艺术设计中英文对照外文翻译文献
艺术设计外文翻译--美的传统与新生
艺术设计外文翻译--美的传统与新生The nal and NewAbstract:XXX of art and design for XXX has been appreciated and valued for ns。
but with the advent of XXX and ideas。
XXX of design。
as well as its properties.n of Beauty:Beauty is not just about XXX。
it XXX。
XXX is essential。
Although the laws of the United States are not a constraint。
they may have XXX "nality"。
By examining the n of beauty。
XXX its essence.Natural Beauty:One of the most XXX is natural beauty。
It is similar to the beauty of nature and is appreciated for XXX is something that can be captured and understood。
XXX.Overall。
XXX always be valued。
XXX。
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they can create designs that are not only beautiful but also useful and effective.have changed。
and the focus is now on XXX。
This style is often associated with minimalism and simplicity。
and can be seen in many modern designs.The use of clean lines and simple shapes is a hallmark of the geometric style。
中英文外文文献翻译中性化服装设计
本科毕业设计（论文）中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处：House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
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。
室内设计装饰风格中英文对照外文翻译文献
(文档含英文原文和中文翻译)中英文对照外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。
艺术类文献翻译英文原文
原文：•Update:2009-12-08•Justin 0'Connor•Source: No.199 | November2009[…]The basic difference between a creative artist and an industrial designer lies in the tasks they perform and the environment in which they operate. The creative artist is respon-sible only to himself. On the work of the designer, however, depends thecommercial profit of his factory, and thus the welfare of the workers in this factory. His world is the worldof businessmen and technicians. His language must be the language of businessmen and technicians. Artistic arguments are not subject to proof. The artist is allowed to dream. The designer must be awake at every minute of his working day. He is a manager. Objectivity and clear thinking determine his actions. He must make all his dispositions with a sure hand. The artist works alone. The designer is a member of a team. The artist is silent. The designer needs to talk about his ideas. He must be able to communicate with his partners.[…][…]We must say goodbye to the familiar image of the artist in industry who, dreaming of good design, tinkers round with his spoon, the last craft worker in industry, as he was once called. We shall have to accustom ourselves to a new type of designer, one who is hard-ly to be distinguished from a clever manager –the word ›manager‹ being meant in a positive sense here. It is natural for this designer to be as familiar withquestions of production and sales as his client is. Design alone is nowadays only a part of his work. […] The industrial desi gner of today must be put in much greater touch with the values of commerce and mar-keting if he is to be successful in his work, if he is to conceive the right product for the right market at the right time.Industrial design is the creation of industrial products. The industrial designer must have the knowledge, the abilities and the experience needed to grasp the facts governing the pro-duct, to conceive the design, and to carry it out in collaboration with all those involvedin product planning, development and manufacture, up to the finished product. In his coor-dinating design activity he will benefit from his knowledge of the sciences and oftechnology as a basis. The aim of his work is to create industrial products to serve society in both a cultural and social aspect.The industrial designer is the advocate of the people. It is amazing that the user or con-sumer is only indirectly involved in the decision process governing things he requires to satisfy his needs. So, in the first place, the desig ner is the user’s or consumer’s advocate. But at the same time this makes him a product of the people. Everyone has his own yardstick. Everyone makes their own decision. The particular task of the designer is to anticipate the de-cisions which others will make in the future as if they were his own. […] The difference from previous occupational descriptions [of the industrial designer –Editor’s note] is this – that German designers speak of coordinated design work and include the social aspect to which industrial design must be subject. I do not believe that this occupational description will be the last one. This profession, which is constantly involved in a dynamic devel-opment, is seeking new fields of work and new orientations.This service, from designs by Sigrid and Günter Kupetz, is not without its charms. Excellently finished ebony handles, a straight upper camber with a flat cover and counter-sunk ebony handle, a rather higher three-cor-nered spout (useful when carrying full pots) and an idiosyncratically curved body. One would perhaps enjoy it without reservation if there were not already an ›m‹ service. Butit provides enjoyment enough. For whether this careful transfer of a ›stile cristallino‹ to silver really signifies the ultimate solution, or just an attractive preliminary stage – the fact remains that WMF has been honestly en-gaged in producing something genuine, some-thing of high quality.This monograph is the first comprehensive overview of the creative work of designer Günter Kupetz. At the same time it presents a picture of the development of industrial design in Germany. There are few other personalities in the design world whose profession-al career reflects as well as Kupetz’s does, the sense of being one of the founders of a disci-pline in the fifties and sixties of the twentieth century. Against the background of the completely changed social and economic contexts of that time, Kupetz and, with him a whole generation of young German designers, frees himself from the artisanal image of the industrial artist imposed by the Bauhaus tradition, enters into an international dialogue about contemporary industrial design and ends up by creating the profession of industrial designer in Germany.Even though Kupetz’s debut was as an artist. Bernhard Heiliger’s outstanding student de-cided, after his first successes in sculpture, to take up a position with WMF in Geislingen/ Steige. He became head of the design studio and in subsequent years createdhundreds of products for the various