室内设计外文翻译外文文献英文文献
室内设计 外文翻译 外文文献。室内设计风格
室内设计外文翻译外文文献。
室内设计风格XXX and clean lines。
This style is perfect for those whowant a fresh and fun look in their home。
The use of XXX to the space.nal XXX colors。
intricate patterns。
XXX。
This style is perfect for those who XXX are often made of wood and feature XXX.XXX emphasizes clean lines。
neutral colors。
and a clutter-free space。
Furniture pieces are often sleek and modern。
with a XXX.XXX design is a mix of different styles and ds。
XXX and n。
as it combines XXX.XXX what style you choose。
it's important to stay true toyour own personal XXX and happy。
With the right design style。
your home can XXX you look forward to coming back to every day.To begin your design journey。
XXX peruse us designs。
you'll start to develop a sense of your preferences and dislikes。
This process will also introduce you to the vast array of XXX.XXX colors and materials。
自然简约的室内设计外文翻译文献
自然简约的室内设计外文翻译文献Abstract:Natural and simple r design represents a way of life thatbrings us closer to nature。
___。
and focuses on the essence of living。
It ___: simplicity。
space。
taste。
___。
___.Analysis of the Phenomenon of Natural and Simple r DesignIn ancient times。
___。
ancient Indian rock-cut architecture。
and ___ and components with the main body of the building。
However。
in the early ___ century。
the Baroque era in Europe and the Rococo era in the mid-___ ___ and the main body of the building。
The external main body of the building and the internaln did not match in terms of usage years。
leading to the n of the main body of the building and ___ palace buildings and noble ns。
___ "decorative craftsmen" emerged。
who ___ the main body of the building。
ushering in the era of changing the "clothing" of buildings。
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” 。
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。
室内设计外文翻译--住宅布局概论
1、外文资料《Introduction to Residential Layout》Mike BiddulphFirst edition 20072.“Ensuring commercial viability”In this chapter we explore the commercial aspects of housing design and layout.It is really important that designers understand that the buildings and spaces that they design are typically built and sold for profit,and to umderstand something of how their product will be evaluated in commercial terms.As a result,this chapter outlines a development appraisal known as the residual valuation technique and we apply it to a particular development scheme.The point is not to turn designers into quantity surveyors,but instead to inform the mentality of the designer so that their work is not commercially naive.The residual valuation is a straightforward technique that can be used early in the planning of a simple development scheme ,although other,more elaborate and precise techniques will also be used by quantity surveyors working in practice.We will work through a valuation to explore how a design might shape its market potential ,and explore how a design can be adjusted to become more profitable.We will also consider how designers can use design to add value to schemes by using layout techniques commonly observed in practice.COMPLETING A DEVELOPMENT APPRAISALThe basicequationIn costing a planned residential development it is important to design a scheme where the predicted returns are greater than the costs.The difference between the returns and the costs is known as the residual.This residual can be used to determine the value of the land onto which the planned homes will be built.In preparing a valuation for a scheme the following basic equation should be used:Development Value—Development Costs=Possible Land ValueCALCULATING DEVELOPMENT V ALUESThe costing of speculative residential development is relatively straightforward as the value of the property is simple the price that the property is ultimately sold for.Inprediccting this value it is important to have a clear sense of the local market and how similar homes are selling within that area.It makes sense to be a little conservative with prediction so that values do not become inflated,although there is a tendency for new houses to sell with a slight premium over similar houses that have previously been occupied.Valueswill vary significantly according to the location of the home,but also-and more specifically-according to the nature of the home and plot.In the UK,homes are sold according to the number of rooms they have,whilst in slightly more refined markets,a total floor area is also compared.The value will also be significantly influenced by the quality of the internal and external design and finish,the size of the garden,the location of parking and the type of house;for example,whether it is detached,semi-detached or terraced.Values will also vary across the site as certain areas of a scheme may be more desirable than others.This is discussed further below.It is important to refine predicted values relative to judgement about how much demang there will be for properties within a scheme relative to other local areas.Although housing markets can de very dynamic and predicting sales prices can be imprecise,it is necessary to have a clear sense of the local market using information about previous sales from within the area.However,it is also important to have a sense of how the circumstances surrounding a site might change.For axample,the planning of a new road might make the site more accessible and inflate future prices.3.