室內(nèi)設(shè)計外文翻譯外文文獻英文文獻(2)

1、Talking about the symbols in the environmentof the use of Art and DesignAbstract：The in herita nee and inno vati on over the years the relati on ship betwee n art anddesig n en vir onment has bee n the focus of atte nti on. This article hopes for the desig nof symbols used to explore the culture, ab

2、out the mysteries of inheritanee and inno vati onof the trace of sen time nt.Keywords:deformati on grammar separatist symbols con stituteIn herita nee and inno vati on over the years the relati on ship betwee n art and design en vir onment has bee n the focus of atte nti on. In fact, from the lin gu

3、istic point of view,this con tradicti on is the Ian guage of stability and variati on betwee n the con tradict ion.As a designer in the form of design successes and failures of the success or failure depends on the master, the term the rich and the use of grammar of proficie ncy. Designersto make th

4、eir works by others can truly understand, we must choose the appropriateword and must comply with the grammar. This does not mean that designers can onlyfollow the beaten track, no personal contribution. Designers skillfully use the new individual symbols, or a con scious cha nge in in ter-symbol co

5、mb in atio n of a nu mber ofconven ti onal relatio ns, create new works of movi ng, which is desig n inno vatio n.Compositi on has a specific comp onent approach, that seems to be very pla in inthe compositi on of the sudde n appeara nee of a heteroge neous eleme nts, making theprogram itself is ver

6、y plain to achieve un expected results, with a sense of inno vati on ofnew symbols like this heteroge neous. In peoples accustomed to things difficult toarouse eno ugh atte nti on and in terest in case, some com mon symbols deformati on,splitti ng, or the preparati on of the code to cha nge the orde

7、r, you can play a compelli ng,thought-provok ing, the stre ngthe ning of en vir onmen tal messag ing Ian guage role.United States renowned architect Charles Moore designed the city of Orleans, Italian Piazza is bold in desig n eleme nts take n from a variety of classical symbols, andsymbolic means t

8、o reproduce them. The en tire square to a circular pla ne Baroque for thecompositi on to the gradual proliferati on of black-a nd-white concen tric circles and to thesurro unding paveme nt surface to exte nd out un til the three sides of the street entran ce.Classical Roma n colu mn, after a face-li

9、ft to the face of new shows, such as the Corin thian colu mn is used in sta ini ess steel colu mn, can opies wall carved with the Lat in of thisfoun tai n for the public to all the people who offer the gifts of the message; Doric colu mnon the Flow ing Down gurgle, ro und coup on on the molar smilin

10、g portrait, water isconstantly spit from his mouth . here is not only full of bright rich atmosphere of a modern commercial, but also a stro ng attachme nt to local feelings. Maps and Italian ApenninePeninsula, Sicily and Sardinias plan; ancient Rome, the five-colu mn, the deformati onMotif comb in

11、ati ons and the Arc de Triomphe; circular portico Wai Kwong Hop. In fact,you are immediately aware that it is a mockery of classical Marxism. This is a joyous,almost classical tradition are hysterical embrace pleased.Today, a variety of side box-style buildi ng was con sidered aloof in the historic

12、andlocal above only has the tech no logy and a small nu mber of functional sema ntic semantics, there is no room for thi nki ng aftertaste, the en vir onment has led to apathy andboring criticism. This use of information theory to explain the principle that effectiveenvironmental information contain

13、ed in the symbol system too. In view of this, post-modern architects Ven turi loudly called for: build ing a rich content, while building to includeother aspects of the multi-dimensional art, even including the Ian guage, so that it is no Ionger a mere tool for the space. It advocates en vir onmenta

14、l complexity and con tradictoryn ature of modernism promoted by substitute simplicity; to sema ntic ambiguity andtension in place of straightforward; to the multiplicity of sema ntic oppositi on to one or theother of opport uni sm; should be mixed at a gla nee rather tha n un ity. Stern desig ned th

15、ebest product showroom are a typical example, it adopted legislati on faces many of thetraditi onal symbols and con stitute a form, like the ancient Greek pan the on of elevati on,thus suggest ing he was trying to convey theme purposive: that is, the building as atemple of consumerism, the commercia

