中文2715字
毕业设计英文资料翻译Translation of the English Documents for Graduation Design
课题名称小空间户型的室内装修设计研究
院（系）机电系
专业工业设计
姓名
学号
指导教师
2013 年 05 月 20 日
译文：
室内设计
室内设计不仅包括装修及家具的空间，而且还考虑到空间规划，灯光，与用户行为有关的程序化问题，包括从具体问题的可及性到在空间中的活动的性质。在商业和公共空间显著的变化后，室内设计如今的标志是一个新的弹性类型学。
室内设计不仅包括方案规划也包括室内空间的物理治疗：预测其使用的性质以及它的家具和表面，包括墙，地面，天花板。在职权范围上，室内设计有别于室内装修工程。装修关心的是家具的选择，然而设计者要把离散的装饰元素整合成方案关注的空间和使用。室内设计师在从底层向上的内部的空间时间方面与与建筑师合作，但是他们仍然独立的工作，尤其在翻修的情况下。历史上，植根于总体艺术作品的概念，曾经都是建筑师设计的。总体艺术作品的概念源于十九世纪末和二十世纪初的工艺美术运动。其支持者（从弗兰克·劳埃德·赖特到凡德罗）在室内设计专业的起源期间延长其做法以包括内饰领域行为并不是偶然的。事实上，这是一个建筑师采取的防御措施，建筑师们把室内装修或设计师的形式上的干预看作是对他们完整的艺术性的一种威胁。
如今，除了像理查德·迈耶那样的非常重视均匀性的现代主义者，扮演室内设计师角色的建筑师（数量在增长）更有倾向于理论与实践的折衷，并联21世纪的定价多元化。尽管如此，对室内设计师以及室内设计领域的偏见持续存在。由于室内被视为一个集装箱的蜉蝣，从而阻碍了对室内的批评性的讨论。此外，对室内的传统观点充满了偏见：阶级偏见与百年历史的协会商人有关，性别偏见与把装饰行业描述成主要是妇女和男性同性恋的领域。因此，室内设计作为文化价值的表达的信誉已被严重损坏。
然而，对文化大系统的理解在全球化的影响下一直在变化。在一个更宽容的环境中，鼓励不同文化间的融合，高文化和低文化的区别被消除。同样，有更频繁的生产性借贷的事例发生在建筑，设计，装修等曾经被看作是专有领地的领域。并且建筑，室内设计，室内装修领域仍然有不同的教育协议以及不同的关注重点，他们表现出更大的互相的兴趣。
另一种考虑这种新兴的合成的方法是用现代，技术和历史替代建筑，室内设计和装修的三合一。后现代时代的特征之一是提高了对过去影响现在的角色的认识。在室内，这表现在一个新的兴趣饰品，工艺和重要性以及空间复杂性，所有平行于正在运行的现代化的项目。
更重要的是，有一种新的弹性类型学。如今，传统的室内类型例如房子，仓库，办公室，餐厅等，尽力控制它们的边界。方案收敛的表现能在公共场合以及商业空间被清晰的发现，渴望更加界面友好和有消费意识。越来越多的私立医院（竞争患者）雇用设施并形成灵感来自豪华温泉的语言；同时，许多体育馆以及健身俱乐部采用临床医疗设施以向客户介绍自己服务的价值。同样的室内协议能够在办公室中发现，指派非正式的，现场工作理论的艺术家的仓库。在旅馆使用美术馆的语言。相似的，越来越多的杂货店和书店包括用于饮食和交际的空间以及家具。
同时，有一种新的舒适的在室内风格上趋同，从设计的历史上私有和重组不同的报价。这些室内布局是艺术的混合，它们不是简单的混合以及匹配家具和风格，而是通过当代的镜头进行过滤。现代室内布局的另一个标志是叙事的公开结合。在零售空间坚持严格的环境主题，例如拉尔夫·劳伦服装店和像拉斯维加斯的赌场那样的娱乐场所。然而，更好玩的小线性办法说明越来越普遍。
在所有的室内类型学中，住宅已经被改变所轻微的影响，除了短暂的趋势，如室外厨房和浴室的魅力。然而，住宅设计占据室内设计全面的主导地位。它已经成为反思的催化剂，使得一系列空间坚定的从中分离出来，从秘书室到护士站再到图书馆的阅览室。办公室的个人住宿的考虑，医院色彩的使用，图书馆提供沙发正变的很平常，仅仅引用这三个例子。这种环境（与窗帘，壁纸，除其他住宅要素）为以前的地域提供了更多的舒适性，安心，愉悦，而这是以前惯例所禁止和社会所排除的。毫无疑问的，这些公共领域以及商业空间的变化是由20世纪60年代的解放运动带来的。这些运动反对种族，阶级，性别的障碍，以及作为更大气候以及好客和住宿基础的身体能力。
在流行的住宅模式中发现一个完全不同的议程也是可能的。把国内设施投入到商业空间，例如办公室室内的娱乐空间也可以解释为一个更广泛的尝试的一部分，尝试把更容易既接受的氛围引入自由资本主义市场。从这点上来看，室内设计肩负着娱乐的任务，没有什么新的把戏。每一个室内布局都是舞台设置的基础。它也不是特别隐匿-只要自负是透明的。然而，当幻想变成妄想，也就是当为疾病的现实而设计补偿过度时，或者当由于全天候经济的无情的要求使得办公室变成代理人的公寓时，这是危险的表现。在这些情况下，设计放弃其潜力改变日常生活，金额略多于一个浅显的重新命名空间。
另外一种力量正在推动室内设计的演化，扩大公众对设计以及设计师的认识。设计作为市容和地位的象征的需求在逐渐增长，受住房杂志扩散的影响，电视节目专门讨论家庭
装饰以及广告系列的商业实体，例如塔吉特和宜家家居。在西方，繁荣再加上媒体的胃口，已经全部迷恋室内设计，也反映了自恋的消费推动型社会。一方面，越来越多的公众形象设计产生出的有正面的民主的成果，这些设计能够在DIY网络站点上看到，并且像家庭百货那样的企业强调自力更生。这也可以更普遍的认为重新审议美中隐含的定价设计是一种社会现象，由其倾向去激励情况有所改善。另一方面，室内设计的通过人物例如菲利普斯塔克，玛莎斯图尔特和芭芭拉巴里的流行已经鼓励肤浅理解内部的注意力更多地集中在物体而不是对行为和相互作用的对象。
在室内设计方面，所有最近的爆炸事件，仍然存在根本的保守的舞台设计，因为它是根深蒂固的安全性与舒适性的观念中。这种看法由于特殊行动而加剧了，例如，医疗和盛情款待。虽然这些企业了深入了解心理学，力学和经济学知识的特殊环境，但是它们还长期区别阻碍更有机结合的办法，内部的延伸架构，甚至外面的风景。一个显著的例外是设计和建筑公司的增加，增加了的支撑材料以及其在室内应用方面的专门的技术。同时，设计公司用持久性标识自己，并提升自己为环保主义者。一场用行动承担环境责任的活动正在开展。
在过去的四十年间，人们努力使室内设计领域专业化并给予它与建筑平等的地位。在美国和加拿大，室内教育学会以前叫做教育研究基金会，讨论在学院以及大学里的室内设计教育以形成实践的标准。此外，国际工业设计会议把室内设计包含在其范围内，把它定义为是“智力性的专业，而非仅仅是交易或者一种娱乐服务”的一部分。
然而，室内设计人员的教育仍然随着无标准教育而存在惊人的变数。因此，室内设计仍然被认为是对专家和业余人员都开放的领域。这种观念的形成和这个领域较短的历史以及更广阔的文化外力相互包含相互作用导致的全球化有关。
原文：
Interior Design
Susan Yelavich
Interior design embraces not only the decoration and furnishing of space, but also considerations of space planning, lighting, and programmatic issues pertaining to user behaviors, ranging from specific issues of accessibility to the nature of the activities to be conducted in the space. The hallmark of interior design today is a new elasticity in typologies, seen most dramatically in the domestication of commercial and public spaces.
