家具设计中英文对照外文翻译文献
家具设计英语模板作文

家具设计英语模板作文英文回答:## Furniture Design: An Essential Guide。
Introduction。
Furniture design plays a crucial role in enhancing the aesthetic appeal and functionality of living and workspaces. Whether it's a cozy armchair or an ergonomic office chair, furniture can greatly impact our daily lives. This comprehensive guide will provide an in-depth exploration of furniture design, covering various aspects such as history, principles, materials, and trends. By understanding these elements, individuals can make informed decisions about choosing and designing furniture that meets their specific needs and preferences.Historical Evolution of Furniture Design。
Furniture design has a rich history that spans several centuries. From ancient Egyptian and Greek furniture, which emphasized functionality and symbolism, to the elaborate and ornate designs of the Renaissance and Baroque periods, furniture has evolved to reflect different cultural influences and technological advancements.Principles of Furniture Design。
家具风格论述英文作文范文

家具风格论述英文作文范文英文:Furniture style is an important aspect of home decoration. Different furniture styles can create different atmospheres and reflect different personalities. In this essay, I will discuss several furniture styles and their characteristics.Firstly, let's talk about the classic style. Classic furniture is usually made of high-quality and expensive materials such as mahogany, oak, and walnut. It has a timeless and elegant appearance and is often decorated with intricate carvings and details. Classic furniture is suitable for those who prefer a formal and luxurious atmosphere in their homes. For example, a classic chaise lounge or a wingback armchair can add a touch of elegance to a living room.Secondly, there is the modern style. Modern furnitureis characterized by its simplicity, clean lines, and minimalism. It often uses materials such as metal, glass, and plastic. Modern furniture is suitable for those who prefer a sleek and contemporary look in their homes. For example, a modern sofa with clean lines and bold colors can add a pop of style to a living room.Thirdly, there is the rustic style. Rustic furniture is often made of natural materials such as wood and stone. It has a cozy and warm appearance and is often decorated with earthy colors and textures. Rustic furniture is suitablefor those who prefer a natural and relaxed atmosphere in their homes. For example, a rustic dining table made of reclaimed wood can add a touch of warmth to a dining room.Finally, there is the eclectic style. Eclecticfurniture is a mix of different styles and periods. It often combines vintage and modern pieces to create a unique and personalized look. Eclectic furniture is suitable for those who want to express their individuality andcreativity through their home decor. For example, a vintage armchair paired with a modern side table can create aninteresting and eclectic look in a living room.In conclusion, furniture style is an important aspect of home decoration. Different furniture styles can create different atmospheres and reflect different personalities. Whether you prefer a classic, modern, rustic, or eclectic style, it's important to choose furniture that reflects your personal taste and style.中文:家具风格是家居装饰的一个重要方面。
室内设计外文翻译外文文献英文文献室内设计风格

Interior design stylesMary v .knackstedt shanghai 2004Abstract:Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body.Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.Key words:Style Classical Simple ExquisiteArticle:HOW DO YOU CHOOSE AN interior design style that suits you and your home? You can draw inspiration from numerous styles but try to keep to a similar theme so your interior is coordinated.Modern retro interior design incoprates bright colours and bold patternsThe best place to start is by looking at styles that appeal to you, which suit your budget and lifestyle. You will soon work out what you like and what you don’t. After looking through a few of these you will begin to understand the design process, along with the wide variety of materials and styles available.Don’t be afraid to experiment with different colours and materials; and decorate the room in a style that suits its purpose. There’s nothing better than a room flooded with sunlight so take full advantage of all the natural light in each room.Interior design style and genre, an indoor environment in the spirit of the art modeling and functional areas. Interior design style and genre and construction is often the furniture as well as in close connection with the style and genre; sometimes to the corresponding period of the painting, plastic arts, and even literature, music, etc. in close connection with the style and genre; sometimes to the corresponding periodof the painting, plastic arts, and even literary, musical style and genre, such as their origin and mutual influence. For example, in architecture and interior design of the"post-modernism" and the meaning of the word, and "camp style" is the distinctive characteristics of a plastic arts schools. Can be seen that the construction addition to interior design and material art materials, engineering and technology beyond the characteristics of close contact, and also literature, music and painting, sculpture and other categories of communication between the arts.The formation of interior design styles, different ideas and characteristics of the times, by creative ideas and performance, and gradually developed into a representative form of interior design. The form of a typical style, usually in the humanities and local factors and is closely related to natural conditions and the need for creativity in design and modeling characteristics. The formation of external and internal style factors.Although the performance in the form of style, but the style of art, culture, social development, such as profound connotation; from this deeper meaning, the style does not stop or equivalent form. A style or genre, once formed, it can turn a positive or a negative impact on culture, arts and many social factors can not be limited to as a form of performance and visual experience.The style of interior design features in the embodiment of art and creative personality at the same time, relatively speaking, to that style across a longer time, will include wide geographical. Interior design style can be divided into: Traditional style, modern style, post-modern style, natural style, as well as hybrid style.Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body. Here, to brief Members on the present 10 kinds of the more common style of interior design.Classical Style (luxurious rich)The rise in the age of just decoration, decoration of most of the pursuit of prosperity is more luxurious style. Especially in the early 20th century, interior decoration to show off their status is often a special form. Owners will be asked to design a variety of embedded symbolic luxury decoration, such as painting the glassceiling, fireplaces, decorative panels, decorative wood and so on, but basically similar to the Baroque style combined with the material there The main decorative way. Simple style (arbitrary)The 20th century, in some areas a Home heat. Due to technical and material constraints, the time has not yet the true sense of the Home Designer for guidance, so casual is the best portrayal of that time. Owners have begun the pursuit of a clean and bright indoor effect. Today, this style is still the most first-time home buyers are the first choice for the decoration.Exquisite style (noble solemn)After nearly 10 years of exploration, with the improvement of living standards of residents, opening to the outside world increased, people began to yearn for and the pursuit of high-quality life. From about the mid-20th century, there is the decoration of the decorative use of sophisticated materials and furniture, especially at this time, the designer of the domestic into the ranks of Home Design, which has brought a new concept of decoration.Natural style (art)The beginning of the 20th century decorative boom has brought many people to the concept of decoration. A large number of emerging market, Taiwan, Hong Kong journal of decorative eye-opener for people, before we dare to imagine such a small garden, culture, decorative stone walls and decorative stone such as tactics have appeared in the reality of the design. In particular, we used to see red elm caused by large-scale use of "national renovation a yellow" after the phenomenon of the decoration, close to nature has become a people one of the objectives pursued. Natural style of advocacy, "return to nature," highly aesthetic nature, combined with the natural order in today's high-tech, high-paced social life, so that people can achieve the balance of physical and psychological, so indoor use of wood, fabric, stone and other natural materials shows that the material texture, fresh and elegant. In addition, because of their similar aims and practices, which may be classified as a natural style of garden-style category. Pastoral style sought in indoor environment performance of leisurely, comfortable, natural life of the countryside, and is often the use of naturalwood, stone, rattan, bamboo and other materials simple texture. Coincidentally in the green room settings, creating a natural, simple, elegant atmosphere.Light style (bold Dafang)The mid-20th century, home design ideas have been a lot of liberation, people began to pursue a wide range of design, including modernism, postmodernism, such as the design of a series of more comprehensive system formed in the interior design. Turning to the decoration of people, these "isms" frequently appear in the mouth. This style basically cherry wood finishes as a major.Soft style (smooth independent)In the last century, the beginning of this century, a kind of smooth pursuit in the club like a little luxury design all kinds of real estate properties in the model room and the office appeared, and then appear in a large number of home decoration in general. This style of art is a relatively simple compared to emphasize the content and yet decorative forms, and gradually formed a black walnut wood decorative panels for the main style. Among them, the simplicity and minimalism the beginning of the surface. Style (quiet gentle)This is not in the last century, the beginning of this century as a design style, it is basically a wallpaper based on the surface as the main decoration material, combined with the woodworking practices Mixing this style emphasized the harmony of proportion and color. People will be the last part of a wall and the ceiling the same color, and the wall with the use of a light texture of the wallpaper. The whole style of it is elegant and quiet, with no trace of the impetuous.City style (independent personality)The 21st century, the housing reform, and many young first-time home buyers who appear to have this style impetus. Young people have just bought a house, many of them cos I'm always skint, but this time the real estate and are essentially rough Housing (a non-basic style of decoration), and these young people are forced to carry out the renovation of the revolution . Limited by its financial resources, people are starting to come through a variety of forms has been stressed that "decoration" of perception, in which large-scale use of bright colors is a typical example. It will be athome in the large-scale use of a variety of colors, sometimes even in the same space, the use of three or more than three colors.Fresh style (freehand pastel)This is a simple and derived under the influence with a "petty bourgeoisie" flavor of the interior design style. Particularly as many of the emergence of single people, the petty bourgeoisie in the style of a great deal of variety in the decoration of the apartment. As many times, they do not, such as the residents like the elderly and the children of members, so do not consider the decoration of many of the functions of the problem. They are often stressed and dull of an arbitrary. White纱帘buoyant with a soft fabric of the sofa, and then stacked with a variety of colors of the pillow pile to form a full atmosphere of the interior space lazily.Chinese style (retro)With the emergence of large number of modernist doctrine, the rise of the domestic and a retro style, it is the revival of Chinese-style decoration. Chinese painting, calligraphy and the Ming and Qing furniture constitute the most important elements of Chinese design. However, these expensive retro furniture has become a major obstacle to the lovers.Hybrid styleIn recent years, the architectural design and interior design in general has diversified, inclusive of the situation. Indoor layout also tends to have a modern and practical, but also learn the characteristics of traditional, in the decoration and furnishings in the ancient and modern China and the West melting into one, such as traditional screens, and table setting, with modern style decoration of the walls, windows and doors, a new type of sofa; European classical glass lamps and wall decoration, with the traditional oriental furniture and furnishings in Egypt, and so short. Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.室内设计风格杰里米•迈尔森上海2004摘要:从建筑风格衍生出多种室内设计风格,根据设计师和业主审美和爱好的不同,又有各种不同的幻化体。
