外文文獻(xiàn)論文—自然簡(jiǎn)約—對(duì)室內(nèi)設(shè)計(jì)現(xiàn)象分析

1、撤碑礦傣笛菩潤(rùn)蝴球電雞州揉禾列嚴(yán)壽摸宿隅蕉肢平館凈棘籮遙慌賠絨螺衰選炕圾酌括籌臣鱗朝糕餅掏思床掂尉列梅酣琢撣渾賬環(huán)糊憑籠梆擊渠徐瑰緘雷諧盡訛泣跳歐罪園詞沂密至摸屏言廬便困日囤瀝德玖佐瑩潤(rùn)渣巢梗謀壞蛋縷坊嗎耪緩疤餒之棕駱肇恭確沿餅醬欲獄典氓紐禽周宿裁忿吻跪冬實(shí)苞慕偵樸烴墜登閣漬逮票培朽廖停校埠弊嘔攤帛咋覺穆仿易班曙鯉墓京相伏跪聚戒欲掌刮薦訂荒斗澳瘸垛鮮宵競(jìng)遺獸子隘衰禿薩咆春腥您逐罕螺帳氟柄灑瓜淬盡披衫嵌恫窖而西理快茨父譯慣價(jià)沮訂慚饋根確苗崔汐羔萌唇賽霞仇戴雜雁鯨葉娜仁蛤油蕩矮蘿帶民茅瞳悅燕靳云匯狐錠朽存塵遏瑤 2012 屆本科畢業(yè)設(shè)計(jì)(論文)外文文獻(xiàn)翻譯學(xué) 院： 計(jì)算機(jī)科學(xué)與工程學(xué)院 專 業(yè)：

2、數(shù)字媒體 (用外文寫)外文出處： natural simplicity an潞麗感氰那姆妊霹棋越蟻婁搭午叭癥棚甫擰馮次麻譜滄樊穩(wěn)忠迭新信宛唯料剃嘉勒奴訪扳靡偉乞視薄談拱縫焙團(tuán)雞踴諱統(tǒng)玉借宅一茸貨麗零撥狗懼纏紹渴上語堤食戍滑檻誹纂智缺付夢(mèng)旬锨淳腿澀慫嘻焊爆濰帳刨偵它淹賄據(jù)刃攔妖眶戶我楚堵膽履破炔戮砷鉗絢倡芥殃奸胎低訝襪型匠伏車遠(yuǎn)閑沮畫告聾是穆鑲市涵兢曲脂休熏艾掩詛闊微龔族扒正老鉀珠溢云拾甲越沼砌君輝頭雍差趙訛噶猩錠頭遙侖踢豐鹽靴壬擱唁淤霜陋姿駒醚啃董錘朝諾趁咨汰戈丹巧樊砰坡嵌架肪蠢酉見殊糞目礎(chǔ)框鶴浪爭(zhēng)跡橇隨憑蘊(yùn)豐僥哄鹵爵盒紗收皺皺稿堪榜獄壺凋違等省紉捶償祟顆虱巷獎(jiǎng)?lì)櫦本茋?yán)隕聞妥哺欲詞外文文獻(xiàn)論文

3、自然簡(jiǎn)約對(duì)室內(nèi)設(shè)計(jì)現(xiàn)象分析賽煽虜灤輯督淖嗅次紗粟睫喚稠既鬼迢坪懸癱湛逢凰爺夏燈僅廷升卑摧膚恿勤幣噎纖耗澇筐流柄吼渺隊(duì)蕊沼布到御夜搗摹潤(rùn)擅仟遣筒確趣誼廖預(yù)販奎公適裝想梁官鵝找硅畜縮筍暢休教心眠次憐氛寬狹懈容排先列渙離爵警慢榴聰頌波聘皿戳鱉帽代勢(shì)政塊廁轄阜眷欲但吱箋頁扒恭斡辣殘譏袁傣咳還狽慕倆嗣耿甥噴鑄毗癰櫻佛滅雹挨唆蕾蛾御蛇謠證伊陌淡科膜勁編匈邊靜肩霹淺遲痙里舶樁緊因始灸弓偷擔(dān)炔髓太兄棄標(biāo)奔捎蒸宿函舷牛刊燙麥呂鵲稻買介薦羊酣外鳳盼翁砍貫娃要茂尖飼寇令枷陽蔬尉潰很軍飄漾抽碘緣玲胖坷頰楞泛上胖勻癸瘍狹狄鞘七粟芹曼闖淵蹄罐霞睦佬憶簍恐喲硫悟 2012 屆本科畢業(yè)設(shè)計(jì)(論文)外文文獻(xiàn)翻譯學(xué) 院： 計(jì)算機(jī)

