室内设计中英文翻译【适用于毕业论文外文翻译】 8页

个人收集整理勿做商业用途毕业设计英文资料翻译ＴｒanslａｔioｎoｆｔheEngｌｉshDocｕmentsfｏｒGraｄuａtioｎＤeｓign课题名称院　(系)专　业姓名学　号起讫日期指导教师2011年02月２0日n个人收集整理勿做商业用途InterｉoｒDesignSusaｎＹｅlaｖicｈIｎterior　design　ｅmbrａcesnｏｔ　oｎｌytheｄeｃoraｔｉonａndfｕｒnｉｓhing　oｆspacｅ,　ｂutalsoconsiderations　ｏfｓｐａcepｌanning,lighｔiｎg,andpｒogｒaｍmａtiｃissues　perｔａining　ｔo　ｕserbeｈaviｏrs,rangiｎgfromｓpecific　issuｅsｏfaccesｓｉbiｌityto　thenatuｒeoftheａｃtｉｖｉtiestｏ　bｅcｏnducteｄin　theｓpａｃｅ.Tｈeｈalｌmaｒｋoｆiｎｔeriordesｉgｎtoｄayisanewelasticitｙｉｎ　tｙpologies,ｓeenmostdrａmaｔically　in　ｔhedomestｉcationｏfcommercｉalaｎd　publicspａｃｅｓ．Ｉnteｒior　desigｎencompａsｓes　bｏththeprｏgrammａｔicpｌanningａndphysicaｌtｒeatmeｎtｏfiｎteｒiorspace:thｅｐroｊeｃtionｏｆitｓ　usｅandthe　nａtuｒeoｆｉts　fuｒｎiｓhｉngsａｎdｓuｒfacｅs,ｔhat　is，ｗallｓ,ｆｌoors，　ａnd　ceiｌiｎｇs．　Ｉｎteriｏrdｅsｉgn　isdistｉnｇｕishｅd　from　interiordｅｃｏｒationintｈｅｓcope　oｆitsｐｕｒｖｉew.Decoｒａtorsarepｒimarilyｃｏncerneｄｗiththeseleｃtion　ofｆurniｓhｉngｓ,ｗhiｌeｄesignｅrsinteｇraｔethediｓcreｔeelｅmentsofｄécorintｏproｇrａmｍaｔｉcｃonｃeｒnsｏf　space　andｕse．Interiordｅｓignersgｅnｅraｌlypraｃticｅｃoｌｌaｂoｒａｔivelｙwithａｒｃｈiｔectsoｎtheiｎteｒiors　ofspａcesbuiｌtfｒomthｅgｒounｄuｐ,ｂut　ｔheyａlsｏworkｉndepeｎdenｔｌy,particｕｌaｒlyinthecａse　ofｒenovaｔiｏｎｓ．Tｈeｒeiｓ　alｓoａｓtronｇ　ｈiｓｔoryofarchitect-ｄesｉgｎedintｅriors,rooｔedin　thｅｃｏnｃepｔｏfＧesaｍｔｋuｎsｔwerk,ｔhe　totaｌworkofａｒt，tｈatcamｅ　oｕｔof　the　Arｔs＆Crafｔsmoｖement　ofthelaｔeninｅｔeenthaｎｄ　early　tweｎtieｔｈ　ｃenturｙ.Itｉｓ　ｎoaccｉｄeｎtthaｔiｔsstrｏnｇestpｒｏponents　(fｒｏｍFranｋLloｙd　Wright　toMiｅsvanderRoｈe)　extｅndedtｈeｉr　ｐｒactiｃestoincｌuｄetherealmofinterioｒsdurｉngｔhenaｓcenｃｙofｔｈe　inteｒior－deｓiｇnprofession.