下午考试用！求一篇关于 学习“工业设计专业英语“感想的英文作文120-150字左右就行！
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情不知所起
2026-05-23 23:46:45
An analysis of NC machine tools in the exterior design of visual communication the relationship between art and technology, and further elaborated understanding of the laws of the United States, flexible CNC machine tools to master the performance of appearance form, so that they could be more image, vivid, fast product information to convey mechanical point of view.
Design is an artistic creation activities, its essence is "in accordance with the laws of the United States Weiren creation," which is decided on the design of the study can not be divorced from the aesthetic category. Although the "America" is not the sole property of the design and the ultimate goal, but in terms of design results, the United States has become a factor in considering the merits of the extent of the standard.
My previous machine modeling in the United States in the role of inadequate attention, less emphasis on the export of machinery products applied to the shapes of the aesthetics go, therefore, the product although the performance, rugged and so reached the international level, but is still unpopular and a lack of competition capacity. In addition, the mechanical modeling the combination of neglect and ergonomics is obviously incompatible with the needs of foreign markets, thus losing competitiveness. Therefore, the excellent mechanical products must create a combination of beauty in order to achieve the greatest social and economic benefits.
From the above analysis can be drawn, machine tool operator contact with more parts are the focus of ergonomic design of machine tools. Such components require not only handsome in appearance, simple structure, but also to grasp the "people-oriented" design principle to allow the operator easy to use, comfortable, working efficiency greatly improved.
过分析数控机床外观造型设计视觉传达中艺术与技术的关系,进一步阐述了了解美的规律,灵活掌握数控机床外观造型的表现形式,从而能更形象、生动、快捷地传达机械产品信息的观点。
设计是一种艺术的造物活动,其本质是“按照美的规律为人造物”,这就决定了对设计的研究不能脱离审美的范畴。虽然“美”不是设计的惟一属性和最终目的,但就设计成果而言,美的因素却成为考虑其优劣程度的标准之一。
我国以前对美在机械造型中的作用重视不够,出口的机械产品不太重视把美学运用到造型中去,因此,产品虽然在性能、坚固等方面达到国际水平,但仍不受欢迎而缺乏竞争能力。此外,机械造型忽视和人体工程学的结合,明显与国外市场的需求不相适应,从而失去竞争能力。因此,优良的机械产品必须和美的创造结合,才能达到最大的社会效益和经济效益。
从以上分析可以得出,机床中与操作者接触较多的部件是机床人机工程设计的重点。这类部件不仅要求造型美观、结构简单,而且要把握“以人为本”的设计原则,让操作人员使用方便、舒适,工作效率大大提高。
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The 1970s began to see some definition of "Post-Modern" architecture，especially in the writings of Charles Jencks, who effectively gave the word "Post-Modernism" currency even if he did not coin it originally. Jencks' s Modern Movements in Architecture of 1973 and The Language of Post-Modern Architecture of 1977 provide excellent surveys of how, in architecture, anti-rationalism emerged from the work of the Modern architects themselves. The history of Post-Modern design in the decorative arts, on the other hand, has yet to be written. It clearly shares with architecture a dislike of, or reaction against, the Modern movement, and yet it too has emerged from that movement, with its considerations of "good form". Any analysis must include reference to the oldest "anti-design" renegade, Ettore Sottsass Jr, whose career has been divided between years of "good form" industrial design for Olivetti and personal anti-design gestures, especially in the 1960s. Sottsass set up his office in Milan in 1946, and throughout the 1950s and 1960s did excellent product design, especially for Olivetti. However, in 1961 he traveled to India, became interested in Pop culture，and around 1965 began to design ceramics for Poltronova inspired in form by Art Deco ziggurats and in title by Indian mysticism, for example his "Tantra" vase. Sottsass became part of Studio Alchymia, the Milanese "group" formed in 1979 by Alessandro Mendini，who became editor of Domus on the death of Gio Ponti. Alchymia' s work, and especially that of Mendini，contains much "banal design"，such as his "Proust" chair of 1978，decorated in the divisionist style of Seurat, or his second-hand furniture of the same year painted in the style and colors of Kandinsky. Mendini's work is characteristic of an age of eclecticism which permits this type of gesture. It is significant that Branzi，the "anti-designer" of the 1960s，also worked with Alchymia.