branches of the company. These products have also found high international acclaim. Kupetz was represented by pieces at the World Exhibition in Brussels and at the ›Triennale 1957‹ in Milan and, equally, some of his designs have found their way into the collection of the Museum of Modern Art in New York.Kupetz’s organic, sculptural forms developed from his work as a sculptor find an echo in contemporary taste. They represent an optimistic modernity oriented towards the future, a modernity which became ever more popular during those years and which, with increasing affluence, more and more people were able to afford. Against the background of his paid work in industry, Kupetz’s wish to set his work in some sort of context and to give it the status of an independent professional discipline began to crystallise. He was increasingly re-occupied by issues surrounding the nature of the job and the professional ethics of the designer. He became a member of the Deutscher Werkbund association of artists and sought contacts with national and international colleagues. Influenced by the first International Design Congress, organised by the German Design Council in 1957 and the British designer Sir Paul Reilly, Kupetz became in 1959 one of the co-founders of the Association of German Industrial Designers (VDID) the first professional association for industrial designers.It was no more than consistent that the professional occupation of industrial designer as he had experienced it should lead him into fully freelance work in 1960 and finally, in 1962, into teaching. Thus, in taking over the newly founded teaching department of Industrial Design at the Kassel School of Industrial Art, he saw an opportunity to bring this new pro-fessional occupation into the purview of teaching and to test it in practice.The more important teaching was to him, the more Kupetz realised the dilemma in which he was placed. He knew the importance of technical, economic and social influences on the design process and wanted to integrate the sciences into design training as auxiliary disciplines. At the same time, he rejected any approach to the design process which was overly scientific. Kupetz therefore used the architectural term of (design) planning, a process in which of course scientific knowledge had an influence on design, but without dominating it. On the other hand – in contradistinction to the Ulm school – he considered the artisticaspect of design to be important. Here in his publications he made use of an enabling for-mulation by which, instead of art, he introduced the concept of intuition into his ideas of teaching. It was intuition, he said, which distinguished the designer from the engineer.Increasingly his interests were no longer restricted to training students. In his opinion, neither the industrial-art schools of his time nor the polytechnics of fine art were adequately structured for design training in Germany. He devoted himself to an evaluation of the school of industrial art, which led in 1971 to the foundation of the Polytechnic of Art and Design. In 1973 he was appointed to the Polytechnic of the Fine Arts in Berlin, where he became Professor of Product Design and Product Planning. The reorganisation of the Polytechnic of the Arts in Berlin saw Kupetz as a member of the Organising Commission where he attempted to bring his ideas to bear on the organisation of the Industrial Design Department. In his inaugural lecture as professor in Berlin Kupetz was already summing up in surprising fashion the job definition which he had proposed only a few years before:»The difference from previous occupational descriptions is this: German designers speak of coordinated design work and include the social aspect to which industrial design mustbe subject. I do not believe that this occupational description will be the last one. This pro-fession, which is constantly involved in a dynamic development, is seeking new fields of work and new orientations.« What distinguished Kupetz from his colleagues was his ability to question his own actions and to recognise that there were ever more possibilities of reaching solutions in design – and against a background of social change.For those seeking to classify Kupetz’s creative work, it is the mass market, where what matters first and foremost is meeting basic consumer needs (furniture, utensils and itemsfor everyday use) which provided the initial social context for his endeavour. Even before he had finished his creative career in industry this context had changed radically. From the beginning of the 1970s the German market begins to diversify. In a saturated market, new consumer needs come to the fore. Representation, involvement, identification, hedonism now form the central concerns of design led by market needs.Kupetz designed well over 1.000 products. These included metal-ware, glass, jewellery, packaging, furniture, durables and machinery. Some of his designs, such as the mineral water bottle for the German spring-water company, for which he was awarded the Federal Prize for Good Design in 1982, became best-sellers a million times over and are still inuse today. Other pieces, like many of the containers he designed for WMF or the first key-pad Telefone for AEG Telefunken were real design innovations in their field. Theall-em-bracing and multilayere d way in which Günter Kupetz’s work has developed, is, atthe same time, only conceivable in an industrial context. What characterises his output is his percep-tion that the design of anonymous products for the mass market is a socially important task, which must be accomplished with the highest possible regard to quality.»The professional responsibility of the designer is a personal responsibility to society, which he intends to serve through his work. His work for industry is therefore bound to a continual further development of his knowledge and abilities, but to an ever watchful moral receptivity too. In particular he must gain a comprehensive view of the whole life of man and be familiar with its needs, its customs and its desires. He should recognise theim-portance of his task. Looked at in this way, he is the vehicle of values both ideal and con-crete«, wrote Kupetz in 1963. With the dissolution of a mass market determined by basichuman consumer needs, Kupetz lost the context which shaped