毕业设计工业设计专业外文翻译 椅子发展史

椅子的发展史

——18世纪至19世纪20年代

18世纪晚期

直到十九世纪中期，大多的椅子都还是手工制作的，但是新的工业设计者已

经在尝试现代化的生产方式以确保快速生产出高质量、价格低廉适合大批量生产的家具。在这些人中最为成功的当属奥地利的制造商米切尔·托勒，他是曲木家具的开拓者。直到18世纪晚期，他的这种风格的椅子都是贵族与工厂工人购买

使用的首选。

第14号椅，1870

生产者：托勒，奥地利

被视为19世纪最为出色的工业产品，托勒的第十四号椅-也被称作“咖啡馆椅”-因其价廉、轻盈与力量感而饱受欢迎。托勒为创造一个能够适合大批量生产的第十四号椅模板努力了多年，最终在1859年获得了成功。之前的众多模板都是用片状木粘合在一起的，但是在1861年托勒成功的制造出了以螺钉为衔接方式的胶合板模板，非粘合的。托勒继续完善他的设计，随后在1867年，由六块弯木、十个螺钉和两个垫圈构成的咖啡馆椅被制造出来了。到1870年时，咖

啡馆椅作为托勒最便宜的模具仅被卖3奥地利弗罗林币。

第1号摇椅，1860

生产者：托勒，奥地利

中、上等阶层所鼓励的手工艺品运动兴起，将摇椅与其他纯朴的家具风格作为18世纪后期的一个全新的影响。除了其工业化思潮，托勒从手工艺设计的灵感运用于他的产品风格中去。托勒的公司在1860年生产出了第一款摇椅：第一号摇椅。销售起初很缓慢，但是第一号摇椅与后来的摇椅的欢迎度都在稳固上升，

到1913年，每售出的托勒的20把椅子中都有一个摇椅。

第9号书桌椅，1905

生产者：托勒，奥地利

第9号书桌椅或称维也纳椅被托勒改良成为一款舒适便宜的椅子在1902年上市销售。当勒·柯布西耶选择维也纳椅作为1925年巴黎世界博览会新精神馆布置时，它达到了颠覆性的地位。柯布西耶是这样阐释他的选择的：“我们相信它作为在使用中的百万分之一的椅子是一个高贵的东西。”出席巴黎世界博览会的世界各地建筑界人群以及柯布西耶的精神馆是最受赞赏的部分。

19世纪早期

十九世纪早期是一个持续性的椅子设计试验阶段。创新性的设计者和建筑界

人士们，如苏格兰的查尔斯·麦金托什和奥地利的科罗曼·穆塞尔与约瑟夫·霍夫曼，力图将还未成熟的现代主义运动所喜爱的几何形态与单色形式运用到家具和家居产品中去。他们的椅子由手工制作小批量产出，大多被富有的波西米亚人所购买，还有就是偶然性的被像是苏格兰茶店和维也纳咖啡馆等的公共场所的委

员们购买。

英格拉姆大街的茶房的高背椅，1900

设计者：查尔斯·麦金托什

在最早的也是在英国设计中最高雄辩指数的是苏格兰建筑师与设计师查尔斯·麦金托什（1868-1928）。通过掌握具有纯净日本审美的传统凯尔特技术，麦金托什在新艺术的尖端确定了一种有特色的、高度提炼后的设计风格，由此产生了工艺美术运动与欧洲中心分离派。他最长久的客户之一是克莱斯顿小姐，她在苏格兰西南部拥有连锁的茶店，要求麦金托什进行设计。他设计了这个高背椅僵直的几何形式，用以与英格拉姆大街的茶房中女士们午宴环境中白色的墙形成强

烈对比。

普克斯多夫疗养院扶手椅，1902

山毛榉，柳条

设计者：科罗曼·穆塞尔

作为一个制图与家具的设计者，科罗曼·穆塞尔（1868-1918）特别喜爱的几何主题与单色形式作为维也纳工坊的代表，他与设计师约瑟夫·霍夫曼与1903年在维也纳创立了这个具有影响力的工坊。这个扶手椅被19世纪早期的奥地利人们认为具有疯狂的风格，作为麦金托什的尖角家具被他的苏格兰同事们认定是为霍夫曼设计建造的普克斯多夫疗养院设计的。在疗养院里，穆塞尔的扶手椅被

成对的安排在别致的八角桌子周围。

蝙蝠歌厅椅，1905-1906

山毛榉

设计者：约瑟尔·霍夫曼

在1902年去英国游览进行研究工艺美术运动的过程中，约瑟尔·霍夫曼（1870-1956）待苏格兰的设计师麦金托什如友，并且被他的大胆、几何形式的家具风格所吸引。麦金托什的影响显然迅速地在精细的结构以及霍夫曼为维也纳的蝙蝠歌厅设计的山毛榉椅子的清晰线条中体现出来。霍夫曼以“一件艺术品”的态度设计了他拥有的酒店的每一要素。一个时间的批评家描述它说：“完美——比例，明快的气氛，欢快流畅的线条，雅致明亮的部件，舒服的新形态，还有

最终的，高雅的整体性。诚恳的霍夫曼。”

19世纪20年代

第一次世界大战之后，进步性的设计人士利用新人工材料的出现以及制造家

具运用在“机械时代”美学上的如冰川美艳般的生产技术。那十年设计被种族所束缚设计了第一款悬臂椅，最终被荷兰设计师马特·斯坦赢得，同时经过德国的马歇·布劳耶与米斯·凡德罗的钢管实验，以及柯布西耶，巴黎的皮埃尔?让纳

雷和夏洛特·贝里安。

红蓝椅，1918-1921

山毛榉，夹板

设计者：吉瑞特·托马斯·里特维尔德

一时间，当家具的单色调色法被设计者如苏格兰的查尔斯·麦金托什以及奥地利的约瑟夫·霍夫曼被认为具有惊人的创新能力，最初的红蓝椅介绍是在1921年被荷兰设计师吉瑞特·托马斯·里特维尔德（1888-1964）所提出的。以空间中的线与面构思的抽象性作品，这个椅子是里特维尔德的三维视觉化对于蒙德里安画的体现，蒙德里安是风格派运动的代表者。里特维尔德计划将椅子用于批量化生产，椅子是由标准长度的木头制成的，要求的构造性技巧很少。起初是由天

