外文文獻(xiàn)翻譯--室內(nèi)設(shè)計

1、外文文獻(xiàn)-自然簡約對室內(nèi)設(shè)計現(xiàn)象分析 2012 屆本科畢業(yè)設(shè)計論文外文文獻(xiàn)翻譯 學(xué) 院: 計算機科學(xué)與工程學(xué)院 專 業(yè):數(shù)字媒體 姓 名:董沛 學(xué) 號:Y08108210 外文出處:Natural simplicity analysis of the phenomenon of interior design 附 件: 1.外文資料翻譯譯文;2.外文原文。附件1:外文資料翻譯譯文 自然 簡約?對室內(nèi)設(shè)計現(xiàn)象分析 遠(yuǎn)古時期,中國的木構(gòu)架建筑?東方古印度的石窟建筑?歐洲古希臘?古羅馬的石砌建筑等等裝飾與構(gòu)件緊密結(jié)合,與建筑主體溶為一體?然而十七世紀(jì)初歐洲巴洛克時代和十八世紀(jì)中葉的洛可可時代,開始了

2、室內(nèi)裝飾與建筑主體的分離,外部的建筑主體與內(nèi)部的裝修在使用年限上不匹配,因而導(dǎo)致建筑主體與室內(nèi)裝飾的分離,在營造法國宮廷建筑和貴族宅邸時,新的職業(yè)“裝飾工匠”誕生了,對建筑物的內(nèi)部頻繁不斷地進(jìn)行改裝,不動建筑主體,更換建筑“服裝”的時期已經(jīng)到來?巴洛克式建筑的室內(nèi)設(shè)計,一反文藝復(fù)興時期的嚴(yán)肅?含蓄?平衡,傾向于豪華?浮夸?在教堂及宮殿中把建筑?雕塑?繪畫結(jié)合成一個整體,追求動勢與起伏,企圖造成幻象?而洛可可式建筑室內(nèi)則是皇宮貴族為了得到舒適的?私密的室內(nèi)而追求優(yōu)雅的更為親切的室內(nèi)裝飾效果?具有纖細(xì)?輕巧?華麗和繁瑣的裝飾性;喜用C形?S形或漩渦形的曲線和輕淡柔和的色彩,多以花鳥?貝殼為題材,并

3、為適應(yīng)宮廷的異國情趣要求,在室內(nèi)采用了許多中國式裝飾?巴洛克和洛可可式的手工制作達(dá)到了裝飾的極致,被稱為“室內(nèi)裝飾”的代表?近代工業(yè)革命的大發(fā)展,出現(xiàn)了新型的混凝土建筑,它不僅使室內(nèi)裝飾從建筑主體中脫離,而且發(fā)展成為不依附于建筑主體而相對獨力的部分?分離派運動解開了單純裝飾部件與建筑主體相結(jié)合的矛盾,成為現(xiàn)代主義設(shè)計的先驅(qū)?包豪斯學(xué)派強調(diào)功能決定形式,認(rèn)為空間是建筑的主角,提倡拋棄表面虛假的裝飾,一切圍繞著架構(gòu)合理的空間服務(wù)?要求排除裝飾,強調(diào)使用功能以及造型的簡單化 自然風(fēng)格倡導(dǎo)設(shè)計自然空間,美學(xué)上推崇“自然美”, 力求表現(xiàn)悠閑?舒暢?自然的田園生活情趣,也常運用天然木?石?藤?竹等材質(zhì)質(zhì)樸

4、的紋理?巧于設(shè)置室內(nèi)綠化,創(chuàng)造自然?簡樸?清新淡雅的氛圍?只有崇尚自然?結(jié)合自然,才能在當(dāng)今高科技?高節(jié)奏的社會生活中,使人們能取得生理和心理的平衡? 簡約不等于簡單,它是一種生活態(tài)度?當(dāng)我們在現(xiàn)代生活中,承受太多的壓力,我們開始渴望擁有自由的感覺?優(yōu)雅的姿態(tài)和不凡的品位?我們需要讓浮躁的心境趨向平和,于是我們呼喚簡約?從大的建筑空間到普通的居住空間,從職業(yè)設(shè)計師到普通公民,自然簡約風(fēng)格?開始成為室內(nèi)設(shè)計界非常流行的方向? 簡約的精神起源主要源自于二十世紀(jì)初期的西方現(xiàn)代主義?英國JOHNPawson與法國的ClaudioSilverstein兩位室內(nèi)設(shè)計師在80年代中期引領(lǐng)了簡約主義的設(shè)計潮流