Interior design encompasses both the programmatic planning and physical treatment of interior space: the projection of its use and the nature of its furnishings and surfaces, that is, walls, floors, and ceilings. Interior design is distinguished from interior decoration in the scope of its purview. Decorators are primarily concerned with the selection of furnishings, while designers integrate the discrete elements of décor into programmatic concerns of space and use. Interior designers generally practice collaboratively with architects on the interiors of spaces built from the ground up, but they also work independently, particularly in the case of renovations. There is also a strong history of architect-designed interiors, rooted in the concept of Gesamtkunstwerk, the total work of art, that came out of the Arts & Crafts movement of the late nineteenth and early twentieth century. It is no accident that its strongest proponents (from Frank Lloyd Wright to Mies van der Rohe) extended their practices to include the realm of interiors during the nascency of the interior-design profession. Indeed, it was a defensive measure taken by architects who viewed formal intervention by an interior decorator or designer as a threat to the integrity of their aesthetic.
Today, apart from strict modernists like Richard Meier who place a premium on homogeneity, architects who take on the role of interior designer (and their numbers are growing) are more likely to be eclectic in philosophy and practice, paralleling the twenty-first
century's valorization of plurality. Nonetheless, the bias against interior designers and the realm of the interior itself continues to persist. Critical discussions of the interior have been hampered by its popular perception as a container of ephemera. Furthermore, conventional views of the interior have been fraught with biases: class biases related to centuries-old associations with tradesmen and gender biases related to the depiction of the decorating profession as primarily the domain of women and gay men. As a result, the credibility of the interior as an expression
of cultural values has been seriously impaired.
However, the conditions and the light in which culture-at-large is understood are changing under the impact of globalization. The distinctions between “high” culture and “low” culture are dissipating in a more tolerant climate that encourages the cross-fertilization between the two poles. Likewise, there are more frequent instances of productive borrowings among architecture, design, and decoration, once considered exclusive domains. And while the fields of architecture, interior design, and interior decoration still have different educational protocols and different concentrations of emphasis, they are showing a greater mutuality of interest.
Another way to think of this emergent synthesis is to substitute the triad of “architecture, interior design, and decoration” with “modernity, technology, and history.” One of the hallmarks of the postmodern era is a heightened awareness of the role of the past in shaping the present. In the interior, this manifests itself in a renewed interest in ornament, in evidence of craft and materiality, and in spatial complexities, all running parallel to the ongoing project of modernity.
Even more significantly, there is a new elasticity in typologies. Today, the traditional typologies of the interior—house, loft, office, restaurant, and so on—strain to control their borders. Evidence of programmatic convergences can clearly be seen in public and commercial spaces that aspire to be both more user-friendly and consumer-conscious. Growing numbers of private hospitals (in competition for patients) employ amenities and form languages inspired by luxury spas; at the same time, many gyms and health clubs are adopting the clinical mien of medical facilities to convince their clients of the value of their services. The same relaxation of interior protocols can be seen in offices that co-opt the informal, live-work ethic of the artist's loft, and in hotels that use the language (and contents) of galleries. Similarly, increasing numbers of grocery stores and bookstores include spaces and furniture for eating and
socializing.
