室内设计外文翻译外文文献英文文献

室内设计外文翻译外文文献。

室内设计风格XXX and clean lines。

This style is perfect for those whowant a fresh and fun look in their home。

The use of XXX to the space.nal XXX colors。

intricate patterns。

XXX。

This style is perfect for those who XXX are often made of wood and feature XXX.XXX emphasizes clean lines。

neutral colors。

and a clutter-free space。

Furniture pieces are often sleek and modern。

with a XXX.XXX design is a mix of different styles and ds。

XXX and n。

as it combines XXX.XXX what style you choose。

it's important to stay true toyour own personal XXX and happy。

With the right design style。

your home can XXX you look forward to coming back to every day.To begin your design journey。

XXX peruse us designs。

you'll start to develop a sense of your preferences and dislikes。

This process will also introduce you to the vast array of XXX.XXX colors and materials。

自然简约的室内设计外文翻译文献Abstract:Natural and simple r design represents a way of life thatbrings us closer to nature。

___。

and focuses on the essence of living。

It ___: simplicity。

space。

taste。

___。

___.Analysis of the Phenomenon of Natural and Simple r DesignIn ancient times。

___。

ancient Indian rock-cut architecture。

and ___ and components with the main body of the building。

However。

in the early ___ century。

the Baroque era in Europe and the Rococo era in the mid-___ ___ and the main body of the building。

The external main body of the building and the internaln did not match in terms of usage years。

leading to the n of the main body of the building and ___ palace buildings and noble ns。

___ "decorative craftsmen" emerged。

who ___ the main body of the building。

ushering in the era of changing the "clothing" of buildings。

外文文献翻译(含：英文原文及中文译文)文献出处：Y Miyazaki. A Brief Description of Interior Decoration [J]. Building & Environment, 2005, 40(10):41-45.英文原文A Brief Description of Interior DecorationY Miyazaki一、An interior design element1 Spatial elementsThe rationalization of space and giving people a sense of beauty is the basic task of design. We must dare to explore the new image of the times and technologies that are endowed with space. We should not stick to the spatial image formed in the past.2 color requirementsIn addition to affecting the visual environment, indoor colors also directly affect people's emotions and psychology. Scientific use of color is good for work and helps health. The proper color processing can meet the functional requirements and achieve the beauty effect. In addition to observing the general laws of color, interior colors also vary with the aesthetics of the times.3 light requirementsHumans love the beauty of nature and often direct sunlight into theinterior to eliminate the sense of darkness and closure in the interior, especially the top light and the soft diffuse light, making the interior space more intimate and natural. The transformation of light and shadow makes the interior richer and more colorful, giving people a variety of feelings.4 decorative elementsThe indispensable building components such as columns, walls, and the like in the entire indoor space are combined with the function and need to be decorated to jointly create a perfect indoor environment. By making full use of the texture characteristics of different decorative materials, you can achieve a variety of interior art effects with different styles, while also reflecting the historical and cultural characteristics of the region.5 furnishingsIndoor furniture, carpets, curtains, etc., are all necessities of life. Their shapes are often furnished and most of them play a decorative role. Practicality and decoration should be coordinated with each other, and the functions and forms of seeking are unified and changed so that the interior space is comfortable and full of personality.6 green elementsGreening in interior design is an important means to improve the indoor environment. Indoor flowering trees are planted, and the use ofgreenery and small items to play a role in diffusing indoor and outdoor environments, expanding the sense of interior space, and beautifying spaces all play an active role.二、The basic principles of interior design1 interior decoration design to meet the functional requirementsThe interior design is based on the purpose of creating a good indoor space environment, so as to rationalize, comfort, and scientize the indoor environment. It is necessary to take into account the laws of people's activities to handle spatial relationships, spatial dimensions, and spatial proportions; to rationally configure furnishings and furniture, and to properly resolve indoor environments. V entilation, lighting and lighting, pay attention to the overall effect of indoor tone.2 interior design to meet the spiritual requirementsThe spirit of interior design is to influence people's emotions and even influence people's will and actions. Therefore, we must study the characteristics and laws of people's understanding; study the emotions and will of people; and study the interaction between people and the environment. Designers must use various theories and methods to impact people's emotions and sublimate them to achieve the desired design effect. If the indoor environment can highlight a certain concept and artistic conception, then it will have a strong artistic appeal and better play its role in spiritual function.3 Interior design to meet modern technical requirementsThe innovation of architectural space is closely related to the innovation of structural modeling. The two should be harmonized and unified, fully considering the image of the structural Sino-U.S. and integrating art and technology. This requires that interior designers must possess the necessary knowledge of the type of structure and be familiar with and master the performance and characteristics of the structural system. Modern interior design is in the category of modern science and technology. To make interior design better meet the requirements of spiritual function, we must maximize the use of the latest achievements in modern science and technology.4 Interior design must meet the regional characteristics and national style requirementsDue to differences in the regions where people live, geographical and climatic conditions, the living habits of different ethnic groups are not the same as cultural traditions, and there are indeed great differences in architectural styles. China is a multi-ethnic country. The differences in the regional characteristics, national character, customs, and cultural literacy of various ethnic groups make indoor decoration design different. Different styles and features are required in the design. We must embody national and regional characteristics to evoke people’s national self-respect and self-confidence.三、Points of interior designThe interior space is defined by the enclosure of the floor, wall, and top surface, thus determining the size and shape of the interior space. The purpose of interior decoration is to create a suitable and beautiful indoor environment. The floor and walls of the interior space are the backdrop for people and furnishings and furnishings, while the differences on the top surface make the interior space more varied.1 Base decoration ----- Floor decorationThe basic surface ----- is very important in people's sights. The ground floor is in contact with people, and the line of sight is near, and it is in a dynamic change. It is one of the important factors of interior decoration. Meet the following principles:2 The base should be coordinated with the overall environment to complement each other and set off the atmosphereFrom the point of view of the overall environmental effect of space, the base should be coordinated with the ceiling and wall decoration. At the same time, it should play a role in setting off the interior furniture and furnishings.3 Pay attention to the division, color and texture of the ground patternGround pattern design can be roughly divided into three situations: The first is to emphasize the independent integrity of the pattern itself,such as meeting rooms, using cohesive patterns to show the importance of the meeting. The color should be coordinated with the meeting space to achieve a quiet, focused effect; the second is to emphasize the pattern of continuity and rhythm, with a certain degree of guidance and regularity, and more for the hall, aisle and common space; third It emphasizes the abstractness of the pattern, freedom, and freedom, and is often used in irregular or layout-free spaces.4 Meeting the needs of the ground structure, construction and physical properties of the buildingWhen decorating the base, attention should be paid to the structure of the ground floor. In the premise of ensuring safety, it is convenient for construction and construction. It cannot be a one-sided pursuit of pattern effects, and physical properties such as moisture-proof, waterproof, thermal insulation, and thermal insulation should be considered. need. The bases are available in a wide variety of types, such as: wooden floors, block floors, terrazzo floors, plastic floors, concrete floors, etc., with a wide variety of patterns and rich colors. The design must be consistent with the entire space environment. Complementary to achieve good results.四、wall decorationIn the scope of indoor vision, the vertical line of sight between the wall and the person is in the most obvious position. At the same time, thewall is the part that people often contact. Therefore, the decoration of the wall is very important for the interior design. The following design principles must be met: 1 IntegrityWhen decorating a wall, it is necessary to fully consider the unity with other parts of the room, and to make the wall and the entire space a unified whole.2 PhysicalThe wall surface has a larger area in the interior space, and the status is more important and the requirements are higher. The requirements for sound insulation, warmth protection, fire prevention, etc. in the interior space vary depending on the nature of the space used, such as the guest room, high requirements. Some, while the average unit canteen, requiresa lower number.3 ArtistryIn the interior space, the decorative effect of the wall plays an important role in rendering and beautifying the indoor environment. The shape of the wall, the partition pattern, the texture and the interior atmosphere are closely related to each other. In order to create the artistic effect of the interior space, the wall The artistry of the surface itself cannot be ignored.The selection of wall decoration styles is determined according to the above principles. The forms are roughly the following: plasteringdecoration, veneering decoration, brushing decoration, coil decoration. Focusing on the coil decoration here, with the development of industry, there are more and more coils that can be used to decorate walls, such as: plastic wallpaper, wall cloth, fiberglass cloth, artificial leather, and leather. These materials are characterized by the use of It is widely used, flexible and free, with a wide variety of colors, good texture, convenient construction, moderate prices, and rich decorative effects. It is a material that is widely used in interior design.五、Ceiling decorationThe ceiling is an important part of the interior decoration, and it is also the most varied and attractive interface in the interior space decoration. It has a strong sense of perspective. Through different treatments, the styling of lamps and lanterns can enhance the space appeal and make the top surface rich in shape. Colorful, novel and beautiful.1 Design principlesPay attention to the overall environmental effects.The ceiling, wall surface and base surface together make up the interior space and jointly create the effects of the indoor environment. The design should pay attention to the harmonization of the three, and each has its own characteristics on a unified basis.The top decoration should meet the applicable aesthetic requirements.In general, the effect of indoor space should be lighter and lighter. Therefore, it is important to pay attention to the simple decoration of the top decoration, highlight the key points, and at the same time, have a sense of lightness and art.The top decoration should ensure the rationality and safety of the top structure. Cannot simply pursue styling and ignore safety2 top design(1) Flat roofThe roof is simple in construction, simple in appearance, and convenient in decoration. It is suitable for classrooms, offices, exhibition halls, etc. Its artistic appeal comes from the top shape, texture, patterns, and the organic configuration of the lamps.(2) Convex ceilingThis kind of roof is beautiful and colorful, with a strong sense of three-dimensionality. It is suitable for ballrooms, restaurants, foyers, etc. It is necessary to pay attention to the relationship between the primary and secondary relationships and the height difference of various concavo-convex layers. It is not appropriate to change too much and emphasize the rhythm of rhythm and the artistry of the overall space. .(3) Suspended ceilingV arious flaps, flat plates or other types of ceilings are hung under the roof load-bearing structures. These ceilings are often used to meetacoustic or lighting requirements or to pursue certain decorative effects. They are often used in stadiums, cinemas, and so on. In recent years, this type of roof has also been commonly used in restaurants, cafes, shops, and other buildings to create special aesthetics and interests.(4) Well format ceilingIt is in the form of a combined structural beam, in which the main and secondary beams are staggered and the relationship between the wells and beams, together with a ceiling of lamps and gypsum floral designs, is simple and generous, with a strong sense of rhythm.(5) Glass ceilingThe halls and middle halls of modern large-scale public buildings are commonly used in this form, mainly addressing the needs of large-scale lighting and indoor greening, making the indoor environment richer in natural appeal, and adding vitality to large spaces. It is generally in the form of a dome, a cone, and a zigzag. In short, interior decoration design is a comprehensive discipline, involving many disciplines such as sociology, psychology, and environmental science, and there are many things that we need to explore and study. This article mainly elaborated the basic principles and design methods of interior decoration design. No matter what style belongs to the interior design door, this article gives everyone a more in-depth understanding and comprehension of interior design. If there are inadequacies, let the criticism correct me.中文译文室内装饰简述Y Miyazaki一室内装饰设计要素1 空间要素空间的合理化并给人们以美的感受是设计基本的任务。

中英文对照资料外文翻译文献The traditional and newAbstractIts usefulness and beauty -- creation of form and beauty -- traditional beauty -- beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving the transformation of beauty -- full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into" rationality". From the function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty. Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, function of beauty can be achieved.Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Function of beauty is not useful to both beauty""Function of beauty is not useful to both beauty""The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of" transformation" is what? First of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialized training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditions,and can bring the enjoyment of the material. Aesthetic enjoyment is" care in enjoyment", this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to care, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not functional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, auditory or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as" usefulness". So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceThe so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against" function determines form". Consumer products of different shape change request. We use the" degree of freedom" and" definition" two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of" degrees of freedom", the form of freedom, refers to the product structure and appearance for the designer to control the extent of. The 2form of definition is followed by a form of " definition", form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form the basic conditions. From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty -- the direct expression of the form, and the function of the com., is to the thing itself some characteristics of externala kind of beauty.The traditional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion "human nature", the aesthetic form of the accumulation of social content. 1be handed down from age to age" style " and " style" here refers to those containing the traditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2" reproduction " of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding things related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revolution triggered by the" anti traditional"Design revolution triggered by the" traditional" trend of thought 1"1" decoration decorative worship" worship" the so-called" loaded worship" refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved theshould be large quantities of production machines, only exclusive decoration will have a large number of cheap products to market. Function of" worship" function" worship" the so-called functional worship", refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throughout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely " form follows function" or" form and function of the high degree of unity", the attendantSimple and unadorned geometric style is very natural, with " Decor worship " for the characteristics of the traditional design has also been completely subvert.Forms of worship"The form of worship" the worship of modernism design can be understood as" functionalism" design, modern design and good atcoordination function and design of coordinating the relationship between function and form, making them reach a" harmonious". Therefore, it is not a pure function, and also not the pure form type. " From its structure and aesthetic characteristics, the international style building was eventually replacing it with the Renaissance tradition is the opposite." 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism" postmodernism " is a construction led, spread all areas of design, the mainstream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous contrast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3" ugly beauty"3" ugly beauty" ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthetic consideration, classical beauty ugliness as beauty all the negative state, and humanity" evil " contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. Tosum up : the proof of design art in the" beauty" of modernism design challenge, or say to" function determines form" beyond. Modern beauty modern beauty beyond the beyond is refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the" anti traditional" Design revolution triggered by the" traditional" trend of thoughtSince twentieth Century the modern aesthetic concepts, essentially everything "and the traditional " are linked, but" unconventional " idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the cornerstone of the" innovation", the most common words in the" avant-garde " and "modern". The thought is the core of" anti traditional". On the other hand, is the new concept of art" the feed" design, making it a departure from the traditional design concept and has the" avant-garde" and" modern" features.美的传统与新生摘要人造物的有用性与功能美——人造物的形式与形式美——传统美的积淀——现代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括：完善转化的美——充分的有效性就是合理和完善，如有有效性相应的合理结构和材料加工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。

