【正文】 gner (and their numbers are growing) are more likely to be eclectic in philosophy and practice, paralleling the twentyfirst century39。拼一個(gè)春夏秋冬！贏一個(gè)無(wú)悔人生！早安！—————獻(xiàn)給所有努力的人.學(xué)習(xí)參考。 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 services. The same relaxation of interior protocols can be seen in offices that coopt the informal, livework ethic of the artist39。在室內(nèi)設(shè)計(jì)方面，所有最近的爆炸事件，仍然存在根本的保守的舞臺(tái)設(shè)計(jì)，因?yàn)樗歉畹俟痰陌踩耘c舒適性的觀念中。這種環(huán)境（與窗簾，壁紙，除其他住宅要素）為以前的地域提供了更多的舒適性，安心，愉悅，而這是以前慣例所禁止和社會(huì)所排除的。如今，傳統(tǒng)的室內(nèi)類(lèi)型例如房子，倉(cāng)庫(kù)，辦公室，餐廳等，盡力控制它們的邊界。賴特到凡德羅）在室內(nèi)設(shè)計(jì)專業(yè)的起源期間延長(zhǎng)其做法以包括內(nèi)飾領(lǐng)域行為并不是偶然的。室內(nèi)設(shè)計(jì)師在從底層向上的內(nèi)部的空間時(shí)間方面與與建筑師合作，但是他們?nèi)匀华?dú)立的工作，尤其在翻修的情況下。并且建筑，室內(nèi)設(shè)計(jì)，室內(nèi)裝修領(lǐng)域仍然有不同的教育協(xié)議以及不同的關(guān)注重點(diǎn)，他們表現(xiàn)出更大的互相的興趣。然而，更好玩的小線性辦法說(shuō)明越來(lái)越普遍。設(shè)計(jì)作為市容和地位的象征的需求在逐漸增長(zhǎng)，受住房雜志擴(kuò)散的影響，電視節(jié)目專門(mén)討論家庭裝飾以及廣告系列的商業(yè)實(shí)體，例如塔吉特和宜家家居。這種觀念的形成和這個(gè)領(lǐng)域較短的歷史以及更廣闊的文化外力相互包含相互作用導(dǎo)致的全球化有關(guān)。什么是奮斗？奮斗就是每天很難，可一年一年卻越來(lái)越容易。 de Meuron39。一個(gè)顯著的例外是設(shè)計(jì)和建筑公司的增加，增加了的支撐材料以及其在室內(nèi)應(yīng)用方面的專門(mén)的技術(shù)。在流行的住宅模式中發(fā)現(xiàn)一個(gè)完全不同的議程也是可能的。同樣的室內(nèi)協(xié)議能夠在辦公室中發(fā)現(xiàn)，指派非正式的，現(xiàn)場(chǎng)工作理論的藝術(shù)家的倉(cāng)庫(kù)。邁耶那樣的非常重視均勻性的現(xiàn)代主義者，扮演室內(nèi)設(shè)計(jì)師角色的建筑師（數(shù)量在增長(zhǎng)）更有傾向于理論與實(shí)踐的折衷，并聯(lián)21世紀(jì)的定價(jià)多元化。室內(nèi)設(shè)計(jì)不僅包括方案規(guī)劃也包括室內(nèi)空間的物理治療：預(yù)測(cè)其使用的性質(zhì)以及它的家具和表面，包括墻，地面，天花板。然而，對(duì)文化大系統(tǒng)的理解在全球化的影響下一直在變化?，F(xiàn)代室內(nèi)布局的另一個(gè)標(biāo)志是敘事的公開(kāi)結(jié)合。然而，當(dāng)幻想變成妄想，也就是當(dāng)為疾病的現(xiàn)實(shí)而設(shè)計(jì)補(bǔ)償過(guò)度時(shí)，或者當(dāng)由于全天候經(jīng)濟(jì)的無(wú)情的要求使得辦公室變成代理人的公寓時(shí)，這是危險(xiǎn)的表現(xiàn)。此外，國(guó)際工業(yè)設(shè)計(jì)會(huì)議把室內(nèi)設(shè)計(jì)包含在其范圍內(nèi)，把它定義為是“智力性的專業(yè)，而非僅僅是交易或者一種娛樂(lè)服務(wù)”的一部分。s reading room. Considerations 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 examples. The domestication of such environments (with curtains and wallpaper, among other residential elements) provides more fort, more reassurance, and more pleasure to domains formerly defined by institutional prohibitions and social exclusions. Unquestionably, these changes in public and mercial spaces are indebted to the liberation movements of the late 1960s. The battles fought against barriers of race, class, gender, and physical ability laid the groundwork for a larger climate of hospitality and acmodation. It is also possible to detect a wholly other agenda in the popularity of the residential model. The 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 capitalism. In this view, interior design dons the mask of entertainment. There is nothing new about the charade. Every interior is fundamentally a stage set. Nor is it particularly insidious—as long as the conceit is transparent. Danger 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 economy. In these instan