INTERIOR DESIGN

英文interior的汉语是什么意思英文interior的汉语是什么意思我们只有了解清楚英文单词nterior实际所表达的汉语意思，才能避免错用现象发生。

下文是店铺为大家准备了英语interior所指的汉语意思，希望能对大家有所帮助!interior的汉语意思英 [ntri(r)]；美 [ntri(r)]第三人称复数：interiors基本解释名词内部; 内政; 内地; 内心形容词内部的; 内地的，国内的; 内面的相关例句形容词1. She specialized in interior design.她专门从事室内设计。

2. An interior decorator designs and decorates the interior ofa room or building.室内装饰家设计，装饰房间或建筑物的内部。

3. The interior meaning of the poem finally dawned on him.他最终领悟了诗中隐含的深意。

interior的词典解释1. 内部The interior of something is the inside part of it.e.g. The interior of the house was furnished with heavy, old-fashioned pieces...房子里摆放着笨重的旧式家具。

e.g. The boat's interior badly needed painting.该船内部亟需油漆。

2. (建筑物、车辆等)内部的You use interior to describe something that is inside a building or vehicle.e.g. The interior walls were painted green...内墙漆成了绿色。

e.g. There is more interior space than in some rival cars...车内空间比有些同类车宽敞。

毕业设计英文资料翻译Translation of the English Documents for Graduation DesignInterior DesignSusan YelavichInterior design embraces not only the decoration and furnishing of space, but also considerations of space planning, lighting, and programmatic issues pertaining to user behaviors, ranging from specific issues of accessibility to the nature of the activities to be conducted in the space. The hallmark of interior design today is a new elasticity in typologies, seen most dramatically in the domestication of commercial and public spaces.Interior design encompasses both the programmatic planning and physical treatment of interior space: the projection of its use and the nature of its furnishings and surfaces, that is, walls, floors, and ceilings. Interior design is distinguished from interior decoration in the scope of its purview. Decorators are primarily concerned with the selection of furnishings, whiledesigners integrate the discrete elements of décor into programmatic concerns of space and use. Interior designers generally practice collaboratively with architects on the interiors of spaces built from the ground up, but they also work independently, particularly in the case of renovations. There is also a strong history of architect-designed interiors, rooted in the concept of Gesamtkunstwerk, the total work of art, that came out of the Arts & Crafts movement of the late nineteenth and early twentieth century. It is no accident that its strongest proponents (from Frank Lloyd Wright to Mies van der Rohe) extended their practices to include the realm of interiors during the nascency of the interior-design profession. Indeed, it was a defensive measure taken by architects who viewed formal intervention by an interior decorator or designer as a threat to the integrity of their aesthetic.Today, apart from strict modernists like Richard Meier who place a premium on homogeneity, architects who take on the role of interior designer (and their numbers are growing) are more likely to be eclectic in philosophy and practice, paralleling the twenty-first century's valorization of plurality. Nonetheless, the bias against interior designers and the realm of the interior itself continues to persist. Critical discussions of the interior have been hampered by its popular perception as a container of ephemera. Furthermore, conventional views of the interior have been fraught with biases: class biases related to centuries-old associations with tradesmen and gender biases related to the depiction of the decorating profession as primarily the domain of women and gay men. As a result, the credibility of the interior as an expressionof cultural values has been seriously impaired.However, the conditions and the light in which culture-at-large is understood are changing under the impact of globalization. The distinctions between “high” culture and “low” culture are dissipating in a more tolerant climate that encourages the cross-fertilization between the two poles. Likewise, there are more frequent instances of productive borrowings among architecture, design, and decoration, once considered exclusive domains. And while the fields of architecture, interior design, and interior decoration still have different educational protocols and different concentrations of emphasis, they are showing a greater mutuality of interest.Another way to think of this emergent synthesis is to substitute the triad of “architecture, interior design, and decoration” with “modernity, technology, and history.” One of the hallmarks of the postmodern era is a heightened awareness of the role of the past in shaping thepresent. In the interior, this manifests itself in a renewed interest in ornament, in evidence of craft and materiality, and in spatial complexities, all running parallel to the ongoing project of modernity.Even more significantly, there is a new elasticity in typologies. Today, the traditional typologies of the interior—house, loft, office, restaurant, and so on—strain to control their borders. Evidence of programmatic convergences can clearly be seen in public and commercial spaces that aspire to be both more user-friendly and consumer-conscious. Growing numbers of private hospitals (in competition for patients) employ amenities and form languages inspired by luxury spas; at the same time, many gyms and health clubs are adopting the clinical mien of medical facilities to convince their clients of the value of their services. The same relaxation of interior protocols can be seen in offices that co-opt the informal, live-work ethic of the artist's loft, and in hotels that use the language (and contents) of galleries. Similarly, increasing numbers of grocery stores and bookstores include spaces and furniture for eating and socializing.Likewise, there is a new comfort with stylistic convergences in interiors that appropriate and recombine disparate quotations from design history. These are exemplified in spaces such as Rem Koolhaas' Casa da Musica (2005) in Porto, Portugal (with its inventive use of traditional Portuguese tiles), and Herzog & de Meuron's Walker Art Center (2005) in Minneapolis, Minnesota (where stylized acanthus-leaf patterns are used to mark gallery entrances). These interiors make an art out of hybridism. They do not simply mix and match period furnishings and styles, but refilter them through a contemporary lens.Another hallmark of the contemporary interior is the overt incorporation of narrative. Tightly themed environments persist in retail spaces such as Ralph Lauren's clothing stores and in entertainment spaces like Las Vegas casinos. However, a more playful and less linear approach to narrative is increasingly common.Of all the typologies of the interior, the residence has been least affected by change, apart from ephemeral trends such as outdoor kitchens and palatial bathrooms. However, the narrative of the residence dominates interior design at large. It has become the catalyst for rethinking a host of spaces once firmly isolated from it, ranging from the secretary's cubicle, to the nurse's station, to the librarian's reading room. Considerations such as the accommodation of personalaccessories in the work space, the use of color in hospitals, and the provision of couches in libraries are increasingly common, to cite just three examples. The domestication of such environments (with curtains and wallpaper, among other residential elements) provides more comfort, more reassurance, and more pleasure to domains formerly defined by institutional prohibitions and social exclusions. Unquestionably, these changes in public and commercial spaces are indebted to the liberation movements of the late 1960s. The battles fought against barriers of race, class, gender, and physical ability laid the groundwork for a larger climate of hospitality and accommodation.It is also possible to detect a wholly other agenda in the popularity of the residential model. The introduction of domestic amenities into commercial spaces, such as recreation spaces in office interiors, can also be construed as part of a wider attempt to put a more acceptable face on the workings of free-market capitalism. In this view, interior design dons the mask of entertainment. There is nothing new about the charade. Every interior is fundamentally a stage set. Nor is it particularly insidious—as long as the conceit is transparent. Danger surfaces, however, when illusion becomes delusion—when design overcompensates for the realities of illness with patronizing sentiment, or when offices become surrogate apartments because of the relentless demands of a round-the-clock economy. In these instances, design relinquishes its potential to transform daily life in favor of what amounts to little more than a facile re-branding of space.Another force is driving the domestication of the interior and that is the enlarged public awareness of design and designers. There is a growing popular demand for design as amenity and status symbol, stimulated by the proliferation of shelter magazines, television shows devoted to home decorating, and the advertising campaigns of commercial entities such as Target and Ikea. In the Western world, prosperity, combined with the appetite of the media, has all but fetishized the interior, yielding yet another reflection of the narcissism of aconsumer-driven society. On the one hand, there are positive, democratic outcomes of the growing public profile of design that can be seen in the rise of do-it-yourself web sites and enterprises like Home Depot that emphasize self-reliance. It can also be argued, more generally, that the reconsideration of beauty implicit in the valorization of design is an ameliorating social phenomenon by virtue of its propensity to inspire improvement. On the other hand, thepopularization of interior design through personas such as Philippe Starck, Martha Stewart, and Barbara Barry has encouraged a superficial understanding of the interior that is more focused on objects than it is on behaviors and interactions among objects.For all the recent explosion of interest in interior design, it remains, however, a fundamentally conservative arena of design, rooted as it is in notions of enclosure, security, and comfort. This perception has been exacerbated by the growth of specialized practices focused, for example, on healthcare and hospitality. While such firms offer deep knowledge of the psychology, mechanics, and economies of particular environments, they also perpetuate distinctions that hinder a more integral approach to the interior as an extension of architecture and even the landscape outside. One notable exception is the growth of design and architecture firms accruing expertise in sustainable materials and their applications to the interior. At the same time that design firms are identifying themselves with sustainability and promoting themselves as environmentalists, a movement is building to incorporate environmental responsibility within normative practice.Over the past four decades, efforts have intensified to professionalize the field of interior design and to accord it a status equal to that of architecture. In the US and Canada the Council for Interior Design Accreditation, formerly known as FIDER, reviews interior design education programs at colleges and universities to regulate standards of practice. Furthermore, the International Council of Societies of Industrial Design (ICSID) embraces interior design within its purview, defining it as part of “intellectual profession, and not simply a trade or a service for enterprises.”Yet, the education of interior designers remains tremendously variable, with no uniformity of pedagogy. Hence, interior design continues to be perceived as an arena open to the specialist and the amateur. This perception is indicative of both the relatively short history of the profession itself and the broader cultural forces of inclusion and interactivity that mark a global society.。