中英文对照资料外文翻译文献Transforming Interior Spaces: Enriching SubjectiveExperiences Through Design ResearchTiiu PoldmaSchool of Industrial Design, University of MontrealC.P. 6128, succursale Centre-ville, Montreal, Quebec H3T 1B9, CANADAAbstractThis article explores tacit knowledge of lived experience and how this form of knowledge relates to design research. It investigates how interior designers interpretuser lived experiences when creating designed environments. The article argues thatuser experience is the basis of a form of knowledge that is useful for designers. The theoretical framework proposed in the article examines the nature of user experienceand how it can be utilized in the design process. The study of lived experiences iscontextualized within aesthetic, subjective, and functional aspects of the interiordesign process, which requires users to express their meanings and needs. A casestudy is described to illustrate the various stages of this process.Keywords: design research; experiential knowledge; tacit knowledge; dynamicprocess; pragmatic philosophy; interior spaces1. IntroductionIn our everyday lives, we live in spaces that are active, changing, and dynamic. When designers create interior spatial designs for various types of uses and experiences,they consider both the aesthetic qualities of a space and how people experienceexperiences are interactions and sensations within the spaces. However, people’ssubjective. These are experiences people have in the moment of living, bothconsciously and unconsciously, in interaction with the space and others in the space.This involves a form of knowing that is “implicit, naturalistic, ecological cognition of as opposed to “deliberate, formal, thinking and knowledge”　everyday existence”　(Storkerson, 2010, Section 1, para. 2). This article explores these implicit forms ofknowing and considers what design possibilities may emerge from them. Documenting these forms of knowing requires an understanding of how designsreflect aesthetic and functional ends while taking into account the direct experiences users have (Poldma & Thompson, 2009). This requires an understanding of how-world impact their subjective meaning-making everyday experiences of the users’ life(Shusterman, 1997; Vaikla-Poldma, 2003; White, 1998).The theoretical framework proposed here links experiential knowledge to the direct interaction of users within an environment and recognizes the dynamic nature of that link. Experiences of the life-world are taken as a basis for designing environments that actually work for their intended use.The proposed theoretical framework builds on philosophical ideas about the nature of lived experiences and subjective meanings, and relates it to the process by which users accept or reject a space. These ideas are explored using the example of a research project done in a residential long-term care institution. The research clarifies how the exchanges between the design researcher and the participants contribute to changes in the space.2. Designing Interior Space2.1. Current ResearchCurrently, when researchers study the design of interior space, they tend to be concerned with either the causal relationship between people and their environment or the interactions between material properties and the space being designed. Often, environment-behavior theories form the basis of design inquiry. Such inquiry seeks to understand the relationship between people and their environment using evidence that codifies the relationship (Dickinson & Marsden, 2009; Poldma & Thompson, 2009; Zeisel, 2006). In this form of design inquiry, design researchers d emonstrate how appropriately designed space can add value to living well in an institution, how safety and security can add to productivity in working environments, or how evidence-based knowledge of environment-behavior relationships can inform the design process. Examples of this type of research include the use of questionnaire-based s tatisticalactivities (Botti-Salitsky, 2009; data to glean how the environment affects people’sDickenson & Marsden, 2009). This type of research is usually framed in a positivist mode, which seeks objective knowledge (Guba & Lincoln, 1994). Studying human behavior in terms of causal relationships involves verification or falsification of a priori hypotheses. A limitation of this approach is that, as Guba and Lincoln have stated, “[h]uman b ehaviour, unlike that of physical objects, cannot be understoodwithout reference to the meanings and purposes attached by human actors to their activities” (Guba & Lincoln, 1994, p. 106).It is these meanings and purposes that tacit forms of knowledge contain. Such meanings and purposes are usually studied through narratives and conversations between designers and users (Creswell, 1998; Merriam & Associates, 2002; Vaikla-Poldma, 2003).2.2. The Role of Lived ExperiencePeople develop meanings attached to objects and environments, be these art objects, personal things, or other people in their lives (Bachelard, 1969; Csikszentmihalyi & Rochberg-Halton, 1981). These meanings arise through interactions that occur within spaces s uch as homes, offices, or recreational places; the meanings in turn affect perceptions and subsequent interactions (Poldma, 1999, 2008; Vaikla-Poldma, 2003). Design of interior spaces needs to take the above meaning-making process into account. When designing interior space, the designer (or architect) works directly with clients and users to take an existing (or imagined) interior space and transform it.A variety of knowledges come into play in this process. The role of the technical aspects of the space, such as air quality and material properties, is well recognized in design, but how the tacit aspects shape the design process is less understood.In practice, the tacit aspects o f experience within spaces a nd between people often shape how the design evolves. Multiple experiences and contexts act together to transform empty spaces into aesthetically functional interior places (Vaikla-Poldma, 2003). These experiences are both internal and external to the user, in that the persons who use the space attach meaning to the space where they live and contribute socially through the interrelations they have with others (Malnar & Vodvarka, 1992; Poldma, 2009).2.3. Conversation and Meaning MakingDesigned spaces, whether real or virtual, trigger various experiences. When designing interior spaces, we are preoccupied with both tangible and intangible aspects. We are preoccupied with its volume and physical characteristics; we are also preoccupied with how the space forms a backdrop for a complex set of interrelationships among people, objects, contexts, and lived experiences. Moreover, these interrelationships evolve over time (Malnar & Vodvarka, 1992; Mitchell, 1993).Designing interior spaces also requires an understanding of what happens when the spatial experiences people have are grounded in their real, lived experiences that areboth subjective and social. These experiences happen simultaneously with changing physical conditions, such as lighting, and changing time-space relations, such as whenIn these we work at home, live and work in multiple contexts, or “live a t work.”　contemporary ways of living and working, the physical space is a backdrop for changing activities, not bounded by any particular states of being or any particular ways of knowing (Ainley, 1998; Ardener, 1981).Spaces are designed after investigating multiple issues including user needs, building contexts, space requirements, appropriate materials, colour and lighting, furnishings, social needs, cultural setting, and then combining it all aesthetically to create the interior space. The space is expected to support the activities and human engagements about to take place there.Designers engage in conversations with clients and users at various stages of the design process, in part to make sense of the information gathered and then to make decisions and generate ideas for the design of the space. Aesthetic and functional design decisions are made on the spot by designers engaged with stakeholders as they define how the space should be occupied and for what purposes (Poldma, 2009; Vaikla-Poldma, 2003). There is a service relationship that develops between the designers and users as they participate together in both design and production processes (Nelson & Stolterman, 2003).2.4. Static and Dynamic SpacesInterior space has long been documented theoretically in terms of physical attributes such as objects, walls, lighting, and color (Malnar & Vodvarka, 1992). Students learn about interior space as an architectural entity grounded in physical attributes that are static and exist as independent features (Poldma & Wesolkowska, 2005). Consequently interior spaces a re often reduced to their physical attributes, material and surface decoration, producing static spaces where an office is an office, a restaurant is a restaurant.In practice, however, spaces are required to be used in a flexible manner where multiple activities can occur in the same place. Designers are often called upon to design spaces for dynamic lived situations, not static ones. This calls for a more dynamic concept of space.3. Proposed Theoretical Framework3.1. Beyond Causal ExplanationsHistorically, theories about interior space have considered human-environment relationships in causal terms (Hall, 1969; Lang, Burnette, Moleski, &Vachon, 1974; Malnar & Vodvarka, 1992). Influences include B. F. Skinner (1971), whose idea of behavior modification through positive reinforcement is applied to designing interiors often when specific design elements such as form and material are chosen.When human and environment relationships are seen as causal in nature, knowledge claims are assembled from measurements o f those relationships. The knowledge claims, when regarded as true, guide subsequent design thinking. This appears to be part of a dominant discourse of design, known as evidence-based design. However, a limitation of this approach is that it is based entirely on what is called a priori knowledge (Amin & Cohendet, 2004; O’Brien, 2006), overlooking the subjective experiences arising within the interior space.Environment-behavior theory explains human-environment relationships as causal and these relationships are situated within essentially static physical interior attributes. It reckons, people feel well or poorly due to lighting, environment systems, color, or other physical space attributes, such as floors, ceilings, their finishes, and relatedand their objects in the space. These interior attributes “act u pon the user”　appropriation (or otherwise) of the space (Dickinson & Marsden, 2009; Zeisel, 2006). Therefore, according to this theory, changing these surface treatments should “improve” the interior situation.Causal explanations do not always take into account subjective experiences. Interior spaces are locations of both aesthetic values and social constructions. Subjective experiences, affected by role, status, gender, and such other individual-level factors, also guide interactions in interior environments (Belenky, Clinchy, Goldberger, & Tarule, 1997; Code, 1991). For example, women navigate spaces differently from men. Similarly, cultural differences impose different social rules and hierarchies that influence social constructions of space and place (Ainley, 1998; Ardener, 1981; Rose, 2001; Rothschild, 1999; Spain, 1992). People also attach meanings to objects and the spaces they live in.Therefore, in the proposed theoretical framework, subjective experiences and meanings are considered salient elements. These are not captured usually (nor authentically) using empirical positivist modes of research.3.2. Beyond Static AttributesUntil recently, and in an effort to legitimize the profession, interior designers havegenerally tended to be more concerned with building professional practices, ethicalconduct, and solving problems of a pragmatic nature (Abercrombie, 1990;Hildebrandt, 2000; Malnar & Vodvarka, 1992). When professional designers askclients and the users of the spaces what they need, how they live, and observe theirsituations, they try to understand how people live and work, how they engage in socialand personal activities to be able to provide supportive and appropriately designedspaces. The spaces they design are by their very nature dynamic in that they integratepeople within changing circumstances.While some people live in the global 24x7 information communities, others carve outlives on the fringes just to survive. Different people can experience the same space ashostile or friendly, as virtual or physical, or as a place for personal or social needs. Itis difficult to reduce these experiences to codified statistical numbers, as differentsubjective voices account for different ways of living, working, or playing in differentcultures and societies.Accordingly, in the proposed theoretical framework, spaces are not characterizedentirely through static attributes. Spaces are seen as dynamic contexts and products ofsocial interactions.3.3. Beyond Codified Information-reduced-to-information,” which refers to aThere has been a c riticism of “knowledgelimited vision of knowledge:1.the vision of knowledge as a simple stock resulting from the accumulation ofinformation in a linear process;2.the hypothesis that any form of knowledge can be made codifiable;3.the vision that knowledge is limited to individuals;4.the idea that knowledge is limited to something that people “possess” (Am& Cohendet, 2004, p. 17)By contrast, knowledge derived through experience and tacit understanding would bebased on what is experienced in real time. This form of knowledge situates designthinking within the context of use, such as the ways in which people actuallyappropriate spaces. Forms of tacit knowledge such as lived experiences run up againstevidence-based positivist research norms (Storkerson, 2010).In the proposed theoretical framework, a more extended notion of knowledge isadopted. In this extended notion, knowledge relevant to design is not limited tocodifiable information alone, but also includes the effect of comparing and combining subjective experiences in real time. This notion of knowledge will allow the designerto consider a wider variety of inputs while designing interior spaces, such as perceptions, experiences, and conversations.3.4. Emerging Paradigms of SpacePeople are finding themselves living and working very differently than even 5-10years ago. In this technologically and digitally enhanced world, objects are transitory, spaces c an be virtual or physical, while communication and interactions are variedand changing constantly, all affecting social and political norms (Abrahamson, Meehan, & Samuel, 1998; Dent, 1998; Dholakia & Zwick, 2003; Margolin & Buchanan, 2000). Spaces are no longer designed for one specific use, nor as the determinant of a particular set of activities. As Poldma and Wesolkowska (2005) statein their comparison of the old and new paradigms of living/working:[T]he subject perceives place as a primary mode of identification against “others”　such as the environment, people or work processes. People worked in the office, livedat home and enjoyed leisure time in the movie theatre. In the new paradigms of livingand working, both experiences a nd tasks overlap one another constantly. . . . lived experiences overlap and intersect the boundaries of space and place/time. Realities are defined in practice and practice is defined in space, one that can be local or global, imagined or actual, and which often cuts across boundaries physical/virtual. (Poldma& Wesolkowska, 2005, p. 56)In this type of paradigm, the process of designing spaces needs to work with a widerset of inputs. Interior design approaches n eed to “consider all the senses, a nd howthese simultaneously experience visual space and respond to sensory cues while engaged in social human contact” (Poldma & Wesolkowska, 2005, p. 57). The user becomes a key organic part of the design process. Their activities define the space.In the age of mobile communication, we have thus moved from spatialized time, where the nature of the activities was predominantly governed by the structuring logicof the place (one reads in a library, one studies in a classroom, one eats in a restaurant, etc.) totemporalized space, where the nature of the activities of its inhabitants definethe place (a restaurant becomes a playground, a coffee house becomes an electronic mall, a train becomes a work station, etc.). (Dholakia & Zwick, 2003, pp. 11-12)People’s activities and experiences are increasingly defining what spaces are and how spaces evolve in response to changing activities and experiences. Design researchersneed an approach that allows them to harness users’ subjective experiences towards the creation of new spatial forms.The proposed theoretical framework responds to this requirement. It opens up thedesign process to the subjective and experiential inputs of the various users and stakeholders, based on their perceptions. This process of sharing becomes part andparcel of the process of transformation of the space during its use.This theoretical framework can be illustrated using a case study example to show howresearch informs design and how design informs research, both driven by users’　experiences.4. Case Study: Interior Design for an Elder Care InstitutionAn elder care institution was designed for a particular aging population. The designwas created using the best practices and knowledge sources a vailable, having beenrenovated about 2 years prior to this study. However, something was not working,because t he head nurse of the dementia unit called me and told me about how theresidents were being brought to the space and were trying to leave it, thereby rejectingthe space in that unit that had been designed for them. Both the head nurse and thestaff were perplexed. While the space was beautiful, clean, and appeared to suit itsintended purpose, something was not working. When the staff tried to bring theresidents to the designated room for specific activities, they promptly began to leave,even though many were wheelchair bound. I was asked to investigate the reasons whyand I promptly set out to create a research project to answer why the users wererejecting the seemingly beautiful and functional space designed for them.Using evidence-based procedures that were theoretically supported by a constructivistparadigm (Guba & Lincoln, 1994; Rose, 2001), the team of researchers p roceededwith a three-phase study. In the first phase, existing physical conditions were recordedand the perception of staff and volunteers were collected. Particular attention was paidto the users--elderly residents with dementia. The unit programs, activities, and familysocial situations were also assessed. Dialogues were arranged with all the stakeholdersand users.Using a combination of observation and visual qualitative data, the issues wererecorded, verified, and analyzed. The data consisted of the physical characteristics andspatial elements, as well as the observations and narratives from the conversations the researchers had with various stakeholders, including users, volunteers, nursing staff,and families of the residents.The data were documented and analyzed using interpretive analytic methods that provide trustworthiness through triangulation (Clandinin & Connelly, 2000; Creswell, 1998; Rose, 2001). This included an analysis of the observations of the physical space, responses from stakeholders, and activities within the spaces.Epistemologically both the research and design processes are considered to be constructivist in essence (Creswell, 1998; Vaikla-Poldma, 2003). The design researchers sought to understand user perceptions, dynamic social activities, and the spatial capacity to support these different activities, and identified the multiple contexts that were revealed (Poldma, 2006).The issues raised by the users included a lack of social space for family members to meet, poor ventilation and lighting affecting the visibility and comfort within the space, and an inability to sense the space due to poor color choice for the older residents, who did not “see” the space as a place where they would want to be. The corridors felt like an “abyss”　and the space itself was cold and institutional in feel. Another interesting issue emerging from the stakeholders was their diverse perceptions both of the use of the space and of the activities that might unfold. The perspectives varied widely depending on whether one was a resident, volunteer, doctor, nurse, or caregiver.In the second phase of the study, and once recommendations have been made and accepted b y the stakeholders, minor design revisions were proposed and then some renovations were carried out. The recommendations included adjustments in lightingand spatial zoning to rectify the problems identified as leading to the rejection of spaces by the residents. New spaces were created to incorporate social program activities, based on the recommendations by both researchers and care-givers working together.The third phase of the study consisted of re-evaluating the success of the changes andthe responses of all the stakeholders were documented. Overall, the changes improved responses and social activities that satisfied the nursing staff, residents, and familiesalike (Poldma, 2006). Families were delighted that they were able to socialize withability totheir loved ones, while the staff noticed improvements in the residents’　navigate the spaces with reduced dependence on the staff for their daily activities. Inall the three phases of the study, conversations and dialogues contributed to the movement of the study from evaluation to implementation of changes a nd again to evaluation of the ideas to improve the space.ReferencesAbercrombie, S. (1990). A philosophy of interior design. New York: Harper & Row. Abrahamson, V., Meehan, M., & Samuel, L. (1998). The future ain't what it used to be. New York: Riverhead/Penguin.Ainley, R. (Ed.). (1998). New frontiers of space, bodies and gender. London: Routledge.Amin, A., & Cohendet, P. (2004). Architectures of knowledge: Firms, capabilities and communities. Oxford, UK: Oxford University Press.Ardener, S. (Ed.). (1981). Women and space: Ground rules and social maps. New York: St Martin's.Bachelard, G. (1969). T he poetics of space. Boston: Beacon.Belenky, M. F., Clinchy, B. M., Goldberger, N. R., & Tarule, J. M. (1997). Women's ways of knowing: The development of self, voice and mind. New York: Basic. Botti-Salitsky, R. M. (2009). Programming and research skills and techniques for interior designers. New York: Fairchild.Clandinin, D. J., & Connelly, F. M. (2000). Narrative inquiry: Experience and story in qualitative research. San Francisco: Jossey-Bass.将内部空间:通过设计研究,丰富主观经验狄儿波德玛工业设计学院，蒙特利尔大学C 6128，succursale中心城，蒙特利尔，魁北克H3T 1B9，加拿大摘要本文探讨的生活经验的隐性知识和在这种形式知识中涉及的设计研究。