然木材制成的，1921年的时候被里特维尔德以明亮的色彩漆绘。

B3（瓦西里）休闲椅，1925

镀铬钢，皮革

设计者：马歇·布劳耶

被设计一款像福特汽车工厂规模一样的椅子的挑战所困扰，马歇·布劳耶（1902-1981）作为包豪斯木匠业工作室的领导者致力于两个目标。一个是以同样的钢管风格发展家具像他在德绍骑的阿德勒自行车。另外一个是设计一款悬臂椅，或者由单一底座支撑。他的实验生产出了有棱角的B3椅，他以他的教师同僚瓦西里·康定斯基的名字爱称椅子为“瓦西里”。不幸的是，荷兰的艺术家马特·斯坦（1899-1986）在布劳耶之前于1926完成了他第一个悬臂椅——第s33

号气管椅。

第B33号模型，1927-1928

镀铬钢管，皮革

设计者：马歇·布劳耶

当马歇·布劳耶的B33椅在19世纪20年代末期上市的时候，这样一个修长的没有传统腿或臂的奇特的椅子是那么的不平常，以至于很多人都不敢坐在上面。B33对布劳耶来说是一个苦乐掺半的产品。他开始设计的时候就已经知道了他已经丢失了设计第一款悬臂椅-拥有唯一支撑-因为荷兰艺术家马特·斯坦已经

在1926年末完成了他的MS33椅的设计。布劳耶的椅子设计在比例、细节和结构

上是出众的，不是最低限度的因为它是由无钢筋结构的管状钢制成，更有弹性也

更加舒适。

MR10,1927

镀铬钢管，皮革

设计者：米斯·凡德罗，莉莉·瑞克

纵观19世纪20年代的德国艺术家米斯·凡德罗（1886-1969）与国内设计师莉莉·瑞克（1885-1947）合作，在他的建筑学科的家具发展中有所建树。在19世纪20年代中期以前，像其他进步性的设计师一样，他们都着迷于管状的金属。米斯和瑞克都被他们看到的不具有中产阶级装潢色彩的现代极致特色的悬臂椅所吸引。到1927年，他们已经完成了纺织椅MR10和藤条椅MR20。这两款椅

子都在现代主义代表性的1927年在斯图加特的白院聚落模具椅子展览上展出。B32,1928

镀铬钢管，木材，藤条

设计者：马歇·布劳耶

最优雅与坚定的悬臂椅开创者在19世纪20年代末期被生产出来，它就是

B32，设计者是米斯·凡德罗（1902-1981）。通过增加木质坚硬的框架在座位与椅背，他根除了为交错幅面增加额外支撑的需求，隐藏了管状结构保留了轻质的、文雅的结构。它的轻质与现代感通过精致的管状金属结构、温暖的木质框架以及

半透明的藤条椅背和座椅表现出来材质和色彩的对比。

第LC2号福尔豪华酒吧椅，1928

镀铬弯曲钢管，皮革

设计者：勒·柯布西耶，皮埃尔·让纳雷，夏洛特·贝里安

当24岁的家居设计者夏洛特·贝里安（1903-1999）求职在巴黎塞夫尔大街35号勒·柯布西耶的工作室，他回复说：“我们这里不要绣花垫子。”几个月之后，在他的堂兄妹皮埃尔·让纳利用玻璃、钢铁和内部的铝为她的酒吧的设计品参加了一项展览之后，他为他之前的态度道歉。直到后来柯布西耶以奥地利索耐特的弯木椅子和伦敦的枫的酒吧椅完成了他的住宅项目和展览设置。皮埃尔的到来为他的工作室在家具上从工业材料方向向有棱角的现代运动方向发展。起初为巴黎的罗斯德贝洛奇园以及1929年的秋季艺术沙龙设计的，福尔豪华酒吧椅是

从勒·柯布西耶最喜欢的枫酒吧椅。

第B306号躺椅，1928

镀铬弯曲钢管，皮革

设计者：勒·柯布西耶，皮埃尔·让纳雷，夏洛特·贝里安

柯布西耶创立的夏洛特·贝里安派别的第一个产品被设计成为系列以供应他在巴黎设计的罗斯德贝洛奇园。他要求三种类型的椅子：一个“为了交谈”，一

个“为了休闲”还有一个“为了休息”。第一个是B301活动靠背椅，第二个是福

尔豪华酒吧椅，第三个是B306躺椅。被法国18世纪坐卧两用椅的优美线条所启发，福尔豪华酒吧椅将实用性的钢管与马驹皮结合在一起。“我想到了狂野西部中抽着烟袋的牛仔男孩，脚在空中挥舞高于他的头部，倚在烟囱架上：完全的放松。”柯布西耶回复道。夏洛特·贝里安为B306宣传剪短了头发，穿着大胆的短

裙和一个工业轴承球的项链。

第B302号环状椅，1928-1929

镀铬弯曲钢管，皮革

设计者：勒·柯布西耶，皮埃尔·让纳雷，夏洛特·贝里安

由一个简单的咖啡椅得来的启发，这个环状椅被设计用作一个书桌或晚餐桌子。在勒·柯布西耶的监督下，夏洛特·贝里安利用装饰性的豪华皮革装饰底座和后背，转变了其功利性的形式。她想象后背是一个“像汽车轮胎一样”可以依靠的舒服的垫子。和柯布西耶、让纳雷一起工作为她自己灌输了一条严格的规则。“最小的铅笔敲打需要一个点，”她稍后补充道，“为了满足一个需求，或者回应一个姿态，为了达到大规模生产。”贝里安试图去说服法国厂商标志适应在他们的家具中使用自行车钢架中的钢管结构。当标志衰退的时候，她成功的说服了柯布西耶最喜欢的弯木椅的厂商索耐特，为秋季艺术沙龙制造了所有的家具，包括