Ｉndeｅｄ,iｔｗａsn个人收集整理勿做商业用途adｅfenｓivemeasｕretakenbｙarchiｔectsｗhovieｗｅd　ｆormaｌinｔｅrｖeｎtionbｙａnｉnteriｏrdeｃoraｔor　ｏrdesignｅras　ａtｈｒeａｔｔotheinｔeｇrityｏftheiraeｓtheｔic.Today,apartfｒｏｍｓtｒictmodｅrnistsｌikｅRichard　Mｅierwｈｏpｌaｃｅaｐｒemｉum　onhomoｇｅｎｅitｙ,ａrｃhiteｃts　ｗho　take　on　ｔherｏlｅoｆ　intｅriｏrdesigneｒ　(ａｎdｔheirnumｂerｓaregｒｏｗing）ａrｅmoｒelikelｙｔobｅecｌｅcticiｎphilｏsophyandpractice,parallｅliｎｇ　tｈｅtｗenｔy-ｆirstｃeｎturｙ'sｖalｏrizatioｎofｐlｕraliｔy.Ｎonetｈｅleｓs,　thebiasａgainsｔinterioｒｄｅsｉgｎers　anｄthereａlmｏｆｔheinterioritselfｃontinues　to　persisｔ.Ｃｒiｔｉcaldiscussionsoftheiｎterｉorhavｅｂeenhaｍｐeｒｅｄｂyitsｐopｕlar　perceｐtionas　ａ　contａinerofeｐheｍｅra.Furtherｍorｅ,ｃｏnventiｏnalvｉewsoｆthe　ｉnteriorhaｖebeeｎfraugｈt　ｗith　biases:cｌassbiaseｓreｌatedｔo　cｅntuｒies-old　associatｉonswithtｒaｄesmenand　gｅnderbiaｓｅｓrelａted　ｔo　thｅ　depiction　ｏｆ　thedeｃｏrａtinｇpｒｏfessionaspriｍarｉlｙtheｄｏｍainofwoｍenaｎdgaymen.　As　a　result,　ｔｈecredibiliｔy　oｆ　the　iｎteriorａsａneｘpｒessioｎoｆculｔuｒal　ｖａｌuesｈａs　ｂeｅnｓerｉouslｙ　impａireｄ.Howｅver,thｅconditionｓaｎdthelｉｇｈｔｉｎwhiｃhcｕlｔuｒe-at－ｌarｇeisuｎderｓtoｏd　aｒeｃｈanginguｎｄｅｒｔheimpaｃtof　gｌobａliｚation.Ｔｈediｓtiｎctｉｏnsbeｔween“hiｇｈ”cｕltureand　“ｌｏw”　culｔureare　ｄissipatingｉｎamｏｒｅｔolerantｃlimaｔe　thaｔｅncourａgesthｅcross-fｅrtiliｚationbetｗeenthe　twopoles.Lｉkewｉse,　thｅreａｒｅmore　fｒequentinstanｃesof　prｏductｉｖｅborrｏwiｎgs　aｍoｎgarｃｈitecｔurｅ,deｓign,ａnddeｃoratｉon,onｃecoｎsｉdeｒed　exｃｌuｓive　ｄｏｍaｉns．Andｗｈｉlethｅ　fieldｓofarcｈiｔｅcture,intｅrior　ｄｅｓiｇn，ａnｄinｔeｒiｏrｄecoraｔionstill　haｖediｆferentｅducatｉonａlprotocｏｌsaｎｄdifｆerentconｃenｔrations　ofempｈａsis,tｈｅyａre　showｉnga　ｇreａterｍｕtualityofinｔereｓt.Ａnｏtｈerwaytｏｔhinｋｏftｈis　eｍergentｓｙnthesisisｔｏ　ｓubｓtｉｔuｔethetriad　of“arｃhiteｃture，intｅrioｒ　desｉgn,　and　deｃoｒatｉoｎ”wiｔh　“modｅrｎity,tecｈnoｌogy，ａnｄｈistoｒy.”Oneofｔhｅhａｌｌmarksof　then个人收集整理勿做商业用途postmｏdeｒn　eraisaｈeｉｇhtenｅd　aｗareｎｅsｓoftheroｌeof　thｅpaｓtｉnshapingthepｒesent.Inｔheｉｎterioｒ,ｔhis　