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60 T-W-M体系 T-W-M system =ãB1páÜËrhino5.comÞSvÎu;}
61 O-R-M体系 O-R-M system =ãB1páÜËrhino5.comÞSvÎu;}
62 印象战略 Image Stralegy =ãB1páÜËrhino5.comÞSvÎu;}
63 AIDMA原则 Law of AIDMA =ãB1páÜËrhino5.comÞSvÎu;}
64 功能分化 Functional Differentiation =ãB1páÜËrhino5.comÞSvÎu;}
65 功能分析 Functional Analysis =ãB1páÜËrhino5.comÞSvÎu;}
66 生命周期 Life Cycle =ãB1páÜËrhino5.comÞSvÎu;}
67 照明设计 Illumination Design =ãB1páÜËrhino5.comÞSvÎu;}
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1 色 Color =ãB1páÜËrhino5.comÞSvÎu;}
2 光谱 Spectrum =ãB1páÜËrhino5.comÞSvÎu;}
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8 拮抗色学说 Opponent Color Theory =ãB1páÜËrhino5.comÞSvÎu;}
9 色觉的阶段模型 Stage Model of the Color Perception =ãB1páÜËrhino5.comÞSvÎu;}
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11 基本感觉曲线 Trisimulus Valus Curves =ãB1páÜËrhino5.comÞSvÎu;}
12 牛顿色环 Newton's Color Cycle =ãB1páÜËrhino5.comÞSvÎu;}
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18 色度 Chromaticity =ãB1páÜËrhino5.comÞSvÎu;}
19 XYZ表色系 XYZ Color System =ãB1páÜËrhino5.comÞSvÎu;}
20 实色与虚色 Real Color and Imaginary Color =ãB1páÜËrhino5.comÞSvÎu;}
21 色等式 Color Equation =ãB1páÜËrhino5.comÞSvÎu;}
22 等色实验 Color Matching Experiment =ãB1páÜËrhino5.comÞSvÎu;}
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26 色相 Hue =ãB1páÜËrhino5.comÞSvÎu;}
27 色相环 Color Cycle =ãB1páÜËrhino5.comÞSvÎu;}
28 明度 Valve =ãB1páÜËrhino5.comÞSvÎu;}
29 彩度 Chroma =ãB1páÜËrhino5.comÞSvÎu;}
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31 有彩色 Chromatic Color =ãB1páÜËrhino5.comÞSvÎu;}
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38 补色 Complementary Color =ãB1páÜËrhino5.comÞSvÎu;}
39 类似色 Analogous Color =ãB1páÜËrhino5.comÞSvÎu;}
40 一次色 Primary Color =ãB1páÜËrhino5.comÞSvÎu;}
41 二次色 Secondary Color =ãB1páÜËrhino5.comÞSvÎu;}
42 色立体 Color Solid =ãB1páÜËrhino5.comÞSvÎu;}
43 色票 Color Sample =ãB1páÜËrhino5.comÞSvÎu;}
44 孟塞尔表色系 Munsell's Color System =ãB1páÜËrhino5.comÞSvÎu;}
45 奥斯特瓦德表色系 Ostwald's Color System =ãB1páÜËrhino5.comÞSvÎu;}
46 日本色研色体系 Practical Color Co-ordinate System =ãB1páÜËrhino5.comÞSvÎu;}
47 色彩工程 Color Engineering =ãB1páÜËrhino5.comÞSvÎu;}
48 色彩管理 Color Control =ãB1páÜËrhino5.comÞSvÎu;}
49 色彩再现 Color Reproduction =ãB1páÜËrhino5.comÞSvÎu;}
50 等色操作 Color Matching =ãB1páÜËrhino5.comÞSvÎu;}
51 色彩的可视度 Visibility Color =ãB1páÜËrhino5.comÞSvÎu;}
52 色彩恒常性 Color Constancy =ãB1páÜËrhino5.comÞSvÎu;}
53 色彩的对比 Color Contrast =ãB1páÜËrhino5.comÞSvÎu;}
54 色彩的同化 Color Assimilation =ãB1páÜËrhino5.comÞSvÎu;}
55 色彩的共感性 Color Synesthesia =ãB1páÜËrhino5.comÞSvÎu;}
56 暖色与冷色 Warm Color and Cold Color =ãB1páÜËrhino5.comÞSvÎu;}
57 前进色与后退色 Advancing Color Receding Color =ãB1páÜËrhino5.comÞSvÎu;}
58 膨胀色与收缩色 Expansive Color and Contractile Color =ãB1páÜËrhino5.comÞSvÎu;}
59 重色与轻色 Heavy Color and Light Color =ãB1páÜËrhino5.comÞSvÎu;}
60 色价 Valeur =ãB1páÜËrhino5.comÞSvÎu;}
61 色调 Color Tone =ãB1páÜËrhino5.comÞSvÎu;}
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66 平面色 Film Color =ãB1páÜËrhino5.comÞSvÎu;}
67 色彩调和 Color Harmony =ãB1páÜËrhino5.comÞSvÎu;}
68 配色 Color Combination =ãB1páÜËrhino5.comÞSvÎu;}
69 孟塞尔色彩调和 Munsell's Color Harmony =ãB1páÜËrhino5.comÞSvÎu;}
70 奥斯特瓦德色彩调和 Ostwald's Color Harmony =ãB1páÜËrhino5.comÞSvÎu;}
71 孟.斯本瑟色彩调和 Moon.Spencer's Color Harmony =ãB1páÜËrhino5.comÞSvÎu;}
72 色彩的感情 Feeling of Color =ãB1páÜËrhino5.comÞSvÎu;}
73 色彩的象征性 Color Symbolism =ãB1páÜËrhino5.comÞSvÎu;}
74 色彩的嗜好 Color Preference =ãB1páÜËrhino5.comÞSvÎu;}
75 流行色 Fashion Color =ãB1páÜËrhino5.comÞSvÎu;}
76 色彩的功能性 Color Functionalism =ãB1páÜËrhino5.comÞSvÎu;}
77 色彩规划 Color Planning =ãB1páÜËrhino5.comÞSvÎu;}
78 色彩调节 Color Conditioning =ãB1páÜËrhino5.comÞSvÎu;}
79 色彩调整 Color Coordinetion =ãB1páÜËrhino5.comÞSvÎu;}
80 色彩设计 Color Design =ãB1páÜËrhino5.comÞSvÎu;}
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Architecture Design-Less Is More =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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 =ãB1páÜËrhino5.comÞSvÎu;}
Green Design =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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. =ãB1páÜËrhino5.comÞSvÎu;}
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