室内设计外文翻译-- 设计空间的意义
环境艺术设计毕业设计外文翻译—设计空间的含义
设计空间的含义Meanings of Designed SpacesMeanings of Designed SpacesSpaces of Everyday Life, Self, and Social Constructions Significant space, house, habitat, home, dwelling, gender, social status, spatial arrangements, living well, escapism, semiology, cultural and visual content analysis, politically social spaces, social space construction, theatrical space construction, cultural space construction, public and private spaces, political spaces, proxemics.AFTER READING THIS CHAPTER, YOU WILL BE ABLE TO:· Glean ideas about social spaces, spaces of living, and how spaces become places of social constructions.· Differentiate philosophical approaches to spaces of living.· Consider what constitutes a significant space.· Distinguish concepts of "living well" versus "home as defining a sense of self."· Understand spaces of living and the social constructions of space and place.· Identify characteristics of house as home, dwelling as home, and house as habitat.· Consider cultural contexts to issues of dwelling, gender, and space.· Understand how identity frames spaces as places of dwelling.INTRODUCTIONSpaces we live in formulate our experiences. We attribute meaning to the things and spaces that surround us. Our sense of self, the way we engage in our daily life, depends on our surroundings, our home, our place of work, and the places we hold dear. Spaces of living impact our sense of self, what we do, and the ways that we define ourselves in society, and in turn they provide us with meanings alongside a host of multiple perceptions and reactions. How might spaces of the everyday be understood from the perspectives of domestic life? How do living spaces reflect social constructions that affect our sense of self and who we are in the world?While spaces are created with visual and aesthetic properties in mind, they are ultimately meant for people to experience. People appropriate spaces they occupy and change them to suit their purposes. People attach value to the things that they have,while values are also imposed by society and are complicated by the fracturing of contemporary society. This is further complicated by the ways spaces are framed that determine social status as much aswell-being. What values we hold as a society also affect both our capacity to make choices and our social place in the world, and often inadvertently frame our design decision making. All these factors affect the spaces we inhabit, the ways we design these spaces, and the underlying values that shape spatial constructions we then experience.We place great value on culture, politics, and social norms and customs while we are also caught up in changing values. Among the underlying values that shape a society are social customs, voices of diverse people, or cultural customs. Although dwellings vary greatly as spaces depending on the societal values, economic location, and a host of factors that drive how we live, dwellings also are places where people often look to others tohelp them achieve meaning.Christian Norberg-Shultz has Suggested that home representsthe very nature of human existence. It gives man a place to be, a place in which to stay and spend time in safety and comfort. (Rengel, 2003, pp. 51-52)And while our aspirations are to achieve these goals, for many in our world, their places and spaces of living are far from this ideal. More often the values we set in terms of our dwelling places are tied to the acquisition of material goods, while for others this is a distant reality as they eke out an existence on the fringe (Poldma, 2008). Furthermore, this problem of value-setting creates a need for some to actualize values through the designs of lived spaces at the expense of the meaning of home and house. In a philosophical sense, the meanings of house and home have been subjugated:We look for meaning in our dwellings, and some hire architects and designers to actualize their values spatially. . . . and many do not know how to do so. The meanings of home and house have become lost in the quest to dwell, and the quest for dwelling has become lost in the acquisition of more goods and cultural symbols of that same house and home in a given society. (Poldma, 2008)These issues will be examined in this chapter from the perspectives of dwelling and gender as social or philosophical spaces. Two theoretical papers examine meanings of house and home. Virginie LaSalle takes a philosophical perspective about how the concept of "living well" intersects with notions of design spaces by providing spaces that form places of habitation that symbolize beauty and material wealth. She examines the sense of home as a habitat, and how an individual's experience of inhabiting is more than the physical and material visual attributes we assign. She explores Bachelard and Serfaty-Garzon's ideas of intimate spaces. She further juxtaposes the symbolic views of home with the philosophies of Heidegger and Levinas, who examine the dichotomy of the environment/spaces of living as a concept versus the daily experiences of the inhabitants. LaSalle is promoting the concept of a"significant space" that bridges the forms and substance with the meanings of those who live and perceive the space as a dynamic place.Hanna Mendoza and Matthew Dudzik provide a provocation that contrasts living well with realities in a cultural context. Mendoza and Dudzik examine how home becomes a culturally defined place of identity, and how economics and cultural contexts change not only concepts of house and home but also determine territoriality and sense of self in social stratification. Using Brazil as the setting, Mendoza and Dudzik examine the impact of globalization and economic values juxtaposed against the realities of dichotomies, where we look for meaning in our dwellings, and some hire architects and designers to actualize their values spatially. ownership and control of personal space has become battle between the marginalized and empowered in Brazilian society. Notions of tribalism, nostalgia, and escapism are explored in these contexts, as is how spaces become frameworks for changing territorial and personal experiences.The second part of the chapter examines the socially constructed nature of gendered spaces. Theoretical constructs of gender and spaces are defined as I examine both gender and physical spaces as determinants in how social relations are played out. Tracing two seminal texts, fundamental ideas about space and gender are defined by Shirley Ardener, who unfolds concepts of social spaces, while Daphne Spain examines what constitutes gendered spaces. The paper then elaborates on views about culturally determined rules in terms of space and gender.Finally, the Dialogues and Perspectives closes the chapter with an examination of gender and social relations set in an examination of a woman photographer's framing of spaces at the turn of the century. Susan Close presents the context of gendered space within the framework of the photographic interiors of Lady Clementina Hawarden, from the perspective of cultural theory and gendered spaces. The ensuing dialogue examines issues of boundary, making it a historic context while also introducing a research methodology that uses cultural analysis as the framework for the methodology of reading the images. This semiotic approach in research that uses found images (as in photography) analyzes the interior spaces as a means of comparing and contrasting social space, theatrical construction of space, and gendered space and in the context of social status.REFERENCESPoldma, T. (2008). Dwelling Futures and Lived Experience: Transforming InteriorSpace. Design hilosophy Papers, /dpp/dpp_journal/paper2/body.html.Rengel, R. (2003). Shaping Interior Space. New York: Fairchild Publications.The Sense of Home as Habitat Virginie LasalleWhat help is it, to solve philosophical problems, if [one] cannot settle the chief, most important thing-how to live a good and happy life? "Live well!" is the supreme philosophical commandment.-Ludwig Wittgenstein (excerpt from Shusterman, 1997) In the above quote, Wittgenstein is suggesting that one's will to contribute to good living should guide the design of the philosophical approach. If the thinker considers the goal of a good and healthy existence as predominant, it is because this existence underlies aspirations residing in everyone. For professionals in the disciplines of design, the will to contribute to this good living of our peers is a consideration that always inspires and is echoed in our spatial conceptions. The same applies to the design of interior space, notably when it comes to thinking and to shaping people's habitations, a proven material symbol of good and happy living in North American culture. The concept of home is often used as an archetypal refuge for dwellers in theirintimacy and their way of being.As designers of the interior inhabited space, we must ask ourselves what this intention-to live a good and happy life-means intrinsically and to strive to endow the space with solutions that, if adequate, will contribute to satisfying of this fundamental need. In a succinct look at the phenomenon of habitation, let us introduce the perceptions of thinkers to diverse disciplinary orientations for which the reflections guide the process of designing the residence.The Senses of HabitationThis will to develop the sense of home as habitat and to find the design approach has resided within thinkers and designers for a long time; the reiteration and expansion of reflections clearly confirm the importance still attributed to the habitation today. For example, the versatility of the habitation's forms, which vary greatly with a number of criteria-including the functions of the space, needs, the living and cultural habits of the inhabitants, and the geographical situation. If reflection on the habitat's constructed frame ultimately concerns design professionals, then the theories that guide their actions are frequently the fruit of thinkers from diverse disciplines; thewritings of philosophers, anthropologists, sociologists, and psychologists participate in the founding of the design approach. A good part of this situation can be explained by the great complexity of the