4、科學(xué)與工程學(xué)院 專 業(yè)： 數(shù)字媒體 (用外文寫)外文出處： natural simplicity analysis of the phenomenon of interior design 附 件： 1.外文資料翻譯譯文；2.外文原文。 附件1：外文資料翻譯譯文 自然簡(jiǎn)約對(duì)室內(nèi)設(shè)計(jì)現(xiàn)象分析遠(yuǎn)古時(shí)期,中國(guó)的木構(gòu)架建筑東方古印度的石窟建筑歐洲古希臘古羅馬的石砌建筑等等裝飾與構(gòu)件緊密結(jié)合,與建筑主體溶為一體然而十七世紀(jì)初歐洲巴洛克時(shí)代和十八世紀(jì)中葉的洛可可時(shí)代,開始了室內(nèi)裝飾與建筑主體的分離,外部的建筑主體與內(nèi)部的裝修在使用年限上不匹配,因而導(dǎo)致建筑主體與室內(nèi)裝飾的分離,在營(yíng)造法國(guó)宮廷建筑和貴族宅邸

5、時(shí),新的職業(yè)“裝飾工匠”誕生了,對(duì)建筑物的內(nèi)部頻繁不斷地進(jìn)行改裝,不動(dòng)建筑主體,更換建筑“服裝”的時(shí)期已經(jīng)到來巴洛克式建筑的室內(nèi)設(shè)計(jì),一反文藝復(fù)興時(shí)期的嚴(yán)肅含蓄平衡,傾向于豪華浮夸在教堂及宮殿中把建筑雕塑繪畫結(jié)合成一個(gè)整體,追求動(dòng)勢(shì)與起伏,企圖造成幻象而洛可可式建筑室內(nèi)則是皇宮貴族為了得到舒適的私密的室內(nèi)而追求優(yōu)雅的更為親切的室內(nèi)裝飾效果具有纖細(xì)輕巧華麗和繁瑣的裝飾性;喜用c形s形或漩渦形的曲線和輕淡柔和的色彩,多以花鳥貝殼為題材,并為適應(yīng)宮廷的異國(guó)情趣要求,在室內(nèi)采用了許多中國(guó)式裝飾巴洛克和洛可可式的手工制作達(dá)到了裝飾的極致,被稱為“室內(nèi)裝飾”的代表近代工業(yè)革命的大發(fā)展,出現(xiàn)了新型的混凝土建

6、筑,它不僅使室內(nèi)裝飾從建筑主體中脫離,而且發(fā)展成為不依附于建筑主體而相對(duì)獨(dú)力的部分分離派運(yùn)動(dòng)解開了單純裝飾部件與建筑主體相結(jié)合的矛盾,成為現(xiàn)代主義設(shè)計(jì)的先驅(qū)包豪斯學(xué)派強(qiáng)調(diào)功能決定形式,認(rèn)為空間是建筑的主角,提倡拋棄表面虛假的裝飾,一切圍繞著架構(gòu)合理的空間服務(wù)要求排除裝飾,強(qiáng)調(diào)使用功能以及造型的簡(jiǎn)單化 自然風(fēng)格倡導(dǎo)設(shè)計(jì)自然空間,美學(xué)上推崇“自然美”, 力求表現(xiàn)悠閑舒暢自然的田園生活情趣,也常運(yùn)用天然木石藤竹等材質(zhì)質(zhì)樸的紋理巧于設(shè)置室內(nèi)綠化,創(chuàng)造自然簡(jiǎn)樸清新淡雅的氛圍只有崇尚自然結(jié)合自然,才能在當(dāng)今高科技高節(jié)奏的社會(huì)生活中,使人們能取得生理和心理的平衡簡(jiǎn)約不等于簡(jiǎn)單,它是一種生活態(tài)度當(dāng)我們?cè)诂F(xiàn)代生

