工业设计英语最新学习 - Powered by Discuz!NT Archiver

Rubbishpets - 2007-5-12 21:43:00

设计的分类与方法学（英语）
1 设计 Design
2 现代设计 Modern Design
3 工艺美术设计 Craft Design
4 工业设计 Industrial Design
5 广义工业设计 Genealized Industrial Design
6 狭义工业设计 Narrow Industrial Design
7 产品设计 Product Design
8 传播设计 Communication Design
8 环境设计 Environmental Design
9 商业设计 Comercial Design
10 建筑设计 Architectural
11 一维设计 One-dimension Design
12 二维设计 Tow-dimension Design
13 三维设计 Three-dimension Design
14 四维设计 Four-dimension Design
15 装饰、装潢 Decoration
16 家具设计 Furniture Design
17 玩具设计 Toy Design
18 室内设计 Interior Design
19 服装设计 Costume Design
20 包装设计 ackaging Design
21 展示设计 Display Design
22 城市规划 Urban Desgin
23 生活环境 Living Environment
24 都市景观 Townscape
25 田园都市 Gardon City
26 办公室风致 Office Landscape
27 设计方法论 Design Methodology
28 设计语言 Design Language
29 设计条件 Design Condition
30 结构设计 Structure Design
31 形式设计 Form Design
32 设计过程 Design Process
33 构思设计 Concept Design
34 量产设计，工艺设计 Technological Design
35 改型设计 Model Change
36 设计调查 Design Survey
37 事前调查 Prior Survey
38 动态调查 Dynamic Survey
39 超小型设计 Compact type
40 袖珍型设计 Pocktable Type
41 便携型设计 Protable type
42 收纳型设计 Selfcontainning Design
43 装配式设计 Knock Down Type
44 集约化设计 Stacking Type
45 成套化设计 Set (Design)
46 家族化设计 Family (Design)
47 系列化设计 Series (Design)
48 组合式设计 Unit Design
49 仿生设计 Bionics Design
50 功能 Function
51 独创性 Originality
52 创造力 Creative Power
53 外装 Facing
54 创造性思维 Creating Thinking
55 等价变换思维 Equivalent Transformationn Thought
56 KJ法 Method of K.J
57 戈顿法 Synectice
58 集体创造性思维法 Brain Storming
59 设计决策 (Design) Decision Making
60 T-W-M体系 T-W-M system
61 O-R-M体系 O-R-M system
62 印象战略 Image Stralegy
63 AIDMA原则 Law of AIDMA
64 功能分化 Functional Differentiation
65 功能分析 Functional Analysis
66 生命周期 Life Cycle
67 照明设计 Illumination Design
设计色彩方法（英）
1 色 Color
2 光谱 Spectrum
3 物体色 Object Color
4 固有色 Propor Color
5 色料 Coloring Material
6 色觉三色学说 Three-Component Theary
7 心理纯色 Unique Color
8 拮抗色学说 Opponent Color Theory
9 色觉的阶段模型 Stage Model of the Color Perception
10 色彩混合 Color Mixing
11 基本感觉曲线 Trisimulus Valus Curves
12 牛顿色环 Newton's Color Cycle
13 色矢量 Color Vector
14 三原色 Three Primary Colors
15 色空间 Color Space
16 色三角形 Color Triangle
17 测色 Colourimetry
18 色度 Chromaticity
19 XYZ表色系 XYZ Color System
20 实色与虚色 Real Color and Imaginary Color
21 色等式 Color Equation
22 等色实验 Color Matching Experiment
23 色温 Color Temperature
24 色问轨迹 Color Temperature Locus
25 色彩三属性 Three Attribtes and Color
26 色相 Hue
27 色相环 Color Cycle
28 明度 Valve
29 彩度 Chroma
30 环境色 Environmetal Color
31 有彩色 Chromatic Color
32 无彩色 Achromatic Colors
33 明色 Light Color
34 暗色 Dark Color
35 中明色 Middle Light Color
36 清色 Clear Color
37 浊色 Dull Color
38 补色 Complementary Color
39 类似色 Analogous Color
40 一次色 Primary Color
41 二次色 Secondary Color
42 色立体 Color Solid
43 色票 Color Sample
44 孟塞尔表色系 Munsell's Color System
45 奥斯特瓦德表色系 Ostwald's Color System
46 日本色研色体系 Practical Color Co-ordinate System
47 色彩工程 Color Engineering
48 色彩管理 Color Control
49 色彩再现 Color Reproduction
50 等色操作 Color Matching
51 色彩的可视度 Visibility Color
52 色彩恒常性 Color Constancy
53 色彩的对比 Color Contrast
54 色彩的同化 Color Assimilation
55 色彩的共感性 Color Synesthesia
56 暖色与冷色 Warm Color and Cold Color
57 前进色与后退色 Advancing Color Receding Color
58 膨胀色与收缩色 Expansive Color and Contractile Color
59 重色与轻色 Heavy Color and Light Color
60 色价 Valeur
61 色调 Color Tone
62 暗调 Shade
63 明调 Tint
64 中间调 Halftone
65 表面色 Surface Color
66 平面色 Film Color
67 色彩调和 Color Harmony
68 配色 Color Combination
69 孟塞尔色彩调和 Munsell's Color Harmony
