It provides a secure and organized way to store important documents, invoices, and contracts. Filing cabinets come in different sizes, with multiple drawers or compartments, and can be made of metal or wood. They are designed to ensure easy access and efficient organization, with labels and dividers to categorize and sort documents.IV. A comfortable and stylish sofa or armchair is a great addition to any office, providing a cozy space for relaxation or informal meetings. It can be a place to take a break, read a book, or have a casual conversation with colleagues or clients. Sofas and armchairs come in various designs, colors, and materials, allowing for customization to match the overall office decor and style.V. Lighting is an often overlooked but crucial aspect of office furniture. Good lighting not only enhances visibility but also creates a pleasant and productive work environment. Natural light is ideal, so offices with large windows are highly sought after. However, artificiallighting is equally important, with adjustable desk lamps or overhead lights to provide adequate illumination. Different types of lighting, such as warm or cool tones, can also affect the mood and ambiance of the office.VI. Lastly, accessories such as desk organizers, pen holders, and monitor stands can greatly improve the functionality and aesthetics of an office. They help keep the desk clutter-free and create a sense of order and professionalism. Accessories can be simple and practical or decorative and personalized, depending on individual preferences and needs.In conclusion, a well-equipped office requires a range of furniture and accessories to create a comfortable, organized, and productive workspace. From desks and chairs to shelves and cabinets, each piece serves a specific purpose and contributes to the overall functionality and aesthetics of the office. So, whether it's a small home office or a large corporate space, investing in quality office furniture is essential for a successful work environment.。
个性化办公空间室内设计外文文献翻译最新
外文文献原文+译文原文The research of personalized office space interior designMartin GAbstractIn the 21st century, human society entered the "information age", most countries in the world also has gradually into the "post industrial society". In the era of "post industrial society", based on computer technology, network technology and information technology characteristics of the information society will change our mode of production, life style, work style and way of thinking, affects every aspect of our lives. The development of network makes the world becomes smaller and smaller, and the city became big assimilation, life becomes urbanization, people lost the passion of pursuing new and change. In this era of homogeneity, any new things will make people feel excited and delighted, can someone as the cheers and applause, pursuing new and change is the slogan of The Times. The life needs, design calls for more personalized works. Make public individual character, in the field of design innovation is the slogan. The personality is the soul of interior design, interior design for individual work.Keywords: Human nature; Personalized; Office space; Interior design1 IntroductionIn calling upon the personality in the field of interior design, on the one hand, people demand more attention to person itself, also in the interior design is also more to embody the "people-oriented" design concept. Interior design more consideration to all levels of people of different physiological and psychological level, the various requirements of the design to achieve more balance, balance the dual requirement of people in the material world and spiritual world, tend to be more humane, intelligent and ecological design. Gradually reduce, on the other hand, as the earth's resources, the worsening of the natural environment, destruction of ecological balance, need more of is in interior design "people-oriented" dialectic, which is in the life to promote energy conservation, saving resource and moderate consumption, on thedesign to implement green design, ecological design and environmental design, achieve the harmonious development of man and nature.In the field of interior design, office space occupied large proportion of interior design. In August 1933 C AM (international association of modern architecture) fourth conference in Athens by the Athens charter, and put forward the "live, work, transportation activities is to study and analysis of urban design in modern times, the most basic classification". Work is one of the main human activities, office space is the center of the modern life, and people have a third day of the time want to be in the office. Well-designed personalized office space people can keep a good balance of body and mind, stimulate creativity, promote the exchange of work, and enhance the sense of belonging, to create greater wealth for the society. Therefore, office space interior design is particularly important.2 Overview of interior designInterior design, also known as the indoor environment design, the main content of the design for indoor plane design and space combination, indoor surface art processing, and indoor furniture, lamps and lanterns, display the selection and arrangement, etc. Generally have the floor plan, flat-topped diagram, facade expansion plan, as well as furniture, lamps and lanterns and detail drawing. Can use Gantt chart or color rendering." As an independent professional interior design, in the world is truly established in the 1960 s, after the birth of modern architecture movement is interior design professional agent directly, make indoor design in design idea and great changes have taken place in modern architecture movement one by one to make indoor decoration from pure interface to the design of the space; from the traditional pattern of two-dimensional space design to create innovative four-dimensional model; the essence lies in the overall artistic atmosphere of interior space to create, this is the traditional way of thinking of interior design a fundamental shift in attitudes.Interior design is a comprehensive strong cross discipline, is the art and science, the unity of form and technique. Art and science, as human beings to know the world and transform the world's two most powerful means, also reflected in the design. Cansay, the whole process of design, is to make all sorts of subtle things and feelings, organized into a clear concept and art forms, so as to build content to demand the materialization of human emotions and behavior. All design practice is to make the knowledge and the characteristics of emotional streamline, ultimately comes down to this practice aesthetics system in the form of art and scientific theory system. Any kind of design results is the crystallization of art and science, the design is on the brink of between arts and science subjects. Here, the art as a source of design thinking, reflected in people's spiritual world, subjective emotional aesthetic consciousness become design create impulsion. Science as a design specification of the process manifests itself in the material world, people of objective function of technology using the designing a guarantee of success. That reflect more outstanding in the indoor design, modern interior design involves the aesthetic psychology, architecture, sociology, ethnology, human body engineering, structural engineering, architectural physics and material science disciplines, such as it requires the use of multidisciplinary knowledge, comprehensive multi-level space environment design, is a highly integrated comprehensive discipline. Interior design as an independent comprehensive discipline, is the rational creation method in architectural interior space, is a kind of based on the structure of science, to the art form of expression, to create a spiritual space and material space and indoor living environment for the rational creation activity, the sensibility of art together and scientific rationality as the designers create infinite power.Interior design is a category of design, all aspects of the design of the full performance characteristics. Design is to seek a breakthrough in the artistic feeling, an extraordinary, a characteristic of the state, while in this state and breakthrough collectively known as personalized design. Personalized embodied in interior design in the modern office space more to highlight, even far beyond the spiritual and cultural requirements of the space environment is responsible for. It requires that reflects the unique style of enterprise culture, policy makers, tolerance and style, the collective image of the company, the company's historical development and even the company's product characteristic image, and so on. Interior design of individual ischaracter on the premise of "people-oriented". The "people-oriented" can be understood as interior design some of the common requirements, design some aspects of personality development of functional factors, including interior space of the physical environment, physical environment and psychological environment and visual environment and other factors. Personalized office space interior design should be based on these factors.Interior design of individual is character on the guideline of "environmental consciousness". In be being designed indoors, "people-oriented" design concept represents human intuitive understanding of their own interests, reflects the value judgment of anthropocentrism and value orientation, the design of the forming rule of nature theory system and methodology. However, due to human easily swayed by utilitarianism, simply emphasize the "people-oriented", is bound to damage the natural value to achieve the purpose of remaking nature. Should be in the development of interior design development under the guidance of overall environment consciousness, personalized interior design should merge in the overall environment, and the natural harmonious development of the overall concept of choose and employ persons ideas and planning projects, to carry on the design. Interior design to the idea of ecology and ecological values is the main principle, to fully consider the human environmental sustainable development.3 The change of the post-industrial society office spaceSince the 1990 s, represented by information and communication industry of knowledge-based industries become the growth point of the world's biggest economy, network, digitalization and virtualization become the main characteristics of the new economy. Along with the wide application of Internet technology, the popularity of mobile communication technology development, each kind of electronic office products constantly upgrading, make the human on the basis of constantly improve office efficiency, to the depth and breadth development, continue to deepen the degree of office automation, a new type of office mode, arise. Transmission of information is to reduce line configuration. The development of information technology has brought "virtualization" office building in the 1990S. As mobile phones, notebook computers,the emergence of the Internet and E-mail, office workers actually turned out to be "free agents" (Foot Loose) office place and time of freedom. Information technology is also changed on the concept of work and organization. Divide too fine office space layout is no longer suitable for the new working method emphasizes the interaction of team spirit, so had to create a more open workspace.On the one hand, the scope of information technology makes the work continuously break limit of the space, everywhere in the world. The emergence of new digital office mode and concept, make the enterprise began to put more money into the computer network and related technology, and slash funding for the new office. Many large companies have begun to experiment a new office mode. For example, the "elastic" (Flextime) or "office" alternately (Alternate office) implemented in IBM.IBM for 13000 sales, often, technical and administrative personnel are equipped with computers, printers, fax machines and modem, facilitate everybody work outside the office. A new information system, on the other hand, make development changed about the concept of work and organization, office workers actually turned into "free agents", they enjoy freedom of offices and office hours. Increasing work efficiency of the individual, unit time has created an unprecedented social wealth. The arrival of network age makes "SOHO (Small office, home office) became popular in the world. SOHO narrowed the office space, completely eliminate the space distance of the office and family, to overcome the busy traffic, congestion, the share of energy at the same time, reduces the consumption of resources, good way to solve the problems of land for growing population explosion and the scarce. SOHO works make work life, ever tiresome many working atmosphere in the family to make the person feels interest, the workings of a SOHO has become a mainstream in the future.文献出处：Martin G. The research of personalized office space interior design [J]. California Management Review, 2016, 4(3): 89-101.译文个性化办公空间室内设计研究Martin G摘要21世纪人类社会进入了“信息时代”，世界上大多数国家也已经逐步转入了“后工业社会”。