It was not long, however, before Sottsass，the elder statesman of Italian design, seceded from Alchymia to form his own group，Memphis，surrounding himself with designers who were almost all under thirty. The group was started in 1981. The reason for the choice of the name Memphis is enigmatic，but it was apparently inspired by Bob Dylan's record "Stuck inside of Mobile with the Memphis Blues Again" (1966)，which was played over and over again at a gathering of the group. Curiously, the song may also have suggested the title of William Tucker's brightly colored sculpture Memphis (1966; now in the Tate Gallery，London). Even as the name of a city，Memphis is ambiguous，referring both to Memphis，Tennessee, and to the ancient Egyptian city of culture. Nothing could be more appropriate as a title for a Post-Modern style than a blend of Pop and ancient culture，for, as we shall see, a revival of classicism is yet another column in the edifice of Post-Modem design.
从七十年代就开始看到关于"后现代主义"建筑的定义,尤其在Charles Jencks的作品里, Charles Jencks充分给出了"后现代主义"货币的定义，虽然他没有原始的金币. Jencks在1973年的现代活动建筑和1977年的后现代建筑语言的极好调查中传达了现代建筑师如何使自己在建筑和反理性的工作中出现。 历史上的后现代设计中的装饰艺术,但在另一方面,却没有被写完. 显然它共享了一个不受人喜欢的建筑结构的,或是反对,现代运动。然而,它也出自这一运动,它被认为是"好形式"。任何分析必须参考古老的"反设计",Ettore Sottsass Jr的学业已经被已经分成为都灵建筑"好形式"的工业设计和个人反设计的动作,尤其是在20世纪六十年代。1946年Sottsass将他的办公室设在了米兰, 在20世纪50年代和和60年代和中Sottsass设计出了极好的产品，尤其是为都灵设计的。然而,在1961年他在印度旅游的时候又开始对流行文化敢兴趣,而他在1965年左右被Art Deco风格ziggurats激励后开始为poltronova设计陶瓷并在印度神秘的传说留下了自己的名字,比如他的" Tantra "花瓶. Sottsass成为Studio Alchymia的一部分,1979年由Alessandro Mendini举办的米兰的"集团"成立,Alessandro MendiniDomus成为逝世Gio Ponti的编辑，尤其是Mendini,它也包含大量的"陈腐设计" ，比如他1978年的"普鲁斯特"椅子,其被塞尚的风格所装饰，他的或二手家具在同年被风格和色彩的康定斯基所描绘。Mendini的工作特点是一个允许这种风格的时代。值得注意的是20世纪60年代的"反设计者"Branzi。他与Alchymia一起工作。
时间虽然不长,但是,在Sottsass之前,老义大利者设计之后，退出alchymia建立了自己的集团，站在Memphis这边的设计师不下三十人。该集团自1981年开始举办. 为什么选择孟菲斯这个名字是个谜,但很明显的被Bob Dylan'的鼓舞鲍，它记录了"再次与Mobile的内部Memphis Blues发生冲突" ( 1966 ) ，其在聚会上被上演了一遍又一遍。奇怪的是,它的歌也被作为William Tucker的鲜艳雕塑孟菲斯的主题( 1966年; 现在在泰特画廊,伦敦) 。即使其名字是一个城市,孟菲斯是模糊的。它同时代表了 Memphis和Tennessee，对于古埃及的文化名城，没有什么可以比一代的流行音乐和古老的文化更适合作为后现代风格的名字。因为我们将看到,一个古典主义的复活是另一个的后现代的设计。
春来花已落
2026-02-05 01:59:38
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