5、?當(dāng)時歐美的經(jīng)濟不景氣,藝?yán)壤习鍌冮_始在藝術(shù)品的展示空間上找出路,一些報費的工廠車間簡單布置,成為藝術(shù)展廳,目的是以最少的經(jīng)費作出最好的展示空間,而這么做的結(jié)果就是簡化空間,不裝飾多余的東西,實際上,這也反映了一種新審美的出現(xiàn)?從設(shè)計居家引入到藝?yán)鹊脑O(shè)計,使得展示空間與藝術(shù)品呈現(xiàn)出同一種美學(xué)特征?簡約藝術(shù)也就在這個時候開始與室內(nèi)設(shè)計相吻合,并逐漸開始流行起來,到現(xiàn)在簡約主義成了室內(nèi)設(shè)計追崇的風(fēng)格 回歸自然的簡約主義是人類特有的勞動成果?其目的是以簡潔的表現(xiàn)形式來滿足人們對空間環(huán)境那種感性的?本能的和理性的需求?從某種意義上說,簡約主義的盛行是人類發(fā)展的必然趨勢 自然?簡約的室內(nèi)設(shè)計營造的是一種

6、詩意的空間?我們知道,“詩”的藝術(shù)特點就是用極其簡潔的語匯,按照一定的規(guī)則組合,形成“詩”這樣一種語言,其字里行間包含了極大的空間,一種隱含的靜態(tài)的空間?在設(shè)計中把人的思想情感,人生的向往注入到環(huán)境中去,通過“意境”將其立體?空間地再現(xiàn)于現(xiàn)實中,使人入其境,則忘乎其身,這是一種超乎物質(zhì)感受的精神感受, “意境”的創(chuàng)造,正是通過氣氛的營造來達(dá)到體現(xiàn)某種精神意義上的“親和力”?實際上,簡約主義室內(nèi)設(shè)計就是這樣一種“詩意”空間的營造?用極簡的物體擺設(shè)產(chǎn)生想象使用空間,這個空間實際上是一種副空間,有各個家具組合產(chǎn)生的副空間,它往往給人視覺上“空”的感覺,而“空”猶如詩所產(chǎn)生的“意境”,極大調(diào)動著身處其

7、中的人的情緒,激發(fā)人的聯(lián)想能力?簡約室內(nèi)設(shè)計強調(diào)形式美感?如果說,一般的室內(nèi)設(shè)計把家具,諸如沙發(fā)?桌子等物品稱為主體物的話,那么簡約主義室內(nèi)設(shè)計是不存在這樣的區(qū)分的?簡約主義室內(nèi)設(shè)計認(rèn)為處在空間中的任何部分都分擔(dān)著同樣重要的作用,包括墻面?地面?頂面等?空間中所有物體的協(xié)調(diào)組合具有很強的形式美感,這主要體現(xiàn)在點?線?面三個空間元素的表現(xiàn)上?中國幾千年的文化,沉淀出多少恒世佳作,特別是中國漢代建筑更是集精華美妙之靈氣,以“簡單?厚實?精準(zhǔn)?雅致”為原則,將東方特有的審美觀念,獨立渾厚的氣質(zhì)?凝練渺遠(yuǎn)的簡約神韻,響絕于世?它至今還影響著國際建筑的設(shè)計理念,也影響著室內(nèi)設(shè)計的美感? 設(shè)計之所以能以盡