70 奥斯特瓦德色彩调和 Ostwald's Color Harmony
71 孟.斯本瑟色彩调和 Moon.Spencer's Color Harmony
72 色彩的感情 Feeling of Color
73 色彩的象征性 Color Symbolism
74 色彩的嗜好 Color Preference
75 流行色 Fashion Color
76 色彩的功能性 Color Functionalism
77 色彩规划 Color Planning
78 色彩调节 Color Conditioning
79 色彩调整 Color Coordinetion
80 色彩设计 Color Design
材料与加工成型技术（英）
1 材料 Material
2 材料规划 Material Planning
3 材料评价 Material Appraisal
4 金属材料 Metal Materials
5 无机材料 Inorganic Materials
6 有机材料 Organic Materials
7 复合材料 Composite Materials
8 天然材料 Natural Materials
9 加工材料 Processing Materials
10 人造材料 Artificial Materials
11 黑色金属 Ferrous Metal
12 有色金属 Nonferrous Metal
13 轻金属材料 Light Metal Materials
14 辅助非铁金属材料 Byplayer Nonferrous Metal Materials
15 高熔点金属材料 High Melting Point Metal Materials
16 贵金属材料 Precions Metal Materials
17 辅助非铁金属材料 Byplayer Nonferrous Metal Materials
18 高熔点金属材料 High Melting Point Metal Materials
19 贵金属材料 Precions Metal Materials
20 陶瓷 Ceramics
21 水泥 Cement
22 搪瓷、珐琅 Enamel
23 玻璃 Glass
24 微晶玻璃 Glass Ceramics
25 钢化玻璃 Tuflite Glass
26 感光玻璃 Photosensitive Glass
27 纤维玻璃 Glass Fiber
28 耐热玻璃 Hear Resisting Glass
29 塑料 Plastics
30 通用塑料 Wide Plastics
31 工程塑料 Engineering Plastics
32 热塑性树脂 Thermoplastic Resin
33 热固性树脂 Thermosetting Resin
34 橡胶 Rubber
35 粘接剂 Adhesives
36 涂料 Paints
37 树脂 Resin
38 聚合物 Polymer
39 聚丙烯树脂 Polypropylene
40 聚乙烯树脂 Polyethylene Resin
41 聚苯乙烯树脂 Polystyrene Resin
42 聚氯乙烯树脂Polyvinyl Chloride Resin
43 丙烯酸树脂 Methyl Methacrylate Resin
44 聚烯胺树脂，尼龙 Polyamide Resin
45 氟化乙烯树脂 Polyfurol Resin
46 聚缩醛树脂 Polyacetal Resin
47 聚碳酸脂树脂 Polycarbonate Resin
48 聚偏二氯乙烯树脂 Polyvinylidene Resin
49 聚醋酸乙烯脂树脂 Polyvinyl Acetate Resin
50 聚烯亚胺树脂 Polyimide Resin
51 酚醛树脂 Phenolic Formaldehyde Resin
52 尿素树脂 Urea Formaldehyde Resin
53 聚酯树脂 Polyester Resin
54 环痒树脂 Epoxy Resin
55 烯丙基树脂 Allyl Resin
56 硅树脂 Silicone Resin
57 聚氨酯树脂 Polyurethane Resin
58 密胺 Melamine Formaldehyde Resin
59 ABS树脂 Acrylonitrile Butadiene Styrene Redin
60 感光树脂 Photosensition Plastics
61 纤维强化树脂 Fiber Reinforced Plastic
62 印刷油墨 Printing Ink
63 印刷用纸 Printing Paper
64 铜板纸 Art Paper
65 木材 Wood
66 竹材 Bamboo
67 树脂装饰板 Decorative Sheet
68 蜂窝机制板 Honey Comb Core Panel
69 胶合板 Veneer
70 曲木 Bent Wood
71 浸蜡纸 Waxed Paper
72 青铜 Bronge
73 薄壳结构 Shell Construction
74 技术 Technic
75 工具 Tool
76 金工 Metal Work
77 铸造 Casting
78 切削加工 Cutting
79 压力加工 Plastic Working
80 压力加工 Plastic Working
81 焊接 Welding
82 板金工 Sheetmetal Woek
83 马赛克 Mosaic
84 塑性成型 Plastic Working
85 灌浆成型 Slip Casting
86 挤出成型 Sqeezing
87 注压成型 Injection Molding
88 加压成型 Pressing
89 水压成型 Cold Isostatic Pressing
90 加压烧结法 Hot Pressing
91 HIP成型 Hot Isostatic Pressing
92 压缩成型 Compression Molding Pressing
93 气压成型 Blow Molding
94 压延成型 Calendering
95 转送成型 Transfer Molding
96 雌雄成型 Slash Molding
97 铸塑成型 Casting
98 喷涂成型 Spray Up
99 层积成型 Laminating
100 FW法 Fillament Winding
101 粘接与剥离 Adhesion and Excoriation
102 木材工艺 Woodcraft
103 竹材工艺 Bamboo Work
104 表面技术 Surface Technology
105 镀饰 Plating
106 涂饰 Coating
107 电化铝 Alumite
108 烫金 Hot Stamping
109 预制作 Prefabrication
110 预制住宅 Prefabricated House
111 悬臂梁 Cantilever
112 金属模具 Mold
113 型板造型 Modeling of Teplate
114 染料 Dyestuff
115 颜料 Artist Color
传播与传媒设计（英）
1 传播 Communication
2 大众传播 Mass Communication
3 媒体 Media
4 大众传播媒体 Mass Media
5 视觉传播 Visual Communication
6 听觉传播 Hearing Communication
7 信息 Information
8 符号 Sign
9 视觉符号 Visual Sign
10 图形符号 Graphic Symbol
11 符号论 Semiotic
12 象征 Symbol
13 象征标志 Symbol Mark
14 音响设计 Acoustic Design
15 听觉设计 Auditory Design
16 听觉传播设计 Auditory Communication Design
