家具设计中英文对照外文翻译文献

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家具设计英语模板作文

家具设计英语模板作文英文回答：## Furniture Design: An Essential Guide。

Introduction。

Furniture design plays a crucial role in enhancing the aesthetic appeal and functionality of living and workspaces. Whether it's a cozy armchair or an ergonomic office chair, furniture can greatly impact our daily lives. This comprehensive guide will provide an in-depth exploration of furniture design, covering various aspects such as history, principles, materials, and trends. By understanding these elements, individuals can make informed decisions about choosing and designing furniture that meets their specific needs and preferences.Historical Evolution of Furniture Design。

Furniture design has a rich history that spans several centuries. From ancient Egyptian and Greek furniture, which emphasized functionality and symbolism, to the elaborate and ornate designs of the Renaissance and Baroque periods, furniture has evolved to reflect different cultural influences and technological advancements.Principles of Furniture Design。

家具风格论述英文作文范文

家具风格论述英文作文范文英文：Furniture style is an important aspect of home decoration. Different furniture styles can create different atmospheres and reflect different personalities. In this essay, I will discuss several furniture styles and their characteristics.Firstly, let's talk about the classic style. Classic furniture is usually made of high-quality and expensive materials such as mahogany, oak, and walnut. It has a timeless and elegant appearance and is often decorated with intricate carvings and details. Classic furniture is suitable for those who prefer a formal and luxurious atmosphere in their homes. For example, a classic chaise lounge or a wingback armchair can add a touch of elegance to a living room.Secondly, there is the modern style. Modern furnitureis characterized by its simplicity, clean lines, and minimalism. It often uses materials such as metal, glass, and plastic. Modern furniture is suitable for those who prefer a sleek and contemporary look in their homes. For example, a modern sofa with clean lines and bold colors can add a pop of style to a living room.Thirdly, there is the rustic style. Rustic furniture is often made of natural materials such as wood and stone. It has a cozy and warm appearance and is often decorated with earthy colors and textures. Rustic furniture is suitablefor those who prefer a natural and relaxed atmosphere in their homes. For example, a rustic dining table made of reclaimed wood can add a touch of warmth to a dining room.Finally, there is the eclectic style. Eclecticfurniture is a mix of different styles and periods. It often combines vintage and modern pieces to create a unique and personalized look. Eclectic furniture is suitable for those who want to express their individuality andcreativity through their home decor. For example, a vintage armchair paired with a modern side table can create aninteresting and eclectic look in a living room.In conclusion, furniture style is an important aspect of home decoration. Different furniture styles can create different atmospheres and reflect different personalities. Whether you prefer a classic, modern, rustic, or eclectic style, it's important to choose furniture that reflects your personal taste and style.中文：家具风格是家居装饰的一个重要方面。