“Building place and defining space”This chaper introduces the importance of designing urban form and a succession of places within residential schemes.It discusses the types of space that we create within the urban environment when we lay out homes and how these spaces should be configured.Different types of block structure are introduced.The chaper concludes with a brief explanation about how we should not let these amenity standards dictate the form of our residential areas,and that instead we should start our designs with an aspiration towards creating different types of place within a scheme.DESIGN PLACESRather than merely stringing out identikit housing along identikit roads,the main challenge for the desingner of a new residential area is to create distinctive places within their scheme.The notion of a place is something that has complex social connotations-what one person may regard as a place or places may not match that of another-but with reference to design it can refer to a sense of individuality or difference within the environment which forms,urban spaces and humanactivity.It is possible to be aware of ,and therefore concerned about,places at a whole range of scales.Regions are environmentally,as well as socially or culturally,distinctive.This is influenced not only by enviromenttal factors such as topography,flora and fauna or climate;but also by how societies.If you travel between regions,therefor,you may have a sense that you are leaving and entering different places,and the characteristics of urban areas will make a contribution to that feeling.However,within urban areas there are also distinctive places which result from how building,and other elements,have been combined together to create the urban enviroment.These places might be informed by the distinctive attributes of a region (a very simple example:all the buildings may contain a similar building material,or a distinctive type or form of building),but within the urban area the spaces created between these buildings should have a variety of both forms and functions.As you travelled through an urban area,therefor,you would experience the feeling that you are travelling between one place and the next.Urban environments that do not have this character are called placeless,and often the only way to fully appreciate the contribution that place makes to our lives is to spend time in placeless environments.Relph(1976,p.90)defines placelessness as …a weakening of the identity of places to the point where they not only look alike but feel alike and offer the same bland possibilities of experience.Placeslessness in residential environments results form:Road environments that have no direct relationship with the uses andactivities along themUniformity and standardisation within the built environment(figure 3.1)The adoption of synthetic,nostalgic or inauthentic themes in the design of either buildings or urban spaces,which ultimately become common between different schemes.In his thinking about how to overcome the blandness of urban development,gordoncullen(1961) argues simply for a recognition of both hereness and thereness in urban design.he suggests that people should have a feeling of entering or leaving a variety of places as they pass through the urban environment.as you enter a distinctive,individually designed street or square,he argues,you will have a sense of hereness and ,by definition,the other distinctive streeta and squares will have an equally considered design(figure 3.2).CREATE URBAN FORMPlaces result from the way that individual buildings are brought together to create urban form.streets and squares are types of urban form resulting from how individual buildings are brought together in the design,and just as we might carefully design an individual building,the form of a street or square,or the pattern of streets and squares that go together to make an entire scheme,should not be left to chance.urban design could almost be defined,therefore ,as the act of designing urban form;and the process of designing distinctive urban forms should result in physically distinctive places emerging within a scheme.DEFINE SPACEIn creating urban form the urban designer is helping to decide how the space of the urban environment will be used.at the most general levelthe urban designer is helping to decide where the solid walls of buildings will go,and in so doing choosing what will be outside and what will be the inside environment.figure 3.4 is a figure ground plan showing the pattern of urban form that results form that results from this process where the distinction between the solids(buildings)and voids(outdoor spaces)is most clear.figure ground drawings are an easy way of illustrating the pattern of urban form that is being suggested within an area.TYPES OF URBAN SPACEUrban space is not merely