16、lizatio n of society reflect the values of peopleand commercial activities of daily life today, the importanee of. But the way metaphors arecomplex, multiple, without serious thought, it is difficult to un dersta nd immediately apparent from its real sig nifica nee. This desig n works, for example,

17、not on ly the depth of thebox thi nki ng is more than simply the pursuit like a sailing boat or a bird of prey such as thesymbolism of a more in trigu ing, more philosophical.The environment as a symbolic phenomenon, in order to address the Iong-standingproblem for the designers of the inheritanee a

18、nd innovation of the paradoxical problem ofprovidi ng a effective way. Desig n Ian guage as the Ian guage of symbols, are rooted inpast experie nee with the rapid developme nt of the society is lin ked to the new features,new materials, new tech no logy and calls on new ideas. On the one hand, as if

19、 it were sogen eral la nguage Ian guage cha nges slowly, on the other hand, with the rapiddevelopme nt of society. How to make the en vir onment not only of historical eon ti nuity,but also to adapt to the new requireme nts of the times?With the adva nee of scie nee and tech no logy progress and fre

20、que nt cultural exchanges, vocabulary and grammar in the develop ing trend of eonv erge nee, but a n atio nbecause of n atural eon diti ons, econo mic and tech no logical, socio-cultural practices ofthe different environment Association has a number of unique symbols and arran geme nt.Spoke n like t

21、he dialect, like the desig ners cleverly inject this ki nd of accent canenhancethe environment for a sense of history and local flavor, and enhance the in fluenee of Ian guage en vir onment. Moder n Japa nese Architecture Master Kenzo Tangedesig ned Kagawa hall is a new form of the traditi onal sema

22、 ntic model. Although thebuildi ng are used by ordinary rein forced con crete frame structure, but the external formof treatment is the use of Lu Ming Chuan head, beam top traditional symbols, verticalhorizontal partition is a natural association to the Japa nese main tower of the layers ofeaves. La

23、yout has absorbed the adva ntages of the square tower of the traffic and publicfacilities on the pla nar core (similar to the tower Kaguta ven tricle), so that they share thesmallest Get all floors of the shortest route traffic. So as to show a structure with moder nforms of tech no logy to reflect

24、the style of traditi on al local methods.Un ited States artist Susa n Lange once said, is always a symbol to simplify the formof the performa nee of its meaning, that is exactly what we can grasp the reas ons for it.Regardless of a work of art (or eve n all of the arts) is how the complexity of , pr

25、ofo und andrich, it is easy tha n real life. Therefore, the art theory is un doubtedly the establishme nt ofan effective hearts and mi nds in a vivid reality of the con cept of such a great cause of thepreamble is more. symbolic activities have bee n in cluded in the activities of someabstract no Io

26、n ger rema in in the in dividual above the. Visual symbols are an art symbols,but also the performanee of sexual symbols. Relative reas oning in terms of sexualsymbols, visual symbols do not have their own system, and any visual symbols have acerta in degree of cultural content, and on ly reflected

27、in a certain degree of emotionalstructure, around a particular theme of organic comb in atio n. Educated Youth Hotel, MaoJia Restaura nt commercial buildi ng and so on, it also adopted the hats, corn on the cob,rough woode n tables and chairs, wells and so on, and even more in order to create anatmo

28、sphere of clothing are to be atte ndan ts, as well as the menu were also cleverly integrated into the Among them, these differe nt geographical sig nifica nee in rural areastypically rich in visual symbols to create an environment here is like an old album,recording a different persons experie nee,

29、making the desig n become more cordial, butalso worth pon deri ng. Visual symbols, not only in symbolic form to create the visualassociation and, more importantly, it can evoke thoughts association, which have empathy,to achieve emoti onal res onan ce, thus buildi ng more meanin gful.The rapid devel

30、opme nt of urba n eon structi on has brought rapid cha nges, but atthe same time we also lost many will never be able to recover things - historical eon text.The history of the formatio n of the streets, alleys, arches, religious shri nes and so on urban form as a complete expressi on of architectur

