环境艺术设计毕业设计外文翻译—设计空间的含义

引言概述：在现代高等教育中，毕业设计（或称为毕业论文、学士论文等）是学生完成学业的重要环节。

而对于一些特定的专业，例如翻译专业，有时候还需要完成外文翻译这一项任务。

本文将探讨毕设外文翻译的意义和目的，以及为什么对翻译专业的学生而言这一任务极其重要。

正文内容：1.提高翻译能力和技巧外文翻译是一项对翻译专业学生而言十分重要的任务，通过进行外文翻译，学生们可以通过实践提高自己的翻译能力和技巧。

在这个过程中，他们可以学习如何处理不同类型的外文文本，熟悉不同领域的专业术语，并掌握一些常用的翻译技巧和策略。

2.扩展语言和文化知识毕设外文翻译要求学生们对翻译语言的相关知识和背景有一定的了解。

在进行翻译时，学生们需要遵循目标语言的语法规则，并确保所翻译的内容准确、清晰地传达源语言的意义。

通过这一过程，学生们可以进一步扩展自己的语言和文化知识，提高自己的跨文化沟通能力。

3.提供实践机会毕设外文翻译为学生们提供了一个实践的机会，让他们能够将在课堂上所学到的理论知识应用于实际操作中。

通过实践，学生们可以对所学知识的理解更加深入，同时也可以发现并解决实际翻译过程中的问题和挑战。

这对于学生们将来从事翻译工作时具备更好的实践能力和经验具有重要意义。

4.培养翻译专业素养毕设外文翻译要求学生们具备良好的翻译专业素养。

在进行翻译过程中，学生们需要保持专业的态度和责任心，严谨地对待每一个翻译任务。

他们需要学会如何进行翻译质量的评估和控制，以确保最终翻译稿的准确性和流畅性。

这一系列的要求和实践，可以帮助学生们培养出色的翻译专业素养。

5.提升自我学习和研究能力毕设外文翻译要求学生们进行广泛的文献阅读和研究，以便更好地理解所翻译的内容，并找到适当的翻译方法和策略。

在这个过程中，学生们需要培养自己的自主学习和研究能力，提高对学术和专业领域的敏感性，并能够独立思考和解决问题。

这将对学生们未来的学术研究和进一步的职业发展产生积极的影响。

总结：引言概述:毕业设计外文翻译（Thesis Translation）是指在毕业设计过程中，对相关外文文献进行翻译，并将其应用于研究中，以提供理论支持和参考。

毕业设计中的外文翻译毕业设计是每位大学生必经的一道坎，它不仅是对所学知识的综合运用，更是对学生综合素质的考验。

而在毕业设计中，外文翻译是一个非常重要的环节。

本文将从外文翻译的意义、挑战以及技巧等方面进行探讨。

首先，外文翻译在毕业设计中的意义非常重大。

随着全球化的发展，跨文化交流日益频繁，掌握外文翻译技巧对于学生来说是一项必备的能力。

在毕业设计中，外文翻译不仅可以帮助我们了解国外的学术研究成果，还可以拓宽我们的视野，提高我们的学术水平。

同时，对于一些特定的专业，如国际贸易、外语等，外文翻译更是必不可少的一环。

然而，外文翻译也带来了一定的挑战。

首先是语言障碍。

不同的语言有不同的语法结构和表达方式，因此在翻译过程中需要注意语言的准确性和流畅性。

其次是文化差异。

不同的国家和地区有着不同的文化背景和习俗，这也会影响到翻译的准确性和质量。

此外，专业术语的翻译也是一个难点，需要对相关领域有一定的了解和掌握。

那么，在毕业设计中如何进行外文翻译呢？首先，我们需要掌握一些基本的翻译技巧。

例如，要注重上下文的理解，不能仅仅局限于单个词语的翻译，而要考虑到整个句子和段落的意思。

其次，要善于使用各种翻译工具。

如今，互联网的发展给我们提供了很多翻译工具，如谷歌翻译、有道词典等，可以帮助我们快速准确地翻译。

但是要注意，这些工具只是辅助工具，不能完全依赖它们。

最重要的是要保持对外文的学习和理解，提高自己的外语水平。

另外，我们还可以借鉴一些翻译的经验和方法。

例如，可以参考一些经典的翻译作品，学习其中的表达方式和技巧。

同时，可以与其他同学进行交流和讨论，分享彼此的翻译经验，相互帮助和提高。

此外，可以请教一些专业的翻译人员，向他们请教一些翻译的技巧和注意事项。

最后，我们还需要注重翻译的质量和准确性。

在进行外文翻译时，要尽量保持原文的意思和风格，不要过度解释或加入自己的观点。

同时，要注意语法和用词的准确性，避免出现错误或歧义。

如果遇到一些难以理解或翻译的地方，可以进行适当的标注或注释，以便读者理解。

空间环境设计的名词解释空间环境设计（Spatial Design）是一个综合性的学科，旨在创造出适宜人类居住、工作和生活的空间。

它涵盖了建筑、室内设计、景观设计以及城市规划等多个领域，力求通过创新和独特的设计理念来打造与人们需求相契合的环境。

一、空间环境设计的概念空间环境设计强调的是人与周围环境之间的相互作用关系。

它不仅考虑到空间的形式、布局和功能，还关注人在特定空间中的舒适度、感受以及情绪体验。

因此，空间环境设计既是一门科学，也是一门艺术。

空间环境设计的主要目标是创造出具有美学价值和人性化特征的空间。

它需要将建筑、室内、景观等多个层面的要素有机地结合起来，使得整个环境呈现出和谐、统一的整体效果。

在此过程中，设计师需要综合考虑人的尺度、文化背景、功能需求以及可持续性发展等因素。

二、空间环境设计的要素1. 形式与布局：空间环境设计中，形式和布局是决定空间结构和空间感的关键要素。

形式包括建筑的外观、体量、比例和风格等，而布局则涉及到空间内各个区域的组织和分配。

2. 色彩与材质：色彩和材质在空间环境设计中扮演着重要角色。

恰当选择和运用色彩可以营造出不同的氛围和情绪，而材质的选择则影响到空间的触感、视觉效果以及可持续性。

3. 光线与声音：光线和声音是创造空间体验的重要因素。

恰当的光线设计可以凸显空间的层次与质感，而声音控制能够保障空间的舒适度和隐私性。

4. 室内家具与软装：家具和软装的选择和布置直接影响到人们的使用感受。

它们不仅要满足功能需求，还要与空间整体风格相协调，营造出舒适而有个性的环境。

5. 自然与人工景观：自然与人工景观的引入可以使空间更加接近自然环境，提高空间的品质和人的生活质量。

绿色植物、水景、景观雕塑等元素都可以增添空间的美感和舒适度。

三、空间环境设计的意义和挑战空间环境设计在社会中具有重要的意义和价值。

首先，它可以满足人们对美的追求和个性化需求，打造舒适、宜人的居住环境；其次，它可以促进社交和交流，激发创造力和活力；最后，它还可以提升空间的可持续性，保护与自然环境的和谐共生。

Content目录-Design Explanation设计说明-Master Plan总平面-Space Sequence Analysis景观空间分析-Function Analysis功能分析-Landscape Theme Analysis景观景点主题分析图-Traffic Analysis交通分析-Vertical Plan竖向平面布置图-Lighting Furniture Layout灯光平面布置示意图-Marker/Background Music/Garbage Bin标识牌/背景音乐/垃圾桶布置图-Plan平面图-Hand Drawing手绘效果图-Section剖面图-Detail详图-Central Axis中心公共主轴-Reference Picture参考图片-Planting Reference Picture植物选样-材料类：-aluminum铝-asphalt沥青-alpine rock轻质岗石-boasted ashlars粗凿-ceramic陶瓷、陶瓷制品-cobble小圆石、小鹅卵石-clay粘土-crushed gravel碎砾石-crushed stone concrete碎石混凝土-crushed stone碎石-cement石灰-enamel陶瓷、瓷釉-frosted glass磨砂玻璃-grit stone/sand stone砂岩-glazed colored glass/colored glazed glass彩釉玻璃-granite花岗石、花岗岩-gravel卵石-galleting碎石片-ground pavement material墙面地砖材料-light-gauge steel section/hollow steel section薄壁型钢-light slates轻质板岩-lime earth灰土-masonry砝石结构-membrane张拉膜、膜结构-membrane waterproofing薄膜防水-mosaic马赛克-quarry stone masonry/quarrystone bond粗石体-plaster灰浆-polished plate glass/polished plate磨光平板玻璃-panel面板、嵌板-rusticated ashlars粗琢方石-rough rubble粗毛石-reinforcement钢筋-设施设备类：-accessory channel辅助通道-atrium门廊-aisle走道、过道-avenue道路-access通道、入口-art wall艺术墙-academy科学院-art gallery画廊-arch拱顶-archway拱门-arcade拱廊、有拱廊的街道-axes轴线-air condition空调-aqueduct沟渠、导水管-alleyway小巷-billiard table台球台-bed地基-bedding cushion垫层-balustrade/railing栏杆-byland/peninsula半岛-bench座椅-balcony阳台-bar-stool酒吧高脚凳-beam梁-plate beam板梁-bearing wall承重墙-retaining wall挡土墙-basement parking地下车库-berm小平台-block楼房-broken-marble patterned flooring碎拼大理石地面-broken stone hardcore碎石垫层-curtain wall幕墙-cascade小瀑布、叠水-corridor走廊-couryard内院、院子-canopy张拉膜、天篷、遮篷-coast海岸-children playground儿童活动区-court法院-calculator计算器-clipboard纤维板-cantilever悬臂梁-ceiling天花板-carpark停车场-carpet地毯-cafeteria自助餐厅-clearage开垦地、荒地-cavern大洞穴-dry fountain旱喷泉-driveway车道-vehicular road机动车道-depot仓库、车场-dry fountain for children儿童溪水广场-dome圆顶-drain排水沟-drainage下水道-drainage system排水系统-discharge lamp放电管-entrance plaza入口广场-elevator/lift电梯-escalator自动扶梯-flat roof/roof garden平台-fence wall围墙、围栏-fountain喷泉-fountain and irrigation system喷泉系统-footbridge人行天桥-fire truck消防车-furniture家具、设备-firepot/chafing dish火锅-gutter明沟-ditch暗沟-gully峡谷、冲沟-valley山谷-garage车库-foyer门厅、休息室-hall门厅-lobby门厅、休息室-industry zone工业区-island岛-inn小旅馆-jet喷头-kindergarten幼儿园-kiosk小亭子（报刊、小卖部）-lamps and lanterns灯具-lighting furniture照明设置-mezzanine包厢-main stadium主体育场-outdoor terrace室外平台-oil painting油画-outdoor steps/exterior steps室外台阶-pillar/pole/column柱、栋梁-pebble/plinth柱基-pond/pool池、池塘-pavilion亭、阁-pipe/tube管子-plumbing管道-port港口-pillow枕头-pavement硬地铺装-path of gravel卵石路-public plaza公共休闲广场-communal plaza公共广场-pedestrian street步行街-printer打印机-resting plaza休闲广场区-rooftop/housetop屋顶-pile桩-piling打桩-pump泵-ramp斜坡道、残疾人坡道-riverway河道-sunbraking element遮阳构件-sanitation卫生设施-skylight天窗-skyline地平线-scanner扫描仪-shore岸、海滨-sash窗框-slab楼板、地下室顶板-stairhall楼梯厅-staircase楼梯间-secondary structure/minor structure次要结构-secondary building/accessory building次要建筑-street furniture小品（椅凳标志）-solarium日光浴室-terrace平台-chip/fragment/sliver/splinter碎片-safety belt/safety strap/life belt安全带-safety passageway安全通道-shelf/stand架子-sunshade天棚-small mountain stream山塘小溪-subway地铁-safety glass安全玻璃-streetscape街景画-sinking down plaza下沉广场-sidewalk人行道-footpath步行道-设计阶段：-existing condition analysis现状分析-analyses of existings城市现状分析-construction site service施工现场服务-conceptual design概念设计-circulation analysis交通体系分析-construction drawing施工图-complete level完成面标高-details细部设计、细部大样示意图-diagram示意图、表-elevation上升、高地、海拔、正面图-development design扩初设计-faade/elevation正面、立面-general development analysis城市总体发展分析-general situation survey概况-general layout plan/master plan总平面-general nature environment总体自然分析-grid and landmark analysis城市网格系统及地标性建筑物分析-general urban and landscape concept总体城市及景观设计概念-general level design总平面竖向设计-general section总体剖面图-layout plan布置图-legend图例-lighting plan灯光布置图-plan drawing平面图-plot plan基地图-presentation drawing示意图-perspective/render效果图-pavement plan铺装示意图-reference pictures/imaged picture参考图片-reference level参考标高图片-site overall arrangement场地布局-space sequence relation空间序列-specification指定、指明、详细说明书-scheme design方案设计-sketch手绘草图-sectorization功能分区-section剖面-site planning场地设计-reference picture of planting植物配置意向图-reference picture of street furniture街道家具布置意向图-设计描述：-a thick green area密集绿化-administration/administrative行政-administration zone行政区位-function analysis功能分析-arc/camber弧形-askew歪的、斜的-aesthetics美学-height高度-abstract art抽象派-artist艺术家、大师-art nouveau新艺术主义-acre英亩-architect建筑师-be integrated with与……结合起来-bisect切成两份、对开-bend弯曲-boundary/border边界-operfloor架空层-budget预算-estimate评估-beach海滩-building code建筑规范-。

