服装设计专业毕业设计外文翻译

服装设计中的计算机辅助方法

三维计算机辅助设计（CAD ）技术正逐渐扩散到服装的设计和制造应用

领域。目前，服装行业普遍使用的二维CAD 工具。预计，三维设计工具，将成为未来服装行业中不断发展的技术。服装产品的设计的基本问题是合体性的问题以及相关的二维图形生成的问题。最终目标是设计和生产非常合体的个性化服装，而三维方法是通过努力可以实现这一目标的最合理的办法。三维方法包括几个关键因素：其中包括参数化三维人体模型;三维服装模拟;三维图案设计，并

3D/2D 模型转换。

做这个课题的目的是提供一个平台，供研究人员回顾过去的技术发展，并为

今后研究三维服装设计方法找出可能的方向。这里选择了题目相关的五篇论文，为服装行业提供三维应用程序发展的背景和技术。第一份文件是一个粗略的审查织物仿真技术，该技术奠定了基础的三维服装设计。接下来的三篇论文详细介绍了虚拟的环境中的三维服装设计。最后一篇介绍了将三维服装转换为二维样板的新技术。

第一篇论文是从Choi and Ko 得到的，有关织物仿真研究问题。作为一项服

装设计和修改的基本技术，物理为基础的织物仿真技术被用来产生织物运动的逼真效果。这篇论文介绍了织物仿真技术的三个方面：（1）服装结构; （2）基于物理的模拟，和（3）碰撞检测和响应。所面临的技术挑战，即创造更多的实际

成果;实现更快的运行时间，制造/模拟更为复杂的服装，是需要进一步研究的突

出问题。

Volino 等在第二篇论文中提出的，是一个框架，它符合服装行业虚拟服装设

计和原型制作的需要。他们的做法集中在交互设计，模拟和可视化功能。作为先进的虚拟服装仿真技术在过去十年中的总结，本文中介绍的框架集成了国家最先进的具有创新设计工具的物理模拟算法，提供高效率和高质量的服装设计和原型制作程序。

第三篇论文介绍了一个综合的环境，这使得设计师能够通过分析服装虚拟原

型和仿真结果验证他们的风格和设计方案，因此，物理原型的数量和作用会减少。和上一篇论文中提到的一样，本文介绍的服装虚拟原型的制作方法也是以物理为基础的。他们能够建立模型确定各向异性织物的经纬向性能。牛顿动力学的限制适用于网格，以确定最后形成的合体服装的形状。本文中提到的通过应用研究和对几个男女性服装项目中CAD 建模和物理模拟的分析，用来证明他们的系统功能。

在第四篇论文中，作者提出了一种同步三维服装仿真结果更新算法，用于二

维服装纸样设计的修改。用这种做法，对二维模式的修改无须每次重复整个三维服装合体性仿真，样板修改过程的效率被大幅度提升了。该算法的另一个优势是，二维服装纸样的网格拓扑结构被保存，从而通过保持矩阵方程一致性简化了数值格式。

为了把用户制作的三维服装转变成良好的二维板式，麦卡特尼等人在第五篇

论文中介绍了一种方法。他们的算法，通过采用一个正交应变模型来转换锁定在

不可更新的能量函数中的应变值。这些能源函数通过平坦约束三角网格被尽量减少。因为他们的应变模型各向异性，其方法可以处理正交异性材料的平坦问题，

这对服装生产中三维模式转变为二维模式是非常重要的。他们的论文中也考虑了

接缝插入问题。

在这里，我们要感谢对这些论文提供了宝贵的意见和见解的审评者。这些论

文表明，三维CAD 技术在服装设计中正在迅速成熟，将成为弥补学术研究和商

业应用在设计和制造服装产品中差距的桥梁。尽管仍有物理模拟、碰撞检测、

3D/2D 转换、高效的设计界面领域的技术需要改善，但是我们希望这一复杂的服

装设计任务可以通过CAD 系统在不久的将来完成。

CAD methods in garment design

Three dimensional Computer-Aided-Design (CAD) technology is gradually diffusing into the garment design and manufacturing applications. At present, the

apparel industry widely uses two-dimensional CAD tools. It is anticipated that

three-dimensional design tools will be the next evolving technology for the apparel

industry. The basic problems in apparel products design are the fitting problem and

the related 2D-pattern generation problem. The ultimate goal is to design and produce well-fitted personalized garments for individuals, and the 3D approach is the most

rational approach to be adopted to realize this goal. The 3Dapproach consists of

several key elements, which include parameterized 3D-mannequin modeling; 3D-garment simulation;3D-pattern design, and 3D/2D-pattern conversion.