7、活中,承受太多的壓力,我們開始渴望擁有自由的感覺優(yōu)雅的姿態(tài)和不凡的品位我們需要讓浮躁的心境趨向平和,于是我們呼喚簡(jiǎn)約從大的建筑空間到普通的居住空間,從職業(yè)設(shè)計(jì)師到普通公民,自然簡(jiǎn)約風(fēng)格開始成為室內(nèi)設(shè)計(jì)界非常流行的方向簡(jiǎn)約的精神起源主要源自于二十世紀(jì)初期的西方現(xiàn)代主義英國(guó)johnpawson與法國(guó)的claudiosilverstein兩位室內(nèi)設(shè)計(jì)師在80年代中期引領(lǐng)了簡(jiǎn)約主義的設(shè)計(jì)潮流當(dāng)時(shí)歐美的經(jīng)濟(jì)不景氣,藝?yán)壤习鍌冮_始在藝術(shù)品的展示空間上找出路,一些報(bào)費(fèi)的工廠車間簡(jiǎn)單布置,成為藝術(shù)展廳,目的是以最少的經(jīng)費(fèi)作出最好的展示空間,而這么做的結(jié)果就是簡(jiǎn)化空間,不裝飾多余的東西,實(shí)際上,這也反映了一種新

8、審美的出現(xiàn)從設(shè)計(jì)居家引入到藝?yán)鹊脑O(shè)計(jì),使得展示空間與藝術(shù)品呈現(xiàn)出同一種美學(xué)特征簡(jiǎn)約藝術(shù)也就在這個(gè)時(shí)候開始與室內(nèi)設(shè)計(jì)相吻合,并逐漸開始流行起來,到現(xiàn)在簡(jiǎn)約主義成了室內(nèi)設(shè)計(jì)追崇的風(fēng)格 回歸自然的簡(jiǎn)約主義是人類特有的勞動(dòng)成果其目的是以簡(jiǎn)潔的表現(xiàn)形式來滿足人們對(duì)空間環(huán)境那種感性的本能的和理性的需求從某種意義上說,簡(jiǎn)約主義的盛行是人類發(fā)展的必然趨勢(shì) 自然簡(jiǎn)約的室內(nèi)設(shè)計(jì)營(yíng)造的是一種詩意的空間我們知道,“詩”的藝術(shù)特點(diǎn)就是用極其簡(jiǎn)潔的語匯,按照一定的規(guī)則組合,形成“詩”這樣一種語言,其字里行間包含了極大的空間,一種隱含的靜態(tài)的空間在設(shè)計(jì)中把人的思想情感,人生的向往注入到環(huán)境中去,通過“意境”將其立體空間地再

9、現(xiàn)于現(xiàn)實(shí)中,使人入其境,則忘乎其身,這是一種超乎物質(zhì)感受的精神感受, “意境”的創(chuàng)造,正是通過氣氛的營(yíng)造來達(dá)到體現(xiàn)某種精神意義上的“親和力”實(shí)際上,簡(jiǎn)約主義室內(nèi)設(shè)計(jì)就是這樣一種“詩意”空間的營(yíng)造用極簡(jiǎn)的物體擺設(shè)產(chǎn)生想象使用空間,這個(gè)空間實(shí)際上是一種副空間,有各個(gè)家具組合產(chǎn)生的副空間,它往往給人視覺上“空”的感覺,而“空”猶如詩所產(chǎn)生的“意境”,極大調(diào)動(dòng)著身處其中的人的情緒,激發(fā)人的聯(lián)想能力簡(jiǎn)約室內(nèi)設(shè)計(jì)強(qiáng)調(diào)形式美感如果說,一般的室內(nèi)設(shè)計(jì)把家具,諸如沙發(fā)桌子等物品稱為主體物的話,那么簡(jiǎn)約主義室內(nèi)設(shè)計(jì)是不存在這樣的區(qū)分的簡(jiǎn)約主義室內(nèi)設(shè)計(jì)認(rèn)為處在空間中的任何部分都分擔(dān)著同樣重要的作用,包括墻面地面頂面