家具行业英汉翻译词汇
家具行业英汉翻译词汇(3)家具生产技术词汇AA high degree of light-fastness 高质量不褪色A highly compressed special particle board 具有高密度的特殊粒子层的镶板Abrasion 机械磨蚀Abrasion hardness 磨损硬度Abrasive band 砂带Abrasive grain 磨粒Abrasive paper 砂纸Absolute humidity 绝对温度Absolute viscosity 绝对粘度Accelerating aging 加速老化Accomplishment 业绩Achievement 完成Air circulation 空气循环Air-dried condition 气干条件Airless spraying 无气喷涂All-in cost 总费用Allowance for finishing精加工留量，裕度Amazingly true-to-nature wood decors 具有惊人的逼真效果的木材装饰An aver age of … units of chairs per annum 每年平均生产。
套座椅Angle bar 平底鱼尾板，角钢Angle bridle joint 直角啮接Angle of hook 锯齿角，齿钩角Annual outlet 年度生产Annual output 年产量Anvil 铁砧Area of bearing 支撑面积Armrest 带扶手Artificial grain 人造花纹Artisan industry 手工业Assembly line 装配线Automation 自动化BBack bevel angle 后斜角Back boxing 里衬，内衬Back of tooth 齿背Ball bearing 滚珠轴承Banded core 封边板心Beautifully finished 加工完美Bed linens （亚麻）床上用品Bent work 弯曲加工Bevel 斜面，制成斜面Beveled tenon 斜榫Billet-sawn 分段锯切Binging 粘合，夹锯Blade straining device 带锯拉紧装置Blank 毛坯，细缝Bleach 漂白Blister 气泡Bond stress 胶接应力Bottom-board 底板，抽屉底Bovine leather 牛皮Bow door 弓形门Box-lock 套接Braced miter joint 联结斜接Brake drum 制动轮Brake ratchet wheel 棘轮制动器Break-even point 等值点Brush 毛刷，漆刷Buckling strength 扭压强度Buckling stress 扭曲应力Built-up area 建筑面积Butt 截头，切方Butt and butt 两头对接Butt tenon对头接榫Butt joint 对接，平接CCabinet maker's blank 细木工坯料Cabinet work 细木工Cabriole leg 弯脚Cantilever base 伸臂底座Capable of producing… 能生产。
家具设计外文翻译参考文献
家具设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)SCANDINA VIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditionsof material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process ofindustrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an agricultu ral society to an industrialized one towards the end of the last century.The cities almos t exploded in size and social awareness flew with the emergence of the new social clas ses-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of moder n consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920’s,when the social housing projects began and detached houses started to appear.The second stage was in the 1950’s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge andawareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmake r workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ an market,caught sight of Danish furniture design-Danish modern.The development of Danish furniture design continued forcefully up through the 1950’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology develop ed ,production became increasingly industrialized and this affected the way in which a rchitects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsen’s famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed i n cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning,It was designed as an industrial product for mass production. Some years later, in 195 7,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chai rs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 19 71. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeed ed in creating a long series of Danish furniture classics, such as the easy chairs “Aegg et”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Roy al Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jaco bsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furnitu re. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studi o. Borge Mogensen was a former student of Kaare Klint, and Mogensen further devel oped Klint’s ideas regarding quality functional furniture for the ordinary consumer. F DB’s furniture was manufactured in wood, especially in the domestic wood sorts of oa k and beech. These chairs were designed for industrial manufacture and despite the fa ct this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for him self by designing exclusive furniture in an altogether different price bracket for afflue nt clientele. Despite this, he never diverged from his principles of functionality and us er-friendliness.The two designers who really put Denmark on the world map were Hans J.Wegn er (born 1914) and Finn Juhl (1912-1989). These two men came from radically differe nt backgrounds. Hans J.Wegner was the country craftsman who had received his traini ng as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Cr afts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educ ated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their prod uction of quality furniture is so extensive-Hans J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Partic ular examples of Hans J.Wegner’s unique design work are Kinastolen (“The Chinese Chair”) from 1945, The Chair from 1949, and Cirkelstolen (“The Circle Chair”) from 1986. Among Finn Juhl’s furniture are such highlights as his armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that designers had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto and the Swedish designer, Bruno Mathsson had already created a long line of beautiful la minated furniture in the 1930’s and 40’s–and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & Johnny Soe rens en’s approach so unique was the fact that they regarded their furniture as industria l products instead of one-of-a-kind, craftsman-made goods. Their furniture was highly adapted to rational mass production, almost kike industrial design. More inportant stil l was the fact that an extremely viable model for collaboration between designers and manufacturers had been found. This model created a school of thought and convinced the furniture industry that good design could actually pay!As we approach a new century, there is every reason to have high expectations fo r the continued development of Danish furniture design. Never before has so much qu ality furniture been manufactured, and young, new designers are making their mark. P eople like the designer Troels Grum-Schwensen, Kasper Salto, Henrik Tengler, HansSandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work approach which will probably guarantee the leading position of Danish furniture design for ma ny years to come: innovation via tradition.Given the fact that the western concept of art from the end of the 18th century m oved towards the ever-increasing independence of artistic expression, part of the task of modern art became to reassemble what had been dismantled. The boundary betwee n fine and mass culture narrowed.Visual art, architecture and applied art were to be se en as aspects of a common dream; the ideal of powerful, modern expression. The begi nning of the 20th century saw the introduction of the term “Gesamtkunstwerk”. A hou se was no longer a frame around random content. Buildings, furniture design, decorati ve art and interior design generally were to support the integral whole, which became greater than the sum of its individual parts.From the 1920’s and 30’s, the dominant German Bauhaus School greatly influenced design in Europe and America. Architect and School Director, WalterGropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished fo rever”.In Denmark, architects led by Arne Jacobsen, among others, were extremely stim ulated by this way of thinking. Here lay the keystone to the tradition of interrelationsh ip between architecture and interior design, which to this day remains an important ha llmark of Danish architects and designers. Since 1971,the architectural firm of Dissing +Weitling A/S has continued to run and develop Arne Jacobsen’s architect business, w ith employees in Denmark and around the world. The depth in Dissing+Weitling’s wo rk is exceptional but this also says something characteristic about the Danish approach . Here we find both a sense of wholeness as well as an attention to detail, and especiall y, the challenge of getting both elements to form a synthesis. Nothing is too small, let alone irrelevant to warrant care and attention.In addition to architectural buildings, Dissing+Weitling also carry out work in th e fields of furniture, lighting design, and medico-technical equipment. In all events, it is an attempt to merge the various parameters such as form, function, construction, ma terials and color to form a balanced expression whose hallmark is a strong visual ident ity, which is the leitmotif of the design process: A clarity and purity which has timeles s and universal qualities. In this regard, Dissing+Weitling have done a supreme job of carrying on the legacy of Arne Jacobsen.Whereas at the close of this century, we have witnessed the noisier, mishmash of diversity of international design reflecting the spiri t of the times, here in Denmark-and the Nordic countries-the modernistic method and approach has prevailed. Design has been carried forward with moderation and variatio ns based on a tighter minimalism, focusing on the elements and dynamics of the indivi dual form, as well as a pronounced sensitivity for materials. There are many examples of how this subtle dialogue between space, furniture and interior design have found p owerful expression; designs which break up and imprint a different rhythm on the spa ce and the way in which fine contrasts such as the lineatity of the room are juxtaposed by the curvature of the reception area-a common, repeated theme in many interiors.It is important to remember that interior designers are not housebuilders like arch itects. Interior designers are given finished rooms whose interiors they have to design.For this reason, all interior design deals with “treatment of the room” and the Scandin avian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism a nd democracy paired with functionalism, which again is linked to the architectural tra dition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored wi th respect for existing architecture and the qualities of past design. Many buildings ha ve been thoroughly renovated with an eye to meeting new functions and modern requi rements.The balance between maintaining the original distinctive architectural feature s and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can becom e a means of ensuring a uniformity of style and expression.参考文献:朱迪思·古拉泰晤士和哈德逊公司.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11迈克•罗莫. 室内与家具设计. Thame Hudson出版社.2005北欧家具设计斯堪的纳维亚设计是在20世纪30年代即已取得较大成就,并获得了国际声誉的设计风格。
家具术语中英对照