8、量少的語言表達(dá)盡量多的信息,有賴于其將諸多設(shè)計表現(xiàn)形式要素科學(xué)的融合在一起,其中色彩的選擇和使用起了十分關(guān)鍵的作用?我們知道色彩是不同波長的光反射和吸收的結(jié)果,光的傳播速度比圖形文字的傳播速度快,這使得它讓人在第一時間感受到,所以對空間最先感受到的就是色彩,而不同色彩可以引起人們不同的心理反映和感受?在自然?簡約的室內(nèi)設(shè)計中,黑色和白色以及材料的本色是它的代表色,也是常常使用的顏色,這些顏色被認(rèn)為是最沒有傾向的顏色,對人的視覺干擾最小?同時室內(nèi)設(shè)計也強調(diào)對光的使用,往往通過天窗等獲取自然光源,這對塑造一種輕淡整一的色彩空間起著相當(dāng)重要的作用,也體現(xiàn)了簡約主義所宣揚的簡潔但不簡單的風(fēng)格 每一個表

9、現(xiàn)手段都以居住為目的,對每一個局部都強調(diào)其功能性和舒適性?實際上,這種對功能的充分表述體現(xiàn)了設(shè)計的基本美學(xué)原理,也是很容易理解的,任何設(shè)計都是以人為服務(wù)對象的,人在消費設(shè)計的時候,最主要是消費它的實用功能?所以,當(dāng)我們看到一張看似堅硬的座椅,不要馬上判斷它必然帶給你冰冷的感覺,坐上去的一剎那,也許正是它背上的那道不經(jīng)意的弧線帶給你恰倒好處的舒適體驗 通常被稱作美學(xué)標(biāo)準(zhǔn)的這種準(zhǔn)則可以從另一個更普遍易懂的層面更好地進(jìn)行理解。超越了功能和結(jié)構(gòu)的設(shè)計的這些方面關(guān)系到設(shè)計呈現(xiàn)給人類感官的特定方式。我們使用一個物體實現(xiàn)某種需要或需求,并且希望它的物質(zhì)結(jié)構(gòu)支持這種用途。我們通過觀看、觸摸并形成一種超乎這個物

10、體單純用途的感官體驗來了解一個物體。 首先讓我們認(rèn)識構(gòu)成的各個元素。當(dāng)我們識別諸如石材、玻璃或鋼鐵等材料時,我們所看到的是不同的色彩、色調(diào)和質(zhì)地。 這不僅僅是從光滑到粗糙的變化,而且包括裝飾和雕刻的變化。在一個大的構(gòu)成或是隔一定距離欣賞的任一設(shè)計中,稍大的元素,甚至是住宅群中的每一幢住宅都能產(chǎn)生質(zhì)地的效果。 這可以通過諸如孟塞爾色彩體系的研究來進(jìn)行詳細(xì)地分析。對于現(xiàn)在的目的而言,我們僅僅提及色彩的色相,但是不管怎樣我們也不能落下色彩的次要特性,如亮度、飽和度和透明度等,這些特性可以在構(gòu)成時擴展出各種可能的變化。 這通常被看作是色彩理論的一部分。它指的是孟塞爾體系中的灰度,并通過一系列的灰色來描

11、述從白到黑的無色梯度。在設(shè)計構(gòu)成中,我們發(fā)現(xiàn)把色調(diào)割裂開來考慮將很有幫助。它在建筑和用來表現(xiàn)建筑的圖紙中都起著非常重要的作用。 每一個建筑都有體現(xiàn)方向的元素。大多數(shù)的建筑都具有強烈的垂直向和水平向元素,這些方向通過建筑的整體形狀、局部與結(jié)構(gòu)部件、窗戶與其它開口體現(xiàn)出來。通過研究建筑的室內(nèi)或室外能夠根據(jù)它們的構(gòu)成來評價有關(guān)水平和垂直的總體視覺效果。 在建筑學(xué)中,這是關(guān)于矩形各邊和體積的幾何關(guān)系,也是關(guān)于構(gòu)成物不同部分間的比率或比較。我們不能精確地目測出這些關(guān)系,但是我們可以將它們進(jìn)行比較,并且根據(jù)比例來判斷一個物體同另一物體的關(guān)系。 這可產(chǎn)生自在視覺上強于其它部分的一個色彩、色調(diào)或質(zhì)地的效果。方