31、e and urba n image of the symbol system,being into films, Shi ng Street, into a Square to be removed, threats to the urban form ofthe compatibility and continuity . Respect for historical tradition does not mean, rigidlytraditi on al. In stead, eon sciously keep these traditi ons, will make the city

32、 more localflavor. I n fact, establishi ng a n ew do not have to old, the key lies in how to approachtraditi onal and fashi on to create a new symbiosis of old and new urba n form (symbols).New World project is located in Sha nghai, Xin gye Road Huan gpi Road, a major site ofthe Chin ese Communi sts

33、 of the surro unding area. Venue opposite the south block,design for the modern architecture is not high, which is dotted with some reservati ons thetraditi onal architecture, and the ve nue in harmony. And venue where the north block,the neighborhood retained a large patter n, carefully preserved a

34、nd repaired the buildi ngexterior facade Shikume n, detail and n eighborhood-scale space, the buildi ng was madelarger in ternal tran sformati on in order to adapt to office, commercial, accommodati on,cateri ng and en terta inment and other moder n life. Have bee n built from the curre nt partof vi

35、ew, received much praise, has a greater impact. It is said that sales and cost-effectiveness also very good. In fact, in Shanghai, the eastern and western culture shockmetropolis, the traditional neighborhood lifestyle never die off, New World just give it areasonablechange and con ti nuity, are lef

36、t for us to thi nk more and en lighte nment.Famous philosopher Ernst Cassirer pers on think symbols are ani mals. All huma nspiritual and cultural activities are the product of symbols. The esse nee of that pers on inthat he can use to create cultural symbols. Therefore, all cultural forms, is both

37、a symbol ofthe reality of Events is also the person of the nature of the object. The so-called masterculture, in the symbolic level at least, to be skilled to operate con stitute the culturalsymbols and cultural system rather tha n the symbol itself, the new experie nces and insights wove n in to sy

38、mbols go, in fact, symbols themselves are also cha nging, and thecultural heritage and the inno vati on of the mysteries of it exist in this variation of the.Confucius and Socrates are still human beings are eternal beac on, and the symbols ofmoder n subjects in this study call for us from the back

39、to Socrates. Will be simple andcomplex sema ntics, traditi onal and fashi on able phrase structure, and applied to thedesign of modern art, thereby creating a personalized, Huma n Cultures new desig nsymbols.Fiber art and interior designAbstract：Fiber art is a fun cti onal fiber art and aesthetic va

40、lue in one art form. Fiber art is full ofn atural flavor to the material texture and flavor of the simple han d-wove n to meet theemotional needs of a wide range of people, it and other types of interior decorati on ascompared to an irreplaceable adva ntages. Fiber art has bee n to in filtrate the b

41、uildi ngand en vir onmen tal matters in all aspects of desig n, it is mai nly the use of variousmaterials and tech niq ues to express the con cept of moder n desig n and moder n life.Keywords：Fiber arts; not in clude the in door en vir onment; fiber artFiber Art collecti on of classical and moder n,

42、 roma ntic and calm, in dustrialcivilization and traditions in one hand, are an ancient and young arts. It is natural ani maland pla nt fiber or syn thetic fiber materials, with kn itti ng, ri ng binding, winding, Stitch andother product ion means, the creati on of pla nar, three-dime nsional image

43、of a form of art.Fiber arts, including traditional flat-style fabric, modern popular three-dimensional fabrics,daily arts and crafts, as well as space in modern architecture with the expression of avariety of fiber materials modeling Ianguage works.1. fiber texture art interior environmental design

44、on the impact of material selecti on.The performanee of fiber art are texture and texture to create items, which, whetherin visual or tactile, the both have an un paralleled visual appeal. Fiber art of materialselection is very extensive, almost all types of textile fibers may be applicable. The use

45、 ofdifferent materials through different processing or the use of differe nt structures canproduce differe nt textures. Texture by the objects are unique color, luster, shape, texture,cold, thick, soft and hard and tran spare ncy and so on con stitute a large nu mber ofattributes. Con stitute the at