distinguishable as either outdoor or indoor.instead,from an urban design perspective,it is better to distingguish between four types of outdoor space which reflect who will have access to the space and something about how it will be perceived and used..PUBLIC SPACE: public spacerefers to urban space which is easily accessible to the general public at any time of day or nigh t(figure 3.5)streets are an obvious type of public space which people can physically enter and exit.there is a degree of management or control of what you can do within street space which is influenced by laws and cultures,whilst the physical design shapes quite clearly if it lends itself to ,for example,playing sports,walking,running,cycling or driving.despite tremendousvariation in what you might do in public space,however,physical access is maintained.Semi-public space:compared to public space,semi-public space is a type of space inwhich some greater degree of control is exerted over when access is allowed.these tend to be spaces which allow general public access.however,due to a far stronger management regime,they might,for example,be closed for certain hours.in addition,management may also influence who can use the space(figure 3.6).let us the example of an urban square with a small park in the middle of it.if hat park is always open to the public then it would be regarded as a public space ,if ,however,a boundary was erected,and the park was closed at night,then it would be a semi-public space.the benefit of making it a semi-public space may be that access to the public is safer,or that a slightly more sensitive environment can be protected from vandalism or other types of misuse.Private space：the final space is exclusively for the use of the residents of a property.outdoor private spaces form gardens，although sometimes roof gardens or balconies serve an identical purpose(figure 3.9).such spaces allow private residents complete control and a higher degree of both security and privacy,so that they can use the space for what they wish;for example,gardening,storing rubbish,sunbathing,playing or fixing the bike.A residential area is made up of these types of space,and differently designed urban forms will result in different patterns and relationships emerging between these types of space.public spaces tend to form a network which provides a pattern of access for residents(figure 3.10) sometimes semi-public spaces may be introduced ,typically as open spaces or play area,into the pattern of public spaces.semi-private areas tend to be located between the public spaces and people homes so that a zone of control is introduced between a public street and a private property.however,semi-private spaces can also form shared private gardens,and these may be included in a scheme between private gardens,and these may be included in a scheme between private gardens.finally,private gardens,where they exist,tend to be accessible from the home but,as a matter of principle,they should not abut a public space.why this is will be discussed below.INTERFACESThe boundaries between the different types of space are sometimes referred to as interfaces(figure 3.11).for example,the front wall between a front garden and a public space of the street can be referred to as the interface between semi-private and public space,just as the front wall of thehouse can be described as the interface between the private interior of the home and the semi-private front garden.such interfaces are important as they can be designed in a particular way to achieve a particular urban design affect.housing schemes that have semi-private front gardens but no wall at the interface with the public street space may,for example,result in quite a different street character to a situation where high front walls or even hedges have been introduced.FRONTS AND BACKSA common concept in residential urban design is that homes have both a front and a back interface;that the public front of the homes should face the street and the private backs of the homes should face the private spaces(figure 3.12),why this is so can be argued from the perspectives of either achieving outdoor privacy and security around the back,or creating a focus for public life within the public life within the public realm around the front.AROUND THE BACK:ACHIEVING OUTDOOR PRIV ACY AND SECURITYThe idea that homes should have a back space stems from the observation that privacy is a very important feature of the domestic realm,and that people can enjoy privacy both inside and outside the home.the private garden is a direct result of this,although the balcony or the semi-private shared gardens are good surrogates(figure 3.13).if private gardens are to be built into a scheme then it makes sense to group them together.this is so that the privacy between the homes is shared,and the gardens are secure.AROUND THE FRONT A FOCUS FOR PUBLIC LIFE WITHIN THE PUBLIC REALM The public realm of a residential area refers to the space that forms between the buildings which,although containing semi-public or seni-private spaces,will tend to be dominated by the comings and goings of