1、外文资料《Introduction to Residential Layout》Mike BiddulphFirst edition 20072.“Ensuring commercial viability”In this chapter we explore the commercial aspects of housing design and layout.It is really important that designers understand that the buildings and spaces that they design are typically built and sold for profit,and to umderstand something of how their product will be evaluated in commercial terms.As a result,this chapter outlines a development appraisal known as the residual valuation technique and we apply it to a particular development scheme.The point is not to turn designers into quantity surveyors,but instead to inform the mentality of the designer so that their work is not commercially naive.The residual valuation is a straightforward technique that can be used early in the planning of a simple development scheme ,although other,more elaborate and precise techniques will also be used by quantity surveyors working in practice.We will work through a valuation to explore how a design might shape its market potential ,and explore how a design can be adjusted to become more profitable.We will also consider how designers can use design to add value to schemes by using layout techniques commonly observed in practice.COMPLETING A DEVELOPMENT APPRAISALThe basicequationIn costing a planned residential development it is important to design a scheme where the predicted returns are greater than the costs.The difference between the returns and the costs is known as the residual.This residual can be used to determine the value of the land onto which the planned homes will be built.In preparing a valuation for a scheme the following basic equation should be used:Development Value—Development Costs=Possible Land ValueCALCULATING DEVELOPMENT V ALUESThe costing of speculative residential development is relatively straightforward as the value of the property is simple the price that the property is ultimately sold for.Inprediccting this value it is important to have a clear sense of the local market and how similar homes are selling within that area.It makes sense to be a little conservative with prediction so that values do not become inflated,although there is a tendency for new houses to sell with a slight premium over similar houses that have previously been occupied.Valueswill vary significantly according to the location of the home,but also-and more specifically-according to the nature of the home and plot.In the UK,homes are sold according to the number of rooms they have,whilst in slightly more refined markets,a total floor area is also compared.The value will also be significantly influenced by the quality of the internal and external design and finish,the size of the garden,the location of parking and the type of house;for example,whether it is detached,semi-detached or terraced.Values will also vary across the site as certain areas of a scheme may be more desirable than others.This is discussed further below.It is important to refine predicted values relative to judgement about how much demang there will be for properties within a scheme relative to other local areas.Although housing markets can de very dynamic and predicting sales prices can be imprecise,it is necessary to have a clear sense of the local market using information about previous sales from within the area.However,it is also important to have a sense of how the circumstances surrounding a site might change.For axample,the planning of a new road might make the site more accessible and inflate future prices.3.“Building place and defining space”This chaper introduces the importance of designing urban form and a succession of places within residential schemes.It discusses the types of space that we create within the urban environment when we lay out homes and how these spaces should be configured.Different types of block structure are introduced.The chaper concludes with a brief explanation about how we should not let these amenity standards dictate the form of our residential areas,and that instead we should start our designs with an aspiration towards creating different types of place within a scheme.DESIGN PLACESRather than merely stringing out identikit housing along identikit roads,the main challenge for the desingner of a new residential area is to create distinctive places within their scheme.The notion of a place is something that has complex social connotations-what one person may regard as a place or places may not match that of another-but with reference to design it can refer to a sense of individuality or difference within the environment which forms,urban spaces and humanactivity.It is possible to be aware of ,and therefore concerned about,places at a whole range of scales.Regions are environmentally,as well as socially or culturally,distinctive.This is influenced not only by enviromenttal factors such as topography,flora and fauna or climate;but also by how societies.If you travel between regions,therefor,you may have a sense that you are leaving and entering different places,and the characteristics of urban areas will make a contribution to that feeling.However,within urban areas there are also distinctive places which result from how building,and other elements,have been combined together to create the urban enviroment.These places might be informed by the distinctive attributes of a region (a very simple example:all the buildings may contain a similar building material,or a distinctive type or form of building),but within the urban area the spaces created between these buildings should have a variety of both forms and functions.As you travelled through an urban area,therefor,you would experience the feeling that you are travelling between one place and the next.Urban environments that do not have this character are called placeless,and often the only way to fully appreciate the contribution that place makes to our lives is to spend time in placeless environments.Relph(1976,p.90)defines placelessness as …a weakening of the identity of places to the point where they not only look alike but feel alike and offer the same bland possibilities of experience.Placeslessness in residential environments results form:Road environments that have no direct relationship with the uses andactivities along themUniformity and standardisation within the built environment(figure 3.1)The adoption of synthetic,nostalgic or inauthentic themes in the design of either buildings or urban spaces,which ultimately become common between different schemes.In his thinking about how to overcome the blandness of urban development,gordoncullen(1961) argues simply for a recognition of both hereness and thereness in urban design.he suggests that people should have a feeling of entering or leaving a variety of places as they pass through the urban environment.as you enter a distinctive,individually designed street or square,he argues,you will have a sense of hereness and ,by definition,the other distinctive streeta and squares will have an equally considered design(figure 3.2).CREATE URBAN FORMPlaces result from the way that individual buildings are brought together to create urban form.streets and squares are types of urban form resulting from how individual buildings are brought together in the design,and just as we might carefully design an individual building,the form of a street or square,or the pattern of streets and squares that go together to make an entire scheme,should not be left to chance.urban design could almost be defined,therefore ,as the act of designing urban form;and the process of designing distinctive urban forms should result in physically distinctive places emerging within a scheme.DEFINE SPACEIn creating urban form the urban designer is helping to decide how the space of the urban environment will be used.at the most general levelthe urban designer is helping to decide where the solid walls of buildings will go,and in so doing choosing what will be outside and what will be the inside environment.figure 3.4 is a figure ground plan showing the pattern of urban form that results form that results from this process where the distinction between the solids(buildings)and voids(outdoor spaces)is most clear.figure ground drawings are an easy way of illustrating the pattern of urban form that is being suggested within an area.TYPES OF URBAN SPACEUrban space is not merely distinguishable as either outdoor or indoor.instead,from an urban design perspective,it is better to distingguish between four types of outdoor space which reflect who will have access to the space and something about how it will be perceived and used..PUBLIC SPACE: public spacerefers to urban space which is easily accessible to the general public at any time of day or nigh t(figure 3.5)streets are an obvious type of public space which people can physically enter and exit.there is a degree of management or control of what you can do within street space which is influenced by laws and cultures,whilst the physical design shapes quite clearly if it lends itself to ,for example,playing sports,walking,running,cycling or driving.despite tremendousvariation in what you might do in public space,however,physical access is maintained.Semi-public space:compared to public space,semi-public space is a type of space inwhich some greater degree of control is exerted over when access is allowed.these tend to be spaces which allow general public access.however,due to a far stronger management regime,they might,for example,be closed for certain hours.in addition,management may also influence who can use the space(figure 3.6).let us the example of an urban square with a small park in the middle of it.if hat park is always open to the public then it would be regarded as a public space ,if ,however,a boundary was erected,and the park was closed at night,then it would be a semi-public space.the benefit of making it a semi-public space may be that access to the public is safer,or that a slightly more sensitive environment can be protected from vandalism or other types of misuse.Private space：the final space is exclusively for the use of the residents of a property.outdoor private spaces form gardens，although sometimes roof gardens or balconies serve an identical purpose(figure 3.9).such spaces allow private residents complete control and a higher degree of both security and privacy,so that they can use the space for what they wish;for example,gardening,storing rubbish,sunbathing,playing or fixing the bike.A residential area is made up of these types of space,and differently designed urban forms will result in different patterns and relationships emerging between these types of space.public spaces tend to form a network which provides a pattern of access for residents(figure 3.10) sometimes semi-public spaces may be introduced ,typically as open spaces or play area,into the pattern of public spaces.semi-private areas tend to be located between the public spaces and people homes so that a zone of control is introduced between a public street and a private property.however,semi-private spaces can also form shared private gardens,and these may be included in a scheme between private gardens,and these may be included in a scheme between private gardens.finally,private gardens,where they exist,tend to be accessible from the home but,as a matter of principle,they should not abut a public space.why this is will be discussed below.INTERFACESThe boundaries between the different types of space are sometimes referred to as interfaces(figure 3.11).for example,the front wall between a front garden and a public space of the street can be referred to as the interface between semi-private and public space,just as the front wall of thehouse can be described as the interface between the private interior of the home and the semi-private front garden.such interfaces are important as they can be designed in a particular way to achieve a particular urban design affect.housing schemes that have semi-private front gardens but no wall at the interface with the public street space may,for example,result in quite a different street character to a situation where high front walls or even hedges have been introduced.FRONTS AND BACKSA common concept in residential urban design is that homes have both a front and a back interface;that the public front of the homes should face the street and the private backs of the homes should face the private spaces(figure 3.12),why this is so can be argued from the perspectives of either achieving outdoor privacy and security around the back,or creating a focus for public life within the public life within the public realm around the front.AROUND THE BACK:ACHIEVING OUTDOOR PRIV ACY AND SECURITYThe idea that homes should have a back space stems from the observation that privacy is a very important feature of the domestic realm,and that people can enjoy privacy both inside and outside the home.the private garden is a direct result of this,although the balcony or the semi-private shared gardens are good surrogates(figure 3.13).if private gardens are to be built into a scheme then it makes sense to group them together.this is so that the privacy between the homes is shared,and the gardens are secure.AROUND THE FRONT A FOCUS FOR PUBLIC LIFE WITHIN THE PUBLIC REALM The public realm of a residential area refers to the space that forms between the buildings which,although containing semi-public or seni-private spaces,will tend to be dominated by the comings and goings of the public street network (figure 3.14).despite the subtle variations in experience and expectation that such semi-public or semi-private spaces might allow,there is an expectation that public life will ensue.within certain quieter parts of a residential area this may be dominated by the chance meeting of neighbours,children playing or pedestrians and vehicles passing through.in other areas the public environment will be busier,possibly with a few shops or cimmunity uses supplementing the busier comings and goings of residents.despite this variation in the intensity of activity,the qualities of this public environment need to be carefully looked after if it is to feel safe and be convenient.one of the way this sense of safety and convenience can be achieved is by ensureing that the front doors and windows of homes overlook the street.this allows public activity to focus onto the public realm,as people come and go from their homes through front doors that face the streets,whilst the windows allow overlooking or surveillance of the public realm.PROVIDE SURVEILLANCESurveillance refers to the opportunity to observe activity within a street.the opportunity to observe some degree of human activity within the public spaces of a residential area is regarded as a positive feature in most residential settings(figure 3.15).a particular benefit is the sense of secrity that comes from feeling that you are not alone in your neighbourhood.Direct contact between people in a street going about their daily business is a form of surveillance,but the opportunity for people to see into the street from neighbouring homes also creates a sense of security,whilst those people in the street also informally observe that all is well within the homes.DO NOT CREATE DEAD SPACESometimes the principle of public realm and private backs facing each other is not followed,and where private gardens abut the public realm dead space may be the result(figure 3.16).this is because the demand for privacy and security around the back of homes inevitably means that some sort of barrier,such as high fences,may be introduced.For the public realm ,the consequence of this is severe ,as the activity associated with the front doors and the surveillance of the street environment through windows are both lost.in addition,no back fence could be as interesting as the facade of a home.this approach,therefore,results in less human activity,a poorer sense of security and safety,and an environment that dull and unteresting.The consequence of this for the private gardens is equally poor.the gardens now abut trafficked streets which are noisier,whilst it is thought to be relatively easy for a thief to hop over a back of a house from the public realm which is less populated and has poor surveillance.LESS DEMAND FOR PRIV ACYNot all residential area achieve the same level of outdoor privacy.apartments in particular may rely on balconies above ground level to privide outdoor space,whilst in other residential scheme (including either houses or apartments)private gardens or shared communal(semi-private)courtyards can tend to be quite open.in all of these cases the compromising of privacy allows some surveillance of neighbouring spaces,whilst the visible gardens and balconies provide visual interest to residents and visitors(figure 3.17) RESIDENTIAL BLOCK STRUCTURESResidential block structures result from the way designers compose the buildings and urban spaces to create urban form.by creating residential blocks the designers are defining the location of,and relationships between,the types of urban space and the pattern of access that will be allowed in general through the area;whilst they are also starting to consider the character of the layout and whether a sense of place will be achieved.The history of housing layout covers a great variety of residential block structures,and their enduring success shows that people can happily live in a wide range of residential settings-so long as the homes are well-constructed,the community is stable and the housing environment is well managed.SOME COMMON RESIDENTIAL BLOCK STRUCTURESAlthough a range of residential block structures have been adopted,some specific forms tend to be more common than others.Periphery blocksThe periphery block was probably the most common form of block structure until the 1930s when other block structures were experimented with.more recently,however,periphery blocks are suggested for a wide range of contexts as a result of the influence of the publication Responsive Environments(Bentley et al.1985).the basic principle reflects the advice given above-that the fronts of buildings should face the public realm and the private backs of buildings should face each other.the blocks are then arranged in a deformed grid of streets(figure 3.18).where housing is proposed the periphery street environment to become the focus for access,public life and social activity.periphery blocks are not only used,however,where houses with private gardens are being considered.Apartments in periphery blocks with shared open space:often,if apartment are developed,semi-private courtyards are introduced into the centre of the blocks where,for example,planting is introduced,residents can ralax,children can play or washing can be dried.such a space allows apartment residents access to outdoor space which is managed for the block as a whole,and which for children and some residents might be preferable to a small private garden.sometimes it is possible for non-residents to enter the courtyards are only available to residents(figures 3.19and3.20)Housing in periphery blocks with private gardens and shared open space:periphery blocksmay also have housing with private gardens a communal space for play or parking has then been introduced(figure3.21).this is actually a configuration that has a long lineage-during the seventeenth century housing was often arranged in block with service access in the middle of the block accommodating,for example,stables and carriages.this configuration evolved to a form of back alley access in the nineteenth century,whilst today former coach houses are sometimes converted to mews court housing.Apartment in periphery blocks with private gardens and shared open space:alternatively,ground level apartments in periphery blocks can have private gardens to their rear,and then residents who live on other floors have access to a communal space(figure 3.22) All of the above examples demonstrate variation in how private space is considered in a periphery block,but they also allow physical definition of the public realm,as the fronts of these homes face and give a physical form to the street environment.FREE STANDING BLOCKSSince the early twentieth century,apartment in particular have been developed in free standing or point blocks(figure 3.23).the rationale for this is provided by architects from the time who wished to :Provide a form of residential environment that provided air and light to homesFree people from what were regarded as the constraints of the nineteenth centuryProvide new,and unconstrained open spaces around the homesAccommodate the newly popular car(something that the older streets struggled to do)Use new building techniques,technologies and materialsProvide more communal ways of living.Today this rationnale still remains revevant in certain contexts;in particular where people tend to live in apartments,and a demand for outdoor private garden space is less prevalent.in addition,on certain sites apartments in free-standing blocks provide the most effective mechanism for achieving the desired density of development.where management processes are poor such blocks which can result in vague and poorly used open spaces between the blocks which can suffer from poor surveillance and under use.however,there is no reason why a high free-standing block can not be combined with other street level housing which is used to define a street or other public space.blocks like this can be very high,although within european cities free-standing blocks of about five storeys are also common,allowing residents a more immediate relationship with neighbouring spaces.2、中文译文《住宅布局概论》迈克比·达尔夫 2007年出版2.“确保商业可行性”在这一章中，我们探讨住宅设计中的商业方面和布局安排.它是非常重要.设计师明白，建筑物和公共场所，他们的设计是典型的建造和销售利润，并理解如何将他们的产品进行一些商业评估。

