【正文】 ins formerly defined by institutional prohibitions and social , these changes in public and mercial spaces are indebted to the liberation movements of the late battles fought against barriers of race, class, gender, and physical ability laid the groundwork for a larger climate of hospitality and is also possible to detect a wholly other agenda in the popularity of the residential introduction of domestic amenities into mercial spaces, such as recreation spaces in office interiors, can also be construed as part of a wider attempt to put a more acceptable face on the workings of freemarket this view, interior design dons the mask of is nothing new about the interior is fundamentally a stage is it particularly insidious—as long as the conceit is surfaces，however, when illusion bees delusion—when design overpensates for the realities of illness with patronizing sentiment, or when offices bee surrogate apartments because of the relentless demands of a roundtheclock these instances, design relinquishes its potential to transform daily life in favor of what amounts to little more than a facile rebranding of force is driving the domestication of the interior and that is the enlarged public awareness of design and is a growing popular demand for design as amenity and status symbol, stimulated by the proliferation of shelter magazines, television shows devoted to home decorating, and the advertising campaigns of mercial entities such as Target and the Western world, prosperity, bined with the appetite of the media, has all but fetishized the interior, yielding yet another reflection of the narcissism of a consumerdriven the one hand, there are positive, democratic outes of the growing public profile of design that can be seen in the rise of doityourself web sites and enterprises like Home Depot that emphasize can also be argued, more generally, that the reconsideration of beauty implicit in the valorization of design is an ameliorating social phenomenon by virtue of its propensity to inspire the other hand, the popularization of interior design through personas such as Philippe Starck, Martha Stewart, and Barbara Barry has encouraged a superficial understanding of the interior that is more focused on objects than it is on behaviors and interactions among all the recent explosion of interest in interior design, it remains, however, a fundamentally conservative arena of design, rooted as it is in notions of enclosure, security, and perception has been exacerbated by the growth of specialized practices focused, for example, on healthcare and such firms offer deep knowledge of the psychology, mechanics, and economies of particular environments, they also perpetuate distinctions that hinder a more integral