装修知识点总结英语Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. It involves a combination of creative and technical solutions to create a functional and visually appealing interior environment.In this article, we will explore several key knowledge points in interior design, including the principles of design, color theory, furniture and accessories, lighting, and sustainable design.Principles of DesignThe principles of design are the fundamental concepts that designers use to create visually appealing and functional spaces. These principles include balance, proportion, rhythm, emphasis, and unity.Balance refers to the distribution of visual weight in a room. There are three types of balance: symmetrical, asymmetrical, and radial. Symmetrical balance is when objects are arranged evenly on either side of a central axis, while asymmetrical balance involves arranging objects of different sizes and shapes to achieve visual equilibrium. Radial balance is achieved when objects are arranged around a central point.Proportion is the relationship between the size, shape, and position of different elements in a room. It is important to ensure that the proportions of furniture and other elements are in harmony with the overall space.Rhythm is the repeated use of certain design elements to create a sense of movement and visual interest. It can be achieved through the use of patterns, colors, and textures.Emphasis is the focal point of a room, which draws the viewer's attention and creates a sense of visual hierarchy. It can be achieved through the use of color, texture, or form.Unity refers to the cohesive relationship between all the elements in a room. It is important to ensure that all the elements work together to create a harmonious and balanced space. Color TheoryColor is an important element in interior design that can influence the mood, perception, and ambiance of a space. Understanding color theory is essential for creating harmonious and visually appealing interiors.The color wheel is a useful tool for understanding the relationships between different colors. It consists of primary colors (red, yellow, and blue), secondary colors (orange, green, and purple), and tertiary colors (a combination of a primary and a secondary color).Color harmony is the use of colors that complement each other and create a pleasing visual effect. There are several color harmony schemes, including monochromatic, analogous,complementary, and triadic. Monochromatic schemes use different shades and tints of a single color, while analogous schemes use colors that are adjacent to each other on the color wheel. Complementary schemes use colors that are opposite to each other on the color wheel, while triadic schemes use three colors that are equidistant from each other on the color wheel.Furniture and AccessoriesFurniture and accessories play a crucial role in interior design, as they contribute to the functionality and aesthetic of a space. When selecting furniture and accessories, it is important to consider the scale, proportion, and style of the room.Scale refers to the size of furniture in relation to the size of the room. It is important to ensure that the furniture is proportionate to the space and does not overwhelm it.Proportion is the relationship between the size, shape, and position of furniture and other elements in a room. It is important to ensure that the proportions of furniture and accessories are in harmony with the overall space.Style refers to the aesthetic and design elements of furniture and accessories. There are various furniture styles, including modern, traditional, contemporary, and eclectic. It is important to select furniture and accessories that complement the style of the room and create a cohesive look.LightingLighting is an essential element in interior design that can influence the mood, atmosphere, and functionality of a space. There are three main types of lighting: ambient, task, and accent.Ambient lighting provides overall illumination and creates a comfortable and inviting atmosphere. It can be achieved through the use of ceiling-mounted fixtures, wall sconces, and floor lamps.Task lighting is used to provide focused illumination for specific activities, such as reading, cooking, or working. It can be achieved through the use of desk lamps, pendant lights, and under-cabinet lighting.Accent lighting is used to highlight and emphasize specific architectural features, artwork, or objects in a room. It can be achieved through the use of track lighting, recessed lighting, and wall-mounted fixtures.In addition to the types of lighting, it is important to consider the color temperature, brightness, and placement of lighting fixtures to create a balanced and visually appealing environment.Sustainable DesignSustainable design, also known as green design, is an approach to interior design that focuses on creating healthier, more energy-efficient, and environmentally friendly spaces. It involves the use of sustainable materials, energy-efficient lighting, and eco-friendly practices.Sustainable materials are those that have a minimal impact on the environment, such as recycled or renewable materials. Examples of sustainable materials include bamboo, cork, reclaimed wood, and recycled glass.Energy-efficient lighting is a key element of sustainable design, as it can reduce energy consumption and lower electricity bills. LED lighting, daylighting, and sensor-controlled lighting are examples of energy-efficient lighting solutions.Eco-friendly practices, such as proper waste management, water conservation, and indoor air quality, are important aspects of sustainable design. It is important to consider the long-term impact of interior design decisions on the environment and to prioritize sustainability in the design process.ConclusionInterior design is a multifaceted discipline that encompasses creativity, technical expertise, and a deep understanding of the principles and practices of design. By understanding the principles of design, color theory, furniture and accessories, lighting, and sustainable design, designers can create harmonious, functional, and visually appealing interiors. It is essential for designers to stay abreast of new trends, materials, and technologies to create innovative and sustainable living and working spaces.。

