【正文】 第一篇：室內(nèi)設(shè)計中英文翻譯【適用于畢業(yè)論文外文翻譯】畢業(yè)設(shè)計英文資料翻譯Translation of the English Documents for Graduation Design課題名稱院（系）專 業(yè) 姓 名 學(xué) 號 起訖日期 指導(dǎo)教師2011 年 02 月 20 日Interior DesignSusan YelavichInterior design embraces not only the decoration and furnishing of space, but also considerations of space planning, lighting, and programmatic issues pertaining to user behaviors, ranging from specific issues of accessibility to the nature of the activities to be conducted in the hallmark of interior design today is a new elasticity in typologies, seen most dramatically in the domestication of mercial and public design enpasses both the programmatic planning and physical treatment of interior space: the projection of its use and the nature of its furnishings and surfaces, that is, walls, floors, and design is distinguished from interior decoration in the scope of its are primarily concerned with the selection of furnishings, while designers integrate the discrete elements of d233。cor into programmatic concerns of space and designers generally practice collaboratively with architects on the interiors of spaces built from the ground up, but they also work independently, particularly in the case of is also a strong history of architectdesigned interiors, rooted in the concept of Gesamtkunstwerk, the total work of art, that came out of the Arts amp。 Crafts movement of the late nineteenth and early twentieth is no accident that its strongest proponents(from Frank Lloyd Wright to Mies van der Rohe)extended their practices to include the realm of interiors during the nascency of the interiordesign , it was a defensive measure taken by architects who viewed formal intervention by an interior decorator or designer as a threat to the integrity of their , apart from strict modernists like Richard Meier who place a premium on homogeneity, architects who take on the role of interior designer(and their numbers are growing)are more likely to be eclectic in philosophy and practice, paralleling the twentyfirst century39。s valorization of , the bias against interior designers and the realmof the interior itself continues to discussions of the interior have been hampered by its popular perception as a container of , conventional views of the interior have been fraught with biases: class biases related to centuriesold associations with tradesmen and gender biases related to the depiction of the decorating profession as primarily the domain of women and gay a result, the credibility of the interior as an expression of cultural values has been seriously , the conditions and the light in which cultureatlarge is understood are changing under the impact of distinctions between “high” culture and “l(fā)ow” culture are dissipating in a more tolerant climate that encourages the crossfertilization between the two , there are more frequent instances of productive borrowings among architecture, design, and decoration, once considered exclusive while the fields of architecture, interior design, and interior decoration still have different educational protocols and different concentrations of emphasis, they are showing a greater mutuality of way to think of this emergent synthesis is to substitute the triad of “architecture, interior design, and decoration” with “modernity, technology, and history.” One of the hallmarks of the postmodern era is a heightened awareness of the role of the past in shaping the the interior, this manifests itself in a renewed interest in ornament, in evidence of craft and materiality, and in spatial plexities, all running parallel to the ongoing project of more significantly, there is a new elasticity in , the traditional typologies of the interior—house, loft, office, restaurant, and so on—strain to control their of programmatic convergences can clearly be seen in public and mercial spaces that aspire to be both more userfriendly and numbers of private hospitals(in petition for patients)employ amenities and form languages inspired by luxury spas。at the same time, many gyms and health clubs are adopting the clinical mien of medical facilities to convince their clients of the value of their same relaxation of interior protocols can be seen in offices that coopt the informal, livework ethic of the artist39。s loft, and in hotels that use the language(and contents)of , increasing numbers of grocery stores and bookstores include spaces and furniture for eating and , there is a new fort with stylistic convergences in interiors that appropriate and rebine disparate quotations from design are exemplified in spaces such as Rem Koolhaas39。 Casa da Musica(2005)in Porto, Portugal(with its inventive use of traditional Portuguese tiles), and Herzog amp。 de Meuron39。s Walker Art Center(2005)in Minneapolis, Minnesota(where stylized acanthusleaf patterns are used to mark gallery entrances).These interiors make an art out of do not simply mix and match period furnishings and styles, but refilter them through a contemporary hallmark of the contemporary interior is the overt incorporation of themed environments persist in retail spaces such as Ralph Lauren39。s clothing stores and in entertainment spaces like Las Vegas , a more playful and less linear approach to narrative is increasingly all the typologies of the interior, the residence has been least affected by change, apart from ephemeral trends such as outdoor kitchens and palatial , the narrative of the residence dominates interior design at has bee the catalyst for rethinking a host of spaces once firmly isolated from it, ranging from the secretary39。s cubicle, to the nurse39。s station, to the librarian39。s reading such as the acmodation of personal accessories in the work space, the use of color in hospitals, and the provision of couches in libraries are increasingly mon, to cite just three domestication of such environments(with curtains and wallpaper, among other residential elements)provides more fort, more reassurance, and more pleasure to doma