室内设计装饰风格中英文对照外文翻译文献
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。
装修风格 英文作文
装修风格英文作文1. Modern Style:In modern style, simplicity and minimalism are key.It's all about clean lines, open spaces, and sleek designs. Think of a minimalist living room with a neutral color palette, a few carefully chosen pieces of furniture, and lots of natural light. This style is perfect for those who appreciate a clutter-free and contemporary look.2. Traditional Style:For those who prefer a more classic and timeless look, traditional style is the way to go. It's all about elegance and sophistication. Think of a grand dining room with a chandelier, rich wooden furniture, and intricate details. This style embraces symmetry and ornate decorations, creating a sense of luxury and heritage.3. Industrial Style:Industrial style takes inspiration from old factories and warehouses. It's all about exposed brick walls, metal fixtures, and raw materials. Think of a loft apartment with high ceilings, concrete floors, and open ductwork. This style is perfect for those who appreciate a more edgy and urban look.4. Scandinavian Style:Scandinavian style is all about simplicity, functionality, and a connection to nature. Think of a cozy bedroom with light-colored wooden floors, white walls, and lots of natural textures. This style embraces minimalism and a sense of hygge, creating a warm and inviting atmosphere.5. Bohemian Style:Bohemian style is all about creativity, individuality, and a mix of patterns and textures. Think of a living room with colorful rugs, mismatched furniture, and lots ofplants. This style embraces a relaxed and free-spirited vibe, creating a space that feels eclectic and full of personality.6. Coastal Style:Coastal style takes inspiration from the beach and the sea. It's all about light colors, natural materials, and a breezy atmosphere. Think of a beach house with white furniture, blue accents, and lots of natural light. This style creates a sense of relaxation and tranquility.7. Mid-Century Modern Style:Mid-century modern style takes inspiration from the design trends of the 1950s and 1960s. It's all about clean lines, organic shapes, and a mix of materials. Think of a living room with a retro sofa, a statement light fixture, and lots of vibrant colors. This style embraces a sense of nostalgia and a futuristic vision.8. Rustic Style:Rustic style is all about embracing natural elements and a cozy atmosphere. Think of a farmhouse kitchen with wooden beams, stone countertops, and vintage accessories. This style creates a sense of warmth and comfort, perfect for those who appreciate a more rustic and down-to-earth look.。
装潢艺术设计中英文对照资料外文翻译文献
中英文对照资料外文翻译文献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” 。
【精品】室内设计外文翻译外文文献英文文献
【关键字】精品Talking about the symbols in the environmentof the use of Art and DesignAbstract:The inheritance and innovation over the years the relationship between art and design environment has been the focus of attention. This article hopes for the design of symbols used to explore the culture, about the mysteries of inheritance and innovation of the trace of sentiment.Keywords:deformation grammar separatist symbols constituteInheritance and innovation over the years the relationship between art and design environment has been the focus of attention. In fact, from the linguistic point of view, this contradiction is the language of stability and variation between the contradiction. As a designer in the form of design successes and failures of the success or failure depends on the master, "the term" the rich and the use of "grammar" of proficiency. Designers to make their works by others can truly understand, we must choose the appropriate "word" and must comply with the "grammar." This does not mean that designers can only follow the beaten track, no personal contribution. Designers skillfully use the new individual symbols, or a conscious change in inter-symbol combination of a number of conventional relations, create new works of moving, which is design innovation.Composition has a "specific" component approach, that seems to be very plain in the composition of the sudden appearance of a "heterogeneous" elements, making the program itself is very plain to achieve unexpected results, with a sense of innovation of new symbols like this "heterogeneous." In people's accustomed to things difficult to arouse enough attention and interest in case, some common symbols deformation, splitting, or the preparation of the code to change the order, you can play a compelling, thought-provoking, the strengthening of environmental messaging language role.United States renowned architect Charles Moore designed the city of Orleans, "Italian Piazza" is bold in design elements taken from a variety of classical symbols, and symbolic means to reproduce them. The entire square to a circular plane Baroque for the composition to the gradual proliferation of black-and-white concentric circles and to the surrounding pavement surface to extend out until the three sides of the street entrance. Classical Roman column, after a face-lift to the face of new shows, such as the Corinthian column is used in stainless steel column, canopies wall carved with the Latin of "this fountain for the public to all the people who offer the gifts" of the message; Doric column on the Flowing Down gurgle, round coupon on the molar smiling portrait, water is constantly spit from his mouth ... here is not only full of bright rich atmosphere of a modern commercial, but also a strong attachment to local feelings. Maps and Italian Apennine Peninsula, Sicily and Sardinia's plan; ancientRome, the five-column, the deformation Motif combinations and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact, you are immediately aware that it is a mockery of classical Marxism. This is a joyous, almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style building was considered aloof in the historic and local above only has the technology and a small number of functional semantic semantics, there is no room for thinking aftertaste, the environment has led to apathy and boring criticism. This use of information theory to explain the principle that effective environmental information contained in the symbol system too. In view of this, post-modern architects Venturi loudly called for: "building a rich content, while building to include other aspects of the multi-dimensional art, even including the language, so that it is no longer a mere tool for the space." It advocates environmental complexity and contradictory nature of modernism promoted by substitute simplicity; to semantic ambiguity and tension in place of straightforward; to the multiplicity of semantic opposition to one or the other of opportunism; should be mixed at a glance rather than unity. Stern designed the "best" product showroom are a typical example, it adopted legislation faces many of the traditional symbols and constitute a form, like the ancient Greek pantheon of elevation, thus suggesting he was trying to convey theme purposive: that is, the building as a "temple of consumerism," the commercialization of society reflect the values of people and commercial activities of daily life today, the importance of. But the way metaphors are complex, multiple, without serious thought, it is difficult to understand immediately apparent from its real significance. This design works, for example, not only the depth of the box thinking is more than simply the pursuit like a sailing boat or a bird of prey such as the symbolism of a more intriguing, more philosophical.The environment as a symbolic phenomenon, in order to address the long-standing problem for the designers of the inheritance and innovation of the paradoxical problem of providing a effective way. Design language as the language of symbols, are rooted in past experience with the rapid development of the society is linked to the new features, new materials, new technology and calls on new ideas. On the one hand, as if it were so general language language changes slowly, on the other hand, with the rapid development of society. How to make the environment not only of historical continuity, but also to adapt to the new requirements of the times?With the advance of science and technology progress and frequent cultural exchanges, "vocabulary" and "grammar" in the developing trend of convergence, but a nation because of natural conditions, economic and technological, socio-cultural practices of the different environment Association has a number of unique symbols and arrangement. Spoken like the dialect, like the designers cleverly inject this kind of "accent" can enhance the environment for a sense of history and local flavor, and enhance the influence of language environment. Modern Japanese ArchitectureMaster Kenzo Tange designed Kagawa hall is a "new form of the traditional semantic" model. Although the building are used by ordinary reinforced concrete frame structure, but the external form of treatment is the use of Lu Ming Chuan head, beam top traditional symbols, vertical horizontal partition is a natural association to the Japanese main tower of the layers of eaves. Layout has absorbed the advantages of the square tower of the traffic and public facilities on the planar core (similar to the tower Kaguta ventricle), so that they share the smallest Get all floors of the shortest route traffic. So as to show a structure with modern forms of technology to reflect the style of traditional local methods.United States artist Susan Lange once said, "is always a symbol to simplify the form of the performance of its meaning, that is exactly what we can grasp the reasons for it. Regardless of a work of art (or even all of the arts) is how the complexity of , profound and rich, it is easy than real life. Therefore, the art theory is undoubtedly the establishment of an effective hearts