Adjustable bed 可调床Air bed 气床Anti-slip strip for stairs （儿童床）防滑楼梯打击扶手Antique furniture 古式家具Antique reproduction furniture 仿古家具Armchair 扶手椅B Baby crib 婴儿床Backless wall-unit 不设背板的壁橱Bamboo furniture 竹家具Banqueting chair 宴会椅Barstool 吧椅Bathroom accessories 浴室配套装置Bathroom combination 浴室组合柜Bathroom consoles 浴室多用架Bathroom furniture 浴室家具Bathroom vanity 浴室盥洗台Batten door 板条门Bed base床架，床套Bed base set 成套床架Bedroom suite 卧室系列家具Bedstead 床架Bentwood furniture 曲木家具Beside table 床头柜Birch door 桦木门Board-room and conference table 会议桌Bookcase 书柜Bookshelf 书架Built-in kitchen 配套厨房家具Bunk 双层床Bunk bed 双层床C Cabin bed 儿童多功能床Cabin furniture for ships 船用家具Canopy bed 带天篷的床，四柱床CD-video storage cabinet边音响组合柜Chair with castors 脚轮椅Changing table 可调桌Chest of drawers 多屉橱柜Child cot 童床Children’s bed 儿童床Children’s bedroom suite 儿童卧房系列家具Children’s chair 儿童椅CKD(complete knock down) 整体拆装式家具Clothes rail 挂衣杆Cocktail cabinet 吧柜，酒柜Cocktail table 鸡尾酒桌Coffee table 茶几，咖啡桌Combine-unit 组合柜Composite furniture 复合家具Console 小桌Console table （装在墙上的）蜗形腿台桌Contract furniture 订做家具，承建家具Contract programmes 订做家具Corner sofa suite 拐角扶杆Cot 童床（婴儿床）Couch 长沙发椅Cupboard 橱柜Cupboard wall unit for flat 套房衣柜Curtain 窗帘，挂帘Customized furniture 订做家具D Decorative lighting 装饰灯具Dining room furniture 餐厅家具Dining room set 起居室配套家具Dining table 餐桌Divan 长沙发，沙发床Dividing wall and fitted wall unit 隔墙板及系列DIY furniture 自装式家具Double-bed 双人床Double function sofa-bed 双人沙发床Double sided mirror 双面镜Draughtsman chair 吧椅Drawer 抽屉Dressing table 梳妆台E Easy chair 轻便椅End table 茶几Entrance hall furniture 门厅家具Exterior door户外门F Filing cabinet 文件柜Fireplace壁炉Fitment 固定家具Fitting 家居用品Flap 翻门Flower stand 花架Flush door 平面门，全板门Folding chair 折叠椅Folding furniture 折叠家具Folk furniture 民间家具Foot-stool 踏脚凳Framed mirror 带框镜子French-type furniture 模式家具French cabinet 法式桌椅弯脚French door 玻璃门Function sofa多功能沙发椅Furniture for bedrooms 卧室家具Furniture for public premises 公共场所家具G Game table 玩具桌Gate-leg table折叠桌Glass cabinet 玻璃陈设柜Glass case玻璃陈设柜Glass unit and container 玻璃容器制品Glazed door 玻璃门H Hall furniture 厅房家具Hat and coat stand 衣帽架Headboard 床头Heirloom quality furniture 祖传家具High bed 儿童高脚床（不带屉柜）High chair 高脚椅Highback executive chair 高背办公椅Home furniture 家庭家具，民用家具Home office furniture 家庭办公家具Hotel furniture 酒店家具Household furniture 家庭家具Hutch碗架I Institutional furniture 风俗家具，公用家具J Junior desk chair 学生书桌椅K Kitchen block /kitchen rock 厨房地砖Kitchen cabinet 餐具柜Kitchen chair, stool and bench 厨房椅、圆凳及条椅Kitchen fitment 厨房固定家具Kitchen table 厨房餐桌Kitchen unit 厨房成套家具L Lamp table 灯桌Lath grid 板条格Ledged door 直板门Link chair 写字板椅Living room furniture 起居室家具Locker 衣帽柜Lounge furniture 客厅家具Louvered door 百叶窗柜门Lowback executive chair 低背办公椅Lowback guest chair 低背来宾椅Lowback visitor chair 低背接待椅M Managerial mediumback chair 中背经理椅Margined flush door 镶边平板门Mattress 床垫，席梦思Mediumback executive chair 中背办公椅Metal furniture金属家具Mirror door 玻璃门Mirror for chest of drawers 多屉柜梳妆镜Multi-purpose sofa 多用沙发Multi-purpose table 多用桌N Nest 茶几O Occasional furniture 配套家具，休闲家具Occasional table 休闲桌Office furniture 办公家具Office seating 办公座椅Office table 办公桌P Partition wall 隔断Pembroke table 折面桌Planters chair 园艺工用椅Plastic furniture 塑料家具Play furniture 娱乐家具Presidential highback chair 高背办公椅Pull-out table 伸缩餐具R Rattan furniture 藤家具Recliner 躺椅Refectory table长餐桌Rocking chair 摇摆椅Rotary chair 转椅Rustic style furniture 乡村风格家具rectangular table 长方桌red-lacquered chest 红漆木箱round bed 圆床round stool 圆凳round table 圆桌round-backed armchair 圈椅S School table 课桌screen 屏风Seat 座椅secretaire 写字桌(尤指有抽屉及分类格者) Secretarial chair 秘书椅sectional sofa 拼合沙发semi-CKD 半拆装家具separate wine cabinet 独立厨柜serving table 送餐桌settee; chaise longue 长靠椅shelving combination 组合架shoe rack 鞋架side table 小桌sideboard 餐具柜simmous bed 席梦思床single bed 单人床slat stool 板条凳sleeper sofa 可睡沙发sofa 沙发sofa bed 沙发床sofa table 沙发桌soft chair 软椅spring bed; steel cot 钢丝床；弹簧床spring-seat chair 弹簧座椅square stool 方凳square table 方桌steel chair 扶手椅steel desk 钢制写字台steel safe 保险柜step stool 梯凳stool 凳子；搁脚凳storage for umbrellas 伞架straight back chair 直背椅strong box; safe 保险箱studio couch 单人沙发床suitcase; trunk 衣箱；小型旅行箱swivel armchair 帆布折叠躺椅swivel-top stool 转动凳。
英语家具设计作文模板范文
英语家具设计作文模板范文Furniture Design Essay Template Sample。
Title: The Art of Furniture Design。
Introduction。
Introduce the topic of furniture design and its importance in interior design and everyday life.Discuss the role of furniture in providing functionality, comfort, and aesthetic appeal to living spaces.Highlight the significance of innovative and creative furniture design in shaping modern living environments.History of Furniture Design。
Provide a brief overview of the history of furnituredesign, from ancient civilizations to modern times.Discuss the evolution of furniture styles, materials, and manufacturing techniques over the centuries.Highlight key design movements and influentialdesigners who have shaped the course of furniture design.Principles of Furniture Design。
Discuss the fundamental principles of furniture design, including form, function, and materials.Explore the relationship between furniture design and human ergonomics, emphasizing the importance of comfort and usability.Highlight the role of proportion, scale, and balance in creating harmonious and visually appealing furniture pieces.Innovations in Furniture Design。
家具设计外文翻译参考文献
家具设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)SCANDINA VIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditionsof material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process ofindustrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an agricultu ral society to an industrialized one towards the end of the last century.The cities almos t exploded in size and social awareness flew with the emergence of the new social clas ses-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of moder n consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920’s,when the social housing projects began and detached houses started to appear.The second stage was in the 1950’s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge andawareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmake r workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ an market,caught sight of Danish furniture design-Danish modern.The development of Danish furniture design continued forcefully up through the 1950’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology develop ed ,production became increasingly industrialized and this affected the way in which a rchitects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsen’s famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed i n cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning,It was designed as an industrial product for mass production. Some years later, in 195 7,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chai rs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 19 71. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeed ed in creating a long series of Danish furniture classics, such as the easy chairs “Aegg et”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Roy al Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jaco bsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furnitu re. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studi o. Borge Mogensen was a former student of Kaare Klint, and Mogensen further devel oped Klint’s ideas regarding quality functional furniture for the ordinary consumer. F DB’s furniture was manufactured in wood, especially in the domestic wood sorts of oa k and beech. These chairs were designed for industrial manufacture and despite the fa ct this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for him self by designing exclusive furniture in an altogether different price bracket for afflue nt clientele. Despite this, he never diverged from his principles of functionality and us er-friendliness.The two designers who really put Denmark on the world map were Hans J.Wegn er (born 1914) and Finn Juhl (1912-1989). These two men came from radically differe nt backgrounds. Hans J.Wegner was the country craftsman who had received his traini ng as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Cr afts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educ ated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their prod uction of quality furniture is so extensive-Hans J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Partic ular examples of Hans J.Wegner’s unique design work are Kinastolen (“The Chinese Chair”) from 1945, The Chair from 1949, and Cirkelstolen (“The Circle Chair”) from 1986. Among Finn Juhl’s furniture are such highlights as his armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that designers had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto and the Swedish designer, Bruno Mathsson had already created a long line of beautiful la minated furniture in the 1930’s and 40’s–and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & Johnny Soe rens en’s approach so unique was the fact that they regarded their furniture as industria l products instead of one-of-a-kind, craftsman-made goods. Their furniture was highly adapted to rational mass production, almost kike industrial design. More inportant stil l was the fact that an extremely viable model for collaboration between designers and manufacturers had been found. This model created a school of thought and convinced the furniture industry that good design could actually pay!As we approach a new century, there is every reason to have high expectations fo r the continued development of Danish furniture design. Never before has so much qu ality furniture been manufactured, and young, new designers are making their mark. P eople like the designer Troels Grum-Schwensen, Kasper Salto, Henrik Tengler, HansSandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work approach which will probably guarantee the leading position of Danish furniture design for ma ny years to come: innovation via tradition.Given the fact that the western concept of art from the end of the 18th century m oved towards the ever-increasing independence of artistic expression, part of the task of modern art became to reassemble what had been dismantled. The boundary betwee n fine and mass culture narrowed.Visual art, architecture and applied art were to be se en as aspects of a common dream; the ideal of powerful, modern expression. The begi nning of the 20th century saw the introduction of the term “Gesamtkunstwerk”. A hou se was no longer a frame around random content. Buildings, furniture design, decorati ve art and interior design generally were to support the integral whole, which became greater than the sum of its individual parts.From the 1920’s and 30’s, the dominant German Bauhaus School greatly influenced design in Europe and America. Architect and School Director, WalterGropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished fo rever”.In Denmark, architects led by Arne Jacobsen, among others, were extremely stim ulated by this way of thinking. Here lay the keystone to the tradition of interrelationsh ip between architecture and interior design, which to this day remains an important ha llmark of Danish architects and designers. Since 1971,the architectural firm of Dissing +Weitling A/S has continued to run and develop Arne Jacobsen’s architect business, w ith employees in Denmark and around the world. The depth in Dissing+Weitling’s wo rk is exceptional but this also says something characteristic about the Danish approach . Here we find both a sense of wholeness as well as an attention to detail, and especiall y, the challenge of getting both elements to form a synthesis. Nothing is too small, let alone irrelevant to warrant care and attention.In addition to architectural buildings, Dissing+Weitling also carry out work in th e fields of furniture, lighting design, and medico-technical equipment. In all events, it is an attempt to merge the various parameters such as form, function, construction, ma terials and color to form a balanced expression whose hallmark is a strong visual ident ity, which is the leitmotif of the design process: A clarity and purity which has timeles s and universal qualities. In this regard, Dissing+Weitling have done a supreme job of carrying on the legacy of Arne Jacobsen.Whereas at the close of this century, we have witnessed the noisier, mishmash of diversity of international design reflecting the spiri t of the times, here in Denmark-and the Nordic countries-the modernistic method and approach has prevailed. Design has been carried forward with moderation and variatio ns based on a tighter minimalism, focusing on the elements and dynamics of the indivi dual form, as well as a pronounced sensitivity for materials. There are many examples of how this subtle dialogue between space, furniture and interior design have found p owerful expression; designs which break up and imprint a different rhythm on the spa ce and the way in which fine contrasts such as the lineatity of the room are juxtaposed by the curvature of the reception area-a common, repeated theme in many interiors.It is important to remember that interior designers are not housebuilders like arch itects. Interior designers are given finished rooms whose interiors they have to design.For this reason, all interior design deals with “treatment of the room” and the Scandin avian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism a nd democracy paired with functionalism, which again is linked to the architectural tra dition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored wi th respect for existing architecture and the qualities of past design. Many buildings ha ve been thoroughly renovated with an eye to meeting new functions and modern requi rements.The balance between maintaining the original distinctive architectural feature s and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can becom e a means of ensuring a uniformity of style and expression.参考文献:朱迪思·古拉泰晤士和哈德逊公司.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11迈克•罗莫. 室内与家具设计. Thame Hudson出版社.2005北欧家具设计斯堪的纳维亚设计是在20世纪30年代即已取得较大成就,并获得了国际声誉的设计风格。
家具方面的中英对照词汇
