设计的分类与方法

设计的分类与方法学（英语）1设计Design2现代设计Modern Design3工艺美术设计Craft Design4工业设计Industrial Design5广义工业设计Genealized Industrial Design 6狭义工业设计Narrow Industrial Design7产品设计Product Design8传播设计Communication Design8环境设计Environmental Design9商业设计Comercial Design10建筑设计Architectural11一维设计One-dimension Design12二维设计Tow-dimension Design13三维设计Three-dimension Design14四维设计Four-dimension Design15装饰、装潢Decoration16家具设计Furniture Design17玩具设计Toy Design18室内设计Interior Design19服装设计Costume Design20包装设计ackaging Design21展示设计Display Design22城市规划Urban Desgin23生活环境Living Environment24都市景观Townscape25田园都市Gardon City26办公室风致Office Landscape27设计方法论Design Methodology28设计语言Design Language29设计条件Design Condition30结构设计Structure Design31形式设计Form Design32设计过程Design Process33构思设计Concept Design34量产设计，工艺设计Technological Design 35改型设计Model Change36设计调查Design Survey37事前调查Prior Survey38动态调查Dynamic Survey39超小型设计Compact type40袖珍型设计Pocktable Type41便携型设计Protable typeSelfcontainning Design Knock Down TypeStacking Type Set (Design) Family(Design) Series (Design) Unit Design49 仿生设计 Bionics Design50 功能 Function51 独创性 Originality52 创造力 Creative Power53 外装 Facing54 创造性思维 Creating Thinking55 等价变换思维 Equivalent Transformationn Thought56 KJ 法 Method of K.J57 戈顿法 Synectice58 集体创造性思维法 Brain Storming59 设计决策 (Design) Decision Making60 T-W-M 体系 T-W-M system61 O-R-M 体系 O-R-M system62 印象战略 Image Stralegy63 AIDMA 原则 Law of AIDMA64 功能分化 Functional Differentiation65 功能分析 Functional Analysis66 生命周期 Life Cycle67 照明设计 Illumination Design 设计色彩方法(英)1 色 Color2 光谱 Spectrum3 物体色 Object Color4 固有色 Propor Color5 色料 Coloring Material6 色觉三色学说 Three-Component Theary7 心理纯色 Unique Color8 拮抗色学说 Opponent Color Theory9 色觉的阶段模型 Stage Model of the Color Perception10 色彩混合 Color Mixing11 基本感觉曲线 Trisimulus Valus Curves12 牛顿色环 Newton's Color Cycle13 色矢量 Color V ector14 三原色 Three Primary Colors15 色空间 Color Space16 色三角形 Color Triangle17 测色 Colourimetry42 收纳型设计 43 装配式设计 44 集约化设计 45 成套化设计 46 家族化设计 47 系列化设计 48 组合式设计18 色度 Chromaticity19 XYZ 表色系 XYZ Color System实色与虚色 Real Color and Imaginary Color 色等式Color Equation 等色实验 Color Matching Experiment 色温 Color Temperature 色问轨迹 Color Temperature Locus 色彩三属性 Three Attribtes and Color 色相 Hue 色相环 Color Cycle 明度 Valve 彩度 Chroma 环境色Environmetal Color 有彩色 Chromatic Color 无彩色Achromatic Colors 明色 Light Color 暗色 Dark Color 中明色 Middle Light Color 清色 Clear Color 浊色 Dull Color 补色 Complementary Color 类似色 Analogous Color 一次色 Primary Color 二次色 Secondary Color 色立体 Color Solid 色票 Color Sample 孟塞尔表色系 Munsell's Color System 奥斯特瓦德表色系 Ostwald's Color System 日本色研色体系 Practical Color Co-ordinate System 色彩工程 Color Engineering 色彩管理 Color Control 色彩再现 Color Reproduction 等色操作 Color Matching 色彩的可视度 Visibility Color 色彩恒常性 Color Constancy 色彩的对比 Color Contrast 色彩的同化 ColorAssimilation 色彩的共感性 Color Synesthesia 暖色与冷色 Warm Color and Cold Color 前进色与后退色 Advancing Color Receding Color 膨胀色与收缩色 Expansive Color and Contractile Color 重色与轻色 Heavy Color and Light Color 色价 Valeur 色调 Color Tone20 21 22 23 24 25 26272829 30 31 32 33 34 353637 38 39 40 41 42 4344454647484950515253545556575859606162暗调Shade63明调Tint64中间调Halftone65表面色Surface Color66平面色Film Color67色彩调和Color Harmony68配色Color Combination69孟塞尔色彩调和Munsell's Color Harmony70奥斯特瓦德色彩调和Ostwald's Color Harmony71孟.