17 图象设计 Visual Communication Design
18 视觉设计 Visual Design
19 视觉传播设计 Visual Communication Design
20 图形设计 Graphic Design
21 编辑设计 Editorial Design
22 版面设计 Layout
23 字体设计 Lettering
24 CI设计 Corporate Identity Design
25 宣传 Propaganda
26 广告 Advertising
27 广告委托人 Adveertiser
28 广告代理业 Advertising Agency
29 广告媒体 Advertising Media
30 广告目的 Avertising Objectives
31 广告伦理 Morality of Advertising
32 广告法规 Law of Advertising
33 广告计划 Advertising Planing
34 广告效果 Advertising Effect
35 广告文案 Advertising Copy
36 广告摄影 Advertising Photography
37 说明广告 Informative Advertising
38 招贴画海报 Poster
39 招牌 Sign-board
40 小型宣传册 Pamphlet
41 大型宣传册 Portfolio
42 商品目录 Catalogue
43 企业商报 House Organ
44 户外广告 Outdoor Advertising
45 POP广告 Point of Purchase Advertising
46 展示 Display
47 橱窗展示 Window Display
48 展示柜 Cabinet
49 博览会 Exposition
50 万国博览会 World Exposition
51 包装 Packaging
52 工业包装 Industrial Packing
53 标签 Label
54 企业形象 Corporate Image
55 企业色 Company Color
56 动画 Animation
57 插图 Illustration
58 书法 Calligraphy
59 印刷 Initial
60 设计费 design fee
61 标准 standard
62 注册商标 registered trade mark
设计美学与设计实验（英）
1 美 Beauty
2 现实美 Acture Beauty
3 自然美 Natural Beauty
4 社会美 Social Beauty
5 艺术美 Artisitc Beauty
6 内容与形式 Content and Form
7 形式美 Formal Beauty
8 形式原理 Principles and Form
9 技术美 Beauty of Technology
10 机械美 Beauty of Machine
11 功能美 Functional Beauty
12 材料美 Beauty of Material
13 美学 Aesthetics
14 技术美学 Technology Aesthetics
15 设计美学 Design Aesthetics
16 生产美学 PAroduction Aesthetics
17 商品美学 Commodity Aedthetics
18 艺术 Art
19 造型艺术 Plastic Arts
20 表演艺术 Performance Art
21 语言艺术 Linguistic Art
22 综合艺术 Synthetic Arts
23 实用艺术 Practical Art
24 时间艺术 Time Art
25 空间艺术 Spatial Art
26 时空艺术 Time and Spatial Art
27 一维艺术 One Dimantional
28 二维艺术 two Dimantional
29 三维艺术 Three Dimantional
30 四维艺术 Four Dimantional
31 舞台艺术 Stagecraft
32 影视艺术 Arts of Mmovie and Television
33 环境艺术 Environmental Art
34 美术 Fine Arts
35 戏剧 Drama
36 文学 Literature
37 意匠 Idea
38 图案 Pattern
39 构思 Conception
40 构图 Composition
41 造型 Formation
42 再现 Representation
43 表现 Expression
44 构成 Composition
45 平面构成 Tow Dimentional Composition
46 立体构成 Three Dimentional Composition
47 色彩构成 Color Composition
48 空间构成 Composition of Space
49 音响构成 Composition and Sound
50 多样与统一 Unity of Multiplicity
51 平衡 Balance
52 对称 Symmetry
53 调和、和声 Harmony
54 对比 Contrast
55 类似 Similarity
56 比例 Proportion
57 黄金分割 Golden Section
58 节奏 Rhythm
59 旋律 Melody
60 调子 Tone
61 变奏 Variation
62 纹样 Pattern
63 形态 Form
64 有机形态 Organic Form
65 抽象形态 Abstract Form
66 简化形态 Simptified Form
67 变形 Deformation
68 图学 Graphics
69 透视画法 Perspective
70 线透视 Linear Perspective
71 视点 Eye on Picture Plane
72 灭点 Vanishing Point
73 平行透视 Parallel Persective
74 成角透视 Angular Perspective
75 斜透视 Obligue Perspective
76 单点透视 Single Paint Perdpective
77 两点透视 Tow-Point Perdpective
78 三点透视 Three-Point Perdpective
79 鸟瞰图 Bird's Eye View
80 平面视图 Ground Plain
81 轴侧投影 Axonometric Projection
82 设计素描 Design Sketch
83 预想图 Rendering
84 模型 Model
85 粘土模型 Clay Model
86 石膏模型 Plaster Model
87 木制模型 Wooden Model
88 缩尺模型 Scale Model
89 原大模型 Mock Up
90 仿真模型 Finished Model
91 制造原形 Prototype
92 计算机图形学 Computer Graphics
93 框架模型 Frame Model
94 实体模型 Solid Model
95 计算机辅助设计 COMPUTER AIDED DESIGN
96 计算机辅助制造 Computer Aided Manufacture
97 计算机三维动画 Computer Three Dimentional Animation
98 计算机艺术 Computer Arts
99 计算机书法 Computer Calligraphy
100 计算机图象处理 Computer Image Processing
101 计算机音响构成 Computer Sound Composition
实验心理学与人机工程学
1 人类工程学 Human Engineering
2 人机工程学 Man-Machine Engineering
3 工效学 Ergonomice