家具方面的中英对照词汇名词解释〔一〕家居种类Adjustable bed 可调床Air bed 气床Anti-slip strip for stairs 〔儿童床〕防滑楼梯打击扶手Antique furniture 古式家具Antique reproduction furniture 仿古家具Armchair 扶手椅BBaby crib 婴儿床Backless wall-unit 不设背板的壁橱Bamboo furniture 竹家具Banqueting chair 宴会椅Barstool 吧椅Bathroom accessories 浴室配套装置Bathroom combination 浴室组合柜Bathroom consoles 浴室多用架Bathroom furniture 浴室家具Bathroom vanity 浴室盥洗台Batten door 板条门Bed base床架，床套Bed base set 成套床架Bedroom suite 卧室系列家具Bedstead 床架Bentwood furniture 曲木家具Beside table 床头柜Birch door 桦木门Board-room and conference table 会议桌Bookcase 书柜Bookshelf 书架Built-in kitchen 配套厨房家具Bunk 双层床Bunk bed 双层床CCabin bed 儿童多功能床Cabin furniture for ships 船用家具Canopy bed 带天篷的床，四柱床CD-video storage cabinet边音响组合柜Chair with castors 脚轮椅Changing table 可调桌Chest of drawers 多屉橱柜Child cot 童床Children’s bed 儿童床Children’s bedroom suite 儿童卧房系列家具Children’s chair 儿童椅CKD(complete knock down) 整体拆装式家具Clothes rail 挂衣杆Cocktail cabinet 吧柜，酒柜Cocktail table 鸡尾酒桌Coffee table 茶几，咖啡桌Combine-unit 组合柜Composite furniture 复合家具Console 小桌Console table 〔装在墙上的〕蜗形腿台桌Contract furniture 订做家具，承建家具Contract programmes 订做家具Corner sofa suite 拐角扶杆Cot 童床〔婴儿床〕Couch 长沙发椅Cupboard 橱柜Cupboard wall unit for flat 套房衣柜Curtain 窗帘，挂帘Customized furniture 订做家具DDecorative lighting 装饰灯具Dining room furniture 餐厅家具Dining room set 起居室配套家具Dining table 餐桌Divan 长沙发，沙发床Dividing wall and fitted wall unit 隔墙板及系列DIY furniture 自装式家具Double-bed 双人床Double function sofa-bed 双人沙发床Double sided mirror 双面镜Draughtsman chair 吧椅Drawer 抽屉Dressing table 梳妆台EEasy chair 轻便椅End table 茶几Entrance hall furniture 门厅家具Exterior door户外门FFiling cabinet 文件柜Fireplace壁炉Fitment 固定家具Fitting 家居用品Flap 翻门Flower stand 花架Flush door 平面门，全板门Folding chair 折叠椅Folding furniture 折叠家具Folk furniture 民间家具Foot-stool 踏脚凳Framed mirror 带框镜子French-type furniture 模式家具French cabinet 法式桌椅弯脚French door 玻璃门Function sofa多功能沙发椅Furniture for bedrooms 卧室家具Furniture for public premises 公共场所家具GGame table 玩具桌Gate-leg table折叠桌Glass cabinet 玻璃陈设柜Glass case玻璃陈设柜Glass unit and container 玻璃容器制品Glazed door 玻璃门HHall furniture 厅房家具Hat and coat stand 衣帽架Headboard 床头Heirloom quality furniture 祖传家具High bed 儿童高脚床〔不带屉柜〕High chair 高脚椅Highback executive chair 高背办公椅Home furniture 家庭家具，民用家具Home office furniture 家庭办公家具Hotel furniture 酒店家具Household furniture 家庭家具Hutch碗架IInstitutional furniture 风俗家具，公用家具JJunior desk chair 学生书桌椅KKitchen block /kitchen rock 厨房地砖Kitchen cabinet 餐具柜Kitchen chair, stool and bench 厨房椅、圆凳及条椅Kitchen fitment 厨房固定家具Kitchen table 厨房餐桌Kitchen unit 厨房成套家具Lamp table 灯桌Lath grid 板条格Ledged door 直板门Link chair 写字板椅Living room furniture 起居室家具Locker 衣帽柜Lounge furniture 客厅家具Louvered door 百叶窗柜门Lowback executive chair 低背办公椅Lowback guest chair 低背来宾椅Lowback visitor chair 低背接待椅MManagerial mediumback chair 中背经理椅Margined flush door 镶边平板门Mattress 床垫，席梦思Mediumback executive chair 中背办公椅Metal furniture金属家具Mirror door 玻璃门Mirror for chest of drawers 多屉柜梳妆镜Multi-purpose sofa 多用沙发Multi-purpose table 多用桌Nest 茶几OOccasional furniture 配套家具，休闲家具Occasional table 休闲桌Office furniture 办公家具Office seating 办公座椅Office table 办公桌PPartition wall 隔断Pembroke table 折面桌Planters chair 园艺工用椅Plastic furniture 塑料家具Play furniture 娱乐家具Presidential highback chair 高背办公椅Pull-out table 伸缩餐具RRattan furniture 藤家具Recliner 躺椅Refectory table长餐桌Rocking chair 摇摆椅Rotary chair 转椅Rustic style furniture 乡村风格家具rectangular table 长方桌red-lacquered chest 红漆木箱round bed 圆床round stool 圆凳round table 圆桌round-backed armchair 圈椅SSchool table 课桌screen 屏风Seat 座椅secretaire 写字桌(尤指有抽屉及分类格者) Secretarial chair 秘书椅sectional sofa 拼合沙发semi-CKD 半拆装家具separate wine cabinet 独立厨柜serving table 送餐桌settee; chaise longue 长靠椅shelving combination 组合架shoe rack 鞋架side table 小桌sideboard 餐具柜simmous bed 席梦思床single bed 单人床slat stool 板条凳sleeper sofa 可睡沙发sofa 沙发sofa bed 沙发床sofa table 沙发桌soft chair 软椅spring bed; steel cot 钢丝床；弹簧床spring-seat chair 弹簧座椅square stool 方凳square table 方桌steel chair 扶手椅steel desk 钢制写字台steel safe 保险柜step stool 梯凳stool 凳子；搁脚凳storage for umbrellas 伞架straight back chair 直背椅strong box; safe 保险箱studio couch 单人沙发床suitcase; trunk 衣箱；小型旅行箱swivel armchair 帆布折叠躺椅swivel-top stool 转动凳(二〕家具风格A----a generation of chairs办公椅的改良型a proven program 一个已经落实的新项目a relaxed posture in every seating position 适应各种从姿，令人倍感舒适aesthetic design 美学设计allow an ambience to be harmoniously created 营造和谐温馨的气氛appealing design 造型优美artisan craftsmanship 手工工艺B----Baroco style 巴洛克风格C----Colonial plantation furniture 殖民种植风格家具Contemporary design 现代风格设计Copy 复制，模仿，仿冒D----Design studio 设计事务所Design trend 设计趋势Designer 设计师Distinct grain pattern 清晰的木纹图案E----Economical, versatile and efficient 经济实惠，用途多，效率高Emphasize the magnificent features of the range 更衬托出豪华气氛Energy and comfort 方便舒适Essential, functional design 基本功能设计Ethnic African style 非洲民族风格F----Focus on the essential 注重本质Freelance 自由职业者Functional, ergonomic, long-lasting 功能齐全，人体工艺，经久耐用Functionality, quality and appealing design 功能全，质量优，造型佳G----Graphic design 图片〔装帧〕设计H----High quality 优质的I----Ideal combination between 两者完美的结合Imitate 模仿In a Italian walnut finish 意大利胡桃木效果Innovative 创新的Intelligent design 理智的设计Interior decorator 室内美术师Interior design室内设计Interior designer室内装饰师Italian style意大利风格L----Light color浅色，淡色M---Marbled effect 大理石效果Meet the standards of all areas of the modern world of work可满足现代化办公要求Ming Dynasty 明朝N----Natural feeling of warmth and texture 质感温暖自然Neoclassic style 新古典式风格P----Perfect in shape and function 造型优美，功能完善Product image development 产品形象推广Product industrialization 产品工业化〔设计〕Q----Qing Dynasty 清朝R----Rectangular 矩形Rococo style洛可可风格T----Terra-cotta granulated paint finish 陶式沙砾漆效果The strength of the company 公司工作重点Traditional design传统风格设计W----With a classic trend 带有古典风格With the experience of specialist 由专家设计制作Without compromise 面面俱到〔三〕油漆涂料词汇A----Accelerate 促进剂Accelerator硬化剂，接触剂Acetic acid 醋酸Acetone 丙酮Achromatic color 无彩色Acid stain 丙烯酸树脂Acrylic丙烯酸Acrylics acid resin 丙烯酸〔类〕树脂Acrylonitrile butadiene styrene resin ABS树脂，丙烯腈-丁二烯-苯乙烯树脂Active agent 活性剂Additive 添加剂Additive mixture 加色混合Adhesive 胶粘剂Adhesive solvent 胶〔料〕溶剂Adjacent color 类似色Advancing color 进出色Aerosol spraying 简易喷涂After image 残象Air drying 常温干燥Airless spraying 无气喷涂Alcohol stain 酒精着色剂Alert color警戒色Alkyd resin 醇酸树脂Alligatoring 漆膜龟裂Amount of spread 涂胶量Anticorrosive paint 防锈涂料Antifouling paint 防污涂料Antique finish 古式涂料Automatic spraying 自动喷涂B----Baking finish 烤漆喷涂Base boat 底漆Blistering 小泡Blushing 白化Body varnish 磨光漆Brilliant 鲜艳的Brushing 刷涂Brushing mark/streak 刷痕Bubbling 气泡Button lac 精致虫胶C----Caf□ 咖啡色Carbamide resin adhesive 尿素树脂胶Catalyst 催化剂，触媒，接触剂Chalking 粉化Cherry 樱桃色Chipping 剥落Chromatic color 有彩色Chromaticity 色度Chromaticity coordinates 色度坐标Chromaticity diagram色度圆Clssing 补漆Clear coating 透明涂层Clear lacquer 透明喷漆Clear paint 透明涂料Coarse particle 粗粒Coating 涂料Cobwebbing 裂痕Cocos 可可色Cold water paint 水性涂料Color blindness 色盲Color conditioning 色彩调节Color harmony 色彩调和Color in oil 片种特〔调色用〕Color matching 调色Color number 色号〔色之编号或代号〕Color paint 有色涂料Color reaction 显色反应Color reproduction 色重现Color tolerance 色容许差Compatibility 相容性Complimentary color 补色Consistency 稠厚度Contractive color 收缩色Col color 寒色，冷色Cooling agent 冷却剂Covering power 覆盖力Cracking 龟裂，裂纹Cresol resin adhesive 甲酚树脂胶Crimping 皱纹Cure 硬化Curing agent 固化剂Curing temperature 固化温度D----Dark 暗Deep 深Degumming 脱胶Dewaxed shellac 胶蜡虫胶Diluent 稀释剂，冲淡剂Dilution ratio 稀释比例Dingy 浊色Dipping 浸渍涂层Dipping treatment 变色Discoloring 变色Discord 不调和色Drier 干燥剂Dry rubbing 干磨Drying time 干燥时间Dulling 失光Dusting 粉化E----Egg-shell 埴孔亚光，显孔亚光electrostatic spraying 静电涂装emulsion adhesive 乳化胶emulsion paint 乳化涂料enamel 色漆，磁漆end-coating 端面涂层end-gluing 端面胶合epoxy finish环氧效果epoxy resin glue环氧树脂胶ethyl cellulose lacquer乙基纤维素喷漆F----Fading退色Filler 腻子，埴料，填充剂Finish code 涂料编号Finshing 涂饰Flaking 剥落Flat paint 消光涂料Flatness 消光Floor paint 地板涂料Foam glue 泡沫胶G----Gelatin 明胶，凝胶Glare 眩目Glue 胶粘剂，胶，胶料Glue and filler bond 动物胶及填料胶结Glue mixer 调胶机Glue spreader 涂胶机Gum 树胶，胶树H----Hardener 硬化剂Hide 皮胶High solid lacquer 高固体分漆Honey color 蜂蜜色I----Illuminant color 光源色J----Jelly strength 胶质强度Joint strength 胶接强度L----Lac 虫胶Lac varnish 光漆Lacquer 漆Latex 乳胶Latex paint 合成树脂乳化型涂料Leveling agent 均化剂Light 光亮的Liquid glue 液态胶Long oil varnish 长性清漆Love formaldehyde 低甲醛M----Make up paint 调和漆Medium oil varnish 中油度清漆Melamine resin adhesive 三聚氯胺树脂胶，蜜胺树脂胶Melamine resin sheet 三聚氯胺树脂〔片〕Methyl alcohol 甲醛Multi-color 多彩漆N----Natural clear lacquer 清漆N.C lacquer 硝化棉喷漆N.C lacquer enamel 硝色棉色漆N.C lacquer sealer硝化棉底涂料N.C lacquer surfacer 梢化棉中涂整面涂料Nitro-cellulose lacquer 硝化纤维漆，硝基榉Nitro-lacquer 硝基漆Nitrocellulose lacquer 硝化纤维〔喷〕漆Non toxix finishes无毒喷漆Novolac 〔线型〕酚醛清漆O----Off- color 变色的，退色的，不标准的颜色Oil paint 油性漆Oil putty 油性腻子Oil solvent 油溶剂Oil stain 油性着色剂Oil staining 油着色Oil stone 油石Oil varnish 油性清漆，上清漆Opacity 不透明度Opaque paint 不透明涂料P----Paint 涂料，油漆Paint film 涂膜Paint nozzle 涂料喷头Penetrant 渗透剂Phenol aldehyde resin 酚醛树脂胶Polishing varish 擦光〔亮〕清漆Poly Urethane Resin 聚氨酯〔PU〕Poly ester 聚酯Polyester resin lacquer 聚酯树脂涂料Polypropylene 聚丙烯Polystyrene聚苯乙烯Polyurethane 聚氨酯Polyvinyl acetate adhesive 聚醋酸乙烯〔树脂〕胶Polyvinyl adhesive 聚乙烯树脂胶Polyvinyl chloride resin 聚乙烯树脂涂层Pre-coating 预涂Procuring 预固化Preservative 防腐剂Primer 底漆〔下涂涂料〕Putty 腻子Pyroxylin lacquer 硝基漆Q----Quick drying paint 速干漆R----Ready mixed paint 调和漆Refined shellac 精制虫胶Resin adhesive 树脂胶Reverse coater 反向涂料器Roller brush 滚筒刷S----Sample board 样板Sand blast 喷砂〔四〕家具木材词汇A----Abele银白杨Abnormal wood 异常〔木〕材Acoustic acid board 吸音纤维板Acoustical board 吸〔隔〕音板Adjustable template 可调节的样板Adult wood 成年材African blackwood 非洲黑木黄檀African ebony 非洲乌木African mabogany 非洲桃花心木African padauk 非洲紫檀Aging 老化，陈化Air drying 大气干燥Air seasoning 天然干燥Alaska fir 阿拉斯加冷杉木Alaska yellow cedar 阿拉斯加柏木Alder 赤杨类American ash 美国白蜡木American beech 美国山毛榉American eim 美国榆，白榆American plane 美国悬铃木American tulipwood美国鹅掌揪Annual ring 年轮Apron 望板Armor-plywood 金属贴面板Arris 棱Artificial slabs人造板Artificial timber 人造木材Ash 白蜡木Aspen 白杨类B----Babool 阿拉伯胶树Back 背板Back board背板Back veneer 衬板Bald cypress 落羽杉Bamboo 竹子Basswood 椴木，美国椴木Batten board 条板心细木工板Beech 山毛榉木Beech parquet 山毛榉拼花地板Bent wood 〔弯〕曲木Birch 白桦，Birdseye maple雀眼枫木板Block 塞角Block floor 拼花地板Blockboard 细工木板Board 板材Bottom 底板Bowing 顺弯Branch wood 枝条材Brazilian mahogany 巴西桃花心木Bright sap 净面边材，无皮边材Broad leaf wood 阔叶材，硬材Brown ash 美国深色白蜡木Burl 树疤，树瘤C----Caul 垫板，衬板Cedar 雪松，杉木Ceylon ebony乌木Cherry 樱桃木Chile pine 智利松Chinese chi 〔中国〕漆树Chip 木屑# 1 common 普一级#2 common 普二级compreg 胶压木compressed wood 压缩木coniferous species 针叶树种continuous layer board 多层板cork 软木cottonwood 三角叶杨，杨木〔毛白杨类〕crook 弯曲木cross rail 拉档crotch 丫权cupping 翘弯curly birch 皱纹桦木板curved laminated wood 弯曲层积材curved plywood曲型合板cypress针叶树D----Dado 护墙板，墙裙Damp room panel 防潮镶板Decay 初腐Deciduous species 阔叶树种D□cor panel 镶板，装饰板Delta wood 多层木Densified wood 强化木材Density of wood 木材密度Dent啃头Depth of cut 切削量〔深度〕Diffuse porous wood 散孔材Dimension 规格Dimension stock规格材Dimple djohar 波纹Door frame 鸡翅木Door lining 门框Dovetail 门衬板Dowel 燕尾榫Drawer front 圆榫Drawer side 屉旁板Dressed timber净材E----Eastern cottonwood 〔美国〕东部杨木Eastern hemlock 〔加拿大〕铁杉Eastern larch 落叶松Eastern white pine 〔美国〕白松Ebony 乌木Edge cutting 封边Elm 榆木Elm burl 榆木树瘤薄木板End cutting 截头English plane 英国悬铃木Eucalyptus 桉木，桉树〔类〕Eucalyptus pom 柠檬铁皮桉木板Europe cherry 欧洲樱桃木板Eropean ash 欧洲白蜡木European beech 欧洲桦木European birch 欧洲桦木European chestnut 欧洲栗木European hop-hornbeam 欧洲穗子榆European horse-chestnut 欧洲七叶树European larch 欧洲落叶松European lime 欧洲椴木European spruce 欧洲云杉European yew 欧洲紫杉Excelsior-board 木丝板Exotics 外来木Exterior plywood 室外用胶合板F----Face veneer 外表单板FAS 一级和二级FAX 1F 单面一级Fibre board纤维板Fiddle back提琴背〔板〕Fiddle butt 乐器用材Figured 影木Figured sycomore 梧桐影木Fine wood board 纤维板Flakeboard 碎料板Flakes 薄片刨花Flame-retardant fibre building board 耐火纤维板Flat-grain lumber 平切纹板材Flooring 地板Flush panel 平〔光〕镶板Formed plywood 模压〔成型〕胶合板Frame core flush panel 中空合板From sustainable forests 来自可持续发展的森林Furniture dimension stock 家具规格材Furniture plywood家具胶合板Furniture veneer制作家具用的薄片G----Gap 离缝Giant cedar 〔美国〕侧柏Gloss 光泽度Grade 等级Grade of lumber 成材等级Graded分等级Grain 纹理H----Hackberry 朴树Band selected 手工挑选Hard board 硬质纤维板Hard maple 硬枫木，械树Hardy catapa 〔美国〕梓树Heat board 心板Hickory 山核桃木High-density plywood 压缩胶合板，高密度胶合板High gloss 超光泽度High moisture resistant(HMR) 高强度抗湿Hipboard 细木工板Hole drilling 打眼Honey-comb core plywood 蜂窝心胶合板Huanghauli wood 黄花梨木I----Identification of timbers 木材识别Imitation wood 仿制材Imported timber 进口材Impregnated wood 〔合成树脂〕浸渍木Indian camphor 印度樟木Indian chestnut 印度栗木Indian cinnamon印度肉桂Indian ebony 印度乌木Indian “laurel” 印度“月桂树” Insect attack虫眼Inserting panel 装板Install wood strip flooring 安装地板条J----Japanese beech 日本山毛榉Japanese larch 日本落叶松Japanese(red)pine 日本赤松Japanese thuja 罗汉柏Japanese white pine 日本五须松Joint flooring 企口地板Jointless flooring 无缝地板K----Karelian birch克假设利安桦木板Kerf width 锯路宽度Khaya 非洲桃花心木Kiln dried pine 窑干松木Kiln drying 人工窑干燥Kind of timber 材种Kirl 紫花泡桐Knob 节子Knock-down carcass 可随时拆卸的框架Knot 木节，节疤L----Laminate 层压Laminated wood 层积材，多层胶合木Leg 腿，脚Liquid cutting of wood 木材水力切割Log 原木Log grade 原木等级家具--英语专业用词MDF/FB(medium density fiberboard) 中纤板plywood 夹板(三合板)softwood 软木poplar 白杨chinese oak 柞木alder 赤杨maple 枫木rubber wood 橡胶木pine 松木pecan 大胡桃木(皮康木)sandalwood 白檀木.