his work. He did not regret this, but recognised that his conception of industrial design is today a historical one. The fact that, notwithstanding this, many of his designs still seem contemporary today is attrib-utable to their outstanding formal qualities.The challenge of publishing a book on the work of one's own father has its appeal, though it is not without difficulties as one approaches the task. Many of the things that one knew intimately - and which one therefore never needed to classify - have to be looked at again from a distance. This is not only a question of gaining a certain academic objectivity, but one has also to rekindle an enthusiasm for things that have become a well-known part of one's everyday life. This is not a job that one could risk undertaking alone.I am, therefore, most grateful to Stephan Ott, who, with conceptual creativity, great love of, and attention to detail have worked with me to make this book possible. Annemarie Jaeggi and Florian Hufnagl as well as Marcus Botsch have set out the context of Günter Kupetz’s work in their remarkable and indeed brilliant contributions. In his photographs, Ingmar Kurth has lent a cool poetry to Günter Kupetz’s designs and transposed them into the 21st century. Armin Illion has taken his inspiration from the sculptural character of Kupetz design and created corresponding and equally exciting graphics.My thanks to all friends, collaborators and colleagues for their many comments and good wishes, and to WMF AG, the GDB eG (Registered Association of GermanSpring-Water Pro-ducers) and to the publishers Birkhäuser for their generous support in helping to make this project a reality.When Günter Kupetz started at Württembergische Metallwarenfabrik in Geislingen-Steige on 1 April 1954, the business was enjoying an upswing again for the first time since the end of the Second World War. After dreary years of slog in a time of poverty –when there was certainly a lively demand for daily table cutlery, but no consumption worth speaking of – now WMF intended to expand its range to feature a newly created set of products, expressive of their own age, to attract a new generation of loyal customers.In the years immediately after the war the people at WMF were still basing theirap-proach on what was already available, using the tools which had survived and the company’s well-supplied materials store, to take up production again in as seamless a way as possible. Nor was there any sign of a change in taste, for the range introduced in the 1920s and 1930s was still selling well – a range featuring a bourgeois, cautiously historicising approach, such as the cutlery, largely designed by Kurt Mayer, some of which was still being produced into the 1980s, and which provided the company with its commercial basis.When in 1948 the economic reform brought a new impetus to the market, WMF start-ed to look for new designers. In Wilhelm Wagenfeld they certainly found the most famous one in Germany, someone who represented the objective attitude of form elicited fromfunction of product, fully adapted to the industrial manufacturing process. As a trained sil-versmith, who had studied at the Bauhaus in Weimar and had managed to maintain a modern approach, both in the glass and ceramics industries, all during the National Socialist period, he, almost more than any other, had broad experience as a designer in all product sectors of WMF.The contract agreed with Wagenfeld in 1949 appointed him artistic director for the high-quality-product sector, with his own studio at WMF. Yet initially, to Wagenfeld’s irritation, his designs were largely used for glass products, while those for metal articles were shelved, or even rejected, by the company’s internal new-product committee. The reasons for this were economic considerations, for the production of the wooden models needed to manu-facture glass products meant much lower capital investment than theexpensive tools for producing metal goods. Moreover the majority of consumers in Germany, in the wake of Bauhaus, had no great admiration for these kinds of formally reductive, inconspicuously attractive and timeless consumer goods – something reflected clearly in their sales figures.Wagenfeld’s famous metalwork productions for WMF, which were to bring thecom-pany great success, and which have become a part of design history, found support above all from WMF’s American partner, Gordon Fraser. His sure eye for the US market, the pre-ference there for everything practical and rational, and the lack of a traditional bourgeois table culture in the European way, all made it easier to launch modern forms and to intro-duce stainless steel as a material. While people in the USA associated WMF with a contem-porary objectivity, and the name of Professor Wagenfeld was used here for advertising, i n Germany these products were only a small segment of the company’s broad product range.This thoroughly ambivalent attitude towards Wagenfeld could be plainly seen in the pre-sentation of a model shop window at WMF’s one-hundredth birthday celebrations in 1953. Here his timelessly shaped models were placed in a fashionably colourful setting of curving, kidney-shaped table stands, with a background of asymmetrical wooden frames, beneatha perforated ceiling. On the back wall hung a placard, reading ›G ood Design / WMF / Pro-fessor Wagenfeld‹, which emphasised his international, particularly American reputation. The word ›design‹, which was being increasingly adopted in German usage, was actually a concept for which Wagenfeld had no high opinion. He called himself an industrial pattern maker and even refused to join the Association of German Industrial Designers (Verband der Deutschen Industrie-Designer – VDID), which Kupetz co-founded in 1959.As a result, in 1953 Wagenfeld withdrew somewhat from his employment with WMF, opening his own workshop in Stuttgart in the following year. He kept his studio inGeis-lingen, but was an external member of staff, only there at irregular intervals. Now WMF began to look for someone young and talented, who might possibly be trained up as a fu-ture director of the artistic studio in succession to Kurt Mayer, who had now been working at the company for 25 years. As a result of an advertisement, the choice fell on the 28-year-old sculptor Günter Kupetz, whose sculptural work