4 人因工程学 Human Factors Engineering
5 人因要素 Human Factors
6 人机系统 Man-Machine System
7 人体工程学 Human Engineering
8 人本位设计 Human Sstandard Design
9 实验心理学 Experimental Psychology
10 物理心理学 Psychophysics
11 感觉 Sensation
12 知觉 Perception
13 感觉阙限 Threshold of Senssation
14 心理量表 Psychological Scaling
15 视觉 Visual Perception
16 视觉通道 Visual Pathway
17 听觉 Hearing Perception
18 肤觉 Skin Sensation
19 视觉心理学 Visual Psychology
20 听觉心理学 Hearing Psychology
21 感光元 Photoreceptor Cell
22 明视、暗视、间视 Phootopic Vision ,Scotopic Vision , Mesopic Vision
23 光适应与暗适应 Photopic Adaptation and Sscotopic Adaptation
24 格式塔，完形 Gestalt
25 形状知觉 Shape Perception
26 轮廓 Conotour
27 主观轮廓 Subjictive Contour
28 图形与背景 Figure and Ground
29 图形与背景逆转 Reversible Figure
30 良好形状法则 Prinzip der Guten Gestalt
31 群化 Grouping
32 等质性法则 Fsctor of Similarity
33 伪装 Camouflage
34 形状的恒常性 Shape Constancy
35 大小的恒常性 Size Constancy
36 空间知觉 Space Perception
37 立体视 Stereopsis
38 运动知觉 Movement Perception
39 视错觉 Optical Illusion
40 残像 After Image
41 似动 Apparent Movement
42 视觉后效 Aftereffects in Visuvl
43 瀑布效应 Waterfall Effect
44 视线记录仪 Eye Camera
45 听觉刺激 Auditory Stimulus
46 声压 Sound Pressure
47 声压水平 Sound Pressure Level
48 频谱 Spectrum
49 乐音与非乐音 Tone and Nontone
50 噪声 Noise
51 听觉阙限 Auditory Threshold
52 响度 Loudness
53 听觉掩蔽 Auditory Masking
54 音乐心理学 Psychology of Music
55 音响心理学 Psychology of Sound
56 音的四属性 Four Attribute Sound
57 音高 Pitch
58 音色 Timbre
59 力度 Loudness
60 频率辨别阙限 Difference Threshold of Frequency
61 强度辨别阙限 Difference Threshold of Loudness
62 混响 Reverberation
63 音源距离感 Distance Perception of Sound
64 音源方位感 Orientation Perception of Sound
65 立体声 Stereophony
66 语言心理学 Psycholinguistics
67 语言声谱 Language Spectrum
68 语言清晰度 Articulation
69 人体尺寸 Humanlady Size
70 作业空间 Work Space
71 模数 Module
72 心理尺度 Psychological Measure
73 动作分析 Motion Analysis
74 时间研究 Time Study
75 动作时间研究 Motion and Time Study
76 时间动作轨迹摄影 Chronocyclegragh
77 动迹 Traffic Line
78 光迹摄影 Luminogram
79 脑波 Brain Wave
80 生物钟 Bio-o'clock
81 睡眠 Sleep
82 疲劳 Fatigue
83 姿态 Body Posture
84 皮肤电反应 Galranic Skin Response
85 临界闪烁频率 Critical Flicker Frequence
86 肌肉运动学 Kinesiology
87 肌电图 Electromyography
88 形态学 Morphology
89 仿生学 Bionics
90 人、环境系统 Man-Environment System
91 照明 Hlumination
92 振动 Oscillate
93 气候 Climate
94 空气调节 Air Conditioning
95 功能分配 Functional Allocation
设计团体与部分人物（英）
1 维也纳工厂 Wiener Werksttate
2 德意志制造联盟 Der Deutsche Werkbund
3 克兰布鲁克学院 The Cranbrook Academy
4 国际现代建筑会议 Congres Internationaux D'Architecture Moderne
5 现代艺术馆 Museum Of Modern Art
6 芝加哥设计学院 Chicago Institute of Design
7 英国工业设计委员会 Council of Industrial Design
8 设计委员会 The Desgin Council
9 国际建筑师协会 Union Internationale des Architects
10 设计研究组织 Design Research Unit
11 日本工业设计师协会 Japan Industrial Desginers Association
12 日本设计学会 Japanese Society for Science of Design
13 乌尔姆造型学院 Ulm Hochschule fur Gestallung
14 国际设计协会联合会 International Council of Societies Industrial Desgin
15 国际工业设计会议 International Design Congress ,ICSID Congress
16 国际设计师联盟 Allied International Designers
17 国际室内设计师联合会 International Federation of Interior Designers
18 国际图形设计协会 International Graphic Desgin Associations
19 国际流行色协会 International Commission for color in fashion and Textiles
20 工业产品设计中心 The Centre de Creation Industrielle
21 中国工业设计协会 China Industrial Design Association
22 阿尔齐米亚集团 Alchymia Studio
23 中国流行色协会 China Fashion Color Association
24 中国技术美学委员会 China Technological Aesthetics Association
25 莫里斯 Willian Morris (1834-1896E)
26 奥斯特瓦德 Wilhelm Friedrich Ostwald(1853-1932G)
