啤酒设计外文参考文献翻译

外文文献翻译(含：英文原文及中文译文)英文原文Germany Bauhaus design and Future Design TrendAbstractGerman Bauhaus had a significant influence on the modern design education, meanwhile, it established the foundation of the leading position in the world for German industrial design. Through analyzing on current industrial design conditions from different countries, art design is considered as the main part of industrial design. This paper reviewed the last 10 years’ development of industrial design program in Zhejiang University of Science and Technology. The industrial design program have taken considerable achievements in many fields, such as the practice of Germany model, disciplines construction, teaching reform, manufactures & college cooperation, project teaching and design competitions. And Y ou cannot ignore the industrial design ten trend Keywords: Bauhaus, industrial design, project teaching, practice , 10 Industrial Design Trends1. German Bauhaus and industrial designGerman Bauhaus Design and Future Design TrendsAbstractGerman Bauhaus has a significant influence. At the same time, modern design education laid the foundation for the world's leading German industrial design. By analyzing the current industrial design conditions in different countries, artistic design is considered as the main industrial design. This article reviews the process of developing industrial designs in the last 10 years. Industrial design programs have taken considerable success in many areas such as the German practice model, professional construction, teaching reform, collaboration between production and engineering colleges, teaching and design competitions and ten trends in industrial design that you cannot ignore.Key words: ten trends of Bauhaus, industrial design, project teaching, practice, industrial design1. German Bauhaus and Industrial DesignIn 1919, the school had built Bauhaus Weimar, Germany. This is known as the “cradle of world industrial design” and the history of this milestone art design. Bauhaus believes that the most important thing is to allow students to explore their own ways of designing, rather than teaching their teachers; to cultivate students' ability to think independently and critically, instead of putting certain design styles on them. Compared with other schools with similar design education, Bauhaus philosophy has a unique philosophy of education. It took a thorough reform of the traditional art design education system andestablished art design as a new professional discipline. At the same time, Walter Gropius, the founder of Bauhaus, put forward the "unified art and technology" as the leading design philosophy of education.One of Bauhaus's works is a general industrial product that actively purifies the form. Bauhaus stressed that the design of the product's shape should be based on basic geometric models such as cubes, squares, and circles. The form of the product, and outlined should be simple and varied in different ways and follow abstract forms of principles and aesthetics. Because of Bauhaus's bravery and active exploration and reform, he took a major influence on the formation of the modernist artistic style and enabled Bauhaus to design a world-class reputation. Therefore Bauhaus became a milestone in the history of modern design art.The American artist Jose Sinel first mentioned the industrial design of the term in 1919. However, in China, until 1983, the Ministry of Education had met the industrial design disciplines and sample major ordinary universities. The original name was "The main product formation was" students for the arts. In 1998, the national priority category was adjusted to be integrated into international conventions. The “major” product formation has long since focused on the human-product-environment relationship in the field of product morphology and other research. This name has replaced "industrial design" and some of the major schools for engineering and art education.Bauhaus has many top European artists during this time, such as Kandinsky and Kerry. They are famous abstract painters. Their teaching trains students and leads to Bauhaus's 20th-century art design. The most famous industrial designers such as Philip Starck behar Marc Newson and Maca graduated from the School of Art Design. Their success proves that industrial design education in art design education is effective. The product form design is still an important aspect. Industrial design in undergraduate industrial design research is currently an important part of the famous Art Design School.The Academy of Art and Design of the Norwegian Royal Academy of Arts, the University Politecnico Duisburg-Esse Milan, the applied sciences and arts of Hannover University (Hanover Industrial Design Division), all of whom belong to the School of Art and Design.According to a survey: the American Association of Industrial Designers (IDSA organized by the United States) in 1998, there are 49 colleges, which have industrial design undergraduate or graduate programs registered on the IDSA-sponsored list. Typical industrial design students are usually set up in art schools and can obtain bachelor degree or above, fine arts or related majors. Most people are accredited to the school NASAD (National Association of Arts and Design). Only 15 - schools are not certified. After five years o f IDSA’s announcement, only registered industrial design students can be recognized. Among them are37 industrial design majors in universities, 6 in design colleges, and 4 in art schools. This situation has not changed in the current year.Asia: In Japan, industrial design majors also set in art schools or independent industrial design faculties, such as Tokyo Zokei University, Musashino Art University, Tama Art University, and University of Tsukuba etc. In Hongkong, The Hong Kong Polytechnic University has famous industrial design programs. In Taiwan, Shih Chien University, National Cheng Kung University, National Yunlin University of Science & Technology have famous industrial design programs. In mainland of China, Jiangnan University, Tsinghua University, Hunan University, Tongji University and the Guangzhou academic of fine arts all have their industrial design departments in the art design schools or departments.2 10 Industrial Design Trends Y ou Can't Ignore2.1 Design For A CauseCompanies including Herman Miller and American Apparel are promoting their ideals through design. Y ves Béhar's leaf lamp for Herman Miller (shown) uses a biomorphic grid of LEDs, which consume 40% percent less energy than fluorescent lights and last for 100,000 hours. And Nike plans to make its entire footwear line out of sustainable materials by 2010.2.2 SimplexitySteve McCallion, executive creative director of Portland, Ore.-basedindustrial design firm Ziba Design, says there's a trend toward "simplexity," products that have many functions but are approachable, ergonomically correct and easy to use--like Apple's iPhone. The baby boomers have also propelled simplexity; as the generation ages, the need for easy-to-use, at-home medical equipment becomes greater. Ami V erhalen, director of industrial design at Madison, Wis.-based Design Concepts, says that in-home health care will be a huge driver for product innovation in the upcoming decade.2.3 PersonalizationFrom Nike ID shoes to Build-a-Bear teddies, retailers are adding a "build your own" element to brands. Do it yourself--or DIY--serves as an important element of this trend. Publications like Ready Made magazine and books like designer Wendy Mullin's Sew U encourage consumers to put their own spin on things.2.4 GlobalizationLike other industries, outsourcing has affected international design. Today a designer in Delhi might be working with a manufacturer in Columbus. Steve McCallion says that the globalization of product design has created Internet communities that enable more people to participate in the design process. Companies like Kid Robot can employ toy designers from Tokyo to Tucson with greater ease than ever.2.5 OrnamentationIn fashion design, we're seeing a return to minimalism, but in home decor, ornate details are in fashion. For the first time in decades, wallpaper is in fashion, and the details are rich--brocades, velvets and jewel-tone colors. Long-forgotten textile designers like Florence Broadhurst and V era Neumann are receiving attention from a new generation of design-savvy consumers.2.6 Polarization Of DesignBig-box or luxury retailer? Many experts say that design has been polarized, with innovative products available at both the very high end (Neiman Marcus, Moss) and the very low end (Target, Ikea). Meanwhile, midrange retailers like Macy's suffer from lack of fresh, on-trend ideas. That isolates the huge chunk of the population that can afford something higher-end than the $200 Malm bed at Ikea but scoff at the price of a $16,000 Hastens mattress.2.7 Pink DesignGadgets are a guy's game, right? Not if you consider the latest products with feminine mystique. Motorola released a lipstick pink Razr cellphone, and more recently, LG released a Prada phone. More and more manufacturers are creating sleeker, feminized versions of their clunky, chunky products, and both men and women are biting. Want proof of the feminization of product design? Just check out , which rates several items a day as "Geek chic" or "Just Plain Geeky."2.8 Mass ImperfectionSome designers are creating intentionally flawed pieces, like designer Jason Miller's duct tape chair or Bodum's Pavina glassware collection, which uses mouth-blown double-walled glass, giving each piece a slight variation in height, thickness and weight. Whiskered and weathered textiles--on denim as well as furniture and tapestries--are more recognizable examples of intentional imperfection in production.2.9 CraftAs mass retailers like Target become more design-focused, there's a countertrend of independent manufacturers and designers creating one-off, heirloom pieces. Where to find these limited-edition treasures? Artisan e-commerce sites like , classical craft companies like Heath Ceramics and modernist design houses such as Design Within Reach.2.10 Focus On The Other 90%Anthony Pannozzo, vice president of design strategy at Waltham, Mass.-based firm Herbst LaZar Bell, says that well-designed products are available to only 10% of the world's population. However, more and more designers are starting to cater to consumers in Africa, Asia and Latin America.中文译文德国包豪斯设计与未来设计趋势摘要德国包豪斯有显著的影响, 与此同时, 现代设计教育奠定了基础, 它处于世界领先地位的德国工业设计。