室内设计外文翻译外文文献英文文献室内设计风格

Interior design stylesMary v .knackstedt shanghai 2004Abstract:Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body.Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.Key words:Style Classical Simple ExquisiteArticle:HOW DO YOU CHOOSE AN interior design style that suits you and your home? You can draw inspiration from numerous styles but try to keep to a similar theme so your interior is coordinated.Modern retro interior design incoprates bright colours and bold patternsThe best place to start is by looking at styles that appeal to you, which suit your budget and lifestyle. You will soon work out what you like and what you don’t. After looking through a few of these you will begin to understand the design process, along with the wide variety of materials and styles available.Don’t be afraid to experiment with different colours and materials; and decorate the room in a style that suits its purpose. There’s nothing better than a room flooded with sunlight so take full advantage of all the natural light in each room.Interior design style and genre, an indoor environment in the spirit of the art modeling and functional areas. Interior design style and genre and construction is often the furniture as well as in close connection with the style and genre; sometimes to the corresponding period of the painting, plastic arts, and even literature, music, etc. in close connection with the style and genre; sometimes to the corresponding periodof the painting, plastic arts, and even literary, musical style and genre, such as their origin and mutual influence. For example, in architecture and interior design of the"post-modernism" and the meaning of the word, and "camp style" is the distinctive characteristics of a plastic arts schools. Can be seen that the construction addition to interior design and material art materials, engineering and technology beyond the characteristics of close contact, and also literature, music and painting, sculpture and other categories of communication between the arts.The formation of interior design styles, different ideas and characteristics of the times, by creative ideas and performance, and gradually developed into a representative form of interior design. The form of a typical style, usually in the humanities and local factors and is closely related to natural conditions and the need for creativity in design and modeling characteristics. The formation of external and internal style factors.Although the performance in the form of style, but the style of art, culture, social development, such as profound connotation; from this deeper meaning, the style does not stop or equivalent form. A style or genre, once formed, it can turn a positive or a negative impact on culture, arts and many social factors can not be limited to as a form of performance and visual experience.The style of interior design features in the embodiment of art and creative personality at the same time, relatively speaking, to that style across a longer time, will include wide geographical. Interior design style can be divided into: Traditional style, modern style, post-modern style, natural style, as well as hybrid style.Architectural style derived from a variety of interior design style, according to designers and owners of the different aesthetic and loving, and turned into a variety of body. Here, to brief Members on the present 10 kinds of the more common style of interior design.Classical Style (luxurious rich)The rise in the age of just decoration, decoration of most of the pursuit of prosperity is more luxurious style. Especially in the early 20th century, interior decoration to show off their status is often a special form. Owners will be asked to design a variety of embedded symbolic luxury decoration, such as painting the glassceiling, fireplaces, decorative panels, decorative wood and so on, but basically similar to the Baroque style combined with the material there The main decorative way. Simple style (arbitrary)The 20th century, in some areas a Home heat. Due to technical and material constraints, the time has not yet the true sense of the Home Designer for guidance, so casual is the best portrayal of that time. Owners have begun the pursuit of a clean and bright indoor effect. Today, this style is still the most first-time home buyers are the first choice for the decoration.Exquisite style (noble solemn)After nearly 10 years of exploration, with the improvement of living standards of residents, opening to the outside world increased, people began to yearn for and the pursuit of high-quality life. From about the mid-20th century, there is the decoration of the decorative use of sophisticated materials and furniture, especially at this time, the designer of the domestic into the ranks of Home Design, which has brought a new concept of decoration.Natural style (art)The beginning of the 20th century decorative boom has brought many people to the concept of decoration. A large number of emerging market, Taiwan, Hong Kong journal of decorative eye-opener for people, before we dare to imagine such a small garden, culture, decorative stone walls