原文：
?Update:2009-12-08
?Justin 0'Connor
?Source: No.199 | November2009
[…]The basic difference between a creative artist and an industrial designer lies in the tasks they perform and the environment in which they operate. The creative artist is respon-sible only to himself. On the work of the designer, however, depends the
commercial profit of his factory, and thus the welfare of the workers in this factory. His world is the world
of businessmen and technicians. His language must be the language of businessmen and technicians. Artistic arguments are not subject to proof. The artist is allowed to dream. The designer must be awake at every minute of his working day. He is a manager. Objectivity and clear thinking determine his actions. He must make all his dispositions with a sure hand. The artist works alone. The designer is a member of a team. The artist is silent. The designer needs to talk about his ideas. He must be able to communicate with his partners.
[…]
[…]We must say goodbye to the familiar image of the artist in industry who, dreaming of good design, tinkers round with his spoon, the last craft worker in industry, as he was once called. We shall have to accustom ourselves to a new type of designer, one who is hard-ly to be distinguished from a clever manager –the word ?manager? being meant in a positive sense here. It is natural for this designer to be as familiar with
questions of production and sales as his client is. Design alone is nowadays only a part of his work. […] The industrial desi gner of today must be put in much greater touch with the values of commerce and mar-keting if he is to be successful in his work, if he is to conceive the right product for the right market at the right time.
Industrial design is the creation of industrial products. The industrial designer must have the knowledge, the abilities and the experience needed to grasp the facts governing the pro-duct, to conceive the design, and to carry it out in collaboration with all those involved
in product planning, development and manufacture, up to the finished product. In his coor-dinating design activity he will benefit from his knowledge of the sciences and of
technology as a basis. The aim of his work is to create industrial products to serve society in both a cultural and social aspect.
The industrial designer is the advocate of the people. It is amazing that the user or con-sumer is only indirectly involved in the decision process governing things he requires to satisfy his needs. So, in the first place, the desig ner is the user’s or consumer’s advocate. But at the same time this makes him a product of the people. Everyone has his own yardstick. Everyone makes their own decision. The particular task of the designer is to anticipate the de-cisions which others will make in the future as if they were his own. […] The difference from previous occupational descriptions [of the industrial designer –Editor’s note] is this – that German designers speak of coordinated design work and include the social aspect to which industrial design must be subject. I do not believe that this occupational description will be the last one. This profession, which is constantly involved in a dynamic devel-opment, is seeking new fields of work and new orientations.
This service, from designs by Sigrid and Günter Kupetz, is not without its charms. Excellently finished ebony handles, a straight upper camber with a flat cover and counter-sunk ebony handle, a rather higher three-cor-nered spout (useful when carrying full pots) and an idiosyncratically curved body. One would perhaps enjoy it without reservation if there were not already an ?m? service. But
it provides enjoyment enough. For whether this careful transfer of a ?stile cristallino? to silver really signifies the ultimate solution, or just an attractive preliminary stage – the fact remains that WMF has been honestly en-gaged in producing something genuine, some-thing of high quality.
This monograph is the first comprehensive overview of the creative work of designer Günter Kupetz. At the same time it presents a picture of the development of industrial design in Germany. There are few other personalities in the design world whose profession-al career reflects as well as Kupetz’s does, the sense of being one of the founders of a disci-pline in the fifties and sixties of the twentieth century. Against the background of the completely changed social and economic contexts of that time, Kupetz and, with him a whole generation of young German designers, frees himself from the artisanal image of the industrial artist imposed by the Bauhaus tradition, enters into an international dialogue about contemporary industrial design and ends up by creating the profession of industrial designer in Germany.
Even though Kupetz’s debut was as an artist. Bernhard Heiliger’s outstanding student de-cided, after his first successes in sculpture, to take up a position with WMF in Geislingen/ Steige. He became head of the design studio and in subsequent years created
hundreds of products for the various branches of the company. These products have also found high international acclaim. Kupetz was represented by pieces at the World Exhibition in Brussels and at the ?Triennale 1957? in Milan and, equally, some of his designs have found their way into the collection of the Museum of Modern Art in New York.
Kupetz’s organic, sculptural forms developed from his work as a sculptor find an echo in contemporary taste. They represent an optimistic modernity oriented towards the future, a modernity which became ever more popular during those years and which, with increasing affluence, more and more people were able to afford. Against the background of his paid work in industry, Kupetz’s wish to set his work in some sort of context and to give it the status of an independent professional discipline began to crystallise. He was increasingly re-occupied by issues surrounding the nature of the job and the professional ethics of the designer. He became a member of the Deutscher Werkbund association of artists and sought contacts with national and international colleagues. Influenced by the first International Design Congress, organised by the German Design Council in 1957 and the British designer Sir Paul Reilly, Kupetz became in 1959 one of the co-founders of the Association of German Industrial Designers (VDID) the first professional association for industrial designers.