phenomenon of habitation, which firmly establishes itself to encompass a multitude of factors to be considered. Among the host of sources existing today, Gaston Bachelard, Perla Serfaty-Garzon, Martin Heidegger, and Emmanuel Levinas are invaluable references for their study of the phenomenon of habitation.In his phenomenological work, Tlze Poetics of Space (1957), Gaston Bachelard examines the being's invariable essence of inhabiting, while analyzing the poetics of habitation, perceived as an image of intimacy through its most authentic object that is the home. According to Bachelard, the home, in its unity and complexity, represents the material sense of the human experience and the materialization of its poetics. It is man's concrete anchoring, his primary world, and it characterizes him in his fundamental dimension of habitation:We should therefore have to say how we inhabit our vital space, in accord with all the dialectics of life, how we take root, day after day, in a "corner of the world." [. . .] For our house is our corner of the world. [. . .], it is our first universe. (1957)Bachelard's analysis of the poetics of habitation considers two predominant phases of analysis for this living space. First, the home is approached as an analysis instrument of the soul. Then the home is regarded more as an object to be developed, a collection of symbols for phenomenological material analysis. This second phase of analysis deals with the material and symbolic properties of the home. Through formal observation of his object, the philosopher expands on the poetic images that are found-such as the fireside, the space conducive to reverie- which make the habitation significant and bring it to the status of home for the resident.With her interest in the various senses or habitation, sociologist and environmental psychologist Perla Serfaty-Garzon observes the semantic richness of the various terms used to denote habitation-residence, house, home, hearth, etc. in connection with their manifestations constructed over time. According to Serfaty-Garzon, this archetypal inhabited space merits the appellation home; for it is the anchoring point that provides life with spatial rooting. Inhabiting means living in a historical perspective, in symbiosis with a space and the people who share it.Thus, Serfaty-Garzon considers the phenomenon of habitation in a historical and sociological perspective. In her understanding, the emergence of the sphere of private life that led to the design of intimacy in occidental societies would be related to the specialization of spaces and would have brought about a sacralization of the dwelling. The appropriation envisaged by Serfaty-Garzon as an active component of home (2003, p.102) includes a moral, psychological, and affective sense. She suggests that the material character and ways that we personalize the space arc in part identified by a cultural model and then adjusted by our own particular individual expression that affirms our identity and how we construct oneself through our inhabited space (p.92).The symbolic analysis of the home's premises, as perceived by Serfaty-Garzon in a Bachelardian spirit, leads her to examine the hidden areas, such as the cellar and the attic territories of the unconscious through their own symbolism, but also through a constituent analysis that considers the verticality of the construction filled with dreamlike meaning in the experience of home (pp. 182-183). Related to the states of the person's soul, these spatial qualities fill the home's premises with meaning. They allude to an apparent irrationality (1999, p. 83) associated with the secret of what is concealed to foreign observation, corresponding to an inner self (1999, p. 86). Serfaty-Garzon suggests that the rooms of the home thus encompass meanings, essential to the respect of the living space's boundaries that are more or less permeable. Thus, the entrance would represent the area that civilizes intrusion; as a midway, it can call for or invite the passage to the interior space, or it can stop a movement.The entrance is the true in- between area: it is neither inside nor outside (2003, pp. 143-145). The living room is defined in modernity by the home's archetypal space for socializing. It is the home's foreground, the spatial conveyance of the inhabitant's construction and social consolidation process (2003, p. 162).Among the written sources that examine the phenomenon of man's inhabitation, the text "Building, Dwelling, Thinking" (Essays and Conferences, 1954) by Martin Heidegger is a choice reference. Through a semantic study of the German word bauen, Heidegger discusses the existential dimension of inhabiting, and through an analysis of the relationships of meaning, developing the significations of building. This etymological work leads the thinker to build the action of inhabiting as a fundamental feature of the human condition. Heidegger's judgment of the context, which to him is contemporary, underlies a flaw between meaning and the taking of shape, as he observes dwelling. He claims that dwellings can be well understood, can facilitate practical living, can be affordable, and can be open to the air, light, and sun, but he questions whether they can actually guarantee in and of themselves that dwelling takes place (p. 171).Heidegger guides us toward this all-too-frequent dichotomy that can be observed between the environment in a conceptual state, the dwelling as a constructed environment, and, ultimately, the daily experiences lived by the inhabitants of the designed space. This observation is also made by architect and theorist Juhani Pallasmaa, who deplores the recurring impertinence of responses lavished by designers to subtle, emotional, and diffused aspects of the home (1992).One of the theories that philosopher Emmanuel Levinas develops in his work Totality and Infinity: An Essay on Exteriority (1971) incites one to think about the habitation and to see it anew as more than a space expected to meet the relative needs of habitation. On the premise of reasoning intrinsically relating the need, the act of satisfying this need-through what he calls contents of life-and the pleasure occasioned by the satisfying of the need or by the contents of life, Levinas presents his idea of a joy essential to human existence:Even if the content of life ensures my life, the means is immediately sought as an end, and the pursuit of this end becomes an end in its turn. Thus things are always more than the strictly necessary; they make up the grace of life. (. . .) Qua object the object seen occupies life; but the vision of the object makes for the "joy" of life. (1971, p.114)Applied to the person's habitation space, this approach calls for a projection of the habitat that goes far beyond strictly functional considerations to which the construction must provide and refers to a qualification of the interior premises that supports and promulgates the pleasure of inhabiting, the joy of dwelling. Further, when Levinas discusses the dwelling and the habitation, he sees it first as a tool, but insists on its privileged purpose:The home would serve for habitation as the hammer for the driving in of a nail or the pen for writing. For it does indeed belong to the gear consisting of things necessary for the life of man. It serves to shelter him from the inclemencies of the weather, to hide him from enemies or the importunate. And yet, within the system of finalities in which human life maintains itself the home occupies a privileged place. (1971, p. 162)For Levinas, this distinction of the home among other tools comes from its dimension as the beginning of human activity. and intimacy the person needs in this archetypal private domain to be able to engage in subsequent social activities with others.Designing Significant Living SpacesSuch theories undoubtedly foster reflection in a good number of designers who focus on the habitation qualities of the living spaces that they imagine. One question remains: How docs one concretely interpret these notions so that within the designed space, these features and qualities can participate in the experience of the habitation space and enrich the occupants' living? Based on the work of selected theorists Edward T. Hall, Juhani Pallasmaa, and Maurice Merleau-Ponty let us expand on the means by which, as thinkers of inhabited architecture, we can move from these inspiring theories to the design of significant spaces that promote good living through habitation.In their analysis of the person's holistic experience, and notably from their spatial and habitation experience, a number of thinkers tend toward an initial perceptual understanding of the phenomenon. In The Hidden Dimension ( 1966), Edward T. Hall adopts an anthropological approach oriented toward man's sensory perception; he asserts that man-"as with all other members of the animal kingdom-is until the end and irrevocably a prisoner of his biological organism" (p.8). The originality of his approach involves his supposition that what is the human's own is the experiencing of his culture, which conditions him in his relationships with the world. Hall states that we attach ourselves to this type of profound, general, non verbalized experience that all the members of a single culture share and communicate without knowing, and that constitutes the backdrop in relation to which all the other events are situated (p.8).Architect Juhani Pallasmaa has also studied the importance of the person's sensory perception in the architected environment. Through various essays, of which the most famous is likely The Eyes of the Skin: Architecture and the Senses (1995), Pallasmaa expresses his particular concerns about hegemonic vision in occidental architecture to the detriment of the other senses, thus leading to the disappearance of sensory and sensual qualities in arts and architecture. The tactile dimension of the environment and the sensory experience of the body influence our understanding of the world, as well as the habitation we make out of it. Pallasmaa claims that through our bodies we are at the center of the world; not as central observers of an environment, or as spectators, but as a place of reference, memory, imagination, and integration in the world (p. 11). Consequently, he asserts that thearchitectural experience should provide more than visual communication; it should question the person's haptic (that is, relating to touch) interest through the sensual qualities involved.He identifies the the natural materials-such as stone, brick, and wood-as communicating effectively with the person, as these materials express a certain wear that tells of their life-their age, marks left from wear and the passage of time, and their history (p.31). Pallasmaa advocates a building approach aspiring to re-sensualize architecture through a heightened sense of its materiality, its haptics, its texture, its weight, the density of its space, and the materialization of light (p. 37)Finally, as a summary of these reflections, Maurice Merleau-Ponty (notably in the 1945 work Phenomenologie de la perception) highlights the consideration of the person's subjectivity in the experience of his senses and his human habitat in the world. he reminds us that the needs to be satisfied by the home and its interior space are not so much about considering the design's strictly physical attributes-such as the finishes of surfaces and the aesthetics-as they are about overall communication with the for flexibility. In his view, the experience of space cannot be reduced to a list of perception criteria senses,culture, etc.