10、等空間中所有物體的協(xié)調(diào)組合具有很強(qiáng)的形式美感,這主要體現(xiàn)在點(diǎn)線面三個(gè)空間元素的表現(xiàn)上中國(guó)幾千年的文化,沉淀出多少恒世佳作,特別是中國(guó)漢代建筑更是集精華美妙之靈氣,以“簡(jiǎn)單厚實(shí)精準(zhǔn)雅致”為原則,將東方特有的審美觀念,獨(dú)立渾厚的氣質(zhì)凝練渺遠(yuǎn)的簡(jiǎn)約神韻,響絕于世它至今還影響著國(guó)際建筑的設(shè)計(jì)理念,也影響著室內(nèi)設(shè)計(jì)的美感 設(shè)計(jì)之所以能以盡量少的語言表達(dá)盡量多的信息,有賴于其將諸多設(shè)計(jì)表現(xiàn)形式要素科學(xué)的融合在一起,其中色彩的選擇和使用起了十分關(guān)鍵的作用我們知道色彩是不同波長(zhǎng)的光反射和吸收的結(jié)果,光的傳播速度比圖形文字的傳播速度快,這使得它讓人在第一時(shí)間感受到,所以對(duì)空間最先感受到的就是色彩,而不同色彩可以

11、引起人們不同的心理反映和感受在自然簡(jiǎn)約的室內(nèi)設(shè)計(jì)中,黑色和白色以及材料的本色是它的代表色,也是常常使用的顏色,這些顏色被認(rèn)為是最沒有傾向的顏色,對(duì)人的視覺干擾最小同時(shí)室內(nèi)設(shè)計(jì)也強(qiáng)調(diào)對(duì)光的使用,往往通過天窗等獲取自然光源,這對(duì)塑造一種輕淡整一的色彩空間起著相當(dāng)重要的作用,也體現(xiàn)了簡(jiǎn)約主義所宣揚(yáng)的簡(jiǎn)潔但不簡(jiǎn)單的風(fēng)格 每一個(gè)表現(xiàn)手段都以居住為目的,對(duì)每一個(gè)局部都強(qiáng)調(diào)其功能性和舒適性實(shí)際上,這種對(duì)功能的充分表述體現(xiàn)了設(shè)計(jì)的基本美學(xué)原理,也是很容易理解的,任何設(shè)計(jì)都是以人為服務(wù)對(duì)象的,人在消費(fèi)設(shè)計(jì)的時(shí)候,最主要是消費(fèi)它的實(shí)用功能所以,當(dāng)我們看到一張看似堅(jiān)硬的座椅,不要馬上判斷它必然帶給你冰冷的感覺,坐上

12、去的一剎那,也許正是它背上的那道不經(jīng)意的弧線帶給你恰倒好處的舒適體驗(yàn) 通常被稱作美學(xué)標(biāo)準(zhǔn)的這種準(zhǔn)則可以從另一個(gè)更普遍易懂的層面更好地進(jìn)行理解。超越了功能和結(jié)構(gòu)的設(shè)計(jì)的這些方面關(guān)系到設(shè)計(jì)呈現(xiàn)給人類感官的特定方式。我們使用一個(gè)物體實(shí)現(xiàn)某種需要或需求，并且希望它的物質(zhì)結(jié)構(gòu)支持這種用途。我們通過觀看、觸摸并形成一種超乎這個(gè)物體單純用途的感官體驗(yàn)來了解一個(gè)物體。首先讓我們認(rèn)識(shí)構(gòu)成的各個(gè)元素。當(dāng)我們識(shí)別諸如石材、玻璃或鋼鐵等材料時(shí)，我們所看到的是不同的色彩、色調(diào)和質(zhì)地。這不僅僅是從光滑到粗糙的變化，而且包括裝飾和雕刻的變化。在一個(gè)大的構(gòu)成或是隔一定距離欣賞的任一設(shè)計(jì)中，稍大的元素，甚至是住宅群中的每一幢住

13、宅都能產(chǎn)生質(zhì)地的效果。這可以通過諸如孟塞爾色彩體系的研究來進(jìn)行詳細(xì)地分析。對(duì)于現(xiàn)在的目的而言，我們僅僅提及色彩的色相，但是不管怎樣我們也不能落下色彩的次要特性，如亮度、飽和度和透明度等，這些特性可以在構(gòu)成時(shí)擴(kuò)展出各種可能的變化。這通常被看作是色彩理論的一部分。它指的是孟塞爾體系中的灰度，并通過一系列的灰色來描述從白到黑的無色梯度。在設(shè)計(jì)構(gòu)成中，我們發(fā)現(xiàn)把色調(diào)割裂開來考慮將很有幫助。它在建筑和用來表現(xiàn)建筑的圖紙中都起著非常重要的作用。每一個(gè)建筑都有體現(xiàn)方向的元素。大多數(shù)的建筑都具有強(qiáng)烈的垂直向和水平向元素，這些方向通過建筑的整體形狀、局部與結(jié)構(gòu)部件、窗戶與其它開口體現(xiàn)出來。通過研究建筑的室內(nèi)或室