was just then enjoying its first successful exhibitions in Berlin. It says a great deal for Kurt Mayer’s courage and determi-nation to innovate that he brought to Geislingen – initially for six months – anartist still unversed in industrial design, and gave him a chance to find his feet in a new field.In this probationary period Kupetz familiarised himself with sheet metal as a material and with the production techniques of hollow ware. In complete contrast to Wagenfeld, who译文：as a draughtsman via the handicraft of the silversmith, Kupetz approached his task as a sculptor. By bending, buckling, folding, cutting and soldering the sheet metal, he began by testing the material’s possibilities. Soon he was also experimenting with metal bars and wire. His first creations were bowls and small recepta-cles made from sheet brass, which were themselves by no means intended for production: asymmetrical shapes, suggesting sculptural associations, and representing current demand for table receptacles to hold salted snacks, pretzels and nuts.Günter Kupetz drew his ideas from various sources of inspiration. His pretzel holders, reminiscent of abstract sculptures, his bowls on high stands and standing ashtrays of metal wire contained references on the one hand to contemporary sculptors such as Reg Butler, but were also connected with the light, floating furniture and interior-design items made from finest steel piping of the kind designed by Helmut Magg in those years for Deutsche Werkstätten. Plastic qualities, on the other hand, came to the fore in the organic glass orchid vases in which Kupetz paraphrased the sensuous female torsos of his Berlinsculp-tures. A final impetus came from the organic shapes of Scandinavian design, which Kupetz had already discovered in various journeys to Denmark in the early 1950s. Timo Sarpaneva, Henning Koppel and Tapio Wirkkala were examples of such influences.Among the sales representatives and managers of the WMF branches, whose judgement–close to the customers as it was – w as a yardstick for the general public’s contemporary taste, these first works by Kupetz produced great enthusiasm. Here a young designer had successfully touched the nerve of the period! Sales figures for the goods produced to his designs after 1955 would confirm this assessment. Thus Kupetz had found his place within the WMF –»fresh and unconventional (…), unusual without being eccentric, and modern without being doctrinaire«, was how his models were characterised in one of the com-pany’s own advertisi ng brochures of 1958. Along with Kurt Mayer, who represented conti-nuity and tradition in the company, and Wilhelm Wagenfeld, whose timeless modernity enjoyed great recognition – especially abroad – Günter Kupetz representedthe ›get up and go‹ of the youn ger generation in Germany after the war. The irritation which his designs caused in established client circles was something he himself portrayed, humorously and suc-cinctly, in caricatures for the company’s in-house magazine.Some of the articles subsequently produced by Günter Kupetz also owe their formal origins to the wealth of experience which he gained in his first six months at the WMF. These include his children’s cutlery from 1954-55,with its characteristic bend in the handles of knife, fork and spoon, helping to strengthen the material. And the floatingly light platters and elegant bowls which commenced production in 1956, maintaining their stabili-ty through their flowingly raised edges. None of these items denies its origin in its basic material – sheet metal. Far from it: the impressive simplicity of their form actually seems to emphasise the way they are produced, using few work stages and few tools.It is certainly here that one of the main differences must be found in the external look of designs by Kupetz and Wagenfeld, but in their method of work, too. While Kupetz seems to start more closely from his material, its requirements under machining and its efficiency of production, thus emphasising the character of flat and hollow ware, much of Wagenfeld’s work gives rather the effect of handicraft-developed models for serial production. This is true particularly of his larger metal items, such as cake tins, tea caddies, hotel dishes, soup tureens, sauce boats and beakers, which – particularly in their silvered version – do not look like factory goods, while Kupetz restricts himself largely to stainless steel. One expla-nation for this may be that some of Wagenfeld’s metal designs for the WMF were further developments of earlier work in ceramics or glass and owe their initial form to this other material.A further difference between these two designers, both working for the WMF, can be found in their interest in patterning, which Wagenfeld permitted unwillingly and in few cases. In his early days at WMF Kupetz experimented with ammonium-chloride colouration on brass products and irregular perforations; from the 1960s he even incorporated etched patterns to designs by his wife, Sigrid Kupetz, and worked with her to design a moulded glass with a lively kerb pattern. It was used for glass inlays, which he combined with his simple stainless-steel plates, or for a whisky set –of ice bucket, men’s and women’s cups – which achieved a certain fame, because Louis Armstrong said it was the best in the world.In 1961 Kupetz, like Wagenfeld before him, left WMF in disappointment, since many of his designs had been rejected by the new-products committee. To his irritation, the com-pany did not sell the models he had designed for inexpensive production more cheaply, butassimilated them to the high price levels of the WMF. After founding his own studio in Stuttgart, in 1962 Kupetz joined the Kassel School of Industrial Art, where till 1973 he taught industrial design. During this time he remained associated with the WMF as a free-lance designer and had a significant influence on its product range in the 1960s, particularly with material combinations for glassware and hollow ware.。
艺术与工艺品专业外文文献翻译
毕业设计（论文）译文及原稿译文题目一土著艺术与工艺品及其市场原稿题目一Aboriginal Art and Crafts and the Market译文题目二用于日本传统工艺的以客户为导向的评估模型的任务决策方法原稿题目二A Task-based Decision-Making Approach to Customer-oriented Evaluation Model forJapanese Traditional Crafts土著艺术和工艺品及其市场用于北环阿纳姆地区市场交换的手工艺品的结构与前景北环阿纳姆地区也可随意称为马宁里达地区；因为它包含了马宁里达镇- 该镇人口随季节波动，最少时700人，最多时将近1000人–并有大约20个更小的卫星社区或航站，约有700个土著人，向马宁里达地区提供服务。