and decorative stone such as tactics have appeared in the reality of the design. In particular, we used to see red elm caused by large-scale use of "national renovation a yellow" after the phenomenon of the decoration, close to nature has become a people one of the objectives pursued. Natural style of advocacy, "return to nature," highly aesthetic nature, combined with the natural order in today's high-tech, high-paced social life, so that people can achieve the balance of physical and psychological, so indoor use of wood, fabric, stone and other natural materials shows that the material texture, fresh and elegant. In addition, because of their similar aims and practices, which may be classified as a natural style of garden-style category. Pastoral style sought in indoor environment performance of leisurely, comfortable, natural life of the countryside, and is often the use of naturalwood, stone, rattan, bamboo and other materials simple texture. Coincidentally in the green room settings, creating a natural, simple, elegant atmosphere.Light style (bold Dafang)The mid-20th century, home design ideas have been a lot of liberation, people began to pursue a wide range of design, including modernism, postmodernism, such as the design of a series of more comprehensive system formed in the interior design. Turning to the decoration of people, these "isms" frequently appear in the mouth. This style basically cherry wood finishes as a major.Soft style (smooth independent)In the last century, the beginning of this century, a kind of smooth pursuit in the club like a little luxury design all kinds of real estate properties in the model room and the office appeared, and then appear in a large number of home decoration in general. This style of art is a relatively simple compared to emphasize the content and yet decorative forms, and gradually formed a black walnut wood decorative panels for the main style. Among them, the simplicity and minimalism the beginning of the surface. Style (quiet gentle)This is not in the last century, the beginning of this century as a design style, it is basically a wallpaper based on the surface as the main decoration material, combined with the woodworking practices Mixing this style emphasized the harmony of proportion and color. People will be the last part of a wall and the ceiling the same color, and the wall with the use of a light texture of the wallpaper. The whole style of it is elegant and quiet, with no trace of the impetuous.City style (independent personality)The 21st century, the housing reform, and many young first-time home buyers who appear to have this style impetus. Young people have just bought a house, many of them cos I'm always skint, but this time the real estate and are essentially rough Housing (a non-basic style of decoration), and these young people are forced to carry out the renovation of the revolution . Limited by its financial resources, people are starting to come through a variety of forms has been stressed that "decoration" of perception, in which large-scale use of bright colors is a typical example. It will be athome in the large-scale use of a variety of colors, sometimes even in the same space, the use of three or more than three colors.Fresh style (freehand pastel)This is a simple and derived under the influence with a "petty bourgeoisie" flavor of the interior design style. Particularly as many of the emergence of single people, the petty bourgeoisie in the style of a great deal of variety in the decoration of the apartment. As many times, they do not, such as the residents like the elderly and the children of members, so do not consider the decoration of many of the functions of the problem. They are often stressed and dull of an arbitrary. White纱帘buoyant with a soft fabric of the sofa, and then stacked with a variety of colors of the pillow pile to form a full atmosphere of the interior space lazily.Chinese style (retro)With the emergence of large number of modernist doctrine, the rise of the domestic and a retro style, it is the revival of Chinese-style decoration. Chinese painting, calligraphy and the Ming and Qing furniture constitute the most important elements of Chinese design. However, these expensive retro furniture has become a major obstacle to the lovers.Hybrid styleIn recent years, the architectural design and interior design in general has diversified, inclusive of the situation. Indoor layout also tends to have a modern and practical, but also learn the characteristics of traditional, in the decoration and furnishings in the ancient and modern China and the West melting into one, such as traditional screens, and table setting, with modern style decoration of the walls, windows and doors, a new type of sofa; European classical glass lamps and wall decoration, with the traditional oriental furniture and furnishings in Egypt, and so short. Although the hybrid design style eclectic, using a variety of style, but the design is still Originality, in-depth scrutiny shape, color, material and so the overall composition and visual effects.室内设计风格杰里米•迈尔森上海2004摘要：从建筑风格衍生出多种室内设计风格，根据设计师和业主审美和爱好的不同，又有各种不同的幻化体。