中英文对照外文翻译文献(文档含英文原文和中文翻译)原文：Housing Problems and Options for the Elderly 1. IntroductionHousing is a critical element in the lives of older persons. The affordability of housing affects the ability of the elderly to afford other necessities of life such as food and medical care. Housing that is located near hospitals and doctors, shopping, transportation, and recreational facilities can facilitate access to services that can enhance the quality of life. Housing can also be a place of memories of the past and a connection to friends and neighbors. Housing with supportive features and access to services can also make it possible for persons to age in place. In this session, we will be examining housing problems andoptions for the elderly. Along the way, we will be testing your housing IQ with a series of questions and exercises.2. Housing Situation of Older PersonsHow typical is the housing situation of the olders?We will begin by examining five areas :（1）Prevalence of home ownership （2）Length of stay in current residence （3）Living arrangements （4）Attachments of older persons to where they live （5）Moving behavior.With whom older persons live can influence housing affordability, space needs, and the ability to age in place. About 54% of older persons live with their spouses, 31% live alone, almost 13% live with related persons other than their spouse and about 2% live with unrelated persons. With increasing age, older persons (primarily women) are more likely to live alone or with a relative other than a spouse. Frail older women living alone are the persons most likely to reside in homes with ‘extra’ rooms and to need both physically supportive housing features and services to "age in place". This segment of the population is also the group most likely to move to more supportive housing settings such as assisted living.Many older persons have strong psychological attachments to their homes related to length of residence. The home often represents the place where they raised their children and a lifetime of memories. It is also a connection to an array of familiar persons such as neighbors and shopkeepers as well as near by places including houses of worship, libraries and community services. For manyolder persons, the home is an extension of their own personalities which is found in the furnishings . In addition, the home can represent a sense of economic security for the future, especially for homeowners who have paid off their mortgages. For owners, the home is usually their most valuable financial asset. The home also symbolizes a sense of independence in that the resident is able to live on his or her own. For these types of reasons, it is understandable that in response to a question about housing preferences, AARP surveys of older persons continue to find that approximately 80% of older persons report that what they want is to "stay in their own homes and never move." This phenomena has been termed the preference to "age in place."Although most older persons move near their current communities, some seek retirement communities in places with warmer weather in the southwest, far west and the south.3. The Federal Government's Housing Programs for the ElderlyThe federal government has had two basic housing strategies to address housing problems of the elderly. One strategy, termed the "supply side" approach, seeks to build new housing complexes such as public housing and Section 202 housing for older persons. Public housing is administered by quasi-governmental local public housing authorities. Section 202 Housing for the elderly and disabled is sponsored by non-profit organizations including religious and non-sectarian organizations. Approximately 1.5 million olderpersons or 3% of the elderly population live in federally assisted housing, with about 387,000 living in Section 202 housing. Over time, the government has shifted away from such new construction programs because of the cost of such housing, the problems that a number of non-elderly housing programs have experienced, and a philosophy that the government should no longer be directly involved with the building of housing. Section 202 housing, a very popular and successful program, is one of the few supply-side programs funded by the federal government, although the budget allocation during the last ten years has allowed for the construction of only about 6,000 units per year compared to a high of almost 20,000 units in the late 1970s. Instead of funding new construction, federal housing initiatives over the last decade have emphasized ‘demand side’ subsidies that provide low-income renters with a certificate or a voucher that they can use in a variety of multiunit settings, including apartments in the private sector that meet rental and condition guidelines. These vouchers and certificates are aimed at reducing excessive housing costs. Some certificates are termed ‘project based’ subsidies and are tied to federally subsidized housing such as Section 202. Because housing programs are not an entitlement, however, supply-side and demand side programs together are only able to meet the needs of about 1/3 of elderly renters who qualify on the basis of income.While advocates for housing have been trying to hold on to the existing programs in the face of huge budget cuts at HUD, much of the attention has been shifting towards meeting the shelter and service needs of the frail elderly. This emphasis reflects the increasing number of older persons in their eightiesand nineties who need a physically supportive environment linked with services. This group of older persons includes a high percentage of older residents of public and Section 202 housing. Initially built for independent older persons who were initially in the late sixties and early seventies, this type of housing now includes older persons in their eighties and nineties, many of whom have aged in place. Consequently, the government is faced with creating strategies to bring services into these buildings and retrofit them to better suit the needs of frail older persons. A major initiative of the early 1990s, which may be stalled by current budget problems at HUD, has been for the federal government to pay for service coordinators to assess the needs of residents of government assisted housing complexes and link them with services. As of 1998, there were approximately 1,000 service coordinators attached to government assisted housing complexes across the country.4. The Housing Continuum: A Range of Options for ElderlyA long-standing assumption in the field of housing has been that as persons become more frail, they will have to move along a housing continuum from one setting to another. As the figure on housing options suggests, along this continuum are found a range of housing options including single family homes, apartments, congregate living, assisted living, and board and care homes (Kendig & Pynoos, 1996). The end point of the housing continuum has been thenursing home. These options vary considerably in terms of their availability, affordability, and ability to meet the needs of very frail older persons.The concept of a continuum of supportive care is based on the assumption that housing options can be differentiated by the amount and types of services offered; the supportiveness of the physical setting in terms of accessibility, features, and design; and the competency level of the persons to whom the housing is targeted. The figure on housing options indicates how such options generally meet the needs of older persons who are categorized,as independent, semi-dependent and dependent. Semi-dependent older persons can be thought of as needing some assistance from other persons with instrumental activities of daily living (IADLs) such as cooking, cleaning, and shopping. In addition to needing assistance with some IADLs, dependent older persons may require assistance with more basic activities such as toileting, eating and bathing. Although semi-dependent and dependent older persons can be found throughout the housing continuum, independent older persons are very unlikely to reside in housing types such as assisted living specifically designed and equipped to meet the needs of frail older persons unless their spouses require these needs.Although the continuum of housing identifies a range of housing types, there is increasing recognition that frail older persons do not necessarily have to move from one setting to another if they need assistance. Semi-dependent or dependent older persons can live in a variety of settings, including their own homes and apartments, if the physical environment is made more supportive, caregivers are available to provide assistance and affordable services areaccessible.5. ConclusionsHousing plays a critical role in the lives of older persons. Most older homeowners who function independently express a high level of satisfaction with their dwelling units. However, high housing costs, especially for renters, remain a financial burden for many older persons and problems associated with housing condition persist especially for low- income renters and persons living in rural areas. Federal housing programs such as public housing, Section 202 housing, and Section 8 housing certificates have only been able to address the basic housing problems of only about one-third of eligible older persons because of limited budgets. Moreover, a shortage of viable residential options exists for frail older persons. Up until the last decade, housing for the elderly was conceived of primarily as shelter. It has become increasingly recognized that frail older persons who needed services and physically supportive features often had to move from their homes or apartments to settings such as board and care or nursing homes to receive assistance. Over time, however, the concept of a variety of housing types that can be linked has replaced the original idea of the continuum of housing. It is possible for frail older persons to live in a variety of existing residential settings, including their own homes and apartments with the addition of services and home modifications. Consequently, the last decade has seen a number of efforts to modify homes, add service coordinators to multi-unit housing and create options such as accessory and ECHO units. Although thesestrategies have been enhanced by a somewhat greater availability of home care services, Medicaid policy still provides incentives to house frail older persons in nursing homes. The most visible development in the field of housing for frail older persons has been the growth of private sector assisted living which is now viewed by many state governments as a residential alternative to nursing homes. The AL movement itself has raised a number of regulatory and financing issues that cross-cut housing and long term care such as what constitutes a residential environment, insuring that residents can age in place, accommodating resident preferences, protecting the rights of individuals and insuring quality of care. Nevertheless, the emergence of AL along with a wider range of other housing options holds out the promise that older persons will have a larger range of choices among living arrangements.译文：老年人的住宅问题与选择一、简介住宅在老年人生活的极为重要。