檀香木beech 三毛榉ebony 黑檀木(乌木)linden 菩提树(椴木)elm tree 榆木peach 桃树eaglewood 沉香木air spray gun 喷枪finish department 涂装部roller coating 滚筒涂装法finish sanding line 面漆砂光线spray stain 喷底色padding 修色base coat 底漆1st lacquer 一次面漆red copper powder 红口铜粉rust preventive paint 防锈漆glaze 釉alcohol 酒精water powder 水性碳putty 原子灰steel wool 钢丝棉sand paper 砂纸writing brush 毛笔drawknife 刮刀bubble 气泡fisheye 鱼眼orange peel 桔皮blushing 白化yellowing 黄变coat 涂层sample board 样板oil stain 油色sags 下垂cracking 龟裂sealing poor adhesion peeling flaking 剥落color darker 色深bumping 碰伤scratches 刮伤finger print 指印corrosion 腐蚀waxed 打蜡bare spots 斑点finished interior 油漆过的内部accumulation of dust.dirt.stains & smudges under the finish 油漆下灰尘.垃圾.颜料.污点.堆积distressing 破害处理specking /spatter 喷点bear-tracking 敲边shading 修色crushing 压扁rust removing 除锈pores filling 填孔dyeing 染色color matching 调整色差curing 涂层干燥sloppy sanding 湿砂磨remedying 整修tamponing 揩涂curtaining 淋涂knif-coating or doctor-coating 刮涂sinking 穿心眼stain bleeding 渗花discoloration 变色brushing-mark 刷痕发白.油白.汽白wrinkling 皱皮.皱纹lifting 咬底hib 粒子.油疙瘩.数粒pitting 缩孔.发点.麻点pinbioling 针孔sadning through the finish 磨白greasy gloss 油白loss of gloss 失光scaling 层间剥离gloss 光泽diluent 稀释剂tool marks 工具痕slag build-up 焊渣块sand scratches 砂纸伤痕drit gritiness seed 粒状涂膜paint chipped out 油漆缺口dirt in topcoat 面漆灰尘uneven gloss 光泽不均poor wipping 擦拭不良blemish surface 外表污渍the gel of marred 面板涂膜dirt & trash 灰尘垃圾overspray 喷涂过量poor highlighting 明暗不良even & smooth to touch 手感平滑rub marks 磨损痕迹polishing 抛光打蜡finish blemish or smudges 油漆污点burn-in repairs 氧化修补wrinkling 油漆皱纹runs 垂流(挂流)bulges 凸起.膨胀glaze pattern skips 格丽斯遗漏color mismatched 颜色不搭配glue mark at joint 接合处胶印roughly sanded exterior 外表砂光粗糙open grain or hungry look 油漆裂纹及枯瘦blemish on interior or bottom surface 底部油漆未擦干净embedded sawdust 油漆夹层木屑(锯灰)clear paint 透明涂料simulated grair or wood grain printing 模拟木纹air drying or curing 自然干燥uv-curing 紫外固化hard dry 实际干燥flwability 流平性muddy stain 颜色混浊uniform color 颜色均匀viscosity 粘度skim 桔皮raised grain removing 除木毛smcars removing 除污渍pitch pocket or gum pocket 树脂襄cardboard 纸板carton 纸箱misprints 版书错误cube feet 材积bar codes 条码foam 泡沫wood skids 栈板side pad 边垫tape 胶带hardware packs 五金包outer pack 外包装country of origin 原产地pearl wool 珍珠棉clear sticker sealing tape 打箱胶bubble pack 气泡袋unit pads 组合套角nylon strap 尼龙带子customer's tag 客户标签box print 纸箱印刷description 产品名称right angle foam 直角泡沫polyester plastic 保利塑料crocket 纸箱图样EPS block 保丽龙块crown molding pad 顶饰保护块corner /edge pad 角.边套角support eps block 支撑保丽龙块metal component rough rusting 五金粗糙.生锈.碰伤painted hardware 上色五金caster 轮子polarized plugs 电极插头retain button 玻璃钮扣corrugated fasteners 浪形钉self-drilling screw 自玫螺丝brads 无头钉backplate (拉手)后金属板drilled or pierced holes for attaching hardware or fasteners 五金或扣件孔(钻孔或穿孔)hinge 活页scerw 螺丝screw point 木螺丝尖butt hinge 蝶形活页(连接)special screw 特殊螺丝metal-to-wood guide system 金属与木组成的滑轨系统wood side-guide 侧滑轨prop 支柱.支撑物buttress 支撑物.扶壁center support 床中板支撑glass inserts 嵌玻cane 藤部份wattage label 功力标签filling materials 填充物pitch pockets 不平凹洞cross band 横纹板back 反面glass top.shelves.inserts 玻璃面板.层板.嵌板float glass 浮动玻璃glass door inserts 门玻simulated slate.marble.stone 仿古板.大理石nail or staple & glue 钉与胶mortise & tenon joints 公母榫结合parting 部件corner blocks 三角木clcats 加强条leg blocks 脚加强块dowels ends 木榫两端头octagon 八角形.八边形overlays 镶边driven flush 直进non-decorative fasteners 无装饰钉countersunk & filled 隐埋填充beveled edge 斜边nog 木钉end grain 端头木纹center back support 后中支撑cut-out 通气孔panel span 柜子宽内径(两侧板之距离)felt(pad)on the bottom panel span 毛护垫radius 半径rhombus /lozenge 菱形.斜方形side view 侧视base molding 底饰条return moldings 侧饰insert panel 嵌板manufactured article /goods /product 制成品border 镶边rorted or embossed line 雕刻沟槽线dock cabinet 有蹄子柜子cases using panel on frame 柜子框板solid wood door 实木门raised-panel door 高实木门板light barrier strip 门挡片clearance 间隙chair parts 椅子部件spindle 背枳arrow back 箭背back post /leg (rear leg) 后脚front rail 前框seat cushion /shelf 座框arm post 扶手枳halves & leaves 面板及中板base (pedestal) 下座TV armoire parts 电视柜部件rack 挂衣杆door 门end panel 侧板drop lid support 连杆laminated kraft 牛皮纸hot melt glue 热融胶top edgs & end of dawers 抽前板上边及两端tray interior 抽屉隔底匣english dovettirl (more than one dowel) 英式燕尾fitted drawer 合适的抽屉lipped drawer 镶边的抽屉all drawer guide system 所有抽屉滑轨系统stool leg 吧椅脚ladder 椅背板条back-corner block 后三角块rocker runner 摇椅摇杆arm stump 扶手支柱spline 止转楔frame back 靠背框air vent hole 空气孔strip nail trim tables 细图钉状装饰adjoining aprons 相邻立水pedestal table top (脚筒)桌面chair guard molding 桌镶边MDF/FB(medium density fiberboard) 中纤板PB(particleboard) 塑合板(粒片板)plywood 夹板(三合板)hardwood 硬木(杂木)softwood 软木basswood/linden 椴木poplar 白杨桦木chinese oak 柞木ash 水曲柳alder 赤杨abele 银白杨maple 枫木oak 橡木rubber wood 橡胶木cherry 樱桃木pine 松木pear 梨树pecan 大胡桃木(皮康木)walnut 核桃木(胡桃木)sandalwood 白檀木.檀香木mahogany 桃花芯木(红木)beech 三毛榉peafowl wood 孔雀木ebony 黑檀木(乌木)chestnut 栗木linden 菩提树(椴木)hickory 山核桃木elm tree 榆木fir 枞树(冷杉木)peach 桃树camphyor tree 樟木eaglewood 沉香木interfere 阻碍high carbon wire 高含量碳精金属线modulus of rupture 抗裂系数proper balance 适当平衡polyester 聚脂.多元脂polystyrene 聚本.烯fiber 纤维coil spring units 螺旋弹簧extension wires 伸展线coil links 线夹子clinch 螺旋固定器tie wire 绳索带spring distortion 弹簧歪斜coil spring edging 螺旋弹簧边饰burlap 粗麻布sinuous wire spring unit 迂回线弹簧withdrawal 收回.撤退maximize 扩大到最大极限maximum 最大值pull-out 拉出back springs 背弹簧sinuous wire clips 回形金属夹tie wires 联结线puncture 刺伤tie wire bent flat 联结线水平弯曲frame uprights 框架垂直modulus of elasticity 弹力系数resiliency 弹性isolate/insulate 绝缘polymer 聚合物vinyl 烯基polyester fiber 多元纤维suspension bars 支撑杆wire clip 边线coil stabilizer 螺旋链环tie strap 敲弯.钉牢spring noise 索柱线spring clip 弹簧夹edging /fringe /trimming 缘饰边饰folded double & stapled 折成双层用钉钉住insulated clip 隔离夹spring crimp 弹簧卷钩minimize 减少到最少minimum 最小tight clips 固定夹seat springs 座弹簧uniform look 整体外观spring rails 弹簧杆strip webbing 细边带关键词中文包含形式chinese furniture 中国家具 chinese furnituredinner table 餐桌 dinner tablesdinner table 餐桌 dinner tablesdressing 装饰 dressingdisplay cabinet 陈列柜 display cabinets,displays cabinet,displays cabinets display cabinet 陈列柜 display cabinets,displays cabinet,displays cabinets dressing table 梳桩台 dressing tableselectric fireplace 电壁炉 electric fireplacesfire place 壁炉 fire placesfurniture set 家具套装 furniture setsfurniture set 家具套装 furniture setsglass dining table 玻璃餐桌 glass dining tablesmemo 备忘录 memooak furniture 橡木家具 oak furnitureoak furniture 橡木家具 oak furnitureoak furniture 橡木家具 oak furniturerestaurant chair 餐厅椅 restaurant chairsrestaurant furniture 餐厅家具 restaurant furnitureside table 茶几 side tablessideboard 餐具柜 sideboardssideboard 餐具柜 sideboardssideboard 餐具柜 sideboardsside table 茶几 side tablesbedroom 卧室 bedroomssoft furniture 软家具 soft furnituresoft furniture 软家具 soft furniturestainless steel furniture 不锈钢家具 stainless steel furnituresteel chair 钢椅 steel chairswood table 木桌 wood tableschild bed 儿童床 children bed,child's bed,children's bed,child beds,children beds,child's beds,children's bedswooden sofa 木质沙发 wooden sofaswooden wine box 木制葡萄酒 wooden wine boxesbread box 面包盒 bread boxesdinner table 餐桌 dinner tableskitchen cabinet door 厨柜门 kitchen cabinet doorskitchen door 厨房门 kitchen doorsoak furniture 橡木家具 oak furnituresideboard 餐具柜 sideboardswooden barrel 木桶 wooden barrelswooden wine box 木制葡萄酒盒 wooden wine boxesantique cabinet 古董柜 antique cabinetsbamboo furniture 竹家具 bamboo furniturebamboo furniture 竹家具 bamboo furniturebathroom shelf 浴室货架 bathroom shelvesbus seat 巴士座位 bus seatschaise lounge 躺椅 chaise loungeschaise lounge 躺椅 chaise loungeschaise lounge 躺椅 chaise loungeschinese furniture 中国家具 chinese furniturechinese furniture 中国家具 chinese furniturechinese furniture 中国家具 chinese furnitureclassic furniture 古典家具 classic furnitureclassic furniture 古典家具 classic furniturecot 婴儿床 cotsdesk set 订桌 desk sets,desks set,desks setsdisplay cabinet 陈列柜 display cabinets,displays cabinet,displays cabinetsdisplay cabinet 陈列柜 display cabinets,displays cabinet,displays cabinetsdisplay case 陈列柜 display cases,displays case,displays casesfire pit 户外烧烤用具 fire pitsfishing chair 钓鱼椅 fishing chairsfurniture set 家具套装 furniture setsfurniture set 家具套装 furniture setsfuton 蒲团 futonsfuton 蒲团 futonsguard 防护装置 guardsheating 暖气 heatinghousehold goods 家居用品 household goodsinflatable chair 充气椅 inflatable chairsiron product 钢铁产品 iron productsleather bed 皮革床 leather bedsoak furniture 橡木家具 oak furnitureoak furniture 橡木家具 oak furnitureoak furniture 橡木家具 oak furniturerecliner chair 躺椅 recliner chairsrecliner chair 躺椅 recliner chairsrestaurant chair 餐厅椅 restaurant chairsrestaurant furniture 餐厅家具 restaurant furniturerocker 摇杆 rockersrocker 摇杆 rockersrocker 摇杆 rockerssaving box 储蓄罐 saving boxesside table 茶几 side tablesside table 茶几 side tablessideboard 餐具柜 sideboardssideboard 餐具柜 sideboardssofa chair 沙发椅 sofa chairs,sofas chair,sofas chairs sofa chair 沙发椅 sofa chairs,sofas chair,sofas chairssofa table 沙发桌子 sofa tables,sofas table,sofas tables sofa table 沙发桌子 sofa tables,sofas table,sofas tables soft furniture 软家具 soft furnituresoft furniture 软家具 soft furnituresoft furniture 软家具 soft furniturespindle 纺锤 spindlesstainless steel furniture 不锈钢家具 stainless steel furniturestair 楼梯 stairssteel chair 钢椅 steel chairssteel rack 钢网架 steel racksconsole 游戏机控制台 consolestv rack 电视架 tv racks,tvs rack,tvs rackstv rack 电视架 tv racks,tvs rack,tvs rackstv rack 电视架 tv racks,tvs rack,tvs rackswall unit 壁橱 wall unitswicker chair 柳条椅 wicker chairswicker chair 柳条椅 wicker chairswood rack 木架子 wood rackswood table 木桌 wood tableswooden sofa 木质沙发 wooden sofaselectric fireplace 电壁炉 electric fireplacesfire pit 户外烧烤用具 fire pitsfire place 壁炉 fire placesflag pole 旗杆 flag polesgreen house 大棚 green housesinflatable pillow 充气枕头 inflatable pillowsiron gate 铁门 iron gatesmemory foam 记忆泡沫 memory foamsplastic hook 塑料钩 plastic hookssoft furniture 软家具 soft furniturestair 楼梯 stairswagon 旅行车 wagonswall bracket 墙上托架 wall bracketswindow shade 百叶窗 window shades,windows shade,windows shades wire shelving 铁丝架设棚架 wire shelvinginflatable bed 充气床 inflatable bedsinflatable chair 充气椅 inflatable chairsarmrest 扶手 armrestscot 婴儿床 cotsdinner table 餐桌 dinner tables。
个性化办公空间室内设计外文文献翻译最新
外文文献原文+译文原文The research of personalized office space interior designMartin GAbstractIn the 21st century, human society entered the "information age", most countries in the world also has gradually into the "post industrial society". In the era of "post industrial society", based on computer technology, network technology and information technology characteristics of the information society will change our mode of production, life style, work style and way of thinking, affects every aspect of our lives. The development of network makes the world becomes smaller and smaller, and the city became big assimilation, life becomes urbanization, people lost the passion of pursuing new and change. In this era of homogeneity, any new things will make people feel excited and delighted, can someone as the cheers and applause, pursuing new and change is the slogan of The Times. The life needs, design calls for more personalized works. Make public individual character, in the field of design innovation is the slogan. The personality is the soul of interior design, interior design for individual work.Keywords: Human nature; Personalized; Office space; Interior design1 IntroductionIn calling upon the personality in the field of interior design, on the one hand, people demand more attention to person itself, also in the interior design is also more to embody the "people-oriented" design concept. Interior design more consideration to all levels of people of different physiological and psychological level, the various requirements of the design to achieve more balance, balance the dual requirement of people in the material world and spiritual world, tend to be more humane, intelligent and ecological design. Gradually reduce, on the other hand, as the earth's resources, the worsening of the natural environment, destruction of ecological balance, need more of is in interior design "people-oriented" dialectic, which is in the life to promote energy conservation, saving resource and moderate consumption, on thedesign to implement green design, ecological design and environmental design, achieve the harmonious development of man and nature.In the field of interior design, office space occupied large proportion of interior design. In August 1933 C AM (international association of modern architecture) fourth conference in Athens by the Athens charter, and put forward the "live, work, transportation activities is to study and analysis of urban design in modern times, the most basic classification". Work is one of the main human activities, office space is the center of the modern life, and people have a third day of the time want to be in the office. Well-designed personalized office space people can keep a good balance of body and mind, stimulate creativity, promote the exchange of work, and enhance the sense of belonging, to create greater wealth for the society. Therefore, office space interior design is particularly important.2 Overview of interior designInterior design, also known as the indoor environment design, the main content of the design for indoor plane design and space