【正文】 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。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。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。 de Meuron39。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 station, to the librarian39。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。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。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)。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。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。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。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。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。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)。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)。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。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。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。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。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。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。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。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)。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。2．5室內(nèi)材料利用室內(nèi)設(shè)計(jì)材料，減少資源浪費(fèi)及其對(duì)環(huán)境的影響。滿足室內(nèi)空氣質(zhì)量的最低要求；避免房屋使用者產(chǎn)生環(huán)境煙霧；防止在建設(shè)和改造過(guò)程中產(chǎn)生室內(nèi)空氣質(zhì)量問(wèn)題；指定環(huán)保的材料和家具。室內(nèi)材料具有十四項(xiàng)基于生命周期的特征，包括三項(xiàng)減少輸入、四項(xiàng)管理輸出和七項(xiàng)生命周期設(shè)計(jì)的特征。發(fā)展和執(zhí)行一個(gè)管理廢舊材料的計(jì)劃；減少并循環(huán)利用廢舊包裹；提供一個(gè)方便材料分類、收集和儲(chǔ)存的區(qū)域。為了每份報(bào)表，要求受訪者根據(jù)當(dāng)前的規(guī)模把它評(píng)價(jià)為三大類，分類根據(jù)運(yùn)用的頻率，對(duì)設(shè)計(jì)師以及設(shè)計(jì)師所在公司起作用。這個(gè)研究的電子郵件通過(guò)發(fā)放樣品，再讓他們到指定的網(wǎng)站來(lái)完成調(diào)查。此次統(tǒng)計(jì)分布在室內(nèi)設(shè)計(jì)師的特點(diǎn)和環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)實(shí)踐的中心趨向的頻率和比例上。環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)將不被運(yùn)用于室內(nèi)設(shè)計(jì)工程中是有不同原因的。室內(nèi)設(shè)計(jì)師可能會(huì)認(rèn)為可持續(xù)室內(nèi)設(shè)計(jì)需要額外的室內(nèi)環(huán)境系統(tǒng)及材質(zhì)，為此將會(huì)付出更高的代價(jià)。這次調(diào)查研究顯示，可持續(xù)室內(nèi)材料在環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)組件上的運(yùn)用比在室內(nèi)環(huán)境質(zhì)量上運(yùn)用的更少。因此，提高對(duì)可持續(xù)室內(nèi)設(shè)計(jì)重要性以及室內(nèi)材料對(duì)整個(gè)生命周期影響的意識(shí)的教學(xué)方法對(duì)裝潢材料類本科生和在繼續(xù)教育課程的實(shí)踐者都是十分必要的。研究表明，雖然室內(nèi)設(shè)計(jì)師認(rèn)為環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)十分重要，但是他在室內(nèi)工程中的運(yùn)用卻沒(méi)有達(dá)到認(rèn)知的同等水平。雖然室內(nèi)設(shè)計(jì)師已經(jīng)意識(shí)到環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)的重要性，但是考慮到可持續(xù)室內(nèi)設(shè)計(jì)的花費(fèi)又使他們氣餒。可持續(xù)裝潢材料，是一種不常見(jiàn)的環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)應(yīng)用組件，通過(guò)綠色項(xiàng)目裝潢材料的實(shí)例才能進(jìn)行。這項(xiàng)研究工程被設(shè)計(jì)成用來(lái)考察和分析那些表明使用環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)方法底線的數(shù)據(jù)?？沙掷m(xù)裝飾材料在環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)組件上的運(yùn)用比在室內(nèi)空氣質(zhì)量和人類幸福上運(yùn)用的更少。隨著系統(tǒng)可控性越來(lái)越少被使用，相對(duì)地，在人類幸福、獲得日光和景觀、有效的照明、適當(dāng)?shù)穆晫W(xué)控制和熱舒適性方面的應(yīng)用越來(lái)越常見(jiàn)。然而，建筑廢物管理、低生命周期影響的材料是可持續(xù)室內(nèi)設(shè)計(jì)最不常見(jiàn)的應(yīng)用特點(diǎn)。了解國(guó)家環(huán)境可持續(xù)室內(nèi)設(shè)計(jì)是十分重要的，這項(xiàng)研究已經(jīng)為此作出一份貢獻(xiàn)。G、DELL 等公司的經(jīng)營(yíng)管理以后,食品和農(nóng)產(chǎn)品行業(yè)也紛紛效仿并借助供應(yīng)鏈管理這一工具來(lái)提高自身的競(jìng)爭(zhēng)力。如今,在美國(guó)、英國(guó)、加拿大和荷蘭等農(nóng)業(yè)生產(chǎn)較為發(fā)達(dá)的國(guó)家,這一管理模式已經(jīng)廣為應(yīng)用,并逐漸成為當(dāng)今學(xué)術(shù)研究的重點(diǎn)課題。本文介紹了不同食品供應(yīng)鏈的生產(chǎn)物流系統(tǒng)特點(diǎn)，并對(duì)食品供應(yīng)鏈與食品質(zhì)量安全管理的發(fā)展進(jìn)行了分析和探討。具體而言，產(chǎn)生的原因主要有：(1)消費(fèi)者對(duì)食品和農(nóng)產(chǎn)品的新鮮度要求越來(lái)越高，并要求食品和農(nóng)產(chǎn)品交貨期、生產(chǎn)期越短越好。(3)消費(fèi)者對(duì)食品的質(zhì)量安全也越來(lái)越關(guān)注。這是因?yàn)槭袌?chǎng)中買賣雙方信息不對(duì)稱,消費(fèi)者在購(gòu)買食品或農(nóng)產(chǎn)品時(shí)，不了解產(chǎn)品的衛(wèi)生、環(huán)保和安全信息。(4)食品和農(nóng)產(chǎn)品企業(yè)迫于政府、相關(guān)社會(huì)組織和消費(fèi)者的要求和壓力，不得不按食品供應(yīng)鏈來(lái)進(jìn)行運(yùn)作。由此可見(jiàn)，食品供應(yīng)鏈管理是在市場(chǎng)內(nèi)在動(dòng)力和政府外在壓力的情況下促成的。根據(jù)食品和農(nóng)產(chǎn)品物流的發(fā)展階段,典型的食品供應(yīng)鏈可劃分為啞鈴型、T型、對(duì)稱型和混合型四種類型。這種類型的食品供應(yīng)鏈嚴(yán)格來(lái)說(shuō)是一種準(zhǔn)供應(yīng)鏈。由于上游生產(chǎn)者擁有的技術(shù)條件較差