这个环状椅。

第MR90号，巴塞罗那椅，1929

镀铬平面钢管，皮革

设计者：米斯·凡德罗，莉莉·瑞克

在米斯设计的椅子中，与国内的设计者莉莉合作的巴塞罗那椅是最为优雅与宏伟的。设计于1929年，它是最具有识别性的20世纪早期椅子，它同时也是公共场所中一个常见的场景。这个椅子作为米斯公会所设计的内容，被挑选为1929年巴塞罗那国际展德国馆的陈设。当德国馆被当做官方的公共仪式场所，米斯决定了椅子的样式为宝座样式的象牙椅，一种被罗马法官所用的古老的椅子。

来源：

https://www.wendangku.net/doc/6f9333745.html,/exhibitions/online/a-century-of-chairs/late-1800s

LATE1800s

Until the mid-19th century,most chairs were made by hand,but the new industrialists were experimenting with modern production techniques to manufacture high quality furniture swiftly and cheaply in large quantities.Among the most successful was the Austrian manufacturer Michael Thonet,who pioneered the mass-production of bentwood furniture.By the late1800s,his simply styled chairs had become the first to be used by both aristocrats and factory workers.

Chairs in production at the Thonet factory

Side Chair No.14,1870

Production:Thonet,Austria

Regarded as the most successful industrial product of the19th century,the Thonet Chair No.14–nicknamed the‘Consumer Chair’–owed its popularity to cheapness,lightness and strength.Thonet struggled for years to produce a version of No.14which would be suitable for mass-production and succeeded in1859.Early versions were glued together from laminated wood but,by1861Thonet succeeded in making the chair in solid wood with screws,not glue. Thonet continued to improve the design and,by1867,the Consumer Chair could be made from six pieces of bentwood,ten screws and two washers.By1870the Consumer Chair was Thonet’s cheapest model selling for3Austrian florins.

Side Chair No.14,1870

Bent,solid and laminated beech,woven cane

Production:Thonet,Austria

Rocking Chair No.1,1860

Production:Thonet,Austria

The popularity of the Arts and Crafts movement encouraged the middle and upper classes to regard rocking chairs and other rustic styles of furniture with a new affection during the late1800s.Despite its industrial ethos,Thonet drew inspiration from Arts and Crafts design in the styling of its products.The company developed its first rocking chair,the Rocking Chair No.1,in1860.Sales were slow at first,but Rocking Chair No.1and subsequent rockers steadily gained popularity and by1913,one in every twenty chairs sold by Thonet was a rocking chair.

Rocking Chair No.1

Bent,solid and laminated beech,woven cane

Production:Thonet,Austria

Desk Chair No.9,c.1905

Production:Thonet,Austria

Developed by Thonet as a comfortable,inexpensive desk chair,the No.9–or Vienna Chair –went on sale in1902.It attained iconic status when the architect Le Corbusier chose it to furnish his Pavilion de l’Esprit Nouveau(the Pavilion of the New Spirit)at the1925 Exposition Internationale des Arts Décoratifs in Paris.Le Corbusier justified his choice by explaining:“We believe that this chair,millions of which are in use…is a noble thing.”Architects flocked to Paris for the1925Exposition from all over the world and Le Corbusier’s pavilion was one of the most admired installations.

Chair No.9

Bent,solid and laminated beech,woven cane

Production:Thonet,Austria

EARLY1900s

The early1900s was a period of continued experimentation in chair design.Innovative designers and architects,such as Charles Rennie Mackintosh in Scotland and Koloman Moser and Josef Hoffmann in Austria,strove to apply the geometric forms and monochrome palette favoured by the fledgeling modern movement to furniture and domestic objects.Made by hand in small quantities,their chairs were mostly bought by wealthy bohemians,except for occasional special commissions for public buildings such as Glasgow tea rooms and Viennese

coffee houses.

Charles Rennie Mackintosh's design of the studio drawing-room in his house at78South Park Terrace,Glasgow,1902

High-backed chair for the Ingram Street Tea Rooms,1900

Oak

Design:Charles Rennie Mackintosh

Among the earliest and most eloquent exponents of a modern spirit in British design was the Scottish architect and designer Charles Rennie Mackintosh(1868-1928).By fusing the influence of traditional Celtic craftsmanship with the purity of Japanese aesthetics, Mackintosh defined a distinctive and highly refined design style on the cusp of Art Nouveau, the Arts and Crafts Movement and central European Secessionism.One of his most enduring clients was Miss Cranston,who owned a chain of tea rooms in Glasgow and asked Mackintosh to design them.He designed the stark,geometric form of this high-backed chair to contrast boldly with the white walls of the ladies’luncheon room in the Ingram Street tea room.

High-backed chair for the Ingram Street Tea Rooms,1900

Design:Charles Rennie Mackintosh

Reissue:Cassina,Italy

Armchair for the Purkersdorf Sanatorium,1902

Beech,wicker

Design:Koloman Moser

As a designer of both graphics and furniture,Koloman Moser(1868-1918)favoured the geometric motifs and monochrome palette which were to typify the work of the Wiener Werkst 鋞te,the influential craft workshops that he founded in Vienna with the architect Josef Hoffmann in1903.This armchair,which was considered as audacious in style by the Austrians of the early1900s as Charles Rennie Mackintosh’s angular furniture was by his fellow Scots, was originally designed for use in the foyer of the Purkersdorf Sanatorium of which Hoffmann was the architect.At the sanatorium,Moser’s armchairs were arranged in pairs around

elegant octagonal tables.

Armchair for the Purkersdorf Sanatorium,1902

Design:Koloman Moser

Reissue:Wittmann,Austria

Cabaret Fledermaus Chair,1905-1906

Beech

Design:Josef Hoffmann

On a visit to England to research the Arts and Crafts Movement in1902,Josef Hoffmann (1870-1956)befriended the Scottish architect Charles Rennie Mackintosh and was impressed by the bold,geometric style of his furniture.Mackintosh’s influence is readily apparent in the fine structure and clean lines of this beech chair that Hoffmann designed for the Cabaret Fledermaus in Vienna.Hoffmann designed every element of the cabaret which he conceived as“a total work of art”.A critic of the time described it as being:“wonderful –the proportions,the light atmosphere,cheerful flowing lines,elegant light fixtures, comfortable chairs of new shape and,finally,the whole tasteful ensemble.Genuine

Hoffmann.”