It was no more than consistent that the professional occupation of industrial designer as he had experienced it should lead him into fully freelance work in 1960 and finally, in 1962, into teaching. Thus, in taking over the newly founded teaching department of Industrial Design at the Kassel School of Industrial Art, he saw an opportunity to bring this new pro-fessional occupation into the purview of teaching and to test it in practice.
The more important teaching was to him, the more Kupetz realised the dilemma in which he was placed. He knew the importance of technical, economic and social influences on the design process and wanted to integrate the sciences into design training as auxiliary disciplines. At the same time, he rejected any approach to the design process which was overly scientific. Kupetz therefore used the architectural term of (design) planning, a process in which of course scientific knowledge had an influence on design, but without dominating it. On the other hand – in contradistinction to the Ulm school – he considered the artistic
aspect of design to be important. Here in his publications he made use of an enabling for-mulation by which, instead of art, he introduced the concept of intuition into his ideas of teaching. It was intuition, he said, which distinguished the designer from the engineer.
Increasingly his interests were no longer restricted to training students. In his opinion, neither the industrial-art schools of his time nor the polytechnics of fine art were adequately structured for design training in Germany. He devoted himself to an evaluation of the school of industrial art, which led in 1971 to the foundation of the Polytechnic of Art and Design. In 1973 he was appointed to the Polytechnic of the Fine Arts in Berlin, where he became Professor of Product Design and Product Planning. The reorganisation of the Polytechnic of the Arts in Berlin saw Kupetz as a member of the Organising Commission where he attempted to bring his ideas to bear on the organisation of the Industrial Design Department. In his inaugural lecture as professor in Berlin Kupetz was already summing up in surprising fashion the job definition which he had proposed only a few years before:
?The difference from previous occupational descriptions is this: German designers speak of coordinated design work and include the social aspect to which industrial design must
be subject. I do not believe that this occupational description will be the last one. This pro-fession, which is constantly involved in a dynamic development, is seeking new fields of work and new orientations.? What distinguished Kupetz from his colleagues was his ability to question his own actions and to recognise that there were ever more possibilities of reaching solutions in design – and against a background of social change.
For those seeking to classify Kupetz’s creative work, it is the mass market, where what matters first and foremost is meeting basic consumer needs (furniture, utensils and items
for everyday use) which provided the initial social context for his endeavour. Even before he had finished his creative career in industry this context had changed radically. From the beginning of the 1970s the German market begins to diversify. In a saturated market, new consumer needs come to the fore. Representation, involvement, identification, hedonism now form the central concerns of design led by market needs.
Kupetz designed well over 1.000 products. These included metal-ware, glass, jewellery, packaging, furniture, durables and machinery. Some of his designs, such as the mineral water bottle for the German spring-water company, for which he was awarded the Federal Prize for Good Design in 1982, became best-sellers a million times over and are still in
use today. Other pieces, like many of the containers he designed for WMF or the first key-pad Telefone for AEG Telefunken were real design innovations in their field. The
all-em-bracing and multilayere d way in which Günter Kupetz’s work has developed, is, at
the same time, only conceivable in an industrial context. What characterises his output is his percep-tion that the design of anonymous products for the mass market is a socially important task, which must be accomplished with the highest possible regard to quality.
?The professional responsibility of the designer is a personal responsibility to society, which he intends to serve through his work. His work for industry is therefore bound to a continual further development of his knowledge and abilities, but to an ever watchful moral receptivity too. In particular he must gain a comprehensive view of the whole life of man and be familiar with its needs, its customs and its desires. He should recognise the
im-portance of his task. Looked at in this way, he is the vehicle of values both ideal and con-crete?, wrote Kupetz in 1963. With the dissolution of a mass market determined by basic
human consumer needs, Kupetz lost the context which shaped his work. He did not regret this, but recognised that his conception of industrial design is today a historical one. The fact that, notwithstanding this, many of his designs still seem contemporary today is attrib-utable to their outstanding formal qualities.
The challenge of publishing a book on the work of one's own father has its appeal, though it is not without difficulties as one approaches the task. Many of the things that one knew intimately - and which one therefore never needed to classify - have to be looked at again from a distance. This is not only a question of gaining a certain academic objectivity, but one has also to rekindle an enthusiasm for things that have become a well-known part of one's everyday life. This is not a job that one could risk undertaking alone.