27 孟赛尔 Albert F.Munsell (1858-1918A)
28 凡.德.维尔德 Henry Vande Velde (1863-1957)
29 莱特 Lloyd Wright (1867-1959A)
30 贝伦斯 Peter Behrens(1868-1940G)
31 霍夫曼 Joseph Hoffmann(1870-1956)
32 皮克 Frank Pick(1878-1941)
33 维斯宁兄弟 Alexander Leonid and Victor Vesnin
34 格罗皮乌斯 Walter Gropius(1883-1969)
35 蒂格 Walter Dorwin Teague
36 利奇 Bernard Leach
37 勒.柯不西埃 Le Corbusier(法)
38 伊顿 Johennes Itten
39 里特维尔德 Gerrit Thomas Rietvela
40 庞蒂 Gio Ponti
41 拉塞尔 Gordon Russel
42 格迪斯 Norman Bel Geddes
43 洛伊 Raymond Fermam
44 里德 Herbert Read
45 莫荷利.纳吉 Laszlo Moholy Nagy
46 凡.多伦 Harold Van Doren
47 阿尔托 Alvar Aalto
48 拜耶 Herbert Bayer
49 卡桑德拉 A.M.Cassandre
50 佩夫斯纳 Nikolans
51 布劳耶尔 Marcel Breuer
52 佩里安 Charlotte Perriand
53 德雷夫斯 Henry Dreyfuss
54 迪奥 Christian Dior
55 鲍登 Edward Bawden
56 贾戈萨 Dante Giacosa
57 伊姆斯 Charles Eames
58 伊娃齐塞尔 Eva Zeiesl
59 比尔MaxBill
设计法规与标准（英）
1 知识产权Intellectual Property
2 著作权 Copyright
3 工业产权 Industrial Property
4 专利 Patent
5 发明专利 Patent for Invention
6 实用新型 Utility Modle
7 外观设计专利 Registation of Design
8 注册商标 Registered Trade Mark
9 广告法 Advertising Law
10 反不正当竞争 Repression of Untair Competition
11 设计费 Design Fee
12 标准 Standard
13 德国工业标准 Deutsche Industrie Normen
设计生产经营与评价
1 工业工程学 Industrial Engineering
2 工业心理学 Industrial Psychology
3 科学管理法 Scientific Management
4 生产管理 Production Control
5 质量管理 Quality Control
6 系统工程 System Engineering
7 批量生产 Mass Production
8 流水作业 Conveyer System
9 互换式生产方式 Interchangeable Produsction Method
10 标准化 Standardization
11 自动化 Automation
12 市场调查 Market Research
13 商品化计划 Merchandising
14 产品开发 Product Developement
15 产品改型 Model Change
16 产品测试 Product Testing
17 产品成本 Product Cost
18 营销学 Marketing
19 买方市场 Buyer's Market
20 卖方市场 Seller's Marker
21 促销 Sales Promotion
22 适销 Marketability
23 消费者 Consumer
24 购买动机调查 Motivation Research
25 深层面接法 Depth Interview
26 销售热点 Selling Point
27 卡通测试法 Cartoon Test
28 产品形象 Product Image
29 形象策略 Image Strategy
30 公共关系 Public Relations
31 运筹学 Operations Research
32 设计策略 Design Policy
33 艺术总监 Art Director
设计思潮与流派（英）
1 学院派 Academicism
2 理性主义 Rationalism
3 非理性主义 Irrationalism
4 古典主义 Classicism
5 浪漫主义 Romanticism
6 现实主义 Realism
7 印象主义 Impressionism
8 后印象主义 Postimpressionism
9 新印象主义 Neo-Impressionisme(法）
10 那比派 The Nabject
11 表现主义 Expressionism
12 象征主义 Symbolism
13 野兽主义 Fauvism
14 立体主义 Cubism
15 未来主义 Futurism
16 奥弗斯主义 Orphism
17 达达主义 Dadaisme(法)
18 超现实主义 Surrealism
19 纯粹主义 Purism
20 抽象艺术 Abstract Art
21 绝对主义，至上主义 Suprematism
22 新造型主义 Neo-plasticisme(法)
23 风格派 De Stiji
24 青骑士 Der Blaus Reiter
25 抒情抽象主义 Lyric Abstractionism
26 抽象表现主义 Abstract Expressionism
27 行动绘画 Action Painting
28 塔希主义 Tachisme(法)
29 视幻艺术 Op Art
30 活动艺术、机动艺术 Kinetic Art
31 极少主义 Minimalism
32 概念主义 Conceptualism
33 波普艺术 Pop Art
34 芬克艺术、恐怖艺术 Funk Art
35 超级写实主义 Super Realism
36 人体艺术 Body Art
37 芝加哥学派 Chicago School
38 艺术与手工艺运动 The Arts & Crafts Movement
39 新艺术运动 Art Nouveau
40 分离派 Secession
41 构成主义 Constructivism
42 现代主义 Modernism
43 包豪斯 Bauhaus
44 阿姆斯特丹学派 Amsterdam School
45 功能主义 Functionalism
46 装饰艺术风格 Art Deco(法)
47 国际风格 International Style
48 流线型风格 Streamlined Forms
49 雅典宪章 Athens Charter
50 马丘比丘宪章 Charter of Machupicchu
51 斯堪的纳维亚风格 Scandinavia Style
52 新巴洛克风格 New Baroque
53 后现代主义 Postmodernism
54 曼菲斯 Memphis
55 高技风格 High Tech
56 解构主义 Deconstructivism
57 手工艺复兴 Crafts Revival
58 准高技风格 Trans High Tech
59 建筑风格 Architecture
60 微建筑风格 Micro-Architecture
61 微电子风格 Micro-Electronics
62 晚期现代主义 Late Moddernism
Architecture Design-Less Is More