12、向上的主導(dǎo)性意味著水平線總體上強于垂直線,或與之相反,垂直線占優(yōu)勢。一個實勝于虛的主導(dǎo)性或相反的情況需要避免均等的抗衡,因為這可能破壞統(tǒng)一。一個主導(dǎo)性的形式或形狀能有助于產(chǎn)生統(tǒng)一的感覺。顯而易見,統(tǒng)一無法在有二元性或視覺均等元素抗衡的情況下存在。 這是統(tǒng)一的另一個方面。色彩的協(xié)調(diào)嚴(yán)格講來是指通過在色環(huán)上彼此相近而相關(guān)聯(lián)的色彩,也就是說在一個色相上有關(guān)聯(lián)的色彩,舉例來說,如均靠近黃色色相扇區(qū)的褐色、金色和黃色。 這將由趣味性來產(chǎn)生,而在視覺設(shè)計中,統(tǒng)一的這個方面主要但并非唯一地由對比產(chǎn)生。 色彩、色調(diào)或質(zhì)地的對比、方向或比例的對比、實與虛的對比都能給設(shè)計添加趣味和生機。但是就像過份的協(xié)調(diào)將導(dǎo)致單

13、調(diào)一樣,過多的對比或太多的對比元素將削弱協(xié)調(diào)并導(dǎo)致產(chǎn)生均等趣味的多重性。 雖然是多種元素共存,但不代表亂搭一氣,混搭是否成功,關(guān)鍵還是要確定一個“基調(diào)”,以這種風(fēng)格為主線,其他風(fēng)格做點綴,分出有輕有重,有主有次。 中式或亞洲式的設(shè)計一向以簡約、質(zhì)感見長,如果能夠巧妙地與西方現(xiàn)代、創(chuàng)新的概念結(jié)合,那么你可以完成一個時下最時尚的混搭之家。 家具混搭 容易混搭的三類方式:設(shè)計風(fēng)格一致,但形態(tài)、色彩、質(zhì)感各異的家具;色彩不一樣,但形態(tài)相似的家具;設(shè)計、制作工藝非常好的家具,無論古今中外,也不管色彩、形態(tài)、質(zhì)感、材料是否一致。 1.現(xiàn)代簡約的3+2沙發(fā)搭配一張古典優(yōu)雅的主人椅,便能凸顯整個空間的視覺感,

14、并且彰顯主人獨特的個性與品位; 2.西式現(xiàn)代家具與同樣線條簡單的中國明式家具的組合也能產(chǎn)生不錯的效果,比如用現(xiàn)代沙發(fā)搭配明式圈椅。 客廳中放一個中式木箱充當(dāng)茶幾,甚至把風(fēng)格完全不同的幾把凳子擺在一起,只要感覺對了,你想怎么搭就怎么搭。 貼士:中式和西式家具的搭配比例最好是37。因為中式老家具的造型和色澤十分搶眼,可自然地使室內(nèi)充滿懷古氣息,但太多反而會顯得雜亂無章。此外,盡量挑選比較實用的,除了欣賞之外,還可賦予老家具新的生命。 二、材質(zhì)混搭 在材質(zhì)上,可采用的選擇也十分多元,皮革與金屬,皮革與木頭,瓷與木頭,塑料與金屬等等。 提供的發(fā)揮線索 1.墻壁用南歐風(fēng)味的復(fù)古磚,地板用現(xiàn)代感明亮的拋光

15、石英磚,輕松產(chǎn)生對比效果。 2.用地磚做拼花設(shè)計,進(jìn)門就有休閑放松的感覺。 3.只換掉一面墻壁的顏色,選用大膽鮮艷的顏色和圖樣,或者購買一些具有混搭效果的墻紙更加省事。 三、家紡混搭 在歐洲,家紡品多風(fēng)格交融的趨勢同樣存在,比如在許多當(dāng)?shù)丶彝パb飾中,家具和織品的顏色是當(dāng)代的,但是裝飾燈、窗簾帷帳等又是傳統(tǒng)的。 提供的發(fā)揮線索 1.在床品圖案上,可以借鑒的有古代青花與西洋玫瑰、現(xiàn)代風(fēng)格的紋理與古典盤扣,民間剪紙與蕾絲,流蘇,羽毛與牛仔的融合等等。 2.如果偏愛濃烈的色調(diào),深紅+翠綠,橙色+深藍(lán),深黃+深紅+純黑等最不可能搭配在一起的顏色組合,也往往能取到出奇制勝的效果。 四、裝飾混搭 這是最簡單