approach to the interior as an extension of architecture and even the landscape notable exception is the growth of design and architecture firms accruing expertise in sustainable materials and their applications to the the same time that design firms are identifying themselves with sustainability and promoting themselves as environmentalists, a movement is building to incorporate environmental responsibility within normative the past four decades, efforts have intensified to professionalize the field of interior design and to accord it a status equal to that of the US and Canada the Council for Interior Design Accreditation, formerly known as FIDER, reviews interior design education programs at colleges and universities to regulate standards of , the International Council of Societies of Industrial Design(ICSID)embraces interior design within its purview, defining it as part of “intellectual profession, and not simply a trade or a service for enterprises.”Yet, the education of interior designers remains tremendously variable, with no uniformity of , interior design continues to be perceived as an arena open to the specialist and the perception is indicative of both the relatively short history of the profession itself and the broader cultural forces of inclusion and interactivity that mark a global ：Board of International Research in Design，Design Dictionary Perspectives on Design Terminology，Birkh228。user Verlag AG 2008第二篇：室內(nèi)設(shè)計(jì)外文翻譯室內(nèi)設(shè)計(jì)在環(huán)境上可持續(xù)的實(shí)踐摘要：本文旨在探討在現(xiàn)代室內(nèi)設(shè)計(jì)準(zhǔn)則未保障環(huán)境可持續(xù)發(fā)展的前提下，室內(nèi)設(shè)計(jì)師如何運(yùn)用促使環(huán)境可持續(xù)的室內(nèi)設(shè)計(jì)方案。為了給可持續(xù)室內(nèi)設(shè)計(jì)的教育戰(zhàn)略提供基礎(chǔ)，本文研究環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)的實(shí)踐。關(guān)鍵詞：可持續(xù)發(fā)展；可持續(xù)室內(nèi)設(shè)計(jì)；室內(nèi)設(shè)計(jì)實(shí)踐1引言目前，室內(nèi)設(shè)計(jì)師已經(jīng)認(rèn)識(shí)到可持續(xù)室內(nèi)設(shè)計(jì)的重要性，開(kāi)始著手解決環(huán)境問(wèn)題。盡管一些室內(nèi)設(shè)計(jì)師在設(shè)計(jì)中采用環(huán)保的解決方案，但研究、探討在還未完成它的可持續(xù)發(fā)展設(shè)計(jì)準(zhǔn)則時(shí)這些方案如何作為設(shè)計(jì)組件而適用。這一實(shí)踐將為可持續(xù)發(fā)展的室內(nèi)設(shè)計(jì)教育戰(zhàn)略提供基礎(chǔ)。室內(nèi)設(shè)計(jì)教育工作者會(huì)鑒別不常用的可持續(xù)設(shè)計(jì)元件，發(fā)展提高對(duì)具體元件認(rèn)識(shí)的教學(xué)方法，同時(shí)繼續(xù)教育課程也可開(kāi)發(fā)室內(nèi)設(shè)計(jì)從業(yè)者。因此，本研究探討環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)的實(shí)踐。1．1環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)室內(nèi)設(shè)計(jì)已被定義為創(chuàng)造性問(wèn)題的解決過(guò)程：一個(gè)具有創(chuàng)造性、建設(shè)性行為的過(guò)程。它是一種有意識(shí)的思考過(guò)程，將學(xué)術(shù)知識(shí)與想象力結(jié)合在一起。其設(shè)計(jì)過(guò)程可以被看作是一系列的步驟或階段順序，既有傳統(tǒng)的室內(nèi)設(shè)計(jì)方法，也包括利用規(guī)劃、原理圖設(shè)計(jì)、設(shè)計(jì)開(kāi)發(fā)、合同文件和合同管理等可持續(xù)室內(nèi)設(shè)計(jì)，在設(shè)計(jì)完成之前，我們需要在各階段都花心思。