and minds in a vivid reality of the concept of such a great cause of the preamble is more. "symbolic activities have been included in the activities of some abstract no longer remain in the individual above the. Visual symbols are an art symbols, but also the performance of sexual symbols. Relative reasoning in terms of sexual symbols, visual symbols do not have their own system, and any visual symbols have a certain degree of cultural content, and only reflected in a certain degree of emotional structure, around a particular theme of organic combination. Educated Youth Hotel, Mao Jia Restaurant commercial building and so on, it also adopted the hats, corn on the cob, rough wooden tables and chairs, wells and so on, and even more in order to create an atmosphere of clothing are to be attendants, as well as the menu were also cleverly integrated into the Among them, these different geographical significance in rural areas typically rich in visual symbols to create an environment here is like an old album, recording a different person's experience, making the design become more cordial, but also worth pondering. Visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke thoughts association, which have empathy, to achieve emotional resonance, thus building more meaningful.The rapid development of urban construction has brought rapid changes, but at the same time we also lost many will never be able to recover things - historical context. The history of the formation of the streets, alleys, arches, religious shrines and so on urban form as a complete expression of architecture and urban image of the symbol system, being into films, Shing Street, into a Square to be removed, threats to the urban form of the compatibility and continuity . Respect for historical tradition does not mean, rigidly traditional. Instead, consciously keep these traditions, will make the city more local flavor. In fact, "establishing a new" do not have to "old", the key lies in how to approach traditional and fashion to create a new symbiosis of old and new urban form (symbols). "New World" project is located in Shanghai, XingyeRoad Huangpi Road, a major site of the Chinese Communists of the surrounding area. "Venue" opposite the south block, design for the modern architecture is not high, which is dotted with some reservations the traditional architecture, and the "venue" in harmony. And "venue" where the north block, the neighborhood retained a large pattern, carefully preserved and repaired the building exterior facade Shikumen, detail and neighborhood-scale space, the building was made larger internal transformation in order to adapt to office, commercial, accommodation, catering and entertainment and other modern life. Have been built from the current part of view, received much praise, has a greater impact. It is said that sales and cost-effectiveness also very good. In fact, in Shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lifestyle never die off, "New World" just give it a reasonable change and continuity, are left for us to think more and enlightenment.Famous philosopher Ernst Cassirer person think symbols are animals. All human spiritual and cultural activities are the product of symbols. The essence of that person in that he can use to create cultural symbols. Therefore, all cultural forms, is both a symbol of the reality of Events is also the person of the nature of the object. The so-called master culture, in the symbolic level at least, to be skilled to operate constitute the cultural symbols and cultural system rather than the symbol itself, the new experiences and insights woven into symbols go, in fact, symbols themselves are also changing, and the cultural heritage and the innovation of the mysteries of it exist in this variation of the. Confucius and Socrates are still human beings are eternal beacon, and the symbols of modern subjects in this study call for us from the back to Socrates. Will be simple and complex semantics, traditional and fashionable phrase structure, and applied to the design of modern art, thereby creating a personalized, Human Culture's new design symbols.Fiber art and interior designAbstract:Fiber art is a functional fiber art and aesthetic value in one art form. Fiber art is full of natural flavor to the material texture and flavor of the simple hand-woven to meet the emotional needs of a wide range of people, it and other types of interior decoration as compared to an irreplaceable advantages. Fiber art has been to infiltrate the building and environmental matters in all aspects of design, it is mainly the use of various materials and techniques to express the concept of modern design and modern life.Keywords:Fiber arts; not include the indoor environment; fiber artFiber Art collection of classical and modern, romantic and calm, industrial civilization and traditions in one hand, are an ancient and young arts. It is natural animal and plant fiber or synthetic fiber materials, with knitting, ring binding, winding, Stitch and other production means, the creation of planar, three-dimensional image ofa form of art. Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling language works.1. fiber texture art interior environmental design on the impact of material selection.The performance of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an unparalleled visual appeal. Fiber art of material selection is very extensive, almost all types of textile fibers may be applicable. The use of different materials through different processing or the use of different structures can produce different textures. Texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and transparency and so on constitute a large number of attributes. Constitute the attributes of diverse, complex portfolio, will also change texture infinite. At the same time, textures are also belong to the common perception of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds of materials are exposed through the texture to its true features and through the texture to express the characteristics of materials. Fiber interior accessories through tactile senses given different psychological feelings, such as hard and soft, thick, hot and cold and so on. At the same time, set up in the memory of visual perception, evoke images of different psychological perception, distinguishing texture characteristics. Modern fiber art is a breakthrough and go beyond the traditional, mainly manifested as fiber such material on a higher level of understanding and application. Traditional fiber art, mainly in natural fiber materials. These materials include silk, wool, hemp, cotton and so on. Used in modern fiber art materials, has broken through the traditional constraints. Here the "fiber" is no longer just cotton, hemp, wool, brown, rattan and other traditional fiber materials, including chemical fiber and latitude of the hard and soft woven material, as well as all of the linear material, and even some metal fibers have also been artists of all ages. American fiber artists such as Nancy's work "The Golden Wave" used wool, viscose fiber and copper wire as material. Bulgaria Cayman million fiber artists work "with the weft" a plastic tube and wool as a material. Modern fiber art of painting from nature than from the pursuit and began to focus on the performance of materials in the United States itself, the natural form of fiber materials, rich texture, just between the different fibers and Sophie, straight and curly, miscellaneous and pure, Ming with dark, light and heavy contrast, and to appreciate those who bring a wealth of aesthetic experience. Fiber Art has always been known as the artistic and texture. Whoof weaving is a traditional fiber arts major process. However, modern technology of fiber art practices have not been listed out in full, such as weaving, hitch, winding, Stitch, collage, as well as dyeing, painting, spraying, printing and so on . Many artists will also science and technology into the field offiber art creations. American artist Cynthia's "Runs", "Lake rain" looms for the creative use of computer tools, the use of three-way warp space to create a unique effect in the fabric texture and structure to show the endless imagination, different types and color overlay with the cover line, resulting in the traditional process can not be achieved on many levels of subtle changes. There are many artists, make use of the existing products to create, but also the effect of unusually touching. For example, the pioneer of modern fiber arts - United States Miss Lei Nuo senior artists in the early 80s of last century the United Nations building in New York designed the giant fiber works of art "white fluttering fiber." This work of art from the interior of the building about 6m square vertical hoisting the roof down countless articles and white fibers, this fiber bundle with a bunch of slightly swinging the wind, both light also generous, we also implicitly simple, it reveals a hazy and includes the state of tune of the realm of the United States. These works and the use of materials through the excavation of the United States itself and the integration with the environment, so as to achieve the unusual decoration of the United States can not match the artistic realm.2 .fiber art sculpture on the interior of the impact of environmental designCompared with traditional fiber art, contemporary fiber art is an important feature of its sculpture. Traditional fiber arts such as carpet, wall,缂丝and other works, the main works are flat. Since the 60s of last century, fiber arts gradually to semi-relief from two-dimensional until the emergence of fully three-dimensional space of the work of "soft sculptures" - with the flexibility and elasticity of the sculpture. Some artists take into account in the design works are works of more space for the overall situation brought about by decorative. Polish artists work "red " Wall yes to sculpture, to works of the landmark space. Rui forward into the corner after their full deep oval to form a strong contrast, like a could not suppress the passion agitatedly eruption. 