combination, indoor surface art processing, and indoor furniture, lamps and lanterns, display the selection and arrangement, etc. Generally have the floor plan, flat-topped diagram, facade expansion plan, as well as furniture, lamps and lanterns and detail drawing. Can use Gantt chart or color rendering." As an independent professional interior design, in the world is truly established in the 1960 s, after the birth of modern architecture movement is interior design professional agent directly, make indoor design in design idea and great changes have taken place in modern architecture movement one by one to make indoor decoration from pure interface to the design of the space; from the traditional pattern of two-dimensional space design to create innovative four-dimensional model; the essence lies in the overall artistic atmosphere of interior space to create, this is the traditional way of thinking of interior design a fundamental shift in attitudes.Interior design is a comprehensive strong cross discipline, is the art and science, the unity of form and technique. Art and science, as human beings to know the world and transform the world's two most powerful means, also reflected in the design. Cansay, the whole process of design, is to make all sorts of subtle things and feelings, organized into a clear concept and art forms, so as to build content to demand the materialization of human emotions and behavior. All design practice is to make the knowledge and the characteristics of emotional streamline, ultimately comes down to this practice aesthetics system in the form of art and scientific theory system. Any kind of design results is the crystallization of art and science, the design is on the brink of between arts and science subjects. Here, the art as a source of design thinking, reflected in people's spiritual world, subjective emotional aesthetic consciousness become design create impulsion. Science as a design specification of the process manifests itself in the material world, people of objective function of technology using the designing a guarantee of success. That reflect more outstanding in the indoor design, modern interior design involves the aesthetic psychology, architecture, sociology, ethnology, human body engineering, structural engineering, architectural physics and material science disciplines, such as it requires the use of multidisciplinary knowledge, comprehensive multi-level space environment design, is a highly integrated comprehensive discipline. Interior design as an independent comprehensive discipline, is the rational creation method in architectural interior space, is a kind of based on the structure of science, to the art form of expression, to create a spiritual space and material space and indoor living environment for the rational creation activity, the sensibility of art together and scientific rationality as the designers create infinite power.Interior design is a category of design, all aspects of the design of the full performance characteristics. Design is to seek a breakthrough in the artistic feeling, an extraordinary, a characteristic of the state, while in this state and breakthrough collectively known as personalized design. Personalized embodied in interior design in the modern office space more to highlight, even far beyond the spiritual and cultural requirements of the space environment is responsible for. It requires that reflects the unique style of enterprise culture, policy makers, tolerance and style, the collective image of the company, the company's historical development and even the company's product characteristic image, and so on. Interior design of individual ischaracter on the premise of "people-oriented". The "people-oriented" can be understood as interior design some of the common requirements, design some aspects of personality development of functional factors, including interior space of the physical environment, physical environment and psychological environment and visual environment and other factors. Personalized office space interior design should be based on these factors.Interior design of individual is character on the guideline of "environmental consciousness". In be being designed indoors, "people-oriented" design concept represents human intuitive understanding of their own interests, reflects the value judgment of anthropocentrism and value orientation, the design of the forming rule of nature theory system and methodology. However, due to human easily swayed by utilitarianism, simply emphasize the "people-oriented", is bound to damage the natural value to achieve the purpose of remaking nature. Should be in the development of interior design development under the guidance of overall environment consciousness, personalized interior design should merge in the overall environment, and the natural harmonious development of the overall concept of choose and employ persons ideas and planning projects, to carry on the design. Interior design to the idea of ecology and ecological values is the main principle, to fully consider the human environmental sustainable development.3 The change of the post-industrial society office spaceSince the 1990 s, represented by information and communication industry of knowledge-based industries become the growth point of the world's biggest economy, network, digitalization and virtualization become the main characteristics of the new economy. Along with the wide application of Internet technology, the popularity of mobile communication technology development, each kind of electronic office products constantly upgrading, make the human on the basis of constantly improve office efficiency, to the depth and breadth development, continue to deepen the degree of office automation, a new type of office mode, arise. Transmission of information is to reduce line configuration. The development of information technology has brought "virtualization" office building in the 1990S. As mobile phones, notebook computers,the emergence of the Internet and E-mail, office workers actually turned out to be "free agents" (Foot Loose) office place and time of freedom. Information technology is also changed on the concept of work and organization. Divide too fine office space layout is no longer suitable for the new working method emphasizes the interaction of team spirit, so had to create a more open workspace.On the one hand, the scope of information technology makes the work continuously break limit of the space, everywhere in the world. The emergence of new digital office mode and concept, make the enterprise began to put more money into the computer network and related technology, and slash funding for the new office. Many large companies have begun to experiment a new office mode. For example, the "elastic" (Flextime) or "office" alternately (Alternate office) implemented in IBM.IBM for 13000 sales, often, technical and administrative personnel are equipped with computers, printers, fax machines and modem, facilitate everybody work outside the office. A new information system, on the other hand, make development changed about the concept of work and organization, office workers actually turned into "free agents", they enjoy freedom of offices and office hours. Increasing work efficiency of the individual, unit time has created an unprecedented social wealth. The arrival of network age makes "SOHO (Small office, home office) became popular in the world. SOHO narrowed the office space, completely eliminate the space distance of the office and family, to overcome the busy traffic, congestion, the share of energy at the same time, reduces the consumption of resources, good way to solve the problems of land for growing population explosion and the scarce. SOHO works make work life, ever tiresome many working atmosphere in the family to make the person feels interest, the workings of a SOHO has become a mainstream in the future.文献出处：Martin G. The research of personalized office space interior design [J]. California Management Review, 2016, 4(3): 89-101.译文个性化办公空间室内设计研究Martin G摘要21世纪人类社会进入了“信息时代”，世界上大多数国家也已经逐步转入了“后工业社会”。
家具行业常用的所有英语单词
家具行业常用英语单词1. 家具（1）家具种类木家具Wood furniture 框式家具Frame-type furniture 板式家具Panel-type furniture 组合家具Combination (Unit)furniture 实木家具Solid wood furniture 弯曲木家具Bend furniture 折叠家具Folding furniture 卧房家具Bedroom suite 客厅家具Drawing room suite 餐厅家具Dining room suite 厨房家具Kitchen furniture 现代板式拆装家具Modern panel furniture in knock-down 宾馆家具Hotel furniture（2）柜类大衣柜（橱）Wardrobe 双门衣柜wardrobe2-door 组合衣柜Combination wordrobe 橱柜Cabinet 五斗柜（橱）Chest of drawers 床头柜Bedside cabinet 书柜bookcase 玻璃柜Glass cabinet 酒柜Wine chest 放鞋子的抽屉柜Chest of drawers for shoes食橱Cupboard 餐具柜Sideboard 办公桌、衣柜、镜台Bureau 碗橱Kitchen cabinet 文件柜Filing cabinet 公文柜Office cabinet 柜类家具Box-type furniture（3）床类双人床Double-bed 单人床Single-bed 双层床Bunk bed 儿童摇床Child cot 婴儿床Baby crib 斗床Bed with drawers 沙发床Sofa bed 床架、卧榻Bedstead床头Headboard 床高屏Head of the bed 床低屏Foot of the bed（4）桌类书桌办公桌Desk 课桌School table 双人课桌Double desk 茶几Tea table 咖啡桌Coffee table 边几Side table 墙角桌Corner table 梳妆台Dressing table 折叠桌Folding table 写字台Writing table 打字桌Typewriter desk (Typing desk)方拉桌Rectangular ext.table 圆拉桌Circular ext.table 多用桌Multi-use desk绘图桌Drawing table 会议桌Conference table 餐桌Breakfast(Dining) table（5）椅类木扶手（出水）沙发Wooden arms sofa 全包沙发Upholstered sofa 多用沙发Multi-purposes sofa 椅子Chair扶手椅、单人沙发Armchair 双人沙发2-seater 睡椅、长沙发椅Couch 长沙发（无扶手或靠背）Divan 转椅Rotary(Swivel) chair 摇椅Rocking chair or rockers 折椅Folding chair 凳Bench(Stool) 折凳Folding stool 柜台凳Bar stool 梳妆凳Dressing stool 安乐椅Easy chair 软垫沙发椅Upholstered armchair 长靠椅Settee 办公椅Office chair 木制有扶手的高背长椅Settle 椅子（无扶手）Side chair 试鞋凳Shoe fitting stool 儿童折椅Children’s folding chair 坐台Seat 餐椅Dining chair 礼堂椅Assembly chair 宝座Throne（6）箱、架类衣箱Dress case 储藏箱Storage box 床头箱Headstock 书架Book shelf 花架Flower stand 屏风Screen(Floding screen) 活动架Adjusting shelf 餐具架Buffet 毛巾架Towel rack 酒架Wine rack 帽架Hat rack 衣架Coat rack 脸盆架Wash-stand 墙架Wall shelf 文件架Filing shelf 搁物架、挂物架Rack 报纸架Newspaper rack 期刊架Periodicals rack（7）其它家具陈列柜Showcase 柜台Counter(Bar) 商品陈列台Gondola 出纳台Issue desk工作台Workbench 控制、操纵台Control console 演示实验台Demonstration卡片目录抽屉Card catalogue drawer 分小格的信件架Letter rack with pegeon holes壁台Wall desk 卡片索引箱Card indexboxes 缝纫机台板Table board of sewing machine 弹簧床垫Spring mattress 梳妆镜Dressing mirror2.家具零部件（1）部件旁板Side 中隔板、中旁Vertical dividing partition 搁板Shelf 拉门Pivoted door 翻门、翻板Flap 移门Sliding door 卷门Roll front(Flexible door) 框架Frame板条门、百页门Slat door 平面门Flush door 家具部件Furniture components 部件Subassembly 板门、直板门Boarded door 格板门Panel door 玻璃门Glass front 抽屉、抽斗Drawer 暗抽屉Hidden drawer 明抽屉Visible drawer 床抽屉Bed unit drawer 大理石桌面Marble top 面板、盖板Deck 衬板Scaleboard 折板、铰链板、活板Flap 脚架、底座Base 架子底座Shelf support 椅面Chair seat 椅背Chair back 桌腿Table support 背板Back(real wall\Backsides)(2)零件家具零件Furniture elements 零件Unit 立挺、门边Stile 帽头Top(Bottom) rail竖档、直档Mullion 横档、横撑Middle rail 装板、嵌板Inserting panel望板、走水Apron board 拉档、横呈Cross rail or rung 斗西Drawer front斗旁Drawer side 斗后Drawer back 斗底Drawer bottom 挂衣棍Clothes rail椅后腿Back post 椅前腿Front post 背上横档Back slat,upper 背下横档Back slat,lower 背后望板Front or back rail 侧望板Side rail 底横档Bottom slats 侧拉脚档Side stretchers 扶手托板Table arm support 台面式扶手Table arm 支撑板Support bracket 圆棒Dowels 线脚、花边Mould 花纹Motifs 浮雕Relief 凹雕Diaglyph 塞角、卡木Block(Corner block)(3)配件拉手Handle 金属角撑Corner bracket steel 金属加固体Rrar support steel 橡皮垫脚Rubber cushion glides 铰链Hinge 暗铰链Concealed hinges 铰链五金件Hinge hardware 玻璃门铰链Glass door hinges 插销Bolt铰链安置板Hinge mounting plates 连接件Connecting fittings 木螺钉Wood screw两头螺钉Dowel screw 抽屉滑道Drawer rinners(slides) 搁插Shelf hole hardware 架撑Shelf supports 磁制Magnetic catches 钉Nail or pin3. 家具制图俯视图Vertical view 正视图Front view 侧视图Side view 透视图Perspective drawing 零件样图Detail of pc. 公称尺寸Nominal dimension 公差Tolerance 虚线Dotted line 中心线Centre line 折断线Long break4.