16、但也許是最有效的方法。選用一些點睛的小飾品,如薄紗透光窗簾、藤制燈飾,藍(lán)綢大傘、真絲屏風(fēng)可以輕松呈現(xiàn)異國情調(diào)。 提供的發(fā)揮線索 1.若要讓家里呈現(xiàn)華麗懷舊風(fēng),編織的燈飾、有珠珠的抱枕、珠簾都是可以利用的小元素。 2.幾塊少數(shù)民族圖騰、東南亞的民俗布,即可展現(xiàn)異國格調(diào)。在一些特色家飾店里,有不少印度、尼泊爾的布料、抱枕、地毯可以選擇,隨意鋪在沙發(fā)上,或當(dāng)窗簾,做地毯,家里氣氛立刻大變。 3.選用古舊的收藏品作裝飾,既可以體現(xiàn)工藝和文化背景,又能淡化現(xiàn)代居室的冰冷,使空間更加厚重沉穩(wěn)。但一定要帶著美學(xué)修養(yǎng)去“集”,不然家里很容易變成“雜貨鋪”。 貼士:想要混搭個性化的家,先要把整體搭配的元素想好,

17、比如東西看膩后的替換運用,或者將特殊的擺設(shè)換個地方放,都有不同的味道。 應(yīng)該說,自然?簡約的室內(nèi)設(shè)計展現(xiàn)的是一種生活方式,它讓我們更接近自然,更強調(diào)功能,更關(guān)注生活本身 對簡潔的理解因人而異,由于人們的年齡?見識?素養(yǎng)?生活背景的不同,所產(chǎn)生的品味要求也就不同?社會的發(fā)展,時代的進(jìn)步,新思維?新結(jié)構(gòu)?新材料的出現(xiàn)必定會產(chǎn)生與此適應(yīng)的裝飾新概念?新形式?新空間?簡潔這一現(xiàn)代的裝飾表現(xiàn)形式已經(jīng)深入影響到建筑產(chǎn)品?工業(yè)產(chǎn)品?生活產(chǎn)品等諸多領(lǐng)域?幾根鋼管,一個木樁,一個布堆就能做出不同形式的現(xiàn)代家具?它已悄然讓人們的生活方式和思想觀念產(chǎn)生質(zhì)的變化?有人認(rèn)為簡潔的設(shè)計風(fēng)格必然會一枝獨秀,成為21世紀(jì)人們

18、生活追求的時尚 以簡潔的表現(xiàn)形式來滿足人們對空間環(huán)境那種感性的?本能的和理性的需求,這也是當(dāng)今國際社會流行的設(shè)計風(fēng)格?而現(xiàn)代人快節(jié)奏?高頻率?滿負(fù)荷,已讓人到了無可復(fù)加的接受地步?人們在這日趨繁忙的生活中,渴望得到一種能徹底放松?以簡潔和純凈來調(diào)節(jié)轉(zhuǎn)換精神的空間,這是人們在互補意識支配下,所產(chǎn)生的亟欲擺脫繁瑣?復(fù)雜?追求簡單和自然的心理?在印尼巴里島旅館系列設(shè)計中,靈感來自巴里島上的民俗風(fēng)格,但在空間架構(gòu)及動線安排上是延伸簡約設(shè)計的精神?在材料表現(xiàn)上,出現(xiàn)了自然原始的當(dāng)?shù)卦?草席及石板?設(shè)計師將這些具有自然民俗的元素用精確及簡潔的細(xì)部來處理以加強主題,同時也將裝飾的部分簡單化,所呈現(xiàn)的空間可