Likewise, there is a new comfort with stylistic convergences in interiors that appropriate and recombine disparate quotations from design history. These are exemplified in spaces such as Rem Koolhaas' Casa da Musica (2005) in Porto, Portugal (with its inventive use of traditional Portuguese tiles), and Herzog & de Meuron's Walker Art Center (2005) in Minneapolis, Minnesota (where stylized acanthus-leaf patterns are used to mark gallery entrances). These interiors make an art out of hybridism. They do not simply mix and match period furnishings and styles, but refilter them through a contemporary lens.
Another hallmark of the contemporary interior is the overt incorporation of narrative. Tightly themed environments persist in retail spaces such as Ralph Lauren's clothing stores and in entertainment spaces like Las Vegas casinos. However, a more playful and less linear approach to narrative is increasingly common.
Of all the typologies of the interior, the residence has been least affected by change, apart from ephemeral trends such as outdoor kitchens and palatial bathrooms. However, the narrative of the residence dominates interior design at large. It has become the catalyst for rethinking a host of spaces once firmly isolated from it, ranging from the secretary's cubicle, to the nurse's station, to the librarian's reading room. Considerations such as the accommodation of personal accessories in the work space, the use of color in hospitals, and the provision of couches in libraries are increasingly common, to cite just three examples. The domestication of such environments (with curtains and wallpaper, among other residential elements) provides more comfort, more reassurance, and more pleasure to domains formerly defined by institutional prohibitions and social exclusions. Unquestionably, these changes in public and commercial spaces are indebted to the liberation movements of the late 1960s. The battles fought against barriers of race, class, gender, and physical ability laid the groundwork for a larger climate of hospitality and accommodation.
It is also possible to detect a wholly other agenda in the popularity of the residential model. The introduction of domestic amenities into commercial spaces, such as recreation spaces in office interiors, can also be construed as part of a wider attempt to put a more acceptable face on the workings of free-market capitalism. In this view, interior design dons the mask of entertainment. There is nothing new about the charade. Every interior is fundamentally a stage
set. Nor is it particularly insidious—as long as the conceit is transparent. Danger surfaces, however, when illusion becomes delusion—when design overcompensates for the realities of illness with patronizing sentiment, or when offices become surrogate apartments because of the relentless demands of a round-the-clock economy. In these instances, design relinquishes its potential to transform daily life in favor of what amounts to little more than a facile re-branding of space.
Another force is driving the domestication of the interior and that is the enlarged public awareness of design and designers. There is a growing popular demand for design as amenity and status symbol, stimulated by the proliferation of shelter magazines, television shows devoted to home decorating, and the advertising campaigns of commercial entities such as Target and Ikea. In the Western world, prosperity, combined with the appetite of the media, has all but fetishized the interior, yielding yet another reflection of the narcissism of a
consumer-driven society. On the one hand, there are positive, democratic outcomes of the growing public profile of design that can be seen in the rise of do-it-yourself web sites and enterprises like Home Depot that emphasize self-reliance. It can also be argued, more generally, that the reconsideration of beauty implicit in the valorization of design is an ameliorating social phenomenon by virtue of its propensity to inspire improvement. On the other hand, the popularization of interior design through personas such as Philippe Starck, Martha Stewart, and Barbara Barry has encouraged a superficial understanding of the interior that is more focused on objects than it is on behaviors and interactions among objects.
For all the recent explosion of interest in interior design, it remains, however, a fundamentally conservative arena of design, rooted as it is in notions of enclosure, security, and comfort. This perception has been exacerbated by the growth of specialized practices focused, for example, on healthcare and hospitality. While such firms offer deep knowledge of the psychology, mechanics, and economies of particular environments, they also perpetuate distinctions that hinder a more integral approach to the interior as an extension of architecture and even the landscape outside. One notable exception is the growth of design and architecture firms accruing expertise in sustainable materials and their applications to the interior. At the same time that design firms are identifying themselves with sustainability and promoting themselves as environmentalists, a movement is building to incorporate environmental
responsibility within normative practice.
Over the past four decades, efforts have intensified to professionalize the field of interior design and to accord it a status equal to that of architecture. In the US and Canada the Council for Interior Design Accreditation, formerly known as FIDER, reviews interior design education programs at colleges and universities to regulate standards of practice. Furthermore, the International Council of Societies of Industrial Design (ICSID) embraces interior design within its purview, defining it as part of “intellectual profession, and not simply a trade or a service for enterprises.”
Yet, the education of interior designers remains tremendously variable, with no uniformity of pedagogy. Hence, interior design continues to be perceived as an arena open to the specialist and the amateur. This perception is indicative of both the relatively short history of the profession itself and the broader cultural forces of inclusion and interactivity that mark a global society.