本文的定量数据都是我在那进行人类学实地调查期间收集的，时间为1979年和1980年；更多最近的定性印象是基于我1981年和1982年对该地区进行短期访问基础之上的。
本文的重点集中于用于航站市场交换的艺术品和工艺品生产，超过80% 以上的区域产量（按价值计算而不是按物理量计算）来源于这些更小的卫星社区。
可先提出以下三个问题，再开始我们的讨论。
对于地区经济中的市场，手工艺品生产的意义是什么？生产者是哪些人？对于生产者而言，从手工艺品生产中获得的经济回报和非经济回报有哪些？基于本人在1979年和1980年积累的数据库，我尝试预测该地区未来的手工艺品生产水平。
为达到分析目的，本人对需求变量和供应变量作了区分，虽然很容易识别这些变量之间的相互依存关系。
在本文中，我专注于研究供应方面的因素：这些必要的生产要素能够确保未来的手工艺品生产吗？诸如失业救济金可用性、采矿特许权使用费和其他就业机会之类的外部力量，对生产水平有什么影响？地区经济中手工艺品生产的意义目前，马宁里达地区的经济存在着严重分歧。
一方面，马宁里达镇是1957年为土著人建立的一个政府定居点。
艺术设计英文作文模板范文
艺术设计英文作文模板范文英文回答：Art and Design: An Interdisciplinary Discipline。
Art and design are two interconnected and interdependent disciplines that have played a significant role in human civilization throughout history. While they share some common characteristics, they also have distinct features that set them apart.1. Definitions。
Art is generally understood as the expression or application of human creative skill and imagination, primarily for aesthetic purposes. It encompasses a wide range of disciplines, including painting, sculpture, drawing, music, dance, and literature.Design is the process of creating a plan or blueprintfor the production of an object, system, or environment. It involves the application of aesthetic, functional, and technical considerations to achieve a desired result. Design disciplines include industrial design, graphic design, interior design, and fashion design.2. Interrelationship。
外文翻译艺术和设计的知识与研究本科学位论文
2715单词，1.4万英文字符，4100汉字Knowledge and research in art and designBirmingham Institute of Art & Design, University of Central England, MargaretStreet,Birmingham B3 3BX, UKThe idea of research has tended to elicit two sorts of response from artists and designers. On the one hand, it is perceived as the antithesis of art and design activity, something to do with questionnaires and statistics, test-tubes and laboratories, at one remove from the real world with which artists and designers seek to engage. On the other hand, it is argued, artists and designers have been doing research all along, dealing with issues of technology, materials, meaning and communication, at a sophisticated level. Research is simply an integral part of all art and design activity. Although the latter has much to recommend itself, and I would argue constitutes a distinctive tradition of practical research, neither of these responses is entirely satisfactory. Indeed, it could be suggested that the switch from the former to the latter is simply a pragmatic response to changes in the funding of higher education1, an attempt to seek credit for existing practice, without wishing to change that practice in any way.Recent trends in higher education in art and design have combined to make the question of research increasingly important. There is a growing recognition in art and design that in order to achieve parity of status with the more traditional academic disciplines, and, importantly, to attract sufficient funding to develop its potential, there will need to be a greater attentiveness to the needs of research. As Allison points out, there will be important financial and status implications for higher education institutions.Research activity, in terms of volume, quality and direction, will be a major issue in the funding of institutions, courses and programme areas. It would be a reasonable guess that quality 'league tables' of institutions will be devised and that both the allocation to 'leagues' and places in the 'leagues' will be related to institutional research profiles2.However, as Allison also points out, the issue of funding follows from the ability of practitioners and academics within the field of art and design to create an environment appropriate to the development of research, and not the other way around. And, of course, it is more than simply a question of ability: 'There must be an institutional, or pedagogical, or academic, or technical, or some reason for wanting to do research. Not just status, promotion and fund-raising '1.The question of what counts as research in art and design is once again brought to the fore. For funding reasons alone it is important that research in art and design is recognized as such. Yet there is no clear consensus about how this should be achieved. Allison's collection of data for his database of art and design research suggested that, 'research degree registrations are not anadequate measure of the amount of research which is being carried out in art and design as they constitute only a relatively small proportion of total research activity'3. Allison's suggestion is that there is a need within higher education in art and design, to build a “professional attitude to research'2, by which he means a more systematic and rigorous approach to understanding and referring to previously completed research, and to communicating research findings to the field. Of course, this is both commendable and necessary, yet if it is to be successful, I believe there is a prior need to deal with the more philosophical question of why the academic accreditation of research in art and design, in particular by higher degrees by research, should be welcomed, in itself, and not simply as a way of generating funds.The aim of this paper is to explore the question raised by Frayling, 'why research in art and design?' In his paper 'Research in art & design' Frayling makes the distinction, adapted from Herbert Read's ideas on art education, between research into art and design, research through art and design and research for art and design4. Research into art and design is perhaps the most conventional of the three, and accounts for research where art or design is the object of study, for example historical, sociological, and technical approaches, along with a number of others, can all be considered in this way. This represents without doubt the strongest tradition of research within the field of art and design. Art history, particularly, is a long established discipline with its own authorities and approaches to research. However, with the changes taking place in social and cultural theory it is not clear that art history will be able to maintain this privileged and separate status. Research through art and design accounts for research where art or design is the vehicle of the research, and a means of communicating the results. Research