The aim of this special issue is to provide a forum for researchers to review the

past developments, and to identify possible directions for future research on

3D-approaches to garment design. The five papers selected for this special issue

provide background and techniques for 3D-applications in the apparel industry. The

first paper serves as a cursory review of cloth simulation technology which lays the

foundation of 3D-garment design. The following three papers show techniques for

3D-garment design in a virtual environment. The last paper in this special issue gives

a novel technique to convert 3D-garment pieces into corresponding two patterns.

The first paper is a review paper from Choi and Ko on research problems in cloth simulation. As a fundamental technique for the design and modification of apparel

items, the physics-based cloth simulation technique is used to generate realistic cloth

motion in real-time. Three technical aspects of cloth simulation are reviewed in this

paper: (1)garment construction; (2) physically based simulation, and(3) collision

detection and response. The technical challenges, namely creating more realistic

results; achieving faster running time, and constructing/simulating more complex

garments, are highlighted as the problems requiring further research.

Presented in the second paper by Volino et al. is a framework which fits the

needs of the apparel industry for virtual garment design and prototyping. Their

approach concentrates on interactive design, simulation and visualization features. As

a result of the advances in virtual garment simulation technologies in the last decade, the framework presented in this paper integrates the state-of-the- art physical

simulation algorithms with the innovative design tools to provide an efficient and

quality garment design and prototyping procedure.

The third paper describes an integrated environment, which allows designers to

validate their style and design options through the analysis of garment virtual

prototypes and simulation results, so that the number and role of physical prototypes are reduced. In line with the previous paper, the garment virtual prototyping method

presented in this paper is also physics-based. They define the particle mesh associated with each fabric panel as a structured 2Dgrid whose coordinates aligned with the

directional anisotropic warp and weft properties of the fabric. The constrained

Newtonian dynamics is applied to the mesh to determine the final shape of a fitted

garment. Applications and case studies, with analysis of CAD modeling and physical simulation results of several male and female garment items, are shown in the paper

to demonstrate the functionality of their system.

In the fourth paper, a synchronous 3D-garment simulation result updating

algorithm is presented for 2D-garment pattern design modification. With this

approach, the 3Dgarment fitting simulation is not required to repeat the entire

simulation for every 2D-pattern modification, the efficiency of the pattern

modification processing is greatly enhanced. Another advantage of the proposed

algorithm is that the mesh topology of the 2D-garment pattern is preserved and thus

simplifies the numerical scheme by maintaining the consistency of the matrix

equation.

In order to determine good fitting two-dimensional flattened patterns from user

defined three-dimensional surface regions, an approach is presented by McCartneyet

al. in the fifth paper. In their algorithm, an orthotropic strain model is adopted to

convert the strain values locked in undevelopable regions to energy functions. These energy functions are minimized by flattening of constrained triangular mesh. Since

their strain model is orthotropic, their method can handle the flattening problem of

orthotropic materials—this is very important for converting 3D-pieces into 2D-patterns for apparel manufacturing. The seam insertion problems are also

considered in their paper.

Here, we would like to thank the reviewers who provided valuable comments

and insights for all papers in this special issue. The papers in the special issue indicate that the 3D CAD approach in garment design is fast approach maturity that will

bridge the gap between academic research and commercial application

in the design

and manufacturing of apparel products. There still remains improvement in the areas

of physics-based simulation, collision detection, 3D/2D-conversion, and effective

design interface, but we would expect that the complex garment design tasks could be virtually completed by CAD systems in the very near future.

专用服装三维CAD 模型

摘要：

虽然可用于服装计算机辅助设计（CAD ）系统的织物建模技术已取得相

当进展，但是很少有人研究服装CAD 系统中指定服装的方法。服装的最后造型

是通过省道、接缝、边缘、衬垫和织物的局部延伸得到的。为了赢得信誉，

CAD

系统应当可以通过简单的界面来指定施工细节，并且有强大的功能处理复杂的服

装配件。可行的概念方法有很多。只要有准确悬垂算法，被选择面料的服装样板

就可以简单地附着在模特儿上，实现服装的可视化。如果有必要变化，用户将修

改二维样板并重新运行可视化程序。另一种可能更富有成效的办法是用先进的绘图工具指定在3 维环境下指定所需要的三维形状。三维服装会利用某种方式转化为二维样板并标明实现所需的最后形式的结构细节。本文介绍的计算机辅助设计系统，正在努力实现上述过程。

