室内设计中英文翻译【适用于毕业论文外文翻译】

PAGE毕业设计英文资料翻译TranslationoftheEnglishDocumentsforGraduationDesign课题名称院（系）专业姓名学号起讫日期指导教师2011年02月20日译文：室内设计室内设计不仅包括装修及家具的空间，而且还考虑到空间规划，灯光，与用户行为有关的程序化问题，包括从具体问题的可及性到在空间中的活动的性质。在商业和公共空间显著的变化后，室内设计如今的标志是一个新的弹性类型学。室内设计不仅包括方案规划也包括室内空间的物理治疗：预测其使用的性质以及它的家具和表面，包括墙，地面，天花板。在职权范围上，室内设计有别于室内装修工程。装修关心的是家具的选择，然而设计者要把离散的装饰元素整合成方案关注的空间和使用。室内设计师在从底层向上的内部的空间时间方面与与建筑师合作，但是他们仍然独立的工作，尤其在翻修的情况下。历史上，植根于总体艺术作品的概念，曾经都是建筑师设计的。总体艺术作品的概念源于十九世纪末和二十世纪初的工艺美术运动。其支持者（从弗兰克·劳埃德·赖特到凡德罗）在室内设计专业的起源期间延长其做法以包括内饰领域行为并不是偶然的。事实上，这是一个建筑师采取的防御措施，建筑师们把室内装修或设计师的形式上的干预看作是对他们完整的艺术性的一种威胁。如今，除了像理查德·迈耶那样的非常重视均匀性的现代主义者，扮演室内设计师角色的建筑师（数量在增长）更有倾向于理论与实践的折衷，并联21世纪的定价多元化。尽管如此，对室内设计师以及室内设计领域的偏见持续存在。由于室内被视为一个集装箱的蜉蝣，从而阻碍了对室内的批评性的讨论。此外，对室内的传统观点充满了偏见：阶级偏见与百年历史的协会商人有关，性别偏见与把装饰行业描述成主要是妇女和男性同性恋的领域。因此，室内设计作为文化价值的表达的信誉已被严重损坏。然而，对文化大系统的理解在全球化的影响下一直在变化。在一个更宽容的环境中，鼓励不同文化间的融合，高文化和低文化的区别被消除。同样，有更频繁的生产性借贷的事例发生在建筑，设计，装修等曾经被看作是专有领地的领域。并且建筑，室内设计，室内装修领域仍然有不同的教育协议以及不同的关注重点，他们表现出更大的互相的兴趣。另一种考虑这种新兴的合成的方法是用现代，技术和历史替代建筑，室内设计和装修的三合一。后现代时代的特征之一是提高了对过去影响现在的角色的认识。在室内，这表现在一个新的兴趣饰品，工艺和重要性以及空间复杂性，所有平行于正在运行的现代化的项目。原文：InteriorDesignSusanYelavichInteriordesignembracesnotonlythedecorationandfurnishingofspace,butalsoconsiderationsofspaceplanning,lighting,andprogrammaticissuespertainingtouserbehaviors,rangingfromspecificissuesofaccessibilitytothenatureoftheactivitiestobeconductedinthespace.Thehallmarkofinteriordesigntodayisanewelasticityintypologies,seenmostdramaticallyinthedomesticationofcommercialandpublicspaces.Interiordesignencompassesboththeprogrammaticplanningandphysicaltreatmentofinteriorspace:theprojectionofitsuseandthenatureofitsfurnishingsandsurfaces,thatis,walls,floors,andceilings.Interiordesignisdistinguishedfrominteriordecorationinthescopeofitspurview.Decoratorsareprimarilyconcernedwiththeselectionoffurnishings,whiledesignersintegratethediscreteelementsofdécorintoprogrammaticconcernsofspaceanduse.Interiordesignersgenerallypracticecollaborativelywitharchitectsontheinteriorsofspacesbuiltfromthegroundup,buttheyalsoworkindependently,particularlyinthecaseofrenovations.Thereisalsoastronghistoryofarchitect-designedinteriors,rootedintheconceptofGesamtkunstwerk,thetotalworkofart,thatcameoutoftheArts&Craftsmovementofthelatenineteenthandearlytwentiethcentury.Itisnoaccidentthatitsstrongestproponents(fromFrankLloydWrighttoMiesvanderRohe)extendedtheirpracticestoincludetherealmofinteriorsduringthenascencyoftheinterior-designprofession.Indeed,itwasadefensivemeasuretakenbyarchitectswhoviewedformalinterventionbyaninteriordecoratorordesignerasathreattotheintegrityoftheiraesthetic.Today,apartfromstrictmodernistslikeRichardMeierwhoplaceapremiumonhomogeneity,architectswhotakeontheroleofinteriordesigner(andtheirnumbersaregrowing)aremorelikelytobeeclecticinphilosophyandpractice,parallelingthetwenty-firstcentury'svalorizationofplurality.Nonetheless,thebiasagainstinteriordesignersandtherealmoftheinterioritselfcontinuestopersist.Criticaldiscussionsoftheinteriorhavebeenhamperedbyitspopularperceptionasacontainerofephemera.Furthermore,conventionalviewsoftheinteriorhavebeenfraughtwithbiases:classbiasesrelatedtocenturies-oldassociationswithtradesmenandgenderbiasesrelatedtothedepictionofthedecoratingprofessionasprimarilythedomainofwomenandgaymen.Asaresult,thecredibilityoftheinteriorasanexpressionofculturalvalueshasbeenseriouslyimpaired.However,theconditionsandthelightinwhichculture-at-largeisunderstoodarechangingundertheimpactofglobalization.Thedistinctionsbetween“high”cultureand“low”culturearedissipatinginamoretolerantclimatethatencouragesthecross-fertilizationbetweenthetwopoles.Likewise,therearemorefrequentinstancesofproductiveborrowingsamongarchitecture,design,anddecoration,onceconsideredexclusivedomains.Andwhilethefieldsofarchitecture,interiordesign,andinteriordecorationstillhavedifferenteducationalprotocolsanddifferentconcentrationsofemphasis,theyareshowingagreatermutualityofinterest.Anotherwaytothinkofthisemergentsynthesisistosubstitutethetriadof“architecture,interiordesign,anddecoration”with“modernity,technology,andhistory.”Oneofthehallmarksofthepostmoderneraisaheightenedawarenessoftheroleofthepastinshapingthepresent.Intheinterior,thismanifestsitselfinarenewedinterestinornament,inevidenceofcraftandmateriality,andinspatialcomplexities,allrunningparalleltotheongoingprojectofmodernity.Evenmoresignificantly,thereisanewelasticityintypologies.Today,thetraditionaltypologiesoftheinterior—house,loft,office,restaurant,andsoon—straintocontroltheirborders.Evidenceofprogrammaticconvergencescanclearlybeseeninpublicandcommercialspacesthataspiretobebothmoreuser-friendlyandconsumer-conscious.Growingnumbersofprivatehospitals(incompetitionforpatients)employamenitiesandformlanguagesinspiredbyluxuryspas;atthesametime,manygymsandhealthclubsareadoptingtheclinicalmienofmedicalfacilitiestoconvincetheirclientsofthevalueoftheirservices.Thesamerelaxationofinteriorprotocolscanbeseeninofficesthatco-opttheinformal,live-workethicoftheartist'sloft,andinhotelsthatusethelanguage(andcontents)ofgalleries.Similarly,increasingnumbersofgrocerystoresandbookstoresincludespacesandfurnitureforeatingandsocializing.Likewise,thereisanewcomfortwithstylisticconvergencesininteriorsthatappropriateandrecombinedisparatequotationsfromdesignhistory.TheseareexemplifiedinspacessuchasRemKoolhaas'CasadaMusica(2005)inPorto,Portugal(withitsinventiveuseoftraditionalPortuguesetiles),andHerzog&deMeuron'sWalkerArtCenter(2005)inMinneapolis,Minnesota(wherestylizedacanthus-leafpatternsareusedtomarkgalleryentrances).Theseinteriorsmakeanartoutofhybridism.Theydonotsimplymixandmatchperiodfurnishingsandstyles,butrefilterthemthroughacontemporarylens.Anotherhallmarkofthecontemporaryinterioristheovertincorporationofnarrative.TightlythemedenvironmentspersistinretailspacessuchasRalphLauren'sclothingstoresandinentertainmentspaceslikeLasVegascasinos.However,amoreplayfulandlesslinearapproachtonarrativeisincreasinglycommon.Ofallthetypologiesoftheinterior,theresidencehasbeenleastaffectedbychange,apartfromephemeraltrendssuchasoutdoorkitchensandpalatialbathrooms.However,thenarrativeoftheresidencedominatesinteriordesignatlarge.Ithasbecomethecatalystforrethinkingahostofspacesoncefirmlyisolatedfromit,rangingfromthesecretary'scubicle,tothenurse'sstation,tothelibrarian'sreadingroom.Considerationssuchastheaccommodationofpersonalaccessoriesintheworkspace,theuseofcolorinhospitals,andtheprovisionofcouchesinlibrariesareincreasinglycommon,tocitejustthreeexamples.Thedomesticationofsuchenvironments(withcurtainsandwallpaper,amongotherresidentialelements)providesmorecomfort,morereassurance,andmorepleasuretodomainsformerlydefinedbyinstitutionalprohibitionsandsocialexclusions.Unquestionably,thesechangesinpublicandcommercialspacesareindebtedtotheliberationmovementsofthelate1960s.Thebattlesfoughtagainstbarriersofrace,class,gender,andphysicalabilitylaidthegroundworkforalargerclimateofhospitalityandaccommodation.Itisalsopossibletodetectawhollyotheragendainthepopularityoftheresidentialmodel.Theintroductionofdomesticamenitiesintocommercialspaces,suchasrecreationspacesinofficeinteriors,canalsobeconstruedaspartofawiderattempttoputamoreacceptablefaceontheworkingsoffree-marketcapitalism.Inthisview,interiordesigndonsthemaskofentertainment.Thereisnothingnewaboutthecharade.Everyinteriorisfundamentallyastageset.Norisitparticularlyinsidious—aslongastheconceitistransparent.Dangersurfaces,however,whenillusionbecomesdelusion—whendesignovercompensatesfortherealitiesofillnesswithpatronizingsentiment,orwhenofficesbecomesurrogateapartmentsbecauseoftherelentlessdemandsofaround-the-clockeconomy.Intheseinstances,designrelinquishesitspotentialtotransformdailylifeinfavorofwhatamountstolittlemorethanafacilere-brandingofspace.Anotherforceisdrivingthedomesticationoftheinteriorandthatistheenlargedpublicawarenessofdesignanddesigners.Thereisagrowingpopulardemandfordesignasamenityandstatussymbol,stimulatedbytheproliferationofsheltermagazines,televisionshowsdevotedtohomedecorating,andtheadvertisingcampaignsofcommercialentitiessuchasTargetandIkea.IntheWesternworld,prosperity,combinedwiththeappetiteofthemedia,hasallbutfetishizedtheinterior,yieldingyetanotherreflectionofthenarcissismofaconsumer-drivensociety.Ontheonehand,therearepositive,democraticoutcomesofthegrowingpublicprofileofdesignthatcanbeseenintheriseofdo-it-yourselfwebsitesandenterpriseslikeHomeDepotthatemphasizeself-reliance.Itcanalsobeargued,moregenerally,thatthereconsiderationofbeautyimplicitinthevalorizationofdesignisanamelioratingsocialphenomenonbyvirtueofitspropensitytoinspireimprovement.Ontheotherhand,thepopularizationofinteriordesignthroughpersonassuchasPhilippeStarck,MarthaStewart,andBarbaraBarryhasencouragedasuperficialunderstandingoftheinteriorthatismorefocusedonobjectsthanitisonbehaviorsandinteractionsamongobjects.Foralltherecentexplosionofinterestininteriordesign,itremains,however,afundamentallyconservativearenaofdesign,rootedasitisinnotionsofenclosure,security,andcomfort.Thisperceptionhasbeenexacerbatedbythegrowthofspecializedpracticesfocused,forexample,onhealthcareandhospitality.Whilesuchfirmsofferdeepknowledgeofthepsychology,mechanics,andeconomiesofparticularenvironments,theyalsoperpetuatedistinctionsthathinderamoreintegralapproachtotheinteriorasanextensionofarchitectureandeventhelandscapeoutside.Onenotableexceptionisthegrowthofdesignandarchitecturefirmsaccruingexpertiseinsustainablematerialsandtheirapplicationstotheinterior.Atthesametimethatdesignfirmsareidentifyingthemselveswithsustainabilityandpromotingthemselvesas