家具创新外文翻译参考文献

家具创新外文翻译参考文献1. Yu, X. L., & Lu, J. (2019). Innovative Design of Furniture Based on Livability: Taking the Design of Children's Desk as an Example. Advances in Engineering Research, 264-264.2. Candi, M., Damasceno, M. F., & Bezerrra, A. K. (2021). Innovation in furniture design: A look at production processes and material choices. Journal of Industrial and Production Engineering,38(1), 56-68.3. González-Zamar, M. D. P., & Suárez-Torres, J. (2020). Customer-oriented innovation in furniture design: key factors and approaches. Journal of Engineering Designs, 31(5), 234-247.4. Zhang, P., & Cheng, X. (2020). Analysis of the Innovation Model of High-end Customized Furniture Design. Journal of Applied Science and Engineering Innovation, 555-562.5. Wernick, J. S., & Katz, A. E. (2021). Design and Innovation for Office Furniture: High-Quality Design for the Workspace. International Journal of Humanoid Robotics.以上是一些文献参考,介绍了家具创新设计的不同方面,包括客户导向创新、高端定制家具的创新模式、基于舒适度的创新设计以及办公家具设计的创新和发展等。
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。
室内设计装饰风格中英文对照外文翻译文献

(文档含英文原文和中文翻译)中英文对照外文翻译浅释室内设计中的女性装饰风格美国著名的女艺术家弗洛琳•斯蒂海默曾经在她的绘画《家庭画像第2号》中传递了一个她所钟爱的被繁华织锦与鲜花包围着的住所,画面中的室内空间和女人们以极其艳丽的姿态占据了整个视觉中心。
一切正如她诗歌里描述的那样“韦罗内塞绿的蕾丝紧身衣,深色花纹的长裙还有针织荷叶边,丝制珠宝盒里装满串串罗马珍珠;非常喜爱的淡色水洗丝窗帘,带有轻快罗马条纹的缎带,满布花束的地毯,塞夫尔瓷花瓶和镀金饰边的桌子上洒满清晨的光辉;母亲为我们朗读的童话故事,还有花园繁华盛开和梅拉德的甜点和沃尔特•迪斯尼的卡通……”在这些文字里,跳跃性的细节描述和纯感官的认知特征解读了女性的感知体验特性,而所叙述的鲜花、织物、摆设、童话正是女性对于家的最温柔、最甜美的期待,这所有的一切也都是女性装饰风格最完美的诠释。
古往今来由于女性特殊的生理本能,女性风格的装饰艺术在历史上一直占有很大的市场空间,尤其是十七至十八世纪在意大利文艺复兴发展起来的具有强烈女性特征的巴洛克艺术(BAROQNE ART)装饰风格更是风靡和影响了整个欧洲,其艺术语言多少的影响了紧跟其后的是新艺术运动的产生与发展。
然而,作为一种爱好和时尚风格,巴洛克也只局限在奢华的宫廷和达官贵人的居室装饰中流行,装饰风格的概念局限了,从而与女性装饰风格的内涵上产生了偏离。
今天,社会经济飞速发展,女性的地位也因其教育和收入水平的提高达到了一个相对合理的高度,一个崭新的女性话语世界正在全面构建。
就如人类学家海伦费希认为的那样,21世纪的女性将是“第一性”。
由于她们的介入,直接或间接地影响了现代的审美意识和消费观,一种独特的以女性为代表的消费文化和审美思潮正潜移默化的流行于时尚消费层。
这就是我们称之为“她”时代的女性消费文化,依照国际广告协会主席卡波尔对“她”时代的内涵的解释:“今天,以男性为主的消费主义正在向以女性为中心的消费主义平衡。
室内与家具设计毕业论文中英文对照资料外文翻译文献

中英文对照资料外文翻译文献Transforming Interior Spaces: Enriching SubjectiveExperiences Through Design ResearchTiiu PoldmaSchool of Industrial Design, University of MontrealC.P. 6128, succursale Centre-ville, Montreal, Quebec H3T 1B9, CANADAAbstractThis article explores tacit knowledge of lived experience and how this form of knowledge relates to design research. It investigates how interior designers interpretuser lived experiences when creating designed environments. The article argues thatuser experience is the basis of a form of knowledge that is useful for designers. The theoretical framework proposed in the article examines the nature of user experienceand how it can be utilized in the design process. The study of lived experiences iscontextualized within aesthetic, subjective, and functional aspects of the interiordesign process, which requires users to express their meanings and needs. A casestudy is described to illustrate the various stages of this process.Keywords: design research; experiential knowledge; tacit knowledge; dynamicprocess; pragmatic philosophy; interior spaces1. IntroductionIn our everyday lives, we live in spaces that are active, changing, and dynamic. When designers create interior spatial designs for various types of uses and experiences,they consider both the aesthetic qualities of a space and how people experienceexperiences are interactions and sensations within the spaces. However, people’ssubjective. These are experiences people have in the moment of living, bothconsciously and unconsciously, in interaction with the space and others in the space.This involves a form of knowing that is “implicit, naturalistic, ecological cognition of as opposed to “deliberate, formal, thinking and knowledge” everyday existence” (Storkerson, 2010, Section 1, para. 2). This article explores these implicit forms ofknowing and considers what design possibilities may emerge from them. Documenting these forms of knowing requires an understanding of how designsreflect aesthetic and functional ends while taking into account the direct experiences users have (Poldma & Thompson, 2009). This requires an understanding of how-world impact their subjective meaning-making everyday experiences of the users’ life(Shusterman, 1997; Vaikla-Poldma, 2003; White, 1998).The theoretical framework proposed here links experiential knowledge to the direct interaction of users within an environment and recognizes the dynamic nature of that link. Experiences of the life-world are taken as a basis for designing environments that actually work for their intended use.The proposed theoretical framework builds on philosophical ideas about the nature of lived experiences and subjective meanings, and relates it to the process by which users accept or reject a space. These ideas are explored using the example of a research project done in a residential long-term care institution. The research clarifies how the exchanges between the design researcher and the participants contribute to changes in the space.2. Designing Interior Space2.1. Current ResearchCurrently, when researchers study the design of interior space, they tend to be concerned with either the causal relationship between people and their environment or the interactions between material properties and the space being designed. Often, environment-behavior theories form the basis of design inquiry. Such inquiry seeks to understand the relationship between people and their environment using evidence that codifies the relationship (Dickinson & Marsden, 2009; Poldma & Thompson, 2009; Zeisel, 2006). In this form of design inquiry, design researchers d emonstrate how appropriately designed space can add value to living well in an institution, how safety and security can add to productivity in working environments, or how evidence-based knowledge of environment-behavior relationships can inform the design process. Examples of this type of research include the use of questionnaire-based s tatisticalactivities (Botti-Salitsky, 2009; data to glean how the environment affects people’sDickenson & Marsden, 2009). This type of research is usually framed in a positivist mode, which seeks objective knowledge (Guba & Lincoln, 1994). Studying human behavior in terms of causal relationships involves verification or falsification of a priori hypotheses. A limitation of this approach is that, as Guba and Lincoln have stated, “[h]uman b ehaviour, unlike that of physical objects, cannot be understoodwithout reference to the meanings and purposes attached by human actors to their activities” (Guba & Lincoln, 1994, p. 106).It is these meanings and purposes that tacit forms of knowledge contain. Such meanings and purposes are usually studied through narratives and conversations between designers and users (Creswell, 1998; Merriam & Associates, 2002; Vaikla-Poldma, 2003).2.2. The Role of Lived ExperiencePeople develop meanings attached to objects and environments, be these art objects, personal things, or other people in their lives (Bachelard, 1969; Csikszentmihalyi & Rochberg-Halton, 1981). These meanings arise through interactions that occur within spaces s uch as homes, offices, or recreational places; the meanings in turn affect perceptions and subsequent interactions (Poldma, 1999, 2008; Vaikla-Poldma, 2003). Design of interior spaces needs to take the above meaning-making process into account. When designing interior space, the designer (or architect) works directly with clients and users to take an existing (or imagined) interior space and transform it.A variety of knowledges come into play in this process. The role of the technical aspects of the space, such as air quality and material properties, is well recognized in design, but how the tacit aspects shape the design process is less understood.In practice, the tacit aspects o f experience within spaces a nd between people often shape how the design evolves. Multiple experiences and contexts act together to transform empty spaces into aesthetically functional interior places (Vaikla-Poldma, 2003). These experiences are both internal and external to the user, in that the persons who use the space attach meaning to the space where they live and contribute socially through the interrelations they have with others (Malnar & Vodvarka, 1992; Poldma, 2009).2.3. Conversation and Meaning MakingDesigned spaces, whether real or virtual, trigger various experiences. When designing interior spaces, we are preoccupied with both tangible and intangible aspects. We are preoccupied with its volume and physical characteristics; we are also preoccupied with how the space forms a backdrop for a complex set of interrelationships among people, objects, contexts, and lived experiences. Moreover, these interrelationships evolve over time (Malnar & Vodvarka, 1992; Mitchell, 1993).Designing interior spaces also requires an understanding of what happens when the spatial experiences people have are grounded in their real, lived experiences that areboth subjective and social. These experiences happen simultaneously with changing physical conditions, such as lighting, and changing time-space relations, such as whenIn these we work at home, live and work in multiple contexts, or “live a t work.” contemporary ways of living and working, the physical space is a backdrop for changing activities, not bounded by any particular states of being or any particular ways of knowing (Ainley, 1998; Ardener, 1981).Spaces are designed after investigating multiple issues including user needs, building contexts, space requirements, appropriate materials, colour and lighting, furnishings, social needs, cultural setting, and then combining it all aesthetically to create the interior space. The space is expected to support the activities and human engagements about to take place there.Designers engage in conversations with clients and users at various stages of the design process, in part to make sense of the information gathered and then to make decisions and generate ideas for the design of the space. Aesthetic and functional design decisions are made on the spot by designers engaged with stakeholders as they define how the space should be occupied and for what purposes (Poldma, 2009; Vaikla-Poldma, 2003). There is a service relationship that develops between the designers and users as they participate together in both design and production processes (Nelson & Stolterman, 2003).2.4. Static and Dynamic SpacesInterior space has long been documented theoretically in terms of physical attributes such as objects, walls, lighting, and color (Malnar & Vodvarka, 1992). Students learn about interior space as an architectural entity grounded in physical attributes that are static and exist as independent features (Poldma & Wesolkowska, 2005). Consequently interior spaces a re often reduced to their physical attributes, material and surface decoration, producing static spaces where an office is an office, a restaurant is a restaurant.In practice, however, spaces are required to be used in a flexible manner where multiple activities can occur in the same place. Designers are often called upon to design spaces for dynamic lived situations, not static ones. This calls for a more dynamic concept of space.3. Proposed Theoretical Framework3.1. Beyond Causal ExplanationsHistorically, theories about interior space have considered human-environment relationships in causal terms (Hall, 1969; Lang, Burnette, Moleski, &Vachon, 1974; Malnar & Vodvarka, 1992). Influences include B. F. Skinner (1971), whose idea of behavior modification through positive reinforcement is applied to designing interiors often when specific design elements such as form and material are chosen.When human and environment relationships are seen as causal in nature, knowledge claims are assembled from measurements o f those relationships. The knowledge claims, when regarded as true, guide subsequent design thinking. This appears to be part of a dominant discourse of design, known as evidence-based design. However, a limitation of this approach is that it is based entirely on what is called a priori knowledge (Amin & Cohendet, 2004; O’Brien, 2006), overlooking the subjective experiences arising within the interior space.Environment-behavior theory explains human-environment relationships as causal and these relationships are situated within essentially static physical interior attributes. It reckons, people feel well or poorly due to lighting, environment systems, color, or other physical space attributes, such as floors, ceilings, their finishes, and relatedand