mａnｉｆｅstsitseｌfin　a　rｅｎｅwed　inｔｅrｅsｔｉｎornａment,　iｎeｖiｄｅnｃeofcraft　and　maｔerｉaｌity,ａnｄ　in　ｓpａtialｃｏmｐｌexities,aｌlrｕnｎiｎｇ　ｐａralｌelto　tｈeｏngoingｐrｏｊect　of　ｍodｅrnｉty.Eｖen　ｍoresiｇｎificantly,　ｔheｒeisａ　neｗ　elａsｔicｉｔyinｔｙpoloｇiｅs.Tｏdａy,　theｔradｉtional　typolｏgiｅｓｏｆ　tｈeintｅrioｒ—house，lofｔ,oｆfｉce,reｓtaｕｒant,　ａｎdsｏoｎ—sｔrａiｎ　tocoｎtroｌ　theirborders.Eｖｉdenceofｐrｏｇrammaticconvergencesｃanclearlybeｓeｅnｉnｐublicａndcｏmmercｉalsｐacｅs　thatａspire　tｏ　ｂeboｔhmoｒeｕｓeｒ-friｅndｌｙ　andcｏnsumer-ｃonｓｃiｏus.Gｒｏwiｎｇnuｍberｓ　ofpriｖatehoｓｐitaｌs　（incompetｉtｉonfｏｒｐａｔieｎts)　empｌｏyameｎitiｅs　andformlaｎguageｓｉｎsｐirｅdｂyｌuxurｙspａｓ;　atｔhｅｓametimｅ,mａnygymsandhealtｈ　ｃlubsare　adopting　thecｌiｎｉcal　ｍieｎ　oｆｍediｃａｌ　faｃilities　toconvｉnｃethｅｉrclientsｏfｔｈｅvａlue　ｏfthｅirsｅｒvices．Tｈe　ｓaｍe　reｌａxationof　ｉｎteｒiorｐrotｏｃｏls　ｃaｎbeseen　in　offｉces　ｔhａtｃo－optthe　iｎfｏrmaｌ,live-wｏrｋetｈiｃ　ofｔhe　artiｓｔ'sｌｏft,andinｈoteｌsｔhａtusethelaｎgｕaｇｅ(andｃonｔents)oｆｇallｅrieｓ.Ｓimｉlarly,incｒeasiｎgnumｂｅrsｏfgrｏcery　stoｒes　and　bookstoreｓincluｄespacesandfurniturｅfor　eａtinganｄｓocialiｚinｇ.Lｉkewise,thereiｓ　anew　comfoｒtwithstylｉｓticconvｅrgｅncesininterｉorsthaｔaｐｐrｏｐriateａｎｄrecombineｄｉsｐａratequoｔatiｏnsfromdesigｎ　hisｔoｒy.Ｔhｅｓeareexemplifieｄiｎ　spacｅｓｓuchaｓ　ＲemＫｏolhaａs'CasａdaMusica(200５)　ｉnＰortｏ,Portｕgａl(with　its　inveｎtiｖeuｓeoftrａditｉｏnaｌPortuguesｅtｉles)，andHｅrzｏｇ　&deMｅuｒｏn＇sＷａlkerAｒｔＣｅnteｒ(2005）　inMinｎeａpolis，　Ｍinneｓｏta　(wｈerestylizedacanｔhus-leaｆｐatternｓ　areusedｔｏmark　galleryentrａnces).Theｓeinteriorｓmaｋeanart　outofｈｙbrｉdism.　Tｈeyｄonotｓｉmplｙｍix　andmatchperiｏdｆurｎishings　and　ｓtyles,　butrｅｆｉltｅrtheｍ　through　ａｃontemporary　lｅns．Anoｔherｈallmark　of　the　contｅmporａryintｅｒｉoristheｏvertn个人收集整理勿做商业用途inｃoｒporaｔｉｏｎoｆnaｒraｔive.　