创意文化产品设计研究外文文献翻译2017-5076 文献出处：Matheson B. THE RESEARCH OF CREATIVE CULTURE PRODUCT DESIGN [J]. Journal of Management Development, 2017, 1(2): 55-64. 原文 THE RESEARCH OF CREATIVE CULTURE PRODUCT DESIGN Matheson B Abstract Creativity and culture as the core of creative cultural products, with the creative design will be to create and promote cultural resources, and cultural skillfully combined with the product eventually translate into of commodity value and high-cultural value-added products. Creative culture product design is the material form of the subject, from concept to product performance characteristics of the transformation process is put forward. It is affected by the product theme, will be incorporated in the design，the demands of consumer’s elements using the product design to show personality characteristics and distinctive aesthetic feelings. Creative culture product design need to integrate various sensory experiences to carry on the design，by bringing consumers sensory experience to strengthen the theme of the product, at the same time give people left a deep memory. Keywords: the creative cultural products, sensory experience, cultural associations 1 Introduction

优秀艺术设计专业论文参考文献（3篇）优秀艺术设计专业论文参考文献(一)[1] Krumhansl, C. L. 2002. Music: A Link between Cognition and Emotion [A]. InCurrent Directions in Psychological Science, Vol. 11 [C]: 45-50. Oxford: BlackwellPublishers.[2] Mitnick, K. D., and W. L. Simon. 2002. The Art of Deception: Controlling theHuman Element of Security [M]. Indianapolis: Wiley.[3] Ekman, P. 2003. Emotions Revealed: Recognizing Faces and Feelings to ImproveCommunication and Emotional Life [M]. New York: Henry Holt & Co./Times Books.[5] Quentin Newark. 2007. What Is Graphic Design? Essential Design Handbooks [M].RotoVision.[6] Berryman, Gregg. 1990. Notes on graphic design and visual communication [M].Crisp Publications.[7] Bojko, Szymon. 1972. New graphic design in revolutionary Russia [M]. LundHumphries.[8] Thompson, Bradbury. 1988. The art of graphic design: Bradbury Thompson [M]. YaleUniversity Press.[9] Ades, Dawn, Brown, Robert K.，Friedman, Mildred S.1984. The 20th-century poster:Design of the avant-garde [M]. Abbeville Press.[10] White, Jan V. 1988. Graphic design for the electronic age [M].Watson-GuptillPublications.[11]吴国欣.标志设计[M].上海：上海人民美术出版社，2002.[12]朱锷.现代平面设计巨匠田中一光的设计世界[M].北京：中国青年出版社，1998.[13](日)Works 社编辑部编著.日本平面创意设计年鉴 2005[M].北京：中国青年出版社，2006.[14]王受之.世界平面设计史[M].北京：中国青年出版社，2002.[15]何家讯.现代广告案例理论与评析[M].上海：复旦大学出版社，1998.[17]威廉阿伦斯著，丁俊杰，程坪，苑菲，张溪. 当代广告学[M].北京：华夏出版社，2001.[18] [日]直条则夫著，俞纯鳞. 广告文稿策略-策划、创意与表现[M].北京：中国财政经济出版社，2002.[19]汤义勇. 招贴设计[M].北京：人民美术出版社，2001.[21]王红卫. 商业海报设计创意解析范例导航(附光盘)[M].北京：清华大学出版社，2007.[22](美)斯科勒司，(美)伟德尔. 创意海报版式设计[M].大连：大连理工大学出版社，2008.45～48.[23]周进. 世博会视觉传播设计[M].上海：东华大学出版社，2008.22～30.[24]朱维理. 大型活动标志设计实战案释[M].北京：北京理工大学出版社，2009.[25]梁明珠. 城市旅游开发与品牌建设研究[M].广州：暨南大学出版社，2009.[26](日本)秋山孝. 秋山孝海报作品集[M].上海：上海人民美术出版社，2005.62～67.[27]朱锷. 日本海报设计的形态[M].广西：广西美术出版社，2001.51～60.[28](英)赫利. 什么是品牌设计[M].北京：中国青年出版社，2000.[29](美)马特、马图斯. 设计趋势之上[M].山东：山东画报出版社，2009.78～86[30]刘金平. 视觉青岛[M].北京：中国旅游出版社，2007.[31]金志国. 一杯沧海：我与青岛啤酒[M].北京：中信出版社，2008.[32]香港设计中心，艺术与设计出版联盟. 设计的精神[M].辽宁：辽宁科学技术出版社，2008.[33](日)原研哉.设计中的设计[M].山东：山东人民出版社，2006.55～57.[34](日)原研哉，阿部雅世. 为什么设计[M].山东：山东人民出版社，2010.24～32.[35](日)佐藤可士和. 佐藤可士和的超整理术[M].江苏：江苏美术出版社，2009.[36]季峰. 中国城市雕塑:语义,语境及当代内涵[M].南京：东南大学出版社，2009.36～39.[37]王建国. 城市设计[M].北京：中国建筑工业出版社，2009.59～65.[38]宋连威. 青岛城市老建筑人文青岛丛书[M].青岛：青岛出版社，2005.[39]胡飞. 艺术设计符号基础[M].北京：清华大学出版社，2008.[40]朱永明. 视觉传达设计中的图形、符号与语言[J].南京艺术学院学报(美术与设计版)，2004, 1 (2):53～56.优秀艺术设计专业论文参考文献(二)[1] Krumhansl, C. L. 2002. Music: A Link between Cognition and Emotion [A]. InCurrent Directions in Psychological Science, Vol. 11 [C]: 45-50. Oxford: BlackwellPublishers.[2] Mitn#from 优秀艺术设计专业论文参考文献（3篇）来自 end#ick, K. D., and W. L. Simon. 2002. The Art of Deception: Controlling theHuman Element of Security [M]. Indianapolis: Wiley.[3] Ekman, P. 2003. Emotions Revealed: Recognizing Faces and Feelings to ImproveCommunication and Emotional Life [M]. New York: Henry Holt & Co./Times Books.[5] Quentin Newark. 2007. What Is Graphic Design? Essential Design Handbooks [M].RotoVision.[6] Berryman, Gregg. 1990. Notes on graphic design and visual communication [M].Crisp Publications.[7] Bojko, Szymon. 1972. New graphic design in revolutionary Russia [M]. LundHumphries.[8] Thompson, Bradbury. 1988. The art of graphic design: Bradbury Thompson [M]. YaleUniversity Press.[9] Ades, Dawn, Brown, Robert K.，Friedman, Mildred S.1984. The 20th-century poster:Design of the avant-garde [M]. Abbeville Press.[10] White, Jan V. 1988. Graphic design for the electronic age [M].Watson-GuptillPublications.[11]吴国欣.标志设计[M].上海：上海人民美术出版社，2002.[12]朱锷.现代平面设计巨匠田中一光的设计世界[M].北京：中国青年出版社，1998.[13](日)Works 社编辑部编著.日本平面创意设计年鉴 2005[M].北京：中国青年出版社，2006.[14]王受之.世界平面设计史[M].北京：中国青年出版社，2002.[15]何家讯.现代广告案例理论与评析[M].上海：复旦大学出版社，1998.[17]威廉阿伦斯著，丁俊杰，程坪，苑菲，张溪. 当代广告学[M].北京：华夏出版社，2001.[18] [日]直条则夫著，俞纯鳞. 广告文稿策略-策划、创意与表现[M].北京：中国财政经济出版社，2002.[19]汤义勇. 招贴设计[M].北京：人民美术出版社，2001.[21]王红卫. 商业海报设计创意解析范例导航(附光盘)[M].北京：清华大学出版社，2007.[22](美)斯科勒司，(美)伟德尔. 创意海报版式设计[M].大连：大连理工大学出版社，2008.45～48.[23]周进. 世博会视觉传播设计[M].上海：东华大学出版社，2008.22～30.[24]朱维理. 大型活动标志设计实战案释[M].北京：北京理工大学出版社，2009.[25]梁明珠. 城市旅游开发与品牌建设研究[M].广州：暨南大学出版社，2009.[26](日本)秋山孝. 秋山孝海报作品集[M].上海：上海人民美术出版社，2005.62～67.[27]朱锷. 日本海报设计的形态[M].广西：广西美术出版社，2001.51～60.[28](英)赫利. 什么是品牌设计[M].北京：中国青年出版社，2000.[29](美)马特、马图斯. 设计趋势之上[M].山东：山东画报出版社，2009.78～86[30]刘金平. 视觉青岛[M].北京：中国旅游出版社，2007.[31]金志国. 一杯沧海：我与青岛啤酒[M].北京：中信出版社，2008.[32]香港设计中心，艺术与设计出版联盟. 设计的精神[M].辽宁：辽宁科学技术出版社，2008.[33](日)原研哉.设计中的设计[M].山东：山东人民出版社，2006.55～57.[34](日)原研哉，阿部雅世. 为什么设计[M].山东：山东人民出版社，2010.24～32.[35](日)佐藤可士和. 佐藤可士和的超整理术[M].江苏：江苏美术出版社，2009.[36]季峰. 中国城市雕塑:语义,语境及当代内涵[M].南京：东南大学出版社，2009.36～39.[37]王建国. 城市设计[M].北京：中国建筑工业出版社，2009.59～65.[38]宋连威. 青岛城市老建筑人文青岛丛书[M].青岛：青岛出版社，2005.[39]胡飞. 艺术设计符号基础[M].北京：清华大学出版社，2008.[40]朱永明. 视觉传达设计中的图形、符号与语言[J].南京艺术学院学报(美术与设计版)，2004, 1 (2):53～56.建筑施工组织设计参考文献(三)[1] 《房屋建筑制图统一标准》(GB 50001-2001)[2] 《建筑制图标准》(GB 50104-2001)[3] 《混凝土结构设计规范》(GB 50010-2010)[4] 《建筑结构荷载规范》(GB 50009-2010)[5] 《建筑地基基础设计规范》(GB 50007-2002)[6] 《建筑结构制图标准》(GB 50105-2001)[7] 《建筑施工组织》[8] 《建筑施工手册》[9] 《混凝土结构施工图平法表示方法制图规则和构造详图》[10] 《钢筋混凝土结构构造手册》[11] 《建筑工程施工质量验收统一标准》(GB 50300-2001)[12] 《土木工程施工》，毛鹤琴主编，第三版，武汉理工大学出版社，2007[13] 《建筑工程项目施工组织及进度控制》，刘瑾瑜、吴洁主编，武汉理工大学出版社，2012。