原文来源：
Board of International Research in Design，Design Dictionary Perspectives on Design Terminology，Birkh?user V erlag AG 2008
外文出处： 《Exploiting Software How to Break Code》By Greg Hoglund, Gary McGraw Publisher : Addison Wesley Pub Date : February 17, 2004 ISBN : 0-201-78695-8 译文标题： JDBC接口技术 译文： JDBC是一种可用于执行SQL语句的JavaAPI（ApplicationProgrammingInterface应用程序设计接口）。它由一些Java语言编写的类和界面组成。JDBC为数据库应用开发人员、数据库前台工具开发人员提供了一种标准的应用程序设计接口，使开发人员可以用纯Java语言编写完整的数据库应用程序。 一、ODBC到JDBC的发展历程 说到JDBC，很容易让人联想到另一个十分熟悉的字眼“ODBC”。它们之间有没有联系呢？如果有，那么它们之间又是怎样的关系呢？ ODBC是OpenDatabaseConnectivity的英文简写。它是一种用来在相关或不相关的数据库管理系统（DBMS）中存取数据的，用C语言实现的，标准应用程序数据接口。通过ODBCAPI，应用程序可以存取保存在多种不同数据库管理系统（DBMS）中的数据，而不论每个DBMS使用了何种数据存储格式和编程接口。 1．ODBC的结构模型 ODBC的结构包括四个主要部分：应用程序接口、驱动器管理器、数据库驱动器和数据源。应用程序接口：屏蔽不同的ODBC数据库驱动器之间函数调用的差别，为用户提供统一的SQL编程接口。 驱动器管理器：为应用程序装载数据库驱动器。 数据库驱动器：实现ODBC的函数调用，提供对特定数据源的SQL请求。如果需要，数据库驱动器将修改应用程序的请求，使得请求符合相关的DBMS所支持的文法。 数据源：由用户想要存取的数据以及与它相关的操作系统、DBMS和用于访问DBMS的网络平台组成。 虽然ODBC驱动器管理器的主要目的是加载数据库驱动器，以便ODBC函数调用，但是数据库驱动器本身也执行ODBC函数调用，并与数据库相互配合。因此当应用系统发出调用与数据源进行连接时，数据库驱动器能管理通信协议。当建立起与数据源的连接时，数据库驱动器便能处理应用系统向DBMS发出的请求，对分析或发自数据源的设计进行必要的翻译，并将结果返回给应用系统。 2．JDBC的诞生 自从Java语言于1995年5月正式公布以来，Java风靡全球。出现大量的用java语言编写的程序，其中也包括数据库应用程序。由于没有一个Java语言的API，编程人员不得不在Java程序中加入C语言的ODBC函数调用。这就使很多Java的优秀特性无法充分发挥，比如平台无关性、面向对象特性等。随着越来越多的编程人员对Java语言的日益喜爱，越来越多的公司在Java程序开发上投入的精力日益增加，对java语言接口的访问数据库的API 的要求越来越强烈。也由于ODBC的有其不足之处，比如它并不容易使用，没有面向对象的特性等等，SUN公司决定开发一Java语言为接口的数据库应用程序开发接口。在JDK1．x 版本中，JDBC只是一个可选部件，到了JDK1．1公布时，SQL类包（也就是JDBCAPI）
工业设计原著选读 优秀的产品设计 第一个拨号电话1897年由卡罗耳Gantz 第一个拨号电话在1897年被自动电器公司引入，成立于1891年布朗强，一名勘萨斯州承担者。在1889年，相信铃声“中央交换”将转移来电给竞争对手，强发明了被拨号系统控制的自动交换机系统。这个系统在1892年第一次在拉波特完成史端乔系统中被安装。1897年，强的模型电话，然而模型扶轮拨条的位置没有类似于轮齿约170度,以及边缘拨阀瓣。电话，当然是被亚历山大格雷厄姆贝尔（1847—1922）在1876年发明的。第一个商业交换始建于1878（12个使用者），在1879年，多交换机系统由工程师勒罗伊B 菲尔曼发明,使电话取得商业成功,用户在1890年达到250000。 直到1894年，贝尔原批专利过期，贝尔电话公司在市场上有一个虚拟的垄断。他们已经成功侵权投诉反对至少600竞争者。该公司曾在1896年，刚刚在中央交易所推出了电源的“普通电池”制度。在那之前，一个人有手摇电话以提供足够的电力呼叫。一个连接可能仍然只能在给予该人的名义下提出要求达到一个电话接线员。这是强改变的原因。 强很快成为贝尔的强大竞争者。他在1901年引进了一个桌面拨号模型，这个模型在设计方面比贝尔的模型更加清晰。在1902年，他引进了一个带有磁盘拨号的墙面电话，这次与实际指孔，仍然只有170度左右在磁盘周围。到1905年，一个“长距离”手指孔已经被增加了。最后一个强的知名模型是在1907年。强的专利大概过期于1914年，之后他或他的公司再也没有听到过。直到1919年贝尔引进了拨号系统。当他们这样做，在拨号盘的周围手指孔被充分扩展了。 强发明的拨号系统直到1922年进入像纽约一样的大城市才成为主流。但是一旦作为规规范被确立，直到70年代它仍然是主要的电话技术。后按键式拨号在1963年被推出之后，强发明的最初的手指拨号系统作为“旋转的拨号系统”而知名。这是强怎样“让你的手指拨号”的。 埃姆斯椅LCW和DCW 1947 这些带有复合曲线座位，靠背和橡胶防震装置的成型胶合板椅是由查尔斯埃姆斯设计，在赫曼米勒家具公司生产的。 这个原始的概念是被查尔斯埃姆斯（1907—1978）和埃罗沙里宁（1910—1961）在1940年合作构想出来的。在1937年，埃姆斯成为克兰布鲁克学院实验设计部门的领头人，和沙里宁一起工作调查材料和家具。在这些努力下，埃姆斯发明了分成薄片和成型胶合板夹板，被称作埃姆斯夹板，在1941年收到了来自美国海军5000人的订单。查尔斯和他的妻子雷在他们威尼斯，钙的工作室及工厂和埃文斯产品公司的生产厂家一起生产了这批订单。 在1941年现代艺术博物馆，艾略特诺伊斯组织了一场比赛用以发现对现代生活富有想象力的设计师。奖项颁发给了埃姆斯和沙里宁他们的椅子和存储碎片，由包括埃德加考夫曼，大都会艺术博物馆的阿尔弗雷德，艾略特诺伊斯，马尔塞布鲁尔，弗兰克帕里什和建筑师爱德华达雷尔斯通的陪审团裁决。 这些椅子在1946年的现代艺术展览博物馆被展出，查尔斯埃姆斯设计的新的家具。当时，椅子只有三条腿，稳定性问题气馁了大规模生产。 早期的LCW（低木椅）和DWC（就餐木椅）设计有四条木腿在1946年第一次被埃文斯产品公司（埃姆斯的战时雇主）生产出来，被赫曼米勒家具公司分配。这些工具1946年被乔治纳尔逊为赫曼米勒购买，在1949年接手制造权。后来金属脚的愿景在1951年制作，包括LCW（低金属椅）和DWC（就餐金属椅）模型。配套的餐饮和咖啡桌也产生。这条线一直
毕业设计（论文）外文文献翻译 文献、资料中文题目：软件开发概念和设计方法文献、资料英文题目： 文献、资料来源： 文献、资料发表（出版）日期： 院（部）： 专业： 班级： 姓名： 学号： 指导教师： 翻译日期： 2017.02.14
外文资料原文 Software Development Concepts and Design Methodologies During the 1960s, ma inframes and higher level programming languages were applied to man y problems including human resource s yste ms,reservation s yste ms, and manufacturing s yste ms. Computers and software were seen as the cure all for man y bu siness issues were some times applied blindly. S yste ms sometimes failed to solve the problem for which the y were designed for man y reasons including: ?Inability to sufficiently understand complex problems ?Not sufficiently taking into account end-u ser needs, the organizational environ ment, and performance tradeoffs ?Inability to accurately estimate