Ironically, the developments on both sides of the Atlantic after World War Ⅱ were equated with a loss of identity. On the one continent reigned the indifferent pragmatism of reconstruction, The specification of whose basic structures was a matter for the county councils, while on the other the native elite grew jealous of the status achieved by German immigrants such as Ludwig Mies van der Rohe, Walter Gropius and Marcel Breuer. In the mood of postwar Europe, nostalgically looking back, modern buildings often appeared too sudden, too violent. Restorations and careful reconstructions of historical edifices using traditional, skillful craftsmanship were considered more valuable than the new buildings of the day. In the absence of clear city contours, contemporary architecture searched desperately for identity alongside the sentimental populistic motifs of arcades, oriels and gables. This“skinny”, mediocre architecture of the fifties, precariously balanced between art and kitsch, always had an episodic character.
Unlike the manual orientation of the European construction industry, against which even the successful experiments of Jean Prouve, amongst others could make no long-term headway, the major architectural firms in the USA had meanwhile developed a thoroughly industrial philosophy. Priority thereby lay not with apartments, but with strictly economical office design and the creation of company identity. The market demanded mainly two basic variations: the downtown high-rise and the spacious company headquarters in a landscape setting. One prototype for the latter are Mies van der Rohe’s plans for the Illinois Institute of Technology in Chicago, where he himself taught, followed by Saarinen’s comparable complex for the General Motors Technical Center in Warren, Michigan. A rapid succession of four buildings inaugurated the development of new type of skyscraper. In 1948 Pietro Belluschi built the administrative headquarters of the Equitable Savings and Loam Association in Portland, Oregon, in which the reinforced-concrete frame was hung with a skin of glass and aluminum in such a way that no part projected more than two centimeters. In New York in 1950 Wallace K. Harrison and Max Abramovitz completed the secretariat building for the United Nations, an office complex for 3400 employees based on a general plan by Le Corbusier: a slim building with two vast glass facades between windowless end walls of white marble. In New York in 1951 Gordon Bunshaft, working for the Skidmore, Owings & Merrill partnership, designed Lever House for the Lever Brothers, a green glass box which skillfully combined a flat base with a slender tower. In the same year Mies van der Rohe built the famous Lake Shore Drive Apartments in Chicago for construction mogul Herbert S. Greenwald. Following his appointment in 1938 at the Armor——later Illinois——Institute of Technology in Chicago, Mies van der Pohe had the opportunity to plan the new university complex on the outskirts of the city. The concepts he had formulated in Germany he now applied to the situation in America, whereby he became stricter and made greater use of symmetries than in the few houses he had built before the War. Since fire regulations did not permit an exposed frame, Mies developed an aesthetic of steel, glass and brick which brought the perforce covered structure artistically back to the surface. He thereby paid particular attention to connecting elements and transitions.