the public street network (figure 3.14).despite the subtle variations in experience and expectation that such semi-public or semi-private spaces might allow,there is an expectation that public life will ensue.within certain quieter parts of a residential area this may be dominated by the chance meeting of neighbours,children playing or pedestrians and vehicles passing through.in other areas the public environment will be busier,possibly with a few shops or cimmunity uses supplementing the busier comings and goings of residents.despite this variation in the intensity of activity,the qualities of this public environment need to be carefully looked after if it is to feel safe and be convenient.one of the way this sense of safety and convenience can be achieved is by ensureing that the front doors and windows of homes overlook the street.this allows public activity to focus onto the public realm,as people come and go from their homes through front doors that face the streets,whilst the windows allow overlooking or surveillance of the public realm.PROVIDE SURVEILLANCESurveillance refers to the opportunity to observe activity within a street.the opportunity to observe some degree of human activity within the public spaces of a residential area is regarded as a positive feature in most residential settings(figure 3.15).a particular benefit is the sense of secrity that comes from feeling that you are not alone in your neighbourhood.Direct contact between people in a street going about their daily business is a form of surveillance,but the opportunity for people to see into the street from neighbouring homes also creates a sense of security,whilst those people in the street also informally observe that all is well within the homes.DO NOT CREATE DEAD SPACESometimes the principle of public realm and private backs facing each other is not followed,and where private gardens abut the public realm dead space may be the result(figure 3.16).this is because the demand for privacy and security around the back of homes inevitably means that some sort of barrier,such as high fences,may be introduced.For the public realm ,the consequence of this is severe ,as the activity associated with the front doors and the surveillance of the street environment through windows are both lost.in addition,no back fence could be as interesting as the facade of a home.this approach,therefore,results in less human activity,a poorer sense of security and safety,and an environment that dull and unteresting.The consequence of this for the private gardens is equally poor.the gardens now abut trafficked streets which are noisier,whilst it is thought to be relatively easy for a thief to hop over a back of a house from the public realm which is less populated and has poor surveillance.LESS DEMAND FOR PRIV ACYNot all residential area achieve the same level of outdoor privacy.apartments in particular may rely on balconies above ground level to privide outdoor space,whilst in other residential scheme (including either houses or apartments)private gardens or shared communal(semi-private)courtyards can tend to be quite open.in all of these cases the compromising of privacy allows some surveillance of neighbouring spaces,whilst the visible gardens and balconies provide visual interest to residents and visitors(figure 3.17) RESIDENTIAL BLOCK STRUCTURESResidential block structures result from the way designers compose the buildings and urban spaces to create urban form.by creating residential blocks the designers are defining the location of,and relationships between,the types of urban space and the pattern of access that will be allowed in general through the area;whilst they are also starting to consider the character of the layout and whether a sense of place will be achieved.The history of housing layout covers a great variety of residential block structures,and their enduring success shows that people can happily live in a wide range of residential settings-so long as the homes are well-constructed,the community is stable and the housing environment is well managed.SOME COMMON RESIDENTIAL BLOCK STRUCTURESAlthough a range of residential block structures have been adopted,some specific forms tend to be more common than others.Periphery blocksThe periphery block was probably the most common form of block structure until the 1930s when other block structures were experimented with.more recently,however,periphery blocks are suggested for a wide range of contexts as a result of the influence of the publication Responsive Environments(Bentley et al.1985).the basic principle reflects the advice given above-that the fronts of buildings should face the public realm and the private backs of buildings should face each other.the blocks are then arranged in a deformed grid of streets(figure 3.18).where housing is proposed the periphery street environment to become the focus for access,public life and social activity.periphery blocks are not only used,however,where houses with private gardens are being considered.Apartments in periphery blocks with shared open space:often,if apartment are developed,semi-private