Interior Design Supports Art Education: A Case StudyInterior design, as a field of study, is a rapidly growing area of interest – particularly for teenagers in the United States. Part of this interest stems from the proliferation ofdesign-related reality shows available through television media. Some art educators and curriculum specialists in the nation perceive the study of interior spaces as a ‘practical application’ of the arts.This article discusses an experiential design problem, originally used in higher education interior design studio courses that was modified and shared with students in third grade to address national academic standards. Later, this same project was modified for use with high school students in the educator’s community a nd with international design students in South Korea.Lastly, the project was presented in a workshop to art education students at a higher education institution. The project was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem-solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. Findings indicate that the project supported several visual art standards, including perception and community. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting art education.IntroductionThe design of interior spaces is a growing area of interest in the United States. Studies indicate that people spend 90 per cent of their time indoors, thereby making the quality design of interiors critical to the health and welfare of the population. Youth have been unconsciously encouraged since their childhood to develop awareness of their personal interior spaces and furnishings through popular storybooks they read that introduce the awareness of scale, proportion and ergonomics at a very young age (e.g. Three Little Bears and Alice in Wonderland). More recently, teens in the United States have become unexpectedly ‘hooked’ on design related reality shows such as Trading Spaces, Changing Rooms and Design on a Dime. Although Trading Spaces was originally intended for adults, according to the Wall Street Journal article titled ‘The Teen-Room Makeover’ (18 October 2002) the audience has more than 125,000 viewers aged 12 to 17 [1]. In support of that finding, a survey conducted in 2003 for a national chain of hardware stores discovered 65 per cent of teens said they have watched home improvement-related television shows [2].Teens seemingly have a growing interest in the design of interior spaces.In the United States in 2002, a qualitative study was developed to determine if interior design subject-matter could support national academic standards in elementary and secondary schools (kindergarten – twelfth grade) [3]. Findings of the study indicated that art educators and curriculum specialists perceived interior design to be supportive in meeting their standards as a type of ‘practical application’ of the arts. Perceptions of the curriculum specialists indicated they were looking for new ways to interpret fine art standards in their existing curriculum and that interior design offered one solution. As a result, the researcher, who was an interior design educator, was encouraged to identify and develop a project or lesson plan that could introduce children and youth to the importance of well-designed interior spaces yet support an art education standard in the nation.This article discusses an experiential interior design project that was modified from an exercise used in the freshman and sophomore college studio classes and shared with students in third grade, high school, and with international students in South Korea by this interior design educator. The educator was later invited to present this project to art education teachers at her university. The project supported several school district visual art standards, including perception and community. It was modified to address (1) the age group level and (2) a topic relevant to the audience. Goals of the design project were: (1) to explore creative problem solving, (2) to explore the application of design elements and principles, and (3) to increase student understanding of spatial relationships within an interior environment. This project may be of interest to current and future art educators and others interested in the potential of interior design content supporting visual art standards.Review of literatureThe review of literature briefly discusses (1) experiential learning theory, (2) findings from a qualitative study involving art educators, and (3) the interior design link with art education. The interior design project description and process of application will follow.Experiential learningExperiential learning theory, as an application of cognitive/perceptual models, is a tool toenhance the cognitive process of students. Specifically, the experiential learning cycleinvolves a concrete experience that leads to observations and reflections then to formation of abstract concepts and generalisations, before finally testing implications from concepts in new situations [4].The Association for Experiential Education defines experiential education astheprocess by which a learner constructs knowledge, skill and value from direct experience [5]. Drengson [6] defines experiential education as the process of practical engagement withconcepts and skills applied in a practical setting and delivered through physical and practical mental activity.One of the key components to enhance student learning is reflection. Dewey [7] suggests that to have meaning, an experience must be combined with thought. Kolb [8] suggests that reflections can offer a potential source of powerful data to link theory to practice. The mental engagement of an experiential learner can involve questioning, investigation, experimentation, curiosity, problem-solving, assuming responsibility, creativity and the construction of meaning [9].Experiential learning offers the spontaneous opportunity for learning, whether from unplanned moments, natural consequences, mistakes or successes [10]. Holistically, it involves not only the cognitive but also any combination of the senses, the emotions, and the physical [11].Qualitative study involving art educatorsIn 2001, a study was conducted to determine if interior design may be supportive tokindergarten – twelfth grade (K–12) teachers in meeting national academic standards,including the arts [12]. To understand perceptions of experts in interior design and elementary and secondary education, five focus group session sand six personal interviews were conducted with interior design educators, practitioners,K–12 teachers (elementary, junior high, and high school levels), national standards curriculum specialists (local and state level), and school-to-career curriculum specialists from June 2001 to April 2002[13].Focus group findings indicated that K–12teachers, at both elementary and secondary levels, felt that interior design could be supportive in meeting visual art standards because youth are frequently analysing their personal and public