室内设计在增强现实环境Interior Design in Augmented Reality EnvironmentInterior Design in Augmented Reality EnvironmentViet Toan PhanDepartment of Industrial ConstructionHaNoi University of Science Technology, VietNamSeung Yeon ChooSchool of Architecture & Civil EngineeringKyungpook National UniversityABSTRACTThis article presents an application of Augmented Reality technology for interior design. Plus, an Educational Interior Design Project is reviewed. Along with the dramatic progress of digital technology, virtual information techniques are also required for architectural projects. Thus, the new technology of Augmented Reality offers many advantages for digital architectural design and construction fields. AR is also being considered as a new design approach for interior design. In an AR environment, the virtual furniture can be displayed and modified in real-time on the screen, allowing the user to have an interactive experience with the virtual furniture in a real-world environment. Here, AR environment is exploited as the new working environment for architects in architectural design works, and then they can do their work conveniently as such collaborative discussion through AR environment. Finally, this study proposes a new method for applying AR technology to interior design work, where a user can view virtual furniture and communicate with 3D virtual furniture data using a dynamic and flexible user interface. Plus, all the properties of the virtual furniture can be adjusted using occlusion- based interaction method for a TangibleAugmented Reality.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interior design.1. INTRODUCTIONVisualizing how a particular table or chair will look in a room before it is decorated is a difficult challenge for anyone. Hence, Augmented Reality (AR) technology has been proposed for interior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The related devices typically include data glasses connected to a portable PC (Head-mounted display- HMD). Plus, various lightweight solutions using a PDA device has been proposed by the Augmented Reality Team in Findland (S. Sitanen and C. Woodward, 2003). However, these devices are right not commonly available for non-professional users.Accordingly, this paper presents an augmented reality system for designing/educating/presenting interior design projects using overlaid virtual furniture in a physical environment based on a regular PC home system. Tracking markers are placed on the floors or walls to define the scale and coordinate system of the room. Next, the user selects virtual furniture on the screen and places it in the design space. In the AR scene, the 3D virtual furniture is integrated into a real environment and can be arranged along side real furniture. Experiments are implemented using basic home computer equipment, including a PC, HMD (or web camera), and printer. As a result, it is hoped that the proposed system will allow a broad range of users.While some similar systems have already been presented by another research group, the system proposed in this paper includes additional functions for the user interface and an improved implementation. For example, the user can interact with virtual furniture using a Tangible Augmented Reality in real time, and change the color, style, or covering of furniture in a real environment. Therefore, this allows complex and varied designs to be explored and visualized, making AR technology for interior design accessible to both professionals and amateurs.2.AUGMENTED REALITY- NEW RESEARCH APPROACH FOR ARCHITECTURE 2.1 Augmented Reality technologyAugmented Reality (AR) is a new technology that involves the overlay of computer graphics on the real world. As a result, the user can see the real world augmented with virtual objects and can interact with them. Within a more general context, AR is also termed Mixed Reality (MR), referring to a multi-axis spectrum of areas that cover Virtual Reality (VR), Augmented Reality (AR), telepresence, and other related technology [1] (Figure 1).Figure 1. Paul Milgram’s Reality- Virtual continuum.Augmented Reality systems combine digital information and the real world in a way that the user experiences them as one. A particularly important property of AR is locating virtual objects in the right place and position, which makes the Tracking System one of the most important components of an AR system. Essentially, an AR system must be able to follow the user’s point of view dynamically and keep virtual objects aligned with real world objects. The basic components of an AR system are a display, camera for graphic captures, and computer installed application software, plus various different kinds of hardware can International Journal of Computer Applications (0975 – 8887) Volume 5– No.5, August 2010 be used, for example, camera phones, PDAs, lap-tops, HMDs, and wearable computer systems. Typically, an ARToolKit library is used to determine the relation between the real and virtual world. The ARToolKit uses a computer vision technique to define the position and orientation of the real camera viewpoint relative to a real world marker. Next, the ARToolKit defines and calculates the position of the virtual coordinates. Based on a concurrence of virtual and real camera coordinates, the computer graphics are then drawn as an overlay on a fiducial markers card. As a result, the user experiences a video see-through augmented reality on the PC screen or more lively impression by HMDs (Kato, H.2001 and HIT Lab Washington University).Although Augmented Reality has only been studied for one decade, the growth and progress in the past few years have been remarkable. As such, AR technology has many possible applications across a wide range of fields, including entertainment, education, medicine, military training, engineering, and manufacturing [2](Figure 2; 3).Figure 2. AR application in entertainment and medical fields.Figure 3. AR application in military and manufacture engineering fields.It is also expected that other potential areas for application will still appear with the dissemination of this technology. During the early stages, the main focus of AR development was related to hardware technology rather than usability. However, the rapid development of mobile (handheld) with better processing capacities and long-lasting batteries has raised the issue of lightweight mobile AR systems. Thus, mobile AR devices are now one of the most promising emerging technologies. Similarly, the proposed system was also designed to appeal to a broader range of users based on the use of a regular PC and HMD.2.2 Augmented Reality in architecture fieldRecently, AR technology is also being considered as a new design approach for architecture. As a result, a lot of AR experiments and research have been directed toward the architectural design process. For example, Figure 4 Left shows a full-size 3D virtual house in a real life environment, where the handheld AR device allows the user to walk around and through it [3](Augmented Team- Finland 2003). Meanwhile, Figure 4- Right shows another implementation of AR in archaeology and touring guide, where the user is shown the virtual heritage buildings raised up from ruins on historical site.Figure 4. Left: Virtual building in PDA. Right: Virtual Hera temple in historical.In the case of architecture, the above applications can be effective for both designing and teaching. However, a growing number of new applications of AR technology are expected in the field of architecture.3. INTERIOR DESIGN IN DIGITAL ENVIRONMENT3.1 Properties of interior designIn the case of interior design, the designer essentially applies the three basic principles of interior design: color, scale, and proportion within a predetermined space. Thus, the proposed AR system is focused on giving the user the flexibility to design using these three basic principles. Therefore, in the proposed AR environment, the user is able to adjust the properties of virtual furniture and create different arrangements in a real environment.3.2 System designFor implementation, two separate modules were developed: one for creating and managing the 3D database, and the other for displaying, as show in below figure (Figure 5).First, CAD applications extract information from a drawing andlink it to a database. For the given space, geometrical information is then extracted from a three-dimensional database of furniture. After loading the geometries, the position and direction of the views for the user are calculated based on data marker tracking. Simultaneously, the location- and direction- based geometry data are transformed using transformation matrices to produce images that align beside other objects in the real view. As such, the position tracker and orientation tracker are important elements of AR systems and the development AR technology. Figure 6 summaries the tracking and display process. International Journal of Computer Applications (0975 –8887) Volume 5– No.5, August 2010Figure 5. System diagram.The properties of the furniture graphics are saved in a database generated by a CAD application, e.g. 3DSMax software, while OpenGL renders the final graphics. Plus, anARToolKit software library is used to calculate the 3D positions and orientations of the virtual furniture.Figure 6. AR tracking& display process: the computergenerated graphics are integratedinto user’s view.3.3 SoftwareCAD applications handle the management of the building geometry data and link it to a database. Next, the AR software retrieves and displays the position and orientation data in the defined environment.The 3DSMax or other Building Information Modelling (BIM) applications (e.g. ArchiCAD, Revit etc.) are used as the basic software for the CAD applications and also provides customized support for ARToolKit- 2.72.1. The 3DSMax (and others) produces a VRML file of a model which has a type *.wrl extension. An ARToolKit library then assumes the role of building the AR application. One of the key difficulties involved in developing an AR application is tracking the user’s viewpoint.In order to determine which viewpoint to use to align the virtual imagery with real-world objects, the AR application first needs to determine the viewpoint of the user in the real world.ARToolKit software uses computer vision algorithms to solve thisproblem. An ARToolKit video tracking library defines the virtualcamera position and orientation relative to physical markers inreal time. The ARToolKit library- the product of HIT Lab NZ- isthen used to display the virtual objects.3.4 HardwareIn the present study, the AR system is based on a regular PC with a Windows XP operating system running on an Intel (R) Core(TM) Quad CPU Q6600 with 2GB of RAM. Plus, a webcam, Logitech Quickcam Vision Pro, is used to capture the sense images. The user’scamera is capable of detecting known patterns from a single image and calculating the 3D position and orientation for world-space. The virtual objects (furniture, partitions, walls, doors, etc.) are then superimposed based on marker tracking.Figure 7. Left: Fiducial marker patterns. Right: Sub-markercard for Tangible ARcontrol.Some of the tracking markers used by an ARToolKit library are very precise and robust. In this study, mk_patt.exe files were used to generate various image markers from a blankPatt.gif pattern directory. For implementation, several marker patterns and submarker templates for Tangible AR were made beforehand.The Head-Mounted Display (HMD) also is equipped for user in the practical implementation. By using HMD for AR display, the user can move freely around virtual furniture when they are viewing it. The figure 8 shows an example of how the components International Journal of Computer Applications (0975 – 8887) Volume 5– No.5, August 2010 of AR system working together to produce the final results on video eye-monitors.Figure 8. Schematic illustration of video overlaid- based Augmented Reality& VR ProAR 800x600 HMD.3.5 Interaction method on occlusion markers for Tangible ARThis paper applies an interaction object- centered view to 2D interactions, which is easy to apply to Tangible AR environments where natural interaction methods are vital. In the real world, humans are able to use a variety of objects or bare fingers as a pointer. In addition, for some situations with multiple participants or bi-manual interactions, the interaction can even involve multiple pointers.Detecting pointers over an interaction object can be achieved in numerous ways, where detecting the occlusions of the tracked object is a passive way to detect pointing actions. The occlusions of an interaction object can be easily utilized as an interaction method in Tangible AR environments in which a camera is already available for providing real-world views to the user and tracking the objects of interest with passive formal markers.For occlusion detection, predefined formal markers are widely used for tracking real objects in Tangible AR environments. Vision-based tracking systems usually require multiple markers for tracking one object. A number of markers are attached to a single object in a pre-configured spatial relationship. In this way, the object can be tracked successfully even if some of markers in the marker set are not visible. In addition, because the spatial relationships of all the markers are known, the poses of markers that are not visible can be estimated using the markers that are recognized.A simple way to guarantee that a marker is within the view volume is to check the visibility of its neighboring markers, referred to as boundary markers, while a marker being checked for occlusion is referred to an interaction marker.To guarantee that an interaction marker is within the view volume, the boundary markers must be carefully placed. The convex hull of the boundary markers must include the interaction marker. For instance, for a single interaction marker, at least 2 boundary markers are needed surrounding the interaction marker (Figure 9). By checking whether these boundary markers are visible, the interaction marker can be guaranteed to be within the view volume, making it occluded if it is not detected.Figure 9. Boundary markers around interaction markers.When multiple interaction markers are placed in a line, the neighbors of the interaction marker being tested can also be treated as boundary markers. These markers are referred to as hybrid markers (Figure 10). The tested marker within the view volume whenever there is at least one visible boundary (or hybrid) marker on each side. Thus, hybrid markers act as both boundaries and an interaction point. In this way, the occlusion of multiple consecutive markers can also be detected, as well as allowing the boundary markers to be out of view.Figure 10. Hybrid markers: center hybrid marker plays role of boundary marker forleft hybrid marker.Although the boundary marker method is simple to implement and works reliably, marker wastage is unavoidable, since additional non- interactable boundary markers are required. Plus, interaction is little difficult, as the user has to make sure that enough boundary markers are within the current view.3.6 Interaction virtual furniture usingTangible ARTangible Augmented Reality interfaces combine a tangible user interface and augmented reality technology. In the present study, virtual furniture is modified using an occlusion- based interface for Tangible AR effects. Tangible AR interfaces are where each virtual object is registered to a physical object, and a user interacts with the virtual objects by manipulating the corresponding physical objects. In this case, occlusion is a simple way of completing interactions based on hiding the formal markers from being tracked. In this study, two sub-marker band cards are made, where one controls the color and the other controls the material of the virtual furniture. In particular, these marker templates are combined from several unit markers (Figure 7-Right).Each unit marker corresponds to one option. In the implemented AR system, the user takes first sub-marker band card to create a virtual chair. The user can hide one unit marker using one finger. A new corresponding color is then assigned to the virtual chair. Next, the user moves the second sub-marker band card to connect with the first one in order to adjust the color volume. The corresponding virtual color slide is then added as an overlay for this band card. Changing the effect of the virtual color slide can be redefined based on the position of the hidden unit marker with the user’s finger. Thus, the effect of changing the color of the virtual chair corresponds with the hidden point situation of the virtual color slide being shown.Figure 11. Left: Multi-class marker prototype; Right: User assembling separate parts ofMulti-Class marker.This study also uses a control method based on Multi-Class marker (Figure 11- Left), which is explored based on an identifiable ability image fiducial marker in the computer-vision process. In fact, a Multi-Class marker combines the functions of several unit marker values. The operating control of a Multi-Class marker is through user assembling unit markers. Theoretically, several unit marker values can be created within one Multi-Class marker. Yet, in this study, one Multi-Class marker consists of six unit marker values. The cause of this limit is the graphic identifiable ability of a web camera. In the present study, the Multi-Class marker covers the entire virtual graphics of the AR operation, and the user can also order more furniture when more unit marker classes are fixed.The next section shows the interaction with virtual furniture to produce a Tangible AR effect with an AR interface.4. IMPLEMENTATIONThe operation of the system is described in the following paragraphs. First, the user prints out the markers that will be used, where the style and size of the markers can be defined from the user interface in order to adapt it to the environment (i.e. Viewing distance and size of the room). As the user walks around the room, they take a series of capture marker images with a digital camera. These marker images are then upload to the AR software as the marker tracking stage. Thereafter, the furniture augmentingsystem is started.The system includes functions for handling images, moving wrlmodels and re-sizing them, and defining marker properties and threshold values for manipulating objects. The user selects different pieces of (virtual) furniture from the object list on the left, then adds, deletes, or modifies the properties, and hides them as required. Each object first appears on the marker card, however, the user also can move an object to the desired position by dragging it with a mouse, or modify the threshold values of the coordinates. Many AR applications use fixed directions in the marker coordinates. As a result, when looking from an opposite direction, the object is moved to an unnatural direction. In contrast, the proposed approach is more natural for usermanipulation, as no knowledge is required of the marker coordinates. First, a virtual chair and meeting table are assigned as the main samples in the present AR experiment. Once the virtual furniture has been arranged, the user can adjust the scale using digital images on the screen or a control marker band through a Tangible AR effect. In the AR photos, the user keeps the control marker template in their hand as they approach the virtual furniture. The virtual adjusted slide appears on the control marker template, allowing the user to interact with the virtual furniture through manipulating the control marker band (unit markers must be hidden using the fingers).In another phase, if the user wants to place a sample partition in the room, the user can order a virtual partition to appear in the appropriate position. Yet, difficulties occur when the camera has difficulty viewing the tracking markers in the case of virtual and real furniture being added in the same space. With the proposed system, the implementation allows the user to change the three dimensional relationship between the virtual furniture and the marker images. Thus, the user can place a marker in any free position so that the camera can view it clearly. As with all virtualfurniture, the properties of a partition or any virtual furniture can be modified in real time using the Tangible AR effect.All the images and virtual models are loaded onto the system dynamically. Furthermore, the state of the virtual furnishing design can be saved in a project file, which can then be loaded later when the user decides to continue working their design.Figure 12. Two-phase AR scene- user adjusts color of virtual furnitureFigure 13. Chair base is moved on floor plan graphic& the statue is added on table usingAR interior design interface.5. CONCLUSIONThis research examined virtual furniture and adjustment work to create a new design method using Augmented Reality technology for Interior Design education.In particular, AR technology opens up many new research fields in engineering and architecture. In an AR environment, design work can become more lively, convenient, and intelligent. Plus, design work and manufacturing can be conducted at the same time and we close relationship with each other. With AR, the virtual products of graphic technology are not only for simulation but also obtain real higher values.Furthermore, AR technology can become a new animated simulation tool for interior design, allowing the user to see a mixed AR scene through HMD, video display, or PDA. It is also anticipated that the interactive potential can be increased according to the user’s needs. 6. ACKNOWLEDGMENTSThis research was supported by Basic Science Research Program through the National Research Foundation of Korea (NRF) funded by the Ministry of Education, Science and Technology (2010-0015999).7. REFERENCES[1] Milgram, P., Takemura, H., Utsumi, A., and Kishimo, F. 1994. Augmented reality: A class of displays on the realityvirtual continuum. In Proceedings Telemanipulator and Telepresence Technologies: 2351-34, Retrieve 2007-03-15.[2] Azuma, R. 1997. A survey of Augmented Reality. InPresence: Teleoperators and Virtual Environment 6, 4 (August 1997), 355-385.[3] Woodward, C., Lahti, J., Rökkö, J., Honkamaa, P., Jäppinen, J., Rainio, K., and et al. 2007. Virtual and augmented reality in the digital building project. International Journal of Design Science and Technology, Vol.14, No.1, 23-40.[4] Billinghurst, M., Kate, H., and Proupyrev, I. 2001. The MagicBook-Moving Seamlesslybetween Reality and Virtual IEEE Computer Graphics and Applications, Vol.21, No.3, 2-4.[5] Siltanen, S., and Woodward, C. 2006. Augmented interiors with digital camera images. In Proceedings of Seventh Australian User Interface Conference, Australia CRPIT, 33-36. [6] Pasman, W., Woodward, C. 2003. Implementation of an Augmented Reality System on a PDA. Symposium of Mixed and Augmented Reality, ISMAR 2003, Tokyo, Japan.[7] Phan, V. T., Choo, S. Y. 2010. A Combination of Augmented Reality and Google Earth’s facilities for urban planning in idea stage. International Journal of Computer Applications, Published by Foundation of Computer Science, USA, vol. 4, No. 3, 26- 34.[8] Sherman, W. and Craig, A. 2003. Understanding Virtual Reality: Interface, Application and Design. Morgan Kaufman Publisher.[9] Kensek, K., Noble, D., Schiler, M. and Triparthi, A. 2000. Augmented Reality: An application for architecture. In Proceedings 8th International Conference on Computing in Civil and Building Engineering, ASCE, Stanford, CA, 294- 301.[10] Dias, J. M. S., Santos, P., Nande, P. 2003. In Your Hand Computing: Tangible Interfaces for Mixed Reality. In Proceedings of 2nd IEEE International Augmented Reality ToolKit Workshop, Waseda University, Tokyo, Japan.[11] Vallino, J. R. 1998. Interactive Augmented Reality. Doctor of Philosophy Thesis, University of Rochester, New York.室内设计在增强现实环境Viet Toan Phan Seung Yeon Choo越南河内科技大学庆北国立大学工业建筑学系建筑和土木工程摘要：本文提出了一种增强现实的应用室内设计技术。