关于啤酒的文献前言1.于啤酒的起源，众说纷纭，一种比较可靠的说法是：欧洲大陆上的农场主在收割之后，总是把麦子堆放在粮仓内，这些简陋的粮仓往往因屋顶漏水而使仓内的麦子受潮，从而开始发芽并发酵，一位大胆的农民好奇地尝试了一下，发现这种液体又香又美味可口，从此人们便模仿着依样画葫芦，这样最原始的“啤酒”便问世了。

酒的渊源可以追溯到人类文明的摇篮，东方世界的两河流域：底格里斯河与幼发拉底河、尼罗河下游和九曲黄河之滨。

最原始的啤酒可能出自居住于两河流多年的历史。

距今至少已有9000域的苏美尔人之手，年的历史了。

但是市场消费的啤酒50004000至我国古代的原始啤酒已有是到十九世纪末随帝国主义洋枪洋炮一起进来的。

在中国建立最早的啤酒厂是俄国人在哈尔滨八王子建立的乌卢布列夫斯基啤酒厂，此后五年时间里俄国、德国、捷克分别在哈尔滨建立另外三家啤酒厂。

来越多的证据表明，啤酒及其相关的产业对拉动经济、刺激内需是很有帮助的。

在当今世界几个最有利的投资环境中，很多啤酒公司都在建厂房、创造就业机会、提供重要的社会服务。

啤酒厂作为一种有效拉动内需的经济刺激，理应得到人们的喜爱。

这个空前繁荣的时代里，全球范围内对啤酒的需求也在不断激增。

卢汶大学的丽丝贝特·科伦和约翰·斯维顿的报告指出：1980年中国的啤酒销量最低，2005年之后，中国每年的啤酒销量超过了400亿升；1961年，巴西人消化了6.3亿升啤酒，到2007年，这个数字已经变为75亿升。