spaces. Participants described specific examples of interior design materials they currently needed in their course work to include: examples of good and bad interior spaces, information about elements and principles of design as they relate to interior spaces, and hands-on col our wheels of sturdy materials. In addition they requested that the materials be low cost, stimulating,‘touchable’,recyclable, self-contained, and fun. Lesson plans the visual art teachers suggested included:• reinvention of the ‘shoe box’ projec t;• development of well-known stories (The Three Pigs, Three Little Bears, and Alice in Wonderland) into space models to teach proportion and scale. In addition, it was suggestedthe following lesson plan: use of Goldilocks story to analyse ‘client or consumer needs’;• use of a Dr Seuss story (literary passage) to generate a conceptual model that enhances creativity;• study of cultural spaces at the junior high level that would enhance study of personal expression of identity in interiors [14].The visual arts curriculum specialists indicated hat interior design –as a ‘practical application’ should be introduced in elementary levels where there is a ‘small window of opportunity’ to give good information about the visual arts. See Table 1 fo r an example of the visual art standards in kindergarten – third grade levels. One visual art specialist advocated that the design process was more important to teach than a particular design method. He suggested moving students from designing personal spaces – and the study of elements and principles of design – in elementary levels to the analysis of private and public spaces in the junior high level. Then the high school levels could be reserved for additional indepth Exploration.Today, junior high and high school students are quite attracted to design-related reality shows. Over the last five years, the number of designrelated television shows has increased dramatically [15]. Why are these shows so attractive to teens and young adults? Rodriguez [16]has suggested that this interest is linked to the teens need for expression of self andself-identity.An individual’s unique identity is established through personalisation of space, which is critical to overall development of self [17]. Developing a sense of self involves the use of symbols to communicate to others one’s personal underlying identity.Interior design link with art educationIt is not common for interior design to be linked with art education in K–12 grade levels in the United States. However, the Foundation for Interior Design EducationResearch[18]standards and guidelines – the accreditation organization for higher education interior design programmes in the nation – reveal that there are many shared areas between visual arts and interior design (e.g.elements and principles of design).Rasmussen and Wright [19]advocate the need for a new model for art education. The new model should offer youth an aesthetic education that does more than just serve the traditional concerns of established arts curriculum. Experiences indicate that young people try to make sense of their own lives by creating contextual understanding through actively, and intentionally, making connections to signs, perceptions and experiences. This is a challenge to develop a new art education model that creates a balance between social andcontextual needs, knowledge of young people, and theaesthetic medium itself.The study of interior spaces offers one such context for learning in the physical environment.People spend 90 per cent of their time in interior spaces [20]. Youth consciously or unconsciously, analyse and respond to their near environment. They also learn best if they understand why they are learning what they are learning. Application of design and art to everyday life can assist in making connections in student learning, and develop more awareness of good design as well as an appreciation of the arts. Youth need theopportunity to learn more about design and human behavior so they can learn they have choices about how supportive their environments can be. Children can [determine] how design influences their behaviors; howdesign can be used to manipulate behavior; how design can encourage or discourage conversation, establish status, put people in power positions, increase or decrease anxiety [21].Therefore, based on (1) the experiential learning theoretical underpinnings, (2) recommendations made by art educators and curriculum specialists, and (3) a call for a new ways of teaching art education, an interior design educator at a higher education institution modified an experiential design project that involved the use of elements and principles of design and an opportunity for self-expression of personal spaces. The designproblem of the personal space was changed based on the grade level.Case study project descriptionAlthough art educators and curriculum specialists perceived that interior design content could be supportive to visual art standards, it was determined that a case study project needed to be developed and presented to various grade levels. It was also determined that a conceptual model of interior spaces should be used toenhance student creativity and exploration rather than a finite model that would offer too many rules and boundaries. Project descriptionThe experiential interior design project involved the construction of athree-dimensional concept model using 44 triangular and rectangular pieces of cardstock (stiff) paper in a neutral colour [22]. The objective was to discover, manipulate and create interior spaces based on a given design problem (e.g. design your space station on a planet of your choice or design your home in the Rocky Mountains of Colorado). The purpose ofthe project was to encourage students to design a conceptual structure from the interior out, keep-ing in mind the function of the building. The student’s model had to incorporate a minimum of six spaces and three levels to encourage vertical as well as horizontal volumes. All 44 pieces of cardstock had to be used in the finished model, which sometimes posed achallenge to the youth. The cardstock pieces could not be ripped, torn, or pierced. However, they could be bent and shapedaccording to the whim of the student.Flow from one space to another and one level to another was emphasized. The decision-making design process was explained and encouraged.Outcomes consisted of a three-dimensional abstract model which, if successfully executed, demonstrated the break-down of traditional spatial paradigms. Design problemsEach student grade level was given a different design problem based on the academic standards that were to be met in that class. In some cases, several academic standards were addressed at the same time. Two national standards for visual arts in the United States were selected to be supported with this project: communication and perception. The communication standard indicates that students in kindergarten – third grade should recognise