环境艺术设计常用的术语中英文对照（2）Cover封面-Content目录-Design Explanation设计说明-Master Plan总平面-Space Sequence Analysis景观空间分析-Function Analysis功能分析-Landscape Theme Analysis景观景点主题分析图-Traffic Analysis交通分析-Vertical Plan竖向平面布置图-Lighting Furniture Layout灯光平面布置示意图-Marker/Background Music/Garbage Bin标识牌/背景音乐/垃圾桶布置图-Plan平面图-Hand Drawing手绘效果图-Section剖面图-Detail详图-Central Axis中心公共主轴- Reference Picture参考图片- Planting Reference Picture植物选样- 材料类：-aluminum铝-asphalt沥青-alpine rock轻质岗石-boasted ashlars粗凿-ceramic陶瓷、陶瓷制品-cobble小圆石、小鹅卵石-clay粘土-crushed gravel碎砾石-crushed stone concrete碎石混凝土- crushed stone碎石-cement石灰-enamel陶瓷、瓷釉-frosted glass磨砂玻璃-grit stone/sand stone砂岩-glazed colored glass/colored glazed glass彩釉玻璃- granite花岗石、花岗岩-gravel卵石-galleting碎石片-ground pavement material墙面地砖材料-light-gauge steel section/hollow steel section薄壁型钢- light slates轻质板岩-lime earth灰土-masonry砝石结构-membrane张拉膜、膜结构-membrane waterproofing薄膜防水-mosaic马赛克-quarry stone masonry/quarrystone bond粗石体- plaster灰浆-polished plate glass/polished plate磨光平板玻璃- panel面板、嵌板-rusticated ashlars粗琢方石-rough rubble粗毛石-reinforcement钢筋-设施设备类：-accessory channel辅助通道-atrium门廊-aisle走道、过道-avenue道路-access通道、入口-art wall艺术墙-academy科学院-art gallery画廊-arch拱顶-archway拱门-arcade拱廊、有拱廊的街道- axes轴线-air condition空调- aqueduct沟渠、导水管- alleyway小巷-billiard table台球台-bed地基-bedding cushion垫层- balustrade/railing栏杆- byland/peninsula半岛- bench座椅-balcony阳台-bar-stool酒吧高脚凳-beam梁-plate beam板梁-bearing wall承重墙-retaining wall挡土墙-basement parking地下车库-berm小平台-block楼房-broken-marble patterned flooring碎拼大理石地面- broken stone hardcore碎石垫层-curtain wall幕墙-cascade小瀑布、叠水-corridor走廊-couryard内院、院子-canopy张拉膜、天篷、遮篷- coast海岸-children playground儿童活动区- court法院-calculator计算器-clipboard纤维板-cantilever悬臂梁-ceiling天花板-carpark停车场-carpet地毯-cafeteria自助餐厅-clearage开垦地、荒地-cavern大洞穴-dry fountain旱喷泉- driveway车道-vehicular road机动车道- depot仓库、车场-dry fountain for children儿童溪水广场- dome圆顶-drain排水沟-drainage下水道-drainage system排水系统- discharge lamp放电管- entrance plaza入口广场- elevator/lift电梯-escalator自动扶梯-flat roof/roof garden平台- fence wall围墙、围栏- fountain喷泉-fountain and irrigation system喷泉系统- footbridge人行天桥-fire truck消防车-furniture家具、设备-firepot/chafing dish火锅-gutter明沟-ditch暗沟-gully峡谷、冲沟-valley山谷-garage车库-foyer门厅、休息室-hall门厅-lobby门厅、休息室-industry zone工业区-island岛-inn小旅馆-jet喷头-kindergarten幼儿园-kiosk小亭子（报刊、小卖部）-lamps and lanterns灯具-lighting furniture照明设置- mezzanine包厢-main stadium主体育场-outdoor terrace室外平台-oil painting油画-outdoor steps/exterior steps室外台阶- pillar/pole/column柱、栋梁-pebble/plinth柱基-pond/pool池、池塘-pavilion亭、阁-pipe/tube管子- plumbing管道-port港口-pillow枕头-pavement硬地铺装-path of gravel卵石路- public plaza公共休闲广场- communal plaza公共广场- pedestrian street步行街- printer打印机-resting plaza休闲广场区- rooftop/housetop屋顶- pile桩-piling打桩-pump泵-ramp斜坡道、残疾人坡道-riverway河道-sunbraking element遮阳构件-sanitation卫生设施-skylight天窗-skyline地平线-scanner扫描仪-shore岸、海滨-sash窗框-slab楼板、地下室顶板-stairhall楼梯厅-staircase楼梯间-secondary structure/minor structure次要结构- secondary building/accessory building次要建筑- street furniture小品（椅凳标志）-solarium日光浴室-terrace平台-chip/fragment/sliver/splinter碎片- safety belt/safety strap/life belt安全带- safety passageway安全通道-shelf/stand架子-sunshade天棚-small mountain stream山塘小溪- subway地铁-safety glass安全玻璃-streetscape街景画-sinking down plaza下沉广场- sidewalk人行道-footpath步行道-设计阶段：-existing condition analysis现状分析- analyses of existings城市现状分析- construction site service施工现场服务- conceptual design概念设计-circulation analysis交通体系分析- construction drawing施工图-complete level完成面标高-details细部设计、细部大样示意图-diagram示意图、表-elevation上升、高地、海拔、正面图- development design扩初设计-fa?ade/elevation正面、立面-general development analysis城市总体发展分析- general situation survey概况-general layout plan/master plan总平面-general nature environment总体自然分析-grid and landmark analysis城市网格系统及地标性建筑物分析-general urban and landscape concept总体城市及景观设计概念-general level design总平面竖向设计-general section总体剖面图-layout plan布置图-legend图例-lighting plan灯光布置图-plan drawing平面图-plot plan基地图-presentation drawing示意图-perspective/render效果图-pavement plan铺装示意图-reference pictures/imaged picture参考图片-reference level参考标高图片-site overall arrangement场地布局-space sequence relation空间序列-specification指定、指明、详细说明书-scheme design方案设计-sketch手绘草图-sectorization功能分区-section剖面-site planning场地设计-reference picture of planting植物配置意向图- reference picture of street furniture街道家具布置意向图- 设计描述：-a thick green area密集绿化-administration/administrative行政-administration zone行政区位-function analysis功能分析-arc/camber弧形-askew歪的、斜的-aesthetics美学-height高度-abstract art抽象派-artist艺术家、大师-art nouveau新艺术主义-acre英亩-architect建筑师-be integrated with与……结合起来- bisect切成两份、对开-bend弯曲-boundary/border边界- operfloor架空层-budget预算- estimate评估-beach海滩-building code建筑规范-。