their objects in the space. These interior attributes “act u pon the user” appropriation (or otherwise) of the space (Dickinson & Marsden, 2009; Zeisel, 2006). Therefore, according to this theory, changing these surface treatments should “improve” the interior situation.Causal explanations do not always take into account subjective experiences. Interior spaces are locations of both aesthetic values and social constructions. Subjective experiences, affected by role, status, gender, and such other individual-level factors, also guide interactions in interior environments (Belenky, Clinchy, Goldberger, & Tarule, 1997; Code, 1991). For example, women navigate spaces differently from men. Similarly, cultural differences impose different social rules and hierarchies that influence social constructions of space and place (Ainley, 1998; Ardener, 1981; Rose, 2001; Rothschild, 1999; Spain, 1992). People also attach meanings to objects and the spaces they live in.Therefore, in the proposed theoretical framework, subjective experiences and meanings are considered salient elements. These are not captured usually (nor authentically) using empirical positivist modes of research.3.2. Beyond Static AttributesUntil recently, and in an effort to legitimize the profession, interior designers havegenerally tended to be more concerned with building professional practices, ethicalconduct, and solving problems of a pragmatic nature (Abercrombie, 1990;Hildebrandt, 2000; Malnar & Vodvarka, 1992). When professional designers askclients and the users of the spaces what they need, how they live, and observe theirsituations, they try to understand how people live and work, how they engage in socialand personal activities to be able to provide supportive and appropriately designedspaces. The spaces they design are by their very nature dynamic in that they integratepeople within changing circumstances.While some people live in the global 24x7 information communities, others carve outlives on the fringes just to survive. Different people can experience the same space ashostile or friendly, as virtual or physical, or as a place for personal or social needs. Itis difficult to reduce these experiences to codified statistical numbers, as differentsubjective voices account for different ways of living, working, or playing in differentcultures and societies.Accordingly, in the proposed theoretical framework, spaces are not characterizedentirely through static attributes. Spaces are seen as dynamic contexts and products ofsocial interactions.3.3. Beyond Codified Information-reduced-to-information,” which refers to aThere has been a c riticism of “knowledgelimited vision of knowledge:1.the vision of knowledge as a simple stock resulting from the accumulation ofinformation in a linear process;2.the hypothesis that any form of knowledge can be made codifiable;3.the vision that knowledge is limited to individuals;4.the idea that knowledge is limited to something that people “possess” (Am& Cohendet, 2004, p. 17)By contrast, knowledge derived through experience and tacit understanding would bebased on what is experienced in real time. This form of knowledge situates designthinking within the context of use, such as the ways in which people actuallyappropriate spaces. Forms of tacit knowledge such as lived experiences run up againstevidence-based positivist research norms (Storkerson, 2010).In the proposed theoretical framework, a more extended notion of knowledge isadopted. In this extended notion, knowledge relevant to design is not limited tocodifiable information alone, but also includes the effect of comparing and combining subjective experiences in real time. This notion of knowledge will allow the designerto consider a wider variety of inputs while designing interior spaces, such as perceptions, experiences, and conversations.3.4. Emerging Paradigms of SpacePeople are finding themselves living and working very differently than even 5-10years ago. In this technologically and digitally enhanced world, objects are transitory, spaces c an be virtual or physical, while communication and interactions are variedand changing constantly, all affecting social and political norms (Abrahamson, Meehan, & Samuel, 1998; Dent, 1998; Dholakia & Zwick, 2003; Margolin & Buchanan, 2000). Spaces are no longer designed for one specific use, nor as the determinant of a particular set of activities. As Poldma and Wesolkowska (2005) statein their comparison of the old and new paradigms of living/working:[T]he subject perceives place as a primary mode of identification against “others” such as the environment, people or work processes. People worked in the office, livedat home and enjoyed leisure time in the movie theatre. In the new paradigms of livingand working, both experiences a nd tasks overlap one another constantly. . . . lived experiences overlap and intersect the boundaries of space and place/time. Realities are defined in practice and practice is defined in space, one that can be local or global, imagined or actual, and which often cuts across boundaries physical/virtual. (Poldma& Wesolkowska, 2005, p. 56)In this type of paradigm, the process of designing spaces needs to work with a widerset of inputs. Interior design approaches n eed to “consider all the senses, a nd howthese simultaneously experience visual space and respond to sensory cues while engaged in social human contact” (Poldma & Wesolkowska, 2005, p. 57). The user becomes a key organic part of the design process. Their activities define the space.In the age of mobile communication, we have thus moved from spatialized time, where the nature of the activities was predominantly governed by the structuring logicof the place (one reads in a library, one studies in a classroom, one eats in a restaurant, etc.) totemporalized space, where the nature of the activities of its inhabitants definethe place (a restaurant becomes a playground, a coffee house becomes an electronic mall, a train becomes a work station, etc.). (Dholakia & Zwick, 2003, pp. 11-12)People’s activities and experiences are increasingly defining what spaces are and how spaces evolve in response to changing activities and experiences. Design researchersneed an approach that allows them to harness users’ subjective experiences towards the creation of new spatial forms.The proposed theoretical framework responds to this requirement. It opens up thedesign process to the subjective and experiential inputs of the various users and stakeholders, based on their perceptions. This process of sharing becomes part andparcel of the process of transformation of the space during its use.This theoretical framework can be illustrated using a case study example to show howresearch informs design and how design informs research, both driven by users’ experiences.4. Case Study: Interior Design for an Elder Care InstitutionAn elder care institution was designed for a particular aging population. The designwas created using the best practices and knowledge sources a vailable, having beenrenovated about 2 years prior to this study. However, something was not working,because t he head nurse of the dementia unit called me and told me about how theresidents were being brought to the space and were trying to leave it, thereby rejectingthe space in that unit that had been designed for them. Both the head nurse and thestaff were perplexed. While the space was beautiful, clean, and appeared to suit itsintended purpose, something was not working. When the staff tried to bring theresidents to the designated room for specific activities, they promptly began to leave,even though many were wheelchair bound. I was asked to investigate the reasons whyand I promptly set out to create a research project to answer why the users wererejecting the seemingly beautiful and functional space designed for them.Using evidence-based procedures that were theoretically supported by a constructivistparadigm (Guba & Lincoln, 1994; Rose, 2001), the team of researchers p roceededwith a three-phase study. In the first phase, existing physical conditions were recordedand the perception of staff and volunteers were collected. Particular attention was paidto the users--elderly residents with dementia. The unit programs, activities, and familysocial situations were also assessed. Dialogues were arranged with all the stakeholdersand users.Using a combination of observation and visual qualitative data, the issues wererecorded, verified, and analyzed. The data consisted of the physical characteristics andspatial elements, as well as the observations and narratives from the conversations the researchers had with various stakeholders, including users, volunteers, nursing staff,and families of the residents.The data were documented and analyzed using interpretive analytic methods that provide trustworthiness through triangulation (Clandinin & Connelly, 2000; Creswell, 1998; Rose, 2001). This included an analysis of the observations of the physical space, responses from stakeholders, and activities within the spaces.Epistemologically both the research and design processes are considered to be constructivist in essence (Creswell, 1998; Vaikla-Poldma, 2003). The design researchers sought to understand user perceptions, dynamic social activities, and the spatial capacity to support these different activities, and identified the multiple contexts that were revealed (Poldma, 2006).The issues raised by the users included a lack of social space for family members to meet, poor ventilation and lighting affecting the visibility and comfort within the space, and an inability to sense the space due to poor color choice for the older residents, who did not “see” the space as a place where they would want to be. The corridors felt like an “abyss” and the space itself was cold and institutional in feel. Another interesting issue emerging from the stakeholders was their diverse perceptions both of the use of the space and of the activities that might unfold. The perspectives varied widely depending on whether one was a resident, volunteer, doctor, nurse, or caregiver.In the second phase of the study, and once recommendations have been made and accepted b y the stakeholders, minor design revisions were proposed and then some renovations were carried out. The recommendations included adjustments in lightingand spatial zoning to rectify the problems identified as leading to the rejection of spaces by the residents. New spaces were created to incorporate social program activities, based on the recommendations by both researchers and care-givers working together.The third phase of the study consisted of re-evaluating the success of the changes andthe responses of all the stakeholders were documented. Overall, the changes improved responses and social activities that satisfied the nursing staff, residents, and familiesalike (Poldma, 2006). Families were delighted that they were able to socialize withability totheir loved ones, while the staff noticed improvements in the residents’ navigate the spaces with reduced dependence on the staff for their daily activities. Inall the three phases of the study, conversations and dialogues contributed to the movement of the study from evaluation to implementation of changes a nd again to evaluation of the ideas to improve the space.ReferencesAbercrombie, S. (1990). A philosophy of interior design. New York: Harper & Row. Abrahamson, V., Meehan, M., & Samuel, L. (1998). The future ain't what it used to be. New York: Riverhead/Penguin.Ainley, R. (Ed.). (1998). New frontiers of space, bodies and gender. London: Routledge.Amin, A., & Cohendet, P. (2004). Architectures of knowledge: Firms, capabilities and communities. Oxford, UK: Oxford University Press.Ardener, S. (Ed.). (1981). Women and space: Ground rules and social maps. New York: St Martin's.Bachelard, G. (1969). T he poetics of space. Boston: Beacon.Belenky, M. F., Clinchy, B. M., Goldberger, N. R., & Tarule, J. M. (1997). Women's ways of knowing: The development of self, voice and mind. New York: Basic. Botti-Salitsky, R. M. (2009). Programming and research skills and techniques for interior designers. New York: Fairchild.Clandinin, D. J., & Connelly, F. M. (2000). Narrative inquiry: Experience and story in qualitative research. San Francisco: Jossey-Bass.将内部空间:通过设计研究,丰富主观经验狄儿波德玛工业设计学院,蒙特利尔大学C 6128,succursale中心城,蒙特利尔,魁北克H3T 1B9,加拿大摘要本文探讨的生活经验的隐性知识和在这种形式知识中涉及的设计研究。
家具设计中英文对照外文翻译文献