作为一种啤酒文化，其中最富有代表性的要算德国慕尼黑的啤酒节。

每年九月底十月初，那里都要举行以啤酒为主题的庆祝活动。

相传这个节目起源于年巴伐利亚王子结婚庆典活动；也有人说，这是巴伐利亚啤酒花收获的季1810．节。

在这个欢乐的日子里，人们载歌载舞，痛饮啤酒，并举办盛大的节日游行、艺术表演和音乐会，世界上成千上万的旅游者纷至沓来，一睹酒城风采。

十天的节日，消费啤酒可达100余万升。

建筑学毕业设计的外文文献及译文文献、资料题目：《Advanced Encryption Standard》文献、资料发表（出版）日期:2004.10.25系（部）：建筑工程系生：陆总LYY外文文献：Modern ArchitectureModern architecture, not to be confused with Contemporary architecture1, is a term given to a number of building styles with similar characteristics, primarily the simplification of form and the elimination of ornament. While the style was conceived early in the 20th century and heavily promoted by a few architects, architectural educators and exhibits, very few Modern buildings were built in the first half of the century. For three decades after the Second World War, however, it became the dominant architectural style for institutional and corporate building.1. OriginsSome historians see the evolution of Modern architecture as a social matter, closely tied to the project of Modernity and hence to the Enlightenment, a result of social and political revolutions.Others see Modern architecture as primarily driven by technological and engineering developments, and it is true that the availability of new building materials such as iron, steel, concrete and glass drove the invention of new building techniques as part of the Industrial Revolution. In 1796, Shrewsbury mill owner Charles Bage first used his "fireproof design, which relied on cast iron and brick with flag stone floors. Such construction greatly strengthened the structure of mills, which enabled them to accommodate much bigger machines. Due to poor knowledge of iron's properties as a construction material, a number of early mills collapsed. It was not until the early 1830s that Eaton Hodgkinson introduced the section beam, leading to widespread use of iron construction, this kind of austere industrial architecture utterly transformed the landscape of northern Britain, leading to the description, πDark satanic millsπof places like Manchester and parts of West Yorkshire. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an early example of iron and glass construction; possibly the best example is the development of the tall steel skyscraper in Chicago around 1890 by William Le Baron Jenney and Louis Sullivan∙ Early structures to employ concrete as the chief means of architectural expression (rather than for purely utilitarian structure) include Frank Lloyd Wright,s Unity Temple, built in 1906 near Chicago, and Rudolf Steiner,s Second Goetheanum, built from1926 near Basel, Switzerland.Other historians regard Modernism as a matter of taste, a reaction against eclecticism and the lavish stylistic excesses of Victorian Era and Edwardian Art Nouveau.Whatever the cause, around 1900 a number of architects around the world began developing new architectural solutions to integrate traditional precedents (Gothic, for instance) with new technological possibilities- The work of Louis Sullivan and Frank Lloyd Wright in Chicago, Victor Horta in Brussels, Antoni Gaudi in Barcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among many others, can be seen as a common struggle between old and new.2. Modernism as Dominant StyleBy the 1920s the most important figures in Modern architecture had established their reputations. The big three are commonly recognized as Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany. Mies van der Rohe and Gropius were both directors of the Bauhaus, one of a number of European schools and associations concerned with reconciling craft tradition and industrial technology.Frank Lloyd Wright r s career parallels and influences the work of the European modernists, particularly via the Wasmuth Portfolio, but he refused to be categorized with them. Wright was a major influence on both Gropius and van der Rohe, however, as well as on the whole of organic architecture.In 1932 came the important MOMA exhibition, the International Exhibition of Modem Architecture, curated by Philip Johnson. Johnson and collaborator Henry-Russell Hitchcock drew together many distinct threads and trends, identified them as stylistically similar and having a common purpose, and consolidated them into the International Style.This was an important turning point. With World War II the important figures of the Bauhaus fled to the United States, to Chicago, to the Harvard Graduate School of Design, and to Black Mountain College. While Modern architectural design never became a dominant style in single-dwelling residential buildings, in institutional and commercial architecture Modernism became the pre-eminent, and in the schools (for leaders of the profession) the only acceptable, design solution from about 1932 to about 1984.Architects who worked in the international style wanted to break with architectural tradition and design simple, unornamented buildings. The most commonly used materials are glass for the facade, steel for exterior support, and concrete for the floors and interior supports; floor plans were functional and logical. The style became most evident in the design of skyscrapers. Perhaps its most famous manifestations include the United Nations headquarters (Le Corbusier, Oscar Niemeyer, Sir Howard Robertson), the Seagram Building (Ludwig Mies van der Rohe), and Lever House (Skidmore, Owings, and Merrill), all in New York. A prominent residential example is the Lovell House (Richard Neutra) in Los Angeles.Detractors of the international style claim that its stark, uncompromisingly rectangular geometry is dehumanising. Le Corbusier once described buildings as πmachines for living,∖but people are not machines and it was suggested that they do not want to live in machines- Even Philip Johnson admitted he was πbored with the box∕,Since the early 1980s many architects have deliberately sought to move away from rectilinear designs, towards more eclectic styles. During the middle of the century, some architects began experimenting in organic forms that they felt were more human and accessible. Mid-century modernism, or organic modernism, was very popular, due to its democratic and playful nature. Alvar Aalto and Eero Saarinen were two of the most prolific architects and designers in this movement, which has influenced contemporary modernism.Although there is debate as to when and why the decline of the modern movement occurred, criticism of Modern architecture began in the 1960s on the grounds that it was universal, sterile, elitist and lacked meaning. Its approach had become ossified in a πstyleπthat threatened to degenerate into a set of mannerisms. Siegfried Giedion in the 1961 introduction to his evolving text, Space, Time and Architecture (first written in 1941), could begin ,,At the moment a certain confusion exists in contemporary architecture, as in painting; a kind of pause, even a kind of exhaustion/1At the Metropolitan Museum of Art, a 1961 symposium discussed the question πModern Architecture: Death or Metamorphosis?11In New York, the coup d r etat appeared to materialize in controversy around the Pan Am Building that loomed over Grand Central Station, taking advantage of the modernist real estate concept of πair rights,∖[l] In criticism by Ada Louise Huxtable and Douglas Haskell it was seen to ,,severπthe Park Avenue streetscape and πtarnishπthe reputations of its consortium of architects: Walter Gropius, Pietro Belluschi and thebuilders Emery Roth & Sons. The rise of postmodernism was attributed to disenchantment with Modern architecture. By the 1980s, postmodern architecture appeared triumphant over modernism, including the temple of the Light of the World, a futuristic design for its time Guadalajara Jalisco La Luz del Mundo Sede International; however, postmodern aesthetics lacked traction and by the mid-1990s, a neo-modern (or hypermodern) architecture had once again established international pre-eminence. As part of this revival, much of the criticism of the modernists has been revisited, refuted, and re-evaluated; and a modernistic idiom once again dominates in institutional and commercial contemporary practice, but must now compete with the revival of traditional architectural design in commercial and institutional architecture; residential design continues to be dominated by a traditional aesthetic.中文译文:现代建筑现代建筑，不被混淆与‘当代建筑’，是一个词给了一些建筑风格有类似的特点，主要的简化形式,消除装饰等.虽然风格的设想早在20世纪,并大量造就了一些建筑师、建筑教育家和展品，很少有现代的建筑物，建于20世纪上半叶.第二次大战后的三十年，但最终却成为主导建筑风格的机构和公司建设.1起源一些历史学家认为进化的现代建筑作为一个社会问题，息息相关的工程中的现代性, 从而影响了启蒙运动，导致社会和政治革命.另一些人认为现代建筑主要是靠技术和工程学的发展，那就是获得新的建筑材料，如钢铁，混凝土和玻璃驱车发明新的建筑技术，它作为工业革命的一部分.1796年，Shrewsbury查尔斯bage首先用他的‘火’的设计，后者则依靠铸铁及砖与石材地板.这些建设大大加强了结构，使它们能够容纳更大的机器.由于作为建筑材料特性知识缺乏,一些早期建筑失败.直到1830年初，伊顿Hodgkinson预计推出了型钢梁，导致广泛使用钢架建设，工业结构完全改变了这种窘迫的面貌,英国北部领导的描述，〃黑暗魔鬼作坊〃的地方如曼彻斯特和西约克郡.水晶宫由约瑟夫paxton的重大展览，1851年,是一个早期的例子, 钢铁及玻璃施工；可能是一个最好的例子，就是1890年由William乐男爵延长和路易沙利文在芝加哥附近发展的高层钢结构摩天楼.早期结构采用混凝土作为行政手段的建筑表达（而非纯粹功利结构），包括建于1906年在芝加哥附近，劳埃德赖特的统一宫，建于1926 年瑞士巴塞尔附近的鲁道夫斯坦纳的第二哥特堂,.但无论原因为何，约有1900多位建筑师，在世界各地开始制定新的建筑方法,将传统的先例（比如哥特式）与新的技术相结合的可能性.路易沙利文和赖特在芝加哥工作,维克多奥尔塔在布鲁塞尔，安东尼高迪在巴塞罗那，奥托瓦格纳和查尔斯景mackintosh格拉斯哥在维也纳，其中之一可以看作是一个新与旧的共同斗争.2现代主义风格由1920年代的最重要人物，在现代建筑里确立了自己的名声.三个是公认的柯布西耶在法国，密斯范德尔德罗和瓦尔特格罗皮乌斯在德国.密斯范德尔德罗和格罗皮乌斯为董事的包豪斯，其中欧洲有不少学校和有关团体学习调和工艺和传统工业技术.赖特的建筑生涯中，也影响了欧洲建筑的现代艺术,特别是通过瓦斯穆特组合但他拒绝被归类与他们.赖特与格罗皮乌斯和Van der德罗对整个有机体系有重大的影响.在1932年来到的重要moma展览,是现代建筑艺术的国际展览，艺术家菲利普约翰逊. 约翰逊和合作者亨利-罗素阁纠集许多鲜明的线索和趋势，内容相似,有一个共同的目的, 巩固了他们融入国际化风格这是一个重要的转折点.在二战的时间包豪斯的代表人物逃到美国，芝加哥，到哈佛大学设计黑山书院.当现代建筑设计从未成为主导风格单一的住宅楼，在成为现代卓越的体制和商业建筑，是学校（专业领导）的唯一可接受的，设计解决方案，从约1932年至约1984 年.那些从事国际风格的建筑师想要打破传统建筑和简单的没有装饰的建筑物。