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

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

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

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

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

就如人类学家海伦费希认为的那样，21世纪的女性将是“第一性”。

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

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

室内设计外文翻译外文文献英文文献自然简约—对室内设计现象附件 2:外文原文 Natural simplicity - on interior design AnalysisAbstract: The natural simple interior design show is a way of life it allows us closer tonature more emphasis on functionality more concerned about life itself. create apoetic space.Keywords: minimalism space grade interior design feeling Ancient times Chinese wooden framework architecture of ancient India theOrient Europe building caves in ancient Greece ancient Rome and so on decorativestone buildingclosely integrated with the components with the main buildinghowever. dissolved into Europe in the early seventeenth century Baroque times andthe mid-eighteenth century the Rococo era began with the interior decoration of themain building separated from the main building external and internal fitting-outperiod in the use of the mismatch thus leading to the main building and interiordecoration of the separation in the construction of the French court architecture andaristocratic mansion the new occupation quotdecorative artisanquot was born the buildingsinternal frequency continuous modification fixed the main building the replacementbuilding quotclothingquot the time has come. Baroque-style architecture of the interiordesign one anti-Renaissance solemn subtle balanced tend to exaggerate. luxury inchurches and palaces in the architecture sculpture painting into a whole the pursuitof momentum with the ups and downs but an attempt to cause the illusion.Rococointerior architecture is the palace of nobility in order to be intimate and comfortableelegant interior and the pursuit of a more intimate interior decorative effect. with thinlightweight beautiful and complex decorative hi-shaped with C-shaped or S-shapedcurve of the vortex and soft pastel colors with flowers and birds many shells as atheme and the court order to meet the requirements of the exotic much used ininterior decoration. Chinese-style Baroque and Rococo-style hand-made decorationreached perfection referred to as quotinterior decorationquot. modern representatives of thegreat development of the industrial revolution there has been a new type of concretebuilding its interior decoration not only from the main building from the Mediumand developed into the main building and not attached to the sole part of the relativeseparation. Sports camp solved simply decorative building components with acombination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form consider thespace of the building are the protagonist advocate discarding false surface decorationall around the architecture reasonable space requirements Services. excludedecoration emphasis on the use of functions and simplified shapes. Advocate the design of the natural style of natural space aesthetic promoted theidea that quotnatural beautyquot to the performance of relaxed comfortable natural pastorallife and is often the use of natural wood stone rattan bamboo and other materialsrustic texture. clever in interior settings greening create a natural simple fresh andelegant atmosphere. onlyupholds nature combined with the natural order in todayshigh-tech high-paced social life so that people can achieve physical andpsychological balance. Simple does not mean easy it is an attitude towards life. when we are in modernlife to bear too much pressure we began to look for the feeling of freedom gracefulposture and extraordinary taste. we need to tend to a peaceful state of mind impetuousSo we call for simplicity. from the building space to the general living space fromdesigners to the ordinary citizen vocational naturally simple style - interior design hasbecome very popular direction. The spirit of simplicity is mainly derived from the origin to the early twentiethcentury Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designersin the mid 80s to lead the trend ofminimalismdesign. Europe and the United States at the time of economic downturn the ArtGallery bosses began to display works of art space to find a way out some reportedcosts factory floor layout easy to become art exhibition hall the purpose of funding isbased on at least make the best display space while the results of doing so is tosimplify the space not decoration superfluous things in fact this also reflects theemergence of a new aesthetic design. from home into the design of art galleries theexhibition space with works of art showing the characteristics of the same type ofaesthetic simplicity. art at this time it started with the interior coincide with the designand gradually began to slip to the present minimalism became the style of interiordesign and pursue careers. Return to nature of minimalism arehuman-specific labor. its purpose is toconcise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs. In a sense the prevalence of minimalism aretheinevitable trend of human development. Natural simple interior design to create a poetic space. We know that the quotpoemquotThe Art of the characteristics is to use very simple vocabulary according to certainrules of composition form a quotpoemquot of such a language its between the lines containsa great deal of space a static implicit in the design space. peoples ideological feelingslife longing for injectioninto the environment through the quotmoodquot to reproduce thethree-dimensional space in reality it means its habitat then forgotten by his bodywhich is a spiritual experience beyond the physical experience quotmoodquot of creation itis by creating an atmosphere to achieve a certain spiritual significance embodied thequotaffinityquot.In fact the interior design is minimalism such a quotpoeticquot to create a spacewith minimalist objects. have to imagine the use of display space this space isactually a vice-space has generated various combinations of furniture deputy spaceit often gives a visual quotemptyquot feeling while quotemptyquot like poetry generated by thequotmoodquot a great mobilization of the person in which emotions ability to inspirepeople association. Simple interior design aesthetic to emphasize the form. If Say thegeneral design of the interior furniture such as sofas tables and other items referredto as the main object then minimalism interior design is there is no such distinction.Minimalism in interior designconsider any part of space will share the sameimportant role including the walls ground and so on top of all the objects in space.coordination portfolio has a strong aesthetic form which is mainly embodied in pointLine surface the three elements of the performance space. China for thousands ofculture how much precipitation Heng Bank works especially the Han Chinese arebuilding a more beautiful set of Aura essence to quotsimple solid precise elegantquot as theprinciples unique to Oriental aesthetic ideas independent and vigorous temperamentconcise vaguedistant charm of simplicity the world should ring. it has also affectedthe international building design concepts but also affect the interior designaesthetic.Design is able to express the language aslittle as possible as muchinformation as possible depends on its design will be many manifestations of thecombined elements of science in which the choice and use of color plays a verycrucial role. We know colors are different wavelengths Light reflection and absorptionof the result of the spread of light faster than the spread of graphic language fasterwhich makes it the first time people feel so the first sense of space is the color anddifferent colors can cause different and feelings of psychological reflect. Naturalsimple interior design black and white and color materials are representative of itscolor is often used in color these colors were not inclined to think most are the colorsof the visual interference of the smallest personInterior design at the same time alsoemphasized the use of light often through access tonatural light source such asskylights which create a pastel color spaceof one whole plays a very important rolebut also embodies the minimalism advocated by the simple but not simple Style. The performance of every means to live for the purpose of for each partialemphasized its functionality and comfort In fact such a full expression of functionaldesign embodies the basic aesthetic principle is also very easy to understand anydesign Service is based on man-made object person in the consumer design are themost important consumer of its practical function so when we see a seemingly hardseat do not immediately judge it is bound to bring you the feeling of cold go get themoment perhaps it is that it backs the arc Road inadvertently bring you down just toexperience the benefits of comfort. It should be said that natural simple interior design show is a way of life itallows us closer to nature more emphasis on functionality more concerned about lifeitself. Concise understanding of the person to person because of peoples ageknowledge quality of life different backgrounds and the taste will be differentrequirements. social development the progress of the times new thinking newstructure the emergence of new materials will have to adapt to this new concept ofdecoration new forms new space. decorative simplicity of this modern form ofexpression has depth affect thebuilding products industrial products in many fieldssuch as Living Products. several pipe a timber a reactor cloth can make differentforms of modern furniture. it has quietly let peoples way of life and ideas have been aqualitative change. think concise design style is bound to outshine others to becomepeoples lives the pursuit of 21st centuryfashion. A concise form of expression to meet the peoples space environment the kind ofinstinctive emotional and rational needs this is also the international communitytoday. popular design style and modern fast-paced high-frequency full load has nopeople to Reusable point increase in the acceptance of people in this increasinglybusy life a desire to be able to completely relax simple and pure spirit to regulate theconversion of space which is dominated in the complementary sense arising fromtrying to shake off cumbersome complicated easy and natural to pursue thepsychological. hostels in Indonesia Bali Series design inspired by Balis folk stylebut in space architecture and dynamic line arrangements are designed to extend thespirit of simplicity performance in the Materials the emergence of the local naturaloriginal timber straw and stone designers of these natural elements of folk withaccurate and concise detail to deal with in order to strengthen the theme will also bepart of decorative simplistic presented by the space can be said modern Balinesestyle. Taking a panoramic view of the worldsarchitectural design whether they areGerman Master Mies van der Rohe or the United States Richard Meyer TadaoAndo of Japan Chinese-American IM Pei they are the most pure form with a veryordinary materials use of the most concise way showing great depth of meaning andnoble qualities space a piece of their work is full of spirituality has infinite vitalityand their design idea in todays era of shock also led the development trend of thetimes.附件 1:外文资料翻译译文自然简约—对室内设计现象分析摘要: 自然简约的室内设计展现的是一种生活方式它让我们更接近自然更强调功能更关注生活本身营造的是一种诗意的空间关键词: 简约空间品位室内设计感觉远古时期中国的木构架建筑东方古印度的石窟建筑欧洲古希腊古罗马的石砌建筑等等装饰与构件紧密结合与建筑主体溶为一体然而十七世纪初欧洲巴洛克时代和十八世纪中叶的洛可可时代开始了室内装饰与建筑主体的分离外部的建筑主体与内部的装修在使用年限上不匹配因而导致建筑主体与室内装饰的分离在营造法国宫廷建筑和贵族宅邸时新的职业“装饰工匠”诞生了对建筑物的内部频繁不断地进行改装不动建筑主体更换建筑“服装”的时期已经到来巴洛克式建筑的室内设计一反文艺复兴时期的严肃含蓄平衡倾向于豪华浮夸在教堂及宫殿中把建筑雕塑绘画结合成一个整体追求动势与起伏企图造成幻象而洛可可式建筑室内则是皇宫贵族为了得到舒适的私密的室内而追求优雅的更为亲切的室内装饰效果具有纤细轻巧华丽和繁琐的装饰性喜用 C 形S 形或漩涡形的曲线和轻淡柔和的色彩多以花鸟贝壳为题材并为适应宫廷的异国情趣要求在室内采用了许多中国式装饰巴洛克和洛可可式的手工制作达到了装饰的极致被称为“室内装饰”的代表近代工业革命的大发展出现了新型的混凝土建筑它不仅使室内装饰从建筑主体中脱离而且发展成为不依附于建筑主体而相对独力的部分分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾成为现代主义设计的先驱包豪斯学派强调功能决定形式认为空间是建筑的主角提倡抛弃表面虚假的装饰一切围绕着架构合理的空间服务要求排除装饰强调使用功能以及造型的简单化自然风格倡导设计自然空间美学上推崇“自然美” 力求表现悠闲舒畅自然的田园生活情趣也常运用天然木石藤竹等材质质朴的纹理巧于设置室内绿化创造自然简朴清新淡雅的氛围只有崇尚自然结合自然才能在当今高科技高节奏的社会生活中使人们能取得生理和心理的平衡简约不等于简单它是一种生活态度当我们在现代生活中承受太多的压力我们开始渴望拥有自由的感觉优雅的姿态和不凡的品位我们需要让浮躁的心境趋向平和于是我们呼唤简约从大的建筑空间到普通的居住空间从职业设计师到普通公民自然简约风格——开始成为室内设计界非常流行的方向简约的精神起源主要源自于二十世纪初期的西方现代主义英国JOHNPawson与法国的 ClaudioSilverstein 两位室内设计师在 80 年代中期引领了简约主义的设计潮流当时欧美的经济不景气艺廊老板们开始在艺术品的展示空间上找出路一些报费的工厂车间简单布置成为艺术展厅目的是以最少的经费作出最好的展示空间而这么做的结果就是简化空间不装饰多余的东西实际上这也反映了一种新审美的出现从设计居家引入到艺廊的设计使得展示空间与艺术品呈现出同一种美学特征简约艺术也就在这个时候开始与室内设计相吻合并逐渐开始流行起来到现在简约主义成了室内设计追崇的风格回归自然的简约主义是人类特有的劳动成果其目的是以简洁的表现形式来满足人们对空间环境那种感性的本能的和理性的需求从某种意义上说简约主义的盛行是人类发展的必然趋势自然简约的室内设计营造的是一种诗意的空间我们知道“诗”的艺术特点就是用极其简洁的语汇按照一定的规则组合形成“诗”这样一种语言其字里行间包含了极大的空间一种隐含的静态的空间在设计中把人的思想情感人生的向往注入到环境中去通过“意境”将其立体空间地再现于现实中使人入其境则忘乎其身这是一种超乎物质感受的精神感受“意境”的创造正是通过气氛的营造来达到体现某种精神意义上的“亲和力”实际上简约主义室内设计就是这样一种“诗意”空间的营造用极简的物体摆设产生想象使用空间这个空间实际上是一种副空间有各个家具组合产生的副空间它往往给人视觉上“空”的感觉而“空”犹如诗所产生的“意境”极大调动着身处其中的人的情绪激发人的联想能力简约室内设计强调形式美感如果说一般的室内设计把家具诸如沙发桌子等物品称为主体物的话那么简约主义室内设计是不存在这样的区分的简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用包括墙面地面顶面等空间中所有物体的协调组合具有很强的形式美感这主要体现在点线面三个空间元素的表现上中国几千年的文化沉淀出多少恒世佳作特别是中国汉代建筑更是集精华美妙之灵气以“简单厚实精准雅致”为原则将东方特有的审美观念独立浑厚的气质凝练渺远的简约神韵响绝于世它至今还影响着国际建筑的设计理念也影响着室内设计的美感设计之所以能以尽量少的语言表达尽量多的信息有赖于其将诸多设计表现形式要素科学的融合在一起其中色彩的选择和使用起了十分关键的作用我们知道色彩是不同波长的光反射和吸收的结果光的传播速度比图形文字的传播速度快这使得它让人在第一时间感受到所以对空间最先感受到的就是色彩而不同色彩可以引起人们不同的心理反映和感受在自然简约的室内设计中黑色和白色以及材料的本色是它的代表色也是常常使用的颜色这些颜色被认为是最没有倾向的颜色对人的视觉干扰最小同时室内设计也强调对光的使用往往通过天窗等获取自然光源这对塑造一种轻淡整一的色彩空间起着相当重要的作用也体现了简约主义所宣扬的简洁但不简单的风格每一个表现手段都以居住为目的对每一个局部都强调其功能性和舒适性实际上这种对功能的充分表述体现了设计的基本美学原理也是很容易理解的任何设计都是以人为服务对象的人在消费设计的时候最主要是消费它的实用功能所以当我们看到一张看似坚硬的座椅不要马上判断它必然带给你冰冷的感觉坐上去的一刹那也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适.。