-as it is an experience through which the multitude of possible contributions comes together and combines in a living experience proper to each person. It is a process both temporal and spatial, created and justified through lived experiences that interior design must encompass, as a backdrop for the person's activities.Variances and Constancies in HabitationAlthough certain justified a priorie lementsseem to remain intact in the space's design process, we notice that the constructed manifestations of the authentic habitation vary as an echo of the complexity of the factors involved during the design process. In the practice of interior design-or interior architecture-designing the space frequently means developing an existing space with form, material, and objects in the creation of spatial solutions. It is also important to understand that people adapt the space in their own manner, a fundamental aspect that must be considered during the project's design. Our success as professionals of inhabited space depends on our ability to discern what facilitates in the person's real and lived experiences- the adapting of the space that is his or her own and his or her pleasure to be there. Finally, it appears to us that the use of spatial devices emerges in the inhabited space, and that these components appear to be on the path to effectively satisfying certain manifest needs of these residents. To name only one of them, note the passage from a temporal spatiality (one room for one activity) to a spatial temporality (a multifunctional space) that demonstrates a patent potential to be modeled with the passing time, the moment of the day, the week, or the year.Discussion Questions1. Virginie LaSalle describes Bachelard's concept of home as "unity and complexity,repository material sense of human experience and materialized in its poetics."a. What does this mean?b. How is home a "collection of symbols"?2. How does Serfaty-Garzon understand home as an anchor point?3. What is Heidegger's idea of home as dwelling?4. What is the significance of lived space as home, as dwelling?设计空间的含义Tiiu Vaikla-Poldma关键词：空间结构居住空间空间价值社会习俗日常生活、自我和社会结构的空间读完这一章后，你就可以：·收集社会空间观念、空间的生活，以及如何成为社会建设的地方空间的想法。
外文翻译----室内设计风格
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室内设计 外文翻译 外文文献。室内设计风格
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室内装饰装修设计外文文献翻译中英文
外文文献翻译(含：英文原文及中文译文)文献出处：Y Miyazaki. A Brief Description of Interior Decoration [J]. Building & Environment, 2005, 40(10):41-45.英文原文A Brief Description of Interior DecorationY Miyazaki一、An interior design element1 Spatial elementsThe rationalization of space and giving people a sense of beauty is the basic task of design. We must dare to explore the new image of the times and technologies that are endowed with space. We should not stick to the spatial image formed in the past.2 color requirementsIn addition to affecting the visual environment, indoor colors also directly affect people's emotions and psychology. Scientific use of color is good for work and helps health. The proper color processing can meet the functional requirements and achieve the beauty effect. In addition to observing the general laws of color, interior colors also vary with the aesthetics of the times.3 light requirementsHumans love the beauty of nature and often direct sunlight into theinterior to eliminate the sense of darkness and closure in the interior, especially the top light and the soft diffuse light, making the interior space more intimate and natural. The transformation of light and shadow makes the interior richer and more colorful, giving people a variety of feelings.4 decorative elementsThe indispensable building components such as columns, walls, and the like in the entire indoor space are combined with the function and need to be decorated to jointly create a perfect indoor environment. By making full use of the texture characteristics of different decorative materials, you can achieve a variety of interior art effects with different styles, while also reflecting the historical and cultural characteristics of the region.5 furnishingsIndoor furniture, carpets, curtains, etc., are all necessities of life. Their shapes are often furnished and most of them play a decorative role. Practicality and decoration should be coordinated with each other, and the functions and forms of seeking are unified and changed so that the interior space is comfortable and full of personality.6 green elementsGreening in interior design is an important means to improve the indoor environment. Indoor flowering trees are planted, and the use ofgreenery and small items to play a role in diffusing indoor and outdoor environments, expanding the sense of interior space, and beautifying spaces all play an active role.二、The basic principles of interior design1 interior decoration design to meet the functional requirementsThe interior design is based on the purpose of creating a good indoor space environment, so as to rationalize, comfort, and scientize the indoor environment. It is necessary to take into account the laws of people's activities to handle spatial relationships, spatial dimensions, and spatial proportions; to rationally configure furnishings and furniture, and to properly resolve indoor environments. V entilation, lighting and lighting, pay attention to the overall effect of indoor tone.2 interior design to meet the spiritual requirementsThe spirit of interior design is to influence people's emotions and even influence people's will and actions. Therefore, we must study the characteristics and laws of people's understanding; study the emotions and will of people; and study the interaction between people and the environment. Designers must use various theories and methods to impact people's emotions and sublimate them to achieve the desired design effect. If the indoor environment can highlight a certain concept and artistic conception, then it will have a strong artistic appeal and better play its role in spiritual function.3 Interior design to meet modern technical requirementsThe innovation of architectural space is closely related to the innovation of structural modeling. The two should be harmonized and unified, fully considering the image of the structural Sino-U.S. and integrating art and technology. This requires that interior designers must possess the necessary knowledge of the type of structure and be familiar with and master the performance and characteristics of the structural system. Modern interior design is in the category of modern science and technology. To make interior design better meet the requirements of spiritual function, we must maximize the use of the latest achievements in modern science and technology.4 Interior design must meet the regional characteristics and national style requirementsDue to differences in the regions where people live, geographical and climatic conditions, the living habits of different ethnic groups are not the same as cultural traditions, and there are indeed great differences in architectural styles. China is a multi-ethnic country. The differences in the regional characteristics, national character, customs, and cultural literacy of various ethnic groups make indoor decoration design different. Different styles and features are required in the design. We must embody national and regional characteristics to evoke people’s national self-respect and self-confidence.三、Points of interior designThe interior space is defined by the enclosure of the floor, wall, and top surface, thus determining the size and shape of the interior space. The purpose of interior decoration is to create a suitable and beautiful indoor environment. The floor and walls of the interior space are the backdrop for people and furnishings and furnishings, while the differences on the top surface make the interior space more varied.1 Base decoration ----- Floor decorationThe basic surface ----- is very important in people's sights. The ground floor is in contact with people, and the line of sight is near, and it is in a dynamic change. It is one of the important factors of interior decoration. Meet the following principles:2 The base should be coordinated with the overall environment to complement each other and set off the atmosphereFrom the point of view of the overall environmental effect of space, the base should be coordinated with the ceiling and wall decoration. At the same time, it should play a role in setting off the interior furniture and furnishings.3 Pay attention to the division, color and texture of the ground patternGround pattern design can be roughly divided into three situations: The first is to emphasize the independent integrity of the pattern itself,such as meeting rooms, using cohesive patterns to show the importance of the meeting. The color should be coordinated with the meeting space to achieve a quiet, focused effect; the second is to emphasize the pattern of continuity and rhythm, with a certain degree of guidance and regularity, and more for the hall, aisle and common space; third It emphasizes the abstractness of the pattern, freedom, and freedom, and is often used in irregular or layout-free spaces.4 Meeting the needs of the ground structure, construction and physical properties of the buildingWhen decorating the base, attention should be paid to the structure of the ground floor. In the premise of ensuring safety, it is convenient for construction and construction. It cannot be a one-sided pursuit of pattern effects, and physical properties such as moisture-proof, waterproof, thermal insulation, and thermal insulation should be considered. need. The bases are available in a wide variety of types, such as: wooden floors, block floors, terrazzo floors, plastic floors, concrete floors, etc., with a wide variety of patterns and rich colors. The design must be consistent with the entire space environment. Complementary to achieve good results.