家具设计中英文对照外文翻译文献(文档含英文原文和中文翻译)原文:Researches and Development of InteractiveEducational Toys for ChildrenAbstract: For Oriented by the teaching philosophy "game based learning", this paper carried out an in-depth research on the interactive mode of children's educational toys. In the research process, it attempted to build a new immersed educational-game scenario for children by using the new interactive technology so as to inspire the children's interest in learning and exploration. The research object in this paper was an interactive educational toy-"funny tap" English learning machine for children. After integrating the design concept of this product from an industrial designperspective, we selected specific interactive technology and completed the engineering. Moreover, we have conducted tests of work principles and effect of usage based on the sample machine. The final result indicated that there is a promising and huge market potential to apply the new interactive technology to development of educational toys.Keywords: Interactive Educational Toys, Interactive Design, interactive mode1.INTRODUCTIONSince 1980s, human beings including the children have entered a digital age. Under the influence of the advanced information, early stage education machines, electronic building blocks, electronic wall charts, and other new toys have become children's new favorites. With the influence of the west teaching philosophy-"game based learning", parents are strongly agreed with such toys for children. These modern educational toys will become the mainstream of toy development due to their promotion of children's learning, practical ability, creativity and imagination.Interaction exists in all things contacted by humans, and interactive design emerged to design a kind of communication and dialogue between human and objects to minimize the "cognitive conflict". As a new design theory, interactive design has a wide range of applications in designing educational toys.2. THE PLAN AND BENEFITS OF THE INTERACTIVE MODE OFCHILDREN 'S TOYSThe rise of various digital technologies, such as voice recognition, 3D video, and virtual reality technology etc., gives new experience to people's perception. The author aimed to apply these new digital technologies to the researches of interactive educational toys design.The plan of the interactive mode of children's educational toys:2.1. Voice InteractionVoice interaction voice includes touch voice interaction, voice command interaction and intelligent voice interaction. Touch voice interaction and voice command interaction have been very common, such as electronic wall charts, televox;intelligent voice interaction is the author's aim to create a genuine dialogue between children and simulation toys through digital technology, to foster children's language ability, particularly in a family with only one child, the children need a "partner" to accompany them to learn and play with.2.2. Video InteractionVideo interaction can be divided into 2D image interaction and 3D video interaction. The former has been broadly used in toys, such as in multimedia courseware, image or video of horse will appear when referring to "horse"; 3D video interaction is the author's aim to apply 3D projection technology in the "play" process, for instance, when referring to a green grassland, a grassland projection will appear so that children feel like being on the grassland, which enhances children's learning experience; meanwhile, this enhanced emotional experience will prolong the memory retention time or even extend to a ultra- long-term memory.2.3. Narrative InteractionNarrative interaction is to conceive a story for the toy and offer a task role for children to make them participate in the story. The steps are shown in Figure 1:Fig. 1. The steps of narrative interactionBased on children's curiosity and imitation psychology as well as the investigation of the games, the author found the correct application of story interaction in educational toys can greatly mobilize children's learning enthusiasm, for example, we conceive an English learning process as treasure hunt activity. In this activity, the words are hidden in the treasure box, and children themselves are explorers, if they put one or a few words together, they will get a treasure box, and they can also make a competition with peers to get the treasure boxes. Through establishment of game theme, selection of roles, and plot development in the activities, children not only increase their knowledge of English, also learn how to get along with peers and develop good self-awareness.2.4. Web Virtual Reality InteractionWeb virtual reality interaction is virtual imaging through network connections, making you feel like your partners sitting, playing and learning with you, to deliberatethe loneliness in the contemporary families, and promote children's learning initiative in the competitive context.Psychological research shows that with respect to the learners, the learning behavior resulting in emotional pleasure experience will produce a positive emotional resonance, thereby enhancing the learners' learning initiative and enthusiasm. The realistic educational-game scenario created by interactive educational toys for children not only brings emotional pleasure experience to children so that learning is no longer boring for them with a purpose of mobilizing the enthusiasm of study and developing creative thinking, but also enhances children's social communication ability to help children establish good social character favorable for their life.3. DEVELOPMENT OF INTERACTIVE EDUCATIONAL TOY—"FUNNYTAP"Parents are head-ached on children's learning English, so we focus on developing an interactive English learning toy to help the children remembering words in game scenario and stimulate their interests in learning English, and training children's hand operation and brain coordination.The development practice procedure of interactive toy for children-"funny tap" is shown in Figure 2 as following:Fig. 2. The development practice procedure of "funny tap"3.1. The development process of interactive concept of interactive educational toy-"funny tap"It is the development process of "funny tap" interactive concept. After investigating the object group of children and parents about their needs of English learning machine, we summarized six key indicators such as security, fun and incentive. Here we mainly describe three models of interactions shaded in Figure 3.To meet the requirement of fun, the author designed a narrative interactive process, as is shown in Figure 3:Fig. 3. The narrative interactive process of "funny tap"The word learning process is conceived as a game of whack-a-mole, imagining there are N mole holes, and there are M letters in a word (i.e. M moles with a letter). If you tap down M jumping moles in accordance with the order, you will get the cheers, if the tap is not correct, it will continue to call "come on"; meanwhile, the action of "tap" is not only funny, but also effective to train children's hands and brain coordination.Voice interaction was prepared by the microcontroller program to control the voice modules. There are two features regarding the "funny pat": one is word pronunciation; the other is the design of the applause and cheering voices for reward and punishment, which help to reach the goal of incentive.In the first stage, video interaction was prepared by displaying the letters on buttons through LED dot matrix character display modules mainly controlled by microcontroller; in the second stage, we provided toy with 3D projector for projecting the whole process in the air to construct a 3D emotional scenario, and the action of "tap" is to tap the projections in the air.3.2. Principle diagram of interactive educational toy for children-"funny tap" The operation principle of "funny tap" is shown in Figure 4:Fig. 4. The operation principle of "funny tap"The system consists of six components, such as voice module, LED indicator, action back module, MCU, power module and LED dot matrix character display module. Among these, the three formers are connected with MCU through 8-bit data bus; LED dot matrix character display module is connected with the microcontroller through the 12C bus. Voice module stores English word pronunciation documents needed in the game, and MCU pronounces the word by controlling the voice module via the bus. LED dot matrix character display module consists of driver chips and the 8*8 LED matrix. MCU bus control LED dot matrix character display module via I2C to show the corresponding English letters. Action back module tests and captures the player's actions during the game for the MCU to judge whether the player conducts normal actions to control the game process.3.3. Appearance design process of interactive educational toy-"funny tap"The following Figure 5 is a design process from sketch, modelling, model-making to the final product and the drawing of the product structure explosion.Fig. 5. Appearance design process of "funny tap"3.4. Interaction testSample of N (N is an odd number) preschool children was randomly selected to test the product's availability, usability and user's willingness of using it. Mainly onsite testing observation and questionnaire survey, and then we improve the product according to the test results.Testing times are equal to or more than I so as to find the products with highest interaction. In the product final trial, most of parents fed back that this toy combined fun and knowledge well and the whole learning process was very smooth and the children were very happy when "learning".4. SUMMARY AND PROSPECTChina is a large country of toy manufacturing, but it still remains in the stage of imitating foreign design, especially in educational toy design. The research and practice of interactive educational toys in this study is expected to give some thought and inspiration to toy designers so as to further promote the development of Chinese toy industry.REFERENCES[I] Liu Zaihua, Children's Social Intelligence, Anhui People's Publishing House, 2008.[2] KARL T. ULRICH, STEVEN D. EPPINGER, Product Design and Developmen,Higher Education Press, 2005.[3] (U.S.) Robert J. stembeg, Translated by Yang Bingjun, Chen Yan, Chow Zhiling,Cognitive Psychology, Beijing: China Light Industry Press, 2006.[4] Zhang Zhcnzhong, Li Yanjun, Classification Research of Educational Toys,Textiles and Design, December 2008 Vol. 12.[5] Li Qiaodan, Xia Hongwen, On the Function of Digitized Bran-training Toys inElementary Education, China Education Informationalization Issuing Department.[6] Song Jun, Researches on Design Principles of Children's Educational Toys,[Online]. Available: [7] Liu Mingliang, " The Principle Production and Purchasing of Electronic Toys", New Era Press, 1992.Toy development and design based on the needs of olderpersonsAbstract:In china, aging and the life-quality of older persons has become today’s important issues of social concern, and how to solve this problem thus turns to be an important challenge in the design and development of supplies for the old. Now, the ensuing ways to solve varied. For instance, the design community has put emphasis on the design and development of the supplies for the old, but a large part of these de signs were for medical care and medical products of the senior person. The designsfor the vast majority of the healthy people in their senior age are rarely involved. In this, I think, for the function of toys, the emphasis on the development of physical and mental health of older persons is the key, so to rethink the development of toys for the old persons in china is one of the ways.Keywords: Toys for the old, Needs design, humane careMentions of the toys, we always unconsciously think of the innocent children, as if toys are just child’s belongings. With the improvement of living standards, emphasis on the toys is constantly improved. To meet the needs of children, various designs are brought out, and then from luxury goods, toys have gradually become the child’s necessities. However, the authorities of the china toy association state that the toy is no longer the children’s only product: toy concept has been extended and functional and practical range of modern toy has been further expanded. Toys not only inspire children, but also become the recreation products for the seniors. The old also need toys that could meet their spiritual needs and enrich their life in later years.1.Status of the development and design of toys for the seniorsIn china, toy for the old is still an industry to be developed. Senior people, as customers, they have needs and also purchasing power, but no targeted toys for them. There are as much as 130 million seniors in china who would be a huge consumer group, but the research and development of toys for old consumers has lagged behind developed country for more than 30 years.In America, the toys designed for the senior amount to 40% of the toy market. The toy market for old persons is more mature. They have many toy stores for the seniors throughout the urban and rural areas. Also our neighbor Japan does well in the development of toys for the old persons, and most toy companies have produced toys for seniors, and continued to introduce new products.2.The meaning of the development of toys for the seniorsRetiring from