Cabaret Fledermaus Chair,1905-1906

Design:Josef Hoffmann

Reissue:Wittmann,Austria

1920s

After World War I,progressive designers could take advantage of the emergence of new man-made materials and production techniques to create furniture in the glacially glamorous aesthetic of the"machine age".The decade was dominated by the race to design the first cantilevered chair,eventually won by the Dutch architect Mart Stam,and by the experiments in tubular steel of Marcel Breuer and Mies van der Rohe in Germany,and Le Corbusier,Charlotte Perriand

and Charlotte Perriand in Paris.

Charlotte Perriand with(left to right)Edouard Jeanneret and Le Corbusier at Le Corbusier’s architectural studio

on rue de Sevres,Paris,late1920s

Red/Blue Chair,1918-1921

Beech,plywood

Design:Gerrit Thomas Rietveld

At a time when the monochrome palette of furniture designers such as Charles Rennie Mackintosh in Scotland and Josef Hoffmann in Austria was considered to be startlingly innovative,the introduction of the primary coloured Red/Blue Chair in1921by the Dutch architect Gerrit Thomas Rietveld(1888-1964)caused a sensation.Conceived as an abstract composition of surfaces and lines in space,this chair is Rietveld’s three-dimensional vision of the minimalist paintings of Piet Mondrian,a fellow member of the De Stijl movement.Rietveld intended the chair for mass-production and it is made from standard lengths of wood,which

require little skill to construct.Originally finished in natural wood,it was painted in

then-radical bright by Rietveld in1921.

Red/Blue Chair,1918-1921

Beech,plywood

Design:Gerrit Thomas Rietveld

Reissue:Cassina,Italy

B3(Wassily)chair,1925

Chromium-plated steel,leather

Design:Marcel Breuer

Obsessed by the challenge of designing a chair to be built in a factory like a Model T Ford car,Marcel Breuer(1902-1981)concentrated on two goals as head of the Bauhaus carpentry workshop.One was to develop furniture from the same tubular steel as the Adler bicycle which he rode around Dessau.The other was to design a cantilever chair,or one supported by a single base.His experiments produced the angular B3chair,which he nicknamed the

‘Wassily’after his colleague tutor Wassily Kandinsky.Unfortunately for Breuer,the Dutch architect Mart Stam(1899-1986)completed the first cantilever chair before him by making

the1926Model No.S33from gas pipes.

B3(Wassily)chair,1925

Chromium-plated steel,leather

Design:Marcel Breuer

Reissue:Knoll International,US

Model No.B33,1927-1928

Chrome-plated tubular steel,leather

Design:Marcel Breuer

When Marcel Breuer’s B33chair went on sale in the late1920s,the spectacle of such a slender chair without conventional legs or arms was so unusual that many people were frightened to sit on it.The B33was a bittersweet project for Breuer(1902-1981).He started work on it knowing that he had lost the race to develop the first cantilevered chair–one with a single support–to the Dutch architect Mart Stam(1889-1996),who had completed the design of his MS33side chair in late1926.The design of Breuer’s chair was superior in proportion, detailing and structure,not least because it was made from non-reinforced tubular steel which was more resilient and more comfortable.

Model No.B33,1927-1928

Chromium-plated tubular steel,leather

Design:Marcel Breuer

Production:Gebrüder Thonet,Austria

MR10,1927

Chromium-plated steel,leather

Design:Mies van der Rohe,Lilly Reich

Throughout the1920s the German architect Mies van der Rohe(1886-1969)collaborated with the interior designer Lilly Reich(1885-1947)on the development of furniture for his architectural projects.By the mid-1920s they,like other progressive designers,were fascinated by the possibilities of tubular metal.Mies and Reich were intrigued by the cantilever chair,which they saw as the acme of modernity offering the comfort of a conventional armchair without the bourgeois associations of upholstery.By1927,they had developed the textile-seated MR10and cane-seated MR20.Both chairs were exhibited at the 1927Die Wohnung exhibition of modern living at the Weissenhof Settlement in Stuttgart.

MR10,1927

Chromium-plated steel,leather

Design:Mies van der Rohe,Lilly Reich

Reissue:Knoll International,US

B32,1928

Chromium-plated steel,wood,cane

Design:Marcel Breuer

The most refined and resolved of the pioneering cantilevered chairs produced in the late 1920s is the B32,designed by Marcel Breuer(1902-1981).By adding a robust wooden frame to the seat and back,he eradicated the need for the additional support of cross-pieces and hidden tubes to leave a light,elegant structure.Its lightness and modernity were enhanced by the textural and colour contrast of the polished steel tubing,warm wooden frames and translucent cane of the back and seat.Breuer then developed an armchair version of the B32 in the equally radical B64in which he positioned the arms to float gracefully above the

seat frame.

B32chair,1928

Chromium-plated steel,wood,cane

Design:Marcel Breuer

Reissue:Knoll International,US

Grand Confort Model No.LC2Club Chair,1928

Chromed bent tubular steel,leather

Design:Le Corbusier,Pierre Jeanneret,Charlotte Perriand

When the24year-old furniture designer Charlotte Perriand(1903-1999)asked for a job at Le Corbusier's(1887-1965)studio at35rue de Sèvres in Paris,he replied:“We don’t embroider cushions here.”A few months later he apologised after being taken by his cousin

Pierre Jeanneret(1896-1967)to see the glass,steel and aluminium interior that Perriand had designed for her Bar sous le To顃installation in an exhibition.Until then Le Corbusier had furnished his residential projects and exhibition sets with the bentwood chairs manufactured by Thonet in Austria and club chairs from Maples in London.Perriand’s arrival offered an opportunity for his studio to develop furniture in the angular forms of the modern movement from industrial materials.Originally designed for Maison La Roche in Paris and exhibited at the Salon d’Automne in1929,the Grand Confort was inspired by Le Corbusier’s

favourite Maples club chair.