1 介绍

计算机辅助设计（CAD ）现在是一个发展了很久的技术，目的是为工程

应用产生使用的设计方案。早期系统只是代替了绘图板和绘图工具。然而，现代CAD 系统包含了许多分析工具，可以协助设计人员优化设计或对他们的设计进

行功能测试。此外，生产信息可以快速的从CAD 设计中得到。计算机系统辅助服装生产的技术直到今天一直在发展。服装设计系统的研究集中在服装的可视化，以及需要很快的产生设计形象。这种系统已证明对制造服装的企业非常有效，他们为有大量货物而且必须从顾客处核实设计的大型零售机构生产。CAD 系统

能够迅速尝试不同的颜色和纹理，这种功能在这种情况下是非常宝贵的。而且，这种系统能够使用最新的打印机技术在原型上产生纺织品印花。此外，它的自动化程度很高，可在后续的生产过程中自动生成二维样板和样板的裁剪路径。

仍然存在着三个计算机辅助设计很少涉及或没有取得成功的领域。

1 、电脑产生完整的三维服装。

2 、自动生成二维样板。

3 、精确敏感的模拟服装面料的视觉感受并自动产生加工方法。

这些领域发展缓慢导致了企业无法真正采用计算机集成方法设计和制造服

装。这篇论文的目的为服装设计加工一体化过程提供可行的过程，重点介绍用户界面和促进一体化的核心技术。

2 发展现状和局限

大多数生产大中批量的服装制造公司的当前情况可以用图1 来描述。设计师

根据以当前的流行趋势产生的创作主题和目标市场设计产品。他们通常把设计画在纸上，表达服装的视觉效果。有时候设计稿上会附有加工时要用的面料样本。需要指出的是，这种设计形式既不能被当做准确的服装结构，也不能被当做三维服装的二维展开图。

图1 普遍使用的服装设计流程

设计纸稿

制作样板

纸样

样衣制作

样衣

评价和评估

因此，这意味着设计的沟通往往是非正式的，但对进行下一个生产阶段足够

已经详细。这种情况的主要限制有两个方面。

1、制板师在制作二维样板时对设计的解释带有主观性。

2、其次，通过评估阶段的设计作品比例较低。

这样做结果不仅是拒绝了大量的样品，更重要的是，浪费了时间和分散了精力。

3 计算机集成方法

这里提出的方法在图2 中表示了出来。框图描述了计算机集成方法的核心要素。至今为止阻碍这样一种综合方法被接受的关键因素是：

●没有一种有效的设计界面，可以让设计师方便的创造三维服装；

● 没有功能强大的把三维服装变成二维样板的软件；

● 没有准确的悬垂效果显示技术。

为了顺利的实现集成制造过程，以上三方面的技术都要有较大发展。下文将详细介绍这些因素。

3.1 设计界面

设计功能在服装行业是一个创造性和艺术性的过程。任何提供给设计人员的

计系统，不得抑制设计人员的艺术天赋。然而，设计者必须根据某些因素，例如成本和最终产品的功能，进行设计。增加在这些困难上的是服装在穿着时的复杂形状变化。设计师应当通过设计界面向计算机表达什么形状？本文提供的是一种全新的界面，可以生成三维服装模型.这种模型在合体性要求高的地方必须能够提供准确的表面描述，例如服装接近基本模特的地方。这种表面描述必须能够通过合适的人机交流界面和数学技术实现。然而，让设计人员描述布料悬垂的三维几何形状是不恰当的。CAD 系统使用的技术（如各种形式的双三次曲面）一定要能够准确地表现织物悬垂的形状，而不是让设计师完成这些工作。其次，为了准确地预测或想象服装的形状，设计师非常了解面料的性质。为了设计界面，在图3 （a）中的表述可以被认为是初始服装的风格形式，包含施工生产所必需的所有的细节。

图2 建议使用的服装设计方式

由于设计师不能准确的描述服装的每个细节，因此设计界面应当提醒设计师

界定其他细节。例如，如果选中了两个毗邻的小组件，那么系统应当询问它们应

当怎样被连接。而且所以设计的面料属性都要被确定。实际上，这一阶段应确定所有参数以便进行随后的悬垂仿真。

在这个阶段显示的服装三维表面有两个重要的作用。首先，它提供了一个三

维框架，在这个框架中，样板的关系才能通过服装组成被充分确定。此外它为悬垂性模拟提供了一个很好的起点。因此，通常用来定义一个样板的样板节点将有三重作用：

1、作为初始的三维样板的节点；

2、作为被转化成的二维样板的节点；

服装三维效果

电脑生成的样板

生产样板

服装可视化

面料特性

拒绝

接受

重设计

不适用

3、作为样板悬垂性模拟的节点。

3.2 样板展开

曾有人试图做出生成服装二维样板的软件。然而，这些努力几乎没有结果，

因为二维样板的生成需要一个完整的3D 模型。此外，必须有一个智能化检验系统验证样板展开过程是否足够精确。作者建议，服装3D 模型应当被自动分成合体和悬垂两部分。检验服装属于哪部分的标准是服装与模特是否被抵消，以及服装被迫抑制这种抵消的程度。