development time and operational costs ?Lack of framework for consistent and regular customer communications At this time, the concept of structured programming, top-down design, stepwise refinement，and modularity e merged. Structured programming is still the most dominant approach to software engineering and is still evo lving. These failures led to the concept of "software engineering" based upon the idea that an engineering-like discipl ine could be applied to software design and develop ment. Software design is a process where the software designer applies techniques and principles to produce a conceptual model that de scribes and defines a solution to a problem. In the beginning, this des ign process has not been well structured and the model does not alwa ys accurately represent the problem of software development. However,design methodologies have been evolving to accommo date changes in technolog y coupled with our increased understanding of development processes. Whereas early desig n methods addressed specific aspects of the
Interaction design Moggridge Bill Interaction design，Page 1-15 USA Art Press, 2008 Interaction design (IxD) is the study of devices with which a user can interact, in particular computer users. The practice typically centers on "embedding information technology into the ambient social complexities of the physical world."[1] It can also apply to other types of non-electronic products and services, and even organizations. Interaction design defines the behavior (the "interaction") of an artifact or system in response to its users. Malcolm McCullough has written, "As a consequence of pervasive computing, interaction design is poised to become one of the main liberal arts of the twenty-first century." Certain basic principles of cognitive psychology provide grounding for interaction design. These include mental models, mapping, interface metaphors, and affordances. Many of these are laid out in Donald Norman's influential book The Psychology of Everyday Things. As technologies are often overly complex for their intended target audience, interaction design aims to minimize the learning curve and to increase accuracy and efficiency of a task without diminishing usefulness. The objective is to reduce frustration and increase user productivity and satisfaction. Interaction design attempts to improve the usability and experience of the product, by first researching and understanding certain users' needs and then designing to meet and exceed them. (Figuring out who needs to use it, and how those people would like to use it.) Only by involving users who will use a product or system on a regular basis will designers be able to properly tailor and maximize usability. Involving real users, designers gain the ability to better understand user goals and experiences. (see also: User-centered design) There are also positive side effects which include enhanced system capability awareness and user ownership. It is important that the user be aware of system capabilities from an early stage so that expectations regarding functionality are both realistic and properly understood. Also, users who have been active participants in a product's development are more likely to feel a sense of ownership, thus increasing overall satisfa. Instructional design is a goal-oriented, user-centric approach to creating training and education software or written materials. Interaction design and instructional design both rely on cognitive psychology theories to focus on how users will interact with software. They both take an in-depth approach to analyzing the user's needs and goals. A needs analysis is often performed in both disciplines. Both, approach the design from the user's perspective. Both, involve gathering feedback from users, and making revisions until the product or service has been found to be effective. (Summative / formative evaluations) In many ways, instructional