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

外文文献原文+译文原文The research of personalized office space interior designMartin GAbstractIn the 21st century, human society entered the "information age", most countries in the world also has gradually into the "post industrial society". In the era of "post industrial society", based on computer technology, network technology and information technology characteristics of the information society will change our mode of production, life style, work style and way of thinking, affects every aspect of our lives. The development of network makes the world becomes smaller and smaller, and the city became big assimilation, life becomes urbanization, people lost the passion of pursuing new and change. In this era of homogeneity, any new things will make people feel excited and delighted, can someone as the cheers and applause, pursuing new and change is the slogan of The Times. The life needs, design calls for more personalized works. Make public individual character, in the field of design innovation is the slogan. The personality is the soul of interior design, interior design for individual work.Keywords: Human nature; Personalized; Office space; Interior design1 IntroductionIn calling upon the personality in the field of interior design, on the one hand, people demand more attention to person itself, also in the interior design is also more to embody the "people-oriented" design concept. Interior design more consideration to all levels of people of different physiological and psychological level, the various requirements of the design to achieve more balance, balance the dual requirement of people in the material world and spiritual world, tend to be more humane, intelligent and ecological design. Gradually reduce, on the other hand, as the earth's resources, the worsening of the natural environment, destruction of ecological balance, need more of is in interior design "people-oriented" dialectic, which is in the life to promote energy conservation, saving resource and moderate consumption, on thedesign to implement green design, ecological design and environmental design, achieve the harmonious development of man and nature.In the field of interior design, office space occupied large proportion of interior design. In August 1933 C AM (international association of modern architecture) fourth conference in Athens by the Athens charter, and put forward the "live, work, transportation activities is to study and analysis of urban design in modern times, the most basic classification". Work is one of the main human activities, office space is the center of the modern life, and people have a third day of the time want to be in the office. Well-designed personalized office space people can keep a good balance of body and mind, stimulate creativity, promote the exchange of work, and enhance the sense of belonging, to create greater wealth for the society. Therefore, office space interior design is particularly important.2 Overview of interior designInterior design, also known as the indoor environment design, the main content of the design for indoor plane design and space combination, indoor surface art processing, and indoor furniture, lamps and lanterns, display the selection and arrangement, etc. Generally have the floor plan, flat-topped diagram, facade expansion plan, as well as furniture, lamps and lanterns and detail drawing. Can use Gantt chart or color rendering." As an independent professional interior design, in the world is truly established in the 1960 s, after the birth of modern architecture movement is interior design professional agent directly, make indoor design in design idea and great changes have taken place in modern architecture movement one by one to make indoor decoration from pure interface to the design of the space; from the traditional pattern of two-dimensional space design to create innovative four-dimensional model; the essence lies in the overall artistic atmosphere of interior space to create, this is the traditional way of thinking of interior design a fundamental shift in attitudes.Interior design is a comprehensive strong cross discipline, is the art and science, the unity of form and technique. Art and science, as human beings to know the world and transform the world's two most powerful means, also reflected in the design. Cansay, the whole process of design, is to make all sorts of subtle things and feelings, organized into a clear concept and art forms, so as to build content to demand the materialization of human emotions and behavior. All design practice is to make the knowledge and the characteristics of emotional streamline, ultimately comes down to this practice aesthetics system in the form of art and scientific theory system. Any kind of design results is the crystallization of art and science, the design is on the brink of between arts and science subjects. Here, the art as a source of design thinking, reflected in people's spiritual world, subjective emotional aesthetic consciousness become design create impulsion. Science as a design specification of the process manifests itself in the material world, people of objective function of technology using the designing a guarantee of success. That reflect more outstanding in the indoor design, modern interior design involves the aesthetic psychology, architecture, sociology, ethnology, human body engineering, structural engineering, architectural physics and material science disciplines, such as it requires the use of multidisciplinary knowledge, comprehensive multi-level space environment design, is a highly integrated comprehensive discipline. Interior design as an independent comprehensive discipline, is the rational creation method in architectural interior space, is a kind of based on the structure of science, to the art form of expression, to create a spiritual space and material space and indoor living environment for the rational creation activity, the sensibility of art together and scientific rationality as the designers create infinite power.Interior design is a category of design, all aspects of the design of the full performance characteristics. Design is to seek a breakthrough in the artistic feeling, an extraordinary, a characteristic of the state, while in this state and breakthrough collectively known as personalized design. Personalized embodied in interior design in the modern office space more to highlight, even far beyond the spiritual and cultural requirements of the space environment is responsible for. It requires that reflects the unique style of enterprise culture, policy makers, tolerance and style, the collective image of the company, the company's historical development and even the company's product characteristic image, and so on. Interior design of individual ischaracter on the premise of "people-oriented". The "people-oriented" can be understood as interior design some of the common requirements, design some aspects of personality development of functional factors, including interior space of the physical environment, physical environment and psychological environment and visual environment and other factors. Personalized office space interior design should be based on these factors.Interior design of individual is character on the guideline of "environmental consciousness". In be being designed indoors, "people-oriented" design concept represents human intuitive understanding of their own interests, reflects the value judgment of anthropocentrism and value orientation, the design of the forming rule of nature theory system and methodology. However, due to human easily swayed by utilitarianism, simply emphasize the "people-oriented", is bound to damage the natural value to achieve the purpose of remaking nature. Should be in the development of interior design development under the guidance of overall environment consciousness, personalized interior design should merge in the overall environment, and the natural harmonious development of the overall concept of choose and employ persons ideas and planning projects, to carry on the design. Interior design to the idea of ecology and ecological values is the main principle, to fully consider the human environmental sustainable development.3 The change of the post-industrial society office spaceSince the 1990 s, represented by information and communication industry of knowledge-based industries become the growth point of the world's biggest economy, network, digitalization and virtualization become the main characteristics of the new economy. Along with the wide application of Internet technology, the popularity of mobile communication technology development, each kind of electronic office products constantly upgrading, make the human on the basis of constantly improve office efficiency, to the depth and breadth development, continue to deepen the degree of office automation, a new type of office mode, arise. Transmission of information is to reduce line configuration. The development of information technology has brought "virtualization" office building in the 1990S. As mobile phones, notebook computers,the emergence of the Internet and E-mail, office workers actually turned out to be "free agents" (Foot Loose) office place and time of freedom. Information technology is also changed on the concept of work and organization. Divide too fine office space layout is no longer suitable for the new working method emphasizes the interaction of team spirit, so had to create a more open workspace.On the one hand, the scope of information technology makes the work continuously break limit of the space, everywhere in the world. The emergence of new digital office mode and concept, make the enterprise began to put more money into the computer network and related technology, and slash funding for the new office. Many large companies have begun to experiment a new office mode. For example, the "elastic" (Flextime) or "office" alternately (Alternate office) implemented in IBM.IBM for 13000 sales, often, technical and administrative personnel are equipped with computers, printers, fax machines and modem, facilitate everybody work outside the office. A new information system, on the other hand, make development changed about the concept of work and organization, office workers actually turned into "free agents", they enjoy freedom of offices and office hours. Increasing work efficiency of the individual, unit time has created an unprecedented social wealth. The arrival of network age makes "SOHO (Small office, home office) became popular in the world. SOHO narrowed the office space, completely eliminate the space distance of the office and family, to overcome the busy traffic, congestion, the share of energy at the same time, reduces the consumption of resources, good way to solve the problems of land for growing population explosion and the scarce. SOHO works make work life, ever tiresome many working atmosphere in the family to make the person feels interest, the workings of a SOHO has become a mainstream in the future.文献出处：Martin G. The research of personalized office space interior design [J]. California Management Review, 2016, 4(3): 89-101.译文个性化办公空间室内设计研究Martin G摘要21世纪人类社会进入了“信息时代”，世界上大多数国家也已经逐步转入了“后工业社会”。

室内设计数字化的外文文献
以下是室内设计数字化的部分外文文献：
•"Digital Interior Design: The Integration of Technology and Creativity"，这篇文章探讨了数字技术在室内设计中的应用，以及如何将技术与创意相结合，创造出更具创新性和实用性的室内设计方案。

•"The Impact of Virtual Reality on Interior Design: A Study of New Perspectives and Opportunities"，这篇文献研究了虚拟现实技术对室内设计的影响，分析了虚拟现实技术为室内设计带来的新视角和机会。

•"Intelligent Interior Design: The Use of Artificial Intelligence in Space Planning and Decoration"，该文章探讨了人工智能在室内设计中的应用，特别是在空间规划和装饰方面的应用，展示了人工智能如何改变室内设计的过程和结果。

请注意，这些文献的标题可能并不完全准确，因为具体的文献标题可能会因作者、出版年份和出版机构的不同而有所差异。

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同时，这些文献可能涉及到专业的术语和理论，需要具备一定的室内设计和数字化技术背景知识才能深入理解。

另外，这些文献只是提供了一个大致的方向，具体的研究内容和深度可能会有所不同。

如果您需要更详细的信息，建议直接查阅相关的文献原文。