四、wall decorationIn the scope of indoor vision, the vertical line of sight between the wall and the person is in the most obvious position. At the same time, thewall is the part that people often contact. Therefore, the decoration of the wall is very important for the interior design. The following design principles must be met: 1 IntegrityWhen decorating a wall, it is necessary to fully consider the unity with other parts of the room, and to make the wall and the entire space a unified whole.2 PhysicalThe wall surface has a larger area in the interior space, and the status is more important and the requirements are higher. The requirements for sound insulation, warmth protection, fire prevention, etc. in the interior space vary depending on the nature of the space used, such as the guest room, high requirements. Some, while the average unit canteen, requiresa lower number.3 ArtistryIn the interior space, the decorative effect of the wall plays an important role in rendering and beautifying the indoor environment. The shape of the wall, the partition pattern, the texture and the interior atmosphere are closely related to each other. In order to create the artistic effect of the interior space, the wall The artistry of the surface itself cannot be ignored.The selection of wall decoration styles is determined according to the above principles. The forms are roughly the following: plasteringdecoration, veneering decoration, brushing decoration, coil decoration. Focusing on the coil decoration here, with the development of industry, there are more and more coils that can be used to decorate walls, such as: plastic wallpaper, wall cloth, fiberglass cloth, artificial leather, and leather. These materials are characterized by the use of It is widely used, flexible and free, with a wide variety of colors, good texture, convenient construction, moderate prices, and rich decorative effects. It is a material that is widely used in interior design.五、Ceiling decorationThe ceiling is an important part of the interior decoration, and it is also the most varied and attractive interface in the interior space decoration. It has a strong sense of perspective. Through different treatments, the styling of lamps and lanterns can enhance the space appeal and make the top surface rich in shape. Colorful, novel and beautiful.1 Design principlesPay attention to the overall environmental effects.The ceiling, wall surface and base surface together make up the interior space and jointly create the effects of the indoor environment. The design should pay attention to the harmonization of the three, and each has its own characteristics on a unified basis.The top decoration should meet the applicable aesthetic requirements.In general, the effect of indoor space should be lighter and lighter. Therefore, it is important to pay attention to the simple decoration of the top decoration, highlight the key points, and at the same time, have a sense of lightness and art.The top decoration should ensure the rationality and safety of the top structure. Cannot simply pursue styling and ignore safety2 top design(1) Flat roofThe roof is simple in construction, simple in appearance, and convenient in decoration. It is suitable for classrooms, offices, exhibition halls, etc. Its artistic appeal comes from the top shape, texture, patterns, and the organic configuration of the lamps.(2) Convex ceilingThis kind of roof is beautiful and colorful, with a strong sense of three-dimensionality. It is suitable for ballrooms, restaurants, foyers, etc. It is necessary to pay attention to the relationship between the primary and secondary relationships and the height difference of various concavo-convex layers. It is not appropriate to change too much and emphasize the rhythm of rhythm and the artistry of the overall space. .(3) Suspended ceilingV arious flaps, flat plates or other types of ceilings are hung under the roof load-bearing structures. These ceilings are often used to meetacoustic or lighting requirements or to pursue certain decorative effects. They are often used in stadiums, cinemas, and so on. In recent years, this type of roof has also been commonly used in restaurants, cafes, shops, and other buildings to create special aesthetics and interests.(4) Well format ceilingIt is in the form of a combined structural beam, in which the main and secondary beams are staggered and the relationship between the wells and beams, together with a ceiling of lamps and gypsum floral designs, is simple and generous, with a strong sense of rhythm.(5) Glass ceilingThe halls and middle halls of modern large-scale public buildings are commonly used in this form, mainly addressing the needs of large-scale lighting and indoor greening, making the indoor environment richer in natural appeal, and adding vitality to large spaces. It is generally in the form of a dome, a cone, and a zigzag. In short, interior decoration design is a comprehensive discipline, involving many disciplines such as sociology, psychology, and environmental science, and there are many things that we need to explore and study. This article mainly elaborated the basic principles and design methods of interior decoration design. No matter what style belongs to the interior design door, this article gives everyone a more in-depth understanding and comprehension of interior design. If there are inadequacies, let the criticism correct me.中文译文室内装饰简述Y Miyazaki一室内装饰设计要素1 空间要素空间的合理化并给人们以美的感受是设计基本的任务。
室内设计外文翻译--住宅布局概论
1、外文资料《Introduction to Residential Layout》Mike BiddulphFirst edition 20072.“Ensuring commercial viability”In this chapter we explore the commercial aspects of housing design and layout.It is really important that designers understand that the buildings and spaces that they design are typically built and sold for profit,and to umderstand something of how their product will be evaluated in commercial terms.As a result,this chapter outlines a development appraisal known as the residual valuation technique and we apply it to a particular development scheme.The point is not to turn designers into quantity surveyors,but instead to inform the mentality of the designer so that their work is not commercially naive.The residual valuation is a straightforward technique that can be used early in the planning of a simple development scheme ,although other,more elaborate and precise techniques will also be used by quantity surveyors working in practice.We will work through a valuation to explore how a design might shape its market potential ,and explore how a design can be adjusted to become more profitable.We will also consider how designers can use design to add value to schemes by using layout techniques commonly observed in practice.COMPLETING A DEVELOPMENT APPRAISALThe basicequationIn costing a planned residential development it is important to design a scheme where the predicted returns are greater than the costs.The difference between the returns and the costs is known as the residual.This residual can be used to determine the value of the land onto which the planned homes will be built.In preparing a valuation for a scheme the following basic equation should be used:Development Value—Development Costs=Possible Land ValueCALCULATING DEVELOPMENT V ALUESThe costing of speculative residential development is relatively straightforward as the value of the property is simple the price that the property is ultimately sold for.Inprediccting this value it is important to have a clear sense of the local market and how similar homes are selling within that area.It makes sense to be a little conservative with prediction so that values do not become inflated,although there is a tendency for new houses to sell with a slight premium over similar houses that have previously been occupied.Valueswill vary significantly according to the location of the home,but also-and more specifically-according to the nature of the home and plot.In the UK,homes are sold according to the number of rooms they have,whilst in slightly more refined markets,a total floor area is also compared.The value will also be significantly influenced by the quality of the internal and external design and finish,the size of the garden,the location of parking and the type of house;for example,whether it is detached,semi-detached or terraced.Values will also vary across the site as certain areas of a scheme may be more desirable than others.This is discussed further below.It is important to refine predicted values relative to judgement about how much demang there will be for properties within a scheme relative to other local areas.Although housing markets can de very dynamic and predicting sales prices can be imprecise,it is necessary to have a clear sense of the local market using information about previous sales from within the area.However,it is also important to have a sense of how the circumstances surrounding a site might change.For axample,the planning of a new road might make the site more accessible and inflate future prices.3.