家具创新外文翻译参考文献

家具创新外文翻译参考文献1. Yu, X. L., & Lu, J. (2019). Innovative Design of Furniture Based on Livability: Taking the Design of Children's Desk as an Example. Advances in Engineering Research, 264-264.2. Candi, M., Damasceno, M. F., & Bezerrra, A. K. (2021). Innovation in furniture design: A look at production processes and material choices. Journal of Industrial and Production Engineering,38(1), 56-68.3. González-Zamar, M. D. P., & Suárez-Torres, J. (2020). Customer-oriented innovation in furniture design: key factors and approaches. Journal of Engineering Designs, 31(5), 234-247.4. Zhang, P., & Cheng, X. (2020). Analysis of the Innovation Model of High-end Customized Furniture Design. Journal of Applied Science and Engineering Innovation, 555-562.5. Wernick, J. S., & Katz, A. E. (2021). Design and Innovation for Office Furniture: High-Quality Design for the Workspace. International Journal of Humanoid Robotics.以上是一些文献参考，介绍了家具创新设计的不同方面，包括客户导向创新、高端定制家具的创新模式、基于舒适度的创新设计以及办公家具设计的创新和发展等。

办公家具设计外文翻译

附录In the consciousness of people, office furniture always gives people a heavy, restrained and even inflexible feeling. But in recently usa.in group its new office furniture exhibition hall in new century, the reporter hands-on revealed to the new office furniture style.According to usa.in group introduce Mr. YangHuaMing floral general manager, said the new concept of office furniture, it is in the group "new era, the new idea of" guiding ideology roll out. With the development of The Times, especially the network time arrival, office furniture also need to adapt to the social features, give office staff more displays of space.Save energy is consider for the customer"A new era, the new idea", is an important aspect of facing the future, fully considering modern office environment inch land inch gold question, thus in the space use on maximum consider for the customer, at the same time to the greatest extent save resources. Like usa.in of 338 partition series, from this face the look may is the simple side partition wall, and on the other side is a very practical wardrobe.If the office environment requires adjustment, 338 partition series furniture still can change combinations. Previously closed meeting rooms can easily into personal workstations, without the need to purchase any new materials, the original material also won't be wasted, this is actually advocate a save resources of new ideas. Usa.in providing customers the many ornaments, can use telephone etc many originally to occupy desktop objects hang up, not only saved a space, and fashionable and interesting, is very humanized design. And the Vatican usa.in Clover high series, flexible and minimalist design, use the simplest, basic parts, this series can evolve into all kinds of combination, which can be applied to different purposes.In the new products, to usa.in increased a lot of unique design details. For example in some desk underneath, renovated unique big roller. The original each other two workbench, a spell can form a very beautiful and practical conference table. Roller have braking switch, need not use when a foot to trample can firmly in place.Now desktop computer is the mainstream of office equipment, and the future, laptop computers, affirmation is the development trend of office furniture, so usa.in in mobility, also made full consideration.Because office space is limited, but usa.in can through office furniture flexibility, to make full use of limited space.Reveal personality increase gradeIn order to break the traditional office furniture inflexible, inanimate situation, launched the latest product -- usa.in Kristall glass hobson table series. This series of office furniture, the whole desktop into translucent grind arenaceous glass, desktop by metal support, desktop is unique arc, give a person a kind of strong contemporary feeling.Kristall series of form a complete set of Hera seat also focused on the dermis, metal, matt metal, rubber wheel and so on several kind of material, not only give the customer a range of options, and also more show concise, modern. This product after it was introduced, the welcome by customers.A network clients of the company at a glance the phase of this product, all will be three sets. This also reflects usa.in in product design new ideas are meet the demand of customers.In addition, any product to usa.in considerable pertinence, even for customers "custom-made2". Like the Vatican Pope John Paul ii, Hong Kong chief executive tungchee-hwa is usa.in valued customers.The new idea means perfect service"A new era, the new idea" also have a content is perfect service system. If a customer plans to buy usa.in products, professional project managers will advance to the photos, then the design gives optimal office furniture layout scheme for the customer to choose, from design to usa.in wiring, installation, the professional service staff will provide free all-round "close-fitting service". komatsu。

室内设计装饰风格中英文对照外文翻译文献

(文档含英文原文和中文翻译)中英文对照外文翻译浅释室内设计中的女性装饰风格美国著名的女艺术家弗洛琳•斯蒂海默曾经在她的绘画《家庭画像第2号》中传递了一个她所钟爱的被繁华织锦与鲜花包围着的住所，画面中的室内空间和女人们以极其艳丽的姿态占据了整个视觉中心。

一切正如她诗歌里描述的那样“韦罗内塞绿的蕾丝紧身衣，深色花纹的长裙还有针织荷叶边，丝制珠宝盒里装满串串罗马珍珠；非常喜爱的淡色水洗丝窗帘，带有轻快罗马条纹的缎带，满布花束的地毯，塞夫尔瓷花瓶和镀金饰边的桌子上洒满清晨的光辉；母亲为我们朗读的童话故事，还有花园繁华盛开和梅拉德的甜点和沃尔特•迪斯尼的卡通……”在这些文字里，跳跃性的细节描述和纯感官的认知特征解读了女性的感知体验特性，而所叙述的鲜花、织物、摆设、童话正是女性对于家的最温柔、最甜美的期待，这所有的一切也都是女性装饰风格最完美的诠释。

古往今来由于女性特殊的生理本能，女性风格的装饰艺术在历史上一直占有很大的市场空间，尤其是十七至十八世纪在意大利文艺复兴发展起来的具有强烈女性特征的巴洛克艺术(BAROQNE ART)装饰风格更是风靡和影响了整个欧洲，其艺术语言多少的影响了紧跟其后的是新艺术运动的产生与发展。

