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TalkingaboutthesymbolsintheenvironmentoftheuseofArtandDesignAbstract:Theinheritanceandinnovationovertheyearstherelationshipbetweenartanddesignenvironmenthasbeenthefocusofattention.Thisarticlehopesforthedesignofsymbolsusedtoexploretheculture,aboutthemysteriesofinheritanceandinnovationofthetraceofsentiment.Keywords:deformationgrammarseparatistsymbolsconstituteInheritanceandinnovationovertheyearstherelationshipbetweenartanddesignenvironmenthasbeenthefocusofattention.Infact,fromthelinguisticpointofview,thiscontradictionisthelanguageofstabilityandvariationbetweenthecontradiction.Asadesignerintheformofdesignsuccessesandfailuresofthesuccessorfailuredependsonthemaster,"theterm"therichandtheuseof"grammar"ofproficiency.Designerstomaketheirworksbyotherscantrulyunderstand,wemustchoosetheappropriate"word"andmustcomplywiththe"grammar."Thisdoesnotmeanthatdesignerscanonlyfollowthebeatentrack,nopersonalcontribution.Designersskillfullyusethenewindividualsymbols,oraconsciouschangeininter-symbolcombinationofanumberofconventionalrelations,createnewworksofmoving,whichisdesigninnovation.Compositionhasa"specific"componentapproach,thatseemstobeveryplaininthecompositionofthesuddenappearanceofa"heterogeneous"elements,makingtheprogramitselfisveryplaintoachieveunexpectedresults,withasenseofinnovationofnewsymbolslikethis"heterogeneous."Inpeople'saccustomedtothingsdifficulttoarouseenoughattentionandinterestincase,somecommonsymbolsdeformation,splitting,orthepreparationofthecodetochangetheorder,youcanplayacompelling,thought-provoking,thestrengtheningofenvironmentalmessaginglanguagerole.UnitedStatesrenownedarchitectCharlesMooredesignedthecityofOrleans,"ItalianPiazza"isboldindesignelementstakenfromavarietyofclassicalsymbols,andsymbolicmeanstoreproducethem.TheentiresquaretoacircularplaneBaroqueforthecompositiontothegradualproliferationofblack-and-whiteconcentriccirclesandtothesurroundingpavementsurfacetoextendoutuntilthethreesidesofthestreetentrance.ClassicalRomancolumn,afteraface-lifttothefaceofnewshows,suchastheCorinthiancolumnisusedinstainlesssteelcolumn,canopieswallcarvedwiththeLatinof"thisfountainforthepublictoallthepeoplewhoofferthegifts"ofthemessage;DoriccolumnontheFlowingDowngurgle,roundcoupononthemolarsmilingportrait,waterisconstantlyspitfromhismouth...hereisnotonlyfullofbrightrichatmosphereofamoderncommercial,butalsoastrongattachmenttolocalnfeelings.MapsandItalianApenninePeninsula,SicilyandSardinia'splan;ancientRome,thefive-column,thedeformationMotifcombinationsandtheArcdeTriomphe;circularporticoWaiKwongHop.Infact,youareimmediatelyawarethatitisamockeryofclassicalMarxism.Thisisajoyous,almostclassicaltraditionarehystericalembracepleased.Today,avarietyofsidebox-stylebuildingwasconsideredaloofinthehistoricandlocalaboveonlyhasthetechnologyandasmallnumberoffunctionalsemanticsemantics,thereisnoroomforthinkingaftertaste,theenvironmenthasledtoapathyandboringcriticism.Thisuseofinformationtheorytoexplaintheprinciplethateffectiveenvironmentalinformationcontainedinthesymbolsystemtoo.Inviewofthis,post-modernarchitectsVenturiloudlycalledfor:"buildingarichcontent,whilebuildingtoincludeotheraspectsofthemulti-dimensionalart,evenincludingthelanguage,sothatitisnolongerameretoolforthespace."Itadvocatesenvironmentalcomplexityandcontradictorynatureofmodernismpromotedbysubstitutesimplicity;tosemanticambiguityandtensioninplaceofstraightforward;tothemultiplicityofsemanticoppositiontooneortheotherofopportunism;shouldbemixedataglanceratherthanunity.Sterndesignedthe"best"productshowroomareatypicalexample,itadoptedlegislationfacesmanyofthetraditionalsymbolsandconstituteaform,liketheancientGreekpantheonofelevation,thussuggestinghewastryingtoconveythemepurposive:thatis,thebuildingasa"templeofconsumerism,"thecommercializationofsocietyreflectthevaluesofpeopleandcommercialactivitiesofdailylifetoday,theimportanceof.Butthewaymetaphorsarecomplex,multiple,withoutseriousthought,itisdifficulttounderstandimmediatelyapparentfromitsrealsignificance.Thisdesignworks,forexample,notonlythedepthoftheboxthinkingismorethansimplythepursuitlikeasailingboatorabirdofpreysuchasthesymbolismofamoreintriguing,morephilosophical.Theenvironmentasasymbolicphenomenon,inordertoaddressthelong-standingproblemforthedesignersoftheinheritanceandinnovationoftheparadoxicalproblemofprovidingaeffectiveway.Designlanguageasthelanguageofsymbols,arerootedinpastexperiencewiththerapiddevelopmentofthesocietyislinkedtothenewfeatures,newmaterials,newtechnologyandcallsonnewideas.Ontheonehand,asifitweresogenerallanguagelanguagechangesslowly,ontheotherhand,withtherapiddevelopmentofsociety.Howtomaketheenvironmentnotonlyofhistoricalcontinuity,butalsotoadapttothenewrequirementsofthetimes?Withtheadvanceofscienceandtechnologyprogressandfrequentculturalexchanges,"vocabulary"and"grammar"inthedevelopingtrendofconvergence,butanationbecauseofnaturalconditions,economicandtechnological,socio-culturalpracticesofthedifferentenvironmentAssociationhasanumberofuniquesymbolsandarrangement.Spokenlikethedialect,likethedesignerscleverlyinjectthiskindof"accent"canenhancetheenvironmentforasenseofhistoryandlocalflavor,andnenhancetheinfluenceoflanguageenvironment.ModernJapaneseArchitectureMasterKenzoTangedesignedKagawahallisa"newformofthetraditionalsemantic"model.Althoughthebuildingareusedbyordinaryreinforcedconcreteframestructure,buttheexternalformoftreatmentistheuseofLuMingChuanhead,beamtoptraditionalsymbols,verticalhorizontalpartitionisanaturalassociationtotheJapanesemaintowerofthelayersofeaves.Layouthasabsorbedtheadvantagesofthesquaretowerofthetrafficandpublicfacilitiesontheplanarcore(similartothetowerKagutaventricle),sothattheysharethesmallestGetallfloorsoftheshortestroutetraffic.Soastoshowastructurewithmodernformsoftechnologytoreflectthestyleoftraditionallocalmethods.UnitedStatesartistSusanLangeoncesaid,"isalwaysasymboltosimplifytheformoftheperformanceofitsmeaning,thatisexactlywhatwecangraspthereasonsforit.Regardlessofaworkofart(orevenallofthearts)ishowthecomplexityof,profoundandrich,itiseasythanreallife.Therefore,thearttheoryisundoubtedlytheestablishmentofaneffectiveheartsandmindsinavividrealityoftheconceptofsuchagreatcauseofthepreambleismore."symbolicactivitieshavebeenincludedintheactivitiesofsomeabstractnolongerremainintheindividualabovethe.Visualsymbolsareanartsymbols,butalsotheperformanceofsexualsymbols.Relativereasoningintermsofsexualsymbols,visualsymbolsdonothavetheirownsystem,andanyvisualsymbolshaveacertaindegreeofculturalcontent,andonlyreflectedinacertaindegreeofemotionalstructure,aroundaparticularthemeoforganiccombination.EducatedYouthHotel,MaoJiaRestaurantcommercialbuildingandsoon,italsoadoptedthehats,cornonthecob,roughwoodentablesandchairs,wellsandsoon,andevenmoreinordertocreateanatmosphereofclothingaretobeattendants,aswellasthemenuwerealsocleverlyintegratedintotheAmongthem,thesedifferentgeographicalsignificanceinruralareastypicallyrichinvisualsymbolstocreateanenvironmenthereislikeanoldalbum,recordingadifferentperson'sexperience,makingthedesignbecomemorecordial,butalsoworthpondering.Visualsymbols,notonlyinsymbolicformtocreatethevisualassociationand,moreimportantly,itcanevokethoughtsassociation,whichhaveempathy,toachieveemotionalresonance,thusbuildingmoremeaningful.Therapiddevelopmentofurbanconstructionhasbroughtrapidchanges,butatthesametimewealsolostmanywillneverbeabletorecoverthings-historicalcontext.Thehistoryoftheformationofthestreets,alleys,arches,religiousshrinesandsoonurbanformasacompleteexpressionofarchitectureandurbanimageofthesymbolsystem,beingintofilms,ShingStreet,intoaSquaretoberemoved,threatstotheurbanformofthecompatibilityandcontinuity.Respectforhistoricaltraditiondoesnotmean,rigidlytraditional.Instead,consciouslykeepthesetraditions,willmakethecitymorelocalflavor.Infact,"establishinganew"donothaveto"old",thekeyliesinhowtoapproachtraditionalandfashiontocreateanewsymbiosisofoldnandnewurbanform(symbols)."NewWorld"projectislocatedinShanghai,XingyeRoadHuangpiRoad,amajorsiteoftheChineseCommunistsofthesurroundingarea."Venue"oppositethesouthblock,designforthemodernarchitectureisnothigh,whichisdottedwithsomereservationsthetraditionalarchitecture,andthe"venue"inharmony.And"venue"wherethenorthblock,theneighborhoodretainedalargepattern,carefullypreservedandrepairedthebuildingexteriorfacadeShikumen,detailandneighborhood-scalespace,thebuildingwasmadelargerinternaltransformationinordertoadapttooffice,commercial,accommodation,cateringandentertainmentandothermodernlife.Havebeenbuiltfromthecurrentpartofview,receivedmuchpraise,hasagreaterimpact.Itissaidthatsalesandcost-effectivenessalsoverygood.Infact,inShanghai,theeasternandwesterncultureshockmetropolis,thetraditionalneighborhoodlifestyleneverdieoff,"NewWorld"justgiveitareasonablechangeandcontinuity,areleftforustothinkmoreandenlightenment.FamousphilosopherErnstCassirerpersonthinksymbolsareanimals.Allhumanspiritualandculturalactivitiesaretheproductofsymbols.Theessenceofthatpersoninthathecanusetocreateculturalsymbols.Therefore,allculturalforms,isbothasymboloftherealityofEventsisalsothepersonofthenatureoftheobject.Theso-calledmasterculture,inthesymboliclevelatleast,tobeskilledtooperateconstitutetheculturalsymbolsandculturalsystemratherthanthesymbolitself,thenewexperiencesandinsightswovenintosymbolsgo,infact,symbolsthemselvesarealsochanging,andtheculturalheritageandtheinnovationofthemysteriesofitexistinthisvariationofthe.ConfuciusandSocratesarestillhumanbeingsareeternalbeacon,andthesymbolsofmodernsubjectsinthisstudycallforusfromthebacktoSocrates.Willbesimpleandcomplexsemantics,traditionalandfashionablephrasestructure,andappliedtothedesignofmodernart,therebycreatingapersonalized,HumanCulture'snewdesignsymbols.FiberartandinteriordesignnAbstract:Fiberartisafunctionalfiberartandaestheticvalueinoneartform.Fiberartisfullofnaturalflavortothematerialtextureandflavorofthesimplehand-woventomeettheemotionalneedsofawiderangeofpeople,itandothertypesofinteriordecorationascomparedtoanirreplaceableadvantages.Fiberarthasbeentoinfiltratethebuildingandenvironmentalmattersinallaspectsofdesign,itismainlytheuseofvariousmaterialsandtechniquestoexpresstheconceptofmoderndesignandmodernlife.Keywords:Fiberarts;notincludetheindoorenvironment;fiberartFiberArtcollectionofclassicalandmodern,romanticandcalm,industrialcivilizationandtraditionsinonehand,areanancientandyoungarts.Itisnaturalanimalandplantfiberorsyntheticfibermaterials,withknitting,ringbinding,winding,Stitchandotherproductionmeans,thecreationofplanar,three-dimensionalimageofaformofart.Fiberarts,includingtraditionalflat-stylefabric,modernpopularthree-dimensionalfabrics,dailyartsandcrafts,aswellasspaceinmodernarchitecturewiththeexpressionofavarietyoffibermaterialsmodelinglanguageworks.1.fibertextureartinteriorenvironmentaldesignontheimpactofmaterialselection.Theperformanceoffiberartaretextureandtexturetocreateitems,which,whetherinvisualortactile,thebothhaveanunparalleledvisualappeal.Fiberartofmaterialselectionisveryextensive,almostalltypesoftextilefibersmaybeapplicable.Theuseofdifferentmaterialsthroughdifferentprocessingortheuseofdifferentstructurescanproducedifferenttextures.Texturebytheobjectsareuniquecolor,luster,shape,texture,cold,thick,softandhardandtransparencyandsoonconstitutealargenumberofattributes.Constitutetheattributesofdiverse,complexportfolio,willalsochangetextureinfinite.Atthesametime,texturesarealsobelongtothecommonperceptionofvisualandtactilequalitiesofmaterials,exteriormaterialsandtexturescomplementeachother,allkindsofmaterialsareexposedthroughthetexturetoitstruefeaturesandthroughthetexturetoexpressthecharacteristicsofmaterials.Fiberinterioraccessoriesthroughtactilesensesgivendifferentpsychologicalfeelings,suchashardandsoft,thick,hotandcoldandsoon.Atthesametime,setupinthememoryofvisualperception,evokeimagesofdifferentpsychologicalperception,distinguishingtexturecharacteristics.Modernfiberartisabreakthroughandgobeyondthetraditional,mainlymanifestedasfibersuchmaterialonahigherlevelofunderstandingandapplication.Traditionalfiberart,mainlyinnaturalfibermaterials.Thesematerialsincludesilk,wool,hemp,cottonandsoon.Usedinmodernfiberartmaterials,hasbrokenthroughthetraditionalnconstraints.Herethe"fiber"isnolongerjustcotton,hemp,wool,brown,rattanandothertraditionalfibermaterials,includingchemicalfiberandlatitudeofthehardandsoftwovenmaterial,aswellasallofthelinearmaterial,andevensomemetalfibershavealsobeenartistsofallages.AmericanfiberartistssuchasNancy'swork"TheGoldenWave"usedwool,viscosefiberandcopperwireasmaterial.BulgariaCaymanmillionfiberartistswork"withtheweft"aplastictubeandwoolasamaterial.ModernfiberartofpaintingfromnaturethanfromthepursuitandbegantofocusontheperformanceofmaterialsintheUnitedStatesitself,thenaturalformoffibermaterials,richtexture,justbetweenthedifferentfibersandSophie,straightandcurly,miscellaneousandpure,Mingwithdark,lightandheavycontrast,andtoappreciatethosewhobringawealthofaestheticexperience.FiberArthasalwaysbeenknownastheartisticandtexture.Whoofweavingisatraditionalfiberartsmajorprocess.However,moderntechnologyoffiberartpracticeshavenotbeenlistedoutinfull,suchasweaving,hitch,winding,Stitch,collage,aswellasdyeing,painting,spraying,printingandsoon.Manyartistswillalsoscienceandtechnologyintothefieldoffiberartcreations.AmericanartistCynthia's"Runs","Lakerain"loomsforthecreativeuseofcomputertools,theuseofthree-waywarpspacetocreateauniqueeffectinthefabrictextureandstructuretoshowtheendlessimagination,differenttypesandcoloroverlaywiththecoverline,resultinginthetraditionalprocesscannotbeachievedonmanylevelsofsubtlechanges.Therearemanyartists,makeuseoftheexistingproductstocreate,butalsotheeffectofunusuallytouching.Forexample,thepioneerofmodernfiberarts-UnitedStatesMissLeiNuoseniorartistsintheearly80soflastcenturytheUnitedNationsbuildinginNewYorkdesignedthegiantfiberworksofart"whiteflutteringfiber."Thisworkofartfromtheinteriorofthebuildingabout6msquareverticalhoistingtheroofdowncountlessarticlesandwhitefibers,thisfiberbundlewithabunchofslightlyswingingthewind,bothlightalsogenerous,wealsoimplicitlysimple,itrevealsahazyandincludesthestateoftuneoftherealmoftheUnitedStates.TheseworksandtheuseofmaterialsthroughtheexcavationoftheUnitedStatesitselfandtheintegrationwiththeenvironment,soastoachievetheunusualdecorationoftheUnitedStatescannotmatchtheartisticrealm.2.fiberartsculptureontheinterioroftheimpactofenvironmentaldesignComparedwithtraditionalfiberart,contemporaryfiberartisanimportantfeatureofitssculpture.Traditionalfiberartssuchascarpet,wall,缂丝andotherworks,themainworksareflat.Sincethe60soflastcentury,fiberartsgraduallytosemi-relieffromtwo-dimensionaluntiltheemergenceoffullythree-dimensionalspaceoftheworkof"softsculptures"-withtheflexibilityandelasticityofthesculpture.Someartiststakeintoaccountinthedesignworksareworksofmorespacefortheoverallsituationbroughtaboutbydecorative.Polishartistswork"red"Wallyestosculpture,toworksofthelandmarkspace.Ruiforwardintothecorneraftertheirfulldeepovaltoformastrongcontrast,likeacouldnotsuppressthepassionnagitatedlyeruption.1992~1993createdto"nest"asrepresentedbytheworks,shewillbeofgoodpulpPourinbamboowascarriedoutonafanhascreatedasingulareffect.Alongthislineofthought,sheworksmoreextensivespace,shecreateda"wrapped","chain"aseriesofworks,withtheexceptionofpaperpulp,bamboo,wood,butalsotheuseofflaxfiber.Inthe"column",shebegantopursueanupwardextensionoftheworkresults.Ifwesaythattheaboveworksintheoutdooraircangivethemagicquestion,freshvisualfeel,she's"knot"and"Box"seriesofworks,thencreatedaninteriorspace,mysterious,thedust-ladeneffect,theygivepeopleisthelostinadistantera,butitisalsoalingeringmiragecontemporary.aseriesofcreativebreakthedrawspeciesboundariestonewmaterialaswellastheprocessofarttointroducetheartofsculpturearea,expandedthebordersofsculpture,suchpositiveeffortstochangethesculpturefortheshelfthinking,tobreaktheclosedstate,pioneeringvisioninthebroaderfieldofsculpturespacefordevelopmenttoseektoplayapositiveroleinpromoting.3.fibercombinationofartandarchitectureFiberartasasymbolofwarm,soft,warmsymbols,combinedwiththebuildinghasbeentheembodimentofperfection.Aroundtheendofthe1970stothe1980s,themodernfiberartbegantobeappliedbyarchitectsthinkareapathy,lackofemotioninthebuilding.70's,published"BeyondCraft:ContemporaryFiberArt"and"FiberArt:mainstream"bookonthetwospecificonmodernfiberartinavarietyofbuildingspaceandpublicspacetotheimportantroleandsignificance.Withthedevelopmentofthetimes,fiberarthasinfiltratedintointeriorarchitectureandenvironmentaldesigninallitsaspects,hasenteredthemodernfamily,withotherinteriordecorativematerialsoforganiccombinationofeachother,withitsshape,textureandwithcombinationofdecorativeandenhancetheinteriordecorationoftheartisticeffect.Itismainlytheuseofvariousmaterialsandtechniquestoexpresstheconceptofmoderndesignandmodernlife,whileSophieAllmoderndecorativeshapes,colors,andtakingwiththewalls,theindoorenvironment,spatialrelations.Fiberartbeabletoaddartisticeffectsofspace,easytocreatewealthtothe"humantouch"ofthenaturalspace,andthuseasethebuildingandtheinteriorspaceofrigidsenseofspacetoplaytheroleofblur,butalsoaddedabuildingwiththeinteriorspaceofthecolor,givesaharmoniousandcomfortable,practicalexperienceperfect.Becauseofthespecialpropertiesoffibers,fiberartbringsnotonlyavisualsenseofbeauty,morewarm,friendly,comfortable,etc.enjoy.Inaddition,frommodelingtocolor,fromplanartothree-dimensional,fromthesubjecttohaveaverybroadculturalconnotationoftheperformancespace,andthusdevelopedveryrapidlyandhasnowbeenwidelyusedinbuildingtheoveralldesignanddecorationinthebedroom.Fiberartastheindoorenvironmentanimportantcomponentoftheenvironmentintheinterioroccupiesanimportantposition,alsoplayadecisiverole.Itcannotonlybeabletodecoratingthespace,richenvironment,theperformanceofculture,narchitectureandinteriorspaceandbeabletocolor,lighting,materialstobuildanorganicwhole,oneoftheartofbuildingspaceandintegration,thusbuildingtheinternalenvironmentreceivedawarmelegantartisticrealm,andcreateavarietyofhumanspace.4.modernfiberartandotherinteriordecorativematerialsoforganiccombinationBuildingoutdoorspaceandindoorenvironmentareequallyimportant.Inordertofullyenjoythewell-beingandprivacyneeds,thereisroomcomfortrequirementscontinuetogrow.Wallandsoftsculpturesuchasfiberartsasinteriordecorations,inEurope,Americaanddevelopedawiderangeofapplications.Peopledependingonfabricwallhangingwithpainting,piano,etc.asasymbolofwealth,itsinteriordecorationandfurnishingsontheimportantposition.Theywerewool,cotton,hemp,silkasrawmaterial,orseveralkindsofsoftmaterials,mix,totextiles,winding,hitch,Stitchandotherproductionmeans,thecreationofplanarandthree-dimensionalimageofaformofart.fortheDoubletreeSuitesHotelinSeattle,theUnitedStatesdesignedthefabricofspaceare"softsculpture"masterpiece.Theenormoussizeofthepainting,coveredtheentirebuildinginteriorspace.Enormousstretchingtodifferentdirectionswithdifferentcurvatureofthesurface,sothatpeople'sattentioninlinewiththesurfaceandtheexerciseoftheprocess,havearelaxedfeel.Renoir's"Autumnnatural"isalsosuchawork.Indomestichotels,restaurants,seniorhousinghasbeenincreasinglyusedinfabrics,tobeautifytheroom.Theuseofdecorativefabricwalls,thethicknessofthefabricitselfandvisualthicknessattachedtothewallforpeopletoaddawarmfeelingfortheaddgorgeoushomeatmosphere.Coloroftheinteriorenvironmentoftheinteriorspacesensitivity,comfort,atmosphere,efficientuseofpeople'spsychologicalandphysicalhaveagreatimpact,indoorenvironment,coloristhesoulofthedesignoftheindoorenvironment.Inafixedenvironment,thefirsttobreakintoourvisualsensesarecolor,whilethemostappealingisthecolor.Differentcolorscangiverisetodifferentpsychologicalfeelings,goodcolorenvironmentistheidealcombinationofthesefeelings.PeoplefromtheharmoniousandeyecolorintheUnitedStateshaveareverie,Transformationforthelove,gofarbeyondthelimitationsoftheinterior.Thosewhocanmovethefurniture,fabrics,suchasthemiddleareaofcolorinfactconstitutetheindoorenvironmentarethemostimportantpart,butalsotocreatevariousshadesofthemostbasicfactors.Indoorenvironmentinthemosteasytochangeasmallareaofcolor,suchaswallhanging,cushion,decorativeproducts,areoftenthemostprominentuseofstrongcolorplayedaroleinthefinishingtouch.Modernfiberarthasbeentoenterthemodernfamily,withotherinteriordecorativematerialsoforganiccombinationofeachother,withitslightcolor,shape,textureandpermutationandcombination,moredecorativeandenhancetheinteriordecorationoftheartisticeffect,andtheuseofcolorchangesinthestrengthandscopeofcontrolhasreceivedprominentandrenderinginteriorofthemaincentersandtheleveloftheproportionofspace,addspaceforartisticeffect,givesluxuriousnstyle,comfortandharmonious,practicalexperienceperfect.5.ConclusionModernfiberartmaterialsarenaturalfiber,syntheticfiber,metalfiber,etc.;techniquescanbedyed,embroidery,knitting,guitar,pestering,bypass,looping,up,etc.;shapecanbeplanar,three-dimensionalspace.Itreliesondifferentpatterns,togetherwiththespaceenvironment,it'svisual,tactileperception,suchastheUnitedStatesgetmorepleasure.Anabsolutelybeautiful,hightastefiberart,beabletoestablishamorepleasantatmosphereoftheindoorenvironment.Inthemoderninteriordesignenvironment,fiberarthasamoderninteriordecorationisbecominganimportantcomponentofitsdecorationinthefamilyplayedaveryimportantrole.