19、以說是現(xiàn)代巴里島風(fēng)格 縱觀世界建筑設(shè)計大師們無論是德國密斯?凡德羅?還是美國的理查德?邁耶?日本的安藤忠雄?美籍華人貝聿銘,他們都以最純凈的形式,用相當(dāng)普通的材料,使用最精簡的手法,表現(xiàn)出非常深度的內(nèi)涵和崇高的空間氣質(zhì)?他們一件件充滿靈性的作品有著無窮的生命力,他們的設(shè)計思想震撼著當(dāng)今時代?也引領(lǐng)著時代潮流的發(fā)展?附件2:外文原文Natural simplicity - on interior design Analysis Ancient times, Chinese wooden framework architecture of ancient India, the Orient, Eu

20、rope, building caves in ancient Greece, ancient Rome and so on decorative stone building closely integrated with the components, with the main building, however. dissolved into Europe in the early seventeenth century Baroque times and the mid-eighteenth century the Rococo era, began with the interio

21、r decoration of the main building separated from the main building external and internal fitting-out period in the use of the mismatch, thus leading to the main building and interior decoration of the separation, in the construction of the French court architecture and aristocratic mansion, the new

22、occupation decorative artisan was born, the buildings internal frequency continuous modification, fixed the main building, the replacement building, clothing the time has come. Baroque-style architecture of the interior design, one anti-Renaissance solemn, subtle, balanced, tend to exaggerate. luxur

23、y, in churches and palaces in the architecture, sculpture, painting into a whole, the pursuit of momentum with the ups and downs, but an attempt to cause the illusion. Rococo interior architecture is the palace of nobility in order to be intimate and comfortable, elegant interior and the pursuit of

24、a more intimate interior decorative effect. with thin, lightweight, beautiful and complex decorative; hi-shaped, with C-shaped or S-shaped curve of the vortex and soft pastel colors with flowers and birds, many shells as a theme, and the court order to meet the requirements of the exotic, much used

25、in interior decoration. Chinese-style Baroque and Rococo-style hand-made decoration reached perfection, referred to as interior decoration. modern representatives of the great development of the industrial revolution, there has been a new type of concrete building, its interior decoration not only f

26、rom the main building from the Medium, and developed into the main building and not attached to the sole part of the relative separation. Sports camp solved simply decorative building components with a combination of the main contradictions in modernist design become a pioneer in the Bauhaus school

27、of thought. decision to emphasize the functional form, consider the space of the building are the protagonist, advocate discarding false surface decoration, all around the architecture reasonable space requirements Services. exclude decoration, emphasis on the use of functions and simplified shapes.

28、 Advocate the design of the natural style of natural space, aesthetic promoted the idea that natural beauty to the performance of relaxed, comfortable, natural pastoral life, and is often the use of natural wood, stone, rattan, bamboo and other materials rustic texture. clever in interior settings g

29、reening, create a natural, simple, fresh and elegant atmosphere. only upholds nature, combined with the natural order in todays high-tech, high-paced social life, so that people can achieve physical and psychological balance. Simple does not mean easy, it is an attitude towards life. when we are in

30、modern life, to bear too much pressure, we began to look for the feeling of freedom, graceful posture and extraordinary taste. we need to tend to a peaceful state of mind impetuous, So we call for simplicity. from the building space to the general living space, from designers to the ordinary citizen

31、 vocational naturally simple style - interior design has become very popular direction. The spirit of simplicity is mainly derived from the origin to the early twentieth century Western Modernism. Britain and France JOHNPawson two ClaudioSilverstein interior designers in the mid 80s to lead the tren

32、d of minimalism design. Europe and the United States at the time of economic downturn, the Art Gallery bosses began to display works of art space to find a way out, some reported costs factory floor layout easy to become art exhibition hall, the purpose of funding is based on at least make the best

33、display space, while the results of doing so is to simplify the space, not decoration superfluous things, in fact, this also reflects the emergence of a new aesthetic design. from home into the design of art galleries, the exhibition space with works of art showing the characteristics of the same ty

34、pe of aesthetic simplicity. art at this time it started with the interior coincide with the design and gradually began to slip to the present minimalism became the style of interior design and pursue careers. Return to nature of minimalism are human-specific labor. its purpose is to concise form of