courtyards are introduced into the centre of the blocks where,for example,planting is introduced,residents can ralax,children can play or washing can be dried.such a space allows apartment residents access to outdoor space which is managed for the block as a whole,and which for children and some residents might be preferable to a small private garden.sometimes it is possible for non-residents to enter the courtyards are only available to residents(figures 3.19and3.20)Housing in periphery blocks with private gardens and shared open space:periphery blocksmay also have housing with private gardens a communal space for play or parking has then been introduced(figure3.21).this is actually a configuration that has a long lineage-during the seventeenth century housing was often arranged in block with service access in the middle of the block accommodating,for example,stables and carriages.this configuration evolved to a form of back alley access in the nineteenth century,whilst today former coach houses are sometimes converted to mews court housing.Apartment in periphery blocks with private gardens and shared open space:alternatively,ground level apartments in periphery blocks can have private gardens to their rear,and then residents who live on other floors have access to a communal space(figure 3.22) All of the above examples demonstrate variation in how private space is considered in a periphery block,but they also allow physical definition of the public realm,as the fronts of these homes face and give a physical form to the street environment.FREE STANDING BLOCKSSince the early twentieth century,apartment in particular have been developed in free standing or point blocks(figure 3.23).the rationale for this is provided by architects from the time who wished to :Provide a form of residential environment that provided air and light to homesFree people from what were regarded as the constraints of the nineteenth centuryProvide new,and unconstrained open spaces around the homesAccommodate the newly popular car(something that the older streets struggled to do)Use new building techniques,technologies and materialsProvide more communal ways of living.Today this rationnale still remains revevant in certain contexts;in particular where people tend to live in apartments,and a demand for outdoor private garden space is less prevalent.in addition,on certain sites apartments in free-standing blocks provide the most effective mechanism for achieving the desired density of development.where management processes are poor such blocks which can result in vague and poorly used open spaces between the blocks which can suffer from poor surveillance and under use.however,there is no reason why a high free-standing block can not be combined with other street level housing which is used to define a street or other public space.blocks like this can be very high,although within european cities free-standing blocks of about five storeys are also common,allowing residents a more immediate relationship with neighbouring spaces.2、中文译文《住宅布局概论》迈克比·达尔夫 2007年出版2.“确保商业可行性”在这一章中，我们探讨住宅设计中的商业方面和布局安排.它是非常重要.设计师明白，建筑物和公共场所，他们的设计是典型的建造和销售利润，并理解如何将他们的产品进行一些商业评估。
建筑设计中英文对照外文翻译文献
中英文对照外文翻译文献(文档含英文原文和中文翻译)原文：Housing Problems and Options for the Elderly 1. IntroductionHousing is a critical element in the lives of older persons. The affordability of housing affects the ability of the elderly to afford other necessities of life such as food and medical care. Housing that is located near hospitals and doctors, shopping, transportation, and recreational facilities can facilitate access to services that can enhance the quality of life. Housing can also be a place of memories of the past and a connection to friends and neighbors. Housing with supportive features and access to services can also make it possible for persons to age in place. In this session, we will be examining housing problems andoptions for the elderly. Along the way, we will be testing your housing IQ with a series of questions and exercises.2. Housing Situation of Older PersonsHow typical is the housing situation of the olders?We will begin by examining five areas :（1）Prevalence of home ownership （2）Length of stay in current residence （3）Living arrangements （4）Attachments of older persons to where they live （5）Moving behavior.With whom older persons live can influence housing affordability, space needs, and the ability to age in place. About 54% of older persons live with their spouses, 31% live alone, almost 13% live with related persons other than their spouse and about 2% live with unrelated persons. With increasing age, older persons (primarily women) are more likely to live alone or with a relative other than a spouse. Frail older women living alone are the persons most likely to reside in homes with ‘extra’ rooms and to need both physically supportive housing features and services to "age in place". This segment of the population is also the group most likely to move to more supportive housing settings such as assisted living.Many older persons have strong psychological attachments to their homes related to