I am, therefore, most grateful to Stephan Ott, who, with conceptual creativity, great love of, and attention to detail have worked with me to make this book possible. Annemarie Jaeggi and Florian Hufnagl as well as Marcus Botsch have set out the context of Günter Kupetz’s work in their remarkable and indeed brilliant contributions. In his photographs, Ingmar Kurth has lent a cool poetry to Günter Kupetz’s designs and transposed them into the 21st century. Armin Illion has taken his inspiration from the sculptural character of Kupetz design and created corresponding and equally exciting graphics.
My thanks to all friends, collaborators and colleagues for their many comments and good wishes, and to WMF AG, the GDB eG (Registered Association of German
Spring-Water Pro-ducers) and to the publishers Birkh?user for their generous support in helping to make this project a reality.
When Günter Kupetz started at Württembergische Metallwarenfabrik in Geislingen-Steige on 1 April 1954, the business was enjoying an upswing again for the first time since the end of the Second World War. After dreary years of slog in a time of poverty –
when there was certainly a lively demand for daily table cutlery, but no consumption worth speaking of – now WMF intended to expand its range to feature a newly created set of products, expressive of their own age, to attract a new generation of loyal customers.
In the years immediately after the war the people at WMF were still basing their
ap-proach on what was already available, using the tools which had survived and the company’s well-supplied materials store, to take up production again in as seamless a way as possible. Nor was there any sign of a change in taste, for the range introduced in the 1920s and 1930s was still selling well – a range featuring a bourgeois, cautiously historicising approach, such as the cutlery, largely designed by Kurt Mayer, some of which was still being produced into the 1980s, and which provided the company with its commercial basis.
When in 1948 the economic reform brought a new impetus to the market, WMF start-ed to look for new designers. In Wilhelm Wagenfeld they certainly found the most famous one in Germany, someone who represented the objective attitude of form elicited from
function of product, fully adapted to the industrial manufacturing process. As a trained sil-versmith, who had studied at the Bauhaus in Weimar and had managed to maintain a modern approach, both in the glass and ceramics industries, all during the National Socialist period, he, almost more than any other, had broad experience as a designer in all product sectors of WMF.
The contract agreed with Wagenfeld in 1949 appointed him artistic director for the high-quality-product sector, with his own studio at WMF. Yet initially, to Wagenfeld’s irritation, his designs were largely used for glass products, while those for metal articles were shelved, or even rejected, by the company’s internal new-product committee. The reasons for this were economic considerations, for the production of the wooden models needed to manu-facture glass products meant much lower capital investment than the
expensive tools for producing metal goods. Moreover the majority of consumers in Germany, in the wake of Bauhaus, had no great admiration for these kinds of formally reductive, inconspicuously attractive and timeless consumer goods – something reflected clearly in their sales figures.
Wagenfeld’s famous metalwork productions for WMF, which were to bring the
com-pany great success, and which have become a part of design history, found support above all from WMF’s American partner, Gordon Fraser. His sure eye for the US market, the pre-ference there for everything practical and rational, and the lack of a traditional bourgeois table culture in the European way, all made it easier to launch modern forms and to intro-duce stainless steel as a material. While people in the USA associated WMF with a contem-porary objectivity, and the name of Professor Wagenfeld was used here for advertising, i n Germany these products were only a small segment of the company’s broad product range.
This thoroughly ambivalent attitude towards Wagenfeld could be plainly seen in the pre-sentation of a model shop window at WMF’s one-hundredth birthday celebrations in 1953. Here his timelessly shaped models were placed in a fashionably colourful setting of curving, kidney-shaped table stands, with a background of asymmetrical wooden frames, beneath
a perforated ceiling. On the back wall hung a placard, reading ?G ood Design / WMF / Pro-fessor Wagenfeld?, which emphasised his international, particularly American reputation. The word ?design?, which was being increasingly adopted in German usage, was actually a concept for which Wagenfeld had no high opinion. He called himself an industrial pattern maker and even refused to join the Association of German Industrial Designers (Verband der Deutschen Industrie-Designer – VDID), which Kupetz co-founded in 1959.
As a result, in 1953 Wagenfeld withdrew somewhat from his employment with WMF, opening his own workshop in Stuttgart in the following year. He kept his studio in
Geis-lingen, but was an external member of staff, only there at irregular intervals. Now WMF began to look for someone young and talented, who might possibly be trained up as a fu-ture director of the artistic studio in succession to Kurt Mayer, who had now been working at the company for 25 years. As a result of an advertisement, the choice fell on the 28-year-old sculptor Günter Kupetz, whose sculptural work was just then enjoying its first successful exhibitions in Berlin. It says a great deal for Kurt Mayer’s courage and determi-nation to innovate that he brought to Geislingen – initially for six months – an
artist still unversed in industrial design, and gave him a chance to find his feet in a new field.