设计空间的意义Meanings of designed spaces学部（院）：建筑与艺术学院专业：艺术设计（环境艺术设计）Since the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design, landscape design, and so on. This parceling of logic in itself can be quite beneficial to the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. it continues to stand as an obstacle and challenge to all the leak ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one the future adventures of reason. (pp.252-253)The User's Obstinacy Refusal to Dwell in TheoryFor the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have a right to claim that this person is truly within his field of expertise:Each would say,He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly /'171 going through a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise m New York Cityor Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus(Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely,it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the world" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,which characterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understand know: The object of thought is, by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might find there a common issue to unite them when the time comes to assign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this, the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.The Lesson of Prevert's GlazierHow should we now consider and approach the notion of our common user? Are there specific concepts or visions that can help us m this endeavour? In fact, when it comes to much of the essential dimensions that make up the user's human condition,there are major gaps in our disciplinary design knowledge that researchers need to address on a priority basis. Forexample,I cite the primordial phenomenon of the body. Setting aside the knowledge that biology, ergonomics, psychology, anthropology, physics, and geometry all offer on this subject, what knowledge and visions have we developed about our user's body,his spatiality, and the various situations he encounters, among others? What common ground can the product designer, the graphic designer, the interior designer, the architect, the urban designer, and the landscape designer find to address the issue of the body?In this section, I would like to explore the possibilities offered by a concept so common that we use it regularly, even spontaneously and automatically, in our everyday conversations and professional language as designers: the concept of solution. I will attempt to expand my ideas on the subject by using some supporting texts borrowed from three authors in particular:poet Jacques Prevert and architectural theorists Robert Prost and Philippe Boudon.Design professionals often express their ideas, and the results of their projects, in terms of solutions: design solution, architectural solution, urban planning solution,simple solution to a complex situation,inspired solution, and the like. But when we engage in a little phenomenology of this concept in the framework of our disciplines, we soon realize that what seems to one professional like a final solution in a design process may be nothing more than an initial solution to another professional.A chair, a bench, a lighting fixture, or an electrical appliance that is the final solution in the industrial design process may simplybe initial solution elements in the interior design process, landscape architecture, or urban design. An atmosphere or existing interior space can be the starting point for a craftsperson's or a product designer's proposal (for instance, made-to-measure furniture). In the same way, the plans and guidelines for an urban project may provide the initial conceptual backdrop to the work of the architect. What constitutes the end point for one person becomes the starting point for another's work. The eye that Prevert's glazier casts on the world illustrates this phenomenon clearly and perceptively.What sociologists dryly call the social division of labor is in fact a basic characteristic of the human condition, one that famed poet Jacques Prevert renders admirably in his poem "Chanson du vitrier":How beautiful isWhat you can seeThrough the sand through the glassThrough the window panesHere look for exampleAt how beautifulThis tree feller isThere in the distanceChopping down a treeTo make boardsFor the furniture makerwho must fashion them into a large bedFor the young flower girlWho is marryingThe lamplighterWho lights the streetlamps every nightSo that the shoemaker can see clearlyTo repair the shoes of the shoeshine boyWho polishes the shoes of the grinderWho sharpens the scissors of the hair dresserWho cuts the hair of the bird sellerWho gives his birds to everyoneSo that everyone may be in good spirits.(1963)But what then becomes of the user in this tangled web of solutions that are final for some and starting points for others?In reality, the user has a vital role to play because he or she is the one who brings closure to all the design processes: The user is the equivalent of Mr. or Ms. Everyone in Prevert's poem. Once all the designers have delivered their final solutions,everything in the user's world becomes a starting point, an initial solution for experiences and life projects. They become part of the user's overall experience, his or herlife experience, and the user imbues them with his or her own meanings.I borrowed the concept of initial and final solutions from Robert Prost's thoughts, particularly his thesis on architectural works as "works in progress": "We want to draw attention to the possibility of considering architectural phenomena as works in progress and not merely worksthat find status and complete and definitive legitimacy only at the moment of their creation, like works of art" (Prost 1991,p. 40). Robert Prost's reading of the problem posed by architectural design (Prost,1992) attempts to group together the four main players in an architectural project:the client, the architect, the builder, and the occupant. Each appears as a player acting completely in his or her own area of skill: the client formulates the goals and uses of the project; the architect proposes architectural solutions; the contractor turns the architectural solutions into reality; and the occupant appropriates and transforms the architectural work. The notion of the work-that is, the architectural solution for Prost-appears to beat the heart of the process:“Rather than looking at architectural solutions from the standpoint of one question (What are they made of?) I will introduce three additional questions: What ends/uses do they fulfill? How are they made? And, finally, how do they transform themselves?" (Prost 1992,p. 13). The first two questions query the design process. The work, or built architectural solution, appears in a nodal position, constituting the end of the design and realization process and, at the same time, marking the beginning of another process,that of appropriation and transformation through social practices (whence the notion of a work in progress). The work,which the architect considers to be the final solution,acquires the status of an initial solution for the occupant, a sort of infrastructure that provides support to his projects and initiatives regarding his dwelling.In other words, it is "free of its designers and status as the final solution and open to the social practices and status of the initial solution" (Prost 1992, p.133).The user is the one who brings closure to the overall process. Once the solution(or solutions) is delivered, it becomes an open work: open to the user's life experience, his or her appropriation and transformation projects. This concept of openwork, formulated by Umberto Eco and taken here in its architectural sense, is borrowed from Philippe Boudon (1969).Boudon's study of those living in a residential neighborhood designed and completed in 1926 by Le Corbusier at Pessac,near Bordeaux in France, shows the scope of transformations introduced into the work of a famous thinker of the Modern Movement by the occupants. Henri Lefebvre, who penned the preface to Boudon's book, underscores this act of acquisition: "And what did the occupants do?Instead of incorporating themselves into this receptacle and adapting to it impassively, they occupied it actively to a certain extent. They showed what it means to inhabit a place: in one activity. They worked on, changed and added to what they were given. What did they add? What they needed. Philippe Boudon shows the significance of the differences they made.They introduced qualities. They built a differentiated social space" (Lefebvre, 1969).It is in this sense that one of the proposals Boudon made in the study was the conclusion that architecture is an open work,in other words, open to the occupant's initiatives and corrections: "Based on an occupant's own expression, architecture can be considered an infrastructure upon which the occupant's free expression can evolve both qualitatively (combinations)and quantitatively (surfaces) within fairly broad boundaries" (Boudon, 1969, p. 106).We have seen that the user's logic extends far beyond the disciplinary logic in which we are involved. To end on a poetic note, I gladly offer Prevert's "Cancre" as a fitting comparison to the user:He says no with his headBut yes with his heartHe says yes to what he likesHe says no to the teacherHe standsHe is questionedAnd all the problems are posedSuddenly he is overcome with uncontrollable laughterAnd he erases everythingThe numbers and the wordsThe dates and namesThe sentences and the trapsAnd in spites of the teacher’s threatsAnd the jeers of the prodigal studentsWith chalk of all colorsOn the blackboard of the happiness .（Prevert,1972)Design Territories and the Logic of the Usersince the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design,landscape design, and so on. This parceling of logic in itself can be quite beneficialto the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. It continues to stand as an obstacle and challenge to all the leak-ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant . . . remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? . . . In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one ofthe future adventures of reason. pp.252-253)For the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have a right to claim that this person is truly within his field of expertise:Each would say, "He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly I'm goingthrough a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise in New York City or Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte-Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus (Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely, it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the worjd" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,which characterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understanding among our disciplines. Based on this, it might appear that a setback exists for the design disciplines, but in reality, this is an opportunity to be seized. First and foremost,it is a chance for our disciplines to cultivate a certain spirit of modesty toward what we know:The object of thought is,by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might 6nd there a common issue to unite them when the time comes to assign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this,the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.设计空间的意义设计空间的意义Tiiu Vaikla-Poldma关键词：空间设计，居住区，用户自从加入设计知识的现代大学的部门,建筑环境,代表的一个主要研究领域的知识,根据现代调查的分析模型经历了一个巨大的碎片变革。