毕业设计（论文)外文资料翻译系别：专业：班级:姓名：学号:外文出处:附件： 1. 原文; 2。

译文2013年03月附件一：A Rapidly Deployable Manipulator SystemChristiaan J。

J。

Paredis, H. Benjamin Brown，Pradeep K. KhoslaAbstract:A rapidly deployable manipulator system combines the flexibility of reconfigurable modular hardware with modular programming tools，allowing the user to rapidly create a manipulator which is custom-tailored for a given task. This article describes two main aspects of such a system，namely，the Reconfigurable Modular Manipulator System （RMMS)hardware and the corresponding control software。

1 IntroductionRobot manipulators can be easily reprogrammed to perform different tasks, yet the range of tasks that can be performed by a manipulator is limited by mechanicalstructure。

Forexample，a manipulator well-suited for precise movement across the top of a table would probably no be capable of lifting heavy objects in the vertical direction. Therefore，to perform a given task,one needs to choose a manipulator with an appropriate mechanical structure.We propose the concept of a rapidly deployable manipulator system to address the above mentioned shortcomings of fixed configuration manipulators。

家具设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)SCANDINA VIAN FURNITURE DESIGNScandinavian design is 30 years in the 20th century Having achieved great success, and acquired an international reputation for design. The style is concerned, the Scandinavian design is the function of doctrine, but not as stringent as the 20th century, 30 years and doctrines.as stringent as the 20th century, 30 years and doctrines. Geometric form of soften, and edges are fairing into S-shaped curve or wavy lines, often described as "organic form", so that the form of more humane and angry. Before the war with Bauhaus functionalism as the center 40 years in the 20th century, under the difficult conditionsof material deprivation is widely accepted, but by the mid-20th century, 40, functionalism has been gradually includes a number of practical and style changes. These changes left the Bauhaus pure geometric forms and "works" the language of aesthetics, most notably the Scandinavian design. As early as 1930, the Stockholm Fair, Germany, Scandinavian design will be a strict functionalism and local arts and crafts in the humanist tradition of integrating their together. In the 1939 New York International Exposition, but also established the "Swedish Modern style," as the concept of an international status. After the 20th century, 40 years after a difficult period, Scandinavian design in the 20th century, 50 years produced a new leap forward. Its simple and organic shape and natural color and texture very popular in the international arena. Milan Triennial in 1954, the international design exhibition, Scandinavian design show a new look, the participation of Sweden, Denmark, Finland and Norway have achieved great success. The design of these countries after the war, the organization implemented a policy of cooperation, their first major achievement was called "Scandinavian Design" exhibition. Arts Foundation in the United States under the sponsorship of this exhibition from 1954-1957 in North America in 22 years, the city's main museums around the world, thus making "Scandinavian design" the image of the widely popular in the international community. Function of the Scandinavian modern design movement, the countries in the design organization at the national or local level, held a large number of exhibitions, the 20th century, these activities have become a key feature of the 50's. Scandinavian design of the Year, held alternately in various countries, affecting a wide range, which, together with the publications and periodicals for the design of the exchanges made a significant contribution. Design organizations not only exhibitions, they are also an important advocate in this area designed to encourage manufacturers to invest in a creative product development, to persuade the authorities to design policies to support its excellent design. They also inspire public awareness of good design and everyday use more beautiful thing, and this 50 to 60 for the 20th century, the early design development played an important role. In addition to designing the organization efforts, dominated the 20th century, 50 years of social and economic life of the development of the power of design has a more profound impact, with the process ofindustrialization and urbanization, the whole population structure has changed. Continuously improve the standard of living affected the majority of the people and their way of life, resulting in widespread optimism and confidence for the development and progress. New ideas begin to gain traction, such as that the ordinary people have the right to enjoy the comfort of home, the family is not only healthy, but also meets the functional and aesthetic requirements. In the 20th century, 50's, the ultimate welfare state built up in Scandinavia. The 20th century, 40 years in order to reflect the ethnic characteristics arising from a sense of nostalgia, often showing the pristine countryside, contributed to this softening trend. Early functionalism advocated by the primary color for the 20th century, 40 years to reconcile the color gradually replaced by a more coarse texture and natural materials by their favorite designers. After 1945, another retro trend - the Danish tradition of excellent craftsmanship in Sweden and Norway have also been strengthened. The 20th century, 50 years, a group of pre-war designers, such as the prestigious Henningsen, Klandt, mam Marsden, Aalto, etc. are still walking in the forefront of the design. For example, Henningsen, designed after the war, a number of new PH lamps, in particular, he designed a PH-5, and PH Artichoke pendant lamp has achieved great success and has sold briskly. The other hand, young designers have also come to the fore, thus promoted the Scandinavian design of further development. Scandinavian design of the human touch is also reflected in the design of industrial equipment, in this respect Swedish industrial designer made a lot of work. From 1965 onwards, from Sweden, consisting of six designers "design team" involved in Solna, the company's offset printing production line development and design work, they operate on the production line process carried out a detailed ergonomic analysis and redesign the signs, symbols, instructions and manipulating the handle, so that working conditions have been greatly improved.Danish furniture design has a tradition dating back almost 450 years .In 1554, a n umber of cabinetmakers founded Koebenhavns Snedkerlaug (The Copenhagen Guild of Cabinetmakers) with the dual purpose of creating high-quality furniture and of prot ecting the trade from poor craftsmen by establishing formal training for cabin-makers. Two hundred years later,in 1777,Det Kongelige Meoble Magazine (The Royal Furniture Magazine) was established with the aim of manufacturing uniform,high-quality fur niture in terms of production and design for the Danish Royal Household and its vario us departments and ministries ,etc.The furniture was designed almost along the lines o f catalogue goods by the most renowned designers of the period,and their drawings w ere forwarded to master cabinetmakers all over the country,who then manufactured th em.After a brief period of only 40 years,the practice came to an end in 1815.The imp ortant thing is that the above-mentioned events were extremely visionary as regards q uality and design,and that they went on to form a solid foundation for later developme nt.Furthermore,Det Kongelige Danske Kunstakademi (The Royal Danish Academy of Art) in Copenhagen, established a school of furniture design in 1770,whose purpose w as the education of furniture apprentices to draw and inspect masterpieces what amou nted to the world’s first systematic education of furniture designer.Throughout the 19t h century,indeed until the beginning of the 1920’s, there is an absence of an independe nt Danish style.The architects of the time are inspired by French, and particularly,Engl ish furniture and only design furniture for the wealthy upper classes and civil authoriti es. Peasants,farmers and the fledgling working class still do not represent an interestin g commercial body,but this picture changes with the country’s move from an agricultu ral society to an industrialized one towards the end of the last century.The cities almos t exploded in size and social awareness flew with the emergence of the new social clas ses-laborers and office workers-both of whom demanded monetary payment for