In this probationary period Kupetz familiarised himself with sheet metal as a material and with the production techniques of hollow ware. In complete contrast to Wagenfeld, who
译文：as a draughtsman via the handicraft of the silversmith, Kupetz approached his task as a sculptor. By bending, buckling, folding, cutting and soldering the sheet metal, he began by testing the material’s possibilities. Soon he was also experimenting with metal bars and wire. His first creations were bowls and small recepta-cles made from sheet brass, which were themselves by no means intended for production: asymmetrical shapes, suggesting sculptural associations, and representing current demand for table receptacles to hold salted snacks, pretzels and nuts.
Günter Kupetz drew his ideas from various sources of inspiration. His pretzel holders, reminiscent of abstract sculptures, his bowls on high stands and standing ashtrays of metal wire contained references on the one hand to contemporary sculptors such as Reg Butler, but were also connected with the light, floating furniture and interior-design items made from finest steel piping of the kind designed by Helmut Magg in those years for Deutsche Werkst?tten. Plastic qualities, on the other hand, came to the fore in the organic glass orchid vases in which Kupetz paraphrased the sensuous female torsos of his Berlin
sculp-tures. A final impetus came from the organic shapes of Scandinavian design, which Kupetz had already discovered in various journeys to Denmark in the early 1950s. Timo Sarpaneva, Henning Koppel and Tapio Wirkkala were examples of such influences.
Among the sales representatives and managers of the WMF branches, whose judgement
–close to the customers as it was – w as a yardstick for the general public’s contemporary taste, these first works by Kupetz produced great enthusiasm. Here a young designer had successfully touched the nerve of the period! Sales figures for the goods produced to his designs after 1955 would confirm this assessment. Thus Kupetz had found his place within the WMF –?fresh and unconventional (…), unusual without being eccentric, and modern without being doctrinaire?, was how his models were characterised in one of the com-pany’s own advertisi ng brochures of 1958. Along with Kurt Mayer, who represented conti-nuity and tradition in the company, and Wilhelm Wagenfeld, whose timeless modernity enjoyed great recognition – especially abroad – Günter Kupetz represented
the ?get up and go? of the youn ger generation in Germany after the war. The irritation which his designs caused in established client circles was something he himself portrayed, humorously and suc-cinctly, in caricatures for the company’s in-house magazine.
Some of the articles subsequently produced by Günter Kupetz also owe their formal origins to the wealth of experience which he gained in his first six months at the WMF. These include his children’s cutlery from 1954-55,with its characteristic bend in the handles of knife, fork and spoon, helping to strengthen the material. And the floatingly light platters and elegant bowls which commenced production in 1956, maintaining their stabili-ty through their flowingly raised edges. None of these items denies its origin in its basic material – sheet metal. Far from it: the impressive simplicity of their form actually seems to emphasise the way they are produced, using few work stages and few tools.
It is certainly here that one of the main differences must be found in the external look of designs by Kupetz and Wagenfeld, but in their method of work, too. While Kupetz seems to start more closely from his material, its requirements under machining and its efficiency of production, thus emphasising the character of flat and hollow ware, much of Wagenfeld’s work gives rather the effect of handicraft-developed models for serial production. This is true particularly of his larger metal items, such as cake tins, tea caddies, hotel dishes, soup tureens, sauce boats and beakers, which – particularly in their silvered version – do not look like factory goods, while Kupetz restricts himself largely to stainless steel. One expla-nation for this may be that some of Wagenfeld’s metal designs for the WMF were further developments of earlier work in ceramics or glass and owe their initial form to this other material.
A further difference between these two designers, both working for the WMF, can be found in their interest in patterning, which Wagenfeld permitted unwillingly and in few cases. In his early days at WMF Kupetz experimented with ammonium-chloride colouration on brass products and irregular perforations; from the 1960s he even incorporated etched patterns to designs by his wife, Sigrid Kupetz, and worked with her to design a moulded glass with a lively kerb pattern. It was used for glass inlays, which he combined with his simple stainless-steel plates, or for a whisky set –of ice bucket, men’s and women’s cups – which achieved a certain fame, because Louis Armstrong said it was the best in the world.
In 1961 Kupetz, like Wagenfeld before him, left WMF in disappointment, since many of his designs had been rejected by the new-products committee. To his irritation, the com-pany did not sell the models he had designed for inexpensive production more cheaply, but
assimilated them to the high price levels of the WMF. After founding his own studio in Stuttgart, in 1962 Kupetz joined the Kassel School of Industrial Art, where till 1973 he taught industrial design. During this time he remained associated with the WMF as a free-lance designer and had a significant influence on its product range in the 1960s, particularly with material combinations for glassware and hollow ware.