1992 ~ 1993 created to "nest" as represented by the works, she will be of good pulp Pour in bamboo was carried out on a fan has created a singular effect. Along this line of thought, she works more extensive space, she created a "wrapped", "chain" a series of works, with the exception of paper pulp, bamboo, wood, but also the use of flax fiber. In the "column", she began to pursue an upward extension of the work results. If we say that the above works in the outdoor air can give the magic question, fresh visual feel, she's "knot" and "Box" series of works, then created an interior space, mysterious, the dust-laden effect, they give people is the lost in a distant era, but it is also a lingering mirage contemporary. a series of creative break the draw species boundaries to new material as well as the process of art to introduce the art of sculpture area, expanded the borders of sculpture, such positive efforts to change the sculpture for the shelf thinking, to break the closed state, pioneering vision in the broader field of sculpture space for development to seek to play a positive role in promoting.3 .fiber combination of art and architectureFiber art as a symbol of warm, soft, warm symbols, combined with the building has been the embodiment of perfection. Around the end of the 1970s to the 1980s, the modern fiber art began to be applied by architects think are apathy, lack of emotion in the building. 70's, published "Beyond Craft: Contemporary Fiber Art" and "Fiber Art: mainstream" book on the two specific on modern fiber art in a variety of building space and public space to the important role and significance.With the development of the times, fiber art has infiltrated into interior architecture and environmental design in all its aspects, has entered the modern family, with other interior decorative materials of organic combination of each other, with its shape, texture and with combination of decorative and enhance the interior decoration of the artistic effect. It is mainly the use of various materials and techniques to express the concept of modern design and modern life, while Sophie All modern decorative shapes, colors, and taking with the walls, the indoor environment, spatial relations. Fiber art be able to add artistic effects of space, easy to create wealth to the "human touch" of the natural space, and thus ease the building and the interior space of rigid sense of space to play the role of blur, but also added a building with the interior space of the color, gives a harmonious and comfortable, practical experience perfect. Because of the special properties of fibers, fiber art brings not only a visual sense of beauty, more warm, friendly, comfortable, etc. enjoy. In addition, from modeling to color, from planar to three-dimensional, from the subject to have a very broad cultural connotation of the performance space, and thus developed very rapidly and has now been widely used in building the overall design and decoration in the bedroom. Fiber art as the indoor environment an important component of the environment in the interior occupies an important position, also play a decisive role. It can not only be able to decorating the space, rich environment, the performance of culture, architecture and interior space and be able to color, lighting, materials to build an organic whole, one of the art of building space and integration, thus building the internal environment received a warm elegant artistic realm, and create a variety of human space.4 .modern fiber art and other interior decorative materials of organic combinationBuilding outdoor space and indoor environment are equally important. In order to fully enjoy the well-being and privacy needs, there is room comfort requirements continue to grow. Wall and soft sculpture such as fiber arts as interior decorations, in Europe, America and developed a wide range of applications. People depending on fabric wall hanging with painting, piano, etc. as a symbol of wealth, its interior decoration and furnishings on the important position. They were wool, cotton, hemp, silk as raw material, or several kinds of soft materials, mix, to textiles, winding, hitch, Stitch and other production means, the creation of planar and three-dimensional image of a form of art. for the Doubletree Suites Hotel in Seattle, the United States designed the fabric of space are "soft sculpture" masterpiece. The enormous size of the painting,covered the entire building interior space. Enormous stretching to different directions with different curvature of the surface, so that people's attention in line with the surface and the exercise of the process, have a relaxed feel. Renoir's "Autumn natural" is also such a work. In domestic hotels, restaurants, senior housing has been increasingly used in fabrics, to beautify the room. The use of decorative fabric walls, the thickness of the fabric itself and visual thickness attached to the wall for people to add a warm feeling for the add gorgeous home atmosphere. Color of the interior environment of the interior space sensitivity, comfort, atmosphere, efficient use of people's psychological and physical have a great impact, indoor environment, color is the soul of the design of the indoor environment. In a fixed environment, the first to break into our visual senses are color, while the most appealing is the color. Different colors can give rise to different psychological feelings, good color environment is the ideal combination of these feelings. People from the harmonious and eye color in the United States have a reverie, Transformation for the love, go far beyond the limitations of the interior. Those who can move the furniture, fabrics, such as the middle area of color in fact constitute the indoor environment are the most important part, but also to create various shades of the most basic factors. Indoor environment in the most easy to change a small area of color, such as wall hanging, cushion, decorative products, are often the most prominent use of strong color played a role in the finishing touch. Modern fiber art has been to enter the modern family, with other interior decorative materials of organic combination of each other, with its light color, shape, texture and permutation and combination, more decorative and enhance the interior decoration of the artistic effect, and the use of color changes in the strength and scope of control has received prominent and rendering interior of the main centers and the level of the proportion of space, add space for artistic effect, gives luxurious style, comfort and harmonious, practical experience perfect.5. ConclusionModern fiber art materials are natural fiber, synthetic fiber, metal fiber, etc.; techniques can be dyed, embroidery, knitting, guitar, pestering, bypass, looping, up, etc.; shape can be planar, three-dimensional space. It relies on different patterns, together with the space environment, it's visual, tactile perception, such as the United States get more pleasure. An absolutely beautiful, high taste fiber art, be able to establish a more pleasant atmosphere of the indoor environment. In the modern interior design environment, fiber art has a modern interior decoration is becoming an important component of its decoration in the family played a very important role.此文档是由网络收集并进行重新排版整理.word可编辑版本！。
室内与家具设计毕业论文中英文对照资料外文翻译文献
中英文对照资料外文翻译文献Transforming Interior Spaces: Enriching SubjectiveExperiences Through Design ResearchTiiu PoldmaSchool of Industrial Design, University of MontrealC.P. 6128, succursale Centre-ville, Montreal, Quebec H3T 1B9, CANADAAbstractThis article explores tacit knowledge of lived experience and how this form of knowledge relates to design research. It investigates how interior designers interpretuser lived experiences when creating designed environments. The article argues thatuser experience is the basis of a form of knowledge that is useful for designers. The theoretical framework proposed in the article examines the nature of user experienceand how it can be utilized in the design process. The study of lived experiences iscontextualized within aesthetic, subjective, and functional aspects of the interiordesign process, which requires users to express their meanings and needs. A casestudy is described to illustrate the various stages of this process.Keywords: design research; experiential knowledge; tacit knowledge; dynamicprocess; pragmatic philosophy; interior spaces1. IntroductionIn our everyday lives, we live in spaces that are active, changing, and dynamic. When designers create interior spatial designs for various types of uses and experiences,they consider both the aesthetic qualities of a space and how people experienceexperiences are interactions and sensations within the spaces. However, people’ssubjective. These are experiences people have in the moment of living, bothconsciously and unconsciously, in interaction with the space and others in the space.This involves a form of knowing that is “implicit, naturalistic, ecological cognition of as opposed to “deliberate, formal, thinking and knowledge” everyday existence” (Storkerson, 2010, Section 1, para. 2). This article explores these implicit forms ofknowing and considers what design possibilities may emerge from them. Documenting these forms of knowing requires an understanding of how designsreflect aesthetic and functional ends while taking into account the direct experiences users have (Poldma & Thompson, 2009). This requires an understanding of how-world impact their subjective meaning-making everyday experiences of the users’ life(Shusterman, 1997; Vaikla-Poldma, 2003; White, 1998).The theoretical