Tightｌythｅmed　eｎｖiｒoｎｍｅnts　pｅrsistiｎreｔａiｌspａcessuchａsＲalphLａuｒｅｎ'sclｏtｈingｓtoｒｅsａndｉnenｔeｒtainmeｎtsｐaceslike　LaｓVegascａｓiｎｏs.Hoｗever，amorｅplayfulandｌeｓs　lｉnearapproachｔｏnarrａｔiveisｉncreaｓｉnglycoｍmon.Ofａｌltheｔyｐologiesofｔheｉnterior，therｅsｉdencehasbeeｎleasｔ　ａffectｅd　bychａnge,aｐartfrom　ｅｐheｍｅrａl　trends　sｕｃhas　ouｔdｏorkｉtｃheｎｓａndpaｌaｔiａｌｂatｈｒoｏms.　Howeｖeｒ,thｅ　narratｉveｏfｔhe　residenceｄｏmｉnatesiｎｔｅriordｅｓｉgnaｔ　laｒgｅ.It　haｓbecomethｅｃａtaｌystfｏrrethinkingａ　ｈｏstofspaｃｅs　oｎceｆiｒmlyｉｓoｌated　fｒｏmｉt,ｒａngingfroｍ　theｓecreｔaｒy's　cｕbicｌe,ｔoｔhｅ　nｕrse＇s　staｔion,ｔothｅlｉbrａrｉan'sｒeadinｇｒooｍ.Coｎsidｅratｉoｎssｕchaｓtheacｃommｏｄaｔｉonof　pｅrsｏnalａccessoriｅsiｎthewoｒkspaｃｅ，　theusｅofcoｌorin　ｈospitals，ａnd　tｈｅprｏｖｉsｉoｎofcouchｅｓ　ｉnｌiｂrａriesａreｉncrｅasinglycｏmmoｎ,to　cｉteｊustthrｅeｅxamplｅs.　Tｈedomeｓticatioｎof　ｓucheｎvｉｒｏnmｅnts（ｗiｔhcurｔａｉnsand　wａｌlpaper,amongｏtherreｓidential　eｌｅments)　proｖidesmｏｒecomfort，mｏｒe　reassｕrance，ａnd　morｅｐleasｕｒeｔo　domaiｎｓ　ｆoｒｍerｌydefiｎed　by　ｉnstitｕtionalｐrohｉbitiｏnsand　sociａl　exclusionｓ．Unquestｉｏnａbｌｙ,ｔhesechangesinpｕbｌicandcｏmmerciaｌ　spaces　aｒeinｄｅbted　to　the　liberatiｏn　movｅments　ofthelatｅ1９60ｓ.Ｔhebattleｓfought　aｇａｉnstbａrｒｉersｏfrａce,cｌass,gendｅr，andphysｉｃalａbilｉtylａｉｄｔhe　ｇroundwｏrkfora　larｇｅrｃｌiｍate　ofｈosｐitaｌitｙanｄ　ａccoｍmodation.It　isalｓｏpossｉbletodeｔecｔaｗｈolｌｙotheｒ　ageｎdａ　intｈｅpｏｐｕｌarｉtyｏｆ　ｔhe　resideｎtial　ｍodel.The　introdｕｃｔiｏnofｄomestｉｃ　amenitiesiｎtｏｃｏmmeｒcｉａlspaceｓ，　suchａsrecｒeatioｎｓｐaceｓin　offiｃe　intｅriｏrs,canalsobeconsｔｒueｄ　aｓpａrtofａwideratｔempttoｐut　amoreａｃｃeptablｅfａcｅon　tｈewｏrｋｉｎｇｓｏｆfree-markeｔcapiｔａlism．　Ｉn　thisvｉew,iｎteｒiｏrｄｅsｉgnｄonsｔhｅmaskofenｔｅrtainｍｅnt.Ｔｈerｅiｓｎotｈingｎew　abｏuttｈechaｒａde.Every　ｉntｅrior　isfunｄａmｅnｔａlly　astagｅｓet.　Nor　isit　ｐａrtiｃuｌarly　insidious—aslongas　thｅ　coｎｃｅｉｔｉsn个人收集整理勿做商业用途ｔranｓparenｔ.　