their services.Put in simple terms,you might say that this was how the foundation of moder n consumer society came into being. Once current overheads had been met such as food,clothing,rent and heating ,etc.People still had the means to buy furniture,which in its own small way, created the basis for a formalized furniture industry.The furniture industry did not really take off until people began moving away from the cramped apartments in the city centers to larger apartments and detached houses on the outskirts of town.This happened in two stages,the first of which was in the 1920’s,when the social housing projects began and detached houses started to appear.The second stage was in the 1950’s,when both types of housing be fan to shoot up everywhere.This development,combined with a high level of knowledge andawareness,creatd a new and more rational housing culture where people began to demand high-quality functional furniture.As it turned out, people outside Denmark soon began to make the same kinds of demands.The 1920’s saw the desire for a purely Danish style of furniture.In 1924,a lecture ship in furniture design was established at Kunstakademiets Arkitektskole (The Royal Danish Academy of Fine Arts School of Architecture) in Copenhagen.The lectureship went to the Danish architect,Kaare Klint(1888-1954), who influenced the developmen t of Danish furniture design to a great degree.Kaare Klint was a systematist and a mod ernist who used his students to pioneer a series of surveys and analyses of furniture an d spatial needs. First and foremost,Kaare Klint represented the approach that furniture should be functional and user-friendly,an approach which in many ways deviated fro m the rest of Europe,where functionalism often took the form of formalistic exercises, directing its focus towards a well-to-do elite rather than the ordinary man in the street.The result was that a strong,independent,humanistic functionalism evolved in De nmark through the 1930’s and 40’s,culminating in an international breakthrough at the beginning of the 1950’s.A contributory factor to this breakthrough was the Guild or C abinetmakers’ annual autumn exhibition held for the first time in 1928.Here, young fu rniture designers could find collaborative partners among the established cabinetmake r workshops with an eye to developing new types of furniture.It was at these exhibitio ns that Danish architects like Hans J.Wegner,Ole Wanscher, Finn Juhl,Boerge Mogens en,Arne Jacobsen and many others made their breakthrough,and it was at these same e xhibitions in the period following the Second World War that,in particular the Americ an market,caught sight of Danish furniture design-Danish modern.The development of Danish furniture design continued forcefully up through the 1950’s and 60’s, resulting in a sharp increase in furniture exports.The starting point of Danish furniture production was joiner craftsmen furniture, but as technology develop ed ,production became increasingly industrialized and this affected the way in which a rchitects designed furniture. One of the best examples of the furniture of this period is architect, Professor Arne Jacobsen’s famous “Myren”(“The Ant”),designed in 1951 as a canteen chair for Novo Nordisk”s new medicinal factory.The chair was developed i n cooperation with the furniture manufacturer Fritz Hansen A/S. From the beginning,It was designed as an industrial product for mass production. Some years later, in 195 7,Arne Jacobsen designed a more streamlined version of “The Ant” for Fritz Hansen A/S, the so-called 7-series and these chairs became a huge success with 5 million chai rs sold to date. His collaboration with Fritz Hansen A/S continued until his death in 19 71. In addition to “The Ant” and the 7-series, Arne Jacobsen and Fritz Hansec succeed ed in creating a long series of Danish furniture classics, such as the easy chairs “Aegg et”(“The Egg”) and Svanen (“The Swan”), which Jacobsen designed for the SAS Roy al Hotel in Copenhagen in 1959. These two chairs were remarkable inasmuch as Jaco bsen pioneered the use of expanded polystyrene in furniture-chairs ahead of the times.There were others too, designers who designed industrially manufactured furnitu re. In 1942, FDB(The Danish Co-op Society) hired the 28 year old furniture designer, Borge Mogensen, as chief designer for FDB’s newly established furniture design studi o. Borge Mogensen was a former student of Kaare Klint, and Mogensen further devel oped Klint’s ideas regarding quality functional furniture for the ordinary consumer. F DB’s furniture was manufactured in wood, especially in the domestic wood sorts of oa k and beech. These chairs were designed for industrial manufacture and despite the fa ct this was “furniture for the common man”, it was still of a very high calibre, both in terms of functionality and design. Later on, Boerge Mogensen created a name for him self by designing exclusive furniture in an altogether different price bracket for afflue nt clientele. Despite this, he never diverged from his principles of functionality and us er-friendliness.The two designers who really put Denmark on the world map were Hans J.Wegn er (born 1914) and Finn Juhl (1912-1989). These two men came from radically differe nt backgrounds. Hans J.Wegner was the country craftsman who had received his traini ng as furniture designer at Kunsthaandvaerkerskolen (The Danish School of Arts &Cr afts). Jinn Juhl was the cosmopolitan academic from Copenhagen, who had been educ ated as an architect at the Kunstakademiet (The Royal Danish Academy of Jine Arts). Both men had an amazing feel for design and a deep-seated desire to create beautiful, functional furniture. As a result, they created a long series of furniture classics over a period lasting 40 years; classics which even today stand out as exceptional. Their prod uction of quality furniture is so extensive-Hans J.Wegner alone is responsible for more than 500 models-that it is impossible to highlight the work of one or the other. Partic ular examples of Hans J.Wegner’s unique design work are Kinastolen (“The Chinese Chair”) from 1945, The Chair from 1949, and Cirkelstolen (“The Circle Chair”) from 1986. Among Finn Juhl’s furniture are such highlights as his armchair made for the G uild of Cabinetmakers’ autumn exhibition in 1944 and Hoevdingstolen (The Chieftain Chair) from 1949. It was chairs like these that won Denmark its reputation as the worl d’s leading design nation.Around 1970, Denmark began to experience stiff competition from Italy at the nu merous furniture fairs around the world, and in particular, at the furniture fairs around the world, and in particular, at the furniture fairs in Cologne and Chicago. The Italian designers and furniture manufacturers moved in new directions and experimented wit h all kinds of materials and expression, which caused Danish furniture to appear behin d the times. It was really only the Danish designer, Verner Panton, who lived in Switz erland, who understood how to use the new man-made materials and create new desig ns.This was a critical period in Danish furniture design and for the Danish furniture in dustry which found it difficult to maintain its position as marker leader. This situation was not only caused by the challenge posed by the Italian designers. It was also the re sult of too much success.The good international reputation of Danish furniture design had built by a handf ul of furniture manufacturers who were interested in good design and the use of talent ed designers. In the wake of their success however, were a large number of less seriou s furniture manufacturers. Who swamped the market with unoriginal furniture, usually of poor quality, which was hastily marketed under the label of Danish Design.Fortunately, there were new, talented designers on the way up: people like the Da nish designers, Bernt, Rud Thygesen&Johnny Soerensen, Johannes Foersom&Peter H iort-Lorenzen, Gunver&Niels Joergen Haugesen, Joergen Gammelgaard, as well as N anna Ditzel and Poul Kjaerholm. These designers helped to lift the heavy legacy left t o them by the “Golden Age” of Danish design in the 1950’s and 60’s, and fortunately, there were still furniture manufacturers willing to bank on quality design.The greatest problem for Danish furniture design of the period was that the manu facture of furniture was becoming more and more industrialised. The meant that designers had to come up with far more rational designs than before. The fact that training at the architect and design colleges was to a high degree based on artistry and craftsm anship caused a good deal