外文文献翻译室内设计

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1、Four short words sum up what has lifted most successful individuals above the crowd: a little bit more.-author-date外文文献翻译-室内设计外文文献翻译-室内设计外文文献-自然简约对室内设计现象分析 2012 届本科毕业设计论文外文文献翻译 学 院: 计算机科学与工程学院 专 业:数字媒体 姓 名:董沛 学 号:Y08108210 外文出处:Natural simplicity analysis of the phenomenon of interior design 附 件: 1.

2、外文资料翻译译文;2.外文原文。附件1:外文资料翻译译文 自然 简约?对室内设计现象分析 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

3、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?

4、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

5、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

6、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

7、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

8、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

9、,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

10、带给你恰倒好处的舒适体验 通常被称作美学标准的这种准则可以从另一个更普遍易懂的层面更好地进行理解。超越了功能和结构的设计的这些方面关系到设计呈现给人类感官的特定方式。我们使用一个物体实现某种需要或需求,并且希望它的物质结构支持这种用途。我们通过观看、触摸并形成一种超乎这个物体单纯用途的感官体验来了解一个物体。 首先让我们认识构成的各个元素。当我们识别诸如石材、玻璃或钢铁等材料时,我们所看到的是不同的色彩、色调和质地。 这不仅仅是从光滑到粗糙的变化,而且包括装饰和雕刻的变化。在一个大的构成或是隔一定距离欣赏的任一设计中,稍大的元素,甚至是住宅群中的每一幢住宅都能产生质地的效果。 这可以通过诸如孟

11、塞尔色彩体系的研究来进行详细地分析。对于现在的目的而言,我们仅仅提及色彩的色相,但是不管怎样我们也不能落下色彩的次要特性,如亮度、饱和度和透明度等,这些特性可以在构成时扩展出各种可能的变化。 这通常被看作是色彩理论的一部分。它指的是孟塞尔体系中的灰度,并通过一系列的灰色来描述从白到黑的无色梯度。在设计构成中,我们发现把色调割裂开来考虑将很有帮助。它在建筑和用来表现建筑的图纸中都起着非常重要的作用。 每一个建筑都有体现方向的元素。大多数的建筑都具有强烈的垂直向和水平向元素,这些方向通过建筑的整体形状、局部与结构部件、窗户与其它开口体现出来。通过研究建筑的室内或室外能够根据它们的构成来评价有关水平

12、和垂直的总体视觉效果。 在建筑学中,这是关于矩形各边和体积的几何关系,也是关于构成物不同部分间的比率或比较。我们不能精确地目测出这些关系,但是我们可以将它们进行比较,并且根据比例来判断一个物体同另一物体的关系。 这可产生自在视觉上强于其它部分的一个色彩、色调或质地的效果。方向上的主导性意味着水平线总体上强于垂直线,或与之相反,垂直线占优势。一个实胜于虚的主导性或相反的情况需要避免均等的抗衡,因为这可能破坏统一。一个主导性的形式或形状能有助于产生统一的感觉。显而易见,统一无法在有二元性或视觉均等元素抗衡的情况下存在。 这是统一的另一个方面。色彩的协调严格讲来是指通过在色环上彼此相近而相关联的色彩

13、,也就是说在一个色相上有关联的色彩,举例来说,如均靠近黄色色相扇区的褐色、金色和黄色。 这将由趣味性来产生,而在视觉设计中,统一的这个方面主要但并非唯一地由对比产生。 色彩、色调或质地的对比、方向或比例的对比、实与虚的对比都能给设计添加趣味和生机。但是就像过份的协调将导致单调一样,过多的对比或太多的对比元素将削弱协调并导致产生均等趣味的多重性。 虽然是多种元素共存,但不代表乱搭一气,混搭是否成功,关键还是要确定一个“基调”,以这种风格为主线,其他风格做点缀,分出有轻有重,有主有次。 中式或亚洲式的设计一向以简约、质感见长,如果能够巧妙地与西方现代、创新的概念结合,那么你可以完成一个时下最时尚的

14、混搭之家。 家具混搭 容易混搭的三类方式:设计风格一致,但形态、色彩、质感各异的家具;色彩不一样,但形态相似的家具;设计、制作工艺非常好的家具,无论古今中外,也不管色彩、形态、质感、材料是否一致。 1.现代简约的3+2沙发搭配一张古典优雅的主人椅,便能凸显整个空间的视觉感,并且彰显主人独特的个性与品位; 2.西式现代家具与同样线条简单的中国明式家具的组合也能产生不错的效果,比如用现代沙发搭配明式圈椅。 客厅中放一个中式木箱充当茶几,甚至把风格完全不同的几把凳子摆在一起,只要感觉对了,你想怎么搭就怎么搭。 贴士:中式和西式家具的搭配比例最好是37。因为中式老家具的造型和色泽十分抢眼,可自然地使室