“Building place and defining space”This chaper introduces the importance of designing urban form and a succession of places within residential schemes.It discusses the types of space that we create within the urban environment when we lay out homes and how these spaces should be configured.Different types of block structure are introduced.The chaper concludes with a brief explanation about how we should not let these amenity standards dictate the form of our residential areas,and that instead we should start our designs with an aspiration towards creating different types of place within a scheme.DESIGN PLACESRather than merely stringing out identikit housing along identikit roads,the main challenge for the desingner of a new residential area is to create distinctive places within their scheme.The notion of a place is something that has complex social connotations-what one person may regard as a place or places may not match that of another-but with reference to design it can refer to a sense of individuality or difference within the environment which forms,urban spaces and humanactivity.It is possible to be aware of ,and therefore concerned about,places at a whole range of scales.Regions are environmentally,as well as socially or culturally,distinctive.This is influenced not only by enviromenttal factors such as topography,flora and fauna or climate;but also by how societies.If you travel between regions,therefor,you may have a sense that you are leaving and entering different places,and the characteristics of urban areas will make a contribution to that feeling.However,within urban areas there are also distinctive places which result from how building,and other elements,have been combined together to create the urban enviroment.These places might be informed by the distinctive attributes of a region (a very simple example:all the buildings may contain a similar building material,or a distinctive type or form of building),but within the urban area the spaces created between these buildings should have a variety of both forms and functions.As you travelled through an urban area,therefor,you would experience the feeling that you are travelling between one place and the next.Urban environments that do not have this character are called placeless,and often the only way to fully appreciate the contribution that place makes to our lives is to spend time in placeless environments.Relph(1976,p.90)defines placelessness as …a weakening of the identity of places to the point where they not only look alike but feel alike and offer the same bland possibilities of experience.Placeslessness in residential environments results form:Road environments that have no direct relationship with the uses andactivities along themUniformity and standardisation within the built environment(figure 3.1)The adoption of synthetic,nostalgic or inauthentic themes in the design of either buildings or urban spaces,which ultimately become common between different schemes.In his thinking about how to overcome the blandness of urban development,gordoncullen(1961) argues simply for a recognition of both hereness and thereness in urban design.he suggests that people should have a feeling of entering or leaving a variety of places as they pass through the urban environment.as you enter a distinctive,individually designed street or square,he argues,you will have a sense of hereness and ,by definition,the other distinctive streeta and squares will have an equally considered design(figure 3.2).CREATE URBAN FORMPlaces result from the way that individual buildings are brought together to create urban form.streets and squares are types of urban form resulting from how individual buildings are brought together in the design,and just as we might carefully design an individual building,the form of a street or square,or the pattern of streets and squares that go together to make an entire scheme,should not be left to chance.urban design could almost be defined,therefore ,as the act of designing urban form;and the process of designing distinctive urban forms should result in physically distinctive places emerging within a scheme.DEFINE SPACEIn creating urban form the urban designer is helping to decide how the space of the urban environment will be used.at the most general levelthe urban designer is helping to decide where the solid walls of buildings will go,and in so doing choosing what will be outside and what will be the inside environment.figure 3.4 is a figure ground plan showing the pattern of urban form that results form that results from this process where the distinction between the solids(buildings)and voids(outdoor spaces)is most clear.figure ground drawings are an easy way of illustrating the pattern of urban form that is being suggested within an area.TYPES OF URBAN SPACEUrban space is not merely distinguishable as either outdoor or indoor.instead,from an urban design perspective,it is better to distingguish between four types of outdoor space which reflect who will have access to the space and something about how it will be perceived and used..PUBLIC SPACE: public spacerefers to urban space which is easily accessible to the general public at any time of day or nigh t(figure 3.5)streets are an obvious type of public space which people can physically enter and exit.there is a degree of management or control of what you can do within street space which is influenced by laws and cultures,whilst the physical design shapes quite clearly if it lends itself to ,for example,playing sports,walking,running,cycling or driving.despite tremendousvariation in what you might do in public space,however,physical access is maintained.Semi-public space:compared to public space,semi-public space is a type of space inwhich some greater degree of control is exerted over when access is allowed.these tend to be spaces which allow general public access.however,due to a far stronger management regime,they might,for example,be closed for certain hours.in addition,management may also influence who can use the space(figure 3.6).let us the example of an urban square with a small park in the middle of it.if hat park is always open to the public then it would be regarded as a public space ,if ,however,a boundary was erected,and the park was closed at night,then it would be a semi-public space.the benefit of making it a semi-public space may be that access to the public is safer,or that a slightly more sensitive environment can be protected from vandalism or other types of misuse.Private space：the final space is exclusively for the use of the residents of a property.outdoor private spaces form gardens，although sometimes roof gardens or balconies serve an identical purpose(figure 3.9).such spaces allow private residents complete control and a higher degree of both security and privacy,so that they can use the space for what they wish;for example,gardening,storing rubbish,sunbathing,playing or fixing the bike.A residential area is made up of these types of space,and differently designed urban forms will result in different patterns and relationships emerging between these types of space.public spaces tend to form a network which provides a pattern of access for residents(figure 3.10) sometimes semi-public spaces may be introduced ,typically as open spaces or play area,into the pattern of public spaces.semi-private areas tend to be located between the public spaces and people homes so that a zone of control is introduced between a public street and a private property.however,semi-private spaces can also form shared private gardens,and these may be included in a scheme between private gardens,and these may be included in a scheme between private gardens.finally,private gardens,where they exist,tend to be accessible from the home but,as a matter of principle,they should not abut a public space.why this is will be discussed below.INTERFACESThe boundaries between the different types of space are sometimes referred to as interfaces(figure 3.11).for example,the front wall between a front garden and a public space of the street can be referred to as the interface between semi-private and public space,just as the front wall of thehouse can be described as the interface between the private interior of the home and the semi-private front garden.such interfaces are important as they can be designed in a particular way to achieve a particular urban design affect.housing schemes that have semi-private front gardens but no wall at the interface with the public street space may,for example,result in quite a different street character to a situation where high front walls or even hedges have been introduced.FRONTS AND BACKSA common concept in residential urban design is that homes have both a front and a back interface;that the public front of the homes should face the street and the private backs of the homes should face the private spaces(figure 3.12),why this is so can be argued from the perspectives of either achieving outdoor privacy and security around the back,or creating a focus for public life within the public life within the public realm around the front.AROUND THE BACK:ACHIEVING OUTDOOR PRIV ACY AND SECURITYThe idea that homes should have a back space stems from the observation that privacy is a very important feature of the domestic realm,and that people can enjoy privacy both inside and outside the home.the private garden is a direct result of this,although the balcony or the semi-private shared gardens are good surrogates(figure 3.13).if private gardens are to be built into a scheme then it makes sense to group them together.this is so that the privacy between the homes is shared,and the gardens are secure.AROUND THE FRONT A FOCUS FOR PUBLIC LIFE WITHIN THE PUBLIC REALM The public realm of a residential area refers to the space that forms between the buildings which,although containing semi-public or seni-private spaces,will tend to be dominated by the comings and goings of the public street network (figure 3.14).despite the subtle variations in experience and expectation that such semi-public or semi-private spaces might allow,there is an expectation that public life will ensue.within certain quieter parts of a residential area this may be dominated by the chance meeting of neighbours,children playing or pedestrians and vehicles passing through.in other areas the public environment will be busier,possibly with a few shops or cimmunity uses supplementing the busier comings and goings of residents.despite