Grand Confort,Model No.LC2club chair,1928

Chromed bent tubular steel,leather

Design:Le Corbusier,Pierre Jeanneret,Charlotte Perriand

Production:Thonet Frères,Austria

Reissue:Cassina,Italy

Chaise Longue Model No.B306,1928

Chromed bent tubular steel,leather

Design:Le Corbusier,Pierre Jeanneret,Charlotte Perriand

The first project assigned to Charlotte Perriand(1903-1999)by Le Corbusier(1887-1965) was to design a series of chairs to furnish Maison La Roche,a house he was designing in Paris.He asked for three types of chair:one“for conversation”,another“for relaxation”and a third“for sleeping”.The first was the B301slingback chair,the second the Grand Confort club chair and the third the B306chaise longue.Inspired by the graceful curves of18th century French daybeds,the chaise longue combined the utility of tubular steel with the decadence of ponyskin and leather.“I thought of the cowboy from the Wild West smoking his pipe,feet in the air higher than his head,against the chimney-piece: complete rest,”recalled Le Corbusier.Charlotte Perriand posed for the publicity shots of the B306with bobbed hair,a daringly short skirt and a necklace of industrial ball

bearings.

Charlotte Perriand on the B306Chaise Longue,1928

Chromed bent tubular steel,leather

Design:Charlotte Perriand,Le Corbusier,Edouard Jeanneret

Production:Thonet Freres,Austria

Reissue:Cassina,Italy

Model No.B302swivel chair,1928-1929

Chromed bent tubular steel,leather

Design:Le Corbusier,Pierre Jeanneret,Charlotte Perriand

Inspired by a simple office chair,this swivel chair was designed for use at a desk or dining table.Under Le Corbusier’s(1887-1965)supervision,Charlotte Periand(1903-1999) transformed the utilitarian form by upholstering the seat and back in luxurious leather. She envisaged the back as providing a solid comfortable cushion to rest against“like automobile tyres”.Working with Le Corbusier and Pierre Jeanneret(1896-1967)instilled a strict discipline in Perriand.“The smallest pencil stroke had to have a point,”she later recalled,“to fulfil a need,or respond to a gesture or posture,and to be achieved at mass-production prices.”Perriand tried to persuade the French manufacturer Peugeot to adapt the tubular steel used in its bicycle frames for their furniture.When Peugeot declined, she successfully persuaded Thonet,the manufacturer of Le Corbusier’s favourite bentwood chairs,to make all the furniture,including this swivel chair,for the Salon d’Automne.

Model No.B302swivel chair,1928-1929

Chromed bent tubular steel,leather

Design:Le Corbusier,Pierre Jeanneret,Charlotte Perriand

Production:Thonet Frères,Austria

Reissue:Cassina,Italy

Barcelona Chair,Model No.MR90,1929

Chromed flat steel,leather

Design:Mies van der Rohe,Lilly Reich

Among the most elegant and imposing of the chairs designed by Mies van der Rohe(1886-1969) in collaboration with the interior designer Lilly Reich(1885-1947)is the opulent Barcelona Chair.Designed in1929,it is one of the most recognizable early20th century chairs and is still a familiar sight in corporate foyers.The chair was developed for the German Pavilion at the1929International Exhibition in Barcelona as part of Mies’commission to design the pavilion and its contents.As the German Pavilion was to be the setting for the official opening ceremony,Mies decided upon a throne-like form for the chairs and modeled them on the sella curulis,an ancient stool used by Roman magistrates.

Barcelona Chair,Model No.MR90,1929

Chromed flat steel,leather

Design:Mies van der Rohe,Lilly Reich

Reissue:Knoll International,US

毕业设计外文翻译资料

外文出处： 《Exploiting Software How to Break Code》By Greg Hoglund, Gary McGraw Publisher : Addison Wesley Pub Date : February 17, 2004 ISBN : 0-201-78695-8 译文标题： JDBC接口技术 译文： JDBC是一种可用于执行SQL语句的JavaAPI（ApplicationProgrammingInterface应用程序设计接口）。它由一些Java语言编写的类和界面组成。JDBC为数据库应用开发人员、数据库前台工具开发人员提供了一种标准的应用程序设计接口，使开发人员可以用纯Java语言编写完整的数据库应用程序。 一、ODBC到JDBC的发展历程 说到JDBC，很容易让人联想到另一个十分熟悉的字眼“ODBC”。它们之间有没有联系呢？如果有，那么它们之间又是怎样的关系呢？ ODBC是OpenDatabaseConnectivity的英文简写。它是一种用来在相关或不相关的数据库管理系统（DBMS）中存取数据的，用C语言实现的，标准应用程序数据接口。通过ODBCAPI，应用程序可以存取保存在多种不同数据库管理系统（DBMS）中的数据，而不论每个DBMS使用了何种数据存储格式和编程接口。 1．ODBC的结构模型 ODBC的结构包括四个主要部分：应用程序接口、驱动器管理器、数据库驱动器和数据源。应用程序接口：屏蔽不同的ODBC数据库驱动器之间函数调用的差别，为用户提供统一的SQL编程接口。 驱动器管理器：为应用程序装载数据库驱动器。 数据库驱动器：实现ODBC的函数调用，提供对特定数据源的SQL请求。如果需要，数据库驱动器将修改应用程序的请求，使得请求符合相关的DBMS所支持的文法。 数据源：由用户想要存取的数据以及与它相关的操作系统、DBMS和用于访问DBMS的网络平台组成。 虽然ODBC驱动器管理器的主要目的是加载数据库驱动器，以便ODBC函数调用，但是数据库驱动器本身也执行ODBC函数调用，并与数据库相互配合。因此当应用系统发出调用与数据源进行连接时，数据库驱动器能管理通信协议。当建立起与数据源的连接时，数据库驱动器便能处理应用系统向DBMS发出的请求，对分析或发自数据源的设计进行必要的翻译，并将结果返回给应用系统。 2．JDBC的诞生 自从Java语言于1995年5月正式公布以来，Java风靡全球。出现大量的用java语言编写的程序，其中也包括数据库应用程序。由于没有一个Java语言的API，编程人员不得不在Java程序中加入C语言的ODBC函数调用。这就使很多Java的优秀特性无法充分发挥，比如平台无关性、面向对象特性等。随着越来越多的编程人员对Java语言的日益喜爱，越来越多的公司在Java程序开发上投入的精力日益增加，对java语言接口的访问数据库的API 的要求越来越强烈。也由于ODBC的有其不足之处，比如它并不容易使用，没有面向对象的特性等等，SUN公司决定开发一Java语言为接口的数据库应用程序开发接口。在JDK1．x 版本中，JDBC只是一个可选部件，到了JDK1．1公布时，SQL类包（也就是JDBCAPI）