15、内充满怀古气息,但太多反而会显得杂乱无章。此外,尽量挑选比较实用的,除了欣赏之外,还可赋予老家具新的生命。 二、材质混搭 在材质上,可采用的选择也十分多元,皮革与金属,皮革与木头,瓷与木头,塑料与金属等等。 提供的发挥线索 1.墙壁用南欧风味的复古砖,地板用现代感明亮的抛光石英砖,轻松产生对比效果。 2.用地砖做拼花设计,进门就有休闲放松的感觉。 3.只换掉一面墙壁的颜色,选用大胆鲜艳的颜色和图样,或者购买一些具有混搭效果的墙纸更加省事。 三、家纺混搭 在欧洲,家纺品多风格交融的趋势同样存在,比如在许多当地家庭装饰中,家具和织品的颜色是当代的,但是装饰灯、窗帘帷帐等又是传统的。 提供的发挥线索

16、 1.在床品图案上,可以借鉴的有古代青花与西洋玫瑰、现代风格的纹理与古典盘扣,民间剪纸与蕾丝,流苏,羽毛与牛仔的融合等等。 2.如果偏爱浓烈的色调,深红+翠绿,橙色+深蓝,深黄+深红+纯黑等最不可能搭配在一起的颜色组合,也往往能取到出奇制胜的效果。 四、装饰混搭 这是最简单但也许是最有效的方法。选用一些点睛的小饰品,如薄纱透光窗帘、藤制灯饰,蓝绸大伞、真丝屏风可以轻松呈现异国情调。 提供的发挥线索 1.若要让家里呈现华丽怀旧风,编织的灯饰、有珠珠的抱枕、珠帘都是可以利用的小元素。 2.几块少数民族图腾、东南亚的民俗布,即可展现异国格调。在一些特色家饰店里,有不少印度、尼泊尔的布料、抱枕、地毯可

17、以选择,随意铺在沙发上,或当窗帘,做地毯,家里气氛立刻大变。 3.选用古旧的收藏品作装饰,既可以体现工艺和文化背景,又能淡化现代居室的冰冷,使空间更加厚重沉稳。但一定要带着美学修养去“集”,不然家里很容易变成“杂货铺”。 贴士:想要混搭个性化的家,先要把整体搭配的元素想好,比如东西看腻后的替换运用,或者将特殊的摆设换个地方放,都有不同的味道。 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

18、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

19、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?附件2:外

20、文原文Natural simplicity - on interior design Analysis Ancient 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. d

21、issolved 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 bu

22、ilding 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 buildings internal frequency continuous modification, fixed the main building, the replacement building, clothing the t

23、ime has come. Baroque-style architecture of the 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 illus

24、ion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of a more intimate interior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and

25、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-style hand-made decoration reached perfection, referred to as interior decoration. modern representatives

26、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 part of the relative separation. Sports camp solved simply

27、 decorative building components with a combination of the main contradictions in modernist design become a pioneer in the Bauhaus school of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all ar

28、ound 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 pas

29、toral 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 in todays high-tech, high-paced social life,

30、so that people can achieve physical and psychological balance. Simple does not mean easy, it is an attitude towards life. when we are 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

31、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 twe

32、ntieth century Western Modernism. Britain and France JOHNPawson two ClaudioSilverstein interior designers in the mid 80s to lead the trend 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

33、, some reported costs factory floor layout easy to become art exhibition hall, the purpose of funding is based on at least make the best display space, while the results of doing so is to simplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthe

34、tic 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

35、 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 peoples space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitabl

36、e trend of human development. In the past, Interiors were put together instinctively as a part of the process of building. The profession of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processe

37、s. The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary interior design profession. In ancient India, architects used to work as interior designers. This can be seen from the references of Vishwakarma the architect - one

38、of the Gods in Indian mythology. Additionally, the sculptures depicting ancient texts, events are seen in palaces built in 17th century India. Throughout the 18th century and into the early 19th Century, interior decoration was the concern of the homemaker or, in well off families an upholsterer or

39、craftsman may influence the style of the interior space. Architects would also employ craftsmen or artisans to complete interior design for their buildings. Towards the end of the 19th century interior decorating emerged as a profession in the Western world. This was due to various actions, particul