this variation in the intensity of activity,the qualities of this public environment need to be carefully looked after if it is to feel safe and be convenient.one of the way this sense of safety and convenience can be achieved is by ensureing that the front doors and windows of homes overlook the street.this allows public activity to focus onto the public realm,as people come and go from their homes through front doors that face the streets,whilst the windows allow overlooking or surveillance of the public realm.PROVIDE SURVEILLANCESurveillance refers to the opportunity to observe activity within a street.the opportunity to observe some degree of human activity within the public spaces of a residential area is regarded as a positive feature in most residential settings(figure 3.15).a particular benefit is the sense of secrity that comes from feeling that you are not alone in your neighbourhood.Direct contact between people in a street going about their daily business is a form of surveillance,but the opportunity for people to see into the street from neighbouring homes also creates a sense of security,whilst those people in the street also informally observe that all is well within the homes.DO NOT CREATE DEAD SPACESometimes the principle of public realm and private backs facing each other is not followed,and where private gardens abut the public realm dead space may be the result(figure 3.16).this is because the demand for privacy and security around the back of homes inevitably means that some sort of barrier,such as high fences,may be introduced.For the public realm ,the consequence of this is severe ,as the activity associated with the front doors and the surveillance of the street environment through windows are both lost.in addition,no back fence could be as interesting as the facade of a home.this approach,therefore,results in less human activity,a poorer sense of security and safety,and an environment that dull and unteresting.The consequence of this for the private gardens is equally poor.the gardens now abut trafficked streets which are noisier,whilst it is thought to be relatively easy for a thief to hop over a back of a house from the public realm which is less populated and has poor surveillance.LESS DEMAND FOR PRIV ACYNot all residential area achieve the same level of outdoor privacy.apartments in particular may rely on balconies above ground level to privide outdoor space,whilst in other residential scheme (including either houses or apartments)private gardens or shared communal(semi-private)courtyards can tend to be quite open.in all of these cases the compromising of privacy allows some surveillance of neighbouring spaces,whilst the visible gardens and balconies provide visual interest to residents and visitors(figure 3.17) RESIDENTIAL BLOCK STRUCTURESResidential block structures result from the way designers compose the buildings and urban spaces to create urban form.by creating residential blocks the designers are defining the location of,and relationships between,the types of urban space and the pattern of access that will be allowed in general through the area;whilst they are also starting to consider the character of the layout and whether a sense of place will be achieved.The history of housing layout covers a great variety of residential block structures,and their enduring success shows that people can happily live in a wide range of residential settings-so long as the homes are well-constructed,the community is stable and the housing environment is well managed.SOME COMMON RESIDENTIAL BLOCK STRUCTURESAlthough a range of residential block structures have been adopted,some specific forms tend to be more common than others.Periphery blocksThe periphery block was probably the most common form of block structure until the 1930s when other block structures were experimented with.more recently,however,periphery blocks are suggested for a wide range of contexts as a result of the influence of the publication Responsive Environments(Bentley et al.1985).the basic principle reflects the advice given above-that the fronts of buildings should face the public realm and the private backs of buildings should face each other.the blocks are then arranged in a deformed grid of streets(figure 3.18).where housing is proposed the periphery street environment to become the focus for access,public life and social activity.periphery blocks are not only used,however,where houses with private gardens are being considered.Apartments in periphery blocks with shared open space:often,if apartment are developed,semi-private courtyards are introduced into the centre of the blocks where,for example,planting is introduced,residents can ralax,children can play or washing can be dried.such a space allows apartment residents access to outdoor space which is managed for the block as a whole,and which for children and some residents might be preferable to a small private garden.sometimes it is possible for non-residents to enter the courtyards are only available to residents(figures 3.19and3.20)Housing in periphery blocks with private gardens and shared open space:periphery blocksmay also have housing with private gardens a communal space for play or parking has then been introduced(figure3.21).this is actually a configuration that has a long lineage-during the seventeenth century housing was often arranged in block with service access in the middle of the block accommodating,for example,stables and carriages.this configuration evolved to a form of back alley access in the nineteenth century,whilst today former coach houses are sometimes converted to mews court housing.Apartment in periphery blocks with private gardens and shared open space:alternatively,ground level apartments in periphery blocks can have private gardens to their rear,and then residents who live on other floors have access to a communal space(figure 3.22) All of the above examples demonstrate variation in how private space is considered in a periphery block,but they also allow physical definition of the public realm,as the fronts of these homes face and give a physical form to the street environment.FREE STANDING BLOCKSSince the early twentieth century,apartment in particular have been developed in free standing or point blocks(figure 3.23).the rationale for this is provided by architects from the time who wished to :Provide a form of residential environment that provided air and light to homesFree people from what were regarded as the constraints of the nineteenth centuryProvide new,and unconstrained open spaces around the homesAccommodate the newly popular car(something that the older streets struggled to do)Use new building techniques,technologies and materialsProvide more communal ways of living.Today this rationnale still remains revevant in certain contexts;in particular where people tend to live in apartments,and a demand for outdoor private garden space is less prevalent.in addition,on certain sites apartments in free-standing blocks provide the most effective mechanism for achieving the desired density of development.where management processes are poor such blocks which can result in vague and poorly used open spaces between the blocks which can suffer from poor surveillance and under use.however,there is no reason why a high free-standing block can not be combined with other street level housing which is used to define a street or other public space.blocks like this can be very high,although within european cities free-standing blocks of about five storeys are also common,allowing residents a more immediate relationship with neighbouring spaces.2、中文译文《住宅布局概论》迈克比·达尔夫 2007年出版2.“确保商业可行性”在这一章中，我们探讨住宅设计中的商业方面和布局安排.它是非常重要.设计师明白，建筑物和公共场所，他们的设计是典型的建造和销售利润，并理解如何将他们的产品进行一些商业评估。
个性化办公空间室内设计外文文献翻译最新
个性化办公空间室内设计外文文献翻译最新The research aims to explore the significance of personalized office XXX and its XXX and case studies。
the XXX office space design。
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XXX.译文本研究旨在探讨个性化办公空间室内设计的重要性以及其对员工生产力和满意度的影响。
通过文献综述和案例研究，本研究确定了成功的个性化办公空间设计的关键因素，包括灵活性、舒适性和美学。
研究发现，个性化办公空间设计可以改善员工的福利、创造力和工作满意度，最终导致生产力和组织成功的提高。
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our society has ned into the "n age" and many countries have moved towards a "post-industrial society"。
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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
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 tonature more emphasis on functionality more concerned about life itself. create apoetic space.Keywords: minimalism space grade interior design feeling Ancient times Chinese wooden framework architecture of ancient India theOrient Europe building caves in ancient Greece ancient Rome and so on decorativestone buildingclosely integrated with the components with the main buildinghowever. dissolved into Europe in the early seventeenth century Baroque times andthe mid-eighteenth century the Rococo era began with the interior decoration of themain building separated from the main building external and internal fitting-outperiod in the use of the mismatch thus leading to the main building and interiordecoration of the separation in the construction of the French court architecture andaristocratic mansion the new occupation quotdecorative artisanquot was born the buildingsinternal frequency continuous modification fixed the main building the replacementbuilding quotclothingquot the time has come. Baroque-style architecture of the interiordesign one anti-Renaissance solemn subtle balanced tend to exaggerate. luxury inchurches and palaces in the architecture sculpture painting into a whole the pursuitof momentum with the ups and downs but an attempt to cause the illusion.Rococointerior architecture is the palace of nobility in order to be intimate and comfortableelegant interior and the pursuit of a more intimate interior decorative effect. with thinlightweight beautiful and complex decorative hi-shaped with C-shaped or S-shapedcurve of the vortex and soft pastel colors with flowers and birds many shells as atheme and the court order to meet the requirements of the exotic much used ininterior decoration. Chinese-style Baroque and Rococo-style hand-made decorationreached perfection referred to as quotinterior decorationquot. modern