室内设计中英文翻译

毕业设计英文资料翻译

Translation of the English Documents for Graduation Design

Interior Design

Susan Yelavich

Interior design embraces not only the decoration and furnishing of space, but also considerations of space planning, lighting, and programmatic issues pertaining to user behaviors, ranging from specific issues of accessibility to the nature of the activities to be conducted in the space. The hallmark of interior design today is a new elasticity in typologies, seen most dramatically in the domestication of commercial and public spaces.

Interior design encompasses both the programmatic planning and physical treatment of interior space: the projection of its use and the nature of its furnishings and surfaces, that is, walls, floors, and ceilings. Interior design is distinguished from interior decoration in the scope of its purview. Decorators are primarily concerned with the selection of furnishings, while

designers integrate the discrete elements of décor into programmatic concerns of space and use. Interior designers generally practice collaboratively with architects on the interiors of spaces built from the ground up, but they also work independently, particularly in the case of renovations. There is also a strong history of architect-designed interiors, rooted in the concept of Gesamtkunstwerk, the total work of art, that came out of the Arts & Crafts movement of the late nineteenth and early twentieth century. It is no accident that its strongest proponents (from Frank Lloyd Wright to Mies van der Rohe) extended their practices to include the realm of interiors during the nascency of the interior-design profession. Indeed, it was a defensive measure taken by architects who viewed formal intervention by an interior decorator or designer as a threat to the integrity of their aesthetic.

Today, apart from strict modernists like Richard Meier who place a premium on homogeneity, architects who take on the role of interior designer (and their numbers are growing) are more likely to be eclectic in philosophy and practice, paralleling the twenty-first century's valorization of plurality. Nonetheless, the bias against interior designers and the realm of the interior itself continues to persist. Critical discussions of the interior have been hampered by its popular perception as a container of ephemera. Furthermore, conventional views of the interior have been fraught with biases: class biases related to centuries-old associations with tradesmen and gender biases related to the depiction of the decorating profession as primarily the domain of women and gay men. As a result, the credibility of the interior as an expression

of cultural values has been seriously impaired.

However, the conditions and the light in which culture-at-large is understood are changing under the impact of globalization. The distinctions between “high” culture and “low” culture are dissipating in a more tolerant climate that encourages the cross-fertilization between the two poles. Likewise, there are more frequent instances of productive borrowings among architecture, design, and decoration, once considered exclusive domains. And while the fields of architecture, interior design, and interior decoration still have different educational protocols and different concentrations of emphasis, they are showing a greater mutuality of interest.

Another way to think of this emergent synthesis is to substitute the triad of “architecture, interior design, and decoration” with “modernity, technology, and history.” One of the hallmarks of the postmodern era is a heightened awareness of the role of the past in shaping the