length of residence. The home often represents the place where they raised their children and a lifetime of memories. It is also a connection to an array of familiar persons such as neighbors and shopkeepers as well as near by places including houses of worship, libraries and community services. For manyolder persons, the home is an extension of their own personalities which is found in the furnishings . In addition, the home can represent a sense of economic security for the future, especially for homeowners who have paid off their mortgages. For owners, the home is usually their most valuable financial asset. The home also symbolizes a sense of independence in that the resident is able to live on his or her own. For these types of reasons, it is understandable that in response to a question about housing preferences, AARP surveys of older persons continue to find that approximately 80% of older persons report that what they want is to "stay in their own homes and never move." This phenomena has been termed the preference to "age in place."Although most older persons move near their current communities, some seek retirement communities in places with warmer weather in the southwest, far west and the south.3. The Federal Government's Housing Programs for the ElderlyThe federal government has had two basic housing strategies to address housing problems of the elderly. One strategy, termed the "supply side" approach, seeks to build new housing complexes such as public housing and Section 202 housing for older persons. Public housing is administered by quasi-governmental local public housing authorities. Section 202 Housing for the elderly and disabled is sponsored by non-profit organizations including religious and non-sectarian organizations. Approximately 1.5 million olderpersons or 3% of the elderly population live in federally assisted housing, with about 387,000 living in Section 202 housing. Over time, the government has shifted away from such new construction programs because of the cost of such housing, the problems that a number of non-elderly housing programs have experienced, and a philosophy that the government should no longer be directly involved with the building of housing. Section 202 housing, a very popular and successful program, is one of the few supply-side programs funded by the federal government, although the budget allocation during the last ten years has allowed for the construction of only about 6,000 units per year compared to a high of almost 20,000 units in the late 1970s. Instead of funding new construction, federal housing initiatives over the last decade have emphasized ‘demand side’ subsidies that provide low-income renters with a certificate or a voucher that they can use in a variety of multiunit settings, including apartments in the private sector that meet rental and condition guidelines. These vouchers and certificates are aimed at reducing excessive housing costs. Some certificates are termed ‘project based’ subsidies and are tied to federally subsidized housing such as Section 202. Because housing programs are not an entitlement, however, supply-side and demand side programs together are only able to meet the needs of about 1/3 of elderly renters who qualify on the basis of income.While advocates for housing have been trying to hold on to the existing programs in the face of huge budget cuts at HUD, much of the attention has been shifting towards meeting the shelter and service needs of the frail elderly. This emphasis reflects the increasing number of older persons in their eightiesand nineties who need a physically supportive environment linked with services. This group of older persons includes a high percentage of older residents of public and Section 202 housing. Initially built for independent older persons who were initially in the late sixties and early seventies, this type of housing now includes older persons in their eighties and nineties, many of whom have aged in place. Consequently, the government is faced with creating strategies to bring services into these buildings and retrofit them to better suit the needs of frail older persons. A major initiative of the early 1990s, which may be stalled by current budget problems at HUD, has been for the federal government to pay for service coordinators to assess the needs of residents of government assisted housing complexes and link them with services. As of 1998, there were approximately 1,000 service coordinators attached to government assisted housing complexes across the country.4. The Housing Continuum: A Range of Options for ElderlyA long-standing assumption in the field of housing has been that as persons become more frail, they will have to move along a housing continuum from one setting to another. As the figure on housing options suggests, along this continuum are found a range of housing options including single family homes, apartments, congregate living, assisted living, and board and care homes (Kendig & Pynoos, 1996). The end point of the housing continuum has been thenursing home. These options vary considerably in terms of