framework proposed here links experiential knowledge to the direct interaction of users within an environment and recognizes the dynamic nature of that link. Experiences of the life-world are taken as a basis for designing environments that actually work for their intended use.The proposed theoretical framework builds on philosophical ideas about the nature of lived experiences and subjective meanings, and relates it to the process by which users accept or reject a space. These ideas are explored using the example of a research project done in a residential long-term care institution. The research clarifies how the exchanges between the design researcher and the participants contribute to changes in the space.2. Designing Interior Space2.1. Current ResearchCurrently, when researchers study the design of interior space, they tend to be concerned with either the causal relationship between people and their environment or the interactions between material properties and the space being designed. Often, environment-behavior theories form the basis of design inquiry. Such inquiry seeks to understand the relationship between people and their environment using evidence that codifies the relationship (Dickinson & Marsden, 2009; Poldma & Thompson, 2009; Zeisel, 2006). In this form of design inquiry, design researchers d emonstrate how appropriately designed space can add value to living well in an institution, how safety and security can add to productivity in working environments, or how evidence-based knowledge of environment-behavior relationships can inform the design process. Examples of this type of research include the use of questionnaire-based s tatisticalactivities (Botti-Salitsky, 2009; data to glean how the environment affects people’sDickenson & Marsden, 2009). This type of research is usually framed in a positivist mode, which seeks objective knowledge (Guba & Lincoln, 1994). Studying human behavior in terms of causal relationships involves verification or falsification of a priori hypotheses. A limitation of this approach is that, as Guba and Lincoln have stated, “[h]uman b ehaviour, unlike that of physical objects, cannot be understoodwithout reference to the meanings and purposes attached by human actors to their activities” (Guba & Lincoln, 1994, p. 106).It is these meanings and purposes that tacit forms of knowledge contain. Such meanings and purposes are usually studied through narratives and conversations between designers and users (Creswell, 1998; Merriam & Associates, 2002; Vaikla-Poldma, 2003).2.2. The Role of Lived ExperiencePeople develop meanings attached to objects and environments, be these art objects, personal things, or other people in their lives (Bachelard, 1969; Csikszentmihalyi & Rochberg-Halton, 1981). These meanings arise through interactions that occur within spaces s uch as homes, offices, or recreational places; the meanings in turn affect perceptions and subsequent interactions (Poldma, 1999, 2008; Vaikla-Poldma, 2003). Design of interior spaces needs to take the above meaning-making process into account. When designing interior space, the designer (or architect) works directly with clients and users to take an existing (or imagined) interior space and transform it.A variety of knowledges come into play in this process. The role of the technical aspects of the space, such as air quality and material properties, is well recognized in design, but how the tacit aspects shape the design process is less understood.In practice, the tacit aspects o f experience within spaces a nd between people often shape how the design evolves. Multiple experiences and contexts act together to transform empty spaces into aesthetically functional interior places (Vaikla-Poldma, 2003). These experiences are both internal and external to the user, in that the persons who use the space attach meaning to the space where they live and contribute socially through the interrelations they have with others (Malnar & Vodvarka, 1992; Poldma, 2009).2.3. Conversation and Meaning MakingDesigned spaces, whether real or virtual, trigger various experiences. When designing interior spaces, we are preoccupied with both tangible and intangible aspects. We are preoccupied with its volume and physical characteristics; we are also preoccupied with how the space forms a backdrop for a complex set of interrelationships among people, objects, contexts, and lived experiences. Moreover, these interrelationships evolve over time (Malnar & Vodvarka, 1992; Mitchell, 1993).Designing interior spaces also requires an understanding of what happens when the spatial experiences people have are grounded in their real, lived experiences that areboth subjective and social. These experiences happen simultaneously with changing physical conditions, such as lighting, and changing time-space relations, such as whenIn these we work at home, live and work in multiple contexts, or “live a t work.” contemporary ways of living and working, the physical space is a backdrop for changing activities, not bounded by any particular states of being or any particular ways of knowing (Ainley, 1998; Ardener, 1981).Spaces are designed after investigating multiple issues including user needs, building contexts, space requirements, appropriate materials, colour and lighting, furnishings, social needs, cultural setting, and then combining it all aesthetically to create the interior space. The space is expected to support the activities and human engagements about to take place there.Designers engage in conversations with clients and users at various stages of the design process, in part to make sense of the information gathered and then to make decisions and generate ideas for the design of the space. Aesthetic and functional design decisions are made on the spot by designers engaged with stakeholders as they define how the space should be occupied and for what purposes (Poldma, 2009; Vaikla-Poldma, 2003). There is a service relationship that develops between the designers and users as they participate together in both design and production processes (Nelson & Stolterman, 2003).2.4. Static and Dynamic SpacesInterior space has long been documented theoretically in terms of physical attributes such as objects, walls, lighting, and color (Malnar & Vodvarka, 1992). Students learn about interior space as an architectural entity grounded in physical attributes that are static and exist as independent features (Poldma & Wesolkowska, 2005). Consequently interior spaces a re often reduced to their physical attributes, material and surface decoration, producing static spaces where an office is an office, a restaurant is a restaurant.In practice, however, spaces are required to be used in a flexible manner where multiple activities can occur in the same place. Designers are often called upon to design spaces for dynamic lived situations, not static ones. This calls for a more dynamic concept of space.3. Proposed Theoretical Framework3.1. Beyond Causal ExplanationsHistorically, theories about interior space have considered human-environment relationships in causal terms (Hall, 1969; Lang, Burnette, Moleski, &Vachon, 1974; Malnar & Vodvarka, 1992). Influences include B. F. Skinner (1971), whose idea of behavior modification through positive reinforcement is applied to designing interiors often when specific design elements such as form and material are chosen.When human and environment relationships are seen as causal in nature, knowledge claims are assembled from measurements o f those relationships. The knowledge claims, when regarded as true, guide subsequent design thinking. This appears to be part of a dominant discourse of design, known as evidence-based design. However, a limitation of this approach is that it is based entirely on what is called a priori knowledge (Amin & Cohendet, 2004; O’Brien, 2006), overlooking the subjective experiences arising within the interior space.Environment-behavior theory explains human-environment relationships as causal and these relationships are situated within essentially static physical interior attributes. It reckons, people feel well or poorly due to lighting, environment systems, color, or other physical space attributes, such as floors, ceilings, their finishes, and relatedand their objects in the space. These interior attributes “act u pon the user” appropriation (or otherwise) of the space (Dickinson & Marsden, 2009; Zeisel, 2006). Therefore, according to this theory, changing these surface treatments should “improve” the interior situation.Causal explanations do not always take into account subjective experiences. Interior spaces are locations of both aesthetic values and social constructions. Subjective experiences, affected by role, status, gender, and such other individual-level factors, also guide interactions in interior environments (Belenky, Clinchy, Goldberger, & Tarule, 1997; Code, 1991). For example, women navigate spaces differently from men. Similarly, cultural differences impose different social rules and hierarchies that influence social constructions of space and place (Ainley, 1998; Ardener, 1981; Rose, 2001; Rothschild, 1999; Spain, 1992). People also attach meanings to objects and the spaces they live in.Therefore, in the proposed theoretical framework, subjective experiences and meanings are considered salient elements. These are not captured usually (nor authentically) using empirical positivist modes of research.3.2. Beyond Static AttributesUntil recently, and in an effort to legitimize the profession, interior designers havegenerally tended to be more concerned with building professional practices, ethicalconduct, and solving problems of a pragmatic nature (Abercrombie, 1990;Hildebrandt, 2000; Malnar & Vodvarka, 1992). When professional designers askclients and the users of the spaces what they need, how they live, and observe theirsituations, they