中等分辨率制备分离的 快速色谱技术 W. Clark Still,* Michael K a h n , and Abhijit Mitra Departm(7nt o/ Chemistry, Columbia Uniuersity,1Veu York, Neu; York 10027 ReceiLied January 26, 1978 我们希望找到一种简单的吸附色谱技术用于有机化合物的常规净化。这种技术是适于传统的有机物大规模制备分离，该技术需使用长柱色谱法。尽管这种技术得到的效果非常好，但是其需要消耗大量的时间，并且由于频带拖尾经常出现低复原率。当分离的样本剂量大于1或者2g时，这些问题显得更加突出。近年来，几种制备系统已经进行了改进，能将分离时间减少到1-3h，并允许各成分的分辨率ΔR f≥（使用薄层色谱分析进行分析）。在这些方法中，在我们的实验室中，媒介压力色谱法1和短柱色谱法2是最成功的。最近，我们发现一种可以将分离速度大幅度提升的技术，可用于反应产物的常规提纯，我们将这种技术称为急骤色谱法。虽然这种技术的分辨率只是中等（ΔR f≥），而且构建这个系统花费非常低，并且能在10-15min内分离重量在的样本。4 急骤色谱法是以空气压力驱动的混合介质压力以及短柱色谱法为基础，专门针对快速分离，介质压力以及短柱色谱已经进行了优化。优化实验是在一组标准条件5下进行的，优化实验使用苯甲醇作为样本，放在一个20mm*5in.的硅胶柱60内，使用Tracor 970紫外检测器监测圆柱的输出。分辨率通过持续时间（r）和峰宽（w,w/2）的比率进行测定的（Figure 1），结果如图2-4所示，图2-4分别放映分辨率随着硅胶颗粒大小、洗脱液流速和样本大小的变化。
五、外文资料翻译 Stress and Strain 1.Introduction to Mechanics of Materials Mechanics of materials is a branch of applied mechanics that deals with the behavior of solid bodies subjected to various types of loading. It is a field of study that i s known by a variety of names, including “strength of materials” and “mechanics of deformable bodies”. The solid bodies considered in this book include axially-loaded bars, shafts, beams, and columns, as well as structures that are assemblies of these components. Usually the objective of our analysis will be the determination of the stresses, strains, and deformations produced by the loads; if these quantities can be found for all values of load up to the failure load, then we will have obtained a complete picture of the mechanics behavior of the body. Theoretical analyses and experimental results have equally important roles in the study of mechanics of materials . On many occasion we will make logical derivations to obtain formulas and equations for predicting mechanics behavior, but at the same time we must recognize that these formulas cannot be used in a realistic way unless certain properties of the been made in the laboratory. Also , many problems of importance in engineering cannot be handled efficiently by theoretical means, and experimental measurements become a practical necessity. The historical development of mechanics of materials is a fascinating blend of both theory and experiment, with experiments pointing the way to useful results in some instances and with theory doing so in others①. Such famous men as Leonardo da Vinci(1452-1519) and Galileo Galilei (1564-1642) made experiments to adequate to determine the strength of wires , bars , and beams , although they did not develop any adequate theo ries (by today’s standards ) to explain their test results . By contrast , the famous mathematician Leonhard Euler(1707-1783) developed the mathematical theory any of columns and calculated the critical load of a column in 1744 , long before any experimental evidence existed to show the significance of his results ②. Thus , Euler’s theoretical results remained unused for many years, although today they form the basis of column theory. The importance of combining theoretical derivations with experimentally determined properties of materials will be evident theoretical derivations with experimentally determined properties of materials will be evident as we proceed with
华北电力大学科技学院 毕业设计（论文）附件 外文文献翻译 学号：121912020115姓名：彭钰钊 所在系别：动力工程系专业班级：测控技术与仪器12K1指导教师：李冰 原文标题：Infrared Remote Control System Abstract 2016 年 4 月 19 日
红外遥控系统 摘要 红外数据通信技术是目前在世界范围内被广泛使用的一种无线连接技术，被众多的硬件和软件平台所支持。红外收发器产品具有成本低，小型化，传输速率快，点对点安全传输，不受电磁干扰等特点，可以实现信息在不同产品之间快速、方便、安全地交换与传送，在短距离无线传输方面拥有十分明显的优势。红外遥控收发系统的设计在具有很高的实用价值，目前红外收发器产品在可携式产品中的应用潜力很大。全世界约有1亿5千万台设备采用红外技术，在电子产品和工业设备、医疗设备等领域广泛使用。绝大多数笔记本电脑和手机都配置红外收发器接口。随着红外数据传输技术更加成熟、成本下降，红外收发器在短距离通讯领域必将得到更广泛的应用。 本系统的设计目的是用红外线作为传输媒质来传输用户的操作信息并由接收电路解调出原始信号，主要用到编码芯片和解码芯片对信号进行调制与解调，其中编码芯片用的是台湾生产的PT2262，解码芯片是PT2272。主要工作原理是：利用编码键盘可以为PT2262提供的输入信息，PT2262对输入的信息进行编码并加载到38KHZ的载波上并调制红外发射二极管并辐射到空间，然后再由接收系统接收到发射的信号并解调出原始信息，由PT2272对原信号进行解码以驱动相应的电路完成用户的操作要求。 关键字：红外线；编码；解码；LM386；红外收发器。 1 绪论