work, the senior people get more time than before. Besides watching TV at home, they have no many alternative entertainments. Some old people have been for a long period in loneliness. Over time, they are prone todepression, anxiety disorder and Alzheimer’s, seriously affecting their physical and mental health and become burden to children and society.Li guangqing in department of rehabilitation of Beijing Xuanwu Hospital once said: “with age increasing, the function of the body of the seniors gradually degraded, and their reaction will be clumsier. At the same time, retirement from work, the opportunity for the old to use their brain reduces, which further brings the decline of attention and cognitive ability. Except to maintain good habits and moderate exercise, to slow down brain aging, putting hands and brain in work at the same time is the most effective way, which is exactly the function of toys. for people with Alzheimer’s, playing with toys, to some extent, would alleviate the condition.Therefore, toys can develop people’s thinking ability, and improve our intelligence. If the seniors play with toys constantly, the aging of the brain and the Alzheimer’s would be effectively prevented. Medical experts found that to maintain old people’s intelligence, we must first fully protect the brain. In addition to proper nutrition and adequate sleep, the seniors should make most of the brain. Just as Chinese saying tells that”water does not rot, and the door hinge is never worm-eaten “, the more one use his brain, the more sensitive it becomes. Playing with toys is exactly a good way to use the brain. With toys, the old people not only receive more information, at the same time become more optimistic than before, thereby enhancing their immune system function.3.The needs-analysis of toys for the oldWhat is a needs analysis? This approach is to focus on the users’ needs. Users’needs are sources of many new products.What is the demand-design? it is the most front-end process for new product in its life cycle, and decides the success or failure of the new products. Needs-design starts from the businesses and designers’judgment of the market or the needs of users, and ends at planning proposals or technical specifications on description of the product development. Understand the market or user demand is a high-level investment for the success of the product.The development and design of toys for old persons should start from the needs ofthe seniors. Only a real understanding of the old consumers and their psychological and physiological needs can bring toys that give practical cares for the seniors physically and spiritually.Toys for the old should bring human care. Toy design process should be integrated into this concept. The aim of the toy design for the old is enhanced, with seniors-centered design principles, and with the help of analysis on the seniors’physiological psychological characteristics, cultural level and lifestyle. The toy design principle that shows humane care for the seniors is reflected at the same time.(1)Safety firstTo varying degrees, the judgment, cognitive ability and ability to respond of the old people weaken, thus in the process of using the product, they inevitably make mistakes. In case a threat to physical and mental health occurs, they usually are unable to escape the danger. Therefore, toys for the seniors should be fault-tolerant. So that, the old people even make a mistake, there will be no danger. Here the reduction of operation process and the set of message for safe operation is an effective way to ensure the safety of the seniors with toys.(2)Moderate difficultThe design of toys for the old should be of moderate difficulty, and the purpose is to arouse their interest in playing. If too simple, it would not enhance the interest of the seniors and thus would not achieve the aim of exercising the brain; if too difficult, it would be strenuous for them to learn, and consequently cause a sense of failure which is not conducive to their mental health.(3)Easy to identifyThe toy should have a familiar form and an understandable functional theory for the old. It should also be equipped with an interface in keeping with the experience and habits of the seniors. Besides, the toys that need interface design, should take into account the graphic symbols, size, color, clarity of sound, light intensity.(4)Facilitate communicationPeople’s feelings need to vent and exchange, especially for the seniors. For them, emotional communication is indispensable to maintain their vitality, andimprove the quality of life. Playing with toys, there are many ways for the old to choose, such as: taking turns to participate, working together and racing in the game. The development of multiple-persons playing toys is to create a harmonious environment in which they can talk when play. So the core of toy-development is to involve the participants as much as possible. For the participating ways, common collaborative participatory approach is the best, which is more conducive to conversation, and get to know some new friends. In this way the seniors can expand their social circle with emotional exchange.(5)The effect for keeping fitness and developing intelligenceIncreasing with age, people’s organ recession becomes an objective physiological phenomenon. In order to maintain good physical function and mental state, and improve the quality of life, fitness puzzle is a very important content in the lives of older persons. Body-building that can achieve with playing toys is the most basic needs of older persons. Old people by playing intellectual toys can effectively prevent Alzheimer’s disease, so to maintain the flexibility of the seniors’mind is the main direction of the toy development.(6)Cultural connotationsLife experiences bring the old people with more comprehensive concept of life, thus toys with a certain ideological and cultural depth usually put them in recollecting and thinking of issues. Toys for the seniors are different from those for children: a child plays a toy intuitively, while the old emphasize the toy’s inherent fun, and show great interest in the toys with cultural connotations. Of course, this culture must be familiar with the elderly, has gone deep into the ideological deep.Summing up, toys for the seniors have a promising market, for each one of us would inevitably become old. The design industry should make more efforts to improve the living standard of the seniors. One way is to develop toys for the old and help them improve their life quality with theses design. We all know, care for the old is to care for all mankind, and designing from the needs of the old has become an urgent task of today’s society.References:[1]Yang Guanghui. China’s Population Aging and the Industrial Structure [m].Liaoning Science and Technology Press, 2008.7.[2] Wang Lianhai. Chinese Toys, Art History [m], Hunan Fine Arts Publishing House, 2006.8.[3] Wang court. Toys And Innovative Design [m], Chemical Industry Press, 2005.12.儿童家具的人性化设计摘要:本文以儿童家具设计问题为出发点,提出人性化的概念在新的时代环境下的新解释,并指出新的人性化设计原则在儿童家具的设计方法中的实现,分析儿童家具的现状,并提出一些建议。
IKEA宜家 经典家具 室内设计 中英对照

• 1960-1970宜家概念开始成形。新的宜家商场开业,诸如 POÄNG 波昂 和 BI LLY 毕利 书柜等英雄产品得到开发。这是宜家概念成形和被写入英格瓦•坎 普拉德的“一个家具经销商的宣言”中的时期。
• 1976 • POEM is launched (later known as POÄ
A whole furniture series for children 。
• 为儿童所开发的一个完整的家具系列引入宜家产品系列。
• 1995 • The first IKEA PS collection is launched Launched at the same time as the Furnit ure Fair in Milan, PS stands for POST SC RIPTUM, or the latest additions to the wo rld of IKEA design.
• 为一年365天而打造的 IKEA 365+ IKEA 365+ 系列诞生——一个用来备料、烹制、上菜和用餐的实用、美观的日用产品 系列。
• 小组成员: • (主讲) • (主讲) • 讲) • • •
廖伟桢
刘青青 梁敏(主 牙佳琳 王艺燕 甘婧
BILLY bookcase
BILLY bookcase
• 1980 • KLIPPAN sofa - another IKEA classic
The KLIPPAN evolves into a sofa tough enoug h to stand up to the kind of punishment only children know how to dish out, yet soft enoug hng bedtime stories. The entire cover can be removed for machine washing.
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。
家具的含义及其特征英文作文

家具的含义及其特征英文作文Furniture: Meaning and Characteristics.Furniture refers to movable items such as tables, chairs, beds, and cabinets that are used to equip a room or building for functional and aesthetic purposes. These items serve various functions, including providing seating, storage, and support. The design and materials used in furniture play a significant role in defining the ambiance and style of a space.Characteristics of Furniture:1. Functionality:Furniture is primarily designed to meet practical needs. Chairs provide seating, tables offer surfaces for dining or working, and beds facilitate sleep. Storage units, such as cabinets and drawers, help organize and store belongings. Furniture that combines multiple functions, like sofa bedsor ottomans with built-in storage, offers versatility and space optimization.2. Comfort:Comfort is a crucial aspect of furniture design. Seating furniture, like chairs and sofas, is ergonomically designed to provide support and minimize strain during prolonged use. Adjustable features, such as reclining mechanisms or lumbar support, enhance comfort levels.3. Durability:Furniture is subjected to daily use and wear and tear. Durable materials, such as solid wood, metal, or high-quality fabrics, ensure that furniture can withstand regular usage and maintain its structural integrity over an extended period.4. Style:Furniture plays a significant role in shaping theaesthetic appeal of a space. Different furniture styles, ranging from traditional to contemporary, cater to diverse preferences. The design, shape, and finish of furniture pieces contribute to the overall ambiance of a room.5. Material:A wide range of materials is used in furniture construction, each offering unique properties. Natural materials like wood, leather, and stone evoke a sense of warmth and organic beauty. Synthetic materials likeplastics and metals offer durability and contemporary aesthetics.6. Scale and Proportion:The size and scale of furniture pieces should complement the dimensions of the space they occupy. Oversized furniture can overwhelm a small room, while undersized pieces can appear insignificant in a large space. Proper scale and proportion ensure a balanced and harmonious arrangement.7. Color and Texture:The color and texture of furniture can create a particular atmosphere in a room. Neutral colors like white, black, or gray provide versatility and adaptability to various color schemes. Textured fabrics, such as velvet or linen, add visual interest and depth.8. Storage:In addition to providing practical functions, furniture can also incorporate storage solutions. Cabinets, drawers, and shelves offer concealed or open storage spaces, helping to organize and declutter a room.9. Customization:Furniture can be customized to suit individual preferences and specific requirements. Upholstery fabrics, wood finishes, and hardware can be selected to match existing decor or create a unique look. Custom-madefurniture allows for precise dimensions and tailored designs.10. Symbolism:Throughout history, certain furniture pieces have acquired symbolic meanings. The throne symbolizes authority, the dining table represents family gatherings, and the grandfather clock signifies the passage of time. These pieces transcend mere functionality and become evocative of cultural or historical significance.Conclusion:Furniture serves an essential role in both thepractical and aesthetic aspects of interior design. By combining functionality, comfort, durability, style, and customization, furniture enhances the usability, comfort, and visual appeal of our living and workspaces. It transforms spaces into functional, comfortable, and aesthetically pleasing environments that reflect our personal tastes and lifestyle.。
家具介绍翻译英文作文模板

家具介绍翻译英文作文模板英文回答:Furniture Description。
Furniture is an essential part of any home, providing comfort, functionality, and style. It can be made from a variety of materials, including wood, metal, fabric, and plastic. Furniture can be used in a variety of ways, from seating to storage to decoration.Types of Furniture。
There are many different types of furniture, including:Upholstered furniture: This type of furniture is covered in fabric or leather and is often used for seating. Examples of upholstered furniture include sofas, chairs, and ottomans.Wood furniture: This type of furniture is made from wood and is often used for tables, chairs, and beds.Metal furniture: This type of furniture is made from metal and is often used for outdoor furniture andindustrial furniture.Plastic furniture: This type of furniture is made from plastic and is often used for outdoor furniture andchildren's furniture.Furniture Styles。
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。
室内设计 外文翻译 外文文献 英文文献 自然 简约—对室内设计现象分析