Mies devoted himself to two basic forms. First the pavilion, which was to have a support-free interior and which in its ideal form was a floating volume of “air between two plates”,as perfected in the Farnswarth House. Second the skyscraper, which the treated as a skeleton construction with identical floors behind a perfect façade of constructive elements which articulate a seemingly unbroken glass surface and rob it of the membrane-like character of usual curtain walls.
His most significant buildings are only inadequately described by phrases such as “almost nothing”or“less in more”. These terms would suggest a link with the earlier Chicago School, whose products Mies must have seen almost daily. But the poorly-conceived details of those early high-rises, their cheap construction with changing effects and strange reconciliation of structure and appearance conflicted with his own beliefs. It was rather the perfect industrial buildings of his contemporary Albert Kahn, whose giant bomber factory he transformed into a concert hall in a collage of thin wall and ceiling panels, which formed the typical American starting-points for his work. These confirmed Mies in his denial of the individual and the artistic in architecture.
His houses are not, however, entirely lacking classical references. Yet the two mutually offset towers of the Lake Shore Drive Apartments differ from typical high-rises of their day in their groud-plan side ratios of three to five.
Although, as in the Skidmore, Owings & Merrill Lever Building, curtain walls conceal the structure, it is nevertheless the latter which determines the overall appearance of Mies’ buildings. The structure is clearly evident even in the entrance hall. The actual fa[$#231;]ade starts shamelessly with the first floor; fine I-beams at window-width intervals run its full height. Only one in every four of these regularly spaced mullions conceals a broader, load-bearing support. The two outer windows of each field are thus always mullions conceals a broader, load-bearing support. The two outer windows of each field are thus always somewhat narrower than their central neighbors. Parapet bands and transoms form a horizontal counterpoint to the emphatic verticals. The Lake Shore Drive Apartments, with their intelligent construction solutions, were cheaper to build than comparable projects. Once the steel skeleton was erected, the prefabricated façade elements——each two stories in height and one structural bay in width——were lifted by cranes into position and welded on the spot. The aluminum windows were then installed from the interior. Mies’concern that the perpendicular I-beams should be reassembled in exactly the same order that they left the rolling mills, to exclude even the smallest errors of measurement, reflected both his own perfectionism and the logic of his design. Mies was thwarted in only in one area: his client considered the originally open plans, recollecting the Barcelona Pavilion, too daring; he felt the small rooms of the traditional apartment block would sell better.
What appeared sparingly economical in Chicago became, in the office tower built for Distillers Corporation Seagrams Limited in New York, a luxurious and expensive masterpiece, It was the daughter of the company president himself who halted existing plans for a new building and, following consultations with Philip Johnson, then Director of the Architecture Department of the Museum of Modern Art, put forward the name of Mies Van der Rohe. The Seagram Building was markedly different from any other previous New York skyscraper. It stood back from busy Park Avenue, creating an open urban space before it. This“plaza”emerged as both homeless and windy, however, and only really served to introduce and reinforce the towering glass front with its strictly axial entrance. Unlike Chicago, the structural sections were laid not no but in the glass plane and emphasized via shadow joints. Nor were they the products of serial manufacturing, but special fabrications in bronze. Mies was thus able to modify their profiles. He strengthened the visible, thin edge of the I-beams to give them more optical weight and moved the vertical joists closer together. The office——storey windows run without transverse interruption from floor to ceiling. The façade thus acquires a decisive verticality and thereby gives the same basic design an entirely different appearance.
This building type was developed further in the following years in particular by the architectural firms of C. F. Murphy and Skidmore, Owings & Merrill. Glass boxes——perfect and economical——now characterized modern city skylines all over the world. Serial production led, however, to the loss not only of originality but also of the love of detail which was most important for Mies, and without which the standards of an architecture of “less is more”sadly declined to almost nothing indeed
Green Design
The idea that designers should take into consideration the environment impact of their work is not new. Twenty years ago Victor Papanek argued convincingly that the designer was in a powerful position, able to help create a better world, or contribute further to planetary destruction. His ideas——that designers should resist designing built-in obsolescence; that consumers’ needs, rather than their wants, should be addressed; and that designers should strive to find ways of using their skills for socially useful ends, especially in developing countries——outraged much of the design establishment at the time.