在环境设计中，空间概念是指对空间的理解、创造和组织方式。

以下是一些常见的空间概念：
1.功能分区：将空间按照不同功能进行划分，例如生活区、工作区、娱乐区等。

这有助于
提供清晰的空间定位和组织。

2.开放式空间：通过消除隔墙或采用开放的布局方式，创造出连续流畅的空间感。

开放式
空间可以促进交流、增加通透性和灵活性，使空间更加宽敞明亮。

3.分层和层次感：通过使用楼层、平台或场地起伏等方式，创造出多个不同高度的层次感。

分层可以增加空间的丰富性和变化，同时也能够提供不同的视觉体验。

4.尺度感与比例：通过合理控制尺度和比例，让人们在空间中产生舒适感和协调感。

合理
的尺度感和比例可以帮助营造出恰到好处的空间氛围和气氛。

5.空间序列和流线：通过合理安排空间的连接和路径，创造出符合人体运动和生活习惯的
空间序列。

流线的设计可以引导人们在空间中自然而流畅地移动。

6.视觉与光线：使用适当的材料、颜色和照明，创造出丰富的视觉效果和光线氛围。

视觉
和光线的处理可以影响人们对空间的感知和情绪体验。

7.自然与人工元素的结合：将自然元素如植物、水景等与人工元素如建筑、家具等相融合，
创造出与自然环境和谐共生的空间。

这些空间概念可以根据不同的项目需求和设计目标进行灵活运用，以创造出功能性、美观性和舒适性兼具的环境。

I. City and The Landscape(1) Overview of Landscape DesignLandscape design, first, is a people's thinking activity, performed as an art activity.Diversified thoughts formed complex diverse landscape art style. Contemporary landscape design apparently see is the diversity of the landscape forms,in fact its essence is to keep the closing up to the natural order system, reflected the more respect for human beings, more in-depth perspective of the nature of human's reality and need, not to try to conquer the nature.it is not even imitating natural, but produce a sense of belonging. Landscape is not only a phenomenon but the human visual scene. So the earliest landscape implications is actually city scene. Landscape design and creation is actually to build the city.(2) The Relationship Between Landscape and UrbanCity is a product of human social, economic and cultural development, and the most complex type. It is vulnerable to the artificial and natural environmental conditions of interference. In recent decades, with worldwide the acceleration of urbanization, the urban population intensive, heavy traffic, resource shortage, environment pollution and ecology deterioration has become thefocus of attention of the human society. In the current environment condition in our country, the problem is very serious. and in some urban areas, the pollution has quite serious, and greatly influenced and restricts the sustainable development of the city.Landscape is the relationship between man and man, man and nature. This is, in fact, a kind of human living process. Living process is actually with the powers of nature and the interaction process, in order to obtain harmonious process. The landscape is the result of human life in order to survive and to adapt the natural. At the same time, the living process is also a process of establishning harmonious coexistence. Therefore, as a colony landscape, it is a stigma of the relationship between man and nature.II the city landscape planning and design(1) city landscape elementsThe urban landscape elements include natural landscape and artificial landscape . Among them, the natural landscape is mainly refers to the natural scenery, such as size hills, ancient and famous trees, stone, rivers, lakes, oceans, etc. Artificial landscape are themain cultural relics, cultural site, the botanical garden afforestation, art sketch, trade fairs, build structure, square, etc. These landscape elements must offer a lot of examples for creating high quality of the urban space environment. But for a unique urban landscape, you must put all sorts of landscape elements in the system organization,and create an orderly space form.(2)the urban landscape in the planningThe city is an organic whole, which is composed with material, economy, culture, and society.To improve the urban environment is a common voice.The key of the urban landscape design is to strengthen urban design ideas, strengthen urban design work. and blend urban design thought into the stages of urban planning. The overall urban planning in the city landscape planning is not to abandon the traditional garden, green space planning, but the extension and development of it.Both are no conflict, but also cannot be equal.In landscape planningof city planning, we should first analysis the urban landscape resources structure, fully exploit landscape elements which can reflect the characteristics of urban.Consider carefully for the formation of the system of urbanlandscape.III ecological planning and urban landscape\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\(1)the relationship of urban landscape and ecological planning Landscape ecology is a newly emerged cross discipline, the main research space pattern and ecological processes of interaction, its theme is the fork the geography and ecology. It's with the whole landscape as the object, through the material flow, energy flow and information flowing the surface of the earth and value in transmission and exchange, through the biological and the biological and the interaction between human and transformation, the ecological system principle and system research methods of landscape structure and function.the dynamic change of landscape has interaction mechanism, the research of the landscape pattern, optimizing the structure, beautify the reasonable use and the protection, have very strong practicability. Urban ecological system is a natural, economic and social composite artificial ecosystem, it including life system, environment system, with a complex multi-level structure, can be in different approaches of human activity and the mutual relationship between the city and influence. Urban environment planning guidance and coordinationas a macro department interests, optimizing the allocation of land resources city, reasonable urban space environment organization the important strategic deployment, must have ecological concept. Only to have the ecological view, to guide the construction of the city in the future to ecological city goal, to establish the harmonious living environment. In recent years, landscape planning in urban landscape features protection and urban environment design is wide used. (2) landscape in the living environment of ecological effectLandscape as a unit of land by different inlaid with obvious visual characteristics of the geographic entities, with the economic, ecological and aesthetic value, the multiple value judgment is landscape planning and management foundation. Landscape planning and design always is to create a pleasant landscape as the center. The appropriate human nature can understand the landscape for more suitable for human survival, reflect ecological civilization living environment, including landscape, building economy, prudent sex ecological stability, environmental cleanliness, space crowded index, landscape beautiful degree of content, the current many places for residential area of green, static, beauty, Ann's requirement is the popular expression. Landscape also paid special attention to the spatial relationship landscape elements, such as shape and size,density and capacity, links, and partition, location and of sequence, as their content of material and natural resources as important as quality. As the urban landscape planning should pay attention to arrange the city space pattern, the relative concentration of the open space, the construction space to density alternate with; In artificial environment appeared to nature; Increase the visual landscape diversity; Protect the environment MinGanOu and to promote green space system construction.(3) the urban landscape and ecological planning and design of the fusion of each otherThe city landscape and ecological planning design reflects human a new dream, it is accompanied by industrialization and after the arrival of the era of industrial and increasingly clear. Natural and cultural, design of the environment and life environment, beautiful form and ecological functions of real comprehensive fusion, the landscape is no longer a single city of specific land, but let the ablation, to thousands; It will let nature participate in design; Let the natural process with every one according to daily life; Let people to perception, experience and care the natural process and natural design.(4) the city landscape ecological planning the humanized design1. "it is with the person this" design thoughtContemporary landscape in meet purpose at the same time, more in-depth perspective on human of the nature of reality and needs. First performance for civilian design direction, application of natural organic materials and elastic curve form rich human life space. Next is the barrier-free design, namely no obstacle, not dangerous thing, no manipulation of the barrier design. Now there have been the elderly, the disabled, from the perspective of the social tendency, barrier-free design ideas began to gain popularity, at the same time for disadvantaged people to carry on the design also is human nature design to overall depth direction development trend. "It is with the person this" the service thoughts still behave in special attention to plant of bright color, smell good plant, pay attention to ZuoJu texture and the intensity of the light. The detail processing of considerate more expression of the concern, such as the only step to shop often caused visual ignored and cause staggered, in order to avoid this kind of circumstance happening, contemporary landscape sites do not be allowed under 3 steps; And as some residential area andsquare in the bush set mop pool, convenient the district's hygiene and wastewater recycling water. "It is with the person this" the service thoughts in many ways showed, the measure of the standard is human love.1. 1 human landscape design concept is human landscape design is to point to in landscape design activity, pay attention to human needs, in view of the user to the environment of the landscape of a need to spread design, which satisfied the user "physiological and psychological, physical and mental" multi-level needs, embodies the "people-oriented" design thought. Urban public space human landscape design, from the following four aspects to understand:1. 1.1 physical level of care. Human landscape design with functional and the rationality of design into premise condition, pay attention to the physical space reasonable layout and effective use of the function. Public space design should not only make people's psychology and physiology feel comfortable, still should configuration of facilities to meet people's complex activities demand1. The level of caring heart 1.2 Daniel. In construction material form of the space at the same time, the positive psychology advocate for users with the attention that emotion, and then make the person place to form the security, field feeling and belonging.1. 1.3 club will level of care. Emphasizes the concern of human survival environment, the design in the area under the background of urban ecological overall planning and design, to make the resources, energy rationally and effectively using, to achieve the natural, social and economic benefits of the unity of the three.1. 1.4 to a crowd of segmentation close care. Advocate barrier-free design, and try to meet the needs of different people use, and to ensure that the group of mutual influence between activities, let children, old people, disabled people can enjoy outdoor public the fun of life.1. 2 and human landscape design related environmental behavior knowledge the environment behavior is human landscape design, the main research field, pay attention to the environment and people's explicit behavior and the relationship between the interaction, tried to use the psychology of the some basic theory, methods researchersin the city and architecture in activities and to the environment of the response, and the feedback the information can be used to guide the environment construction and renovation. Western psychologist dirk DE Joan to put forward the boundary effect theory. He points out that the edge of space is people like to stay area, also is the space of the growth of the activity area [3]. Like the urban space, the margin of the wood, down the street, and the rain at the awning, awnings, corridor construction sunken place, is people like the place to stay. At the edge of space, and other people or organizations to distance themselves are is better able to observe the space of the eyes and not to be disturbed. "Man seeth" is the person's nature. A large public space are existing "the man seeth" phenomenon: the viewer consciously or unconsciously observation, in the space in front of the all activities. At the same time, some of the people with strong performance desire, in public space in various activities to attract the attention of others, so as to achieve self-fulfillment cheerful. The seemingly simple "man seeth" phenomenon, but can promote space more activities production. For example, for a walk of pedestrians may be busy street performance and to join the ranks of the show attracts, with the strange because the audience is the sight of the activities of the wonderful and short conversation, art lovers of the infection by environmental atmosphere began to sketch activities.Environmental design, according to environmental behavior related knowledge, actively create boundary space provide people stay, rest, the place of talking to facilitate more spaceActivities of generation, the rich visitors sensory experiences2. The design of the sustainable developmentSustainable development principle, it is the ecology point of view, to the city system analysis, and with the minimum the minimal resource consumption to satisfy the requirements of the human, and maintain the harmony of human and the natural environment, guarantee the city