46、tributes of diverse, complex portfolio, will also cha nge textureinfin ite. At the same time, textures are also bel ong to the com mon percepti on of visualand tactile qualities of materials, exterior materials and textures complement each other,all kinds of materials are exposed through the texture

47、 to its true features and through thetexture to express the characteristics of materials. Fiber interior accessoriesthrough tactilesenses given differe nt psychological feeli ngs, such as hard and soft, thick, hot and coldand so on. At the same time, set up in the memory of visual perception, evoke

48、images ofdifferent psychological perception, distinguishing texture characteristics. Modern fiber artis a breakthrough and go bey ond the traditi on al, mainly mani fested as fiber suchmaterial on a higher level of un dersta nding and applicati on. Traditi onal fiber art, mai nlyin n atural fiber ma

49、terials. These materials in clude silk, wool, hemp, cott on and so on.Used in modern fiber art materials, has broken through the traditional con stra in ts. Herethe fiber is no Ion ger just cott on, hemp, wool, brow n, ratta n and other traditi onal fibermaterials, in clud ing chemical fiber and lat

50、itude of the hard and soft wove n material, aswell as all of the lin ear material, and eve n some metal fibers have also bee n artists of allages. America n fiber artists such as Nan cys work The Golde n Wave used wool,viscose fiber and copper wire as material. Bulgaria Cayma n million fiber artists

51、 work withthe weft a plastic tube and wool as a material. Moder n fiber art of pain ti ng from n aturetha n from the pursuit and bega n to focus on the performanee of materials in the UnitedStates itself, the natural form of fiber materials, rich texture, just betwee n the differe ntfibers and Sophi

52、e, straight and curly, miscella neous and pure, Ming with dark, light andheavy con trast, and to appreciate those who bring a wealth of aesthetic experie nee. FiberArt has always bee n known as the artistic and texture. Whoof weaving is a traditional fiberarts major process. However, moder n tech no

53、 logy of fiber art practices have not bee nlisted out in full, such as weav ing, hitch, winding, Stitch, collage, as well as dye ing,painting, spray ing, printing and so on . Many artists will also scie nee and tech no logy intothe field of fiber art creations. American artist Cynthias Runs, Lake ra

54、in looms for thecreative use of computer tools, the use of three-way warp space to create a unique effectin the fabric texture and structure to show the en dless imag in ati on, differe nt types andcolor overlay with the cover lin e, result ing in the traditi onal process can not be achievedon many

55、levels of subtle cha nges. There are many artists, make use of the existi ngproducts to create, but also the effect of unu sually touch ing. For example, the pion eer ofmoder n fiber arts - Un ited States Miss Lei Nuo senior artists in the early 80s of last century the Un ited Nati ons buildi ng in

56、New York desig ned the gia nt fiber works of art whiteflutteri ng fiber. This work of art from the in terior of the buildi ng about 6m square verticalhoisti ng the roof dow n coun tless articles and white fibers, this fiber bun dle with a bunchof slightly swinging the wind, both light also gen erous

57、, we also implicitly simple, it revealsa hazy and in cludes the state of tune of the realm of the Un ited States. These works andthe use of materials through the excavati on of the Un ited States itself and the in tegrati onwith the en vir onment, so as to achieve the unu sual decorati on of the Un

58、ited States cannot match the artistic realm.2 .fiber art sculpture on the in terior of the impact of en vir onmen tal desig nCompared with traditi onal fiber art, con temporary fiber art is an importa nt feature of itssculpture. Traditional fiber arts such as carpet, wa緙革絲and other works, the mai nw

59、orks are flat. Si nee the 60s of last cen tury, fiber arts gradually to semi-relief fromtwo-dime nsio nal un til the emerge nee of fully three-dime nsio nal space of the work ofsoft sculptures - with the flexibility and elasticity of the sculpture. Some artists take intoacco unt in the desig n works

60、 are works of more space for the overall situati on broughtabout by decorative. Polish artists work red Wall yes to sculpture, to works of the Iandmark space. Rui forward into the corner after their full deep oval to form a strong eontrast,like a could not suppressthe passion agitatedly erupti on. 1