斯本瑟色彩调和Moon.Spencer's Color Harmony72色彩的感情Feeling of Color73色彩的象征性Color Symbolism74色彩的嗜好Color Preference75流行色Fashion Color76色彩的功能性Color Functionalism77色彩规划Color Planning78色彩调节Color Conditioning79色彩调整Color Coordinetion80色彩设计Color Design 材料与加工成型技术（英）1材料Material2材料规划Material Planning3材料评价Material Appraisal4金属材料Metal Materials5无机材料Inorganic Materials6有机材料Organic Materials7复合材料Composite Materials8天然材料Natural Materials9加工材料Processing Materials10人造材料Artificial Materials11黑色金属Ferrous Metal12有色金属Nonferrous Metal13轻金属材料Light Metal Materials14辅助非铁金属材料Byplayer Nonferrous Metal Materials 15高熔点金属材料High Melting Point Metal Materials16贵金属材料Precions Metal Materials17辅助非铁金属材料Byplayer Nonferrous Metal Materials 18高熔点金属材料High Melting Point Metal Materials19贵金属材料Precions Metal Materials20陶瓷Ceramics21水泥Cement22搪瓷、珐琅Enamel23玻璃Glass24微晶玻璃Glass Ceramics25钢化玻璃Tuflite Glass26感光玻璃Photosensitive Glass27纤维玻璃Glass Fiber28耐热玻璃Hear Resisting Glass29塑料Plastics30通用塑料Wide Plastics31工程塑料Engineering Plastics32热塑性树脂Thermoplastic Resin33热固性树脂Thermosetting Resin34橡胶Rubber35粘接剂Adhesives36涂料Paints37树脂Resin38聚合物Polymer39聚丙烯树脂Polypropylene40聚乙烯树脂Polyethylene Resin41聚苯乙烯树脂Polystyrene Resin42聚氯乙烯树脂Polyvinyl Chloride Resin43丙烯酸树脂Methyl Methacrylate Resin44聚烯胺树脂，尼龙Polyamide Resin45氟化乙烯树脂Polyfurol Resin46聚缩醛树脂Polyacetal Resin47聚碳酸脂树脂Polycarbonate Resin48聚偏二氯乙烯树脂Polyvinylidene Resin49聚醋酸乙烯脂树脂Polyvinyl Acetate Resin50聚烯亚胺树脂Polyimide Resin51酚醛树脂Phenolic Formaldehyde Resin52尿素树脂Urea Formaldehyde Resin53聚酯树脂Polyester Resin54环痒树脂Epoxy Resin55烯丙基树脂Allyl Resin56硅树脂Silicone Resin57聚氨酯树脂Polyurethane Resin58密胺Melamine Formaldehyde Resin59ABS 树脂Acrylonitrile Butadiene Styrene Redin 60感光树脂Photosensition Plastics61纤维强化树脂Fiber Reinforced Plastic62印刷油墨Printing Ink63印刷用纸Printing Paper64铜板纸Art Paper65木材Wood66竹材Bamboo67树脂装饰板Decorative Sheet68蜂窝机制板Honey Comb Core Panel69胶合板Veneer70曲木Bent Wood71浸蜡纸Waxed Paper72青铜Bronge73薄壳结构Shell Construction74技术Technic75工具Tool76金工Metal Work77铸造Casting78切削加工Cutting79压力加工Plastic Working80压力加工Plastic Working81焊接Welding82板金工Sheetmetal Woek83马赛克Mosaic84塑性成型Plastic Working85灌浆成型Slip Casting86挤出成型Sqeezing87注压成型Injection Molding88加压成型Pressing89水压成型Cold Isostatic Pressing90加压烧结法Hot Pressing91HIP 成型Hot Isostatic Pressing92压缩成型Compression Molding Pressing93气压成型Blow Molding94压延成型Calendering95转送成型Transfer Molding96雌雄成型Slash Molding97铸塑成型Casting98喷涂成型Spray Up99层积成型Laminating100FW 法Fillament Winding101粘接与剥离Adhesion and Excoriation 102木材工艺Woodcraft103竹材工艺Bamboo Work104表面技术Surface Technology105镀饰Plating106涂饰Coating107电化铝Alumite108烫金Hot Stamping109预制作Prefabrication110预制住宅Prefabricated House111悬臂梁Cantilever112金属模具Mold113型板造型Modeling of Teplate114染料Dyestuff115颜料Artist Color 传播与传媒设计（英）1传播Communication2大众传播Mass Communication3媒体Media4大众传播媒体Mass Media5视觉传播Visual Communication6听觉传播Hearing Communication7信息Information8符号Sign9视觉符号Visual Sign10图形符号Graphic Symbol11符号论Semiotic12象征Symbol13象征标志Symbol Mark14音响设计Acoustic Design15听觉设计Auditory Design16听觉传播设计Auditory Communication Design 17图象设计Visual Communication Design18视觉设计Visual Design19视觉传播设计Visual Communication Design 20图形设计Graphic Design21编辑设计Editorial Design22版面设计Layout23字体设计Lettering24CI 设计Corporate Identity Design25宣传Propaganda26广告Advertising27广告委托人Adveertiser28广告代理业Advertising Agency29广告媒体Advertising Media30广告目的Avertising Objectives31广告伦理Morality of Advertising32广告法规Law of Advertising33广告计划Advertising Planing34广告效果Advertising Effect35广告文案Advertising Copy36广告摄影Advertising Photography37说明广告Informative Advertising38招贴画海报Poster39招牌Sign-board40小型宣传册Pamphlet41大型宣传册Portfolio42商品目录Catalogue43企业商报House Organ44户外广告Outdoor Advertising45POP 广告Point of Purchase Advertising46展示Display47橱窗展示Window Display48展示柜Cabinet49博览会Exposition50万国博览会World Exposition51包装Packaging52工业包装Industrial Packing53标签Label54企业形象Corporate Image55企业色Company Color56动画Animation57插图Illustration58书法Calligraphy59印刷Initial60设计费design