40、arly by women, to preprofessional the homemaking process. Elsie De Wolfe has been credited with the creation of the interior decorating profession. Having successfully re-designed her own home, De Wolfe began offering her services to other people within her social circle. As people began offering in

41、terior decoration as a service the professionalization of this service gained momentum. This movement towards professionalization was reinforced by the publication of books on the subject. Publications include the book Suggestions for House Decoration in Painting, Woodwork and Furniture 1876 by Ange

42、s and Rhoda Garrett, Elsie De Wolfes The House in Good Taste 1913 and articles by Candice Wheeler such as Principles of Home Decoration with Practical Examples 1903. Most of the books were published by women and clearly suggested the profession was within the womens domain, E.g. The two-part article

43、 Interior Decoration as a Profession for Women 1895, written by Candice Wheeler. As previously mentioned, before formal interior decorators evolved the job was the concern of craftsmen or upholsterers. This means that many decorators at this time were dealers in the elements needed for interiors. Th

44、is called into question the qualifications of the decorator and their standing as an independent adviser. This gave term interior decorator negative connotations for some, as a painter or curtain sales person can be a self-appointed decorator. Hence, the decorators favored term Interior Designer. In

45、terior design has now developed past the point of decoration and the terms, although overlapping, are distinct. The most prominent development of the interior design profession was after World War II. From the 1950s on wards spending on the home increased. Interior design courses were established, r

46、equiring the publication of textbooks and reference sources. Historical accounts of interior designers and firms distinct from the decorative arts specialists were made available. While organization to regulate education, qualifications, standards and practices, etc. were established for the profess

47、ion Interior design was previously seen as playing a secondary role to architecture. It also has many connections to other design disciplines, involving the work of architects, industrial designers, engineers, builders, craftsmen, etc. For these reasons the government of interior design standards an

48、d qualifications was often incorporated into other professional organizations that involved design. Organizations such as the Chartered Society of Designers, established in the UK in 1986, and the American Designers Institute, founded in 1938, were established as organizations that governed various

49、areas of design. It was not until later that specific representation for the interior design profession was developed. The US National Society of Interior Designers was established in 1957, while in the UK the Interior Decorators and Designers Association was established in 1966. Across Europe, othe

50、r organizations such as The Finnish Association of Interior Architects 1949 were being established and in 1994 the International Interior Design Association was founded Ellen Mazur Thomson, author of Origins of Graphic Design in America 1997, determined that professional status is achieved through e

51、ducation, self-imposed standards and professional gate-keeping organizations. Having achieved this, interior design became an accepted profession. There are various paths that one can take to become a professional interior designer. All of these paths involve some form of training. Working with a su

52、ccessful professional designer is an informal method of training and has previously been the most common method of education. Real-life experience can gradually build skills that professional design work demands. Training through an institution such as a college, art or design school or university i

53、s a more formal route to professional practice. A formal education program, particularly one accredited by or developed with a professional organization of interior designers, can provide training that is associated meets a minimum standard of excellence and therefore gives a student an education of

54、 a high standard. Supervised practical experience in a design firm after formal training produces develops skills further and results in one being a highly skilled designer. While one can become an interior designer without formal training, the knowledge and skills attained through structured educat

55、ion allows a designer to be better prepared in a competitive job market Working conditions in the US There are a wide range of working conditions and employment opportunities within interior design. Large and tiny corporations often hire interior designers as employees on regular working hours. Desi

56、gners for smaller firms usually work on a contract or per-job basis. Self-employed designers, which make up 26% of interior designers, usually work the most hours. Interior designers often work under stress to meet deadlines, stay on budget, and meet clients needs. In some cases, licensed profession

57、als review the work and sign it before submitting the design for approval by clients or construction decisioning. The need for licensed review and signature varies by locality, relevant legislation, and scope of work. Their work can involve significant travel to visit different locations, however wi

58、th technology development, the process of contacting clients and communicating design alternatives has become easier and requires less travel. They also renovate a space to satisfy the specific taste for a client. Earnings in the US Interior design earnings vary based on employer, number of years wi

59、th experience, and the reputation of the individual. For residential projects, self-employed interior designers usually earn a per-hour fee plus a percentage of the total cost of furniture, lighting, artwork, and other design elements. For commercial projects, they may charge per-hour fees, or a flat fee for the whole project. The median annual earning for wage and salary interior designers, in the year 2006, was $42,260. The middle 50% -