在傳統(tǒng)室內(nèi)設(shè)計(jì)準(zhǔn)則中，室內(nèi)設(shè)計(jì)師創(chuàng)造、發(fā)展、交流那些具有功能性和審美情趣的室內(nèi)環(huán)境解決方案。室內(nèi)設(shè)計(jì)師通過(guò)這個(gè)過(guò)程以求達(dá)到功能性質(zhì)量的室內(nèi)空間，并為人類的感官提供美學(xué)感受。在室內(nèi)設(shè)計(jì)工程中，成本是做決定時(shí)另一重要的方面。然而，環(huán)境問(wèn)題和支持環(huán)境可持續(xù)設(shè)計(jì)的需求已經(jīng)納入了傳統(tǒng)室內(nèi)設(shè)計(jì)準(zhǔn)則的范圍內(nèi)。研究表明在傳統(tǒng)室內(nèi)設(shè)計(jì)準(zhǔn)則中，裝潢材料主要根據(jù)客戶的喜好、需求、美學(xué)和成本二選擇，材料對(duì)環(huán)境的影響并未視為像其他選擇標(biāo)準(zhǔn)同等重要。室內(nèi)設(shè)計(jì)師在選擇材料是往往根據(jù)制造商的銷售資料而很少尋找相互矛盾的信息。許多室內(nèi)設(shè)計(jì)師對(duì)材料性能影響環(huán)境的知識(shí)只有有限認(rèn)識(shí)。對(duì)于設(shè)計(jì)的發(fā)展，環(huán)境問(wèn)題在室內(nèi)材料和產(chǎn)品的選擇和說(shuō)明中是尤為重要的。能否實(shí)現(xiàn)可持續(xù)發(fā)展, 重視創(chuàng)造環(huán)境可持續(xù)發(fā)展的設(shè)計(jì)標(biāo)準(zhǔn)等因素是十分重要的，但這并不意味著可以忽視其他傳統(tǒng)的室內(nèi)設(shè)計(jì)標(biāo)準(zhǔn)。環(huán)境、經(jīng)濟(jì)和社會(huì)必須長(zhǎng)期彼此保持平衡，可持續(xù)發(fā)展。盡管就像Firey所說(shuō)，是什么構(gòu)筑了可持續(xù)室內(nèi)設(shè)計(jì)沒(méi)有單方面的定義，但在環(huán)境、經(jīng)濟(jì)和社會(huì)中存在連續(xù)的權(quán)衡和談判。因此，本文旨在將可持續(xù)室內(nèi)設(shè)計(jì)定義為一種將所有系統(tǒng)和材料與整體效果相結(jié)合的室內(nèi)設(shè)計(jì)，以求減少對(duì)環(huán)境和居住者的負(fù)面影響，增加建筑物對(duì)環(huán)境、經(jīng)濟(jì)和社會(huì)的積極作用。但是需指出目前環(huán)境問(wèn)題在設(shè)計(jì)過(guò)程階段還為有重要影響。2材料和方法2．1研究和樣本通過(guò)一個(gè)以互聯(lián)網(wǎng)為基礎(chǔ)、全國(guó)范圍的室內(nèi)設(shè)計(jì)從業(yè)人員調(diào)查，來(lái)檢查國(guó)家環(huán)境可持續(xù)發(fā)展的室內(nèi)設(shè)計(jì)實(shí)踐。本研究是針對(duì)專業(yè)室內(nèi)設(shè)計(jì)機(jī)構(gòu)即美國(guó)室內(nèi)設(shè)計(jì)所的室內(nèi)設(shè)計(jì)從業(yè)人員。美國(guó)室內(nèi)設(shè)計(jì)所是全球室內(nèi)設(shè)計(jì)師及室內(nèi)設(shè)計(jì)行業(yè)的領(lǐng)先專業(yè)機(jī)構(gòu)。美國(guó)室內(nèi)設(shè)計(jì)所擁有超過(guò)四萬(wàn)名會(huì)員，由2萬(wàn)名室內(nèi)設(shè)計(jì)師、學(xué)生和產(chǎn)業(yè)的合作伙伴組成。本研究樣品從美國(guó)室內(nèi)設(shè)計(jì)所的室內(nèi)設(shè)計(jì)師（特別是其電子郵件地址是可行的設(shè)計(jì)師）中抽選。美國(guó)室內(nèi)設(shè)計(jì)所中大約65%的室內(nèi)設(shè)計(jì)師使用電子郵件。會(huì)員郵件列表并未包含個(gè)人或?qū)I(yè)信息，考慮到反應(yīng)率而確定樣本的取樣，此樣本隨機(jī)選擇。2．2調(diào)查內(nèi)容此次調(diào)查信息來(lái)自于同一時(shí)段，問(wèn)卷共提出了35個(gè)問(wèn)題，包括設(shè)計(jì)師的信息、環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)實(shí)踐等。為了減低問(wèn)卷的模糊率，初稿事先測(cè)試了20名室內(nèi)設(shè)計(jì)從業(yè)人員，并根據(jù)結(jié)果修改問(wèn)卷，同時(shí)最后結(jié)果將事先的統(tǒng)計(jì)排除在外。調(diào)查問(wèn)卷的格式采用封閉式的問(wèn)題，也就是些眾所周知的問(wèn)題，要求受訪者在研究員提供的方案中選擇形式和尺度。問(wèn)卷的開(kāi)頭是說(shuō)明，下面分為兩個(gè)部分。第一部分是真實(shí)的多項(xiàng)選擇題了解被訪者的個(gè)人信息和專業(yè)證書。個(gè)人信息包括就業(yè)和實(shí)踐的地區(qū)。第二部分集中在環(huán)境可持續(xù)發(fā)展的室內(nèi)設(shè)計(jì)實(shí)踐活動(dòng)。這一部分的問(wèn)題以能源、環(huán)境設(shè)計(jì)的領(lǐng)導(dǎo)階層(LEED)綠色建筑等級(jí)系統(tǒng)和明尼蘇達(dá)州的狀態(tài)可持續(xù)發(fā)展建筑方針而發(fā)展。2．3環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)在建筑物使用期限內(nèi)，最大限度地減少室內(nèi)設(shè)計(jì)在環(huán)境系統(tǒng)的消極影響，增大其積極作用。2．4室內(nèi)環(huán)境質(zhì)量提供一個(gè)生理和心理健康的室內(nèi)環(huán)境。2．5室內(nèi)材料利