fee61标准standard62注册商标registered trade mark 设计美学与设计实验（英）1美Beauty2现实美Acture Beauty3自然美Natural Beauty4社会美Social Beauty5艺术美Artisitc Beauty6内容与形式Content and Form7形式美Formal Beauty8形式原理Principles and Form9技术美Beauty of Technology10机械美Beauty of Machine11功能美Functional Beauty12材料美Beauty of Material13美学Aesthetics14技术美学Technology Aesthetics15设计美学Design Aesthetics16生产美学PAroduction Aesthetics17商品美学Commodity Aedthetics18艺术Art19造型艺术Plastic Arts20表演艺术Performance Art21语言艺术Linguistic Art综合艺术 Synthetic Arts 实用艺术 Practical Art 时间艺术 Time Art 空间艺术 Spatial Art 时空艺术 Time and Spatial Art 一维艺术 One Dimantional 二维艺术 two Dimantional 三维艺术 Three Dimantional 四维艺术 Four Dimantional 舞台艺术 Stagecraft 影视艺术 Arts of Mmovie and Television 环境艺术 Environmental Art 美术 Fine Arts 戏剧 Drama 文学 Literature 意匠 Idea 图案 Pattern 构思 Conception 构图 Composition 造型 Formation 再现 Representation 表现 Expression 构成 Composition 平面构成 Tow Dimentional Composition 立体构成 Three Dimentional Composition 色彩构成 Color Composition 空间构成 Composition of Space 音响构成 Composition and Sound 多样与统一 Unity of Multiplicity 平衡 Balance 对称 Symmetry 调和、和声 Harmony 对比 Contrast 类似 Similarity 比例 Proportion 黄金分割 Golden Section 节奏 Rhythm 旋律 Melody 调子 Tone 变奏 Variation 纹样 Pattern 形态 Form 有机形态 Organic Form 抽象形态 Abstract Form2223242526272829303132333435363738394041424344454647484950515253545556575859606162636465简化形态 Simptified Form 变形 Deformation 图学 Graphics 透视画法 Perspective 线透视 Linear Perspective 视点 Eye on Picture Plane 灭点 Vanishing Point 平行透视 Parallel Persective 成角透视 Angular Perspective 斜透视 Obligue Perspective 单点透视 Single Paint Perdpective 两点透视 Tow-Point Perdpective 三点透视 Three-Point Perdpective 鸟瞰图 Bird's Eye View 平面视图 Ground Plain 轴侧投影 Axonometric Projection 设计素描 Design Sketch 预想图 Rendering 模型 Model 粘土模型 Clay Model 石膏模型 Plaster Model 木制模型 Wooden Model 缩尺模型 Scale Model 原大模型 Mock Up 仿真模型 Finished Model 制造原形 Prototype 计算机图形学 Computer Graphics 框架模型 Frame Model 实体模型 Solid Model 计算机辅助设计 COMPUTER AIDED DESIGN 计算机辅助制造 Computer Aided Manufacture 计算机三维动画 Computer Three Dimentional Animation 计算机艺术 Computer Arts 计算机书法 Computer Calligraphy 100 计算机图象处理 Computer Image Processing 101 计算机音响构成 Computer Sound Composition 实验心理学与人机工程学人类工程学 Human Engineering 人机工程学 Man-Machine Engineering 工效学 Ergonomice人因工程学 Human Factors Engineering 人因要素 Human Factors 人机系统 Man-Machine System 人体工程学 Human Engineering66 67 68 69 70 717273 74 75 76 77 78 7980818283 84 85 86 87 88 8990919293949596979899 1 2 3 4 5 6 78人本位设计Human Sstandard Design9实验心理学Experimental Psychology10物理心理学Psychophysics11感觉Sensation12知觉Perception13感觉阙限Threshold of Senssation14心理量表Psychological Scaling15视觉Visual Perception16视觉通道Visual Pathway17听觉Hearing Perception18肤觉Skin Sensation19视觉心理学Visual Psychology20听觉心理学Hearing Psychology21感光元Photoreceptor Cell22明视、暗视、间视Phootopic Vision ,Scotopic Vision , Mesopic Vision 23光适应与暗适应Photopic Adaptation and Sscotopic Adaptation24格式塔，完形Gestalt25形状知觉Shape Perception26轮廓Conotour27主观轮廓Subjictive Contour28图形与背景Figure and Ground29图形与背景逆转Reversible Figure30良好形状法则Prinzip der Guten Gestalt31群化Grouping32等质性法则Fsctor of Similarity33伪装Camouflage34形状的恒常性Shape Constancy35大小的恒常性Size Constancy36空间知觉Space Perception37立体视Stereopsis38运动知觉Movement Perception39视错觉Optical Illusion40残像After Image41似动Apparent Movement42视觉后效Aftereffects in Visuvl43瀑布效应Waterfall Effect44视线记录仪Eye Camera45听觉刺激Auditory Stimulus46声压Sound Pressure47声压水平Sound Pressure Level48频谱Spectrum49乐音与非乐音Tone and Nontone50噪声Noise51听觉阙限Auditory Threshold52响度Loudness53听觉掩蔽Auditory Masking54音乐心理学Psychology of Music55音响心理学Psychology of Sound56音的四属性Four