天津室内设计培训，流行的北欧风格 巨流行的北欧风格，究竟怎么好看？ 现在的室内装修风格的北欧风格基本上都是现代北欧，整体风格黑白灰， 北欧风格，是指欧洲北部国家挪威、丹麦、瑞典、芬兰及冰岛等国的艺术设计风格（主要指室内设计以及工业产品设计）。而现在从诚筑说出去的室内设计的学员，碰到北欧风格的客户设计要求，也一定会完美的满足客户要求的。 特点：第一、在建筑室内设计方面，就是室内的顶、墙、地三个面，完全不用纹样和图案装饰，只用线条、色块来区分点缀。 第二、在家具设计方面，就产生了完全不使用雕花、纹饰的北欧家具，实际上的家具产品也是形式多样。如果说它们有什么共同点的话那一定是简洁、直接、功能化且贴近自然，一份宁静的北欧风情，绝非是蛊惑人心的虚华设计 而北欧风格的流行原因就是极简风格的流行 现代北欧风格总的来说可以分为三个流派，因为地域文化不同所以有了区分。是：瑞典设计、丹麦设计、芬兰现代设计，三个流派统称为北欧风格设计。
原始质感 北欧室内装饰风格常用的装饰材料主要有木材、石材、玻璃和铁艺等，都无一例外地保留这些材质的原始质感。 为了防止过重的积雪压塌房顶，北欧的建筑都以尖顶、坡顶为主，室内可见原木制成的梁、檩、椽等建筑构件。这种装饰手段，经常被京城的消费者用来遮掩空间中的过梁。 设计理念 北欧风格是注重人与自然、社会、与环境的有机的科学的结合，它的身上集中体现了绿色设计、环保设计、可持续发展设计的理念；它显示了对手工艺传统和天然材料的尊重与偏爱；它在形式上更为柔和与有机，因而富有浓厚的人情味；它的家居风格很大程度体现在家具的设计上。注重功能，简化设计，线条简练，多用明快的中性色。 体现方面 1、原木、假梁。 2、棉麻地毯。 3、简约的造型独特的家具。 4、黑白两色空间。 5、朴素的颜色，如：白、黑、棕、灰和淡蓝等。 6、欧式风情格调布局
外文翻译 专业机械设计制造及其自动化学生姓名刘链柱 班级机制111 学号1110101102 指导教师葛友华
外文资料名称： Design and performance evaluation of vacuum cleaners using cyclone technology 外文资料出处：Korean J. Chem. Eng., 23(6), (用外文写) 925-930 (2006) 附件： 1.外文资料翻译译文 2.外文原文
应用旋风技术真空吸尘器的设计和性能介绍 吉尔泰金，洪城铱昌，宰瑾李， 刘链柱译 摘要：旋风型分离器技术用于真空吸尘器 - 轴向进流旋风和切向进气道流旋风有效地收集粉尘和降低压力降已被实验研究。优化设计等因素作为集尘效率，压降，并切成尺寸被粒度对应于分级收集的50％的效率进行了研究。颗粒切成大小降低入口面积，体直径，减小涡取景器直径的旋风。切向入口的双流量气旋具有良好的性能考虑的350毫米汞柱的低压降和为1.5μm的质量中位直径在1米3的流量的截止尺寸。一使用切向入口的双流量旋风吸尘器示出了势是一种有效的方法，用于收集在家庭中产生的粉尘。 摘要及关键词：吸尘器; 粉尘; 旋风分离器 引言 我们这个时代的很大一部分都花在了房子，工作场所，或其他建筑，因此，室内空间应该是既舒适情绪和卫生。但室内空气中含有超过室外空气因气密性的二次污染物，毒物，食品气味。这是通过使用产生在建筑中的新材料和设备。真空吸尘器为代表的家电去除有害物质从地板到地毯所用的商用真空吸尘器房子由纸过滤，预过滤器和排气过滤器通过洁净的空气排放到大气中。虽然真空吸尘器是方便在使用中，吸入压力下降说唱空转成比例地清洗的时间，以及纸过滤器也应定期更换，由于压力下降，气味和细菌通过纸过滤器内的残留粉尘。 图1示出了大气气溶胶的粒度分布通常是双峰形，在粗颗粒（>2.0微米）模式为主要的外部来源，如风吹尘，海盐喷雾，火山，从工厂直接排放和车辆废气排放，以及那些在细颗粒模式包括燃烧或光化学反应。表1显示模式，典型的大气航空的直径和质量浓度溶胶被许多研究者测量。精细模式在0.18?0.36 在5.7到25微米尺寸范围微米尺寸范围。质量浓度为2?205微克，可直接在大气气溶胶和 3.85至36.3μg/m3柴油气溶胶。
Injection Molding The basic concept of injection molding revolves around the ability of a thermoplastic material to be softened by heat and to harden when cooled .In most operations ,granular material (the plastic resin) is fed into one end of the cylinder (usually through a feeding device known as a hopper ),heated, and softened(plasticized or plasticized),forced out the other end of the cylinder, while it is still in the form of a melt, through a nozzle into a relatively cool mold held closed under pressure.Here,the melt cools and hardens until fully set-up. The mold is then opened, the piece ejected, and the sequence repeated. Thus, the significant elements of an injection molding machine become: 1) the way in which the melt is plasticized (softened) and forced into the mold (called the injection unit); 2) the system for opening the mold and closing it under pressure (called the clamping unit);3) the type of mold used;4) the machine controls. The part of an injection-molding machine, which converts a plastic material from a sold phase to homogeneous seni-liguid phase by raising its temperature .This unit maintains the material at a present temperature and force it through the injection unit nozzle into a mold .The plunger is a combination of the injection and plasticizing device in which a heating chamber is mounted between the plunger and mold. This chamber heats the plastic material by conduction .The plunger, on each stroke; pushes unbelted plastic material into the chamber, which in turn forces plastic melt at the front of the chamber out through the nozzle The part of an injection molding machine in which the mold is mounted, and which provides the motion and force to open and close the mold and to hold the mold close with force during injection .This unit can also provide other features necessary for the effective functioning of the molding operation .Moving