the use of the visual arts as a means of communication (e.g. select and use visual images, themes and ideas in their own work). The perception standard indicates that students know, understand and apply elements of visual arts and principles of design (e.g. Identify elements and principles of design).Third grade studentsAfter procuring appropriate permission, the design educator brought volunteer college-age interior design students to the elementary school to help administer the project. Three third grade classes (twenty students in each class) had just finished a science unit on space and orbits and were studying specific visual art standards. The children were asked to design a personal space station on a planet of their choice. The goal was to help students relate the newly learned science information to something in real life (e.g. Their home), yet encourage exploration of visual arts (see Figs. 2–4).Each team of students was given the same 44 pieces of cardstock (all cut out) in a plastic bag, a cardboard base (15” x 15” square) on which to build the model, and cellophane tape to use in constructing the model. To enhance reflection of this experiential project, each team of three students was asked to give a two-minute verbal presentation in front of the class on their finished model. In this manner, they could discuss their design solution and the design educator could assess their use of creativity through design elements and principles.The college students and design educator rotated through the three classrooms of students to answer questions, encourage use of design elements and principles, and applaud their creative exploration. The third grade teachers assisted in supporting the structure of the class and encouraging shy students who were reluctant to begin.It was interesting to observe that the children rarely built the models on their provided classroom tables. Instead,they moved to the floor space, located the base for the model in between team members, and began construction. Each team member assumed a role in the process. One team member seemed t o act as the ‘designer’, one as the ‘builder/construction crew’ and the last as the ‘supplier’ of materials. Students excitedlydiscussed the positioning of the triangular pieces of cardstock in their model, their rooms in their space stations, and the different ways to turn the model to create different vantage points.The teams of third graders had one hour to complete the models. Then their verbal presentations began, interspersed with questions and comments from the design educator and third grade teachers. Informal observations indicatedthat application of design elements and principles was strong – perhaps due to the consistent rectangular and triangular shapes that had been provided – thereby supporting the visual arts perception standard. Manipulation of shapes was innovative. Line, shape and form were used to provide movement through adjoining spaces and offered a sense of verticality. Interior volumes were created that supported human behaveour in interior spaces. For example, one team’s presentation discussed how their space station boasted an exercise room with trampolines to strengthen human muscles that weakened as a result of zero gravity in outer space. The communication standard was supported in their finished models in a couple ways. First there was a theme of design as it relates to protection from foreign objects. For example, one team’s space station on Saturn incorporated a force field to protect it from flying rocks. Other visual themes of security and safety evoked the implementation of security cameras, alien detectors, missile launchers, telescope laboratories, control stations and transport rooms. Another visual theme related to circulation. Circulation within the structure was depicted by the third graders through the use of escalators, stairs, elevators and poles. A third visual theme was unique human needs as they relate to interior spaces. Almost every team’s space station incorporated a room for their mothers! In addition, depending on the students’ personal interests, unique space station features ranged from chemical rooms to sandboxes. It was obvious in their multiple unique design solutions their use of creativity had been explored and enhanced.Evaluation and assessment that took place, after the classes were dismissed, indicated that the third grade teachers perceived that this experiential design project supported the visual arts standards in both the communication and perception components as well as the third grade science academic standard concerning space and orbits. In addition, the experiential component of the project had unexpected results when certain quiet, unassuming students in the class became animated and highly engaged in learning. One teacher shared her excitement with the design educator about a new connection that wasformed with one of students that she had not been able to connect with before the design exercise.High school studentsAfter the case study with the third grade students, it was determined to offer this project to high school students. Diversity students in a nearby community were invited to attend a complimentary design workshop at a local library. The interior design educator was asked to present a design problem that would relate to arteducation (see Figs. 6–8).Their problem was to use the same experiential project and shapes to design and construct a conceptual model of their new home or cabin in the Rocky Mountain region. The same project constraints existed. Due to the students’ ages, discussions took place prior to the exercise about innovative problem-solving, the exploration of creativity and the elements and principles of design used within the design process. Some of these elements and principles included:Scale. Awareness of human scale was addressed to develop understanding of proportion and scale of the structure and interior spaces. Shape. Triangular shapes were deliberately selected to encourage students to break paradigms of rectangular interior spaces.Colour. The cardstock pieces were of a neutral colour to enhance spatial composition rather than draw attention to colour usage or juxtaposition. Volume/Mass. The mass of thethree-dimensional model was important in communicating the use of common elements and principles of design (e.g. line, rhythm). Line. A variety of different lines (e.g. diagonal, horizontal) were investigated in the manipulation of the shapes. Space. Space was created through the manipulation of shapes. Theories of complexity, mystery and refuge within interior spaces were discussed. Informal assessment of the finished design models indicated that the design solutions werevery creative.Later that semester, by invitation, the same design project was taken to college students training to be art educators in a mini-workshop format. The art education students found the exercise effective in enhancing creativity and understanding how interior design can enhance