for art and design is the most controversial of the three, and the least amenable to traditional academic conceptions of research. Frayling describes it as: 'Research where the end product is an artefact where the thinking is, so to speak, embodied in the artefact, where the goal is not primarily communicable knowledge in the sense of verbal communication, but in the sense of visual or iconic or imagistic communication '2. This final category accords with views which argue that art and design activity, as it stands, already involves a high degree of research, with a small 'r'. Frayling uses the example of Picasso, who, he points out, saw the gathering of reference materials as a means to an end - the painting - and not of interest in themselves, or worthy of communicating to an audience. The question Frayling raises is why, excluding the resource issue, anyone should want to register such activity for an academic research degree, when its primary goal is the art itself, and not knowledge or understanding. The argument is a familiar one, given that there exist institutionally separate ways of recognizing achievement in the arts, is it legitimate to seek academic approval as well. It is, as the argument goes, rather like awarding degrees in literature to great novelists. Although research degree submissions containing a practical element have been recognized for some time,researchers in art and design have been slow to take up the opportunity. One reason for this may be lack of a clearly articulated artistic or design reason for doing so. It is this issue I wish to address.As it stands Frayling's analysis of art and design research activity seems to cover all possibilities, and on this basis one is tempted to conclude with him, that it would be mistaken to seek to justify the research status of solely practical work. However, to base proposals for the future of art and design research on an analysis of the present situation, may be to miss a significant opportunity, and reinforce an ideology of the arts and creativity (Frayling notes Picasso's suspicion of art historians) which inhibits the development of a research culture. What I am suggesting is that Frayling's paper evidences a failure of imagination, and despite the subtleties of his argument, it is underpinned by, and in danger of reinforcing, the institutional divide between theory and practice in art and design. As Coyne and Snodgrass point out, the development of an educational practice of design has been hampered by the adherence of many to, what they refer to as, 'the dual knowledge thesis': 'The argument that there are two ways of thinking - logical, analytical and rational on the one hand, and subjective, idiosyncratic and irrational on the other '5. It is equally clear that such a position militates against the successful development of art and design research.It is the perception of art and design as inherently mysterious activities, which are in some way inaccessible, and about which little can be said, that has provided a conceptual basis for the division between theory and practice, and hence between practical work and communicable research. It is not difficult to see in the emphasis on the intuitive and sensory qualities of art, the Cartesian dualism between mind and body. However, given that (post)modern philosophy has brought this opposition into question, and shown the dangers and limitations of enlightenment rationalism, it seems only right that artists and designers should also question this as an explanation of their own practice 6. The tendency towards self-reflexivity in contemporary culture, and the blurring of the boundaries between the theorist and the practitioner, the critic and artist/designer, provides a unique opportunity for developing a culture of research in art and design, and a genuinely critical and reflexive practice. As Coyne and Snodgrass conclude: 'Where there is mystery then designing is removed from effective dialogue. Design ideas are personal and unavailable for general scrutiny. The designer becomes a party to that other great theme of the Romantic movement, the oppressed and misunderstood hero'5. In place of this Coyne and Snodgrass suggest a dialogical or 'hermeneutical' understanding of design, where the process of design involves interactive dialogue with the design situation. The value of this position is that Coyne and Snodgrass are arguing that there is a considerable degree of continuity between the production of knowledge in design and the production of knowledge in other fields. The idea ofcontinuity is, I believe, a particularly important one. Despite the complexity of the relationship between language and the activity of design7, recent work on protocol studies offers evidence of a productive and rewarding relationship between re- search into the nature of design activity, and the process of design itself 8.To return to Frayling's set of distinctive art and design research practices, I think it is possible to argue that the development of research in art and design depends not so much on the promotion of research in one or all of the categories, but rather in seeing how art and design research can actually dissolve, what may be institutionalized divisions of knowledge, rather than intellectually justifiable ones. The best of art and design research seems to facilitate an interaction between the different research traditions, practical and academic. Given that the majority of practising artists in this country have strong links with the educational sector it seems unnecessary to hold back from this interaction any longer, both traditions have much to gain.Two examples, one of a completed doctoral submission, the other of a research degree in progress, provide an illustration of what I have in mind here. The first example, is Tom Gilhespy's doctoral submission which combined both a written thesis and a practical exhibition of work, under the title, 'A theoretical appraisal and artistic response to Soviet monumental sculpture'. The contribution of the thesis is to reassess the development and artistic significance of Soviet monumental sculpture. What is interesting for my argument here is the interaction between the personal, intuitive and sensory response to the subject, the sculptural research, and the more traditional academic and historical