室内设计外文翻译外文文献英文文献自然简约—对室内设计现象分析附件2:外文原文Natural simplicity - on interior design AnalysisAbstract:The natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself. create a poetic space.Keywords:minimalism; space; grade; interior design; feelingAncient times, Chinese wooden framework architecture of ancient India, the Orient, Europe, building caves in ancient Greece, ancient Rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into Europe in the early seventeenth century Baroque times and the mid-eighteenth century the Rococo era, began with the interior decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the separation, in the construction of the French court architecture and aristocratic mansion, the new occupation "decorative artisan" was born, the building's internal frequency continuous modification, fixed the main building, the replacement building, "clothing" the time has come. Baroque-style architecture ofthe interior design, one anti-Renaissance solemn, subtle, balanced, tend to exaggerate. luxury, in churches and palaces in the architecture, sculpture, painting into a whole, the pursuit of momentum with the ups and downs, but an attempt to cause the illusion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of a more intimateinterior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and soft pastel colors with flowers and birds, many shells as a theme, and the court order to meet the requirements of the exotic, much used in interior decoration. Chinese-style Baroque and Rococo-stylehand-made decoration reached perfection, referred to as "interior decoration". modern representatives of the great development of the industrial revolution, there has been a new type of concrete building,its interior decoration not only from the main building from the Medium, and developed into the main building and not attached to the sole partof the relative separation. Sports camp solved simply decorativebuilding components with a combination of the main contradictions in modernist design become a pioneer in theBauhaus school of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all around the architecture reasonable space requirements Services. exclude decoration, emphasis on the use of functions and simplified shapes.Advocate the design of the natural style of natural space, aesthetic promoted the idea that "natural beauty" to the performance of relaxed, comfortable, natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings greening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order intoday's high-tech, high-paced social life, so that people can achieve physical and psychological balance.Simple does not mean easy, it is an attitude towards life. when weare in modern life, to bear too much pressure, we began to look for the feeling of freedom, graceful posture and extraordinary taste. we need to tend to a peaceful state of mind impetuous, So we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen vocational naturally simple style - interior design has become very popular direction.The spirit of simplicity is mainly derived from the origin to the early twentieth century Western Modernism. Britain and France JOHNPawson twoClaudioSilverstein interior designers in the mid 80s to lead thetrend of minimalism design. Europe and the United States at the time of economic downturn, the Art Gallery bosses began to display works of art space to find a way out, some reported costs factory floor layout easyto become art exhibition hall, the purpose of funding is based on atleast make the best display space, while the results of doing so is tosimplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same type of aesthetic simplicity.art at this time it started with the interior coincide with the design and gradually began to slip to the present minimalism became the style of interior design and pursue careers.Return to nature of minimalism are human-specific labor. its purpose is to concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitable trend of human development.Natural, simple interior design to create a poetic space. We know that the "poem"The Art of the characteristics is to use very simple vocabulary, according to certain rules of composition, form a "poem" of such a language, its between the lines contains a great deal of space, a static implicit in the design space. people's ideological feelings, life, longing for injection into the environment through the "mood" to reproduce the three-dimensional space, in reality, it means its habitat, then forgotten by his body, which is a spiritual experience beyond the physical experience, "mood" of creation, it is by creating an atmosphere to achieve a certain spiritual significance embodied the "affinity".In fact, the interior design is minimalism such a "poetic" to create a space with minimalist objects. have to imagine the use of display space,this space is actually a vice-space, has generated various combinations of furniture, deputy space, it often gives a visual "empty" feeling, while "empty" like poetry generated by the "mood", a great mobilization of the person in which emotions, ability to inspire people association. Simple interior design aesthetic to emphasize the form. If Say, the general design of the interior furniture, such as sofas, tables andother items referred to as the main object, then minimalism interior design is there is no such distinction. Minimalism in interior design consider any part of space will share the same important role, including the walls, ground, and so on top of all the objects in space. coordination portfolio has a strong aesthetic form, which is mainly embodied in point Line, surface, the three elements of the performance space. China for thousands of culture, how much precipitation Heng Bank works, especially the Han Chinese are building a more beautiful set of Aura essence to "simple, solid, precise, elegant" as the principles unique to Oriental aesthetic ideas, independent and vigorous temperament, concise vague distant charm of simplicity, the world should ring. it has also affected the international building design concepts, but alsoaffect the interior design aesthetic.Design is able to express the language as little as possible as much information as possible, depends on its design will be many manifestations of the combined elements of science, in which the choice and use of color plays a very crucial role. We know colors are different wavelengths Light reflection and absorption of the result of the spread of light faster than the spread of graphiclanguage faster, which makes it the first time people feel, so the first sense of space is the color, and different colors can cause differentand feelings of psychological reflect. Natural, simple interior design, black and white and color materials are representative of its color, is often used in color, these colors were not inclined to think most arethe colors of the visual interference of the smallest person:Interior design at the same time alsoemphasized the use of light, often through access to natural light source, such asskylights, which create a pastel color space of one whole plays avery important role, but also embodies the minimalism advocated by the simple but not simple Style.The performance of every means to live for the purpose of, for each partial emphasized its functionality and comfort: In fact, such a full expression of functionaldesign embodies the basic aesthetic principle, is also very easy to understand, any design Service is based on man-made object, person inthe consumer design, are the most important consumer of its practical function: so, when we see a seemingly hardseat, do not immediately judge it is bound to bring you the feelingof cold, go get the moment, perhaps it is that it backs the arc Road inadvertently bring you down just to experience the benefits of comfort.It should be said that natural, simple interior design show is a way of life, it allows us closer to nature, more emphasis on functionality, more concerned about life itself.Concise understanding of the person to person, because of people's age, knowledge, quality of life, different backgrounds, and the taste will be different requirements. social development, the progress of the times, new thinking, new structure, the emergence of new materials will have to adapt to this new concept of decoration, new forms, new space. decorative simplicity of this modern form of expression has depth affect the building products, industrial products, in many fields such asLiving Products. several pipe, a timber, a reactor cloth can make different forms of modern furniture. it has quietly let people's way of life and ideas have been a qualitative change. think concise designstyle is bound to outshine others, to become people's lives, the pursuit of 21st century fashion.A concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs, this is also the international community today. popular design style and modern fast-paced, high-frequency, full load, has no people to Reusable: point increase in the acceptance of people in this increasingly busy life, a desire to be able to completely relax, simple and pure spirit to regulate the conversion of space, which is dominated in the complementary sense, arising from trying to shake off cumbersome, complicated, easy and natural to pursue the psychological. hostels inIndonesia Bali Series design, inspired by Bali's folk style, but in space architecture and dynamic line arrangements are designed to extend the spirit of simplicity: performance in the Materials the emergence of the local natural original timber, straw and stone: designers of these natural elements of folk withaccurate and concise detail to deal with in order to strengthen the theme will also bepart of decorative simplistic, presented by the space can be said modern Balinese style.Taking a panoramic view of the world's architectural design, whether they are German Master • Mies van der Rohe, or the United States • Richard Meyer, Tadao Ando of Japan, Chinese-American IM Pei, they are the most pure form, with a very ordinary materials, use of the most concise way, showing great depth of meaning and noble qualities: space a piece of their work is full of spirituality has infinite vitality, and their design idea in today's era of shock: also led the development trend of thetimes.附件1:外文资料翻译译文自然简约—对室内设计现象分析摘要:自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:营造的是一种诗意的空间:关键词: 简约;空间;品位;室内设计;感觉远古时期,中国的木构架建筑,东方古印度的石窟建筑,欧洲古希腊,古罗马然而十七世纪初欧的石砌建筑等等装饰与构件紧密结合,与建筑主体溶为一体: 洲巴洛克时代和十八世纪中叶的洛可可时代,开始了室内装饰与建筑主体的分离,外部的建筑主体与内部的装修在使用年限上不匹配,因而导致建筑主体与室内装饰的分离,在营造法国宫廷建筑和贵族宅邸时,新的职业“装饰工匠”诞生了,对建筑物的内部频繁不断地进行改装,不动建筑主体,更换建筑“服装”的时期已经到来:巴洛克式建筑的室内设计,一反文艺复兴时期的严肃,含蓄,平衡,倾向于豪华,浮夸:在教堂及宫殿中把建筑,雕塑,绘画结合成一个整体,追求动势与起伏,企图造成幻象:而洛可可式建筑室内则是皇宫贵族为了得到舒适的,私密的室内而追求优雅的更为亲切的室内装饰效果:具有纤细,轻巧,华丽和繁琐的装饰性;喜用C形,S形或漩涡形的曲线和轻淡柔和的色彩,多以花鸟,贝壳为题材,并为适应宫廷的异国情趣要求,在室内采用了许多中国式装饰:巴洛克和洛可可式的手工制作达到了装饰的极致,被称为“室内装饰”的代表:近代工业革命的大发展,出现了新型的混凝土建筑,它不仅使室内装饰从建筑主体中脱离,而且发展成为不依附于建筑主体而相对独力的部分:分离派运动解开了单纯装饰部件与建筑主体相结合的矛盾,成为现代主义设计的先驱:包豪斯学派强调功能决定形式,认为空间是建筑的主角,提倡抛弃表面虚假的装饰,一切围绕着架构合理的空间服务:要求排除装饰,强调使用功能以及造型的简单化:自然风格倡导设计自然空间,美学上推崇“自然美”, 力求表现悠闲,舒畅,自然的田园生活情趣,也常运用天然木,石,藤,竹等材质质朴的纹理:巧于设置室内绿化,创造自然,简朴,清新淡雅的氛围:只有崇尚自然,结合自然,才能在当今高科技,高节奏的社会生活中,使人们能取得生理和心理的平衡:简约不等于简单,它是一种生活态度:当我们在现代生活中,承受太多的压力,我们开始渴望拥有自由的感觉,优雅的姿态和不凡的品位:我们需要让浮躁的心境趋向平和,于是我们呼唤简约:从大的建筑空间到普通的居住空间,从职业设计师到普通公民,自然简约风格——开始成为室内设计界非常流行的方向: 简约的精神起源主要源自于二十世纪初期的西方现代主义:英国JOHNPawson与法国的ClaudioSilverstein两位室内设计师在80年代中期引领了简约主义的设计潮流:当时欧美的经济不景气,艺廊老板们开始在艺术品的展示空间上找出路,一些报费的工厂车间简单布置,成为艺术展厅,目的是以最少的经费作出最好的展示空间,而这么做的结果就是简化空间,不装饰多余的东西,实际上,这也反映了一种新审美的出现:从设计居家引入到艺廊的设计,使得展示空间与艺术品呈现出同一种美学特征:简约艺术也就在这个时候开始与室内设计相吻合,并逐渐开始流行起来,到现在简约主义成了室内设计追崇的风格:回归自然的简约主义是人类特有的劳动成果:其目的是以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求:从某种意义上说,简约主义的盛行是人类发展的必然趋势:自然,简约的室内设计营造的是一种诗意的空间:我们知道,“诗”的艺术特点就是用极其简洁的语汇,按照一定的规则组合,形成“诗”这样一种语言,其字里行间包含了极大的空间,一种隐含的静态的空间:在设计中把人的思想情感,人生的向往注入到环境中去,通过“意境”将其立体,空间地再现于现实中,使人入其境,则忘乎其身,这是一种超乎物质感受的精神感受, “意境”的创造,正是通过气氛的营造来达到体现某种精神意义上的“亲和力”:实际上,简约主义室内设计就是这样一种“诗意”空间的营造:用极简的物体摆设产生想象使用空间,这个空间实际上是一种副空间,有各个家具组合产生的副空间,它往往给人视觉上“空”的感觉,而“空”犹如诗所产生的“意境”,极大调动着身处其中的人的情绪,激发人的联想能力:简约室内设计强调形式美感:如果说,一般的室内设计把家具,诸如沙发,桌子等物品称为主体物的话,那么简约主义室内设计是不存在这样的区分的:简约主义室内设计认为处在空间中的任何部分都分担着同样重要的作用,包括墙面,地面,顶面等:空间中所有物体的协调组合具有很强的形式美感,这主要体现在点,线,面三个空间元素的表现上:中国几千年的文化,沉淀出多少恒世佳作,特别是中国汉代建筑更是集精华美妙之灵气,以“简单,厚实,精准,雅致”为原则,将东方特有的审美观念,独立浑厚的气质,凝练渺远的简约神韵,响绝于世:它至今还影响着国际建筑的设计理念,也影响着室内设计的美感: 设计之所以能以尽量少的语言表达尽量多的信息,有赖于其将诸多设计表现形式要素科学的融合在一起,其中色彩的选择和使用起了十分关键的作用:我们知道色彩是不同波长的光反射和吸收的结果,光的传播速度比图形文字的传播速度快,这使得它让人在第一时间感受到,所以对空间最先感受到的就是色彩,而不同色彩可以引起人们不同的心理反映和感受:在自然,简约的室内设计中,黑色和白色以及材料的本色是它的代表色,也是常常使用的颜色,这些颜色被认为是最没有倾向的颜色,对人的视觉干扰最小:同时室内设计也强调对光的使用,往往通过天窗等获取自然光源,这对塑造一种轻淡整一的色彩空间起着相当重要的作用,也体现了简约主义所宣扬的简洁但不简单的风格:每一个表现手段都以居住为目的,对每一个局部都强调其功能性和舒适性:实际上,这种对功能的充分表述体现了设计的基本美学原理,也是很容易理解的,任何设计都是以人为服务对象的,人在消费设计的时候,最主要是消费它的实用功能:所以,当我们看到一张看似坚硬的座椅,不要马上判断它必然带给你冰冷的感觉,坐上去的一刹那,也许正是它背上的那道不经意的弧线带给你恰倒好处的舒适体验: 应该说,自然,简约的室内设计展现的是一种生活方式,它让我们更接近自然,更强调功能,更关注生活本身:对简洁的理解因人而异,由于人们的年龄,见识,素养,生活背景的不同,所产生的品味要求也就不同:社会的发展,时代的进步,新思维,新结构,新材料的出现必定会产生与此适应的装饰新概念,新形式,新空间:简洁这一现代的装饰表现形式已经深入影响到建筑产品,工业产品,生活产品等诸多领域:几根钢管,一个木桩,一个布堆就能做出不同形式的现代家具:它已悄然让人们的生活方式和思想观念产生质的变化:有人认为简洁的设计风格必然会一枝独秀,成为21世纪人们生活追求的时尚: 以简洁的表现形式来满足人们对空间环境那种感性的,本能的和理性的需求,这也是当今国际社会流行的设计风格:而现代人快节奏,高频率,满负荷,已让人到了无可复加的接受地步:人们在这日趋繁忙的生活中,渴望得到一种能彻底放松,以简洁和纯净来调节转换精神的空间,这是人们在互补意识支配下,所产生的亟欲摆脱繁琐,复杂,追求简单和自然的心理:在印尼巴里岛旅馆系列设计中,灵感来自巴里岛上的民俗风格,但在空间架构及动线安排上是延伸简约设计的精神:在材料表现上,出现了自然原始的当地原木,草席及石板:设计师将这些具有自然民俗的元素用精确及简洁的细部来处理以加强主题,同时也将装饰的部分简单化,所呈现的空间可以说是现代巴里岛风格:纵观世界建筑设计大师们无论是德国密斯•凡德罗,还是美国的理查德•迈耶,日本的安藤忠雄,美籍华人贝聿铭,他们都以最纯净的形式,用相当普通的材料,使用最精简的手法,表现出非常深度的内涵和崇高的空间气质:他们一件件充满灵性的作品有着无穷的生命力,他们的设计思想震撼着当今时代:也引领着时代潮流的发展:。