several composition system-to protect natural evolution process of open space system and the urban development system balance. People are to landscape 'understanding of the contemporary landscape design and the function to reflect, have been completely out of the traditional gardening activities, the concept of landscape art value unconsciously and ecological value, the function value, cultural value happened relationship, landscape art category than before more pointed to the human is closely linked with the various aspects, become more profound and science. Contemporary landscape also actively use new technology toimprove the ecological value. Such as the use of solar energy for square garden, lighting and sound box equipment supply electricity; The surface water "cycle" design concept, collecting rainwater for irrigation and waterscape provides the main resources; Using the principle of the construction of the footway, buoys that environmental protection level a kiss and interesting. And by using water scene drought, landscape water do ecology (ecological wetland), ecological XiGou "half natural change" landscape humanized waterscape design, avoid the manual water scene is the difficulty of the later-period management, but in the water since the net, purifying environment and promote biodiversity play a huge role. Therefore, to experience the landscape will surely is contained to nature and the tradition, to human compatibility.The urban landscape the principles of sustainable development and implementation details:2.1 the efficiency of land use principle for land to the survival of humans is one of the most effective resources, especially in China's large population, land resources are extremely deficient, urbanization rapidly increase background, the reasonable efficient use of land, is that we should consider an important issue. For thecity landscape is concerned, how to productive use of the land? Three-dimensional is efficient land use is the most effective means. The urban landscape "three-dimensional to take" ideas contains the following six aspects of meaning. (1) in the limited on land, as much as possible to provide activity places, form the three-dimensional multi-layer activities platform landscape environment. (2) improve afforestation land use efficiency, in the same land, adopt appropriate to niche by, shrubs and trees of co-existence and co-prosperity between three-dimensional planting layout. (3) to solve the good man, for the contradiction in green, the green space and human activity space layout of the interchanges. (4) the up and down or so, all sides three-dimensional view observation, increased the landscape environment the visual image of the visual rate. (5) from the static landscape to dynamic landscape. 6 not only from the traditional technology of modern technology to introduce more (such as crossing bridge, light rail, electric rail, etc), show a colorful three-dimensional space.2.2 energy efficiency principle along with the rapid development of urbanization, China's energy demand is more and more big, the energy gap also more and more big. In recent years, China's major cities have put forward the "light" project, the public area lightingconsumption in the great power. For energy efficiency in the understanding, first from the consideration on the energy saving should be not only, and should stand in the higher of the environmental protection high to know, meaning that more extensive, and more far-reaching. (for more than 70% of generating capacity in China at present still by coal, exist for SO2, CO2 and nitric oxide and other harmful gas emissions and coal dust emissions and a series of environmental problems)2.3 plant with an ecological principle city system, the green space system is perfect or not of the city's environmental quality plays a vital role. Perfect green space system, to improve the city microclimate plays an important role, it can rise to improve small regional temperature, air humidity, windbreak and sand-fixation, purify air, provide oxygen and so on a series of ecological change the role of environmental factors. Urban green space system as a city human important activities of the external space, planning and design should not only from the plant itself on system, should the broader perspective, considering a person to nature to be close to, rely on the requirements, on the one hand, satisfying the people's physical needs, such as the right temperature, humidity, clean air andso on need, on the other hand to meet people of the nature of the attachment psychological need. One the one hand, to meet the city function requirements, on the other hand, will play natural systems potential extremely. At present, the city of plants with existing in the implant the following problems: put too much emphasis on green technology and engineering technology of gardening, loving fast for Jane, formed only simple so-called "Joe, flooding, grass" structure, ecological process is ignored, fierce competition among plants, normal growth form was suppressed, the diversity of the community and stability suffocate suffocate, plant diseases and insect pests rampant, maintenance cost is high, the waste of human, material and financial resources. So in the urban design of plants with plant should achieve what kind of effect? It should be a satisfying the people's psychological and physiological activities, meet the natural plant of the self-improvement circulation system, and meet the microbe, plants, birds, and all kinds of close to human beings, animals of the ecological system, and meet the soil and water protection, air purification, water purification up maximum adjustment function of the system. To provide more of a harmonious and orderly biological and stable habitats and more living space, establishment compound level and beautiful season of color in plant community, city landscape has offered only low-grade manualadministration, the landscape resources sustainable maintain and develop, that is the goal of our pursuit. Under the guidance of the principle, city with plant should consider the following plants detailed rules. (1) each city green plants with plant to and urban green space system match, and city and the surrounding landscape plant form the whole dynamic stability of the green ecological system. (2) the zonal simulation of the community structure characteristics, abide by "niche" principle and to establish a suitable after layer community structure, use different species differentiation of niche, the corrosion resistance of individual size, the shadow of leaf type, root depth, nutrient requirement and content of hou aspects of the difference in the plant, avoid the kind of direct competition between, form mutualist to trees skeletons Joe, flooding, grass composite community structure and function of the unification of benign ecological system. (3) the introduction of new varieties in the process, must choose and local climate, soil adaptation of the species, for stability of the system is provided. In plants and localization of reciprocity and raw, under the premise of forming a biological diversity. (4) from plants on the system itself not only should also be considered, the animals can be close to human survival and reproduction, such as birds. (5) with plants in the plant, to meet other elements such as human nature to the needs of the sunshine, the air,etc. 6 plants in meet its "niche" principle, and on the basis of the landscape, the plant should aesthetic feeling, meaning, rhythm, etc to the ecological science, to consider the height of aesthetics, harmonious, and urban landscape and form, combines aesthetics.2.4 to the protection of the natural communities and use principle in the urban landscape design process often encountered in one of the most important question, and that is planning on land have very good natural communities or heaven the tree. These natural communities and heaven the tree, and after a time of baptism and long growth process, thus forming the beautiful landscape effect. Landscape design should be in the protection and utilization of the guiding ideology, not to destroy these time to human gift, wasted natural elegance. Therefore, in the urban landscape design, the natural communities to meet or heaven trees, our guiding ideology is: in the protection and utilization of the basis, from a series of function, aesthetic Angle, design can reflect the influence of time, history beautiful landscape. 2.5 effective utilization of water resources and ecological environment protection principle is a big system, including land, air, water and sunlight, plant and the related unintended consequences. Water resources as the importantcomponent of the system, as the origin of human beings and the survival of important resources, if not effective utilization and protection will seriously restricted the economic and social development, and endanger the future of the human being. Our country as a large population, a water extremely poor countries, in the effective utilization of water resources is wanton waste, pollution and destructive to development of water resources, increased tension in the water, and cause the ground subsidence, the water flow backward and so on a series of secondary disasters. Our country at present the city landscape of water, the main or traditional artificial ground water. Garden workers, open water car, with fire water cannons, of landscape plants to carry out extremely rough water, and planning and design, to groundwater, surface water storage were not the design of the system and the water surface water quickly from loss, serious waste water to the. In the square of other appreciation water, often in tap water from municipal direct access to, not very good for water level division and use. With the green coverage rate increase in the maintenance of water resources in the process of LiYongLiang is more and more big, with people all over the world to water resources utilization and protection attention, and after a long time study and analysis, generates a lot of effective method. We in the urban design should good to use. At home and abroad and theuse of urban water resources on the main methods and protection for: (1) the use of water. (2) of rain to the planning and design of the collection system. (3) the use of water-saving irrigation system. Basically has the following kinds: a. sprinkler irrigation technology;B. microspray irrigation technology;C. root irrigation technology. (4) the interaction of the surface water and ground water use. Through the above all kinds of water saving method summary, design the system method, believe to be able to play well water-saving effect.epilogueThe urban landscape design and the ecological planning tightly linked is mutual influence, mutual penetration. From a small landmark of the city to the whole city planning and design, the need for the connect the relevant knowledge, and from ecology, humanities, local, psychology, sociology, philosophy, aesthetics, and other disciplines continuously research and exploration. Science, reasonable construction of urban landscape design.Landscape design service object, it is the society. People in the design experience and feeling in the same performance on things, be reasonable planning must be from understanding the person'spsychology, respect the person's behavior to, this is the foundation of landscape design, also be the important details of city planning.The landscape design of another service object is natural, must the climate, water, terrain, plants and animals, and buildings, roads, such factors to consider in man and nature of the interaction of the premise. Symonds says: "the ecological design only is effectively respond to natural process and and the unity of." This is for our landscape design how to treat correctly natural is pointed out.At present about the sustainable development of the city, from resources, environment, economy and social point of view, using the method of system, analysis and research in the development of the urban sustainable development. The urban landscape design to the ecological analysis, is in the general principle of urban development. This article through to in the field of urban landscape analysis and research, make with the principle of sustainable development and people-oriented principle as the basic ecological planning in the urban landscape design in specific, technology, be operable. Only in this way can we truly achieve the sustainable development of urban landscape and people-oriented purpose, to establish ecological city provide the guarantee.reference[1] (English) Robert holden, the environmental space "[M] belden group anhui science and technology press China architecture &building press 1999[2] PengYiGang "Chinese classical garden analysis" [M] China architecture &building press 1986[3] Charles Moore, waiting. Reese translation of the landscape poetry strands of gardening-" [M] guangming daily press 2000[4] Kevin lynch, wait and HuangFu compartments, etc in the translation of "overall didn't plan" [M] China architecture &building press 1999[5] Roger, put the crewe. LiuXianJiao "architectural aesthetics of translation [M] China architecture &building press 1992[6] the time case. RuiJingWei translation of the design with nature [M] China architecture &building press 19921 城市与景观1.1 景观设计概述景观设计首先是一种人的思想活动，表现为艺术活动。