representatives of thegreat development of the industrial revolution there has been a new type of concretebuilding its interior decoration not only from the main building from the Mediumand developed into the main building and not attached to the sole part of the relativeseparation. Sports camp solved simply decorative building components with acombination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form consider thespace of the building are the protagonist advocate discarding false surface decorationall around the architecture reasonable space requirements Services. excludedecoration emphasis on the use of functions and simplified shapes. Advocate the design of the natural style of natural space aesthetic promoted theidea that quotnatural beautyquot to the performance of relaxed comfortable natural pastorallife and is often the use of natural wood stone rattan bamboo and other materialsrustic texture. clever in interior settings greening create a natural simple fresh andelegant atmosphere. onlyupholds nature combined with the natural order in todayshigh-tech high-paced social life so that people can achieve physical andpsychological balance. Simple does not mean easy it is an attitude towards life. when we are in modernlife to bear too much pressure we began to look for the feeling of freedom gracefulposture and extraordinary taste. we need to tend to a peaceful state of mind impetuousSo we call for simplicity. from the building space to the general living space fromdesigners to the ordinary citizen vocational naturally simple style - interior design hasbecome very popular direction. The spirit of simplicity is mainly derived from the origin to the early twentiethcentury Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designersin the mid 80s to lead the trend ofminimalismdesign. Europe and the United States at the time of economic downturn the ArtGallery bosses began to display works of art space to find a way out some reportedcosts factory floor layout easy to become art exhibition hall the purpose of funding isbased on at least make the best display space while the results of doing so is tosimplify the space not decoration superfluous things in fact this also reflects theemergence of a new aesthetic design. from home into the design of art galleries theexhibition space with works of art showing the characteristics of the same type ofaesthetic simplicity. art at this time it started with the interior coincide with the designand gradually began to slip to the present minimalism became the style of interiordesign and pursue careers. Return to nature of minimalism arehuman-specific labor. its purpose is toconcise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs. In a sense the prevalence of minimalism aretheinevitable trend of human development. Natural simple interior design to create a poetic space. We know that the quotpoemquotThe Art of the characteristics is to use very simple vocabulary according to certainrules of composition form a quotpoemquot of such a language its between the lines containsa great deal of space a static implicit in the design space. peoples ideological feelingslife longing for injectioninto the environment through the quotmoodquot to reproduce thethree-dimensional space in reality it means its habitat then forgotten by his bodywhich is a spiritual experience beyond the physical experience quotmoodquot of creation itis by creating an atmosphere to achieve a certain spiritual significance embodied thequotaffinityquot.In fact the interior design is minimalism such a quotpoeticquot to create a spacewith minimalist objects. have to imagine the use of display space this space isactually a vice-space has generated various combinations of furniture deputy spaceit often gives a visual quotemptyquot feeling while quotemptyquot like poetry generated by thequotmoodquot a great mobilization of the person in which emotions ability to inspirepeople association. Simple interior design aesthetic to emphasize the form. If Say thegeneral design of the interior furniture such as sofas tables and other items referredto as the main object then minimalism interior design is there is no such distinction.Minimalism in interior designconsider any part of space will share the sameimportant 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 pointLine surface the three elements of the performance space. China for thousands ofculture how much precipitation Heng Bank works especially the Han Chinese arebuilding a more beautiful set of Aura essence to quotsimple solid precise elegantquot as theprinciples unique to Oriental aesthetic ideas independent and vigorous temperamentconcise vaguedistant charm of simplicity the world should ring. it has also affectedthe international building design concepts but also affect the interior designaesthetic.Design is able to express the language aslittle as possible as muchinformation as possible depends on its design will be many manifestations of thecombined elements of science in which the choice and use of color plays a verycrucial role. We know colors are different wavelengths Light reflection and absorptionof the result of the spread of light faster than the spread of graphic language fasterwhich makes it the first time people feel so the first sense of space is the color anddifferent colors can cause different and feelings of psychological reflect. Naturalsimple interior design black and white and color materials are representative of itscolor is often used in color these colors were not inclined to think most are the colorsof the visual interference of the smallest personInterior design at the same time alsoemphasized the use of light often through access tonatural light source such asskylights which create a pastel color spaceof one whole plays a very important rolebut 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 partialemphasized its functionality and comfort In fact such a full expression of functionaldesign embodies the basic aesthetic principle is also very easy to understand anydesign Service is based on man-made object person in the consumer design are themost important consumer of its practical function so when we see a seemingly hardseat do not immediately judge it is bound to bring you the feeling of cold go get themoment perhaps it is that it backs the arc Road inadvertently bring you down just toexperience the benefits of comfort. It should be said that natural simple interior design show is a way of life itallows us closer to nature more emphasis on functionality more concerned about lifeitself. Concise understanding of the person to person because of peoples ageknowledge quality of life different backgrounds and the taste will be differentrequirements. social development the progress of the times new thinking newstructure the emergence of new materials will have to adapt to this new concept ofdecoration new forms new space. decorative simplicity of this modern form ofexpression has depth affect thebuilding products industrial products in many fieldssuch as Living Products. several pipe a timber a reactor cloth can make differentforms of modern furniture. it has quietly let peoples way of life and ideas have been aqualitative change. think concise design style is bound to outshine others to becomepeoples lives the pursuit of 21st centuryfashion. A concise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs this is also the international communitytoday. popular design style and modern fast-paced high-frequency full load has nopeople to Reusable point increase in the acceptance of people in this increasinglybusy life a desire to be able to completely relax simple and pure spirit to regulate theconversion of space which is dominated in the complementary sense arising fromtrying to shake off cumbersome complicated easy and natural to pursue thepsychological. hostels in Indonesia Bali Series design inspired by Balis folk stylebut in space architecture and dynamic line arrangements are designed to extend thespirit of simplicity performance in the Materials the emergence of the local naturaloriginal 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 Balinesestyle. Taking a panoramic view of the worldsarchitectural design whether they areGerman Master Mies van der Rohe or the United States Richard Meyer TadaoAndo of Japan Chinese-American IM Pei they are the most pure form with a veryordinary materials use of the most concise way showing great depth of meaning andnoble qualities space a piece of their work is full of spirituality has infinite vitalityand their design idea in todays 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然而十七世纪初欧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.。
室内设计风格外文翻译参考文献
室内设计风格外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)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。