of friction between designers and manufacturers. Many des igners felt that the manufacturers only had an eye for profit margins and mass product ion. For their part, the manufacturers felt that the designers only thought about designi ng expensive furniture and of making a name for themselves. This was not a good fou ndation for developing Danish furniture design and both parties were lacking a viable model with which to move on. It was a small, elegant chair and accompanying table s eries in laminated beechwood which marked the start of the second “Golden Age” of Danish furniture design. The new furniture was presented at the annual Scandinavian Furniture Fair at The Bella Centre in 1974 and was designed by the young architects Rud Thygesen & Johnny soerensen for the furniture manufacturer Magnus Olesen A/S . The chair and the table series were specifically designed as industrial products in a f unctional design and were of a very high quality. To top it all, they were relatively che ap as well. The fact that this could be done was partly because the designers had redis covered the industrial and design qualities of the laminating technique, and partly bec ause they had gambled on the contract market rather on the market for household furn iture. The laminating technique was well known: the Finnish designer, Alvar Alto and the Swedish designer, Bruno Mathsson had already created a long line of beautiful la minated furniture in the 1930’s and 40’s–and in Denmark, people like Arne Jacobsen had developed series of laminated furniture. What made Rud Thygesen & Johnny Soe rens en’s approach so unique was the fact that they regarded their furniture as industria l products instead of one-of-a-kind, craftsman-made goods. Their furniture was highly adapted to rational mass production, almost kike industrial design. More inportant stil l was the fact that an extremely viable model for collaboration between designers and manufacturers had been found. This model created a school of thought and convinced the furniture industry that good design could actually pay!As we approach a new century, there is every reason to have high expectations fo r the continued development of Danish furniture design. Never before has so much qu ality furniture been manufactured, and young, new designers are making their mark. P eople like the designer Troels Grum-Schwensen, Kasper Salto, Henrik Tengler, HansSandgren Jacobsen, Tom Srepp, Pelikan Design, Komplot Design and various other gr oups of designers. The most interesting feature of the development of furniture desig n from 1980 to the present day is that it essentially followed its own path, more or less uninfluenced by changing styles: the postmodernism, high-tech, neoclassic of the 198 0’s, the rediscovery of art deco at the beginning of the 1990’s together with neo-functi onalism and the renewed interest for the design of the 1960’s-all of these are styles wh ich have been ostentatiously introduced (and reintroduced) at the great furniture fairs i n Cologne and Milan since 1980, and nearly all have disappeared again. Danish furnit ure designers and furniture manufacturers however, have not felt tempted to follow th ese trends. This is not out of fear but rather out of a deep-rooted unwillingness to be di ctated to by whimsical trends which do not add anything new to furniture design. Inste ad, they have continued to develop and refine Scandinavian modernism which is chara cterised by its great care for detail and the manufacturing process, respect for the hum an anatomy, thorough analyses of requirements and use, aesthetics and considerations about form and function and rational production. This is a work approach which has at tracted wide international attention in the course of the last five to six years, and one which many international designers have tried to copy, as was the case with the Danis h furniture designs of “the Golden Age” 30-40 years ago.It is this same work approach which will probably guarantee the leading position of Danish furniture design for ma ny years to come: innovation via tradition.Given the fact that the western concept of art from the end of the 18th century m oved towards the ever-increasing independence of artistic expression, part of the task of modern art became to reassemble what had been dismantled. The boundary betwee n fine and mass culture narrowed.Visual art, architecture and applied art were to be se en as aspects of a common dream; the ideal of powerful, modern expression. The begi nning of the 20th century saw the introduction of the term “Gesamtkunstwerk”. A hou se was no longer a frame around random content. Buildings, furniture design, decorati ve art and interior design generally were to support the integral whole, which became greater than the sum of its individual parts.From the 1920’s and 30’s, the dominant German Bauhaus School greatly influenced design in Europe and America. Architect and School Director, WalterGropius, expressed his intentions in the following way:”Our ultimate goal was the compound yet indivisible work of art, the unique building where the old boundary between the monumental and decorative elements vanished fo rever”.In Denmark, architects led by Arne Jacobsen, among others, were extremely stim ulated by this way of thinking. Here lay the keystone to the tradition of interrelationsh ip between architecture and interior design, which to this day remains an important ha llmark of Danish architects and designers. Since 1971,the architectural firm of Dissing +Weitling A/S has continued to run and develop Arne Jacobsen’s architect business, w ith employees in Denmark and around the world. The depth in Dissing+Weitling’s wo rk is exceptional but this also says something characteristic about the Danish approach . Here we find both a sense of wholeness as well as an attention to detail, and especiall y, the challenge of getting both elements to form a synthesis. Nothing is too small, let alone irrelevant to warrant care and attention.In addition to architectural buildings, Dissing+Weitling also carry out work in th e fields of furniture, lighting design, and medico-technical equipment. In all events, it is an attempt to merge the various parameters such as form, function, construction, ma terials and color to form a balanced expression whose hallmark is a strong visual ident ity, which is the leitmotif of the design process: A clarity and purity which has timeles s and universal qualities. In this regard, Dissing+Weitling have done a supreme job of carrying on the legacy of Arne Jacobsen.Whereas at the close of this century, we have witnessed the noisier, mishmash of diversity of international design reflecting the spiri t of the times, here in Denmark-and the Nordic countries-the modernistic method and approach has prevailed. Design has been carried forward with moderation and variatio ns based on a tighter minimalism, focusing on the elements and dynamics of the indivi dual form, as well as a pronounced sensitivity for materials. There are many examples of how this subtle dialogue between space, furniture and interior design have found p owerful expression; designs which break up and imprint a different rhythm on the spa ce and the way in which fine contrasts such as the lineatity of the room are juxtaposed by the curvature of the reception area-a common, repeated theme in many interiors.It is important to remember that interior designers are not housebuilders like arch itects. Interior designers are given finished rooms whose interiors they have to design.For this reason, all interior design deals with “treatment of the room” and the Scandin avian tradition for this is strongly linked to Scandinavian modernism, i.e. humanism a nd democracy paired with functionalism, which again is linked to the architectural tra dition.The restoration of old buildings also exerts an influence on the work of Danish architects and interior designers. An extensive series of buildings has been restored wi th respect for existing architecture and the qualities of past design. Many buildings ha ve been thoroughly renovated with an eye to meeting new functions and modern requi rements.The balance between maintaining the original distinctive architectural feature s and ensuring a modern design poses a continuing challenge. This is exactly where a comprehensive staging with the designing of special furniture and fixtures can becom e a means of ensuring a uniformity of style and expression.参考文献:朱迪思·古拉泰晤士和哈德逊公司.斯堪的纳维亚家具：21世纪的原始资料的经典设计.2007-11迈克•罗莫. 室内与家具设计. Thame Hudson出版社.2005北欧家具设计斯堪的纳维亚设计是在20世纪30年代即已取得较大成就,并获得了国际声誉的设计风格。