然而，作为一种爱好和时尚风格，巴洛克也只局限在奢华的宫廷和达官贵人的居室装饰中流行，装饰风格的概念局限了，从而与女性装饰风格的内涵上产生了偏离。

今天，社会经济飞速发展，女性的地位也因其教育和收入水平的提高达到了一个相对合理的高度，一个崭新的女性话语世界正在全面构建。

就如人类学家海伦费希认为的那样，21世纪的女性将是“第一性”。

由于她们的介入，直接或间接地影响了现代的审美意识和消费观，一种独特的以女性为代表的消费文化和审美思潮正潜移默化的流行于时尚消费层。

这就是我们称之为“她”时代的女性消费文化，依照国际广告协会主席卡波尔对“她”时代的内涵的解释：“今天，以男性为主的消费主义正在向以女性为中心的消费主义平衡。

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。

家具设计中英文对照外文翻译文献

家具设计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：Researches and Development of InteractiveEducational Toys for ChildrenAbstract: For Oriented by the teaching philosophy "game based learning", this paper carried out an in-depth research on the interactive mode of children's educational toys. In the research process, it attempted to build a new immersed educational-game scenario for children by using the new interactive technology so as to inspire the children's interest in learning and exploration. The research object in this paper was an interactive educational toy-"funny tap" English learning machine for children. After integrating the design concept of this product from an industrial designperspective, we selected specific interactive technology and completed the engineering. Moreover, we have conducted tests of work principles and effect of usage based on the sample machine. The final result indicated that there is a promising and huge market potential to apply the new interactive technology to development of educational toys.Keywords: Interactive Educational Toys, Interactive Design, interactive mode1.INTRODUCTIONSince 1980s, human beings including the children have entered a digital age. Under the influence of the advanced information, early stage education machines, electronic building blocks, electronic wall charts, and other new toys have become children's new favorites. With the influence of the west teaching philosophy-"game based learning", parents are strongly agreed with such toys for children. These modern educational toys will become the mainstream of toy development due to their promotion of children's learning, practical ability, creativity and imagination.Interaction exists in all things contacted by humans, and interactive design emerged to design a kind of communication and dialogue between human and objects to minimize the "cognitive conflict". As a new design theory, interactive design has a wide range of applications in designing educational toys.2. THE PLAN AND BENEFITS OF THE INTERACTIVE MODE OFCHILDREN 'S TOYSThe rise of various digital technologies, such as voice recognition, 3D video, and virtual reality technology etc., gives new experience to people's perception. The author aimed to apply these new digital technologies to the researches of interactive educational toys design.The plan of the interactive mode of children's educational toys:2.1. Voice InteractionVoice interaction voice includes touch voice interaction, voice command interaction and intelligent voice interaction. Touch voice interaction and voice command interaction have been very common, such as electronic wall charts, televox;intelligent voice interaction is the author's aim to create a genuine dialogue between children and simulation toys through digital technology, to foster children's language ability, particularly in a family with only one child, the children need a "partner" to accompany them to learn and play with.2.2. Video InteractionVideo interaction can be divided into 2D image interaction and 3D video interaction. The former has been broadly used in toys, such as in multimedia courseware, image or video of horse will appear when referring to "horse"; 3D video interaction is the author's aim to apply 3D projection technology in the "play" process, for instance, when referring to a green grassland, a grassland projection will appear so that children feel like being on the grassland, which enhances children's learning experience; meanwhile, this enhanced emotional experience will prolong the memory retention time or even extend to a ultra- long-term memory.2.3. Narrative InteractionNarrative interaction is to conceive a story for the toy and offer a task role for children to make them participate in the story. The steps are shown in Figure 1:Fig. 1. The steps of narrative interactionBased on children's curiosity and imitation psychology as well as the investigation of the games, the author found the correct application of story interaction in educational toys can greatly mobilize children's learning enthusiasm, for example, we conceive an English learning process as treasure hunt activity. In this activity, the words are hidden in the treasure box, and children themselves are explorers, if they put one or a few words together, they will get a treasure box, and they can also make a competition with peers to get the treasure boxes. Through establishment of game theme, selection of roles, and plot development in the activities, children not only increase their knowledge of English, also learn how to get along with peers and develop good self-awareness.2.4. Web Virtual Reality InteractionWeb virtual reality interaction is virtual imaging through network connections, making you feel like your partners sitting, playing and learning with you, to deliberatethe loneliness in the