Ｄａnger　suｒfaｃｅｓ,however,wheniｌｌuｓｉonbecoｍes　delusion—when　ｄesignｏｖeｒcomｐensａtｅsｆｏｒtｈeｒealities　ofilｌneｓswitｈpａtrｏｎｉｚing　sｅntｉmenｔ,or　whenoｆficesbecome　ｓｕrrｏｇateａpaｒtmentsbeｃaｕseoｆ　therelｅntless　demaｎdsoｆa　ｒound-thｅ-clocｋeconomｙ.Inｔheseiｎstancｅs,designｒelｉｎｑｕishｅs　itｓpoｔentialtotrａnsｆｏrmｄaily　ｌife　ｉnfavｏrofｗhaｔamｏuｎts　tolｉｔtlemorethaｎａfacｉle　re-branｄing　ofspaｃe．Anotheｒｆｏrceisdrivingtｈedomｅsticaｔioｎoｆtｈeinteriorand　tｈaｔiｓtheenlarged　pubｌｉcaｗaｒenessofdesigｎaｎｄ　designers.Thereis　a　ｇrowiｎgpoｐulaｒdｅｍandfordeｓign　ａｓameｎiｔyandstａｔussymbol，stｉmulａｔｅd　bｙｔheｐｒolifeｒatiｏｎofshｅlteｒｍaｇazinｅs,　tｅlevisｉoｎsｈoｗｓdｅvotｅdtｏhomedecｏｒatｉng,　ａnd　ｔheａdｖｅｒtｉsingｃampaiｇｎsoｆｃoｍmｅrciａleｎtitiｅssｕｃhas　Ｔａrget　anｄ　Ikea．ＩntheWesternｗorld,ｐroｓpeｒitｙ,ｃomｂinｅdwｉｔｈtｈeappｅｔｉteofthｅmeｄia,hasalｌ　bｕtfetｉｓhizｅｄtheinterｉor,ｙieldingyetａｎｏther　ｒeflｅction　ｏｆｔｈenaｒcissismofa　consuｍer-dｒｉvｅｎsocｉetｙ.On　thｅoｎe　hａnd,　thｅrｅarｅ　posiｔｉvｅ,ｄemocrａticoutcoｍesof　thｅｇｒowing　pｕblic　profile　oｆｄesｉgn　thaｔcan　ｂｅseenintheｒiｓeｏｆdo-ｉｔ-yoｕrselｆwｅbsitｅｓaｎｄenterｐriseslikeHomeDepｏtthaｔｅmphasizｅsｅlf-reｌianｃe.Ｉｔcan　aｌsobeargｕｅd,moreｇenerallｙ,thaｔtherｅｃonsideratiｏn　oｆ　beautｙiｍplｉcitinthe　ｖalorizａｔionofdesignisanamelioratingsocｉalphenomｅnonbyvirtueofｉts　propeｎｓitytｏiｎspireimproｖemｅｎt．Ontheoｔhｅrhand,thepoｐularizａtiｏnoｆinteriｏrdeｓigｎthｒoｕgh　persｏnassucｈａs　PｈilippｅStarｃk,Martha　Ｓtewａｒt,aｎd　BarbarａＢaｒry　haｓencｏｕｒａgedaｓupｅrfiｃｉalunｄｅｒｓtａndiｎｇoftｈeintｅriorthat　ismore　ｆoｃused　ｏnobjecｔsｔhanit　iｓ　oｎ　bｅhaｖiorｓandinteｒaｃtionsａｍoｎgobjeｃｔｓ．Foralltheｒeceｎｔexplosｉoｎ　ofinterｅstinｉnｔeriｏrdeｓign,ｉtremaｉns，hｏwever，afｕndaｍentalｌｙcｏnseｒvativeaｒenaoｆｄｅｓign,　ｒoｏｔeｄasitiｓ　ｉｎnｏtｉonsof　encｌosure,ｓeｃurity，andcomfort.Thisｐｅrceｐtiｏn　hasbｅeｎexａｃerｂａtedbythegｒoｗｔhｏfspeciａliｚedpracticｅsfoｃuseｄ,for　exａｍple,onhealthcaｒｅａｎdhospitalｉtｙ．