New technique of the computer network Abstract The 21 century is an ages of the information economy, being the computer network technique of representative techniques this ages, will be at very fast speed develop soon in continuously creatively, and will go deep into the people's work, life and study. Therefore, control this technique and then seem to be more to deliver the importance. Now I mainly introduce the new technique of a few networks in actuality live of application. keywords Internet Network System Digital Certificates Grid Storage 1. Foreword Internet turns 36, still a work in progress Thirty-six years after computer scientists at UCLA linked two bulky computers using a 15-foot gray cable, testing a new way for exchanging data over networks, what would ultimately become the Internet remains a work in progress. University researchers are experimenting with ways to increase its capacity and speed. Programmers are trying to imbue Web pages with intelligence. And work is underway to re-engineer the network to reduce Spam (junk mail) and security troubles. All the while threats loom: Critics warn that commercial, legal and political pressures could hinder the types of innovations that made the Internet what it is today. Stephen Crocker and Vinton Cerf were among the graduate students who joined UCLA professor Len Klein rock in an engineering lab on Sept. 2, 1969, as bits of meaningless test data flowed silently between the two computers. By January, three other "nodes" joined the fledgling network.
在广州甚至广东的住宅小区电气设计中,一般都会涉及到小区的高低压供配电系统的设计.如10kV高压配电系统图,低压配电系统图等等图纸一大堆.然而在真正实施过程中,供电部门(尤其是供电公司指定的所谓电力设计小公司)根本将这些图纸作为一回事,按其电脑里原有的电子档图纸将数据稍作改动以及断路器按其所好换个厂家名称便美其名曰设计(可笑不?),拿出来的图纸根本无法满足电气设计的设计意图,致使严重存在以下问题:(也不知道是职业道德问题还是根本一窍不通) 1.跟原设计的电气系统货不对板,存在与低压开关柜后出线回路严重冲突,对实际施工造成严重阻碍,经常要求设计单位改动原有电气系统图才能满足它的要求(垄断的没话说). 2.对消防负荷和非消防负荷的供电(主要在高层建筑里)应严格分回路(从母线段)都不清楚,将消防负荷和非消防负荷按一个回路出线(尤其是将电梯和消防电梯,地下室的动力合在一起等等,有的甚至将楼顶消防风机和梯间照明合在一个回路,以一个表计量). 3.系统接地保护接地型式由原设计的TN-S系统竟曲解成"TN-S-C-S"系统(室内的还需要做TN-C,好玩吧?),严格的按照所谓的"三相四线制"再做重复接地来实施,导致后续施工中存在重复浪费资源以及安全隐患等等问题.. ............................(违反建筑电气设计规范等等问题实在不好意思一一例举,给那帮人留点混饭吃的面子算了) 总之吧,在通过图纸审查后的电气设计图纸在这帮人的眼里根本不知何物,经常是完工后的高低压供配电系统已是面目全非了,能有百分之五十的保留已经是谢天谢地了. 所以.我觉得:住宅建筑电气设计,让供电部门走!大不了留点位置,让他供几个必需回路的电,爱怎么折腾让他自个怎么折腾去.. Guangzhou, Guangdong, even in the electrical design of residential quarters, generally involving high-low cell power supply system design. 10kV power distribution systems, such as maps, drawings, etc. low-voltage distribution system map a lot. But in the real implementation of the process, the power sector (especially the so-called power supply design company appointed a small company) did these drawings for one thing, according to computer drawings of the original electronic file data to make a little change, and circuit breakers by their the name of another manufacturer will be sounding good design (ridiculously?), drawing out the design simply can not meet the electrical design intent, resulting in a serious following problems: (do not know or not know nothing about ethical issues) 1. With the original design of the electrical system not meeting board, the existence and low voltage switchgear circuit after qualifying serious conflicts seriously hinder the actual construction, often require changes to the original design unit plans to meet its electrical system requirements (monopoly impress ). 2. On the fire load and fire load of non-supply (mainly in high-rise building in) should be strictly sub-loop (from the bus segment) are not clear, the fire load and fire load of non-qualifying press of a circuit (especially the elevator and fire elevator, basement, etc.