文献出处：Kent T. Interactive art creativity in packaging design [J]. International Journal of Retail & Distribution Management, 2015, (9): 734-745.原文Interactive art creativity in packaging designKent TAbstractModern packaging design art has become a very important branch in visual communication arts, it completes the industrial to the evolution of the way of information science and technology. Large diversified development trend of modern design, a new way of thinking about the way people live intervention as well as the guiding thought and emotion and expression, the designers find some common rules in the application of graphic design were scattered, integration, and gradually to deconstruction, the existing design element symbols replaced, designers in the new era to cater to the trend of The Times, strive to find experience and experience in the use of packaging the mutual dynamic behavior combining site, to conquer the experience completely psychological desire of satisfy. Large diversified development trend of modern design, a new way of thinking about the way people live intervention as well as the guiding thought and emotion and expression, the designers find some common rules in the application of graphic design were scattered, integration, and gradually to deconstruction, the existing design element symbols replaced, designers in the new era to cater to the trend of The Times, strive to find experience and experience in the use of packaging the mutual dynamic behavior combining site, to conquer the experience completely psychological desire of satisfy.Keywords: experience; Packaging design; Interactive way1 IntroductionDue to the development of production capacity, material and machine efficiency, combined with the experience of evolution of consumer society gradually cultivated by all kinds of factors are for the current packaging market has opened up a new market. Enlightenment period of packaging design is to protect consumers, food andclothing to oneself need to start. Under the economic and social developing, commodity packaging beautiful, practical and suitable for experience of taste has become the most important marketing tool in the commodity economy. In the stage of industrial development, in order to machine manufacturing for the mainstream economy. Along with the development of productivity and science and technology, market economy and into the era of new media, interactive packaging is a new concept of packaging field in recent years, its main meaning is through the implementation of the means of packaging materials and packaging, packaging of goods and experience between establish a kind of behavior and thought more closely linked, thus forming a kind of interactive relationship, thus established the new packaging design pattern.2 Packaging design and interactive art originality2.1 Packaging design and the main programThe history of mankind has connected with history of packaging design. Production technology, materials and media of developing and changing consumption society has created a new suitable for experience of packaging market. Packaging design is a branch of visual communication subject, it combines the packing structure, graphics, color and text for the integration of design disciplines, but also including the packaging materials and containers, marketing and other disciplines. The premise of basic function of packaging is to protect the goods make it looks more beautiful, practical, more environmentally friendly materials, through the way such as printing and message of the product, so the design of the packing is good or not directly affects the purchasing power of the experience.Packaging from design to production, can be divided into the following procedures: for goods design research; Commodity packaging and production process of overall planning; Packaging design innovation point positioning; The choice of packaging materials and design; Packaging design; The packaging structure design; Packaging visual communication design; Additional commodity packaging product design; The protection of the packaging technology design; Design the product specification. In the whole process designer should strive to packaging design andexperience culture special match, to finally realize the packing the psychological demands of semantic expression and experience.2.2 Packaging design of interactive art creativityInteractive concept is a trend in the development of new packaging design, is the experience and the combination of information of the auxiliary materials, packaging structure. Whether it concerns design is containing the technology can give the service, and the quality of the experience and their interaction. Human life is the life of an interaction. Human out of the womb, human naturally with their facial features, body, imagination to interact with this strange world, thus forming belongs to the human emotions, knowledge, and to realize their own value. Until today, the concept of interaction, interactive art has already penetrated into every aspect of people's life, has become our environment suitable for experience is the best way to contact.Make the products as packaging design and interactive experience, has the interactive art creative packaging design for people with experience to effectively to harvest their crop from the product itself interesting experience, more important is also can reflect the value of experience is itself. Interactive art design research, there are two key elements: product, experience; Interactive art design concerned with behavior, psychological experience and enjoy it in the design process, implementation technique and so on. Interactive art of research experience, the core is the study of experience classification, requirements, experience is the psychological experience, on the basis of fully research experience. Analysis of the behavior of the experience, from experience, from experience in the process of the behavior of the direct design method and theory.3Three creative packaging factor analysis3.1 The packing structure analysis of the interactionPackaging structure design in order to protect the products, for the convenience of the conditions of experience to carry and reuse, and the arrangement of the good internal and external structures and the birth of a structural design. Therefore, good packaging structural design, can make the security of the product, make people more convenient to carry, transport experience, more is the product of reuse rate increased,the products and the experience is very important. In this process, both inside and outside packing structure design, auxiliary structure design of the two main forms: One is inside and outside packaging is the most intuitive experience who can feel the body of the product, also is the most can reflect the interactive part. Clever packaging structural design can fully understand the psychological experience and the experience of using habit, through the use of innovative product packaging structure and experience product information feedback, to realize the interaction between packaging structure and experience. The other is a secondary structure is in the service of internal and external packaging, is one of the types of packaging language development. It also have the experience to use packaging process more convenient, fun and comfortable. So packing the existence of the secondary structure will be more rich and the other a novel and interactive experience.3.2 Packaging graphics interactive analysisGraphics is a kind of visual language is different from the words, to be clear at a glance the advantage of spreading information of various kinds of products. Understood the word graphics, mostly includes a variety of photographic images, plane figure, illustrations, and other forms of image is easy to understand. On the understanding of the fine arts, graphic more has many meanings, it bear the role of visual marketing, through the processing of beauty, let products have a deeper interpretation. In product packaging, creative graphic design that is intuitive, marked the experience would see all kinds of information expressed by the graphics, thus better and interactive experience, make people feel interesting, vivid and impressive experience of experience.4 Packing creativity and experience interactive method4.1 The packing structurePackaging independent legal refers to the packaging structure group structure conversion method in another form. Form of transformation can be reversed, mobile, repeatedly, expanding, reducing, distortion, extrusion, stretching, winding, such as technique, can also be done by different combinations. Morphological transformation can be various forms of transformation, such as: color conversion, shape dimensiontransformation, style, structure, material conversion, conversion, etc., can also be a function of conversion, technology, media and the transformation of the program. Behind all in all, the structure performance of rich, containing the infinite possibility, that possibility is simple, regularity and can stimulate people's sensibility, contains profound connotation.4.2 Packaging graphicsContents of bionic graphics performance for the product image, namely by packaging its image as well as related to the goods such as raw materials, consumer, use characteristics, characteristics, origin, etc. Bionic graphic form rich variety, have photography, commercial painting, creative graphics, such as painting, cartoon form, each form has its unique expression. Choose suitable for the bionic graphical representation techniques, and is the application of bionic graphics the key to achieve good visual effect. Packaging graphic design is the most important is how to put the commodity characteristics of visualization, or handle the relationship between the visual graphic elements and commodities. Unique bionic graphic design, will stand out from many other packaging, attract the eyes of the experimental subjects, and reduce the distance of commodity and experience.Visual image in law refers to the creation of packaging design, graphically creative means to some exaggerated combination of product and graphics, or with the function of the product itself and the experience of using product environment creation. Through the combination of the idea, this breaking things and ratio of exaggeration can make experience person interesting association when using product, cause of the experience.5 ConclusionPackaging image art trends of visual design and interaction into the life of people, and strongly impact and influence the society and life. Today’s market, more than 80% of the goods is to appear in front of our eyes after packaging design, so the packaging is closely related to our life. Along with the development of the market, in the role of the "silent salesman" participate in the process of marketing, the success or failure of commodity packaging design to some extent decide the success or failure ofmerchandise sales, as a result, today's packaging design from the basic role oriented to the center of gravity offset to experience the spirit of the emotional and how to through the use of all kinds of materials and media to implement interactive ways and experience. Interactive concept packaging design using the experience of the psychological strategy, according to the experience of the multidimensional nature of the psychological and differences in design, starting from the experience of physiology and psychology, through the change of packing structure, the change of graphics and layout method such as changes in the way the interaction into experience can feel the effect, have the experience to win the spiritual happiness and satisfaction. 译文包装设计中的互动艺术创意Kent T摘要当代的包装设计艺术已经成为视觉传达艺术里非常重要的一个支流，它完成了工业化到信息化科技方式的演变。