try to understand how people live and work, how they engage in socialand personal activities to be able to provide supportive and appropriately designedspaces. The spaces they design are by their very nature dynamic in that they integratepeople within changing circumstances.While some people live in the global 24x7 information communities, others carve outlives on the fringes just to survive. Different people can experience the same space ashostile or friendly, as virtual or physical, or as a place for personal or social needs. Itis difficult to reduce these experiences to codified statistical numbers, as differentsubjective voices account for different ways of living, working, or playing in differentcultures and societies.Accordingly, in the proposed theoretical framework, spaces are not characterizedentirely through static attributes. Spaces are seen as dynamic contexts and products ofsocial interactions.3.3. Beyond Codified Information-reduced-to-information,” which refers to aThere has been a c riticism of “knowledgelimited vision of knowledge:1.the vision of knowledge as a simple stock resulting from the accumulation ofinformation in a linear process;2.the hypothesis that any form of knowledge can be made codifiable;3.the vision that knowledge is limited to individuals;4.the idea that knowledge is limited to something that people “possess” (Am& Cohendet, 2004, p. 17)By contrast, knowledge derived through experience and tacit understanding would bebased on what is experienced in real time. This form of knowledge situates designthinking within the context of use, such as the ways in which people actuallyappropriate spaces. Forms of tacit knowledge such as lived experiences run up againstevidence-based positivist research norms (Storkerson, 2010).In the proposed theoretical framework, a more extended notion of knowledge isadopted. In this extended notion, knowledge relevant to design is not limited tocodifiable information alone, but also includes the effect of comparing and combining subjective experiences in real time. This notion of knowledge will allow the designerto consider a wider variety of inputs while designing interior spaces, such as perceptions, experiences, and conversations.3.4. Emerging Paradigms of SpacePeople are finding themselves living and working very differently than even 5-10years ago. In this technologically and digitally enhanced world, objects are transitory, spaces c an be virtual or physical, while communication and interactions are variedand changing constantly, all affecting social and political norms (Abrahamson, Meehan, & Samuel, 1998; Dent, 1998; Dholakia & Zwick, 2003; Margolin & Buchanan, 2000). Spaces are no longer designed for one specific use, nor as the determinant of a particular set of activities. As Poldma and Wesolkowska (2005) statein their comparison of the old and new paradigms of living/working:[T]he subject perceives place as a primary mode of identification against “others” such as the environment, people or work processes. People worked in the office, livedat home and enjoyed leisure time in the movie theatre. In the new paradigms of livingand working, both experiences a nd tasks overlap one another constantly. . . . lived experiences overlap and intersect the boundaries of space and place/time. Realities are defined in practice and practice is defined in space, one that can be local or global, imagined or actual, and which often cuts across boundaries physical/virtual. (Poldma& Wesolkowska, 2005, p. 56)In this type of paradigm, the process of designing spaces needs to work with a widerset of inputs. Interior design approaches n eed to “consider all the senses, a nd howthese simultaneously experience visual space and respond to sensory cues while engaged in social human contact” (Poldma & Wesolkowska, 2005, p. 57). The user becomes a key organic part of the design process. Their activities define the space.In the age of mobile communication, we have thus moved from spatialized time, where the nature of the activities was predominantly governed by the structuring logicof the place (one reads in a library, one studies in a classroom, one eats in a restaurant, etc.) totemporalized space, where the nature of the activities of its inhabitants definethe place (a restaurant becomes a playground, a coffee house becomes an electronic mall, a train becomes a work station, etc.). (Dholakia & Zwick, 2003, pp. 11-12)People’s activities and experiences are increasingly defining what spaces are and how spaces evolve in response to changing activities and experiences. Design researchersneed an approach that allows them to harness users’ subjective experiences towards the creation of new spatial forms.The proposed theoretical framework responds to this requirement. It opens up thedesign process to the subjective and experiential inputs of the various users and stakeholders, based on their perceptions. This process of sharing becomes part andparcel of the process of transformation of the space during its use.This theoretical framework can be illustrated using a case study example to show howresearch informs design and how design informs research, both driven by users’ experiences.4. Case Study: Interior Design for an Elder Care InstitutionAn elder care institution was designed for a particular aging population. The designwas created using the best practices and knowledge sources a vailable, having beenrenovated about 2 years prior to this study. However, something was not working,because t he head nurse of the dementia unit called me and told me about how theresidents were being brought to the space and were trying to leave it, thereby rejectingthe space in that unit that had been designed for them. Both the head nurse and thestaff were perplexed. While the space was beautiful, clean, and appeared to suit itsintended purpose, something was not working. When the staff tried to bring theresidents to the designated room for specific activities, they promptly began to leave,even though many were wheelchair bound. I was asked to investigate the reasons whyand I promptly set out to create a research project to answer why the users wererejecting the seemingly beautiful and functional space designed for them.Using evidence-based procedures that were theoretically supported by a constructivistparadigm (Guba & Lincoln, 1994; Rose, 2001), the team of researchers p roceededwith a three-phase study. In the first phase, existing physical conditions were recordedand the perception of staff and volunteers were collected. Particular attention was paidto the users--elderly residents with dementia. The unit programs, activities, and familysocial situations were also assessed. Dialogues were arranged with all the stakeholdersand users.Using a combination of observation and visual qualitative data, the issues wererecorded, verified, and analyzed. The data consisted of the physical characteristics andspatial elements, as well as the observations and narratives from the conversations the researchers had with various stakeholders, including users, volunteers, nursing staff,and families of the residents.The data were documented and analyzed using interpretive analytic methods that provide trustworthiness through triangulation (Clandinin & Connelly, 2000; Creswell, 1998; Rose, 2001). This included an analysis of the observations of the physical space, responses from stakeholders, and activities within the spaces.Epistemologically both the research and design processes are considered to be constructivist in essence (Creswell, 1998; Vaikla-Poldma, 2003). The design researchers sought to understand user perceptions, dynamic social activities, and the spatial capacity to support these different activities, and identified the multiple contexts that were revealed (Poldma, 2006).The issues raised by the users included a lack of social space for family members to meet, poor ventilation and lighting affecting the visibility and comfort within the space, and an inability to sense the space due to poor color choice for the older residents, who did not “see” the space as a place where they would want to be. The corridors felt like an “abyss” and the space itself was cold and institutional in feel. Another interesting issue emerging from the stakeholders was their diverse perceptions both of the use of the space and of the activities that might unfold. The perspectives varied widely depending on whether one was a resident, volunteer, doctor, nurse, or caregiver.In the second phase of the study, and once recommendations have been made and accepted b y the stakeholders, minor design revisions were proposed and then some renovations were carried out. The recommendations included adjustments in lightingand spatial zoning to rectify the problems identified as leading to the rejection of spaces by the residents. New spaces were created to incorporate social program activities, based on the recommendations by both researchers and care-givers working together.The third phase of the study consisted of re-evaluating the success of the changes andthe responses of all the stakeholders were documented. Overall, the changes improved responses and social activities that satisfied the nursing staff, residents, and familiesalike (Poldma, 2006). Families were delighted that they were able to socialize withability totheir loved ones, while the staff noticed improvements in the residents’ navigate the spaces with reduced dependence on the staff for their daily activities. Inall the three phases of the study, conversations and dialogues contributed to the movement of the study from evaluation to implementation of changes a nd again to evaluation of the ideas to improve the space.ReferencesAbercrombie, S. (1990). A philosophy of interior design. New York: Harper & Row. Abrahamson, V., Meehan, M., & Samuel, L. (1998). The future ain't what it used to be. New York: Riverhead/Penguin.Ainley, R. (Ed.). (1998). New frontiers of space, bodies and gender. London: Routledge.Amin, A., & Cohendet, P. (2004). Architectures of knowledge: Firms, capabilities and communities. Oxford, UK: Oxford University Press.Ardener, S. (Ed.). (1981). Women and space: Ground rules and social maps. New York: St Martin's.Bachelard, G. (1969). T he poetics of space. Boston: Beacon.Belenky, M. F., Clinchy, B. M., Goldberger, N. R., & Tarule, J. M. (1997). Women's ways of knowing: The development of self, voice and mind. New York: Basic. Botti-Salitsky, R. M. (2009). Programming and research skills and techniques for interior designers. New York: Fairchild.Clandinin, D. J., & Connelly, F. M. (2000). Narrative inquiry: Experience and story in qualitative research. San Francisco: Jossey-Bass.将内部空间:通过设计研究,丰富主观经验狄儿波德玛工业设计学院，蒙特利尔大学C 6128，succursale中心城，蒙特利尔，魁北克H3T 1B9，加拿大摘要本文探讨的生活经验的隐性知识和在这种形式知识中涉及的设计研究。