contemporary families, and promote children's learning initiative in the competitive context.Psychological research shows that with respect to the learners, the learning behavior resulting in emotional pleasure experience will produce a positive emotional resonance, thereby enhancing the learners' learning initiative and enthusiasm. The realistic educational-game scenario created by interactive educational toys for children not only brings emotional pleasure experience to children so that learning is no longer boring for them with a purpose of mobilizing the enthusiasm of study and developing creative thinking, but also enhances children's social communication ability to help children establish good social character favorable for their life.3. DEVELOPMENT OF INTERACTIVE EDUCATIONAL TOY—"FUNNYTAP"Parents are head-ached on children's learning English, so we focus on developing an interactive English learning toy to help the children remembering words in game scenario and stimulate their interests in learning English, and training children's hand operation and brain coordination.The development practice procedure of interactive toy for children-"funny tap" is shown in Figure 2 as following:Fig. 2. The development practice procedure of "funny tap"3.1. The development process of interactive concept of interactive educational toy-"funny tap"It is the development process of "funny tap" interactive concept. After investigating the object group of children and parents about their needs of English learning machine, we summarized six key indicators such as security, fun and incentive. Here we mainly describe three models of interactions shaded in Figure 3.To meet the requirement of fun, the author designed a narrative interactive process, as is shown in Figure 3:Fig. 3. The narrative interactive process of "funny tap"The word learning process is conceived as a game of whack-a-mole, imagining there are N mole holes, and there are M letters in a word (i.e. M moles with a letter). If you tap down M jumping moles in accordance with the order, you will get the cheers, if the tap is not correct, it will continue to call "come on"; meanwhile, the action of "tap" is not only funny, but also effective to train children's hands and brain coordination.Voice interaction was prepared by the microcontroller program to control the voice modules. There are two features regarding the "funny pat": one is word pronunciation; the other is the design of the applause and cheering voices for reward and punishment, which help to reach the goal of incentive.In the first stage, video interaction was prepared by displaying the letters on buttons through LED dot matrix character display modules mainly controlled by microcontroller; in the second stage, we provided toy with 3D projector for projecting the whole process in the air to construct a 3D emotional scenario, and the action of "tap" is to tap the projections in the air.3.2. Principle diagram of interactive educational toy for children-"funny tap" The operation principle of "funny tap" is shown in Figure 4:Fig. 4. The operation principle of "funny tap"The system consists of six components, such as voice module, LED indicator, action back module, MCU, power module and LED dot matrix character display module. Among these, the three formers are connected with MCU through 8-bit data bus; LED dot matrix character display module is connected with the microcontroller through the 12C bus. Voice module stores English word pronunciation documents needed in the game, and MCU pronounces the word by controlling the voice module via the bus. LED dot matrix character display module consists of driver chips and the 8*8 LED matrix. MCU bus control LED dot matrix character display module via I2C to show the corresponding English letters. Action back module tests and captures the player's actions during the game for the MCU to judge whether the player conducts normal actions to control the game process.3.3. Appearance design process of interactive educational toy-"funny tap"The following Figure 5 is a design process from sketch, modelling, model-making to the final product and the drawing of the product structure explosion.Fig. 5. Appearance design process of "funny tap"3.4. Interaction testSample of N (N is an odd number) preschool children was randomly selected to test the product's availability, usability and user's willingness of using it. Mainly onsite testing observation and questionnaire survey, and then we improve the product according to the test results.Testing times are equal to or more than I so as to find the products with highest interaction. In the product final trial, most of parents fed back that this toy combined fun and knowledge well and the whole learning process was very smooth and the children were very happy when "learning".4. SUMMARY AND PROSPECTChina is a large country of toy manufacturing, but it still remains in the stage of imitating foreign design, especially in educational toy design. The research and practice of interactive educational toys in this study is expected to give some thought and inspiration to toy designers so as to further promote the development of Chinese toy industry.REFERENCES[I] Liu Zaihua, Children's Social Intelligence, Anhui People's Publishing House, 2008.