原材料（1）常用树种树种Tree species 松木Pine 银杏、白果树Maidenheir tree 栎木Oak 水曲柳Ash 樟木Camphorwood 桦木Birch 杨木Poplar 柳接Lauan 檀木Rosewood 抽木Teak 黄杨木Boxwood 杉木Spruce 山毛榉Beech 椴木Basswood 铁杉Hemlock 冷杉Fir-wood 楠木Nanmu 檫木Sassafras 红木Mahogany 胡桃木Walnut 落叶松木Larch 红松Korean pine 榆木Elm 柞木Toothed ock 酸枣Wild jujube 泡桐Kiri(2)木材木材Timber 软材Softwood 硬材Hardwood 针叶材Coniferous原木Log阔叶材Broad-leaved(Leaf) wod 圆材Round timber 方材Square timber 毛方Cant干材Stemwood 弯曲原木Crooked log 等外材Mill cull 腐朽材Decay 木芯Core 包装用材Packing timber 健康材Sound wood 家具规格材Furniture dimension stock 国产木材Home-grown timber 进口木材Imported timber 改性木材Improved wood 高级木材High-class timber 边材Sapwood 心材Heartwood 原木等级Log grade 木材识别Wood identification 木材分类Timber assortment 小经Diameter of top end 大经Diameter of butt end 内经Diameter unter bark 外经Diameter out bark 平均直径Mean diameter 实体材积Solid volum 成材堆Pile of lumber 年轮Annual ring 纹理Grain 木纹角度Grain angle 木纹方向Grain direction 不规则木纹Cross grain 花纹Figure 木材强度Strength of wood 脆性Brashness 韧度Toughness value木材容重Volume weight of wood(3)木材缺陷木材缺陷Defect in wood 翘弯、反翘Cupping 横弯Spring 顺弯Bowing 弯曲Crooking 扭曲Twisting 翘曲Warping 蜂窝裂Honey combing(Hollow horning) 干裂Check 经裂Split 轮裂Shake 端裂End check 心裂Heart check 环裂Ring crack(Ring shake) 表面裂纹Surface check 节Knot 隐节Enclosed knot 圆节Round knot 钉状节Slash knot 腐节Rotten knot 尖节Spike knot 材面节Face knot 节洞Knot hole 木节Gnarl 树瘤Burr(Burl) 树疙瘩Knob 虫眼Insect attack 虫害Insect damage 心腐Heart-wood-rot 空心Hollow heart 霉Mould 外观缺陷Open defect 天然缺陷Natural defect 槽沟Flute 树脂囊Pitch pocket(Gum pocket)(4)板材板材Board 实木板Solid wood panel 实木板条Plank of solid wood刨光板材Planed lumber 厚板Thick board 薄板（＜2MM＝）Thin board 胶合板Plywood 软木胶合板Softwood plywood 普通胶合板All-veneer plywood 家具胶合板Furniture plywood 多层胶合板Multi-plywood 塑料贴面胶合板Plastic faced plywood 室内用胶合板Interior plywood 室外用胶合板Enterior plywood 弯曲胶合板Bent plywood 复合胶合板Composite plywood 刨花板Particleboard 纤维板Fiberboard 硬质纤维板Hardboard(Hard fiberboard) 软质纤维板Softboard 中密度纤维板Medium density fiberboard 空心板Hollow-core panel 蜂窝板Honeycomb panel 装饰板Decorative sheet 贴面单板Overlaid veneer 贴面板Overlay 夹心板Sandwich board 人造板Wood-based panels(5)油漆材料漆Paint 防潮漆Damp proof paint 亮漆Japan 硝基漆、腊克Lacquer(Lacker)调合漆Mixed paint 醋酸纤维漆Nitrocellulose lacquer 聚脂Polyester 聚醋酸乙烯Polyvinyl 丙烯酸Acrylic 虫胶清漆Shellac varnish 清漆Varnish 酚醛清漆Novolac无机颜料Inorganic pigment铁红、土耳其红Iron oxide red 漆稀释剂Lacquer diluent腻子Wood putty 有机颜料Organic pigment（6）胶料胶粘剂Adhesive 胶Glue 胶合剂Adhesive material 蛋白质胶Albumin glue(Protein glue) 动物胶Animal glue 骨胶Bine glue 鱼胶Fish glue(Isinglass) 血胶Blood albumin植物胶Vegetable adhesive(Glue) 淀粉胶Starch glue 合成树脂胶Synthetic resin adhesive 酚醛树脂胶Phenolic(P. F.) 尿醛树脂胶Urea-formaldehyde resin adhesive 三聚氰氨树脂胶Melamine-resin adhesive 环氧树脂胶Epoxy 粉状胶Powdered adhesive 颗状胶Grain adhesive 水胶Aqueous adhesive 耐水胶Waterproof glue 热熔胶Hot melt adhesive 热固胶Hot setting adhesive 冷固胶Cold setting adhesive 混合胶粘剂Mixed glue5.常用工具(1)木工工具架锯Frame-saw(Buck saw) 粗齿锯Rough saw 中齿锯Medium saw 细齿锯Fine saw 双人锯Two-men saw 手锯Hand saw 锯条Saw blade 平刨、长刨Trying plane 光刨、细刨Smooth plane 粗刨Jack plane 槽刨Router plane 手工刨Hand plane 刨柄Handle 刨刀;lane iron 凿Chisels 半圆凿、孤口凿Gouge 木工凿Firmer chisel 斜面凿Framing(Cant) chisel平锉Wood file 粗木锉Wood rasp 三角锉Triangular file 斜角尺Miter spuare 直角尺Try square 电钻Electric driller 折尺Folding rule 钢皮尺Steel rule 麻花钻头Twist bit 中心钻Cebtre bit 手摇曲柄钻Brace 榔头Hammer 木锥Gimlet 拔钉钳Pincers 老虎钳Pliers 台钳Vise 磨刀石、油石Whetstone 螺丝刀Screwdriver 斧Axe 木工铅笔Carpenter’s pencil铲刀Stripping knife 工具箱Tool chest 砂布Abrasive(Sand) cloth 砂纸Abrasive(Sand) paper （2）漆工工具油漆刷Paintbrush 油漆罐Can(Tin) of paint 油桶Paint bucket 扁平刷Flat brush 小毛刷Fitch 油漆刮刀Paint scraper 砂纸Sandpaper 喷漆枪Spray gun 空气压缩机Air compressor 手持式喷漆枪Hand spray 砂磨器Sander 毛笔Writing brush6.木工机械(1)干燥设备木材干燥设备Timber drying equipment solid wood dryer 预干窑Pre-dryer 连续式干燥窑Progression kiln自然通风干燥窑Natural ventilating dry kiln 鼓风干燥窑Blower kiln 炉气体干燥窑Furnace kiln 气体干燥窑Gas fired kiln 内装风扇式干燥窑Internal-fan kiln 外风扇式干燥窑External-fan kiln 熏烟干燥窑Smoke kiln 自然循环干燥窑Natural-draught kiln 过热蒸汽干燥窑Superheated steam kiln 周期式干燥窑Compartment kiln 辐射式干燥窑Radiation dryer 太阳能干燥窑Solar latent energy dry kiln 红外线干燥窑Infra-red dryer 单板干燥机Veneer dryer辊式干燥机Roller dryer 带式干燥机Band(Belt) dryer 热板干燥机Hot plate dryer(2)锯机锯机Saw 小带锯Band(Belt) saw 卧式带锯机Horizontal band sawing machine 立式带锯机Vertiacal band sawing machine 台式带锯机Table band saw 辊式带锯Roller band saw 三联带锯Triple band saw 悬臂锯(万能圆锯)Radial arm saw 摆锯Pendular(Drunken\Wobble) saw 立锯Deep cutter 排锯Grang saw 立式壁板锯Vertical panel(wall panel) saw(3) 刨床刨床Planing machine(Planer) 平刨Shaving machine(Surface planer\Surfacer\Levelling planer) 压刨Thicknessing planer\Thicknesser 双面刨Double suefacer(thicknesser)\Two-side surface planer\Two-face planer\Levelling and thicknessing planer 三面刨Three side planer\Planer for three-side dressing 四面刨Four-face planer\Four side planer\planer for four-side planer 平刨、压刨联合机Combiend surfacing thicknessing planer 型刨Profiler 仿型刨床Copying planer 直角刨床Right angle straight planer 手进式平刨Hand feed planer 装有进给带压刨Thicknessing planer with feed belt table 带旋转刀头的压刨Thicknessing planer with rotary cutter blocks 刨片机Surface planer for veneer packs\Veneer slicer\Slicer\Clip breaker\Microtomer\Flaking machine(4)铣床成型铣床Moulding machine\Shaping machine\Profiling mzchine 铣床Milling machine 立式成型铣床Spindle moulder 立式铣床Vertival milling machine 卧式铣床Horizontal milling machine 高速成型铣床High speed shaper 硬木成型铣床Rigid shaping machine 自动四边成型铣床Automatic four side moulder 靠模仿型铣床Copying milling machine\Moulding copying machine\Milling machine with copying device\Copying milling and shaping machine 普通铣床Normal milling machine 万能铣床Universal milling machine 带传送台的自动铣床Automatic miling machine with transferring rotary table 用模板控制工件的仿型铣床Copying machine with template control of workpieces 用模板控制刀具的仿型铣床Copying machine with template control of tool 带传送板的自动铣床Automatic milling machine with transferring plane 旋圆铣床Rounding machine 镂铣机Router 上轴镂铣机Vertical router 自动仿型镂铣机Automatic copying router 自动进给镂铣机Router with automatic power feeding device 数控镂铣机Numerically controlled router\Tape controlled router 光电控制镂铣机Line tracing router 倾斜刀轴镂铣机Router with tilting spindle(5)车床车床Wood turning lathe\Wood lathe\Wood face lathe\Tuning lathe\Wood and model turning machine 成型车床Wood shaping lathe 自动仿型车床Automatic copying lathe\Aumtomatic profiling lathe 普通车床Engine lathe 板面车床Face-p;ate lathe 多头车床Wood multi-cut lathe 液压控制半自动仿型车床Semiautomatic copying lathe\Hydraulically controlled model 单板旋切机Veneer lathe\Veneer peeling lathe\Rotary peeling lathe(6)开榫机（榫头、榫眼）开榫机Tenoning machine\Tenoner 打榫眼机Mortising machine\Mortiser 自动双端开榫机Automatic double end tenoner 多头开榫机Multi-head tenoner 立轴式开榫机Vertical spindle tenoner 自动开双头圆榫机Automatic double round-end tenoner\Automatic double rounding-off tenoner\Automatic double round shape tenoner 凿榫眼机Mortise chisel machine\Slotting borer 卧式开榫眼机Horizontal mortiser\Bucatrice mortiser 链式开榫眼机Chain mortising machine 自动刀头摆动式凿眼机Automatic oscillating spindles chisel mortiser 数控凿眼机Chisel mortiser with electronic programme 装锁用打眼机Mortiser for laying locks 榫槽机Slot mortiser 自动双端摆动榫槽机Double automatic oscillating slot mortiser 自动榫头锉磨机Automatic tenon-rasper 自动开鸠尾榫机Automatic dovetailing machine 圆棒榫制造和截断机Dowel milling and cross-cut machine 圆棒榫截断及倒角机Dowel cutting-to-length and chamfering machine 便携式开榫眼机Portable mortising machine(7)钻孔机钻床Driller\Drilling machine\Borer\Boring machine 单轴钻床Single spindle borer 多轴钻床Multiple borer\Multi-spindle borer\Multi-head borer 自动气动多轴钻床Automatic multi-spindle air borer 数控多轴钻床Numeric control multi-spindle borer 数控高速钻床Numeric control rapid borer 节孔钻床Knot hole borer 圆榫孔钻床Dowel hole drilling machine\Dowel hole borer 深孔钻床Deep hole borer 震动钻床Impact drilling machine 立式钻床Verticalborer\Colum-type borer 卧式钻床Horizontal borer 钻孔及攻螺丝机Drilling and screwing machine 便携式钻孔机Portable borer(8)封边机封边机Edge bander\Edge banding machine\Edge-band gluing machine 直角封边机Edge bander for straight edge\Edge bander for plane edge 异型封边机Edge bander for profile edge\Edge bander for shaped workpieces\Edge bander for softforming edge 圆形封边机Edge baner for round edge 热空气封边机Hot air edge bander 自动双端封边机Automatic double end edge bander 自动齐边封边机Automatic edge trimming-banding machine 热溶胶封边机Edge bander for hot melt adhesive 预涂胶式封边机Adhesive pre-coating edge bander 塑料和薄木封边机Edge bander for plastics and veneer 便携式封边机Portable edge(9)砂磨机砂光机Sander\Sanding machine 带式砂光机Belt sander 卧带式砂光机Crossed belt sander 立带式砂光机Vertical belt sander 砂光工作台Sanding bench 宽带砂光机Wide belt sander 窄带砂光机Narrow belt sander 上棍式双棍筒宽带砂光机Double overhead wide belt sander\Top woring wide sander with two sanding belts\Sanding machine with two wide upper bands 固定台式带式砂光机Belt sander with fixed table 移动台式带式砂光机Belt sander with sliding table 专用带式砂光机Belt sander for special purpose 砂边机Belt sander for edge\Edge sander\Edge belt sander 曲边砂光机Belt sander for curves 工件回转式砂光机Belt sander for swivels\Swivel belt sander \Sander for turned pieces 手动带式砂光机Hand stroke belt sander 自动带式砂光机Automatic stroke belt sander 便携式万能砂光机Portable universal sander 双面定厚砂光机Top and bottom belt contact sander\Upper-lower sanding-gauging machine\Top and bottom thickness sander 定厚砂光机Belt calibrating machine\Contact calibrating machine 台式连续仿型砂光机Table-type and continuous sander\Based on the modular system 自动压块砂光机Automatic pad sander 自动三棍宽带砂光机Automatic three-belts wide belt sander\Automatic wide belt sander with three-belts 摆动式型面砂光机Oscillation profile sander 型面砂光机Profile sander 垂直型面砂光机Vertiacal profile sander 辊式砂光机Drum sander 木板砂光机Timber snder 自动砂光机Automatic fine sander 盘式砂光机Disc sander\Dish sander 抛光机Polisher\Polishing machine\Glazer\Glazing machine 辊式抛光机Drum polisher 卧式自动抛光机Horizontal automatic polisher 便携式抛光机Portable polisher 磨光机Buffer\Buffingmachine\Smoother\Smoothing machine 精磨机Lapping machine\Honing machine(10) 拼接机单板拼接机Veneer jointer\Veneer glue jointer\Veneer end gluer\Veneer edge gluer单板有纸拼缝机Veneer taping machine\Paper veneer splicer 单板无纸拼缝机Tapless veneer splicer 手动胶拼机Manual gluing machine 拼接机Veneer splicer 单板指形拼接机Veneer strip finger jointer 线拼接机Zig-zag veneer splicer\Zig-zag crossfeed veneer splicer 单板补节机Veneer patcher\Patching machine 板材拼接机Panel joining machine(11) 剪切机单板剪切机Veneer guillotiner\Veneer guillotine cutter\Veneer cross cutter\Veneer clipper 气动单板剪切机Pneumetic veneer clipper 单板指形剪切机Veneer strip finger joint cutter(12)涂胶及拌胶机涂胶机Glue spreader\Glue spreading machine\Glue applicator\Glue application machine 热熔胶涂布机Hot melt adhesive applicator 木条涂胶机Glue spreader for timber strips 四棍涂胶机Four rollers glue spreader\Glue spreader with four rollers 四面涂胶机Four sides glue spreader 拌胶机Glue mixter\Glue proportioning machine(13)压机及贴面设备压机Press 热压机Hot press 冷压机Cold press 液压机Hydraulic press 热板液压机Hot plate hydraulic press 冷板液压机Cold plate hydraulic press 油压机Oleo dynamic press 冷板油压机Cold plate oleodynamic press 预压机Pre-press\Front press\Formpress 单层压机Single-opening press\One plate press 多层压机Multi-opening press 连续式压机Continuous flow press\Through-feed press 传送带式压机Conveyor press 重型数控压机Heavy duty digital controlled\Traveling head press 贴面压机Laminator\Laminating machine 棍压机Roller press 四面辊式贴面机Four-sided rolling machine 边部压机Edge minting clamp 成型压机Moulding press 高频弯曲木压机High frequency bending solid wood press(14)涂饰设备棍涂机Roller coater\Roller painter 底色棍涂机Roller staining machine 底色和面漆棍涂机Roller staining and coating machine\Dye and lacquer spreader with rollers 淋涂机Curtain coater\Lacquer curtain coater\Varnishing and varnish with drawing machine 双头淋涂机Two-head curtain coater 喷涂机Spraying machine\Veil sprayer\Sprayer 水帘式喷涂间Spray booth with water curtain\Water curtain spraying booth\Pressurized room with water filmscabins\Water-sprinkled paint cash wall 油漆喷枪Spray gun\Paint gun 进给式喷涂机In-line sprayer 旋转式喷涂机Carousel type rotary sprayer 型件自动砂光\喷涂机Automatic sanding-spraying machine for profiles 无气喷涂机Airless sprayer 气体可调式喷涂机Air-mix sprayer 静电喷涂机Electronic sprayer 浸涂池Dip staining tank\Dipping unit 流涂机Flow coater 型件涂饰机Lacquering machine for mouldings 清漆涂饰设备Varnishing equipment 油漆涂饰机Lacquer casting machine 着色机Staining and wiping machine 特殊罩光机Special galzing machine 削光机Scrapter 刷式砂光机Denibbing machine 油漆实验室用设备Machines for lacquer laboratory 木纹印刷机Wood grain printing machine(15)漆层干燥设备漆层干燥道Lacquer coat dryer\Flat oven for lacquer drying\Tunnel for the drying of varnishes 热空气干燥道Hot air oven\Hot air curing tunnel\Warm air oven 红外线干燥道Infra-red oven 紫外线干燥道Uitra-violet oven 装有大功率灯泡的紫外线干燥机UV curer with high power lamps 垂直烘道Vertical pallet oven 回转式烘道Carousel oven 型件干燥道Oven for mouldings(16)装配用设备及包装机框架夹持器Frame clamp 柜件夹持器Carcase clamp\Cabinet clamp 家具夹持器Carcase clamp for furniture 抽屉装配夹持器Drawer assemblyclamp\Drawer press 椅子装配夹持器Chair assembly clamp\Carcase –Clamp for chair assembling 扶手椅装配夹持器Armchair assembly clamp 气动或电动液压装配台Pneumatic or electro hydraulic assembling bench 气动钉枪Air tacker\Pneumatic stapler\Stapler 角钉钉枪Brad-tool for brads 便携式圆榫棒打入机Portable dowels inserting machine 薄膜包装机Shrink wrapping machine\Shrink-foil packing installation(17)堆垛及装卸料装置堆垛机Stacker\Elevater\Storage and stacking device\Storege unit 板材堆垛机Lumber jack\Lumber stacker\Lumber elevator 通用堆垛机Universal stacker 带板件集中装置的门式堆垛机Portal stacker with panel collecting unit 自动进料装置Automatic feeder\infeeder\loader 真空进料装置Vacuum feeder 前置式装料机Front end loader 自动卸料装置Automatic unloader 可调式卸料Adjustable unloading device(18)运输设备棍筒运输机Roller conveyor\Roller device 无驱动力棍筒运输机Idle roller conveyor 重力棍筒运输机Gravity roller conveyor 出料棍筒运输机Outlet roller conveyor 双速棍筒运输机Roller conveyor with two speed driving side device 带式运输机Belt conveyor 动力带式运输机Powered belt conveyor 盘式运输机Disc conveyor\Dish conveyor 自动升高运输机Automatic lifting conveyor 可伸缩式运输机Extensible conveyor 自动转向装置Automatic paneltuner\Automatic rotary device 翻板机Panel turning over device\In line panel tilter 自动推进机Automatic pushing machine 手推车Push trolley\Hand pallet truck 滚轮运输机Wheel conveyor truck 汽油叉车升降车Gasoline fork lift truck 电动叉式升降机Power fork lift truck(19)工具修磨设备锯片维修设备Saw blade maintenance equipment 自动圆锯片研磨机Automatic grinder for circular saw\Automatic circular saw sharpener 双头圆锯片侧研磨机Double end circular saw flanks grinding 平面研磨机Angle grinder 手动齿侧研磨机Manual side grinder 万能木工刀具磨床Universal woodworking tool grinder 锯齿侧磨机Saw-tooth side dresser 带锯磨齿机Band saw sharpener 直齿研磨机Straight saw sharpener 滚压机Stretching and rolling machine 带锯滚压机Band saw stretcher 冲齿机Saw-tllth punch 手动式碳化钨锯片齿侧研磨机Manual side grinder for the repair 应力检测仪Tension gauge 磨刀机Knife grinder 成型刀具研磨机Moulding cutter sharpener 钻头研磨机Boring tool sharpener 镂铣机钻头研磨机Router bit sharpener 便携式倒棱机Portabale do-burring machine 工具箱Tool box(20) 吸尘及防污设备吸尘器Dust collecting device\Dust collecting cabinet 锯屑吸尘器Saw dust collecting system 砂屑吸尘器Sander dust collecting system 空气抽吸过滤装置Suction filter unit\Filtering extration unit 排气风扇Exhaust fan 降低噪音设备Equipment for noise reduction(21) 其它木工机械弯曲机Wood bending machine 雕刻机Carving machine 浸渍及防腐设备Impregnating and preserring equipment 漂白设备Bleaching equipment7. 木材干燥工艺木材干燥Timber seasoning 大气干燥Air drying 人工干燥Kiln drying 蒸汽干燥Vapour drying 过热蒸气干燥Drying with superheated steam 隧道干燥Tunnel drying 红外线干燥Infra-red ray drying 远红外线干燥Far infra-red ray drying 微波干燥Micro-wave drying 真空干燥Vacuum drying 木材含水率Moisture content 平衡含水率Moisture content equilibrium 湿材Wet timber 干燥材Seasoned timber 窑干材Oven-dried wood 干燥时间drying times 干燥速度Dry rate 干燥过程Dry run 木材干燥机理Mechanism of timber drying 干燥介质Drying medium 烘干材含水率Moisture content of oven-dried timber 平均含水率Average moisture 干燥应力Drying stress 贮木场Lumber yard 材垛Stack\Pile8. 制材工艺(1) 制材工艺剥皮Barking\Peeling 制材Lumbering\Conversion 带锯制材Band sawing 排锯制材Gang sawing 圆锯制材Circular sawing 制材流程Process of conversion 纵向锯切Ripping\Rip sawing 出材率Recovery\Volume of recovery 材积表Volume table 锯切Cutting 锯切损耗Cutting losses 锯口Saw cut 锯路Saw line\Saw kerf 锯路宽度Kerf width 边板Side board\Side-cut 心材Heart board\Plank 方料Square log 毛尺寸Norminal size 净尺寸Deadsize\Exact size\Neat size 成品尺寸Finished size 毛刺Veining\Grain lifting 波纹Ripple 锯痕Sawing mark(2) 木制品加工工艺纵向切削Rip cutting\Longitudinal cutting 横向切削Cross cutting 端面切削End-grain cutting 斜切Oblique cutting 毛料Blank 净料Dressed timber 家具毛坯料Furniture stock 平面刨削Planing 刨光Wrot\Surfacing 铣削Milling 成型铣削Shaping\Profiling\Moulding 顺铣Down-milling 逆铣Up-milling 镂铣Routing 车削Turning 雕刻Carving 插销(开榫眼)Mortising 开榫Marking tenon 钻削Drilling 开槽Grooving 砂光Sanding 定厚砂光Calibrating 细砂Finishing sanding\Fine sanding 抛光Polishing 磨削Abrasive planing 倒棱Chamfering 齐边Edging\Edge trimming 合缝Scribe 榫接合Mortice and tenon joint 平拼But joint\Straight joint 直角榫Tenon 燕尾榫Dovetail 圆棒榫Dowel 木材弯曲Wood bending 冷弯Cold bending 热弯Hot bending 手工弯曲Handing bending 机器弯曲Machine bending 软化处理Softening treatment 板材贴面Panel upgrading\Panel overlay 封边Edge treatment\Edge banding 涂胶Glue spreading 渗胶Strike-through 脱胶Delamination 单板拼接Veneer splicing 拼缝Edge joint 配料Timber processing 板材加工Panel processing 实木加工Solid wood processing 预压Pre-pressing 压制Pressing 成型模压Moulding pressing 剪切Shear 刨切Slicing9.涂饰工艺涂饰Finishing\Lacquering\Painting\Finish coating 涂层Coat\Lacquer coat 漆膜Paint film 样板Sample board 腻子Filler\Putty 水色Water stain 酒色Alcohol stain 油色Oil stain 底漆Base-coat\Ground-coat 面漆Top-coat 透明涂料Clear paint 不透明涂料Opaque paint 印刷木纹Wood grainprinting\Simulated grain 浸涂Dipping 加热干燥Heating curing 紫外线固化UV-curing 流平性Flowability 涂层均匀Uniform coat 漆膜平整Smooth coat 颜色均匀Uniform colour 颜色清晰Staining with transparent 颜色浑浊Muddy stain 结皮Skim 干砂磨Dry sanding 除木毛Raised grain removing 除树脂Gum removing 补腻子Filling 涂老粉Pores filling 脱色(漂白)Bleaching 染色Dyeing 着色Staining 涂底漆Primeing 调整色差Colour matching 补色Stain remedying 湿砂磨Sloppy sanding 抛光Polishing\Satining 磨光Buffing\Smoothing 整修Remedying 刷涂Brushing 棍涂Roller coating 淋涂Curtain coating 喷涂Spray coating 静电喷涂Static electronic spraying\Electronic coating 无气喷涂Airless spraying。
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。
椅子及设计理念英文
椅子及设计理念英文Chair and Design PhilosophyChairs are essential furniture pieces that serve both functional and aesthetic purposes. They provide people with a comfortable and supportive place to sit while also adding style and personality to a space. Designing a chair involves careful consideration of various factors, including ergonomics, materials, and design philosophy. Ergonomics plays a crucial role in chair design. A well-designed chair should promote good posture and provide adequate supportto the human body. The chair's dimensions, such as seat height, depth, and width, should be adjustable to accommodate individual needs. Additionally, the shape and curvature of the chair should follow the natural contours of the body, providing proper lumbar support and reducing strain on the neck and shoulders.Materials used in chair construction also contribute to its design. The choice of materials affects the chair's comfort, durability, and visual appeal. For example, cushions made of high-density foam or memory foam can provide enhanced comfort, while breathable fabrics or leather covers can add a touch of luxury. The frame of the chair can be made from wood, metal, or plastic, each offering different benefits in terms of strength, aesthetics, and sustainability. Design philosophy is another important aspect of chair design. It encompasses the overall vision and principles that guide the creative process. Some designers may focus on minimalism, aiming to create chairs that are sleek, simple, and timeless. Others may emphasize innovation and experimentation, striving todevelop chairs that push the boundaries of traditional design. Cultural and historical influences also play a role, with designers drawing inspiration from various styles, such as Scandinavian minimalism, mid-century modern, or traditional craftsmanship. The design philosophy behind a chair can also reflect the designer's values and beliefs. For instance, sustainability and eco-friendliness have become increasingly important considerations in contemporary chair design. Designers are incorporating recycled materials, using non-toxic finishes, and considering the life cycleof the chair, from production to disposal. By focusing on sustainability, designers contribute to the reduction of waste and carbon footprint in the furniture industry.Furthermore, chairs can also be designed to create a specific ambiance or evoke certain emotions. For instance, a chair with a bold and dramatic silhouette can add a sense of grandeur to a room, while a chair with soft curves and warm colors can create a cozy and inviting atmosphere. Designers often play with shapes, colors, and textures to create chairs that resonate with the desired mood or aesthetic.In conclusion, the design of a chair involves careful consideration of ergonomics, materials, and design philosophy. Chairs should prioritize comfort and support while also being visually appealing and reflective of the designer's vision and values. By integrating innovative ideas, sustainable practices, and aesthetic considerations, designers can create chairs that enhance the living experience and contribute to the overall design of a space.。
家具设计第一章
收工
第一章 家具与空间陈设
1
住
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
住
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
住
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
行
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
食
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
食
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
食
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
食
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
行
家具设计 FURNITURE AND FURNISHINGS
第一章 家具与空间陈设
1
行
家具设计 FURNITURE AND FURNISHINGS
办公家具常用的材料中英文对照
33 主台 MAIN DESK
34 附台 RETURN DESK
35 前台板 FRONT DESKTOP
36 连接台 CONNECTING DESK
52 L封边 L SHAPE END TRIM
53 立柱 SUPPORT POLE
54 大托臂 BIG BRACKET
55 中托臂 MEDIUM BRACKET
56 弧形屏风 ARC PANEL
83 附柜抽屉 DRAWERS OF ATTACHED
84 直脚 STRAIGHT LEG
85 Y字脚 Y SHAPE LEG
86 钢制 STEEL
87 垫脚 MPPORT STUB
66 扶手 ARMREST
67 写字板 WRITING BOARD
另类
68 工作站 WORKSTATION
69 屏风卡位 PANEL WORKSTATION
13 台面板 DESK TOP
14 台脚 DESK BASE
15 背板 BACK BOARD
16 台面板 DESK TOP
17 侧脚板 SIDE SUPPORT PANEL
4 底板 BOTTOM BOARD
5 立隔板 DIVIDER BOARD
6 门板 DOOR
7 玻璃门 GLASS DOOR
8 卷门 ROLLER DOOR
23 异形台面板 SPECIAL DESK TOP
24 直形台面板 STRAIGHT DESK TOPBOARD
25 中抽 MIDDLE DRAWER
26 吊柜 HANGING CABINET
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附录In the consciousness of people, office furniture always gives people a heavy, restrained and even inflexible feeling. But in recently usa.in group its new office furniture exhibition hall in new century, the reporter hands-on revealed to the new office furniture style.According to usa.in group introduce Mr. YangHuaMing floral general manager, said the new concept of office furniture, it is in the group "new era, the new idea of" guiding ideology roll out. With the development of The Times, especially the network time arrival, office furniture also need to adapt to the social features, give office staff more displays of space.Save energy is consider for the customer"A new era, the new idea", is an important aspect of facing the future, fully considering modern office environment inch land inch gold question, thus in the space use on maximum consider for the customer, at the same time to the greatest extent save resources. Like usa.in of 338 partition series, from this face the look may is the simple side partition wall, and on the other side is a very practical wardrobe.If the office environment requires adjustment, 338 partition series furniture still can change combinations. Previously closed meeting rooms can easily into personal workstations, without the need to purchase any new materials, the original material also won't be wasted, this is actually advocate a save resources of new ideas. Usa.in providing customers the many ornaments, can use telephone etc many originally to occupy desktop objects hang up, not only saved a space, and fashionable and interesting, is very humanized design. And the Vatican usa.in Clover high series, flexible and minimalist design, use the simplest, basic parts, this series can evolve into all kinds of combination, which can be applied to different purposes.In the new products, to usa.in increased a lot of unique design details. For example in some desk underneath, renovated unique big roller. The original each other two workbench, a spell can form a very beautiful and practical conference table. Roller have braking switch, need not use when a foot to trample can firmly in place.Now desktop computer is the mainstream of office equipment, and the future, laptop computers, affirmation is the development trend of office furniture, so usa.in in mobility, also made full consideration.Because office space is limited, but usa.in can through office furniture flexibility, to make full use of limited space.Reveal personality increase gradeIn order to break the traditional office furniture inflexible, inanimate situation, launched the latest product -- usa.in Kristall glass hobson table series. This series of office furniture, the whole desktop into translucent grind arenaceous glass, desktop by metal support, desktop is unique arc, give a person a kind of strong contemporary feeling.Kristall series of form a complete set of Hera seat also focused on the dermis, metal, matt metal, rubber wheel and so on several kind of material, not only give the customer a range of options, and also more show concise, modern. This product after it was introduced, the welcome by customers.A network clients of the company at a glance the phase of this product, all will be three sets. This also reflects usa.in in product design new ideas are meet the demand of customers.In addition, any product to usa.in considerable pertinence, even for customers "custom-made2". Like the Vatican Pope John Paul ii, Hong Kong chief executive tungchee-hwa is usa.in valued customers.The new idea means perfect service"A new era, the new idea" also have a content is perfect service system. If a customer plans to buy usa.in products, professional project managers will advance to the photos, then the design gives optimal office furniture layout scheme for the customer to choose, from design to usa.in wiring, installation, the professional service staff will provide free all-round "close-fitting service". komatsu。
译文：在人们的意识中，办公家具总是给人沉重、拘谨，甚至是死板的感觉。
但在近日美时集团新开张的办公家具新展厅中，记者亲身领略到了新世纪办公家具的崭新风采。
据美时集团华北区总经理杨华明先生介绍说，这些新概念的办公家具，都是在该集团“新时代、新理念”的指导思想下推出的。
随着时代的发展，特别是网络时代的到来，办公家具也需要适应时代的特色，给办公人员更多发挥的空间。
节约能源就是为客户着想“新时代、新理念”的一个重要方面，就是面向未来、充分考虑到现代办公环境寸地寸金的问题，从而在空间利用上最大限度地为客户着想，同时最大程度地节约资源。
像美时的 338屏风系列，从这面看可能就是简单的一面隔断墙，而另一面却是一个非常实用的衣柜。
如果办公环境需要调整，338屏风系列家具还可以改变组合方式。
原先封闭的会议室就可以轻松地改成个人工作站，而不需要购置任何新材料，原有的材料也都不会浪费，这实际上就是倡导了一个节约资源的新理念。