个性化办公空间室内设计外文文献翻译最新
外文文献原文+译文原文The research of personalized office space interior designMartin GAbstractIn the 21st century, human society entered the "information age", most countries in the world also has gradually into the "post industrial society". In the era of "post industrial society", based on computer technology, network technology and information technology characteristics of the information society will change our mode of production, life style, work style and way of thinking, affects every aspect of our lives. The development of network makes the world becomes smaller and smaller, and the city became big assimilation, life becomes urbanization, people lost the passion of pursuing new and change. In this era of homogeneity, any new things will make people feel excited and delighted, can someone as the cheers and applause, pursuing new and change is the slogan of The Times. The life needs, design calls for more personalized works. Make public individual character, in the field of design innovation is the slogan. The personality is the soul of interior design, interior design for individual work.Keywords: Human nature; Personalized; Office space; Interior design1 IntroductionIn calling upon the personality in the field of interior design, on the one hand, people demand more attention to person itself, also in the interior design is also more to embody the "people-oriented" design concept. Interior design more consideration to all levels of people of different physiological and psychological level, the various requirements of the design to achieve more balance, balance the dual requirement of people in the material world and spiritual world, tend to be more humane, intelligent and ecological design. Gradually reduce, on the other hand, as the earth's resources, the worsening of the natural environment, destruction of ecological balance, need more of is in interior design "people-oriented" dialectic, which is in the life to promote energy conservation, saving resource and moderate consumption, on thedesign to implement green design, ecological design and environmental design, achieve the harmonious development of man and nature.In the field of interior design, office space occupied large proportion of interior design. In August 1933 C AM (international association of modern architecture) fourth conference in Athens by the Athens charter, and put forward the "live, work, transportation activities is to study and analysis of urban design in modern times, the most basic classification". Work is one of the main human activities, office space is the center of the modern life, and people have a third day of the time want to be in the office. Well-designed personalized office space people can keep a good balance of body and mind, stimulate creativity, promote the exchange of work, and enhance the sense of belonging, to create greater wealth for the society. Therefore, office space interior design is particularly important.2 Overview of interior designInterior design, also known as the indoor environment design, the main content of the design for indoor plane design and space combination, indoor surface art processing, and indoor furniture, lamps and lanterns, display the selection and arrangement, etc. Generally have the floor plan, flat-topped diagram, facade expansion plan, as well as furniture, lamps and lanterns and detail drawing. Can use Gantt chart or color rendering." As an independent professional interior design, in the world is truly established in the 1960 s, after the birth of modern architecture movement is interior design professional agent directly, make indoor design in design idea and great changes have taken place in modern architecture movement one by one to make indoor decoration from pure interface to the design of the space; from the traditional pattern of two-dimensional space design to create innovative four-dimensional model; the essence lies in the overall artistic atmosphere of interior space to create, this is the traditional way of thinking of interior design a fundamental shift in attitudes.Interior design is a comprehensive strong cross discipline, is the art and science, the unity of form and technique. Art and science, as human beings to know the world and transform the world's two most powerful means, also reflected in the design. Cansay, the whole process of design, is to make all sorts of subtle things and feelings, organized into a clear concept and art forms, so as to build content to demand the materialization of human emotions and behavior. All design practice is to make the knowledge and the characteristics of emotional streamline, ultimately comes down to this practice aesthetics system in the form of art and scientific theory system. Any kind of design results is the crystallization of art and science, the design is on the brink of between arts and science subjects. Here, the art as a source of design thinking, reflected in people's spiritual world, subjective emotional aesthetic consciousness become design create impulsion. Science as a design specification of the process manifests itself in the material world, people of objective function of technology using the designing a guarantee of success. That reflect more outstanding in the indoor design, modern interior design involves the aesthetic psychology, architecture, sociology, ethnology, human body engineering, structural engineering, architectural physics and material science disciplines, such as it requires the use of multidisciplinary knowledge, comprehensive multi-level space environment design, is a highly integrated comprehensive discipline. Interior design as an independent comprehensive discipline, is the rational creation method in architectural interior space, is a kind of based on the structure of science, to the art form of expression, to create a spiritual space and material space and indoor living environment for the rational creation activity, the sensibility of art together and scientific rationality as the designers create infinite power.Interior design is a category of design, all aspects of the design of the full performance characteristics. Design is to seek a breakthrough in the artistic feeling, an extraordinary, a characteristic of the state, while in this state and breakthrough collectively known as personalized design. Personalized embodied in interior design in the modern office space more to highlight, even far beyond the spiritual and cultural requirements of the space environment is responsible for. It requires that reflects the unique style of enterprise culture, policy makers, tolerance and style, the collective image of the company, the company's historical development and even the company's product characteristic image, and so on. Interior design of individual ischaracter on the premise of "people-oriented". The "people-oriented" can be understood as interior design some of the common requirements, design some aspects of personality development of functional factors, including interior space of the physical environment, physical environment and psychological environment and visual environment and other factors. Personalized office space interior design should be based on these factors.Interior design of individual is character on the guideline of "environmental consciousness". In be being designed indoors, "people-oriented" design concept represents human intuitive understanding of their own interests, reflects the value judgment of anthropocentrism and value orientation, the design of the forming rule of nature theory system and methodology. However, due to human easily swayed by utilitarianism, simply emphasize the "people-oriented", is bound to damage the natural value to achieve the purpose of remaking nature. Should be in the development of interior design development under the guidance of overall environment consciousness, personalized interior design should merge in the overall environment, and the natural harmonious development of the overall concept of choose and employ persons ideas and planning projects, to carry on the design. Interior design to the idea of ecology and ecological values is the main principle, to fully consider the human environmental sustainable development.3 The change of the post-industrial society office spaceSince the 1990 s, represented by information and communication industry of knowledge-based industries become the growth point of the world's biggest economy, network, digitalization and virtualization become the main characteristics of the new economy. Along with the wide application of Internet technology, the popularity of mobile communication technology development, each kind of electronic office products constantly upgrading, make the human on the basis of constantly improve office efficiency, to the depth and breadth development, continue to deepen the degree of office automation, a new type of office mode, arise. Transmission of information is to reduce line