引言概述：正文内容：一、外文翻译的重要性1.外文翻译在学术领域的作用外文翻译可以帮助我们了解和掌握国外学术前沿，扩大我们的学术视野，促进思维的创新与交流。

2.外文翻译在商业领域的意义外文翻译在商业领域中，特别是跨国公司的经营中起到了至关重要的作用，能够帮助企业了解竞争对手的动态，并进行市场调研和产品开发。

3.外文翻译在文化交流中的作用外文翻译是促进国与国之间文化交流的重要手段，能够传播本国文化，增进两国人民的友谊。

二、外文翻译的技巧1.语言能力的培养外文翻译的首要条件是具备扎实的外语基础，需要加强对词汇、语法和表达方式的学习。

2.翻译技巧与方法翻译技巧包括对上下文的理解、逐词逐句的翻译和准确传达原意等。

同时，还可以运用翻译工具进行辅助翻译。

3.灵活运用翻译策略根据翻译的目的和要求，可以选择直译、意译或文化转换等不同的翻译策略。

三、外文翻译的难点1.语言和文化差异不同语言和文化之间的差异可能导致翻译难度增加，需要对原文进行深入理解，并灵活运用翻译技巧。

2.专业术语的翻译外文翻译中遇到的专业术语需要准确传达，这需要对相关领域的专业知识有一定的了解，可以借助词典和其他资源进行查询。

3.语义和语境的理解在翻译过程中，对原文的语义和语境理解不准确可能导致误译，需要细致入微地理解每个句子和词语的意义。

四、外文翻译中常见的问题1.语法和表达问题外文翻译中经常会涉及到语法和表达问题，需要对原文和翻译文本进行仔细对比和校正，确保语法和表达的准确性。

2.遗漏和加词问题翻译过程中可能会出现遗漏或者加词的情况，需要细心排查，保持原文和翻译文本的一致性。

3.歧义和模糊问题外文翻译中可能会存在歧义和模糊的词语或句子，需要根据上下文进行准确的判断和翻译。

五、外文翻译的应用1.学术研究和论文撰写外文翻译能够帮助学者了解国外学术动态，并为自己的研究提供参考资料，从而提升论文的质量和水平。

2.商业与经济领域外文翻译对于跨国公司的运营和市场开拓至关重要，可以帮助企业了解竞争对手和市场需求，为企业决策提供依据。

设计空间的意义Meanings of designed spacesMeanings of designed spacesSince the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design, landscape design, and so on. This parceling of logic in itself can be quite beneficial to the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. it continues to stand as an obstacle and challenge to all the leak ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one the future adventures of reason. (pp.252-253)The User's Obstinacy Refusal to Dwell in TheoryFor the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire the objects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have aright to claim that this person is truly within his field of expertise:Each would say,He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly /'171 going through a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise m New York City or Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus(Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely,it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the world" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,which characterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understand know: The object of thought is, by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might find there a common issue to unite them when the time comes toassign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this, the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.The Lesson of Prevert's GlazierHow should we now consider and approach the notion of our common user? Are there specific concepts or visions that can help us m this endeavour? In fact, when it comes to much of the essential dimensions that make up the user's human condition,there are major gaps in our disciplinary design knowledge that researchers need to address on a priority basis. For example,I cite the primordial phenomenon of the body. Setting aside the knowledge that biology, ergonomics, psychology, anthropology, physics, and geometry all offer on this subject, what knowledge and visions have we developed about our user's body,his spatiality, and the various situations he encounters, among others? What common ground can the product designer, the graphic designer, the interior designer, the architect, the urban designer, and the landscape designer find to address the issue of the body?In this section, I would like to explore the possibilities offered by a concept so common that we use it regularly, even spontaneously and automatically, in our everyday conversations and professional language as designers: the concept of solution. I will attempt to expand my ideas on the subject by using some supporting texts borrowed from three authors in particular:poet Jacques Prevert and architectural theorists Robert Prost and Philippe Boudon.Design professionals often express their ideas, and the results of their projects, in terms of solutions: design solution, architectural solution, urban planning solution,simple solution to a complex situation,inspired solution, and the like. But when we engage in a little phenomenology of this concept in the framework of our disciplines, we soon realize that what seems to one professional like a final solution in a design process may be nothing more than an initial solution to another professional.A chair, a bench, a lighting fixture, or an electrical appliance that is the final solution in the industrial design process may simplybe initial solution elements in the interior design process, landscape architecture, or urban design. An atmosphere or existing interior space can be the starting point for a craftsperson's or a product designer's proposal (for instance, made-to-measure furniture). In the same way, the plans and guidelines for an urban project may provide the initial conceptual backdrop to the work of the architect. What constitutes the end point for one person becomes the starting point for another's work. The eye that Prevert's glazier casts on the world illustrates this phenomenon clearly and perceptively.What sociologists dryly call the social division of labor is in fact a basic characteristic of the human condition, one that famed poet Jacques Prevert renders admirably in his poem "Chanson du vitrier":How beautiful isWhat you can seeThrough the sand through the glassThrough the window panesHere look for exampleAt how beautifulThis tree feller isThere in the distanceChopping down a treeTo make boardsFor the furniture makerwho must fashion them into a large bedFor the young flower girlWho is marryingThe lamplighterWho lights the streetlamps every nightSo that the shoemaker can see clearlyTo repair the shoes of the shoeshine boyWho polishes the shoes of the grinderWho sharpens the scissors of the hair dresserWho cuts the hair of the bird sellerWho gives his birds to everyoneSo that everyone may be in good spirits.(1963)But what then becomes of the user in this tangled web of solutions that are final for some and starting points for others?In reality, the user has a vital role to play because he or she is the one who brings closure to all the design processes: The user is the equivalent of Mr. or Ms. Everyone in Prevert's poem. Once all the designers have delivered their final solutions,everything in the user's world becomes a starting point, an initial solution for experiences and life projects. They become part of the user's overall experience, his or herlife experience, and the user imbues them with his or her own meanings.I borrowed the concept of initial and final solutions from Robert Prost's thoughts, particularly his thesis on architectural works as "works in progress": "We want to draw attention to the possibility of considering architectural phenomena as works in progress and not merely worksthat find status and complete and definitive legitimacy only at the moment of their creation, like works of art" (Prost 1991,p. 40). Robert Prost's reading of the problem posed by architectural design (Prost,1992) attempts to group together the four main players in an architectural project:the client, the architect, the builder, and the occupant. Each appears as a player acting completely in his or her own area of skill: the client formulates the goals and uses of the project; the architect proposes architectural solutions; the contractor turns thearchitectural solutions into reality; and the occupant appropriates and transforms the architectural work. The notion of the work-that is, the architectural solution for Prost-appears to beat the heart of the process:“Rather than looking at architectural solutio ns from the standpoint of one question (What are they made of?) I will introduce three additional questions: What ends/uses do they fulfill? How are they made? And, finally, how do they transform themselves?" (Prost 1992,p. 13). The first two questions query the design process. The work, or built architectural solution, appears in a nodal position, constituting the end of the design and realization process and, at the same time, marking the beginning of another process,that of appropriation and transformation through social practices (whence the notion of a work in progress). The work,which the architect considers to be the final solution, acquires the status of an initial solution for the occupant, a sort of infrastructure that provides support to his projects and initiatives regarding his dwelling.In other words, it is "free of its designers and status as the final solution and open to the social practices and status of the initial solution" (Prost 1992, p.133).The user is the one who brings closure to the overall process. Once the solution(or solutions) is delivered, it becomes an open work: open to the user's life experience, his or her appropriation and transformation projects. This concept of openwork, formulated by Umberto Eco and taken here in its architectural sense, is borrowed from Philippe Boudon (1969).Boudon's study of those living in a residential neighborhood designed and completed in 1926 by Le Corbusier at Pessac,near Bordeaux in France, shows the scope of transformations introduced into the work of a famous thinker of the Modern Movement by the occupants. Henri Lefebvre, who penned the preface to Boudon's book, underscores this act of acquisition: "And what did the occupants do?Instead of incorporating themselves into this receptacle and adapting to it impassively, they occupied it actively to a certain extent. They showed what it means to inhabit a place: in one activity. They worked on, changed and added to what they were given. What did they add? What they needed. Philippe Boudon shows the significance of the differences they made.They introduced qualities. They built a differentiated social space" (Lefebvre, 1969).It is in this sense that one of the proposals Boudon made in the study was the conclusion that architecture is an open work,in other words, open to the occupant's initiatives and corrections: "Based on an occupant's own expression, architecture can be considered an infrastructure upon which the occupant's free expression can evolve both qualitatively (combinations)and quantitatively (surfaces) within fairly broad boundaries" (Boudon, 1969, p. 106).We have seen that the user's logic extends far beyond the disciplinary logic in which we are involved. To end on a poetic note, I gladly offer Prevert's "Cancre" as a fitting comparison to the user:He says no with his headBut yes with his heartHe says yes to what he likesHe says no to the teacherHe standsHe is questionedAnd all the problems are posedSuddenly he is overcome with uncontrollable laughterAnd he erases everythingThe numbers and the wordsThe dates and namesThe sentences and the trapsAnd in spites of the teacher’s threatsAnd the jeers of the prodigal studentsWith chalk of all colorsOn the blackboard of the happiness .（Prevert,1972)Design Territories and the Logic of the Usersince the accession of design knowledge to the ranks of modern university departments, the built environment, which represents one of the main areas of study of this knowledge, has endured a huge fragmentation according to the analytical model of modern inquiry. It too finds itself fragmented into several disciplinary fields,most often erected into competing silos:product design, graphic design, interior design, architectural design, urban design,landscape design, and so on. This parceling of logic in itself can be quite beneficialto the extent that it ensures a certain depth of thinking when the time comes to consider objects of limited and very specific knowledge. Nonetheless, in its most basic and essential aspects, there is one object of knowledge that continues to elude the understanding and reasoning of all these disciplinary silos. It continues to stand as an obstacle and challenge to all the leak-ages of what Henri Raymond (1984) calls"spatial rationality." We refer, of course, to the occupant, the individual who is commonly called the user of the built world: The occupant . . . remains at the heart of architecture: as a negative, refusing to dwell in theory, and as obstinacy,attaching himself obstinately to housing models that architectural reason has condemned. But he is also at the heart of the problem of spatial rationality:Should we plan without the occupant?How should we plan with him? . . . In all of this, the occupant's situation and skill can play a major role; we may be permitted to think that this is one ofthe future adventures of reason. pp.252-253)For the purposes of this essay, consider a very ordinary urban occurrence: An individual, a city dweller, strolls along Sainte-Catherine Street in Montreal, Canada, on a sunny autumn afternoon and, every so often, stops in front of a store window to examine and admire theobjects displayed.Two questions, existential at the very least,challenge design disciplines. First, in which disciplinary or professional boundaries does this person find himself? Is it in the product designer's, the graphic designer's,the interior designer's, the architect's, the urban designer's, or the landscape architect's? Each of these professionals would seem to have a right to claim that this person is truly within his field of expertise:Each would say, "He's my user." But does the person in front of the store window really care about knowing which disciplinary field he finds himself in, or at what moment he crosses over from one to the other? Yet, at that very moment, that actual experience or slice of life that the person in our example is undergoing in front of the store window is not fragmented into various experiences. The person is not telling himself, I'm living an architectural experience, now suddenly I'm going through a manufactured object experience, and now I'm off on an urban experience, and so on.These same questions can be asked in the same way for many other situations:a person seated at a table on a bistro terrace, or in an office at the top of a high-rise in New York City or Singapore with an inverted view of the city; a driver of a car or a city bus who manoeuvres through the streets of the city every day; a person waiting for the bus in a bus shelter; or a glazier working to repair part of the stained glass in a church, or perhaps even to repair the outside of a shop window on Sainte-Catherine Street in Montreal. In fact,these very ordinary urban occurrences in which our city dweller, or Homo Urbanus (Paquot, 1990), engages constitute a comprehensive or a total situation, according to the meaning of the concept advanced by Maurice Merleau-Ponty in his famous phenomenology of the body (Merleau-Ponty,1962). The experience that this city dweller lives is not fragmented at all; conversely, it is integral and whole. In an editorial on an issue of the journal Urbanisme devoted specifically to the theme of the user, Thierry Paquot readily points out and drives home this whole and total condition: He explains that the user "is first and foremost a human being, a mortal who exists,there, and tries to enable the plurality of his ego to express itself without accepting to have his personality parcelled out and broken down into tiny fragments. The user remains whole and refuses to divide himself up and play an infinite number of roles. This unity confers on him his identity and enables him, at all times and in all places, to be a user of the worjd" (Paquot,1999, p. 51).If our user's life experience is a total one,what idea have all these design disciplines come to respectively about this person who still lays no claim to any disciplinary field? Do they have or share a common conception of the user's human condition?(Arendt, 1958) Or instead do they hold different but complementary views? I would venture to say here that the user constitutes a phenomenon that, in essence, escapes disciplinary logic: The user is a transdisciplinary phenomenon, crossing all these disciplines without any one of them being able to claim complete right of ownership to understanding and acquiring all the issues that might flow out of each of the professional design practices. This complexity,whichcharacterizes the phenomenon of the user, is the true difficulty and presents an obstacle and a challenge to understanding among our disciplines. Based on this, it might appear that a setback exists for the design disciplines, but in reality, this is an opportunity to be seized. First and foremost,it is a chance for our disciplines to cultivate a certain spirit of modesty toward what we know:The object of thought is,by principle,always superior to the thought process that attempts to understand it, to grasp or even to manipulate it. As well, design disciplines might 6nd there a common issue to unite them when the time comes to assign themes to the disciplinary and professional specialties unique to each of them; our achievements and professional work are aimed at the same user whose life experience is not divided. Given this, the theme of the user could be used in true arbitration fashion to clarify boundary disputes among our disciplines.设计空间的意义Tiiu Vaikla-Poldma关键词：空间设计，居住区，用户自从加入设计知识的现代大学的部门,建筑环境,代表的一个主要研究领域的知识,根据现代调查的分析模型经历了一个巨大的碎片变革。