35、expression to meet the peoples space environment, the kind of instinctive, emotional and rational needs. In a sense, the prevalence of minimalism are the inevitable trend of human development. In the past, Interiors were put together instinctively as a part of the process of building. The profession

36、 of interior design has been a consequence of the development of society and the complex architecture that has resulted from the development of industrial processes. The pursuit of effective use of space, user well-being and functional design has contributed to the development of the contemporary in

37、terior design profession. In ancient India, architects used to work as interior designers. This can be seen from the references of Vishwakarma the architect - one of the Gods in Indian mythology. Additionally, the sculptures depicting ancient texts, events are seen in palaces built in 17th century I

38、ndia. Throughout the 18th century and into the early 19th Century, interior decoration was the concern of the homemaker or, in well off families an upholsterer or craftsman may influence the style of the interior space. Architects would also employ craftsmen or artisans to complete interior design f

39、or their buildings. Towards the end of the 19th century interior decorating emerged as a profession in the Western world. This was due to various actions, particularly by women, to preprofessional the homemaking process. Elsie De Wolfe has been credited with the creation of the interior decorating p

40、rofession. Having successfully re-designed her own home, De Wolfe began offering her services to other people within her social circle. As people began offering interior decoration as a service the professionalization of this service gained momentum. This movement towards professionalization was rei

41、nforced by the publication of books on the subject. Publications include the book Suggestions for House Decoration in Painting, Woodwork and Furniture 1876 by Anges and Rhoda Garrett, Elsie De Wolfes The House in Good Taste 1913 and articles by Candice Wheeler such as Principles of Home Decoration w

42、ith Practical Examples 1903. Most of the books were published by women and clearly suggested the profession was within the womens domain, E.g. The two-part article Interior Decoration as a Profession for Women 1895, written by Candice Wheeler. As previously mentioned, before formal interior decorato

43、rs evolved the job was the concern of craftsmen or upholsterers. This means that many decorators at this time were dealers in the elements needed for interiors. This called into question the qualifications of the decorator and their standing as an independent adviser. This gave term interior decorat

44、or negative connotations for some, as a painter or curtain sales person can be a self-appointed decorator. Hence, the decorators favored term Interior Designer. Interior design has now developed past the point of decoration and the terms, although overlapping, are distinct. The most prominent develo

45、pment of the interior design profession was after World War II. From the 1950s on wards spending on the home increased. Interior design courses were established, requiring the publication of textbooks and reference sources. Historical accounts of interior designers and firms distinct from the decora

46、tive arts specialists were made available. While organization to regulate education, qualifications, standards and practices, etc. were established for the profession Interior design was previously seen as playing a secondary role to architecture. It also has many connections to other design discipl

47、ines, involving the work of architects, industrial designers, engineers, builders, craftsmen, etc. For these reasons the government of interior design standards and qualifications was often incorporated into other professional organizations that involved design. Organizations such as the Chartered S

48、ociety of Designers, established in the UK in 1986, and the American Designers Institute, founded in 1938, were established as organizations that governed various areas of design. It was not until later that specific representation for the interior design profession was developed. The US National So

49、ciety of Interior Designers was established in 1957, while in the UK the Interior Decorators and Designers Association was established in 1966. Across Europe, other organizations such as The Finnish Association of Interior Architects 1949 were being established and in 1994 the International Interior

50、 Design Association was founded Ellen Mazur Thomson, author of Origins of Graphic Design in America 1997, determined that professional status is achieved through education, self-imposed standards and professional gate-keeping organizations. Having achieved this, interior design became an accepted pr

51、ofession. There are various paths that one can take to become a professional interior designer. All of these paths involve some form of training. Working with a successful professional designer is an informal method of training and has previously been the most common method of education. Real-life e

52、xperience can gradually build skills that professional design work demands. Training through an institution such as a college, art or design school or university is a more formal route to professional practice. A formal education program, particularly one accredited by or developed with a profession

53、al organization of interior designers, can provide training that is associated meets a minimum standard of excellence and therefore gives a student an education of a high standard. Supervised practical experience in a design firm after formal training produces develops skills further and results in one being a highly skilled designe