configuration. The development of information technology has brought "virtualization" office building in the 1990S. As mobile phones, notebook computers,the emergence of the Internet and E-mail, office workers actually turned out to be "free agents" (Foot Loose) office place and time of freedom. Information technology is also changed on the concept of work and organization. Divide too fine office space layout is no longer suitable for the new working method emphasizes the interaction of team spirit, so had to create a more open workspace.On the one hand, the scope of information technology makes the work continuously break limit of the space, everywhere in the world. The emergence of new digital office mode and concept, make the enterprise began to put more money into the computer network and related technology, and slash funding for the new office. Many large companies have begun to experiment a new office mode. For example, the "elastic" (Flextime) or "office" alternately (Alternate office) implemented in IBM.IBM for 13000 sales, often, technical and administrative personnel are equipped with computers, printers, fax machines and modem, facilitate everybody work outside the office. A new information system, on the other hand, make development changed about the concept of work and organization, office workers actually turned into "free agents", they enjoy freedom of offices and office hours. Increasing work efficiency of the individual, unit time has created an unprecedented social wealth. The arrival of network age makes "SOHO (Small office, home office) became popular in the world. SOHO narrowed the office space, completely eliminate the space distance of the office and family, to overcome the busy traffic, congestion, the share of energy at the same time, reduces the consumption of resources, good way to solve the problems of land for growing population explosion and the scarce. SOHO works make work life, ever tiresome many working atmosphere in the family to make the person feels interest, the workings of a SOHO has become a mainstream in the future.文献出处：Martin G. The research of personalized office space interior design [J]. California Management Review, 2016, 4(3): 89-101.译文个性化办公空间室内设计研究Martin G摘要21世纪人类社会进入了“信息时代”，世界上大多数国家也已经逐步转入了“后工业社会”。
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(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。
”女性意识的设计也越来越占上风，甚至有学者将女性设计意识作为人性化设计的体现。
预言世界的“她”时代已经到来。
一、女性装饰风格的科学性室内设计中突现的女性文化现象并不缘自对女性平等追求的呼声和善意的尊重，这里有着更多客观的因素。
国外的科学家们通过测试研究发现，女性身体器官构造比男性更为复杂，由此导致女性的植物神经系统发达，女性的触觉、味觉、视觉和听觉反应大都比男性敏感，情感表现更为明显和细腻。
有调查报告显示，现今女性出于各种原因，对建筑、室内空间和装饰艺术的喜恶态度上比男性反应的更为分明而坚决，在需求态度上更为积极而有主见。
同时，就心理特征分析比较，男性是外向的，女性多表现含蓄；男性是公众性的，女性则偏向私密；男性是理性化的，而女性细腻感性；男性体现刚强，女性展示柔美；男性是社会性的，而女性更多体现为自然性。
因此，以女主人的眼光来决定家装风格更能营造和谐的家庭环境。
在这种实际需求的影响下，女性风格应运而生。
二、室内装饰中女性装饰设计的表现“女人心，海底针”是一句耳熟能详的老话，其实，女性的行为与其生理构造互为表里，具有一定的共通性和规律性。
通过对女性生理、心理以及社会历史原因的分析，不难发现以下几个方面的特征深刻的影响着女性装饰的风格。
1、女性生理所具有的敏感和善变因素从生理心理学角度来看，女性生理平衡不断发生变化的周期性生殖循环使得她们虽强于观察体会、感受敏锐但却不擅于保持长久的精力集中与情绪的稳定。
这些都不是女性主观的选择而是与生俱来的特性。
因此她们因为在生活中发生问题或审美疲劳而常常把情绪发泄转换给周边的事物，对居室环境空间装饰作不定期的改换与室内陈设不断的以旧换新。
这种特性，决定了风行一度的传统务实的的固定式实木家具为装饰主体的装修手段逐渐被淘汰，活动式、便携式家具和易更换的软性装饰材料将成为设计的主流。
2、女性的神秘主义倾向从人类起源开始，无论处于被崇拜还是被压迫地位，女性与宗教巫蛊仿佛有着千丝万缕的联系。
毫无疑问，女性比男性迷信，女性由于长期的弱势使她们更需要找寻心理的安定和依靠。
而女性与自然天生的息息相关使得她们更能够感悟其中不可名状的神秘性，而感性先于理性的思维方式让她们更愿意以“心”而非“脑”去理解一切玄异。
因此，她们易于受到神学与宗教的影响。
抛开理论研究的结论，我们在现实生活中也可以很容易的发现，女人更乐于钻研星座，重视风水，相信命运。
因此在室内设计中，不用说她们更喜欢采用一些有宗教意象或自然气息很浓的装饰物（图3），也很乐意接受关于纳吉避凶的建议。
这些都是她们追求安定幸福生活的地愿望的体现。
3、女性的身体健康需求在这个讲求生活品质的年代.健康正成为人们越来越重视的话题。
由于女性的生理构造远比男性复杂，因此受到疾病侵害的可能性和衰老的速度大大高于男性。
相比从前为悦己者容，现代女性更乐于用有情调的生活善待自己。
她们阅读美容书籍，烹调养颜食品，参与健身训练，购买化妆用品，添置时尚衣饰，一切的一切只缘于对青春与健康的爱惜。
此外，越来越多的女性向男性一样走向了职业的舞台进行公平竞争，为了工作的需要，她们花费更多的精力与时间在超市购物，商场血拼，在居室烹饪美食，在咖啡厅里享受细心畅谈的乐趣，在旅行的酒店里感受大自然给予的快乐时光，在健身房里体验流汗的舒畅……，种种迹象证明设计中必须充分满足这些需求，为女性消费者营造自我关照的需求空间。
4、女性的“洛丽塔”公主情结“新性感主义”是当今女性时尚界最流行的话题，洛丽塔式的天真性感一派无疑是其中最具诱惑力的。
现实生活中的男性往往需要在情感中超越年龄对自己的束缚，体验着长辈、哥哥和情人相互混杂的角色。
女性则通过与比自己年长许多的男性们交往，享受着一种永远的依靠与信赖。
具有洛丽塔情结的女人乐意“以小博大”，借着天真幼稚包裹成熟，扮演着被支配的主角，从而获得依赖和安全感。
近年来在服装界掀起的韩流就是一个很好的例证，小圆领、公主袖、蕾丝掐边、玩具熊造型的耳环和项链，以及各类粉色系布料等不同元素相互组合，从娴静中透着活泼，于优雅处展露纯情。
这种风格受到一个年龄跨度很大的女性阶层的喜爱。
同样在家居装饰中，明艳的墙壁，色彩浓烈的团花地毯，缀有花草藤蔓图案的装饰拒，玻璃雕花屏风，断断续续坠落的流苏灯饰，缀满亮片、珠珠的靠垫，镂空的纱质窗帘等饰品以及富有夸张色彩的装饰物仿佛呵护了女性小公主似的童心，随着新性感潮流风行在时尚家庭中。
三、居家中女性装饰风的主要特征就像美国艺术家弗洛琳•斯蒂海默所描绘场景一样，正是女性在童年时代。
家的最甜美的期待，以及儿时沉醉于王子公主美妙的童话世界里带来最最美好的回忆，因此或多或少都会诱发女性最温柔、最美好的一面，也是女性装饰风格最完美的诠释。
不同于男性，女性几乎是一种情绪化的动物，内心的纤细与敏感使她们除了要求空间有基本的实用功能之外更为注重自身与空间中所蕴涵的情绪、文化的精神交流，更在意家庭氛围的营造。
因此重装饰轻装修是女性装饰风格不变的定位，柔性主题是设计的重点。
1、柔性材料的大量运用布艺是女性装饰风格中用的最多的一种元素，它不但能从实用性上满足女性需求，在很大程度上甚至是女性气质的物化品。
从窗帘、纱、慢、床上用品、布艺沙发到地毯、壁挂，无论是嗅觉、味觉还是触觉，无不透着女性的柔情和温馨。
布艺品总是以它特有的图案和柔软的质感，呈现在居室空间内，起着联系家具与人之间的纽带和模糊空间的划分作用，体现着物的人性化，弥补了室内现代建筑中大量使用钢筋、水泥、玻璃等硬性材料所带来的冷漠感;进而，也满足了人们渴望宁静和向往自然与温馨的需要。
并且，布艺虽然依附于硬装修器物之上属于从属地位，但却能以柔克刚的决定整个装修风格，这正是当今女性家庭角色的最佳诠释。
2、粉色系列的色彩颜色温暖、手感舒适，带有个性化的装饰材料，成为当代女性装饰选材的重要选择倾向。
甜甜蜜蜜的色彩是女性感性的特征，近年来流行的粉色、粉蓝色、粉绿色，这些带有透明感觉和糖果感觉的色彩逐渐在女性室内环境中流行开来。
甜蜜的颜色多用于窗帘、隔断用的帷幕、床上用品、桌布、椅垫等，柔性色彩营造一个甜蜜的生活氛围，带给人一天工作后的放松。
由于女性装修和装饰对个性化材质的需求，符合女性审美风格的材料在市场上越来越受到欢迎。
3、曲线造型的图案女人如花似水，在室内女性风格装饰中，花鸟和鱼水的主题都是最鲜明的特征。
无论是织物器皿上的图案还是家具墙体中的曲线造型，无论是地面上的图案还是天花板上吊顶的样式，都是营造女性氛围的最佳元素。
女性风格的室内装饰纹样拥有与时代符合的雍容、柔美之感。
一方面，曲线的形态是受外界支配的线形，外界压力的大小可以使线形发生变形，产生出丰满、优雅、柔软、和谐等审美特点,而许多卷草纹、缠枝花纹等正是利用流动的曲线创造了层层叠叠、圆润饱满的艺术效果，突现女性的魅力。
另一方面，从纹样构图结构来看柔性纹样生动变化中寻求一种规范，布局由紧密变得更开朗，形态有概括有写实。
不管是饱满的团花组合方式，还是散花和小折枝花都或含苞欲放，或蓓蕾初绽，或昂首怒放，姿态各异，花草鸟蝶，富于民俗趣味；情爱祥瑞，表达美好愿景；运动舞蹈，描画日常生活虫鸟相嘻，鹦鹉双追，则传第出一种韵味十足的女性的自然景象。
4、无处不在的镜面空间曾经有男性慨言：女人不能五分钟不照镜子。
这个论断有点夸张但可以肯定的是女性在意自己的外表，乐于欣赏自己的体态。
基于这个原因，在女性主义装饰中必须重视镜子的摆设和照明的计算，通过科学设计的镜子可以帮助女性增长自信，增添动力。
另外，玻璃材料营造出的奕奕发光的镜空间也同样暗示着女性的珠光宝气。
时随镜迁，新女性风格的装饰让室内私人空间成为了女主人的衍生体，一个既充满活力，有具有柔美细腻新新女性风格的公共场所，同样会使工作压力繁重的男人们心中充满生机和活力。
现今，以女性特有的温暖细致营造着时尚温馨的室内氛围，已经成为一种风尚。
A Brief Analysis to the Interior Design of Shallow Women Adornment StyleAmerican women artists Fu Luolin • Sidihaimo had her painting "Family Portrait No. 2" in the transfer of one of her favorite flowers are surrounded by busy tapestry and home picture of the interior space and a woman are very beautiful gesture to occupy the entire visual center. All as she describes the poems as "Veronese green lace corset, dark patterned skirt are knitted lotus leaf, silk jewelry boxes filled with strings of pearls Rome; very favorite pale washed silk curtains, striped ribbon with the light of Rome, full of flowers carpet, Sevres porcelain vases and gilt edging of the table and scattering the morning light; mother read fairy tales for us, there are flourishing garden in full bloom and Maillard's confectionery and Walt Disney's cartoon... ... "In these words, the jump of the details of the description and the cognitive characteristics of pure sensory perception of women s experience characteristics, and described the flowers, fabrics, furnishings, fairy tale is the most gentle of women for home, the most sweet looking, this all women are also the most perfect interpretation of decorative style.Ages as women unique physiological instinct, women style of decorative arts in history have been enjoying a large market space, especially from 17 to 18 century Renaissance in Italy developed a strong female characteristics of Baroque art (BAROQNE ART ) is popular decorative style and affects the whole of Europe, how much of their artistic language was closely followed by the emergence of new art movement and development. However, as a hobby and fashion style, the Baroque is also confined to the luxury of the court and dignitaries of the room decorated in popular decorative style of the concept of a limit to the content and style of the decoration of women had a deviation.Today, the rapid socio-economic development, women status because of their education and income levels increased to a relatively reasonable height, a new women discourse in the world is in full construction. As anthropologists Hailunfeixi that, as women in the 21st century would be "primary." Because of their involvement, directly or indirectly affect the aesthetic awareness and consumption of modern concept, a unique women-representatives of consumer culture and popular aesthetic thoughts are subtle fashion consumer level. This is what we call "her" female consumer culture of the times, in accordance with International Advertising Association, Xikaboer on "her" interpretation of the connotation of the times: "Today, consumerism is male-dominated to female-centered balance of consumerism. "feminist consciousness more and more prevail design, and even scholars of women as human design design-conscious reflection. Predicted that the world of "her" time has come.First, the scientific nature of female DecoInterior Design emergent cultural phenomenon of women is not originated from the pursuit of equality for women voices and the respect of goodwill, here have a more objective factors. Foreign scientists test found that the female body organs and structures more complex compared with men, which led to development of women autonomic nervous system, women sense of touch, taste, visual and auditory reactions, better than men, sensitive, emotional performance in a more visible and fine. A survey report shows that today's women, for various reasons, architecture, interior space and decorative arts of likes and dislikes attitude more clearly than men, and firm response, the demand for a more positive attitude and assertive. Meanwhile, on the psychological characteristics analysis and comparison, outgoing men, women and more subtle performance; men are public in nature, females tend to privacy; men are rational, while women delicate sensibility; male expression of power, and women show soft; men social, while women are more natural sexual expression. Therefore, the hostess's eyes to determine the style of decoration to create a more harmonious family environment. The impact of this actual demand, female style emerged.Second, interior decoration design performance of female"The heart of woman, submarine-pin" is a familiar old saying, in fact, women behavior