research. Gilhespy refers to a 'positive interactive exchange '9. Consider the comments Gilhespy makes about how the practice of sculptural work influenced the direction of the thesis: "The simple act of using a Russian pointing machine and scaling up and carving a head of Lenin at monumental size led, when combined with other information and reading, to images of Lenin and his 'Plan for monumental propaganda" becoming central to the submission '9. Similarly, the interaction worked in the opposite direction, to the benefit of the practical art work.Although there has, and rightly so. been an intellectual shift in the sculpture produced during the period of the research there remains an element of tracing historical influences. At the beginning of the research I was following the trail of a constructivist language as I understood it, quoting Boccioni, Popova and Tatlin, which did not jell with the information I was acquiring. The trail is now Soviet and I believe follows the influence of Lenin's ideas on monumentalism. Stylistic changes and a more traditional use of torm and materials arc also attributable to the influence of the research and the needs of the subject matter9.This submission does not fit neatly into any one of Frayling's categories, but instead draws on knowledge, and research methodologies attributable to all three. Both the written thesis and thepractical submission are successful and coherent on their own terms, both make a contribution and are recognized as doing so by the award of the PhD, and the exhibition of the sculptural work at the lkon Gallery, Birmingham. Frayling looks to the past when he raises the spectre of having to award an honorary PhD, in absentia, to every artist since the Renaissance, it may be equally valuable to look forward, to further fruitful interactions between different research traditions. As Oxman points out 'design studies has now become an interdisciplinary focus for research" in which 'several "'constellations" of research approaches are emerging which are beginning to complement one another10.The second example is a piece of research aiming to offer a new theory for the production of Hellenistic and Roman mosaic glass. The starting point for the proposal was the intuitive feeling that theories put forward by archaeologists, concerning the production of mosaic glass from this period, did not ring true from a glassmaker's point of view, as this student put it, "that was not how a glassmaker would have done it'. The process of research involves the putting to the test of this intuition, and developing a new theory of production based on practical experimentation. Considering this in terms of Frayling's categories, it is possible to argue that the research could be placed in any of the three, and in fact derives at least part of its originality from the way in which it draws upon, and contributes to different research traditions. The research is clearly into art and design, from a technological perspective, it seeks to challenge established archaeological interpretations of a craft practice. It is also research through art and design: practical work is both the vehicle for the research, a practical process of trial and error, and, in the documentation of the stages of the process, a means of communicating the results. Finally, it is also research for art and design: what motivates the student is her commitment to the practice of making glass. The finished pieces of glass have, of themselves, an aesthetic value. It is my guess that the research would never have been embarked on as a purely problem solving exercise, without some sense of the value inherent in the end-products. The research, when complete, will deservedly be recognized as a contribution to knowledge by the award of a research degree. Although any aesthetic value in the glass produced may be incidental to the award, the contribution to knowledge will clearly derive as much from the practical, as from the theoretical work. Both of these examples seek to develop a creative research practice. This could be argued to be a fruitful starting point for art and design research, exploring the 'interplay between intuitive and systematic thinking modes and related procedures'1l, and applicable across the diversity of the field, from engineering design to fine art.What becomes apparent is that it is characteristic of research in art and design that it is motivated by art and design practice. Whether it is research in industrial design or in fine art, the application of knowledge is often at the fore- front of the research. To argue that research into artand design, and research through art and design, should remain institutionally separate from research for art and design is to cling to a Romantic view of the artist that has outlived its usefulness. The development of a research culture in art and design must clearly be a two-way process, leading both to a clearer understanding of art and design, and to the development of art and design work12. Neither of the examples I have cited are academic in the worst sense of the term, yet they are both academic in its best sense. The current position of art and design within higher education, and the scope that exists for the development of art and design research offers an opportunity to foster an interesting range of connections between different disciplines, forms of knowledge and research traditions. The institutionalization of the division between reflection and action, theory and practice, has always been of dubious worth, and should be rejected in favour of a more interactive and interdisciplinary approach, which will be to the benefit of all.1 Frayling, C Research into art & design Royal College of Art, London, Research Paper V ol 1, No1 (1993/4)2 Allison, B 'Research in art & design in the United Kingdom,Higher Education Review V ol 26 No 2 (1994) pp 49-643 Allison, B 'Open door On research in art & design,Design Technology Teaching V ol 23 No 3 (1991) pp 157-160, 1644 cross, N Editorial Design Studies V ol 16 No 1 (1995) pp 2-35 Coyne, R and Snodgrass, A 'Is designing mysterious? Challenging the dual knowledge thesis' Design Studies Vol 12 No 3 (1991) pp 124-1316 The categorical distinction between scientific and artistic forms of knowledge, although still strong in popular conceptions of research, has faced