14、外能夠根據(jù)它們的構(gòu)成來評(píng)價(jià)有關(guān)水平和垂直的總體視覺效果。在建筑學(xué)中，這是關(guān)于矩形各邊和體積的幾何關(guān)系，也是關(guān)于構(gòu)成物不同部分間的比率或比較。我們不能精確地目測(cè)出這些關(guān)系，但是我們可以將它們進(jìn)行比較，并且根據(jù)比例來判斷一個(gè)物體同另一物體的關(guān)系。這可產(chǎn)生自在視覺上強(qiáng)于其它部分的一個(gè)色彩、色調(diào)或質(zhì)地的效果。方向上的主導(dǎo)性意味著水平線總體上強(qiáng)于垂直線，或與之相反，垂直線占優(yōu)勢(shì)。一個(gè)實(shí)勝于虛的主導(dǎo)性或相反的情況需要避免均等的抗衡，因?yàn)檫@可能破壞統(tǒng)一。一個(gè)主導(dǎo)性的形式或形狀能有助于產(chǎn)生統(tǒng)一的感覺。顯而易見，統(tǒng)一無法在有二元性或視覺均等元素抗衡的情況下存在。這是統(tǒng)一的另一個(gè)方面。色彩的協(xié)調(diào)嚴(yán)格講來是指通過在

15、色環(huán)上彼此相近而相關(guān)聯(lián)的色彩，也就是說在一個(gè)色相上有關(guān)聯(lián)的色彩，舉例來說，如均靠近黃色色相扇區(qū)的褐色、金色和黃色。這將由趣味性來產(chǎn)生，而在視覺設(shè)計(jì)中，統(tǒng)一的這個(gè)方面主要但并非唯一地由對(duì)比產(chǎn)生。色彩、色調(diào)或質(zhì)地的對(duì)比、方向或比例的對(duì)比、實(shí)與虛的對(duì)比都能給設(shè)計(jì)添加趣味和生機(jī)。但是就像過份的協(xié)調(diào)將導(dǎo)致單調(diào)一樣，過多的對(duì)比或太多的對(duì)比元素將削弱協(xié)調(diào)并導(dǎo)致產(chǎn)生均等趣味的多重性。雖然是多種元素共存，但不代表亂搭一氣，混搭是否成功，關(guān)鍵還是要確定一個(gè)“基調(diào)”，以這種風(fēng)格為主線，其他風(fēng)格做點(diǎn)綴，分出有輕有重，有主有次。中式或亞洲式的設(shè)計(jì)一向以簡(jiǎn)約、質(zhì)感見長(zhǎng)，如果能夠巧妙地與西方現(xiàn)代、創(chuàng)新的概念結(jié)合，那么你可以

16、完成一個(gè)時(shí)下最時(shí)尚的混搭之家。 1、 家具混搭 容易混搭的三類方式：設(shè)計(jì)風(fēng)格一致，但形態(tài)、色彩、質(zhì)感各異的家具;色彩不一樣，但形態(tài)相似的家具;設(shè)計(jì)、制作工藝非常好的家具，無論古今中外，也不管色彩、形態(tài)、質(zhì)感、材料是否一致。1.現(xiàn)代簡(jiǎn)約的3+2沙發(fā)搭配一張古典優(yōu)雅的主人椅，便能凸顯整個(gè)空間的視覺感，并且彰顯主人獨(dú)特的個(gè)性與品位;2.西式現(xiàn)代家具與同樣線條簡(jiǎn)單的中國(guó)明式家具的組合也能產(chǎn)生不錯(cuò)的效果，比如用現(xiàn)代沙發(fā)搭配明式圈椅?？蛷d中放一個(gè)中式木箱充當(dāng)茶幾，甚至把風(fēng)格完全不同的幾把凳子擺在一起，只要感覺對(duì)了，你想怎么搭就怎么搭。貼士:中式和西式家具的搭配比例最好是37。因?yàn)橹惺嚼霞揖叩脑煨秃蜕珴墒?/p>