Ｗhilesuchfirmsofferｄｅepkｎowledgeoｆn个人收集整理勿做商业用途tｈe　pｓｙchoｌoｇｙ,ｍｅchaｎiｃs，ａｎｄecoｎomｉesofpaｒtｉcｕlａｒenvironmeｎts,thｅy　ａｌｓoｐerpetｕatｅdiｓtinctions　thaｔ　hinｄera　moreiｎtｅｇral　ａpproａｃhtotheｉｎteｒioraｓaneｘtension　ofarｃhitecture　ａnｄeven　thelandscapeouｔｓｉde.Onｅnｏtablｅexcｅptｉonｉｓ　the　gｒowｔh　of　desigｎandarchｉtectｕrｅ　firmsaccruingexpｅrtise　insusｔaｉnablematerialsandtheiｒapｐliｃatｉonstothe　inｔeｒior.Atthｅsａmetimethatdesｉｇnfirmｓ　areidenｔifyingthemselｖｅsｗｉth　　ｓuｓtainａbｉlｉtyaｎdｐｒomotｉngthemｓelvｅsasenviｒｏｎmentaｌisｔs,a　movementisｂuｉldinｇ　to　ｉｎcorｐoｒａteeｎvironｍｅntalreｓpｏnsibｉliｔywitｈinnorｍatｉvepractice.Oveｒthｅpａstfｏｕr　decadeｓ,efforｔshave　intensiｆiｅdto　profeｓsionalizethe　fieldofinteriｏr　desｉｇn　aｎdtoaccorｄ　ita　statuｓeqｕaltｏthaｔｏｆａrchiｔｅcture.IntｈｅＵSandＣaｎadａｔhｅCｏuｎciｌfｏｒ　InｔeｒiorＤesiｇn　Ａｃcｒeditatioｎ,forｍｅrly　kｎownasFＩDER，reviews　interｉordeｓignedｕｃationｐroｇｒamsaｔcollｅgesａnd　univｅrsiｔiestoｒｅｇulateｓtaｎdardsof　prａcｔicｅ.Fuｒｔhｅｒmoｒe,ｔｈeIｎternatｉonal　CouncｉlofSｏｃietiｅsｏfInｄｕsｔrｉal　Dｅｓign　（ICSIＤ）embｒaｃeｓ　inteｒｉor　ｄesignｗithiｎｉtspuｒviｅｗ,ｄefiｎiｎgｉtas　ｐａrtoｆ“iｎｔeｌleｃtualproｆesｓｉoｎ,　anｄ　ｎotsimplyatｒadeor　a　service　forｅｎterpｒｉses.”Ｙet,theｅdｕcatioｎｏfiｎterｉoｒ　dｅsiｇnｅrｓremainｓｔrｅmendously　vａriａblｅ，　withnouniformity　ｏf　ｐedａgogy．Ｈｅnce,ｉnteｒioｒdｅsigｎ　cｏnｔｉnuesto　ｂe　ｐerｃｅivｅｄ　aｓanarena　opentotｈｅspeｃiaｌist　anｄｔｈeamatｅur.This　peｒceptiｏnｉs　indiｃatｉve　ofboｔhtｈerｅｌａｔivｅlyｓhorthｉsｔoryofｔheｐｒofeｓsiｏnitselfandｔhｅｂroadｅrculturaｌ　fｏｒｃesｏfincluｓｉon　andinteraｃtivityｔhａｔmａｒkagｌobalｓｏciety.原文来源:BｏａrｄｏｆInteｒnａtioｎaｌResearｃhin　Design,ＤesignDiｃtioｎａry　　PerspectｉｖesｏnDｅsigｎTerminology,BｉrｋｈäｕｓｅｒVerlagAＧ　2０0８n个人收集整理勿做商业用途