工业设计专业英语英文翻译

工业设计原著选读 优秀的产品设计 第一个拨号电话1897年由卡罗耳Gantz 第一个拨号电话在1897年被自动电器公司引入，成立于1891年布朗强，一名勘萨斯州承担者。在1889年，相信铃声“中央交换”将转移来电给竞争对手，强发明了被拨号系统控制的自动交换机系统。这个系统在1892年第一次在拉波特完成史端乔系统中被安装。1897年，强的模型电话，然而模型扶轮拨条的位置没有类似于轮齿约170度,以及边缘拨阀瓣。电话，当然是被亚历山大格雷厄姆贝尔（1847—1922）在1876年发明的。第一个商业交换始建于1878（12个使用者），在1879年，多交换机系统由工程师勒罗伊B 菲尔曼发明,使电话取得商业成功,用户在1890年达到250000。 直到1894年，贝尔原批专利过期，贝尔电话公司在市场上有一个虚拟的垄断。他们已经成功侵权投诉反对至少600竞争者。该公司曾在1896年，刚刚在中央交易所推出了电源的“普通电池”制度。在那之前，一个人有手摇电话以提供足够的电力呼叫。一个连接可能仍然只能在给予该人的名义下提出要求达到一个电话接线员。这是强改变的原因。 强很快成为贝尔的强大竞争者。他在1901年引进了一个桌面拨号模型，这个模型在设计方面比贝尔的模型更加清晰。在1902年，他引进了一个带有磁盘拨号的墙面电话，这次与实际指孔，仍然只有170度左右在磁盘周围。到1905年，一个“长距离”手指孔已经被增加了。最后一个强的知名模型是在1907年。强的专利大概过期于1914年，之后他或他的公司再也没有听到过。直到1919年贝尔引进了拨号系统。当他们这样做，在拨号盘的周围手指孔被充分扩展了。 强发明的拨号系统直到1922年进入像纽约一样的大城市才成为主流。但是一旦作为规规范被确立，直到70年代它仍然是主要的电话技术。后按键式拨号在1963年被推出之后，强发明的最初的手指拨号系统作为“旋转的拨号系统”而知名。这是强怎样“让你的手指拨号”的。 埃姆斯椅LCW和DCW 1947 这些带有复合曲线座位，靠背和橡胶防震装置的成型胶合板椅是由查尔斯埃姆斯设计，在赫曼米勒家具公司生产的。 这个原始的概念是被查尔斯埃姆斯（1907—1978）和埃罗沙里宁（1910—1961）在1940年合作构想出来的。在1937年，埃姆斯成为克兰布鲁克学院实验设计部门的领头人，和沙里宁一起工作调查材料和家具。在这些努力下，埃姆斯发明了分成薄片和成型胶合板夹板，被称作埃姆斯夹板，在1941年收到了来自美国海军5000人的订单。查尔斯和他的妻子雷在他们威尼斯，钙的工作室及工厂和埃文斯产品公司的生产厂家一起生产了这批订单。 在1941年现代艺术博物馆，艾略特诺伊斯组织了一场比赛用以发现对现代生活富有想象力的设计师。奖项颁发给了埃姆斯和沙里宁他们的椅子和存储碎片，由包括埃德加考夫曼，大都会艺术博物馆的阿尔弗雷德，艾略特诺伊斯，马尔塞布鲁尔，弗兰克帕里什和建筑师爱德华达雷尔斯通的陪审团裁决。 这些椅子在1946年的现代艺术展览博物馆被展出，查尔斯埃姆斯设计的新的家具。当时，椅子只有三条腿，稳定性问题气馁了大规模生产。 早期的LCW（低木椅）和DWC（就餐木椅）设计有四条木腿在1946年第一次被埃文斯产品公司（埃姆斯的战时雇主）生产出来，被赫曼米勒家具公司分配。这些工具1946年被乔治纳尔逊为赫曼米勒购买，在1949年接手制造权。后来金属脚的愿景在1951年制作，包括LCW（低金属椅）和DWC（就餐金属椅）模型。配套的餐饮和咖啡桌也产生。这条线一直

毕业设计外文翻译附原文

外文翻译 专业机械设计制造及其自动化学生姓名刘链柱 班级机制111 学号1110101102 指导教师葛友华

外文资料名称： Design and performance evaluation of vacuum cleaners using cyclone technology 外文资料出处：Korean J. Chem. Eng., 23(6), (用外文写) 925-930 (2006) 附件： 1.外文资料翻译译文 2.外文原文