understanding of visual arts.International studentsAlthough there was no intention to meet a national visual arts academic standard at a specific grade level, this same experiential design project was presented in Seoul, South Korea to college-aged international students. The design problem was to use the same 44 pieces to develop a design concept model for acommercial building in Seoul. Language translators were used to help the design educatorintroduce the project, guide the students through the process, and understand their verbal presentations at the end of the workshop.Students commented during and after the workshop how the model enhanced their visual literacy skills (they used different words) and creativity within the context of everyday life. The experiential nature of the workshop was seemingly a pleasure to them (see Figs.9–11).Discussion and conclusionThis interior design case study project was designed to be experiential in nature to enhance student learning of the visual arts. Student and teacher assessment of the various groups indicated enthusiasm for the design project because it enhanced creativity, explored multiple design solutions, related to real life, and increased their understanding of human behaviour within the context of the physical environment. Teacherassessment of the age groups indicated that the project did support visual art standards at the appropriate grade level. In addition, their assessment indicated satisfaction with the manner in which the interior design project encouraged student usage of the design elements and principles and the application of design to everyday living. Several instructors indicated that quiet and shy students in their class became engaged in the learning process, which had not been previously observed. Perception of art educators and art education students was that this project supported a variety of visual art standards such as perception and communication. This interior design case study project can be modified for various age and cultural groups and may be of interest to educators who are interested in working collaboratively with colleagues from other disciplines.Visual art programmes in the United States are being cut from the K–12 curriculum. By linking visual arts to an up-and-coming aesthetic field, such as interior design, there may be new ways to sustain and grow visual art programmes in the nation.References1. Orndoff, K. (2003) ASID American Society of Interior Designers 2003 Strategic Environment Report. Future Impact Education, p. 9.2. Levitz, S. (2004) Teens Hooked on Home Décor, London Free Press (Ontario, CA), 24 June, p. D2.3. Clemons, S. (2002) Collaborative Links with K–12: A Proposed Model Integrating Interior Design with National Education Standards, Journal of Interior Design, Vol. 28, No. 1, pp.40–8.4. Rubin, S. G. (1983) Overcoming Obstacles to Institutionalization of Experiential Learning Programs, New Directions for Experiential Learning, Vol. 20, pp. 43–54.5. Luckman, C. (1996) Defining Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 6–7.6. Drengson, A. R. (1995) What Means this Experience? in Kraft, R. J. & Sokofs, M. [Eds] The Theory of Experiential Education. Boulder, CO: Association for Experiential Education, pp. 87–93.7. Dewey, J. (1916) Democracy and Education. New York: Macmillan.8. Kolb, D. A. (1984). Experiential Learning: Experience as the Sources of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.9. Luckmann, C. op. cit.10. Ibid.11. Carver, R. (1996) Theory for Practice: A Framework for Thinking about Experiential Education, Journal of Experiential Education, Vol. 19, No. 1, pp. 8–13.12. Clemons, S. op. cit.13. Ibid.14. Ibid.15. Bien, L. (2003) Renovating how-to TV Shows in a Race to Duplicate Success of ‘Trading Spaces’. The Post Standard (Syracuse, NY), 31 October, p. E1.16. Rodriguez, E. M. (2003) Starting Young, Miami Herald, 28 December, p. H–1.17. Baillie S. & Goeters, P. (1997) Home as a Developmental Environment. Proceedings of the American Association of Housing Educators, New Orleans, LA, pp. 32–6.18. Foundation of Interior Design Education Research (FIDER) home page. Available from URL: / (Accessed 4th January 2005).19. Rasmussen, B & Wright, P. (2001) The theatre workshop as educational space: How imagined reality is voiced and conceived, International Journal of Education & the Arts, Vol. 2, No. 2, pp.1–13.20. Environmental Protection Agency (2006) An Introduction to Indoor Air Quality (online). Available from URL: /iaq/ ia-intro.html (Accessed 26th September 2006).21. InformeDesign (n.d.) Implications, Vol. 1, No. 2, p. 2 (online). Available from URL: /# (Accessed 4th January 2005).22. Curfman, J. & Clemons, S. (1992) From Forty-Four Pieces to a New Spatial Paradigm, in Birdsong, C. [Ed.] Proceedings of the Interior Design Educators Council Southwest Regional Meeting, New Orleans, pp. 2–4./detail/refdetail?tablename=SJWD_U&filename=SJWD00000744102&uid=WEEvR EcwSlJHSldSdnQ0SWZDdUlMV1dWZi9tOGkyYTBaTzBVQjVYeENXYVp4MVRJQjI3cmZRYS9YRmhvdnlxazJRPT 0=$9A4hF_YAuvQ5obgVAqNKPCYcEjKensW4IQMovwHtwkF4VYPoHbKxJw!!Interior Design in Augmented Reality EnvironmentABSTRACTThis article presents an application of Augmented Realitytechnology for interior design. Plus, an Educational InteriorDesign Project is reviewed. Along with the dramatic progress ofdigital technology, virtual information techniques are alsorequired for architectural projects. Thus, the new technology ofAugmented Reality offers many advantages for digitalarchitectural design and construction fields. AR is also beingconsidered as a new design approach for interior design. In an ARenvironment, the virtual furniture can be displayed and modifiedin real-time on the screen, allowing the user to have an interactiveexperience with the virtual furniture in a real-world environment.Here, AR environment is exploited as the new workingenvironment for architects in architectural design works, and thenthey can do their work conveniently as such collaborativediscussion through AR environment. Finally, this study proposesa newmethod for applying AR technology to interior designwork, where a user can view virtual furniture and communicatewith 3D virtual furniture data using a dynamic and flexible userinterface. Plus, all the properties of the virtual furniture can beadjusted using occlusion- based interaction method for a TangibleAugmented Reality. General TermsApplications of computer science in modeling, visualization andmultimedia, graphics and imaging, computer vision, human-computerinteraction, et al.KeywordsAugmented Reality, Tangible AR, CAAD, ARToolKit, Interiordesign.1. INTRODUCTIONVisualizing how a particular table or chair will look in a roombefore it is decorated is a difficult challenge for anyone. Hence,Augmented Reality (AR) technology has been proposed forinterior design applications by few previous authors, for example,Koller, C. Wooward, A. Petrovski; K. Hirokazu, et al. The relateddevices typically include data glassesconnected to a。