室内设计外文翻译外文文献英文文献自然简约—对室内设计现象分析附件2:外文原文Natural simplicity - on interior design AnalysisAbstract:The natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself. create a poetic space.Keywords:minimalism; space; grade; interior design; feelingAncient times, Chinese wooden framework architecture of ancient India, the Orient, Europe, building caves in ancient Greece, ancient Rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into Europe in the early seventeenth century Baroque times and the mid-eighteenth century the Rococo era, began with the interior decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the separation, in the construction of the French court architecture and aristocratic mansion, the new occupation "decorative artisan" was born, the building's internal frequency continuous modification, fixed the main building, the replacement building, "clothing" the time has come. Baroque-style architecture ofthe interior design, one anti-Renaissance solemn, subtle, balanced, tend to exaggerate. luxury, in churches and palaces in the architecture, sculpture, painting into a whole, the pursuit of momentum with the ups and downs, but an attempt to cause the illusion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of a more intimateinterior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and soft pastel colors with flowers and birds, many shells as a theme, and the court order to meet the requirements of the exotic, much used in interior decoration. Chinese-style Baroque and Rococo-stylehand-made decoration reached perfection, referred to as "interior decoration". modern representatives of the great development of the industrial revolution, there has been a new type of concrete building,its interior decoration not only from the main building from the Medium, and developed into the main building and not attached to the sole partof the relative separation. Sports camp solved simply decorativebuilding components with a combination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all around the architecture reasonable space requirements Services. exclude decoration, emphasis on the use of functions and simplified shapes.Advocate the design of the natural style of natural space, aesthetic promoted the idea that "natural beauty" to the performance of relaxed, comfortable, natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings greening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order intoday's high-tech, high-paced social life, so that people can achieve physical and psychological balance.Simple does not mean easy, it is an attitude towards life. when weare in modern life, to bear too much pressure, we began to look for the feeling of freedom, graceful posture and extraordinary taste. we need to tend to a peaceful state of mind impetuous, So we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen vocational naturally simple style - interior design has become very popular direction.The spirit of simplicity is mainly derived from the origin to the early twentieth century Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designers in the mid 80s to lead thetrend of minimalism design. Europe and the United States at the time of economic downturn, the Art Gallery bosses began to display works of art space to find a way out, some reported costs factory floor layout easyto become art exhibition hall, the purpose of funding is based on atleast make the best display space, while the results of doing so is tosimplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same type of aesthetic simplicity.art at this time it started with the interior coincide with the design and gradually began to slip to the present minimalism became the style of interior design and pursue careers.Return to nature of minimalism are human-specific labor. its purpose is to concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitable trend of human development.Natural, simple interior design to create a poetic space. We know that the "poem"The Art of the characteristics is to use very simple vocabulary, according to certain rules of composition, form a "poem" of such a language, its between the lines contains a great deal of space, a static implicit in the design space. people's ideological feelings, life, longing for injection into the environment through the "mood" to reproduce the three-dimensional space, in reality, it means its habitat, then forgotten by his body, which is a spiritual experience beyond the physical experience, "mood" of creation, it is by creating an atmosphere to achieve a certain spiritual significance embodied the "affinity".In fact, the interior design is minimalism such a "poetic" to create a space with minimalist objects. have to imagine the use of display space,this space is actually a vice-space, has generated various combinations of furniture, deputy space, it often gives a visual "empty" feeling, while "empty" like poetry generated by the "mood", a great mobilization of the person in which emotions, ability to inspire people association. Simple interior design aesthetic to emphasize the form. If Say, the general design of the interior furniture, such as sofas, tables andother items referred to as the main object, then minimalism interior design is there is no such distinction. Minimalism in interior design consider any part of space will share the same important role, including the walls, ground, and so on top of all the objects in space. coordination portfolio has a strong aesthetic form, which is mainly embodied in point Line, surface, the three elements of the performance space. China for thousands of culture, how much precipitation Heng Bank works, especially the Han Chinese are building a more beautiful set of Aura essence to "simple, solid, precise, elegant" as the principles unique to Oriental aesthetic ideas, independent and vigorous temperament, concise vague distant charm of simplicity, the world should ring. it has also affected the international building design concepts, but alsoaffect the interior design aesthetic.Design is able to express the language as little as possible as much information as possible, depends on its design will be many manifestations of the combined elements of science, in which the choice and use of color plays a very crucial role. We know colors are different wavelengths Light reflection and absorption of the result of the spread of light faster than the spread of graphiclanguage faster, which makes it the first time people feel, so the first sense of space is the color, and different colors can cause differentand feelings of psychological reflect. Natural, simple interior design, black and white and color materials are representative of its color, is often used in color, these colors were not inclined to think most arethe colors of the visual interference of the smallest person:Interior design at the same time alsoemphasized the use of light, often through access to natural light source, such asskylights, which create a pastel color space of one whole plays avery important role, but also embodies the minimalism advocated by the simple but not simple Style.The performance of every means to live for the purpose of, for each partial emphasized its functionality and comfort: In fact, such a full expression of functionaldesign embodies the basic aesthetic principle, is also very easy to understand, any design Service is based on man-made object, person inthe consumer design, are the most important consumer of its practical function: so, when we see a seemingly hardseat, do not immediately judge it is bound to bring you the feelingof cold, go get the moment, perhaps it is that it backs the arc Road inadvertently bring you down just to experience the benefits of comfort.It should be said that natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself.Concise understanding of the person to person, because of people's age, knowledge, quality of life, different backgrounds, and the taste will be different requirements. social development, the progress of the times, new thinking, new structure, the emergence of new materials will have to adapt to this new concept of decoration, new forms, new space. decorative simplicity of this modern form of expression has depth affect the building products, industrial products, in many fields such asLiving Products. several pipe, a timber, a reactor cloth can make different forms of modern furniture. it has quietly let people's way of life and ideas have been a qualitative change. think concise designstyle is bound to outshine others, to become people's lives, the pursuit of 21st century fashion.A concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs, this is also the international community today. popular design style and modern fast-paced, high-frequency, full load, has no people to Reusable: point increase in the acceptance of people in this increasingly busy life, a desire to be able to completely relax, simple and pure spirit to regulate the conversion of space, which is dominated in the complementary sense, arising from trying to shake off cumbersome, complicated, easy and natural to pursue the psychological. hostels inIndonesia Bali Series design, inspired by Bali's folk style, but in space architecture and dynamic line arrangements are designed to extend the spirit of simplicity: performance in the Materials the emergence of the local natural original timber, straw and stone: designers of these natural elements of folk withaccurate and concise detail to deal with in order to strengthen the theme will also bepart of decorative simplistic, presented by the space can be said modern Balinese style.Taking a panoramic view of the world's architectural design, whether they are German Master • Mies van der Rohe, or the United States • Richard Meyer, Tadao Ando of Japan, Chinese-American IM Pei, they are the most pure form, with a very ordinary materials, use of the most concise way, showing great depth of meaning and noble qualities: space a piece of their work is full of spirituality has infinite vitality, and their design idea in today's era of shock: also led the development trend of thetimes.附件1:外文资料翻译译文自然简约—对室内设计现象分析摘要:自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:营造的是一种诗意的空间:关键词: 简约;空间;品位;室内设计;感觉远古时期,中国的木构架建筑,东方古印度的石窟建筑,欧洲古希腊,古罗马然而十七世纪初欧的石砌建筑等等装饰与构件紧密结合,与建筑主体溶为一体: 洲巴洛克时代和十八世纪中叶的洛可可时代,开始了室内装饰与建筑主体的分离,外部的建筑主体与内部的装修在使用年限上不匹配,因而导致建筑主体与室内装饰的分离,在营造法国宫廷建筑和贵族宅邸时,新的职业“装饰工匠”诞生了,对建筑物的内部频繁不断地进行改装,不动建筑主体,更换建筑“服装”的时期已经到来:巴洛克式建筑的室内设计,一反文艺复兴时期的严肃,含蓄,平衡,倾向于豪华,浮夸:在教堂及宫殿中把建筑,雕塑,绘画结合成一个整体,追求动势与起伏,企图造成幻象:而洛可可式建筑室内则是皇宫贵族为了得到舒适的,私密的室内而追求优雅的更为亲切的室内装饰效果:具有纤细,轻巧,华丽和繁琐的装饰性;喜用C形,S形或漩涡形的曲线和轻淡柔和的色彩,多以花鸟,贝壳为题材,并为适应宫廷的异国情趣要求,在室内采用了许多中国式装饰:巴洛克和洛可可式的手工制作达到了装饰的极致,被称为“室内装饰”的代表:近代工业革命的大发展,出现了新型的混凝土建筑,它不仅使室内装饰从建筑主体中脱离,而且发展成为不依附于建筑主体而相对独力的部分:分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾,成为现代主义设计的先驱:包豪斯学派强调功能决定形式,认为空间是建筑的主角,提倡抛弃表面虚假的装饰,一切围绕着架构合理的空间服务:要求排除装饰,强调使用功能以及造型的简单化:自然风格倡导设计自然空间,美学上推崇“自然美”, 力求表现悠闲,舒畅,自然的田园生活情趣,也常运用天然木,石,藤,竹等材质质朴的纹理:巧于设置室内绿化,创造自然,简朴,清新淡雅的氛围:只有崇尚自然,结合自然,才能在当今高科技,高节奏的社会生活中,使人们能取得生理和心理的平衡:简约不等于简单,它是一种生活态度:当我们在现代生活中,承受太多的压力,我们开始渴望拥有自由的感觉,优雅的姿态和不凡的品位:我们需要让浮躁的心境趋向平和,于是我们呼唤简约:从大的建筑空间到普通的居住空间,从职业设计师到普通公民,自然简约风格——开始成为室内设计界非常流行的方向: 简约的精神起源主要源自于二十世纪初期的西方现代主义:英国JOHNPawson与法国的ClaudioSilverstein两位室内设计师在80年代中期引领了简约主义的设计潮流:当时欧美的经济不景气,艺廊老板们开始在艺术品的展示空间上找出路,一些报费的工厂车间简单布置,成为艺术展厅,目的是以最少的经费作出最好的展示空间,而这么做的结果就是简化空间,不装饰多余的东西,实际上,这也反映了一种新审美的出现:从设计居家引入到艺廊的设计,使得展示空间与艺术品呈现出同一种美学特征:简约艺术也就在这个时候开始与室内设计相吻合,并逐渐开始流行起来,到现在简约主义成了室内设计追崇的风格:回归自然的简约主义是人类特有的劳动成果:其目的是以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求:从某种意义上说,简约主义的盛行是人类发展的必然趋势:自然,简约的室内设计营造的是一种诗意的空间:我们知道,“诗”的艺术特点就是用极其简洁的语汇,按照一定的规则组合,形成“诗”这样一种语言,其字里行间包含了极大的空间,一种隐含的静态的空间:在设计中把人的思想情感,人生的向往注入到环境中去,通过“意境”将其立体,空间地再现于现实中,使人入其境,则忘乎其身,这是一种超乎物质感受的精神感受, “意境”的创造,正是通过气氛的营造来达到体现某种精神意义上的“亲和力”:实际上,简约主义室内设计就是这样一种“诗意”空间的营造:用极简的物体摆设产生想象使用空间,这个空间实际上是一种副空间,有各个家具组合产生的副空间,它往往给人视觉上“空”的感觉,而“空”犹如诗所产生的“意境”,极大调动着身处其中的人的情绪,激发人的联想能力:简约室内设计强调形式美感:如果说,一般的室内设计把家具,诸如沙发,桌子等物品称为主体物的话,那么简约主义室内设计是不存在这样的区分的:简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用,包括墙面,地面,顶面等:空间中所有物体的协调组合具有很强的形式美感,这主要体现在点,线,面三个空间元素的表现上:中国几千年的文化,沉淀出多少恒世佳作,特别是中国汉代建筑更是集精华美妙之灵气,以“简单,厚实,精准,雅致”为原则,将东方特有的审美观念,独立浑厚的气质,凝练渺远的简约神韵,响绝于世:它至今还影响着国际建筑的设计理念,也影响着室内设计的美感: 设计之所以能以尽量少的语言表达尽量多的信息,有赖于其将诸多设计表现形式要素科学的融合在一起,其中色彩的选择和使用起了十分关键的作用:我们知道色彩是不同波长的光反射和吸收的结果,光的传播速度比图形文字的传播速度快,这使得它让人在第一时间感受到,所以对空间最先感受到的就是色彩,而不同色彩可以引起人们不同的心理反映和感受:在自然,简约的室内设计中,黑色和白色以及材料的本色是它的代表色,也是常常使用的颜色,这些颜色被认为是最没有倾向的颜色,对人的视觉干扰最小:同时室内设计也强调对光的使用,往往通过天窗等获取自然光源,这对塑造一种轻淡整一的色彩空间起着相当重要的作用,也体现了简约主义所宣扬的简洁但不简单的风格:每一个表现手段都以居住为目的,对每一个局部都强调其功能性和舒适性:实际上,这种对功能的充分表述体现了设计的基本美学原理,也是很容易理解的,任何设计都是以人为服务对象的,人在消费设计的时候,最主要是消费它的实用功能:所以,当我们看到一张看似坚硬的座椅,不要马上判断它必然带给你冰冷的感觉,坐上去的一刹那,也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适体验: 应该说,自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:对简洁的理解因人而异,由于人们的年龄,见识,素养,生活背景的不同,所产生的品味要求也就不同:社会的发展,时代的进步,新思维,新结构,新材料的出现必定会产生与此适应的装饰新概念,新形式,新空间:简洁这一现代的装饰表现形式已经深入影响到建筑产品,工业产品,生活产品等诸多领域:几根钢管,一个木桩,一个布堆就能做出不同形式的现代家具:它已悄然让人们的生活方式和思想观念产生质的变化:有人认为简洁的设计风格必然会一枝独秀,成为21世纪人们生活追求的时尚: 以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求,这也是当今国际社会流行的设计风格:而现代人快节奏,高频率,满负荷,已让人到了无可复加的接受地步:人们在这日趋繁忙的生活中,渴望得到一种能彻底放松,以简洁和纯净来调节转换精神的空间,这是人们在互补意识支配下,所产生的亟欲摆脱繁琐,复杂,追求简单和自然的心理:在印尼巴里岛旅馆系列设计中,灵感来自巴里岛上的民俗风格,但在空间架构及动线安排上是延伸简约设计的精神:在材料表现上,出现了自然原始的当地原木,草席及石板:设计师将这些具有自然民俗的元素用精确及简洁的细部来处理以加强主题,同时也将装饰的部分简单化,所呈现的空间可以说是现代巴里岛风格:纵观世界建筑设计大师们无论是德国密斯•凡德罗,还是美国的理查德•迈耶,日本的安藤忠雄,美籍华人贝聿铭,他们都以最纯净的形式,用相当普通的材料,使用最精简的手法,表现出非常深度的内涵和崇高的空间气质:他们一件件充满灵性的作品有着无穷的生命力,他们的设计思想震撼着当今时代:也引领着时代潮流的发展:。