应用旋风技术真空吸尘器的设计和性能介绍 吉尔泰金，洪城铱昌，宰瑾李， 刘链柱译 摘要：旋风型分离器技术用于真空吸尘器 - 轴向进流旋风和切向进气道流旋风有效地收集粉尘和降低压力降已被实验研究。优化设计等因素作为集尘效率，压降，并切成尺寸被粒度对应于分级收集的50％的效率进行了研究。颗粒切成大小降低入口面积，体直径，减小涡取景器直径的旋风。切向入口的双流量气旋具有良好的性能考虑的350毫米汞柱的低压降和为1.5μm的质量中位直径在1米3的流量的截止尺寸。一使用切向入口的双流量旋风吸尘器示出了势是一种有效的方法，用于收集在家庭中产生的粉尘。 摘要及关键词：吸尘器; 粉尘; 旋风分离器 引言 我们这个时代的很大一部分都花在了房子，工作场所，或其他建筑，因此，室内空间应该是既舒适情绪和卫生。但室内空气中含有超过室外空气因气密性的二次污染物，毒物，食品气味。这是通过使用产生在建筑中的新材料和设备。真空吸尘器为代表的家电去除有害物质从地板到地毯所用的商用真空吸尘器房子由纸过滤，预过滤器和排气过滤器通过洁净的空气排放到大气中。虽然真空吸尘器是方便在使用中，吸入压力下降说唱空转成比例地清洗的时间，以及纸过滤器也应定期更换，由于压力下降，气味和细菌通过纸过滤器内的残留粉尘。 图1示出了大气气溶胶的粒度分布通常是双峰形，在粗颗粒（>2.0微米）模式为主要的外部来源，如风吹尘，海盐喷雾，火山，从工厂直接排放和车辆废气排放，以及那些在细颗粒模式包括燃烧或光化学反应。表1显示模式，典型的大气航空的直径和质量浓度溶胶被许多研究者测量。精细模式在0.18?0.36 在5.7到25微米尺寸范围微米尺寸范围。质量浓度为2?205微克，可直接在大气气溶胶和 3.85至36.3μg/m3柴油气溶胶。

软件开发概念和设计方法大学毕业论文外文文献翻译及原文

毕业设计（论文）外文文献翻译 文献、资料中文题目：软件开发概念和设计方法文献、资料英文题目： 文献、资料来源： 文献、资料发表（出版）日期： 院（部）： 专业： 班级： 姓名： 学号： 指导教师： 翻译日期： 2017.02.14

外文资料原文 Software Development Concepts and Design Methodologies During the 1960s, ma inframes and higher level programming languages were applied to man y problems including human resource s yste ms,reservation s yste ms, and manufacturing s yste ms. Computers and software were seen as the cure all for man y bu siness issues were some times applied blindly. S yste ms sometimes failed to solve the problem for which the y were designed for man y reasons including: ?Inability to sufficiently understand complex problems ?Not sufficiently taking into account end-u ser needs, the organizational environ ment, and performance tradeoffs ?Inability to accurately estimate development time and operational costs ?Lack of framework for consistent and regular customer communications At this time, the concept of structured programming, top-down design, stepwise refinement，and modularity e merged. Structured programming is still the most dominant approach to software engineering and is still evo lving. These failures led to the concept of "software engineering" based upon the idea that an engineering-like discipl ine could be applied to software design and develop ment. Software design is a process where the software designer applies techniques and principles to produce a conceptual model that de scribes and defines a solution to a problem. In the beginning, this des ign process has not been well structured and the model does not alwa ys accurately represent the problem of software development. However,design methodologies have been evolving to accommo date changes in technolog y coupled with our increased understanding of development processes. Whereas early desig n methods addressed specific aspects of the

工业设计外文翻译

Interaction design Moggridge Bill Interaction design，Page 1-15 USA Art Press, 2008 Interaction design (IxD) is the study of devices with which a user can interact, in particular computer users. The practice typically centers on "embedding information technology into the ambient social complexities of the physical world."[1] It can also apply to other types of non-electronic products and services, and even organizations. Interaction design defines the behavior (the "interaction") of an artifact or system in response to its users. Malcolm McCullough has written, "As a consequence of pervasive computing, interaction design is poised to become one of the main liberal arts of the twenty-first century." Certain basic principles of cognitive psychology provide grounding for interaction design. These include mental models, mapping, interface metaphors, and affordances. Many of these are laid out in Donald Norman's influential book The Psychology of Everyday Things. As technologies are often overly complex for their intended target audience, interaction design aims to minimize the learning curve and to increase accuracy and efficiency of a task without diminishing usefulness. The objective is to reduce frustration and increase user productivity and satisfaction. Interaction design attempts to improve the usability and experience of the product, by first researching and understanding certain users' needs and then designing to meet and exceed them. (Figuring out who needs to use it, and how those people would like to use it.) Only by involving users who will use a product or system on a regular basis will designers be able to properly tailor and maximize usability. Involving real users, designers gain the ability to better understand user goals and experiences. (see also: User-centered design) There are also positive side effects which include enhanced system capability awareness and user ownership. It is important that the user be aware of system capabilities from an early stage so that expectations regarding functionality are both realistic and properly understood. Also, users who have been active participants in a product's development are more likely to feel a sense of ownership, thus increasing overall satisfa. Instructional design is a goal-oriented, user-centric approach to creating training and education software or written materials. Interaction design and instructional design both rely on cognitive psychology theories to focus on how users will interact with software. They both take an in-depth approach to analyzing the user's needs and goals. A needs analysis is often performed in both disciplines. Both, approach the design from the user's perspective. Both, involve gathering feedback from users, and making revisions until the product or service has been found to be effective. (Summative / formative evaluations) In many ways, instructional

模具毕业设计外文翻译(英文+译文)

Injection Molding The basic concept of injection molding revolves around the ability of a thermoplastic material to be softened by heat and to harden when cooled .In most operations ,granular material (the plastic resin) is fed into one end of the cylinder (usually through a feeding device known as a hopper ),heated, and softened(plasticized or plasticized),forced out the other end of the cylinder, while it is still in the form of a melt, through a nozzle into a relatively cool mold held closed under pressure.Here,the melt cools and hardens until fully set-up. The mold is then opened, the piece ejected, and the sequence repeated. Thus, the significant elements of an injection molding machine become: 1) the way in which the melt is plasticized (softened) and forced into the mold (called the injection unit); 2) the system for opening the mold and closing it under pressure (called the clamping unit);3) the type of mold used;4) the machine controls. The part of an injection-molding machine, which converts a plastic material from a sold phase to homogeneous seni-liguid phase by raising its temperature .This unit maintains the material at a present temperature and force it through the injection unit nozzle into a mold .The plunger is a combination of the injection and plasticizing device in which a heating chamber is mounted between the plunger and mold. This chamber heats the plastic material by conduction .The plunger, on each stroke; pushes unbelted plastic material into the chamber, which in turn forces plastic melt at the front of the chamber out through the nozzle The part of an injection molding machine in which the mold is mounted, and which provides the motion and force to open and close the mold and to hold the mold close with force during injection .This unit can also provide other features necessary for the effective functioning of the molding operation .Moving