their availability, affordability, and ability to meet the needs of very frail older persons.The concept of a continuum of supportive care is based on the assumption that housing options can be differentiated by the amount and types of services offered; the supportiveness of the physical setting in terms of accessibility, features, and design; and the competency level of the persons to whom the housing is targeted. The figure on housing options indicates how such options generally meet the needs of older persons who are categorized,as independent, semi-dependent and dependent. Semi-dependent older persons can be thought of as needing some assistance from other persons with instrumental activities of daily living (IADLs) such as cooking, cleaning, and shopping. In addition to needing assistance with some IADLs, dependent older persons may require assistance with more basic activities such as toileting, eating and bathing. Although semi-dependent and dependent older persons can be found throughout the housing continuum, independent older persons are very unlikely to reside in housing types such as assisted living specifically designed and equipped to meet the needs of frail older persons unless their spouses require these needs.Although the continuum of housing identifies a range of housing types, there is increasing recognition that frail older persons do not necessarily have to move from one setting to another if they need assistance. Semi-dependent or dependent older persons can live in a variety of settings, including their own homes and apartments, if the physical environment is made more supportive, caregivers are available to provide assistance and affordable services areaccessible.5. ConclusionsHousing plays a critical role in the lives of older persons. Most older homeowners who function independently express a high level of satisfaction with their dwelling units. However, high housing costs, especially for renters, remain a financial burden for many older persons and problems associated with housing condition persist especially for low- income renters and persons living in rural areas. Federal housing programs such as public housing, Section 202 housing, and Section 8 housing certificates have only been able to address the basic housing problems of only about one-third of eligible older persons because of limited budgets. Moreover, a shortage of viable residential options exists for frail older persons. Up until the last decade, housing for the elderly was conceived of primarily as shelter. It has become increasingly recognized that frail older persons who needed services and physically supportive features often had to move from their homes or apartments to settings such as board and care or nursing homes to receive assistance. Over time, however, the concept of a variety of housing types that can be linked has replaced the original idea of the continuum of housing. It is possible for frail older persons to live in a variety of existing residential settings, including their own homes and apartments with the addition of services and home modifications. Consequently, the last decade has seen a number of efforts to modify homes, add service coordinators to multi-unit housing and create options such as accessory and ECHO units. Although thesestrategies have been enhanced by a somewhat greater availability of home care services, Medicaid policy still provides incentives to house frail older persons in nursing homes. The most visible development in the field of housing for frail older persons has been the growth of private sector assisted living which is now viewed by many state governments as a residential alternative to nursing homes. The AL movement itself has raised a number of regulatory and financing issues that cross-cut housing and long term care such as what constitutes a residential environment, insuring that residents can age in place, accommodating resident preferences, protecting the rights of individuals and insuring quality of care. Nevertheless, the emergence of AL along with a wider range of other housing options holds out the promise that older persons will have a larger range of choices among living arrangements.译文：老年人的住宅问题与选择一、简介住宅在老年人生活的极为重要。
室内设计风格外文翻译参考文献
室内设计风格外文翻译参考文献室内设计风格外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)浅释室内设计中的女性装饰风格美国著名的女艺术家弗洛琳?斯蒂海默曾经在她的绘画《家庭画像第2号》中传递了一个她所钟爱的被繁华织锦与鲜花包围着的住所，画面中的室内空间和女人们以极其艳丽的姿态占据了整个视觉中心。
一切正如她诗歌里描述的那样“韦罗内塞绿的蕾丝紧身衣，深色花纹的长裙还有针织荷叶边，丝制珠宝盒里装满串串罗马珍珠；非常喜爱的淡色水洗丝窗帘，带有轻快罗马条纹的缎带，满布花束的地毯，塞夫尔瓷花瓶和镀金饰边的桌子上洒满清晨的光辉；母亲为我们朗读的童话故事，还有花园繁华盛开和梅拉德的甜点和沃尔特?迪斯尼的卡通……”在这些文字里，跳跃性的细节描述和纯感官的认知特征解读了女性的感知体验特性，而所叙述的鲜花、织物、摆设、童话正是女性对于家的最温柔、最甜美的期待，这所有的一切也都是女性装饰风格最完美的诠释。
古往今来由于女性特殊的生理本能，女性风格的装饰艺术在历史上一直占有很大的市场空间，尤其是十七至十八世纪在意大利文艺复兴发展起来的具有强烈女性特征的巴洛克艺术(BAROQNE ART)装饰风格更是风靡和影响了整个欧洲，其艺术语言多少的影响了紧跟其后的是新艺术运动的产生与发展。
然而，作为一种爱好和时尚风格，巴洛克也只局限在奢华的宫廷和达官贵人的居室装饰中流行，装饰风格的概念局限了，从而与女性装饰风格的内涵上产生了偏离。
今天，社会经济飞速发展，女性的地位也因其教育和收入水平的提高达到了一个相对合理的高度，一个崭新的女性话语世界正在全面构建。
就如人类学家海伦费希认为的那样，21世纪的女性将是“第一性”。
由于她们的介入，直接或间接地影响了现代的审美意识和消费观，一种独特的以女性为代表的消费文化和审美思潮正潜移默化的流行于时尚消费层。
这就是我们称之为“她”时代的女性消费文化，依照国际广告协会主席卡波尔对“她”时代的内涵的解释：“今天，以男性为主的消费主义正在向以女性为中心的消费主义平衡。