哈尔滨工业大学毕业设计（论文） 英文原文（原文也可以直接将PDF版打印） ASSESSING CREDIT OR DETERMINING QUANTITY? THE EVOLVING ROLE OF RATING AGENCIES Lynnette D. Purda* This version: April 21, 2011 Abstract Over the past ten years, credit rating agencies have come under intense criticism from both practitioners and academics, first for their failure to identify problems resulting in bankruptcies at Enron and Worldcom and second for providing overly optimistic ratings for structured finance products. While many investors question the value of rating agencies in light of these criticisms, they have proven remarkably resilient. This paper provides a brief background on how rating agencies secured competitive advantages in evaluating credit quality. It then reviews the empirical evidence on the information content of ratings given these advantages. I argue that the information content of ratings stems from two intertwined sources: 1) information related to credit quality and 2) information related to the firm’s ability to access debt. Based on this evidence, I suggest that the dominant role for ratings today is as a benchmark for financial contracting. In this way, ratings remain influential in establishing the supply and demand of debt securities. 译文 评级机构的发展的作用评估信用还是决定数量？ 本文：2011.4.21 摘要 在过去的十年，信用评级机构一直处于来自实践者和学者的激烈的批评中，首先他们未能发现问题，导致安然和世通破产；其次对结构性金融产品提供过于乐观的评级。虽然许多投资者因为这些批评对评级机构的价值提出了质疑，但他们仍然被证明是相当有活力的。这篇文章首先在评估机构如何在信用评级质量中获得竞争优势提供一个简单地背景介绍，然后考虑到这些优势回顾了一些信息内容方面的评级经验证据。个人认为信息内容的评级来自两种交织在一起（错综复杂）的来源：1）和信贷质量相关的信息；2)和公司获取债务资本能力相关的信息。以此为据，我建议当前评级的主导作用是作为基准的金融收缩。以这种方式，在建立债券的供应和需求方面评级仍然是有效的。 - -1
https://www.doczj.com/doc/4911079375.html,/finance/company/consumer.html Consumer finance company The consumer finance division of the SG group of France has become highly active within India. They plan to offer finance for vehicles and two-wheelers to consumers, aiming to provide close to Rs. 400 billion in India in the next few years of its operations. The SG group is also dealing in stock broking, asset management, investment banking, private banking, information technology and business processing. SG group has ventured into the rapidly growing consumer credit market in India, and have plans to construct a headquarters at Kolkata. The AIG Group has been approved by the RBI to set up a non-banking finance company (NBFC). AIG seeks to introduce its consumer finance and asset management businesses in India. AIG Capital India plans to emphasize credit cards, mortgage financing, consumer durable financing and personal loans. Leading Indian and international concerns like the HSBC, Deutsche Bank, Goldman Sachs, Barclays and HDFC Bank are also waiting to be approved by the Reserve Bank of India to initiate similar operations. AIG is presently involved in insurance and financial services in more than one hundred countries. The affiliates of the AIG Group also provide retirement and asset management services all over the world. Many international companies have been looking at NBFC business because of the growing consumer finance market. Unlike foreign banks, there are no strictures on branch openings for the NBFCs. GE Consumer Finance is a section of General Electric. It is responsible for looking after the retail finance operations. GE Consumer Finance also governs the GE Capital Asia. Outside the United States, GE Consumer Finance performs its operations under the GE Money brand. GE Consumer Finance currently offers financial services in more than fifty countries. The company deals in credit cards, personal finance, mortgages and automobile solutions. It has a client base of more than 118 million customers throughout the world
英文翻译 A comprehensive overview of substations Along with the economic development and the modern industry developments of quick rising, the design of the power supply system become more and more completely and system. Because the quickly increase electricity of factories, it also increases seriously to the dependable index of the economic condition, power supply in quantity. Therefore they need the higher and more perfect request to the power supply. Whether Design reasonable, not only affect directly the base investment and circulate the expenses with have the metal depletion in colour metal, but also will reflect the dependable in power supply and the safe in many facts. In a word, it is close with the economic performance and the safety of the people. The substation is an importance part of the electric power system, it is consisted of the electric appliances equipments and the Transmission and the Distribution. It obtains the electric power from the electric power system, through its function of transformation and assign, transport and safety. Then transport the power to every place with safe, dependable, and economical. As an important part of power’s transport and control, the transformer substation must change the mode of the traditional design and control, then can adapt to the modern electric power system, the development of modern industry and the of trend of the society life. Electric power industry is one of the foundations of national industry and national economic development to industry, it is a coal, oil, natural gas, hydropower, nuclear power, wind power and other energy conversion into electrical energy of the secondary energy industry, it for the other departments of the national economy fast and stable development of the provision of adequate power, and its level of development is a reflection of the country's economic development an important indicator of the level. As the power in the industry and the importance of the national economy, electricity transmission and distribution of electric energy used in these areas is an indispensable component.。