毕业设计外文翻译

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I / 11 本科毕业设计外文翻译 <2018届） 论文题目基于WEB 的J2EE 的信息系统的方法研究 作者姓名[单击此处输入姓名] 指导教师[单击此处输入姓名] 学科(专业 > 所在学院计算机科学与技术学院 提交日期[时间 ]

基于WEB的J2EE的信息系统的方法研究 摘要：本文介绍基于工程的Java开发框架背后的概念，并介绍它如何用于IT 工程开发。因为有许多相同设计和开发工作在不同的方式下重复，而且并不总是符合最佳实践，所以许多开发框架建立了。我们已经定义了共同关注的问题和应用模式，代表有效解决办法的工具。开发框架提供：<1）从用户界面到数据集成的应用程序开发堆栈；<2）一个架构，基本环境及他们的相关技术，这些技术用来使用其他一些框架。架构定义了一个开发方法，其目的是协助客户开发工程。 关键词：J2EE 框架WEB开发 一、引言 软件工具包用来进行复杂的空间动态系统的非线性分析越来越多地使用基于Web的网络平台，以实现他们的用户界面，科学分析，分布仿真结果和科学家之间的信息交流。对于许多应用系统基于Web访问的非线性分析模拟软件成为一个重要组成部分。网络硬件和软件方面的密集技术变革[1]提供了比过去更多的自由选择机会[2]。因此，WEB平台的合理选择和发展对整个地区的非线性分析及其众多的应用程序具有越来越重要的意义。现阶段的WEB发展的特点是出现了大量的开源框架。框架将Web开发提到一个更高的水平，使基本功能的重复使用成为可能和从而提高了开发的生产力。 在某些情况下，开源框架没有提供常见问题的一个解决方案。出于这个原因，开发在开源框架的基础上建立自己的工程发展框架。本文旨在描述是一个基于Java的框架，该框架利用了开源框架并有助于开发基于Web的应用。通过分析现有的开源框架，本文提出了新的架构，基本环境及他们用来提高和利用其他一些框架的相关技术。架构定义了自己开发方法，其目的是协助客户开发和事例工程。 应用程序设计应该关注在工程中的重复利用。即使有独特的功能要求，也

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DESIGN and ENVIRONMENT Product design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human. In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products. Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product. Product design includes factors of society ,economy, techology and leterae humaniores. Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface. Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.

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The mold designing and manufacturing The mold is the manufacturing industry important craft foundation, in our country, the mold manufacture belongs to the special purpose equipment manufacturing industry. China although very already starts to make the mold and the use mold, but long-term has not formed the industry. Straight stabs 0 centuries 80's later periods, the Chinese mold industry only then drives into the development speedway. Recent years, not only the state-owned mold enterprise had the very big development, the three investments enterprise, the villages and towns (individual) the mold enterprise's development also rapid quietly. Although the Chinese mold industrial development rapid, but compares with the demand, obviously falls short of demand, its main gap concentrates precisely to, large-scale, is complex, the long life mold domain. As a result of in aspect and so on mold precision, life, manufacture cycle and productivity, China and the international average horizontal and the developed country still had a bigger disparity, therefore, needed massively to import the mold every year . The Chinese mold industry must continue to sharpen the productivity, from now on will have emphatically to the profession internal structure adjustment and the state-of-art enhancement. The structure adjustment aspect, mainly is the enterprise structure to the specialized adjustment, the product structure to center the upscale mold development, to the import and export structure improvement, center the upscale automobile cover mold forming analysis and the structure improvement, the multi-purpose compound mold and the compound processing and the laser technology in the mold design manufacture application, the high-speed cutting, the super finishing and polished the technology, the information direction develops . The recent years, the mold profession structure adjustment and the organizational reform step enlarges, mainly displayed in, large-scale, precise, was complex, the long life, center the upscale mold and the mold standard letter development speed is higher than the common mold product; The plastic mold and the compression casting mold proportion increases; Specialized mold factory quantity and its productivity increase;

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理工学院毕业设计(论文)外文资料翻译 专业：热能与动力工程 姓名：赵海潮 学号：09L0504133 外文出处：Applied Acoustics, 2010(71):701~707 附件： 1.外文资料翻译译文；2.外文原文。

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本科毕业设计外文翻译

Section 3 Design philosophy, design method and earth pressures 3.1 Design philosophy 3.1.1 General The design of earth retaining structures requires consideration of the interaction between the ground and the structure. It requires the performance of two sets of calculations: 1）a set of equilibrium calculations to determine the overall proportions and the geometry of the structure necessary to achieve equilibrium under the relevant earth pressures and forces; 2）structural design calculations to determine the size and properties of thestructural sections necessary to resist the bending moments and shear forces determined from the equilibrium calculations. Both sets of calculations are carried out for specific design situations (see 3.2.2) in accordance with the principles of limit state design. The selected design situations should be sufficiently Severe and varied so as to encompass all reasonable conditions which can be foreseen during the period of construction and the life of the retaining wall. 3.1.2 Limit state design This code of practice adopts the philosophy of limit state design. This philosophy does not impose upon the designer any special requirements as to the manner in which the safety and stability of the retaining wall may be achieved, whether by overall factors of safety, or partial factors of safety, or by other measures. Limit states (see 1.3.13) are classified into: a) ultimate limit states (see 3.1.3); b) serviceability limit states (see 3.1.4). Typical ultimate limit states are depicted in figure 3. Rupture states which are reached before collapse occurs are, for simplicity, also classified and