Attribute Sound57音高Pitch58音色Timbre59力度Loudness60频率辨别阙限Difference Threshold of Frequency 61强度辨别阙限Difference Threshold of Loudness 62混响Reverberation63音源距离感Distance Perception of Sound64音源方位感Orientation Perception of Sound65立体声Stereophony66语言心理学Psycholinguistics67语言声谱Language Spectrum68语言清晰度Articulation69人体尺寸Humanlady Size70作业空间Work Space71模数Module72心理尺度Psychological Measure73动作分析Motion Analysis74时间研究Time Study75动作时间研究Motion and Time Study76时间动作轨迹摄影Chronocyclegragh77动迹Traffic Line78光迹摄影Luminogram79脑波Brain Wave80生物钟Bio-o'clock81睡眠Sleep82疲劳Fatigue83姿态Body Posture84皮肤电反应Galranic Skin Response85临界闪烁频率Critical Flicker Frequence86肌肉运动学Kinesiology87肌电图Electromyography88形态学Morphology89仿生学Bionics90人、环境系统Man-Environment System91照明Hlumination92振动Oscillate93气候Climate94空气调节Air Conditioning95功能分配Functional Allocation设计团体与部分人物(英)1维也纳工厂Wiener Werksttate2德意志制造联盟Der Deutsche Werkbund3克兰布鲁克学院The Cranbrook Academy4国际现代建筑会议Congres Internationaux D'Architecture Moderne5现代艺术馆Museum Of Modern Art6芝加哥设计学院Chicago Institute of Design7英国工业设计委员会Council of Industrial Design8设计委员会The Desgin Council9国际建筑师协会Union Internationale des Architects10设计研究组织Design Research Unit11日本工业设计师协会Japan Industrial Desginers Association12日本设计学会Japanese Society for Science of Design13乌尔姆造型学院Ulm Hochschule fur Gestallung14国际设计协会联合会International Council of Societies Industrial Desgin15国际工业设计会议International Design Congress ,ICSID Congress16国际设计师联盟Allied International Designers17国际室内设计师联合会International Federation of Interior Designers 18国际图形设计协会International Graphic Desgin Associations19国际流行色协会International Commission for color in fashion and Textiles20工业产品设计中心The Centre de Creation Industrielle21中国工业设计协会China Industrial Design Association22阿尔齐米亚集团Alchymia Studio23中国流行色协会China Fashion Color Association24中国技术美学委员会China Technological Aesthetics Association25莫里斯Willian Morris (1834-1896E)26奥斯特瓦德Wilhelm Friedrich Ostwald(1853-1932G)27孟赛尔Albert F.Munsell (1858-1918A)28凡.德.维尔德Henry Vande Velde (1863-1957)29莱特Lloyd Wright (1867-1959A)30贝伦斯Peter Behrens(1868-1940G)31霍夫曼Joseph Hoffmann(1870-1956)32皮克Frank Pick(1878-1941)33维斯宁兄弟Alexander Leonid and Victor Vesnin34格罗皮乌斯Walter Gropius(1883-1969)35蒂格Walter Dorwin Teague36利奇Bernard Leach37勒.柯不西埃Le Corbusier( 法)38伊顿Johennes Itten39里特维尔德Gerrit Thomas Rietvela40庞蒂Gio Ponti41拉塞尔Gordon Russel42格迪斯Norman Bel Geddes43洛伊Raymond Fermam44里德Herbert Read45莫荷利.纳吉Laszlo Moholy Nagy46凡.多伦Harold Van Doren47阿尔托Alvar Aalto48拜耶Herbert Bayer49卡桑德拉 A.M.Cassandre50佩夫斯纳Nikolans51布劳耶尔Marcel Breuer52佩里安Charlotte Perriand53德雷夫斯Henry Dreyfuss54迪奥Christian Dior55鲍登Edward Bawden56贾戈萨Dante Giacosa57伊姆斯Charles Eames58伊娃齐塞尔Eva Zeiesl59比尔MaxBill 设计法规与标准（英）1知识产权Intellectual Property2著作权Copyright3工业产权Industrial Property4专利Patent5发明专利Patent for Invention6实用新型Utility Modle7外观设计专利Registation of Design8注册商标Registered Trade Mark9广告法Advertising Law10反不正当竞争Repression of Untair Competition11设计费Design Fee12标准Standard13德国工业标准Deutsche Industrie Normen 设计生产经营与评价1工业工程学Industrial Engineering2工业心理学Industrial Psychology3科学管理法Scientific Management4生产管理Production Control5质量管理Quality Control6系统工程System Engineering7批量生产Mass Production8流水作业Conveyer System9互换式生产方式Interchangeable Produsction Method10标准化Standardization11自动化Automation12市场调查Market Research13商品化计划Merchandising14产品开发Product Developement15产品改型Model Change16产品测试Product Testing17产品成本Product Cost18营销学Marketing19买方市场Buyer's Market20卖方市场Seller's Marker21促销Sales Promotion22适销Marketability23消费者Consumer24购买动机调查Motivation Research25深层面接法Depth Interview26销售热点Selling Point27卡通测试法Cartoon