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设计空间的意义Meanings of designed spaces学部（院）：建筑与艺术学院专业：艺术设计（环境艺术设计）Since the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design, landscape design, and so on. This parceling of logic in itself can be quite beneficial to the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. it continues to stand as an obstacle and challenge to all the leak ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one the future adventures of reason. (pp.252-253)The User's Obstinacy Refusal to Dwell in TheoryFor the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have a right to claim that this person is truly within his field of expertise:Each would say,He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly /'171 going through a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise m New York Cityor Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus(Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely,it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the world" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,which characterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understand know: The object of thought is, by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might find there a common issue to unite them when the time comes to assign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this, the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.The Lesson of Prevert's GlazierHow should we now consider and approach the notion of our common user? Are there specific concepts or visions that can help us m this endeavour? In fact, when it comes to much of the essential dimensions that make up the user's human condition,there are major gaps in our disciplinary design knowledge that researchers need to address on a priority basis. Forexample,I cite the primordial phenomenon of the body. Setting aside the knowledge that biology, ergonomics, psychology, anthropology, physics, and geometry all offer on this subject, what knowledge and visions have we developed about our user's body,his spatiality, and the various situations he encounters, among others? What common ground can the product designer, the graphic designer, the interior designer, the architect, the urban designer, and the landscape designer find to address the issue of the body?In this section, I would like to explore the possibilities offered by a concept so common that we use it regularly, even spontaneously and automatically, in our everyday conversations and professional language as designers: the concept of solution. I will attempt to expand my ideas on the subject by using some supporting texts borrowed from three authors in particular:poet Jacques Prevert and architectural theorists Robert Prost and Philippe Boudon.Design professionals often express their ideas, and the results of their projects, in terms of solutions: design solution, architectural solution, urban planning solution,simple solution to a complex situation,inspired solution, and the like. But when we engage in a little phenomenology of this concept in the framework of our disciplines, we soon realize that what seems to one professional like a final solution in a design process may be nothing more than an initial solution to another professional.A chair, a bench, a lighting fixture, or an electrical appliance that is the final solution in the industrial design process may simplybe initial solution elements in the interior design process, landscape architecture, or urban design. An atmosphere or existing interior space can be the starting point for a craftsperson's or a product designer's proposal (for instance, made-to-measure furniture). In the same way, the plans and guidelines for an urban project may provide the initial conceptual backdrop to the work of the architect. What constitutes the end point for one person becomes the starting point for another's work. The eye that Prevert's glazier casts on the world illustrates this phenomenon clearly and perceptively.What sociologists dryly call the social division of labor is in fact a basic characteristic of the human condition, one that famed poet Jacques Prevert renders admirably in his poem "Chanson du vitrier":How beautiful isWhat you can seeThrough the sand through the glassThrough the window panesHere look for exampleAt how beautifulThis tree feller isThere in the distanceChopping down a treeTo make boardsFor the furniture makerwho must fashion them into a large bedFor the young flower girlWho is marryingThe lamplighterWho lights the streetlamps every nightSo that the shoemaker can see clearlyTo repair the shoes of the shoeshine boyWho polishes the shoes of the grinderWho sharpens the scissors of the hair dresserWho cuts the hair of the bird sellerWho gives his birds to everyoneSo that everyone may be in good spirits.(1963)But what then becomes of the user in this tangled web of solutions that are final for some and starting points for others?In reality, the user has a vital role to play because he or she is the one who brings closure to all the design processes: The user is the equivalent of Mr. or Ms. Everyone in Prevert's poem. Once all the designers have delivered their final solutions,everything in the user's world becomes a starting point, an initial solution for experiences and life projects. They become part of the user's overall experience, his or herlife experience, and the user imbues them with his or her own meanings.I borrowed the concept of initial and final solutions from Robert Prost's thoughts, particularly his thesis on architectural works as "works in progress": "We want to draw attention to the possibility of considering architectural phenomena as works in progress and not merely worksthat find status and complete and definitive legitimacy only at the moment of their creation, like works of art" (Prost 1991,p. 40). Robert Prost's reading of the problem posed by architectural design (Prost,1992) attempts to group together the four main players in an architectural project:the client, the architect, the builder, and the occupant. Each appears as a player acting completely in his or her own area of skill: the client formulates the goals and uses of the project; the architect proposes architectural solutions; the contractor turns the architectural solutions into reality; and the occupant appropriates and transforms the architectural work. The notion of the work-that is, the architectural solution for Prost-appears to beat the heart of the process:“Rather than looking at architectural solutions from the standpoint of one question (What are they made of?) I will introduce three additional questions: What ends/uses do they fulfill? How are they made? And, finally, how do they transform themselves?" (Prost 1992,p. 13). The first two questions query the design process. The work, or built architectural solution, appears in a nodal position, constituting the end of the design and realization process and, at the same time, marking the beginning of another process,that of appropriation and transformation through social practices (whence the notion of a work in progress). The work,which the architect considers to be the final solution,acquires the status of an initial solution for the occupant, a sort of infrastructure that provides support to his projects and initiatives regarding his dwelling.In other words, it is "free of its designers and status as the final solution and open to the social practices and status of the initial solution" (Prost 1992, p.133).The user is the one who brings closure to the overall process. Once the solution(or solutions) is delivered, it becomes an open work: open to the user's life experience, his or her appropriation and transformation projects. This concept of openwork, formulated by Umberto Eco and taken here in its architectural sense, is borrowed from Philippe Boudon (1969).Boudon's study of those living in a residential neighborhood designed and completed in 1926 by Le Corbusier at Pessac,near Bordeaux in France, shows the scope of transformations introduced into the work of a famous thinker of the Modern Movement by the occupants. Henri Lefebvre, who penned the preface to Boudon's book, underscores this act of acquisition: "And what did the occupants do?Instead of incorporating themselves into this receptacle and adapting to it impassively, they occupied it actively to a certain extent. They showed what it means to inhabit a place: in one activity. They worked on, changed and added to what they were given. What did they add? What they needed. Philippe Boudon shows the significance of the differences they made.They introduced qualities. They built a differentiated social space" (Lefebvre, 1969).It is in this sense that one of the proposals Boudon made in the study was the conclusion that architecture is an open work,in other words, open to the occupant's initiatives and corrections: "Based on an occupant's own expression, architecture can be considered an infrastructure upon which the occupant's free expression can evolve both qualitatively (combinations)and quantitatively (surfaces) within fairly broad boundaries" (Boudon, 1969, p. 106).We have seen that the user's logic extends far beyond the disciplinary logic in which we are involved. To end on a poetic note, I gladly offer Prevert's "Cancre" as a fitting comparison to the user:He says no with his headBut yes with his heartHe says yes to what he likesHe says no to the teacherHe standsHe is questionedAnd all the problems are posedSuddenly he is overcome with uncontrollable laughterAnd he erases everythingThe numbers and the wordsThe dates and namesThe sentences and the trapsAnd in spites of the teacher’s threatsAnd the jeers of the prodigal studentsWith chalk of all colorsOn the blackboard of the happiness .（Prevert,1972)Design Territories and the Logic of the Usersince the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design,landscape design, and so on. This parceling of logic in itself can be quite beneficialto the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. It continues to stand as an obstacle and challenge to all the leak-ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant . . . remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? . . . In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one ofthe future adventures of reason. pp.252-253)For the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have a right to claim that this person is truly within his field of expertise:Each would say, "He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly I'm goingthrough a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise in New York City or Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte-Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus (Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely, it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the worjd" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,which characterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understanding among our disciplines. Based on this, it might appear that a setback exists for the design disciplines, but in reality, this is an opportunity to be seized. First and foremost,it is a chance for our disciplines to cultivate a certain spirit of modesty toward what we know:The object of thought is,by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might 6nd there a common issue to unite them when the time comes to assign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this,the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.设计空间的意义设计空间的意义Tiiu Vaikla-Poldma关键词：空间设计，居住区，用户自从加入设计知识的现代大学的部门,建筑环境,代表的一个主要研究领域的知识,根据现代调查的分析模型经历了一个巨大的碎片变革。