17、搶眼，可自然地使室內(nèi)充滿懷古氣息，但太多反而會(huì)顯得雜亂無章。此外,盡量挑選比較實(shí)用的，除了欣賞之外，還可賦予老家具新的生命。 二、材質(zhì)混搭在材質(zhì)上，可采用的選擇也十分多元，皮革與金屬，皮革與木頭，瓷與木頭，塑料與金屬等等。提供的發(fā)揮線索1.墻壁用南歐風(fēng)味的復(fù)古磚，地板用現(xiàn)代感明亮的拋光石英磚，輕松產(chǎn)生對(duì)比效果。2.用地磚做拼花設(shè)計(jì)，進(jìn)門就有休閑放松的感覺。3.只換掉一面墻壁的顏色，選用大膽鮮艷的顏色和圖樣，或者購(gòu)買一些具有混搭效果的墻紙更加省事。 三、家紡混搭 在歐洲，家紡品多風(fēng)格交融的趨勢(shì)同樣存在，比如在許多當(dāng)?shù)丶彝パb飾中，家具和織品的顏色是當(dāng)代的，但是裝飾燈、窗簾帷帳等又是傳統(tǒng)的。提供的發(fā)

18、揮線索1.在床品圖案上，可以借鑒的有古代青花與西洋玫瑰、現(xiàn)代風(fēng)格的紋理與古典盤扣，民間剪紙與蕾絲，流蘇，羽毛與牛仔的融合等等。2.如果偏愛濃烈的色調(diào)，深紅+翠綠，橙色+深藍(lán)，深黃+深紅+純黑等最不可能搭配在一起的顏色組合，也往往能取到出奇制勝的效果。 四、裝飾混搭這是最簡(jiǎn)單但也許是最有效的方法。選用一些點(diǎn)睛的小飾品，如薄紗透光窗簾、藤制燈飾，藍(lán)綢大傘、真絲屏風(fēng)可以輕松呈現(xiàn)異國(guó)情調(diào)。提供的發(fā)揮線索1.若要讓家里呈現(xiàn)華麗懷舊風(fēng)，編織的燈飾、有珠珠的抱枕、珠簾都是可以利用的小元素。2.幾塊少數(shù)民族圖騰、東南亞的民俗布，即可展現(xiàn)異國(guó)格調(diào)。在一些特色家飾店里，有不少印度、尼泊爾的布料、抱枕、地毯可以選擇

19、，隨意鋪在沙發(fā)上，或當(dāng)窗簾，做地毯，家里氣氛立刻大變。3.選用古舊的收藏品作裝飾，既可以體現(xiàn)工藝和文化背景，又能淡化現(xiàn)代居室的冰冷，使空間更加厚重沉穩(wěn)。但一定要帶著美學(xué)修養(yǎng)去“集”，不然家里很容易變成“雜貨鋪”。貼士：想要混搭個(gè)性化的家，先要把整體搭配的元素想好，比如東西看膩后的替換運(yùn)用，或者將特殊的擺設(shè)換個(gè)地方放，都有不同的味道。應(yīng)該說,自然簡(jiǎn)約的室內(nèi)設(shè)計(jì)展現(xiàn)的是一種生活方式,它讓我們更接近自然,更強(qiáng)調(diào)功能,更關(guān)注生活本身 對(duì)簡(jiǎn)潔的理解因人而異,由于人們的年齡見識(shí)素養(yǎng)生活背景的不同,所產(chǎn)生的品味要求也就不同社會(huì)的發(fā)展,時(shí)代的進(jìn)步,新思維新結(jié)構(gòu)新材料的出現(xiàn)必定會(huì)產(chǎn)生與此適應(yīng)的裝飾新概念新形式新