Test28产品形象Product Image29形象策略Image Strategy30公共关系Public Relations31运筹学Operations Research32设计策略Design Policy33艺术总监Art Director 设计思潮与流派（英）1学院派Academicism2理性主义Rationalism3非理性主义Irrationalism4古典主义Classicism5浪漫主义Romanticism6现实主义Realism7印象主义Impressionism8后印象主义Postimpressionism9新印象主义Neo-Impressionisme（法）10那比派The Nabject11表现主义Expressionism12象征主义Symbolism13野兽主义Fauvism14立体主义Cubism15未来主义Futurism16奥弗斯主义Orphism17达达主义Dadaisme（法）18超现实主义Surrealism19纯粹主义Purism20抽象艺术Abstract Art21绝对主义，至上主义Suprematism22新造型主义Neo-plasticisme（法）23风格派De Stiji青骑士 Der Blaus Reiter 抒情抽象主义 Lyric Abstractionism 抽象表现主义 Abstract Expressionism 行动绘画 Action Painting 塔希主义Tachisme （法） 视幻艺术 Op Art 活动艺术、机动艺术 Kinetic Art 极少主义 Minimalism 概念主义 Conceptualism 波普艺术 Pop Art 芬克艺术、恐怖艺术 Funk Art 超级写实主义 Super Realism 人体艺术 Body Art 芝加哥学派 Chicago School 艺术与手工艺运动 The Arts & Crafts Movement 新艺术运动 Art Nouveau 分离派 Secession 构成主义 Constructivism 现代主义 Modernism 包豪斯 Bauhaus 阿姆斯特丹学派 Amsterdam School 功能主义 Functionalism 装饰艺术风格 Art Deco （ 法） 国际风格 International Style 流线型风格 Streamlined Forms 雅典宪章 Athens Charter 马丘比丘宪章 Charter of Machupicchu 斯堪的纳维亚风格 Scandinavia Style 新巴洛克风格 New Baroque 后现代主义 Postmodernism 曼菲斯 Memphis 高技风格 High Tech 解构主义 Deconstructivism 手工艺复兴 Crafts Revival 准高技风格 Trans High Tech 建筑风格 Architecture 微建筑风格 Micro-Architecture 微电子风格 Micro-Electronics 晚期现代主义 Late ModdernismArchitecture Design-Less Is MoreIronically, the developments on both sides of the Atlantic after World War n were equated with a loss of identity. On the one continent reigned the indifferent pragmatism of reconstruction, The specification of whose basic structures was a matter for the county councils, while on the other the native elite grew jealous of the status achieved by German immigrants such as Ludwig Mies van24 25 26 27 28 293031 32 33 34 35 36 3738394041424344454647484950515253545556575859606162der Rohe, Walter Gropius and Marcel Breuer. In the mood of postwar Europe, nostalgically looking back, modern buildings often appeared too sudden, too violent. Restorations and careful reconstructions of historical edifices using traditional, skillful craftsmanship were considered more valuable than the new buildings of the day. In the absence of clear city contours, contemporary architecture searched desperately for identity alongside the sentimental populistic motifs of arcades, oriels and gables. This “ skinny m”e,diocre architecture of thefifties, precariously balanced between art and kitsch, always had an episodic character.Unlike the manual orientation of the European construction industry, against which even the successful experiments of Jean Prouve, amongst others could make no long-term headway, the major architectural firms in the USA had meanwhile developed a thoroughly industrial philosophy. Priority thereby lay not with apartments, but with strictly economical office design and the creation of company identity. The market demanded mainly two basic variations: the downtown high-rise and the spacious company headquarters in a landscape setting. One prototype for the latter are Mies van der Rohe ' s plans for the Illinois Institute of Tecyhi n oClohgicago, where hehimself taught, followed by Saarinen 'cosmparable complex for the General Motors Technical Center in Warren, Michigan.A rapid succession of four buildings inaugurated the development of new type of skyscraper. In 1948 Pietro Belluschi built the administrative headquarters of the Equitable Savings and Loam Association in Portland, Oregon, in which the reinforced-concrete frame was hung