2020年室内设计外文书籍室内设计是一门综合性的学科，涉及空间规划、材料选择、色彩搭配、家具布局等各个方面。

随着全球化的发展，室内设计外文书籍也越来越受到设计师们的关注。

本文将介绍几本2020年出版的优质室内设计外文书籍，以供设计师们参考。

1. "Interior Design Illustrated" by Francis D. K. Ching and Corky Binggeli《Interior Design Illustrated》是一本经典的室内设计指南，由业界著名的建筑师Francis D. K. Ching以及室内设计师Corky Binggeli合著。

这本书通过图文结合的方式，展示了室内设计的基本原理、技巧和方法。

书中包含大量的示意图、草图和平面图，帮助读者更好地理解和应用设计概念。

此外，书中还涵盖了材料选择、照明设计、家具布局等方面的内容，对于室内设计师来说是一本非常实用的指南。

2. "Elements of Style: Designing a Home & a Life" by Erin Gates《Elements of Style: Designing a Home & a Life》是由室内设计师Erin Gates撰写的一本书籍。

这本书以个人故事的形式，探讨了室内设计与生活方式之间的关系。

作者分享了自己的设计经验、灵感来源以及如何根据个人喜好打造舒适的家居环境。

书中还包含了许多实用的设计提示和装饰建议，适用于任何风格的家居设计。

通过读这本书，室内设计师可以获得更多的灵感和创意，同时将设计与生活融合在一起。

3. "The Interior Design Reference & Specification Book" by Chris Grimley, Mimi Love, and Linda O'Shea《The Interior Design Reference & Specification Book》是一本集成了室内设计参考资料和规范的书籍。

英文室内设计方案流程Interior design process is a multifaceted and intricate endeavor that involves several crucial steps to transform an empty space into a well-designed and functional environment.室内设计流程是一个多方面且复杂的工作，需要经历多个关键步骤，将一个空间转变成一个设计精良且功能齐全的环境。

The first step in the interior design process is the initial consultation and assessment. During this stage, the designer meets with the client to understand their needs, preferences, and budget constraints.室内设计流程的第一步是初次咨询和评估。

在这个阶段，设计师会与客户会面，了解他们的需求、喜好和预算限制。

After gathering the necessary information during the initial consultation, the designer moves on to the conceptualization phase. This involves developing a design concept that aligns with the client's vision and requirements.在初次咨询中收集了必要的信息后，设计师会进入概念化阶段。