[2] KARL T. ULRICH, STEVEN D. EPPINGER, Product Design and Developmen,Higher Education Press, 2005.[3] (U.S.) Robert J. stembeg, Translated by Yang Bingjun, Chen Yan, Chow Zhiling,Cognitive Psychology, Beijing: China Light Industry Press, 2006.[4] Zhang Zhcnzhong, Li Yanjun, Classification Research of Educational Toys,Textiles and Design, December 2008 Vol. 12.[5] Li Qiaodan, Xia Hongwen, On the Function of Digitized Bran-training Toys inElementary Education, China Education Informationalization Issuing Department.[6] Song Jun, Researches on Design Principles of Children's Educational Toys,[Online]. Available: [7] Liu Mingliang, " The Principle Production and Purchasing of Electronic Toys", New Era Press, 1992.Toy development and design based on the needs of olderpersonsAbstract:In china, aging and the life-quality of older persons has become today’s important issues of social concern, and how to solve this problem thus turns to be an important challenge in the design and development of supplies for the old. Now, the ensuing ways to solve varied. For instance, the design community has put emphasis on the design and development of the supplies for the old, but a large part of these de signs were for medical care and medical products of the senior person. The designsfor the vast majority of the healthy people in their senior age are rarely involved. In this, I think, for the function of toys, the emphasis on the development of physical and mental health of older persons is the key, so to rethink the development of toys for the old persons in china is one of the ways.Keywords: Toys for the old, Needs design, humane careMentions of the toys, we always unconsciously think of the innocent children, as if toys are just child’s belongings. With the improvement of living standards, emphasis on the toys is constantly improved. To meet the needs of children, various designs are brought out, and then from luxury goods, toys have gradually become the child’s necessities. However, the authorities of the china toy association state that the toy is no longer the children’s only product: toy concept has been extended and functional and practical range of modern toy has been further expanded. Toys not only inspire children, but also become the recreation products for the seniors. The old also need toys that could meet their spiritual needs and enrich their life in later years.1．Status of the development and design of toys for the seniorsIn china, toy for the old is still an industry to be developed. Senior people, as customers, they have needs and also purchasing power, but no targeted toys for them. There are as much as 130 million seniors in china who would be a huge consumer group, but the research and development of toys for old consumers has lagged behind developed country for more than 30 years.In America, the toys designed for the senior amount to 40% of the toy market. The toy market for old persons is more mature. They have many toy stores for the seniors throughout the urban and rural areas. Also our neighbor Japan does well in the development of toys for the old persons, and most toy companies have produced toys for seniors, and continued to introduce new products.2．The meaning of the development of toys for the seniorsRetiring from work, the senior people get more time than before. Besides watching TV at home, they have no many alternative entertainments. Some old people have been for a long period in loneliness. Over time, they are prone todepression, anxiety disorder and Alzheimer’s, seriously affecting their physical and mental health and become burden to children and society.Li guangqing in department of rehabilitation of Beijing Xuanwu Hospital once said: “with age increasing, the function of the body of the seniors gradually degraded, and their reaction will be clumsier. At the same time, retirement from work, the opportunity for the old to use their brain reduces, which further brings the decline of attention and cognitive ability. Except to maintain good habits and moderate exercise, to slow down brain aging, putting hands and brain in work at the same time is the most effective way, which is exactly the function of toys. for people with Alzheimer’s, playing with toys, to some extent, would alleviate the condition.Therefore, toys can develop people’s thinking ability, and improve our intelligence. If the seniors play with toys constantly, the aging of the brain and the Alzheimer’s would be effectively prevented. Medical experts found that to maintain old people’s intelligence, we must first fully protect the brain. In addition to proper nutrition and adequate sleep, the seniors should make most of the brain. Just as Chinese saying tells that”water does not rot, and the door hinge is never worm-eaten “, the more one use his brain, the more sensitive it becomes. Playing with toys is exactly a good way to use the brain. With toys, the old people not only receive more information, at the same time become more optimistic than before, thereby enhancing their immune system function.3．