with a skin of glass and aluminum in such a way that no part projected more than two centimeters. In New York in 1950 Wallace K. Harrison and Max Abramovitz completed the secretariat building for the United Nations, an office complex for 3400 employees based on a general plan by Le Corbusier: a slim building with two vast glass facades between windowless end walls of white marble. In New York in 1951 Gordon Bunshaft, working for the Skidmore, Owings & Merrill partnership, designed Lever House for the Lever Brothers, a green glass box which skillfully combined a flat base with a slender tower. In the same year Mies van der Rohe built the famous Lake Shore Drive Apartments in Chicago for construction mogul Herbert S. Greenwald. Following his appointment in 1938 at the Armor ——later Illinois ——Institute of Technology in Chicago, Mies van der Pohe had the opportunity to plan the new university complex on the outskirts of the city. The concepts he had formulated in Germany he now applied to the situation in America, whereby he became stricter and made greater use of symmetries than in the few houses he had built before the War. Since fire regulations did not permit an exposed frame, Mies developed an aesthetic of steel, glass and brick which brought the perforce covered structure artistically back to the surface. He thereby paid particular attention to connecting elements and transitions.Mies devoted himself to two basic forms. First the pavilion, which was to have a support-free interior and which in its ideal form was a floating volume of “ air between two plates ” ,ain the Farnswarth House. Second the skyscraper, which the treated as a skeleton construction with identical floors behind a perfect fa?ade of constructive elements which articulate a seemingly unbroken glass surface and rob it of the membrane-like character of usual curtain walls.His most significant buildings are only inadequately described by phrases such as “ almost nothing ” or “ilnesms ore” .These terms would suggest a link with the earlier Chicago School, whose products Mies must have seen almost daily. But the poorly-conceived details of those early high-rises, their cheap construction with changing effects and strange reconciliation of structure and appearance conflicted with his own beliefs. It was rather the perfect industrial buildings of hiscontemporary Albert Kahn, whose giant bomber factory he transformed into a concert hall in acollage of thin wall and ceiling panels, which formed the typical American starting-points for his work. These confirmed Mies in his denial of the individual and the artistic in architecture.His houses are not, however, entirely lacking classical references. Yet the two mutually offset towers of the Lake Shore Drive Apartments differ from typical high-rises of their day in their groud-plan side ratios of three to five. Although, as in the Skidmore, Owings & Merrill Lever Building, curtain walls conceal the structure, it is neverthelessthe latter which determines the overall appearance of Mies ' The structure is clearly evident even in the entrance hall. The actual fa[$#231;]ade starts shamelessly with the first floor; fine I-beams at window-width intervals run its full height. Only one in every four of these regularly spaced mullions conceals a broader, load-bearing support. The two outer windows of each field are thus always mullions conceals a broader, load-bearing support.The two outer windows of each field are thus always somewhat narrower than their central