室内与家具设计外文翻译外文文献英文文献中英对照室内设计风格XXX features classic furniture and ornate details。

XXX。

XXX.XXX what style you choose。

it'XXX in your design。

This means taking a deeper look at the shapes。

colors。

XXX.When choosing a style。

consider your personal taste and the n of the space。

A XXX living room。

while a simple and nal style may be better for a home office.In the end。

the key to XXX it's classical。

simple。

or exquisite。

your XXX of your unique style and taste.XXX journey。

XXX。

you'll start to develop a sense of your preferences and what doesn't appeal to you。

This process will also give you a better understanding of the design process and the vast array of XXX.Be bold and try out different colors and materials to decorate each room according to its intended purpose。

Maximizing natural light is always a great idea。

(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。

Talking about the symbols in the environmentof the use of Art and DesignAbstract:The inheritance and innovation over the years the relationship between art and design environment has been the focus of attention. This article hopes for the design of symbols used to explore the culture, about the mysteries of inheritance and innovation of the trace of sentiment.Keywords:deformation grammar separatist symbols constituteInheritance and innovation over the years the relationship between art and design environment has been the focus of attention. In fact, from the linguistic point of view, this contradiction is the language of stability and variation between the contradiction. As a designer in the form of design successes and failures of the success or failure depends on the master, "the term" the rich and the use of "grammar" of proficiency. Designers to make their works by others can truly understand, we must choose the appropriate "word" and must comply with the "grammar." This does not mean that designers can only follow the beaten track, no personal contribution. Designers skillfully use the new individual symbols, or a conscious change in inter-symbol combination of a number of conventional relations, create new works of moving, which is design innovation.Composition has a "specific" component approach, that seems to be very plain in the composition of the sudden appearance of a "heterogeneous" elements, making the program itself is very plain to achieve unexpected results, with a sense of innovation of new symbols like this "heterogeneous." In people's accustomed to things difficult to arouse enough attention and interest in case, some common symbols deformation, splitting, or the preparation of the code to change the order, you can play a compelling, thought-provoking, the strengthening of environmental messaging language role.United States renowned architect Charles Moore designed the city of Orleans, "Italian Piazza" is bold in design elements taken from a variety of classical symbols, and symbolic means to reproduce them. The entire square to a circular plane Baroque for the composition to the gradual proliferation of black-and-white concentric circles and to the surrounding pavement surface to extend out until the three sides of the street entrance. Classical Roman column, after a face-lift to the face of new shows, such as the Corinthian column is used in stainless steel column, canopies wall carved with the Latin of "this fountain for the public to all the people who offer the gifts" of the message; Doric column on the Flowing Down gurgle, round coupon on the molar smiling portrait, water is constantly spit from his mouth ... here is not only full of bright rich atmosphere of a modern commercial, but also a strong attachment to localfeelings. Maps and Italian Apennine Peninsula, Sicily and Sardinia's plan; ancient Rome, the five-column, the deformation Motif combinations and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact, you are immediately aware that it is a mockery of classical Marxism. This is a joyous, almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style building was considered aloof in the historic and local above only has the technology and a small number of functional semantic semantics, there is no room for thinking aftertaste, the environment has led to apathy and boring criticism. This use of information theory to explain the principle that effective environmental information contained in the symbol system too. In view of this, post-modern architects Venturi loudly called for: "building a rich content, while building to include other aspects of the multi-dimensional art, even including the language, so that it is no longer a mere tool for the space." It advocates environmental complexity and contradictory nature of modernism promoted by substitute simplicity; to semantic ambiguity and tension in place of straightforward; to the multiplicity of semantic opposition to one or the other of opportunism; should be mixed at a glance rather than unity. Stern designed the "best" product showroom are a typical example, it adopted legislation faces many of the traditional symbols and constitute a form, like the ancient Greek pantheon of elevation, thus suggesting he was trying to convey theme purposive: that is, the building as a "temple of consumerism," the commercialization of society reflect the values of people and commercial activities of daily life today, the importance of. But the way metaphors are complex, multiple, without serious thought, it is difficult to understand immediately apparent from its real significance. This design works, for example, not only the depth of the box thinking is more than simply the pursuit like a sailing boat or a bird of prey such as the symbolism of a more intriguing, more philosophical.The environment as a symbolic phenomenon, in order to address the long-standing problem for the designers of the inheritance and innovation of the paradoxical problem of providing a effective way. Design language as the language of symbols, are rooted in past experience with the rapid development of the society is linked to the new features, new materials, new technology and calls on new ideas. On the one hand, as if it were so general language language changes slowly, on the other hand, with the rapid development of society. How to make the environment not only of historical continuity, but also to adapt to the new requirements of the times?With the advance of science and technology progress and frequent cultural exchanges, "vocabulary" and "grammar" in the developing trend of convergence, but a nation because of natural conditions, economic and technological, socio-cultural practices of the different environment Association has a number of unique symbols and arrangement. Spoken like the dialect, like the designers cleverly inject this kind of "accent" can enhance the environment for a sense of history and local flavor, andenhance the influence of language environment. Modern Japanese Architecture Master Kenzo Tange designed Kagawa hall is a "new form of the traditional semantic" model. Although the building are used by ordinary reinforced concrete frame structure, but the external form of treatment is the use of Lu Ming Chuan head, beam top traditional symbols, vertical horizontal partition is a natural association to the Japanese main tower of the layers of eaves. Layout has absorbed the advantages of the square tower of the traffic and public facilities on the planar core (similar to the tower Kaguta ventricle), so that they share the smallest Get all floors of the shortest route traffic. So as to show a structure with modern forms of technology to reflect the style of traditional local methods.United States artist Susan Lange once said, "is always a symbol to simplify the form of the performance of its meaning, that is exactly what we can grasp the reasons for it. Regardless of a work of art (or even all of the arts) is how the complexity of , profound and rich, it is easy than real life. Therefore, the art theory is undoubtedly the establishment of an effective hearts and minds in a vivid reality of the concept of such a great cause of the preamble is more. "symbolic activities have been included in the activities of some abstract no longer remain in the individual above the. Visual symbols are an art symbols, but also the performance of sexual symbols. Relative reasoning in terms of sexual symbols, visual symbols do not have their own system, and any visual symbols have a certain degree of cultural content, and only reflected in a certain degree of emotional structure, around a particular theme of organic combination. Educated Youth Hotel, Mao Jia Restaurant commercial building and so on, it also adopted the hats, corn on the cob, rough wooden tables and chairs, wells and so on, and even more in order to create an atmosphere of clothing are to be attendants, as well as the menu were also cleverly integrated into the Among them, these different geographical significance in rural areas typically rich in visual symbols to create an environment here is like an old album, recording a different person's experience, making the design become more cordial, but also worth pondering. Visual symbols, not only in symbolic form to create the visual association and, more importantly, it can evoke thoughts association, which have empathy, to achieve emotional resonance, thus building more meaningful.The rapid development of urban construction has brought rapid changes, but at the same time we also lost many will never be able to recover things - historical context. The history of the formation of the streets, alleys, arches, religious shrines and so on urban form as a complete expression of architecture and urban image of the symbol system, being into films, Shing Street, into a Square to be removed, threats to the urban form of the compatibility and continuity . Respect for historical tradition does not mean, rigidly traditional. Instead, consciously keep these traditions, will make the city more local flavor. In fact, "establishing a new" do not have to "old", the key lies in how to approach traditional and fashion to create a new symbiosis of oldand new urban form (symbols). "New World" project is located in Shanghai, Xingye Road Huangpi Road, a major site of the Chinese Communists of the surrounding area. "Venue" opposite the south block, design for the modern architecture is not high, which is dotted with some reservations the traditional architecture, and the "venue" in harmony. And "venue" where the north block, the neighborhood retained a large pattern, carefully preserved and repaired the building exterior facade Shikumen, detail and neighborhood-scale space, the building was made larger internal transformation in order to adapt to office, commercial, accommodation, catering and entertainment and other modern life. Have been built from the current part of view, received much praise, has a greater impact. It is said that sales and cost-effectiveness also very good. In fact, in Shanghai, the eastern and western culture shock metropolis, the traditional neighborhood lifestyle never die off, "New World" just give it a reasonable change and continuity, are left for us to think more and enlightenment.Famous philosopher Ernst Cassirer person think symbols are animals. All human spiritual and cultural activities are the product of symbols. The essence of that person in that he can use to create cultural symbols. Therefore, all cultural forms, is both a symbol of the reality of Events is also the person of the nature of the object. The so-called master culture, in the symbolic level at least, to be skilled to operate constitute the cultural symbols and cultural system rather than the symbol itself, the new experiences and insights woven into symbols go, in fact, symbols themselves are also changing, and the cultural heritage and the innovation of the mysteries of it exist in this variation of the. Confucius and Socrates are still human beings are eternal beacon, and the symbols of modern subjects in this study call for us from the back to Socrates. Will be simple and complex semantics, traditional and fashionable phrase structure, and applied to the design of modern art, thereby creating a personalized, Human Culture's new design symbols.Fiber art and interior designAbstract:Fiber art is a functional fiber art and aesthetic value in one art form. Fiber art is full of natural flavor to the material texture and flavor of the simple hand-woven to meet the emotional needs of a wide range of people, it and other types of interior decoration as compared to an irreplaceable advantages. Fiber art has been to infiltrate the building and environmental matters in all aspects of design, it is mainly the use of various materials and techniques to express the concept of modern design and modern life.Keywords:Fiber arts; not include the indoor environment; fiber artFiber Art collection of classical and modern, romantic and calm, industrial civilization and traditions in one hand, are an ancient and young arts. It is natural animal and plant fiber or synthetic fiber materials, with knitting, ring binding, winding, Stitch and other production means, the creation of planar, three-dimensional image of a form of art. Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics, daily arts and crafts, as well as space in modern architecture with the expression of a variety of fiber materials modeling language works.1. fiber texture art interior environmental design on the impact of material selection.The performance of fiber art are texture and texture to create items, which, whether in visual or tactile, the both have an unparalleled visual appeal. Fiber art of material selection is very extensive, almost all types of textile fibers may be applicable. The use of different materials through different processing or the use of different structures can produce different textures. Texture by the objects are unique color, luster, shape, texture, cold, thick, soft and hard and transparency and so on constitute a large number of attributes. Constitute the attributes of diverse, complex portfolio, will also change texture infinite. At the same time, textures are also belong to the common perception of visual and tactile qualities of materials, exterior materials and textures complement each other, all kinds of materials are exposed through the texture to its true features and through the texture to express the characteristics of materials. Fiber interior accessories through tactile senses given different psychological feelings, such as hard and soft, thick, hot and cold and so on. At the same time, set up in the memory of visual perception, evoke images of different psychological perception, distinguishing texture characteristics. Modern fiber art is a breakthrough and go beyond the traditional, mainly manifested as fiber such material on a higher level of understanding and application. Traditional fiber art, mainly in natural fiber materials. These materials include silk, wool, hemp, cotton and so on. Used in modern fiber art materials, has broken through the traditionalconstraints. Here the "fiber" is no longer just cotton, hemp, wool, brown, rattan and other traditional fiber materials, including chemical fiber and latitude of the hard and soft woven material, as well as all of the linear material, and even some metal fibers have also been artists of all ages. American fiber artists such as Nancy's work "The Golden Wave" used wool, viscose fiber and copper wire as material. Bulgaria Cayman million fiber artists work "with the weft" a plastic tube and wool as a material. Modern fiber art of painting from nature than from the pursuit and began to focus on the performance of materials in the United States itself, the natural form of fiber materials, rich texture, just between the different fibers and Sophie, straight and curly, miscellaneous and pure, Ming with dark, light and heavy contrast, and to appreciate those who bring a wealth of aesthetic experience. Fiber Art has always been known as the artistic and texture. Whoof weaving is a traditional fiber arts major process. However, modern technology of fiber art practices have not been listed out in full, such as weaving, hitch, winding, Stitch, collage, as well as dyeing, painting, spraying, printing and so on . Many artists will also science and technology into the field of fiber art creations. American artist Cynthia's "Runs", "Lake rain" looms for the creative use of computer tools, the use of three-way warp space to create a unique effect in the fabric texture and structure to show the endless imagination, different types and color overlay with the cover line, resulting in the traditional process can not be achieved on many levels of subtle changes. There are many artists, make use of the existing products to create, but also the effect of unusually touching. For example, the pioneer of modern fiber arts - United States Miss Lei Nuo senior artists in the early 80s of last century the United Nations building in New York designed the giant fiber works of art "white fluttering fiber." This work of art from the interior of the building about 6m square vertical hoisting the roof down countless articles and white fibers, this fiber bundle with a bunch of slightly swinging the wind, both light also generous, we also implicitly simple, it reveals a hazy and includes the state of tune of the realm of the United States. These works and the use of materials through the excavation of the United States itself and the integration with the environment, so as to achieve the unusual decoration of the United States can not match the artistic realm.2 .fiber art sculpture on the interior of the impact of environmental designCompared with traditional fiber art, contemporary fiber art is an important feature of its sculpture. Traditional fiber arts such as carpet, wall,缂丝and other works, the main works are flat. Since the 60s of last century, fiber arts gradually to semi-relief from two-dimensional until the emergence of fully three-dimensional space of the work of "soft sculptures" - with the flexibility and elasticity of the sculpture. Some artists take into account in the design works are works of more space for the overall situation brought about by decorative. Polish artists work "red " Wall yes to sculpture, to works of the landmark space. Rui forward into the corner after their full deep oval to form a strong contrast, like a could not suppress the passionagitatedly eruption. 1992 ~ 1993 created to "nest" as represented by the works, she will be of good pulp Pour in bamboo was carried out on a fan has created a singular effect. Along this line of thought, she works more extensive space, she created a "wrapped", "chain" a series of works, with the exception of paper pulp, bamboo, wood, but also the use of flax fiber. In the "column", she began to pursue an upward extension of the work results. If we say that the above works in the outdoor air can give the magic question, fresh visual feel, she's "knot" and "Box" series of works, then created an interior space, mysterious, the dust-laden effect, they give people is the lost in a distant era, but it is also a lingering mirage contemporary. a series of creative break the draw species boundaries to new material as well as the process of art to introduce the art of sculpture area, expanded the borders of sculpture, such positive efforts to change the sculpture for the shelf thinking, to break the closed state, pioneering vision in the broader field of sculpture space for development to seek to play a positive role in promoting.3 .fiber combination of art and architectureFiber art as a symbol of warm, soft, warm symbols, combined with the building has been the embodiment of perfection. Around the end of the 1970s to the 1980s, the modern fiber art began to be applied by architects think are apathy, lack of emotion in the building. 70's, published "Beyond Craft: Contemporary Fiber Art" and "Fiber Art: mainstream" book on the two specific on modern fiber art in a variety of building space and public space to the important role and significance.With the development of the times, fiber art has infiltrated into interior architecture and environmental design in all its aspects, has entered the modern family, with other interior decorative materials of organic combination of each other, with its shape, texture and with combination of decorative and enhance the interior decoration of the artistic effect. It is mainly the use of various materials and techniques to express the concept of modern design and modern life, while Sophie All modern decorative shapes, colors, and taking with the walls, the indoor environment, spatial relations. Fiber art be able to add artistic effects of space, easy to create wealth to the "human touch" of the natural space, and thus ease the building and the interior space of rigid sense of space to play the role of blur, but also added a building with the interior space of the color, gives a harmonious and comfortable, practical experience perfect. Because of the special properties of fibers, fiber art brings not only a visual sense of beauty, more warm, friendly, comfortable, etc. enjoy. In addition, from modeling to color, from planar to three-dimensional, from the subject to have a very broad cultural connotation of the performance space, and thus developed very rapidly and has now been widely used in building the overall design and decoration in the bedroom. Fiber art as the indoor environment an important component of the environment in the interior occupies an important position, also play a decisive role. It can not only be able to decorating the space, rich environment, the performance of culture,architecture and interior space and be able to color, lighting, materials to build an organic whole, one of the art of building space and integration, thus building the internal environment received a warm elegant artistic realm, and create a variety of human space.4 .modern fiber art and other interior decorative materials of organic combinationBuilding outdoor space and indoor environment are equally important. In order to fully enjoy the well-being and privacy needs, there is room comfort requirements continue to grow. Wall and soft sculpture such as fiber arts as interior decorations, in Europe, America and developed a wide range of applications. People depending on fabric wall hanging with painting, piano, etc. as a symbol of wealth, its interior decoration and furnishings on the important position. They were wool, cotton, hemp, silk as raw material, or several kinds of soft materials, mix, to textiles, winding, hitch, Stitch and other production means, the creation of planar and three-dimensional image of a form of art. for the Doubletree Suites Hotel in Seattle, the United States designed the fabric of space are "soft sculpture" masterpiece. The enormous size of the painting, covered the entire building interior space. Enormous stretching to different directions with different curvature of the surface, so that people's attention in line with the surface and the exercise of the process, have a relaxed feel. Renoir's "Autumn natural" is also such a work. In domestic hotels, restaurants, senior housing has been increasingly used in fabrics, to beautify the room. The use of decorative fabric walls, the thickness of the fabric itself and visual thickness attached to the wall for people to add a warm feeling for the add gorgeous home atmosphere. Color of the interior environment of the interior space sensitivity, comfort, atmosphere, efficient use of people's psychological and physical have a great impact, indoor environment, color is the soul of the design of the indoor environment. In a fixed environment, the first to break into our visual senses are color, while the most appealing is the color. Different colors can give rise to different psychological feelings, good color environment is the ideal combination of these feelings. People from the harmonious and eye color in the United States have a reverie, Transformation for the love, go far beyond the limitations of the interior. Those who can move the furniture, fabrics, such as the middle area of color in fact constitute the indoor environment are the most important part, but also to create various shades of the most basic factors. Indoor environment in the most easy to change a small area of color, such as wall hanging, cushion, decorative products, are often the most prominent use of strong color played a role in the finishing touch. Modern fiber art has been to enter the modern family, with other interior decorative materials of organic combination of each other, with its light color, shape, texture and permutation and combination, more decorative and enhance the interior decoration of the artistic effect, and the use of color changes in the strength and scope of control has received prominent and rendering interior of the main centers and the level of the proportion of space, add space for artistic effect, gives luxuriousstyle, comfort and harmonious, practical experience perfect.5. ConclusionModern fiber art materials are natural fiber, synthetic fiber, metal fiber, etc.; techniques can be dyed, embroidery, knitting, guitar, pestering, bypass, looping, up, etc.; shape can be planar, three-dimensional space. It relies on different patterns, together with the space environment, it's visual, tactile perception, such as the United States get more pleasure. An absolutely beautiful, high taste fiber art, be able to establish a more pleasant atmosphere of the indoor environment. In the modern interior design environment, fiber art has a modern interior decoration is becoming an important component of its decoration in the family played a very important role.。

Interior designAbstract:With the progress of the society and times, interior designgraduallyadaptedtothecharacteristicsofmodern social development.Contemporary people due to the fast pace of work, pressure, tension is high, so it is important to create a relaxed, comfortable family environment, and considering the actual in the crowd, I also joined the simplicity and fashion and ing a lot of modern elements, through the use of color light, few material makes it natural to blend, the whole environment is very harmonious.On space and space fashion and harmonious, comfortable, elegant effect. Tend to personalized, fashion and product tendency has become the interior design of the main guiding ideology and design concept.Different levels of fashion, interior design styles will have on people in the interior space of the spiritual needs and cultural connotation of environment more attention, at the same time, the subject of indoorenvironmentaldesignincreasingandrelativelyindependent,multidis ciplinary,interdisciplinary contact with increasingly obvious trend.Because the creation of indoor space environment always cannot do without the production, demands, user activities in close to fashion, close to life, can make the utility function is more effective, more perfect.The relationship between coordination and supporting design, construction, materials, facilities, equipment and strengthen.Keyword：Fashion, simple, personality, warm, elegant, interior design The text:In ancient times, wooden structure in China, the ancient oriental India grotto building, the European ancient Greece, the stones of Rome awaiting decoration combined with construction and the main building, com. However, at the beginning of seventeenth Century and the middle of the eighteenth Century European Baroque Rococo Era, started to separate indoor decoration and the main building of Baroque architecture, interior design, a renaissance of serious, subtle, balanced, inclined to luxury, pompous.Indoor Rococo architecture is the royal nobles in order to get comfortable, private room and the pursuit of elegant more friendly indoor decorative effect.With detailed, lightweight, gorgeous and cumbersome decoration.The great development of the industrial revolution, the concrete building model, it not only makes the interior decoration is detached from the main building, and become not attached to the mainbuilding and the relatively independent part.Conflicts secession movement solved purely decorative parts with the main building combination, become a pioneer of modernism design.The Bauhaus school emphasizes the function determines form, that the building space is the protagonist, advocates the abandon surface false decoration, all around the space service structure reasonable.Calls to exclude decoration, emphasized simple utility function and shape.Simple does not mean simple, he is an attitude of life. When we are in the modern social life, too much stress, we started to have the feeling of freedom, elegance and good taste.We need to make blundering mood is calm, so we call simple. From the large building space to ordinary residential space occupation, from the designer to the ordinary citizen, simple style became very popular interior design industry direction.Return to the natural simplicity is the result of human labor.Its purpose is the concise forms to meet the people in the space environment that emotional, instinctive and rational demand.In a sense, minimalism is the inevitable trend of human development. Interior design to create a simple is a poetic space.Every expression, every local have emphasized its functionality and comfort. In fact, the full expression of function embodies the basic principle of aesthetic design, is also very easy to understand, any design are man-made objects, when people in the consumption of the design, the main consuming its practical function.Throughout the whole world architectural design masters either Germany or the United States of America. Van der Rohe Smith, Richard Mayer, Ando Tadao of Japan, the Chinese-American, all of them in the most pure form, with a very ordinary materials, use the most concise way, show a very deep connotation and the lofty space temperament.They are a spiritual works with infinite vitality, their design thought struck today.Also leading the development trend of the times.The formation of interior design styles, is the trend of the times and the different characteristics of the region, through the creation and expression, gradually developed into a representative form of interior design, an elegant style form, usually is closely related with the local natural conditions and human factors and characteristics, and the need for creation of ideas and style.Internal and external factors in the formation of style.Although the style is reflected in form, but the style has a profound meaning of art, culture, social development; from this deeper meaning, style and don't stay or equivalent form.Once a style or genre formation, it can transform a positive or negative influence culture, art and manysocial factors, not only confined as a form of performance and visual experience.Minimalism is unique to human labor. Its purpose is the concise forms to meet the people in the space environment that emotional, instinctive and rational demand.In a sense, the minimalist prevalence is the inevitable trend of human development.For simplicity in understanding differ from man to man, as people age, knowledge, literacy and life background, different taste requirements, produced is different.The development of society, the progress of the times, new thinking, new structure, new material appears will produce new space decoration new concepts, new forms, and this adaptation.This is a concise modern decorative forms have deeply affected building products, industrial products, domestic products in many fields. Several pieces of steel, a post, a cloth can make different forms of modern furniture.Change. It has quietly let people's life style and idea qualitySome people think that the simple design will outshine others, in twenty-first Century to become the people life pursuit of fashion.。