The needs-analysis of toys for the oldWhat is a needs analysis? This approach is to focus on the users’ needs. Users’needs are sources of many new products.What is the demand-design? it is the most front-end process for new product in its life cycle, and decides the success or failure of the new products. Needs-design starts from the businesses and designers’judgment of the market or the needs of users, and ends at planning proposals or technical specifications on description of the product development. Understand the market or user demand is a high-level investment for the success of the product.The development and design of toys for old persons should start from the needs ofthe seniors. Only a real understanding of the old consumers and their psychological and physiological needs can bring toys that give practical cares for the seniors physically and spiritually.Toys for the old should bring human care. Toy design process should be integrated into this concept. The aim of the toy design for the old is enhanced, with seniors-centered design principles, and with the help of analysis on the seniors’physiological psychological characteristics, cultural level and lifestyle. The toy design principle that shows humane care for the seniors is reflected at the same time.(1)Safety firstTo varying degrees, the judgment, cognitive ability and ability to respond of the old people weaken, thus in the process of using the product, they inevitably make mistakes. In case a threat to physical and mental health occurs, they usually are unable to escape the danger. Therefore, toys for the seniors should be fault-tolerant. So that, the old people even make a mistake, there will be no danger. Here the reduction of operation process and the set of message for safe operation is an effective way to ensure the safety of the seniors with toys.(2)Moderate difficultThe design of toys for the old should be of moderate difficulty, and the purpose is to arouse their interest in playing. If too simple, it would not enhance the interest of the seniors and thus would not achieve the aim of exercising the brain; if too difficult, it would be strenuous for them to learn, and consequently cause a sense of failure which is not conducive to their mental health.(3)Easy to identifyThe toy should have a familiar form and an understandable functional theory for the old. It should also be equipped with an interface in keeping with the experience and habits of the seniors. Besides, the toys that need interface design, should take into account the graphic symbols, size, color, clarity of sound, light intensity.(4)Facilitate communicationPeople’s feelings need to vent and exchange, especially for the seniors. For them, emotional communication is indispensable to maintain their vitality, andimprove the quality of life. Playing with toys, there are many ways for the old to choose, such as: taking turns to participate, working together and racing in the game. The development of multiple-persons playing toys is to create a harmonious environment in which they can talk when play. So the core of toy-development is to involve the participants as much as possible. For the participating ways, common collaborative participatory approach is the best, which is more conducive to conversation, and get to know some new friends. In this way the seniors can expand their social circle with emotional exchange.(5)The effect for keeping fitness and developing intelligenceIncreasing with age, people’s organ recession becomes an objective physiological phenomenon. In order to maintain good physical function and mental state, and improve the quality of life, fitness puzzle is a very important content in the lives of older persons. Body-building that can achieve with playing toys is the most basic needs of older persons. Old people by playing intellectual toys can effectively prevent Alzheimer’s disease, so to maintain the flexibility of the seniors’mind is the main direction of the toy development.(6)Cultural connotationsLife experiences bring the old people with more comprehensive concept of life, thus toys with a certain ideological and cultural depth usually put them in recollecting and thinking of issues. Toys for the seniors are different from those for children: a child plays a toy intuitively, while the old emphasize the toy’s inherent fun, and show great interest in the toys with cultural connotations. Of course, this culture must be familiar with the elderly, has gone deep into the ideological deep.Summing up, toys for the seniors have a promising market, for each one of us would inevitably become old. The design industry should make more efforts to improve the living standard of the seniors. One way is to develop toys for the old and help them improve their life quality with theses design. We all know, care for the old is to care for all mankind, and designing from the needs of the old has become an urgent task of today’s society.References：[1]Yang Guanghui. China’s Population Aging and the Industrial Structure [m].Liaoning Science and Technology Press, 2008.7.[2] Wang Lianhai. Chinese Toys, Art History [m], Hunan Fine Arts Publishing House, 2006.8.[3] Wang court. Toys And Innovative Design [m], Chemical Industry Press, 2005.12.儿童家具的人性化设计摘要：本文以儿童家具设计问题为出发点,提出人性化的概念在新的时代环境下的新解释,并指出新的人性化设计原则在儿童家具的设计方法中的实现,分析儿童家具的现状,并提出一些建议。

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