neighbors. Parapet bands and transoms form a horizontal counterpoint to the emphatic verticals. The Lake Shore Drive Apartments, with their intelligent construction solutions, were cheaper to build than comparable projects. Once the steel skeleton was erected, the prefabricated fa?ade elements——each two stories in height and one structural bay in width ——were lifted by cranes into position and welded on the spot. The aluminum windows were then installed from the interior. Mies ' concern that the perpendicular-Ibeams should be reassembled in exactly the same order that they left the rolling mills, to exclude even the smallest errors of measurement, reflected both his own perfectionism and the logic of his design. Mies was thwarted in only in one area: his client considered the originally open plans, recollecting the Barcelona Pavilion, too daring; he felt the small rooms of the traditional apartment block would sell better.What appeared sparingly economical in Chicago became, in the office tower built for Distillers Corporation Seagrams Limited in New York, a luxurious and expensive masterpiece, It was the daughter of the company president himself who halted existing plans for a new building and, following consultations with Philip Johnson, then Director of the Architecture Department of the Museum of Modern Art, put forward the name of Mies V an der Rohe. The Seagram Building was markedly different from any other previous New York skyscraper. It stood back from busy Park Avenue, creating an open urban space before it. This “ plaza ” emerged as both homeless and windy, however, and only really served to introduce and reinforce the towering glass front with its strictly axial entrance. Unlike Chicago, the structural sections were laid not no but in the glass plane and emphasized via shadow joints. Nor were they the products of serial manufacturing, but special fabrications in bronze. Mies was thus able to modify their profiles. He strengthened the visible, thin edge of the I-beams to give them more optical weight and moved the vertical joists closer together. The office ——storey windows run without transverse interruption from floor to ceiling. The fa?ade thus acquires a decisive verticality and thereby gives the same basic design an entirely different appearance. This building type was developed further in the following years in particular by the architectural firms of C. F. Murphy and Skidmore, Owings & Merrill. Glass boxes——perfect and economical ——now characterized modern city skylines all over the world. Serial production led, however, to the loss not only of originality but also of the love of detail which was most important for Mies, and without w hich the standards of an architecture of “ less is more ” sadly declined toalmost nothing indeedGreen DesignThe idea that designers should take into consideration the environment impact of their work is not new. Twenty years ago Victor Papanek argued convincingly that the designer was in a powerful position, able to help create a better world, or contribute further to planetary destruction. His ideas——that designers should resist designing built- in obsolescence; that consumers 'needs, rather than their wants, should be addressed; and that designers should strive to find ways of using their skills for socially useful ends, especially in developing countries ——outraged much of thedesign establishment at the time.Today, however, ideas which once seemed utopian and na? ve appear highly relevant and almost