室內(nèi)設(shè)計(jì)外文翻譯-其他專業(yè)-資料下載頁(yè)
【導(dǎo)讀】關(guān)的程序化問(wèn)題，包括從具體問(wèn)題的可及性到在空間中的活動(dòng)的性質(zhì)。在商業(yè)和公共空間。顯著的變化后，室內(nèi)設(shè)計(jì)如今的標(biāo)志是一個(gè)新的彈性類型學(xué)。家具和表面，包括墻，地面，天花板。在職權(quán)范圍上，室內(nèi)設(shè)計(jì)有別于室內(nèi)裝修工程。修關(guān)心的是家具的選擇，然而設(shè)計(jì)者要把離散的裝飾元素整合成方案關(guān)注的空間和使用。作，尤其在翻修的情況下。歷史上，植根于總體藝術(shù)作品的概念，曾經(jīng)都是建筑師設(shè)計(jì)的?？傮w藝術(shù)作品的概念源于十九世紀(jì)末和二十世紀(jì)初的工藝美術(shù)運(yùn)動(dòng)。其支持者（從弗蘭。事實(shí)上，這是一個(gè)建筑師采取的防御措施，建筑師們把室內(nèi)裝修或設(shè)計(jì)師。的形式上的干預(yù)看作是對(duì)他們完整的藝術(shù)性的一種威脅。盡管如此，對(duì)室內(nèi)設(shè)計(jì)師以及室內(nèi)設(shè)計(jì)領(lǐng)域的偏見(jiàn)持續(xù)存在。由于室內(nèi)被視為一個(gè)集裝箱。的蜉蝣，從而阻礙了對(duì)室內(nèi)的批評(píng)性的討論。此外，對(duì)室內(nèi)的傳統(tǒng)觀點(diǎn)充滿了偏見(jiàn)：階級(jí)。因此，室內(nèi)設(shè)計(jì)作為文化價(jià)值的表達(dá)的信譽(yù)已被嚴(yán)重?fù)p壞。室，餐廳等，盡力控制它們的邊界。
【正文】 r, yielding yet another reflection of the narcissism of a consumerdriven society. On 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 selfreliance. It 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 improvement. On 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 objects. For 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 fort. This perception has been exacerbated by the growth of specialized practices focused, for example, on healthcare and hospitality. While 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 outside. One notable exception is the growth of design and architecture firms accruing expertise in sustainable materials and their applications to the interior. At 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 practice. Over the past four decades, efforts have intensified to professionalize the field of interior design and to accord it a status equal to that of architecture. In 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 practice. Furthermore, 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 pedagogy. Hence, interior design continues to be perceived as an arena open to the specialist and the amateur. This 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 society. 原文來(lái)源： Board of International Research in Design， Design Dictionary Perspectives on Design Terminology， Birkh228。user Verlag AG 2021
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