室內(nèi)設(shè)計(jì)中英文翻譯[適用于畢業(yè)論文外文翻譯](參考版)
2025-06-29 00:35本頁面
【正文】 拼一個(gè)春夏秋冬！贏一個(gè)無悔人生！早安！—————獻(xiàn)給所有努力的人.學(xué)習(xí)參考。不奮斗就是每天都很容易，可一年一年越來越難。是狼就要練好牙，是羊就要練好腿。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 instances, design relinquishes its potential to transform daily life in favor of what amounts to little more than a facile rebranding of space. Another force is driving the domestication of the interior and that is the enlarged public awareness of design and designers. There 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 Ikea. In 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 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 Ba
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