inevitable, given the unprecedented levels of concern being expressed throughout the world over environmental problems. Twenty years ago, environmentalism was regarded as an activity for the radical fringe; now, governments strive to demonstrate their environmentalist credentials, and problems attract high levels of popular concern. There is a growing consensus thatproblems affecting the environment cannot be ignored. As a result of dramatic scientific evidence of ozone depletion and new scientific agreement about the impending problems of global warming, a new sense of urgency has arisen. Rising public concern is being translated into action in many countries ：people are demonstrating their feelings through their voting preferences, by joining environment campaigning groups, by changing their behavior to accommodate recycling or energy efficiency, and by using environment criteria in their purchasing decisions as consumers.We are entering a period when environment performance, together with a wide range of ethical and moral issues, will be on the agenda for business, government and individuals. New criteriawill evolve for judging the acceptability of products and processes; new methods will emerge to calculate the true cost of activities; new regulations will control industrial and individual behavior. Decisions about the nature of our society and economy may well be underpinned by a growing commitment to sustainable rather than uncontrolled development.Are designers equipped to respond to the new demands which will arise from these changes? The answer is almost certainly no, as it must be for almost all professionals trained without reference to the environment impact oftheir activities.In most places, design has not been taught in the context of its social and ecological impact. Many designers assume that their area of responsibility is limited to function and appearance. In some fields, most notably architecture, a boarder view has sometimes been taken because of the scale of the direct impact of buildings on their local environment. But even here, little attention has been paid to the implications of the type of construction materials used or, for example, to the energy efficiency of the lighting system.One might be able to argue that up until now designing with environment impact in mind was a matter of personaltaste or individual moral responsibility. Now it is clear that it will become a commercial imperative. The value and role of designers will be substantially reduced if they cannot incorporate new concepts and new criteria into their work. There is an opportunity for designers to show imagination and leadership, pioneering the way forward and solving real problems. From many years, designers have been asserting their influence and demonstrating the power of design. The new demands of designing for minimum ecological impact will provide an ideal platform from which designers can justify their claims and acknowledge their responsibilities.Application （产品应用）Telecommunication （通讯行业）Medical （医疗行业）Automotive （汽车行业）PC Peripherals （计算机行业）TV / Audio & Visual （电视；音响）OA Equipment （自动化办公设备）Products （产品种类）General Silicone Rubber 普通硅胶Key-Film （IMD）薄膜注塑键Key-Film （IMD） + Rubber （KEY-Film+ 硅胶）Plastic + Rubber （P + R）（塑料+硅胶）TPE or General Rubber 特别塑料或橡胶*Various Options （其它选项）:Metalic Spray （材料喷涂）/ 2nd Surface Printing （底面印刷）/ Coating （保护层）Chrome Plated （电镀）/ Laser Etching （激光雕刻）Mobile Communication （移动通讯）Corded （有绳电话）Cordless （无绳电话）Dect Phones （普通电话）2 Way Radio （对讲机）。