室内与家具设计 外文翻译 外文文献 英文文献 中英对照 室内设计风格

室内与家具设计外文翻译外文文献英文文献中英对照室内设计风格XXX features classic furniture and ornate details。
XXX。
XXX.XXX what style you choose。
it'XXX in your design。
This means taking a deeper look at the shapes。
colors。
XXX.When choosing a style。
consider your personal taste and the n of the space。
A XXX living room。
while a simple and nal style may be better for a home office.In the end。
the key to XXX it's classical。
simple。
or exquisite。
your XXX of your unique style and taste.XXX journey。
XXX。
you'll start to develop a sense of your preferences and what doesn't appeal to you。
This process will also give you a better understanding of the design process and the vast array of XXX.Be bold and try out different colors and materials to decorate each room according to its intended purpose。
Maximizing natural light is always a great idea。
家具风格论述英文作文

家具风格论述英文作文英文:Furniture style is an important aspect of interior design. It reflects the owner's taste and personality, and can greatly affect the overall atmosphere of a space. In this essay, I will discuss several popular furniture styles and their characteristics.Firstly, there is the traditional style, which is often associated with classic European designs. This style features ornate details, such as carved wood and intricate patterns, and is often made with high-quality materials. Traditional furniture tends to be more formal and elegant, and is often used in formal living rooms or dining rooms.Secondly, there is the modern style, which is characterized by clean lines and simplicity. This style often uses materials such as metal, glass, and leather, and emphasizes functionality and practicality. Modern furnitureis often used in contemporary spaces, such as apartments or offices.Thirdly, there is the rustic style, which is inspired by nature and the outdoors. This style often uses natural materials such as wood and stone, and features a cozy and warm atmosphere. Rustic furniture is often used in cabins or vacation homes.Lastly, there is the eclectic style, which is a mix of different styles and periods. This style allows for creativity and personal expression, and often features bold colors and unusual combinations. Eclectic furniture is often used in artistic or bohemian spaces.In my personal experience, I prefer the modern style. I like the simplicity and functionality of modern furniture, and I find it easy to incorporate into different spaces. However, I also appreciate the warmth and coziness ofrustic furniture, and I think it can add a lot of character to a space.中文:家具风格是室内设计的重要方面。
英语家具设计作文模板

英语家具设计作文模板英文回答:Furniture design plays a crucial role in creating the aesthetics, functionality, and comfort of our living spaces. English furniture design has a rich history and distinctive aesthetic qualities that set it apart from other design styles.History of English Furniture Design:Medieval Period (c. 5th-15th century): Furniture was primarily utilitarian, made of heavy woods with simple carvings.Tudor Period (1485-1603): The influence of the Renaissance brought ornate designs and intricate carving.Jacobean Period (1603-1625): Furniture became more elaborate, with elaborate turned legs, scrolled arms, andcarved motifs.Restoration Period (1660-1688): Furniture becamelighter and more comfortable, with upholstered chairs and sofas becoming popular.Georgian Period (1714-1830): Furniture featured clean lines, elegant curves, and intricate marquetry.Regency Period (1811-1820): Furniture became more delicate and feminine, with graceful curves and floral motifs.Victorian Period (1837-1901): Furniture was characterized by elaborate carvings, rich fabrics, andheavy ornamentation.Edwardian Period (1901-1910): Furniture became more streamlined and simple, with a focus on comfort and functionality.Distinctive Characteristics of English Furniture Design:Traditional Craftsmanship: English furniture is renowned for its exquisite craftsmanship, with meticulous attention to detail.Use of Fine Materials: High-quality woods such as mahogany, oak, and walnut are commonly used, along with luxurious fabrics like velvet and silk.Ornate Carving: English furniture often features intricate carvings that add depth and character to the pieces.Upholstered Comfort: Many English sofas and chairs are upholstered with soft fabrics, providing a comfortable and inviting seating experience.Elegant Curves: English furniture often incorporates graceful curves that add a touch of sophistication and charm.Contemporary English Furniture Design:Contemporary English furniture design draws inspiration from the past while incorporating modern aesthetics and materials. It combines traditional craftsmanship with innovative design, resulting in furniture that is both stylish and functional.中文回答:家具设计对于创造我们生活空间的美学、功能和舒适度至关重要。
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家具设计中英文对照外文翻译文献(文档含英文原文和中文翻译)原文:Researches and Development of InteractiveEducational Toys for ChildrenAbstract: For Oriented by the teaching philosophy "game based learning", this paper carried out an in-depth research on the interactive mode of children's educational toys. In the research process, it attempted to build a new immersed educational-game scenario for children by using the new interactive technology so as to inspire the children's interest in learning and exploration. The research object in this paper was an interactive educational toy-"funny tap" English learning machine for children. After integrating the design concept of this product from an industrial designperspective, we selected specific interactive technology and completed the engineering. Moreover, we have conducted tests of work principles and effect of usage based on the sample machine. The final result indicated that there is a promising and huge market potential to apply the new interactive technology to development of educational toys.Keywords: Interactive Educational Toys, Interactive Design, interactive mode1.INTRODUCTIONSince 1980s, human beings including the children have entered a digital age. Under the influence of the advanced information, early stage education machines, electronic building blocks, electronic wall charts, and other new toys have become children's new favorites. With the influence of the west teaching philosophy-"game based learning", parents are strongly agreed with such toys for children. These modern educational toys will become the mainstream of toy development due to their promotion of children's learning, practical ability, creativity and imagination.Interaction exists in all things contacted by humans, and interactive design emerged to design a kind of communication and dialogue between human and objects to minimize the "cognitive conflict". As a new design theory, interactive design has a wide range of applications in designing educational toys.2. THE PLAN AND BENEFITS OF THE INTERACTIVE MODE OFCHILDREN 'S TOYSThe rise of various digital technologies, such as voice recognition, 3D video, and virtual reality technology etc., gives new experience to people's perception. The author aimed to apply these new digital technologies to the researches of interactive educational toys design.The plan of the interactive mode of children's educational toys:2.1. Voice InteractionVoice interaction voice includes touch voice interaction, voice command interaction and intelligent voice interaction. Touch voice interaction and voice command interaction have been very common, such as electronic wall charts, televox;intelligent voice interaction is the author's aim to create a genuine dialogue between children and simulation toys through digital technology, to foster children's language ability, particularly in a family with only one child, the children need a "partner" to accompany them to learn and play with.2.2. Video InteractionVideo interaction can be divided into 2D image interaction and 3D video interaction. The former has been broadly used in toys, such as in multimedia courseware, image or video of horse will appear when referring to "horse"; 3D video interaction is the author's aim to apply 3D projection technology in the "play" process, for instance, when referring to a green grassland, a grassland projection will appear so that children feel like being on the grassland, which enhances children's learning experience; meanwhile, this enhanced emotional experience will prolong the memory retention time or even extend to a ultra- long-term memory.2.3. Narrative InteractionNarrative interaction is to conceive a story for the toy and offer a task role for children to make them participate in the story. The steps are shown in Figure 1:Fig. 1. The steps of narrative interactionBased on children's curiosity and imitation psychology as well as the investigation of the games, the author found the correct application of story interaction in educational toys can greatly mobilize children's learning enthusiasm, for example, we conceive an English learning process as treasure hunt activity. In this activity, the words are hidden in the treasure box, and children themselves are explorers, if they put one or a few words together, they will get a treasure box, and they can also make a competition with peers to get the treasure boxes. Through establishment of game theme, selection of roles, and plot development in the activities, children not only increase their knowledge of English, also learn how to get along with peers and develop good self-awareness.2.4. Web Virtual Reality InteractionWeb virtual reality interaction is virtual imaging through network connections, making you feel like your partners sitting, playing and learning with you, to deliberatethe loneliness in the contemporary families, and promote children's learning initiative in the competitive context.Psychological research shows that with respect to the learners, the learning behavior resulting in emotional pleasure experience will produce a positive emotional resonance, thereby enhancing the learners' learning initiative and enthusiasm. The realistic educational-game scenario created by interactive educational toys for children not only brings emotional pleasure experience to children so that learning is no longer boring for them with a purpose of mobilizing the enthusiasm of study and developing creative thinking, but also enhances children's social communication ability to help children establish good social character favorable for their life.3. DEVELOPMENT OF INTERACTIVE EDUCATIONAL TOY—"FUNNYTAP"Parents are head-ached on children's learning English, so we focus on developing an interactive English learning toy to help the children remembering words in game scenario and stimulate their interests in learning English, and training children's hand operation and brain coordination.The development practice procedure of interactive toy for children-"funny tap" is shown in Figure 2 as following:Fig. 2. The development practice procedure of "funny tap"3.1. The development process of interactive concept of interactive educational toy-"funny tap"It is the development process of "funny tap" interactive concept. After investigating the object group of children and parents about their needs of English learning machine, we summarized six key indicators such as security, fun and incentive. Here we mainly describe three models of interactions shaded in Figure 3.To meet the requirement of fun, the author designed a narrative interactive process, as is shown in Figure 3:Fig. 3. The narrative interactive process of "funny tap"The word learning process is conceived as a game of whack-a-mole, imagining there are N mole holes, and there are M letters in a word (i.e. M moles with a letter). If you tap down M jumping moles in accordance with the order, you will get the cheers, if the tap is not correct, it will continue to call "come on"; meanwhile, the action of "tap" is not only funny, but also effective to train children's hands and brain coordination.Voice interaction was prepared by the microcontroller program to control the voice modules. There are two features regarding the "funny pat": one is word pronunciation; the other is the design of the applause and cheering voices for reward and punishment, which help to reach the goal of incentive.In the first stage, video interaction was prepared by displaying the letters on buttons through LED dot matrix character display modules mainly controlled by microcontroller; in the second stage, we provided