and physical structure interacts with a certain degree of commonality and regularity. On female physiology, psychology and the analysis of social and historical reasons, not difficult to find the following aspects of the characteristics of a profound impact on women decorative style.1, female physical sensitivity and volatility of the factors that havePhysiological psychology from the point of view, women are changing physiological balance of the reproductive cycle of the cyclical while making them stronger and observe and understand and feel the acute but not good at maintaining long-term focus and emotional stability. These are not an option for female subjectivity inherent characteristics. Therefore, because of their problems in life or Shenmeipilao and often emotional venting conversion to the peripheral things, on the indoor environment of space for decoration and furnishings change from time to time to keep the TM to. This feature, once the decision of the popular tradition of pragmatic fixed furniture for the decoration of the main means of gradually fitting out, and mobile, portable and easy to replace the soft furniture, decorative materials will become the mainstream of the design .2, women mystical tendenciesStarting from the origin of man, whether in worship or oppressed by the status of women and religious Witchcraft seems inextricably linked. There is no doubt that more women thanmen superstition, women make them vulnerable because the long-term psychological need to find stability and rely on. The women and nature are closely related to natural sentiment which makes them more capable of indescribable mystery, and emotional and rational way of thinking ahead so that they are more willing to "heart" rather than "brain" to understand all the mysterious differences. Therefore, they are vulnerable to the impact of theology and religion. Set aside the conclusions of theoretical studies, also in real life we can easily find that women are more willing to delve into constellations, attention FengShui, believe in fate. Therefore, interior design, needless to say they prefer to use some very strong religious image or a decorative natural flavor , and very willing to accept the proposal on Najib to avoid fierce. These are their happy life to the pursuit of stability, the embodiment of desire. Set up 3, women health needsIn this era of emphasis on quality of life. Health is becoming a topic of growing importance. As the physical structure of women than for men complex, the possibility of abuse by disease and aging much faster than men. Wyatt has been compared to those who formerly Yang, modern women are more willing to treat with a flavor of life itself. They read books on beauty, cooking, beauty foods, participate in fitness training, purchase of cosmetic products, purchase fashionable clothing, and everything is only due to the care of youth and health. In addition, an increasing number of women to men as to the professional arena for fair competition, the need to work, they spend more energy and time on supermarket shopping, mall shopping, cooking food in the room, the coffee shop Enjoy carefully talked about the fun in travel hotel experience nature for happy hour, sweating in the gym experience the ease of mind ... ... to various signs the design must fully meet the needs of female consumers create a demand for self-care space .4, women "Lolita" Princess Complex"New sexy doctrine" is today the most popular women fashion industry topics, Lolita-style innocence sexy faction is undoubtedly the most tempting. Real-life emotions in men often need to go beyond the shackles of age on their own experience with elders, brothers and lovers mixed with each other's role. Females with much older men than their own contacts, and enjoy a kind of forever rely on and trust. Happy woman with Lolita Complex "leverage", wrapped by naive mature protagonist of being dominated play to gain dependency and a sense of security. In recent years, launched the Korean fashion industry is a good example of a small round neck, princess sleeves, lace pinch edge, teddy bear shaped earrings and necklaces, and a variety of pink fabrics and combinations of different elements with each other, From the demure trace of lively, elegant office at the expose innocent. This style of a wide age range ofwomen favorite class. Similarly, in the decorating, strong, beautiful walls, rich colors, the floral carpets, embroidered with flowers and vines resist pattern decoration, glass carved screens, lighting tassels falling off, encrusted sequins, bead bead cushion, hollowing Shazhi curtains and other accessories, and full of exaggerated color ornaments like care of the princess-like innocence of women, with the new sexy fashion trends popular in the home .Third, home decoration in the style of the main characteristics of womenAs American artists Fu Luolin • Sidihaimo scene depicted, as is the woman home in childhood on the expectations of the most sweet and wonderful childhood immersed in the prince and princess fairy tale world to bring far the most beautiful memories, Therefore, inducing more or less the most gentle of women, most beautiful side of women decorative style is the most perfect interpretation. Unlike men, women almost an emotional animal, the inner thin and sensitive so that they not only seek to space beyond the basic function of a greater focus on practical and space implied in their own emotional, spiritual and cultural exchanges, more care create a family atmosphere. So heavy decorative light fitting is the same position of women in style, design flexibility is the key theme.1, extensive use of soft materialsFabric is a decorative style used in most women, an element not only to meet women on the demand from the utility, to a large extent even feminine physical and chemical products. From curtains, yarn, slow, bedding, cloth sofa to the carpet, wall, whether it is the sense of smell, taste or touch, without exception, reveals a woman's tenderness and warmth . Cloth products are always unique design and its soft texture, showing the room space, furniture and play a contact link and blur between the role of the division of space, embody the humane thing to make up the interior of a large number of modern buildings use of steel, cement, glass and other hard materials, brought a sense of apathy; then, and also satisfy the aspiration of people longing for nature and tranquility and warmth needs. And, although attached to a hard cloth decoration objects on a subordinate position, but the decision can be dealt with gently style of the decoration, which is today the best interpretation of the role of women in the family.2, the color pink seriesColor a warm, comfortable, with a personalized decoration materials, a selection of important contemporary female choice decorative tendency. Sweet sweet honey color characteristics of female sensibility, popular in recent years, pink, powder blue, light green, the candy with a transparent feeling and sense of color gradually women became popular indoor environment . Sweet colors are used for curtains, with curtain partition, bedding, tablecloths, cushions, soft colors create an atmosphere of sweet life, bringing people to relax after a day's外文翻译work. As the female fitting and decoration materials on the individual needs of the materials meet the female aesthetic style has been gaining popularity in the market.3, curve modeling patternWoman flower like water, in the female style interior decoration, the theme of flowers, birds and fish and water are the most distinctive features. Whether or fabric pattern on the vessel wall in the curve shape of furniture, both on the ground or ceiling ceiling design styles, all the best elements to create an atmosphere of women (Figure 8).Women have a style of interior decoration patterns consistent with the age of grace, soft feeling. On the one hand, the curve shape is dominated by the external linear, external pressure can make the size of linear deformation, resulting in a full, elegant, soft, harmonious and other aesthetic features, and many curly grass lines, patterns and so is the use of mobile Interlocking creating layers of the curve, round and full of artistic effects, emergence of women charm. On the other hand, the structure from the pattern composition view of the changing living patterns flexibility to find a standard layout more cheerful by the close, there are general patterns are realistic. Whether it is full of floral combinations, or scatter flowers and small broken branches, flowers or Hanbaoyufang, or newly sprung bud, or head high in full bloom, with different attitudes, flowers, birds and butterflies, rich folk customs; love good fortune, good expression vision; sports, dance, depicting the daily life of insects bird hee, parrots double recovery, the first a kind of full of flavor transfer of female natural scenic beauty.4, everywhere in the mirror spaceThere was male generous words: women can not look in the mirror for five minutes. This thesis a bit exaggerated, but it is certain that women care about their appearance, willing to enjoy their own body. For this reason, feminists must pay attention to the decoration of furnishings and lighting mirrors the calculation, through scientific design of the mirror can help women to increase self-confidence and impetus. In addition, the glass materials to create mirrors out to absolutely luminous space also implies that women Gem .Time to move with the environment, the new women style of interior decoration for private space to become the mistress of the derivative, one on both dynamic and has a soft delicate new style of women in public places, the same man who would work pressure heavy hearts full of vitality and vitality. Today, with women to create a unique warm and meticulous fashion warm indoor atmosphere, has become a habit.。