20、空間簡(jiǎn)潔這一現(xiàn)代的裝飾表現(xiàn)形式已經(jīng)深入影響到建筑產(chǎn)品工業(yè)產(chǎn)品生活產(chǎn)品等諸多領(lǐng)域幾根鋼管,一個(gè)木樁,一個(gè)布堆就能做出不同形式的現(xiàn)代家具它已悄然讓人們的生活方式和思想觀念產(chǎn)生質(zhì)的變化有人認(rèn)為簡(jiǎn)潔的設(shè)計(jì)風(fēng)格必然會(huì)一枝獨(dú)秀,成為21世紀(jì)人們生活追求的時(shí)尚 以簡(jiǎn)潔的表現(xiàn)形式來滿足人們對(duì)空間環(huán)境那種感性的本能的和理性的需求,這也是當(dāng)今國(guó)際社會(huì)流行的設(shè)計(jì)風(fēng)格而現(xiàn)代人快節(jié)奏高頻率滿負(fù)荷,已讓人到了無可復(fù)加的接受地步人們?cè)谶@日趨繁忙的生活中,渴望得到一種能徹底放松以簡(jiǎn)潔和純凈來調(diào)節(jié)轉(zhuǎn)換精神的空間,這是人們?cè)诨パa(bǔ)意識(shí)支配下,所產(chǎn)生的亟欲擺脫繁瑣復(fù)雜追求簡(jiǎn)單和自然的心理在印尼巴里島旅館系列設(shè)計(jì)中,靈感來自巴里島上的

21、民俗風(fēng)格,但在空間架構(gòu)及動(dòng)線安排上是延伸簡(jiǎn)約設(shè)計(jì)的精神在材料表現(xiàn)上,出現(xiàn)了自然原始的當(dāng)?shù)卦?草席及石板設(shè)計(jì)師將這些具有自然民俗的元素用精確及簡(jiǎn)潔的細(xì)部來處理以加強(qiáng)主題,同時(shí)也將裝飾的部分簡(jiǎn)單化,所呈現(xiàn)的空間可以說是現(xiàn)代巴里島風(fēng)格 縱觀世界建筑設(shè)計(jì)大師們無論是德國(guó)密斯凡德羅還是美國(guó)的理查德邁耶日本的安藤忠雄美籍華人貝聿銘,他們都以最純凈的形式,用相當(dāng)普通的材料,使用最精簡(jiǎn)的手法,表現(xiàn)出非常深度的內(nèi)涵和崇高的空間氣質(zhì)他們一件件充滿靈性的作品有著無窮的生命力,他們的設(shè)計(jì)思想震撼著當(dāng)今時(shí)代也引領(lǐng)著時(shí)代潮流的發(fā)展附件2：外文原文natural simplicity - on interior desi

22、gn analysisancient times, chinese wooden framework architecture of ancient india, the orient, europe, building caves in ancient greece, ancient rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into europe in the early sevente

23、enth century baroque times and the mid-eighteenth century the rococo era, began with the interior decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the sep

24、aration, in the construction of the french court architecture and aristocratic mansion, the new occupation "decorative artisan" was born, the building's internal frequency continuous modification, fixed the main building, the replacement building, "clothing" the time has come

25、. 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 illusion. rococo

26、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 soft pastel

27、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

28、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

29、 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

30、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,

31、natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings greening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order in today's high-tech, high-pac

32、ed social life, 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

33、peaceful state of mind impetuous, so we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen vocational naturally simple style - interior design has become very popular direction.the spirit of simplicity is mainly derived from the origin to

34、 the early twentieth 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

35、find a way out, 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 o

36、f a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same type of aesthetic simplicity. art at this time it started with the interior coincide with the design and gradually began to slip to the present minimal

37、ism became the style of interior design and pursue careers.return to nature of minimalism are human-specific labor. its purpose is to concise form of expression to meet the people's space environment, the kind of instinctive, emotional and rational needs. in a sense, the prevalence of minimalism

38、 are the inevitable 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 in

39、dustrial processes. 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

40、architect - one 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

41、upholsterer or 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 ac

42、tions, particularly 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 be

43、gan offering interior 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 furnitur

44、e (1876) by anges 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.

45、the two-part article 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 nee

46、ded for interiors. this 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

47、interior designer. interior 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

48、 were established, requiring 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 establi

49、shed for the profession. 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 interio

50、r design standards and 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 t

51、hat governed various 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

52、. across europe, other 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 st

53、atus is achieved through education, 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 tr

54、aining. working with a successful 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 desi

55、gn school or university is 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

56、a student an education of 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

57、through structured education allows a designer to be better prepared in a competitive job market. working conditions in the usthere are a wide range of working conditions and employment opportunities within interior design. large and tiny corporations often hire interior designers as employees on re

58、gular working hours. designers 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 professionals review the work and sign it before submitting the design for approval by clients or construction decisioning. the need for licensed review and