toy with 3D projector for projecting the whole process in the air to construct a 3D emotional scenario, and the action of "tap" is to tap the projections in the air.3.2. Principle diagram of interactive educational toy for children-"funny tap" The operation principle of "funny tap" is shown in Figure 4:Fig. 4. The operation principle of "funny tap"The system consists of six components, such as voice module, LED indicator, action back module, MCU, power module and LED dot matrix character display module. Among these, the three formers are connected with MCU through 8-bit data bus; LED dot matrix character display module is connected with the microcontroller through the 12C bus. Voice module stores English word pronunciation documents needed in the game, and MCU pronounces the word by controlling the voice module via the bus. LED dot matrix character display module consists of driver chips and the 8*8 LED matrix. MCU bus control LED dot matrix character display module via I2C to show the corresponding English letters. Action back module tests and captures the player's actions during the game for the MCU to judge whether the player conducts normal actions to control the game process.3.3. Appearance design process of interactive educational toy-"funny tap"The following Figure 5 is a design process from sketch, modelling, model-making to the final product and the drawing of the product structure explosion.Fig. 5. Appearance design process of "funny tap"3.4. Interaction testSample of N (N is an odd number) preschool children was randomly selected to test the product's availability, usability and user's willingness of using it. Mainly onsite testing observation and questionnaire survey, and then we improve the product according to the test results.Testing times are equal to or more than I so as to find the products with highest interaction. In the product final trial, most of parents fed back that this toy combined fun and knowledge well and the whole learning process was very smooth and the children were very happy when "learning".4. SUMMARY AND PROSPECTChina is a large country of toy manufacturing, but it still remains in the stage of imitating foreign design, especially in educational toy design. The research and practice of interactive educational toys in this study is expected to give some thought and inspiration to toy designers so as to further promote the development of Chinese toy industry.REFERENCES[I] Liu Zaihua, Children's Social Intelligence, Anhui People's Publishing House, 2008.[2] KARL T. ULRICH, STEVEN D. EPPINGER, Product Design and Developmen,Higher Education Press, 2005.[3] (U.S.) Robert J. stembeg, Translated by Yang Bingjun, Chen Yan, Chow Zhiling,Cognitive Psychology, Beijing: China Light Industry Press, 2006.[4] Zhang Zhcnzhong, Li Yanjun, Classification Research of Educational Toys,Textiles and Design, December 2008 Vol. 12.[5] Li Qiaodan, Xia Hongwen, On the Function of Digitized Bran-training Toys inElementary Education, China Education Informationalization Issuing Department.[6] Song Jun, Researches on Design Principles of Children's Educational Toys,[Online]. Available: [7] Liu Mingliang, " The Principle Production and Purchasing of Electronic Toys", New Era Press, 1992.Toy development and design based on the needs of olderpersonsAbstract:In china, aging and the life-quality of older persons has become today’s important issues of social concern, and how to solve this problem thus turns to be an important challenge in the design and development of supplies for the old. Now, the ensuing ways to solve varied. For instance, the design community has put emphasis on the design and development of the supplies for the old, but a large part of these de signs were for medical care and medical products of the senior person. The designsfor the vast majority of the healthy people in their senior age are rarely involved. In this, I think, for the function of toys, the emphasis on the development of physical and mental health of older persons is the key, so to rethink the development of toys for the old persons in china is one of the ways.Keywords: Toys for the old, Needs design, humane careMentions of the toys, we always unconsciously think of the innocent children, as if toys are just child’s belongings. With the improvement of living standards, emphasis on the toys is constantly improved. To meet the needs of children, various designs are brought out, and then from luxury goods, toys have gradually become the child’s necessities. However, the authorities of the china toy association state that the toy is no longer the children’s only product: toy concept has been extended and functional and practical range of modern toy has been further expanded. Toys not only inspire children, but also become the recreation products for the seniors. The old also need toys that could meet their spiritual needs and enrich their life in later years.1.Status of the development and design of toys for the seniorsIn china, toy for the old is still an industry to be developed. Senior people, as customers, they have needs and also purchasing power, but no targeted toys for them. There are as much as 130 million seniors in china who would be a huge consumer group, but the research and development of toys for old consumers has lagged behind developed country for more than 30 years.In America, the toys designed for the senior amount to 40% of the toy market. The toy market for old persons is more mature. They have many toy stores for the seniors throughout the urban and rural areas. Also our neighbor Japan does well in the development of toys for the old persons, and most toy companies have produced toys for seniors, and continued to introduce new products.2.The meaning of the development of toys for the seniorsRetiring from work, the senior people get more time than before. Besides watching TV at home, they have no many alternative entertainments. Some old people have been for a long period in loneliness. Over time, they are prone todepression, anxiety disorder and Alzheimer’s, seriously affecting their physical and mental health and become burden to children and society.Li guangqing in department of rehabilitation of Beijing Xuanwu Hospital once said: “with age increasing, the function of the body of the seniors gradually degraded, and their reaction will be clumsier. At the same time, retirement from work, the opportunity for the old to use their brain reduces, which further brings the decline of attention and cognitive ability. Except to maintain good habits and moderate exercise, to slow down brain aging, putting hands and brain in work at the same time is the most effective way, which is exactly the function of toys. for people with Alzheimer’s, playing with toys, to some extent, would alleviate the condition.Therefore, toys can develop people’s thinking ability, and improve our intelligence. If the seniors play with toys constantly, the aging of the brain and the Alzheimer’s would be effectively prevented. Medical experts found that to maintain old people’s intelligence, we must first fully protect the brain. In addition to proper nutrition and adequate sleep, the seniors should make most of the brain. Just as Chinese saying tells that”water does not rot, and the door hinge is never worm-eaten “, the more one use his brain, the more sensitive it becomes. Playing with toys is exactly a good way to use the brain. With toys, the old people not only receive more information, at the same time become more optimistic than before, thereby enhancing their immune system function.3.The needs-analysis of toys for the oldWhat is a needs analysis? This approach is to focus on the users’ needs. Users’needs are sources of many new products.What is the demand-design? it is the most front-end process for new product in its life cycle, and decides the success or failure of the new products. Needs-design starts from the businesses and designers’judgment of the market or the needs of users, and ends at planning proposals or technical specifications on description of the product development. Understand the market or user demand is a high-level investment for the success of the product.The development and design of toys for old persons should start from the needs ofthe seniors. Only a real understanding of the old consumers and their psychological and physiological needs can bring toys that give practical cares for the seniors physically and spiritually.Toys for the old should bring human care. Toy design process should be integrated into this concept. The aim of the toy design for the old is enhanced, with seniors-centered design principles, and with the help of analysis on the seniors’physiological psychological characteristics, cultural level and lifestyle. The toy design principle that shows humane care for the seniors is reflected at the same time.(1)Safety firstTo varying degrees, the judgment, cognitive ability and ability to respond of the old people weaken, thus in the process of using the product, they inevitably make mistakes. In case a threat to physical and mental health occurs, they usually are unable to escape the danger. Therefore, toys for the seniors should be fault-tolerant. So that, the old people even make a mistake, there will be no danger. Here the reduction of operation process and the set of message for safe operation is an effective way to ensure the safety of the seniors with toys.(2)Moderate difficultThe design of toys for the old should be of moderate difficulty, and the purpose is to arouse their interest in playing. If too simple, it would not enhance the interest of the seniors and thus would not achieve the aim of exercising the brain; if too difficult, it would be strenuous for them to learn, and consequently cause a sense of failure which is not conducive to their mental health.(3)Easy to identifyThe toy should have a familiar form and an understandable functional theory for the old. It should also be equipped with an interface in keeping with the experience and habits of the seniors. Besides, the toys that need interface design, should take into account the graphic symbols, size, color, clarity of sound, light intensity.(4)Facilitate communicationPeople’s feelings need to vent and exchange, especially for the seniors. For them, emotional communication is indispensable to maintain their vitality, andimprove the quality of life. Playing with toys, there are many ways for the old to choose, such as: taking turns to participate, working together and racing in the game. The development of multiple-persons playing toys is to create a harmonious environment in which they can talk when play. So the core of toy-development is to involve the participants as much as possible. For the participating ways, common collaborative participatory approach is the best, which is more conducive to conversation, and get to know some new friends. In this way the seniors can expand their social circle with emotional exchange.(5)The effect for keeping fitness and developing intelligenceIncreasing with age, people’s organ recession becomes an objective physiological phenomenon. In order to maintain good physical function and mental state, and improve the quality of life, fitness puzzle is a very important content in the lives of older persons. Body-building that can achieve with playing toys is the most basic needs of older persons. Old people by playing intellectual toys can effectively prevent Alzheimer’s disease, so to maintain the flexibility of the seniors’mind is the main direction of the toy development.(6)Cultural connotationsLife experiences bring the old people with more comprehensive concept of life, thus toys with a certain ideological and cultural depth usually put them in recollecting and thinking of issues. Toys for the seniors are different from those for children: a child plays a toy intuitively, while the old emphasize the toy’s inherent fun, and show great interest in the toys with cultural connotations. Of course, this culture must be familiar with the elderly, has gone deep into the ideological deep.Summing up, toys for the seniors have a promising market, for each one of us would inevitably become old. The design industry should make more efforts to improve the living standard of the seniors. One way is to develop toys for the old and help them improve their life quality with theses design. We all know, care for the old is to care for all mankind, and designing from the needs of the old has become an urgent task of today’s society.References:[1]Yang Guanghui. China’s Population Aging and the Industrial Structure [m].Liaoning Science and Technology Press, 2008.7.[2] Wang Lianhai. Chinese Toys, Art History [m], Hunan Fine Arts Publishing House, 2006.8.[3] Wang court. Toys And Innovative Design [m], Chemical Industry Press, 2005.12.儿童家具的人性化设计摘要:本文以儿童家具设计问题为出发点,提出人性化的概念在新的时代环境下的新解释,并指出新的人性化设计原则在儿童家具的设计方法中的实现,分析儿童家具的现状,并提出一些建议。