这个阶段包括制定与客户愿景和要求相一致的设计概念。

Once the design concept is approved by the client, the designer proceeds to the design development phase. This is where the details of the design are fleshed out, including space planning, material selection, and color schemes.一旦设计概念得到客户的认可，设计师将进入设计开发阶段。

高级设计师英语一、单词1. designer- 英语释义：a person whose job is to design things by making drawings of them or by planning how they will be made.- 用法：可作名词，指设计师；也可作形容词，意为由著名设计师设计的（常大写，用于品牌名等）。

- 双语例句：- She is a famous fashion designer. 她是一位著名的时装设计师。

- This is a designer handbag. 这是一个名牌手提包。

2. senior- 英语释义：higher in rank or position; having more experience or knowledge.- 用法：作形容词，可用于修饰人，表示职位、地位较高的，年长的，资深的；也可作名词，指较年长者或上级。

- 双语例句：- He is a senior designer in thispany. 他是这家公司的资深设计师。

- The seniors in the office are very helpful to the newers. 办公室里的前辈对新人很有帮助。

3. creativity- 英语释义：the ability to use your imagination to produce new ideas, make things etc.- 用法：名词，用于描述创造力。

- 双语例句：- Creativity is very important for a designer. 创造力对设计师来说非常重要。

- Her creativity is shown in every piece of her work. 她的创造力体现在她的每一件作品中。

4. innovation- 英语释义：a new idea, method, or invention.- 用法：名词，常表示创新、革新的事物或概念。

常用室内设计词汇-中英文对照室内设计—interior design 室内设计师- interior designer 建筑—architecture建筑师—architect 景观—landscape 家具—furniture 灯光-lighting照明—illumination 家居设计—residential design 商业设计—commercial design软装-FF＆E(furniture fixture and equipment）人体工程学-ergonomics空间—space 精品酒店—boutique hotel 草图—draft or sketch 规格-specification汇报或讲解—presentation 渲染或着色—rendering 透视—perspective规范-code 对称—symmetry 不对称—asymmetry 轴线—axis空间篇住宅类客厅,起居室—living room 餐厅-dinning room 玄关-foyer卧室-bedroom 主卧—master bedroom 次卧—second bedroom 客卧—guest bedroom厨房—Kitchen 厨岛kitchen island 书房—study room 衣帽间—cloakroom 卫生间—bathroom ，toilet ，bath 储藏室-storage 楼梯-stair阳台-balcony 花园—garden 露台-patio商业类1办公类接待处- reception 候客区-waiting Area or lounge会议室(小型的）-meeting room or seminar 会议室(大型的）—conference room办公室- office 经理办公室manager office 开放式的工作区-work area多功能室-multi-function room2酒店类入口—entrance 出口-exit 大堂-lobby 前厅-vestibule过道—corridor 休闲区，等候区—lounge 宴会厅—ballroom客房-guestroom 套间—suite 行政套房-executive suite 总统套房—presidential suite 健身中心—fitness center or gym 瑜伽-yoga泳池-swimming pool Spa 咖啡厅-cafe 酒吧—bar餐厅—restaurant 备餐—pantry电梯-elevation or lift 卫生间—restroom 男—men's 女women’s 影院-cinema商务中心—business center 行李间-luggage store 盥洗室-lavatory3其他类天花-ceiling 长廊—pavilion 零售店-retail store 大厅（堂）—hall 展览-gallery家具布艺灯具洁具篇1家具床—bed 沙发—sofa 长排沙发，睡椅-couch椅子-chair 扶手椅- armchair 咖啡几—coffee table 边几—side table 角几—end table 脚凳—footrest 吧台凳—stool 书桌—desk餐桌—dinning table 梳妆台—vanity table 柜子—cabinet 衣柜—wardrobe镜子—mirror 壁炉-fireplace 书架—bookshelf2布艺饰品布衣—fabric 织物—textile 枕头-pillow 靠垫-cushion窗帘—curtain 帐幔-drapery 地毯-carpet 小毯，垫子—mat垫衬—upholstery 壁纸—wallpaper 烛台-candlestick 油画—painting3灯具枝形吊灯—chandelier 吊灯—pendent lighting 灯—lamp 落地灯—floor lamp壁灯—wall sconce 嵌入式灯筒灯-recessed lighting 洗墙灯—wall wash荧光灯—fluorescent lighting 白炽灯—incandescent lighting (lamp）格栅灯-grille lamp 轨道射灯—track lighting 开关-switch4厨房与洁具水盆—sink 水龙头—faucet 冰箱—r efrigerator 抽油烟机-ventilator 烤箱-oven小铁架—racks 马桶-toilet 防溅板-backsplash 小便器—urinal浴盆-tub 喷淋—showerhead 毛巾架-tower bar材料篇石膏-plaster 石头-stone 大理—marble 砖—brick 木地板-wood floor复合地板—laminate floor 枫木—maple 胡桃- walnut 柚木—teak不锈钢—stainless steel 金属—metal 瓷的—ceramic 瓷砖—ceramic tile玻璃-glass 隔音板—acoustic panel施工图及其他篇施工图-working drawing 平面图-floor plan天花图-reflected ceiling plan 缩写RCP 地面铺装图—Floor Finish plan电气图—electrical plan 立面图-elevation剖面图-section 详图（大样图）- detail drawing空调系统-HVAC 比例-scale图表或图例—schedule or legend 尺寸(标注）dimension柱子—column 梁—beam 太阳能的—solar 户外的—outdoor。