Therefore, power transmission and distribution is critical. Substation is to enable superior power plant power plants or power after adjustments to the lower load of books is an important part of power transmission. Operation of its functions, the capacity of a direct impact on the size of the lower load power, thereby affecting the industrial production and power consumption.Substation system if a link failure, the system will protect the part of action. May result in power outages and so on, to the production and living a great disadvantage. Therefore, the substation in the electric power system for the protection of electricity reliability,
International Journal of Minerals, Metallurgy and Materials Volume 17, Number 4, August 2010, Page 500 DOI: 10.1007/s12613-010-0348-y Corresponding author: Zhuan Li E-mail: li_zhuan@https://www.doczj.com/doc/4911079375.html, ? University of Science and Technology Beijing and Springer-Verlag Berlin Heidelberg 2010 Preparation and properties of C/C-SiC brake composites fabricated by warm compacted-in situ reaction Zhuan Li, Peng Xiao, and Xiang Xiong State Key Laboratory of Powder Metallurgy, Central South University, Changsha 410083, China (Received: 12 August 2009; revised: 28 August 2009; accepted: 2 September 2009) Abstract: Carbon fibre reinforced carbon and silicon carbide dual matrix composites (C/C-SiC) were fabricated by the warm compacted-in situ reaction. The microstructure, mechanical properties, tribological properties, and wear mechanism of C/C-SiC composites at different brake speeds were investigated. The results indicate that the composites are composed of 58wt% C, 37wt% SiC, and 5wt% Si. The density and open porosity are 2.0 g·cm–3 and 10%, respectively. The C/C-SiC brake composites exhibit good mechanical properties. The flexural strength can reach up to 160 MPa, and the impact strength can reach 2.5 kJ·m–2. The C/C-SiC brake composites show excellent tribological performances. The friction coefficient is between 0.57 and 0.67 at the brake speeds from 8 to 24 m·s?1. The brake is stable, and the wear rate is less than 2.02×10?6 cm3·J?1. These results show that the C/C-SiC brake composites are the promising candidates for advanced brake and clutch systems. Keywords: C/C-SiC; ceramic matrix composites; tribological properties; microstructure [This work was financially supported by the National High-Tech Research and Development Program of China (No.2006AA03Z560) and the Graduate Degree Thesis Innovation Foundation of Central South University (No.2008yb019).] 温压-原位反应法制备C / C-SiC刹车复合材料的工艺和性能 李专，肖鹏，熊翔 粉末冶金国家重点实验室，中南大学，湖南长沙410083，中国（收稿日期：2009年8月12日修订：2009年8月28日;接受日期：2009年9月2日） 摘要：采用温压?原位反应法制备炭纤维增强炭和碳化硅双基体(C/C-SiC)复合材
文献翻译 原文 Combining JSP and Servlets The technology of JSP and Servlet is the most important technology which use Java technology to exploit request of server, and it is also the standard which exploit business application .Java developers prefer to use it for a variety of reasons, one of which is already familiar with the Java language for the development of this technology are easy to learn Java to the other is "a preparation, run everywhere" to bring the concept of Web applications, To achieve a "one-prepared everywhere realized." And more importantly, if followed some of the principles of good design, it can be said of separating and content to create high-quality, reusable, easy to maintain and modify the application. For example, if the document in HTML embedded Java code too much (script), will lead the developed application is extremely complex, difficult to read, it is not easy reuse, but also for future maintenance and modification will also cause difficulties. In fact, CSDN the JSP / Servlet forum, can often see some questions, the code is very long, can logic is not very clear, a large number of HTML and Java code mixed together. This is the random development of the defects. Early dynamic pages mainly CGI (Common Gateway Interface, public Gateway Interface) technology, you can use different languages of the CGI programs, such as VB, C / C + + or Delphi, and so on. Though the technology of CGI is developed and powerful, because of difficulties in programming, and low efficiency, modify complex shortcomings, it is gradually being replaced by the trend. Of all the new technology, JSP / Servlet with more efficient and easy to program, more powerful, more secure and has a good portability, they have been many people believe that the future is the most dynamic site of the future development of technology. Similar to CGI, Servlet support request / response model. When a customer submit a request to the server, the server presented the request Servlet, Servlet responsible for handling requests and generate a response, and then gave the server, and then from the server sent to