considerable intellectual challenge in number of areas, See for example T Kuhn The structure of scientific revolutions University of Chicago Press, Chicago (1962), or J Clifford and G E Marcus (eds) Writing culture University of California Press, Berkeley (1986)7 Lloyd, P, Lawson, B and Scott, P 'Can concurrent verbalization reveal design cognition?' Design Studies Vol 16 No 2 (1995) pp 237 2598 Dorst, K 'Analysing design activity: new directions in protocot analysis' Design Studies Vo116 No 2 (1995) pp 139-429 GIIhespy, T 'A theoretical appraisal and artistic response to Soviet monumental sculpture' PhD thesis, University of Central England in Birmingham, UK (1993) 100xman, R 'Observing the observers: research issues in analysing design activity' Design Studies V ol 16 No 2 (1995) pp 275-8311 Eder, W E 'Engineering design - art, science and relationships' Design Studies Vol 16 No 1 (1995) pp 117-2712 Agnew, K 'The Spitfire: legend or history? An argument for a new research culture in design' Journal of Design History V ol 6 No 2 (1993)pp 121-30艺术和设计的知识与研究戴伦纽伯里伯明翰艺术设计学院，大学英格兰中部大学，玛格丽特街，伯明翰B3 3bx，英国艺术家和设计师对学术研究的想法引起了两种反应。
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中英文对照外文翻译The traditional and newAbstractIts usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving the transformation of beauty -- full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into" rationality". From the function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty. Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, function of beauty can be achieved.Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Function of beauty is not useful to both beauty""Function of beauty is not useful to both beauty""The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of" transformation" is what? First of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialized training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditions,and can bring the enjoyment of the material. Aesthetic enjoyment is" care in enjoyment", this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to care, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not functional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, auditory or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as" usefulness". So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceThe so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against" function determines form". Consumer products of different shape change request. We use the" degree of freedom" and" definition" two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of" degrees of freedom", the form of freedom, refers to the product structure and appearance for the designer to control the extent of. The 2form of definition is followed by a form of " definition", form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form the basic conditions. From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty -- the direct expression of the form, and the function of the com., is to the thing itself some characteristics of externala kind of beauty.The traditional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion "human nature", the aesthetic form of the accumulation of social content. 1be handed down from age to age" style " and " style" here refers to those containing the traditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2" reproduction " of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding things related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revolution triggered by the" anti traditional"Design revolution triggered by the" traditional" trend of thought 1"1" decoration decorative worship" worship" the so-called" loaded worship" refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved theshould be large quantities of production machines, only exclusive decoration will have a large number of cheap products to market. Function of" worship" function" worship" the so-called functional worship", refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throughout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely " form follows function" or" form and function of the high degree of unity", the attendantSimple and unadorned geometric style is very natural, with " Decor worship " for the characteristics of the traditional design has also been completely subvert.Forms of worship"The form of worship" the worship of modernism design can be understood as" functionalism" design, modern design and good atcoordination function and design of coordinating the relationship between function and form, making them reach a" harmonious". Therefore, it is not a pure function, and also not the pure form type. " From its structure and aesthetic characteristics, the international style building was eventually replacing it with the Renaissance tradition is the opposite." 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism" postmodernism " is a construction led, spread all areas of design, the mainstream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous contrast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3" ugly beauty"3" ugly beauty" ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthetic consideration, classical beauty ugliness as beauty all the negative state, and humanity" evil " contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. Tosum up : the proof of design art in the" beauty" of modernism design challenge, or say to" function determines form" beyond. Modern beauty modern beauty beyond the beyond is refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the" anti traditional" Design revolution triggered by the" traditional" trend of thoughtSince twentieth Century the modern aesthetic concepts, essentially everything "and the traditional " are linked, but" unconventional " idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the cornerstone of the" innovation", the most common words in the" avant-garde " and "modern". The thought is the core of" anti traditional". On the other hand, is the new concept of art" the feed" design, making it a departure from the traditional design concept and has the" avant-garde" and" modern" features.美的传统与新生摘要人造物的有用性与功能美——人造物的形式与形式美——传统美的积淀——现代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括：完善转化的美——充分的有效性就是合理和完善，如有有效性相应的合理结构和材料加工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。