Today, however, ideas which once seemed utopian and naïve appear highly relevant and almost inevitable, given the unprecedented levels of concern being expressed throughout the world over environmental problems. Twenty years ago, environmentalism was regarded as an activity for the radical fringe; now, governments strive to demonstrate their environmentalist credentials, and problems attract high levels of popular concern. There is a growing consensus that problems affecting the environment cannot be ignored. As a result of dramatic scientific evidence of ozone depletion and new scientific agreement about the impending problems of global warming, a new sense of urgency has arisen.
Rising public concern is being translated into action in many countries： people are demonstrating their feelings through their voting preferences, by joining environment campaigning groups, by changing their behavior to accommodate recycling or energy efficiency, and by using environment criteria in their purchasing decisions as consumers.
We are entering a period when environment performance, together with a wide range of ethical and moral issues, will be on the agenda for business, government and individuals. New criteria will evolve for judging the acceptability of products and processes; new methods will emerge to calculate the true cost of activities; new regulations will control industrial and individual behavior. Decisions about the nature of our society and economy may well be underpinned by a growing commitment to sustainable rather than uncontrolled development.
Are designers equipped to respond to the new demands which will arise from these changes? The answer is almost certainly no, as it must be for almost all professionals trained without reference to the environment impact of their activities.
In most places, design has not been taught in the context of its social and ecological impact. Many designers assume that their area of responsibility is limited to function and appearance. In some fields, most notably architecture, a boarder view has sometimes been taken because of the scale of the direct impact of buildings on their local environment. But even here, little attention has been paid to the implications of the type of construction materials used or, for example, to the energy efficiency of the lighting system.
One might be able to argue that up until now designing with environment impact in mind was a matter of personal taste or individual moral responsibility. Now it is clear that it will become a commercial imperative. The value and role of designers will be substantially reduced if they cannot incorporate new concepts and new criteria into their work. There is an opportunity for designers to show imagination and leadership, pioneering the way forward and solving real problems. From many years, designers have been asserting their influence and demonstrating the power of design. The new demands of designing for minimum ecological impact will provide an ideal platform from which designers can justify their claims and acknowledge their responsibilities.
_________________
Application（产品应用）
Telecommunication（通讯行业）Medical（医疗行业）
Automotive（汽车行业） PC Peripherals（计算机行业）
TV / Audio & Visual （电视；音响）
OA Equipment （自动化办公设备）
Products（产品种类）
General Silicone Rubber 普通硅胶
Key-Film (IMD) 薄膜注塑键
Key-Film (IMD) + Rubber（KEY-Film+硅胶）
Plastic + Rubber (P + R)（塑料+硅胶）
TPE or General Rubber特别塑料或橡胶
*Various Options（其它选项）:
Metalic Spray（材料喷涂） / 2nd Surface Printing（底面印刷） / Coating（保护层）
Chrome Plated （电镀）/ Laser Etching （激光雕刻）
Mobile Communication（移动通讯）
Corded （有绳电话）
Cordless（无绳电话）
Dect Phones（普通电话）
2 Way Radio（对讲机）
Platform for most applications 一般用途
Examples : Laser-etched, P + R, Key-Film + R, Polydome Assembly, Metaldome Assembly, Spray painted keymat（例如：镭雕，塑料+硅胶，IMD+硅胶，组装弹性导电薄膜和金属导电薄膜，键面喷涂）
Various colors, material durometer, printing options to meet aesthetic requirements根据美工要求可选择多种颜色，
材料硬度，印刷工艺。
Examples : Color Keycap, Durometer Keycap, Positive Printing, Negative Printing
例如：彩色键帽，硬键帽，正面印刷，反面印刷等。
Provides Sealing Capabilities特殊组装需要
Built-in features: sealing ring/rib, boss, undercut, “holeless” keymat
防水，倒钩角，固定角等
Economy经济实惠
Creative designed key mat can be cost effective and meeting aesthetic
requirements（按键有创意的设计能有效的节约成本和符合美工要求）
_________________
Application（产品应用）
Telecommunication（通讯行业）Medical（医疗行业）
Automotive（汽车行业） PC Peripherals（计算机行业）
TV / Audio & Visual （电视；音响）
OA Equipment （自动化办公设备）
Products（产品种类）
General Silicone Rubber 普通硅胶
Key-Film (IMD) 薄膜注塑键
Key-Film (IMD) + Rubber（KEY-Film+硅胶）
Plastic + Rubber (P + R)（塑料+硅胶）
TPE or General Rubber特别塑料或橡胶
*Various Options（其它选项）:
Metalic Spray（材料喷涂） / 2nd Surface Printing（底面印刷） / Coating（保护层）
Chrome Plated （电镀）/ Laser Etching （激光雕刻）
Mobile Communication（移动通讯）
Corded （有绳电话）
Cordless（无绳电话）
Dect Phones（普通电话）
2 Way Radio（对讲机）
Platform for most applications 一般用途
Examples : Laser-etched, P + R, Key-Film + R, Polydome Assembly, Metaldome Assembly, Spray pai

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