I / 11 本科毕业设计外文翻译 <2018届） 论文题目基于WEB 的J2EE 的信息系统的方法研究 作者姓名[单击此处输入姓名] 指导教师[单击此处输入姓名] 学科(专业 > 所在学院计算机科学与技术学院 提交日期[时间 ]
基于WEB的J2EE的信息系统的方法研究 摘要：本文介绍基于工程的Java开发框架背后的概念，并介绍它如何用于IT 工程开发。因为有许多相同设计和开发工作在不同的方式下重复，而且并不总是符合最佳实践，所以许多开发框架建立了。我们已经定义了共同关注的问题和应用模式，代表有效解决办法的工具。开发框架提供：<1）从用户界面到数据集成的应用程序开发堆栈；<2）一个架构，基本环境及他们的相关技术，这些技术用来使用其他一些框架。架构定义了一个开发方法，其目的是协助客户开发工程。 关键词：J2EE 框架WEB开发 一、引言 软件工具包用来进行复杂的空间动态系统的非线性分析越来越多地使用基于Web的网络平台，以实现他们的用户界面，科学分析，分布仿真结果和科学家之间的信息交流。对于许多应用系统基于Web访问的非线性分析模拟软件成为一个重要组成部分。网络硬件和软件方面的密集技术变革[1]提供了比过去更多的自由选择机会[2]。因此，WEB平台的合理选择和发展对整个地区的非线性分析及其众多的应用程序具有越来越重要的意义。现阶段的WEB发展的特点是出现了大量的开源框架。框架将Web开发提到一个更高的水平，使基本功能的重复使用成为可能和从而提高了开发的生产力。 在某些情况下，开源框架没有提供常见问题的一个解决方案。出于这个原因，开发在开源框架的基础上建立自己的工程发展框架。本文旨在描述是一个基于Java的框架，该框架利用了开源框架并有助于开发基于Web的应用。通过分析现有的开源框架，本文提出了新的架构，基本环境及他们用来提高和利用其他一些框架的相关技术。架构定义了自己开发方法，其目的是协助客户开发和事例工程。 应用程序设计应该关注在工程中的重复利用。即使有独特的功能要求，也
(文档含英文原文和中文翻译) 中英文翻译原文：
DESIGN and ENVIRONMENT Product design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human. In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products. Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product. Product design includes factors of society ,economy, techology and leterae humaniores. Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface. Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.
建筑面积： 160m2 装修风格：北欧风格 主要材料：大理石，墙纸，龙骨，瓷砖，墙漆，玻璃，，石膏板，涂料等。 清平乐位于三亚市吉阳镇（三亚市吉阳镇位于三亚市区东北侧，包含了两大风景区，亚龙湾风景区和落笔洞风景区），东临吉阳镇政府新办公楼，南朝80 米宽的三亚市景观工程迎宾大道，北侧紧靠五指山余脉的南丁山南坡。吉阳镇素有三亚“东大门之称”，迎宾大道是连 接东线高速公路和三亚市区的必由之路，也是通往亚龙湾和海棠湾等各大旅游区的必经之 路。距三亚湾和亚龙湾景区约8 分钟车程，距大东海景区约7 分钟车程，距鹿回头景区10分钟车程，距东线高速路约 1 分钟车程；距凤凰国际机场约15 分钟车程。清平乐·西郡项目总占地约118 亩，总建筑面积25 万平方米，公共配套 1 万多平米，商业配套8000多平米。容积率，绿化率35%，整体项目2036 户，配备1430 个车位，由12 栋高层公寓、会所和商业、幼儿园组成，是目前吉阳镇区域规划规模最大最完整的社区。项目户型以 50-102 ㎡为主，所有户型全部采用大进深观景阳台、低窗台开窗、房间对角开窗，合理解 决户内景观和通风。广泛迎合大众的需求，加之性价比高的特点，具备良好的升值空间，无 论是从投资、还是选择自用的角度，都是您明智的选择。考虑到海南气候湿润这独特的原因， 一楼全部设为架空层，既防止了潮湿，而且也增加了业主更多的活动空间。部分楼层另附送大面积露台，不计面积。项目采用人车分流的形式，互不干扰，交通线清晰明了，小区的停 车位以地下停车为主，小区的车行道主入口紧邻迎宾大道，业主出行非常方便。项目东侧车行入口一个、西侧出口一个、西侧人行入、出口一个。另考虑到很多客户是来海南度假养老， 我们项目还专门设立了无障碍通道，方便老人、小孩出行。小区内配套：双语幼儿园、业主 会所、主题商业街（餐饮、娱乐、休闲）、、网球场、老年大学、垂钓湖、游泳池、文化健 身广场、健身房、业主餐厅、棋牌、茶室、医疗中心、24 小时物业保安服务、地下地上停 车场等。市政配套：市场、银行、医院、学校等随着整个区域的规划发展完善，诸多生活、 商业基础配套会更加丰富、齐全。休闲、娱乐、度假会更加的便利。 业主为两个年轻的女性，上班族，喜欢简洁，明快，有情调的空间氛围。设计为北欧风 格，打造一个白色系温馨的家。本方案在设计上追求功能与形式完美统一，优雅独特，简洁明快。针对这一主题，设计上以协调各功能空间的使用要求为目的，布局上力求合理，功能上力求完备，动线计划上争取做到畅通合理，满足功能要求，同时又给人以艺术之美感。创 造出空间美，简洁的面与面结合，虚与实的对比，简单的线条。通过高品质的材料与精细的 做工来表达一种生活态度。针对上班族，设计采用简约明朗的线条，将空间进行合理的分隔。 面对扰攘的都市生活，一处能让心灵沉淀的生活空间，是本房业主心中的一份渴望，也是本设计在方案中所体现的主要思想。因此，开放式的大厅设计给人以通透之感，避免视觉给人
毕业设计（论文） 外文翻译 题目西安市水源工程中的 水电站设计 专业水利水电工程 班级 学生 指导教师 2016年
研究钢弧形闸门的动态稳定性 牛志国 河海大学水利水电工程学院，中国南京，邮编210098 nzg_197901@https://www.doczj.com/doc/1010145854.html,，niuzhiguo@https://www.doczj.com/doc/1010145854.html, 李同春 河海大学水利水电工程学院，中国南京，邮编210098 ltchhu@https://www.doczj.com/doc/1010145854.html, 摘要 由于钢弧形闸门的结构特征和弹力，调查对参数共振的弧形闸门的臂一直是研究领域的热点话题弧形弧形闸门的动力稳定性。在这个论文中，简化空间框架作为分析模型，根据弹性体薄壁结构的扰动方程和梁单元模型和薄壁结构的梁单元模型，动态不稳定区域的弧形闸门可以通过有限元的方法，应用有限元的方法计算动态不稳定性的主要区域的弧形弧形闸门工作。此外，结合物理和数值模型，对识别新方法的参数共振钢弧形闸门提出了调查，本文不仅是重要的改进弧形闸门的参数振动的计算方法，但也为进一步研究弧形弧形闸门结构的动态稳定性打下了坚实的基础。 简介 低举升力，没有门槽，好流型，和操作方便等优点，使钢弧形闸门已经广泛应用于水工建筑物。弧形闸门的结构特点是液压完全作用于弧形闸门，通过门叶和主大梁，所以弧形闸门臂是主要的组件确保弧形闸门安全操作。如果周期性轴向载荷作用于手臂，手臂的不稳定是在一定条件下可能发生。调查指出:在弧形闸门的20次事故中，除了极特殊的破坏情况下，弧形闸门的破坏的原因是弧形闸门臂的不稳定;此外，明显的动态作用下发生破坏。例如:张山闸，位于中国的江苏省，包括36个弧形闸门。当一个弧形闸门打开放水时，门被破坏了，而其他弧形闸门则关闭，受到静态静水压力仍然是一样的，很明显，一个动态的加载是造成的弧形闸门破坏一个主要因素。因此弧形闸门臂的动态不稳定是造成弧形闸门(特别是低水头的弧形闸门)破坏的主要原是毫无疑问。