目录介绍： (1)1实验性 (2)1.1污水和活性污泥 (2)1.2实验性设定和过程 (3)1.3测试和监视抽样采取从混杂的醇中过滤 (4)2.结果 (5)2.1泥浆化颗粒化 (5)2.2 EGSB操作流出物的稳定酸碱度 (6)3 .TPD污水的理论演算和讨论 (7)3.1酸平衡和中间转换能力酸碱度 (7)3..2VFA在厌氧过程用二种主要方式的二个主要小组细菌介入降低有机基体 (8)3..3VFA和强碱性平衡强碱性的典型的变异 (8)4.结论 (9)命名原则 (10)参考文献 (10)Introduction (12)1Experimental (14)2 Results (16)3 Theoretical calculation and discussions (19)4 Conclusions (22)recomference: (23)稳定性的膨胀的颗粒状污泥床对涤纶人造丝印染废水的处理摘要涤纶人造丝印染污水(TPD污水)，包含平均7.0mg/L对苯二甲酸（技术援助）作为主要碳来源和特性污染物，从属于膨胀的颗粒状污泥床(EGSB)过程。

EGSB过程的稳定由实验室实验首先研究了。

TA电离是影响系统的酸基度平衡的优势的因素。

废水的 TA 的高集中造成充份的缓冲能力使中立脂肪酸 (VFA) 从培养基降格产生而且提供了没有空气而能生活强的系统挥发性基础抵抗 pH 减少到低于6.5 。

挥发性脂肪和不饱和脂肪酸除每小时次于6.35和挥发性脂肪积极从事它的极大值以外几乎没有抑制上去沼气生产。

与颗粒化被激活的污泥一起,有机撤除效率和沼气的生产率逐渐增加了和变得更加稳定。

在启动后,COD撤除效率增加到57%-64%,酸碱度被稳定在范围的7.99～6.04,和沼气的生产率是相对高。

酸碱度污泥颗粒化的,适当的流入物和装载使EGSB过程稳定。

EGSB反应器是稳定的为TPD废水处理。

关键词:膨胀的颗粒状泥床;稳定;绝氧处理;印染污水介绍：为了获得柔韧的和优雅的如丝一样涤纶结构、涤纶本色布总是同碱分解过程被预先处理, NaOH以某一温度和压力涤纶纤维被水解在某种程度上。

(文档含英文原文和中文翻译)中英文资料对照外文翻译文献综述附件1：外文翻译译文室内装饰简述一室内装饰设计要素1 空间要素空间的合理化并给人们以美的感受是设计基本的任务。

要勇于探索时代、技术赋于空间的新形象，不要拘泥于过去形成的空间形象。

2 色彩要求室内色彩除对视觉环境产生影响外，还直接影响人们的情绪、心理。

科学的用色有利于工作，有助于健康。

色彩处理得当既能符合功能要求又能取得美的效果。

室内色彩除了必须遵守一般的色彩规律外，还随着时代审美观的变化而有所不同。

3 光影要求人类喜爱大自然的美景，常常把阳光直接引入室内，以消除室内的黑暗感和封闭感，特别是顶光和柔和的散射光，使室内空间更为亲切自然。

光影的变换，使室内更加丰富多彩，给人以多种感受。

4 装饰要素室内整体空间中不可缺少的建筑构件、如柱子、墙面等，结合功能需要加以装饰，可共同构成完美的室内环境。

充分利用不同装饰材料的质地特征，可以获得千变完化和不同风格的室内艺术效果，同时还能体现地区的历史文化特征。

5 陈设要素室内家具、地毯、窗帘等，均为生活必需品，其造型往往具有陈设特征，大多数起着装饰作用。

实用和装饰二者应互相协调，求的功能和形式统一而有变化，使室内空间舒适得体，富有个性。

6 绿化要素室内设计中绿化以成为改善室内环境的重要手段。

室内移花栽木，利用绿化和小品以沟通室内外环境、扩大室内空间感及美化空间均起着积极作用。

二室内装饰设计的基本原则1 室内装饰设计要满足使用功能要求室内设计是以创造良好的室内空间环境为宗旨，使室内环境合理化、舒适化、科学化；要考虑人们的活动规律处理好空间关系，空间尺寸，空间比例；合理配置陈设与家具，妥善解决室内通风，采光与照明，注意室内色调的总体效果。

2 室内装饰设计要满足精神功能要求室内设计的精神就是要影响人们的情感，乃至影响人们的意志和行动，所以要研究人们的认识特征和规律；研究人的情感与意志；研究人和环境的相互作用。

设计者要运用各种理论和手段去冲击影响人的情感，使其升华达到预期的设计效果。

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我们在分析这些要素时，要学会用抽象的眼光去看。
环境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要境艺术的设计要素
环境艺术的设计要素
环境艺术的设计要素
环境艺术的原则
1.有外无内 穴居人类，虽然证据显 示他们有惊人的创造力，但是只是利 用而非创造。公元前2500年，开始出 现了真正意义的建筑，如埃及人的金 字塔，但这只是服从于外部的建造， 真正的内部空间还没出现。
环境艺术的空间概念
2.内外分隔 公元100年，古罗 马万神庙出现了第一个塑造的室内 空间，圆形的穹顶至今令人感到震 撼，但是外部形势被忽略。技术与 观念的困境是外部形势与内部空间 的分离又持续了2000年。

建筑照明：光与空间设计The Architectural Lighting: Designing with Light and Space建筑照明：光与空间设计HervéDescottes with Cecilia E. Ramos纽约普林斯顿建筑出版社关键词：建筑室内照明、视觉、距离、勒克斯介绍我们发现美不是事物本身，而是在阴影中的图案，是明与暗，是一个事物对另一个事物的重建。

-Junichiro¯谷崎润一郎我们对视觉世界的理解定义是，通过材料和灯光，使两个看似相反的现象密不可分的联系在一起。

光通过与材料的相互作用对人的眼睛揭示材料在视觉上的呈现源于光的存在。

这种存在于材料和光之间的依存关系、形式和无形的氛围，定义我们所居住的视觉环境。

当光的影响违背科学的境界被定义为能源时，它进入该体验中。

光在视觉排列无尽的阵列中渲染我们的世界，揭示颜色、纹理、距离，或时间的流逝。

这些和其他品质的光会影响情绪并触发记忆，造成地方特殊性。

我们经常回忆的空间是它的感觉或“氛围”，而不是它的形式感的细节。

在实践层面上，光线通过视觉极限可以建立空间的定义层次结构和序列，或移动，或暂停，来确保其知名度。

作为建筑照明设计师，我们的角色是把光做为介质，通过它来改变和提升建筑意向的体验方式。

建筑照明设计是无限的田地栽培出的一个字符：建筑、艺术和工程只不过是我们从中得出的很少的知识。

这种多元化的模式是照明方式作为自己的特色而出现的基础和出发点。

同样，建筑照明的历史并没有在一个奇异的轨迹展现。

相反，作为人类试图利用光在建筑照明追求灵性、社会组织，或在建筑环境的实际或美观目的的名称的独立叙述可以交织在一起，来讲述它的故事。

建筑照明设计的发展总是伴随着新的建筑形式、技术，以及许多的创新愿景而出现。

我们可以将万神殿，或者一个拜占庭教堂的纺纱吊灯，或者十九世纪在前房出现的燃气路灯看作为我们复杂历史的基准。

仅在20世纪,照明设计的独立学科融合,然而充满自己的专业的选区。

2011-12-2东大毕业设计优秀外文译文---副本东南大学成贤学院毕业设计（论文）译文建筑与艺术系环境艺术设计专业学生姓名学号 05107205起讫日期 2011.4 --- 2011.5设计地点指导教师环境艺术环境艺术是一个新的，多学科的课题，涉及艺术，城市设计，建筑，园林，雕塑，工业设计，壁画和旅游等与植物，水，石，金属及照明应用，由于环境艺术设计的特定的文化和历史的地方特色，创造出一个更加丰富多彩，多种多样的艺术生活空间。

在中国环境艺术的出现有其特殊的内涵。

中国环境艺术不仅局限在环境设计在建筑整体感上的概念，并且与“环境艺术”在西方的定义有所不同。

一般来说，中国环境艺术蕴涵强烈的生活气息，并强调实际应用。

现代环境艺术的概念在中国最早出现在80年代中期。

因此，环境艺术部门分别设立一所大学的艺术和建筑相当多，一些城市也开始附着在市政设计和价值观上开始重视环境艺术的地位。

经过多次讨论后，人们开始为环境艺术不断提高价值。

只有这样，我们生活的环境才能得到保护，改善或与公众的广泛参与和创建。

著名建筑师陈志华教授认为，环境艺术不应该只是局限在极少数隆重场合这一限制，而应充满我们日常生活的每一个角落。

环境艺潢等等。

尽管叫法很多，但其内涵相同，都是指围绕建筑所进行的设计和装饰活动。

要说有区别的话，那就是室内装修和室外装修的区别。

由此我们可以看出，室内设计的叫法也很不妥，其限定性概念显然是将室外装饰设计排斥在外，致使围绕建筑外立面和小环境的装饰设计，出现建筑、室内、园林、景观等各设计施工行业竟相插足的现象。

另一方面，环境艺术设计就其狭义（围绕建筑的室内外设计）上讲，叫法也算贴切。

但其广义的概念和范围就不得了了，环境艺术几乎涵盖了地球表面的所有地面环境和与美化装饰有关的所有设计领域。

环境科学针对全球关注的环境问题和热点，以及我们所面临的重大环境问题，重点开展水-土环境、大气环境（室内空气）、噪声及电磁污染等控制技术和对策研究，同时开展环境信息系统、城市环境规划管理等研究。

外文原文Design1.1 The Nature of DesignWe start with a basic assumption about design．Design is a purposeful activity．We have in mind some idea of a desired state．Design involves a conscious effort．To arrive．at a state of affairs in which certain characteristics are evident．The realization that a sharpened piece of wood picked up from the ground can be used to penetrate other objects does not constitute an act of design．The realization that if a blunt piece of wood is sharpened it can be used to penetrate other objects，however constitutes a rudimentary design act．The latter process is essentially purposeful, while the former is opportunistic．Design is also the process of originating systems and predicting how these systems will fulfill objectives．When we design we have an end in mind, but this end does not constitute the final artifact．The design is merely a description of the artifact from which predictions of performance can be made．A design is therefore an abstraction，providing a description of an artifact the can be interpreted by some other agent for purposes of manufacture or construction-1．Introduction to Knowledge-Based DesignA design can therefore consist of a set of instructions or some other abstraction suitable f0，interpretation and realization as a physical artifact．More specifically, design has been usefully described as a goal-directed activity that involves the making of decisions (Archer 1969)．We can translate this definition into the process of producing a set of descriptions of an late this definition into the process of producing a set of descriptions of an artifact that satisfy a set of given performance requirements and constraints．Design begins with the realization of need dissatisfaction with existing conditions and a realization that some course of action must be taken．A goal is set, the purpose of which is to attain a state of satisfaction in response to the need, and the ability to set goals and plan for their attainment is a powerful and essential human capability．We can even strive for goals that cannot be realized, such as the pot of gol d at the rainbow’s end．Even granting this assumption about the primacy of goals in design, we are at only the edge of understanding what design is．For a start, we often find itspecify the nature of the desired state．Goals themselves are the products of processes that are little understood．A strong determinant of the goals we set is oursystem of values the frameworks for our models of reality, our appreciation of what is worth striving for．These vary from culture to culture and between individuals．And individuals are not averse to changing their value systems to suit changes in situation．Even within a particular culture and given a particular goal with which most would agree such as the ‘'public good’’ it is unlikely that everyone would interpret that goal in quite the same way．Different designers would set different objectives．Given an agreement on objectives，fewer would agree on the way to reach these objectives．Furthermore，goals appear to be a product of what is possible．Goals rarely behave as autonomous entities，each of which can be realized independently．Goals interact．We often cannot know what is possible until we have undertaken some kind of exploration．Design sometimes appears as an activity of exploration，in which partial responses lead to the redefinition of goals (Bill 1987)．Design also appears to be ill—structured in the sense that there is no straightforward process to be followed．A designer may start with goals and work toward the design of objects that will satisfy these goals。