The mold designing and manufacturing The mold is the manufacturing industry important craft foundation, in our country, the mold manufacture belongs to the special purpose equipment manufacturing industry. China although very already starts to make the mold and the use mold, but long-term has not formed the industry. Straight stabs 0 centuries 80's later periods, the Chinese mold industry only then drives into the development speedway. Recent years, not only the state-owned mold enterprise had the very big development, the three investments enterprise, the villages and towns (individual) the mold enterprise's development also rapid quietly. Although the Chinese mold industrial development rapid, but compares with the demand, obviously falls short of demand, its main gap concentrates precisely to, large-scale, is complex, the long life mold domain. As a result of in aspect and so on mold precision, life, manufacture cycle and productivity, China and the international average horizontal and the developed country still had a bigger disparity, therefore, needed massively to import the mold every year . The Chinese mold industry must continue to sharpen the productivity, from now on will have emphatically to the profession internal structure adjustment and the state-of-art enhancement. The structure adjustment aspect, mainly is the enterprise structure to the specialized adjustment, the product structure to center the upscale mold development, to the import and export structure improvement, center the upscale automobile cover mold forming analysis and the structure improvement, the multi-purpose compound mold and the compound processing and the laser technology in the mold design manufacture application, the high-speed cutting, the super finishing and polished the technology, the information direction develops . The recent years, the mold profession structure adjustment and the organizational reform step enlarges, mainly displayed in, large-scale, precise, was complex, the long life, center the upscale mold and the mold standard letter development speed is higher than the common mold product; The plastic mold and the compression casting mold proportion increases; Specialized mold factory quantity and its productivity increase;
Section 3 Design philosophy, design method and earth pressures 3.1 Design philosophy 3.1.1 General The design of earth retaining structures requires consideration of the interaction between the ground and the structure. It requires the performance of two sets of calculations: 1）a set of equilibrium calculations to determine the overall proportions and the geometry of the structure necessary to achieve equilibrium under the relevant earth pressures and forces; 2）structural design calculations to determine the size and properties of thestructural sections necessary to resist the bending moments and shear forces determined from the equilibrium calculations. Both sets of calculations are carried out for specific design situations (see 3.2.2) in accordance with the principles of limit state design. The selected design situations should be sufficiently Severe and varied so as to encompass all reasonable conditions which can be foreseen during the period of construction and the life of the retaining wall. 3.1.2 Limit state design This code of practice adopts the philosophy of limit state design. This philosophy does not impose upon the designer any special requirements as to the manner in which the safety and stability of the retaining wall may be achieved, whether by overall factors of safety, or partial factors of safety, or by other measures. Limit states (see 1.3.13) are classified into: a) ultimate limit states (see 3.1.3); b) serviceability limit states (see 3.1.4). Typical ultimate limit states are depicted in figure 3. Rupture states which are reached before collapse occurs are, for simplicity, also classified and