根据这一划分，展开过程中合体部分和悬垂部分被分开对待.另一个重要因

素是织物的材料特性。由于面料通过梭织或针织结构产生各向异性特性，这是个难以解决的问题。最后，二维扁平样板不只是一个二维轮廓。需要有一个服装如何从三维到二维映射的说明，这样，需要考虑悬垂性时，反向进程可以实现。有人研究过，三维模型转变为二维的平坦算法。该算法能够根据相关的曲率特性处理任意位置的接缝，包括省道和节点。

3.3 悬垂引擎

此模块应能处理以下信息：

1、一个二维模式的几何描述（包括足够的内部点以及与其他件的连接方

式）。

2、通过主要特点描述确定的织物种类。

3、制约机制，如肩带，拉链。

4、人体模特表面曲面描述。

5、表面纹理描述。

并且能够准确预测织物的最后形状。这是一个非常困难的要求大量计算的过

程。有些人研究过其它方法。作者们所采取的模式必须能模拟服装穿着时的各种耗能方式。这是研究拉伸刚度、抗弯刚度和屈曲行为得到的成果。

能够用来准确描述材料特性的参数是：经纱的方向拉伸应变能量不变，Ksu；

纬线方向拉伸应变能量不变，Ksv；裁剪应变能量不变，Kr；平面弯曲能量不变，Kb；由织物单位质量产生的潜在能量，Kg。

已经出现了模型，可以根据面料性质测量以上几个参数。当3D 系统中的某

个节点的运动会减少总能量，问题就出现了。系统必须不断的检查，确保服装样板的节点与下面的模特儿不重合。这个问题可以通过在上述清单中另加入一个能量部件解决，它可以纠正与模特重合的样板节点。此外，三维样板有时会和自身重合。这些因素大大增加了计算的复杂性。该模型，体现出能源和几何造型元素，称为悬垂引擎。表现的方法和关闭它的方法对形成样板的最终形状是很重要的。以往在这方面的工作突出了解决方案对计算要求严格的特点和在三维下解决方

案的敏感性问题。

4 例子

图3. a.三维板式设计 b.样板网格化 c.样板展平 d.悬垂效果和服装纹理

材料特性 A 类材料 B 类材料

经纱的方向拉伸应变能量，Ksu（N/mm）0.411 0.182

纬线方向拉伸应变能量, Ksv（N/mm）0.434 0.882

裁剪应变能量，Kr（N/mm.rad）0.026 0.017

平面弯曲能量，Kb（N/ rad） 5.8×10

-4

2.1×10

-4

由织物单位质量产生的潜在能量，Kg（N/mm

2

） 1.56×10

-6

2.088×10

-6

表1.面料材料性能举例

假设一名设计师要设计贴体服装的右前样板。这需要理想的三维表面和为了

达到贴体性而可选择的省道位置。以下是两个实例。由于本例的服装不是可以完整的款式，所以需要固定某些点，防止启动悬垂引擎时，服装脱落。图3（a）

展现了在理想的三维表面生成的初始服装样板和固定点（分有A，B，C 和D）。

这个例子中没有确定省道。在这一阶段，表面由多边形网格展现出来。网格的性质显示在图3（b）中。两种面料类型A 和B 被考虑，它们的性质在表1 中被

定义。面料A 在第一小组中。然后平坦进程开始，以获取二维样板。从三维到二维转化的过程中，初始三维网格中的每一个节点被一对一的映射（图3

（ b ））。其结果在图3（c）中展示。最后，悬垂引擎被启动。这个过程始于最

初三维样板图3（a），尽量减少二维平坦面料转化为目前的三维形状时需要的总能量。最后悬垂后的三维形状在图3（d）中展示，样板的A，B，C 和D 点被固定了。为了使视觉效果变得更好，织物纹理被渲染。这个功能因为悬垂引擎的

2D-3D 映射被加强。

图4. a.三维板式设计 b.样板网格化 c.样板展平 d.悬垂效果和服装纹理

第二个例子在图4（a）－（d）中被展示。在这个例子中，应用了另一种布

料（B 型），而且一个省道在样板的三维模式中被确定了出来（图4（a））。为了

保留整个省道的几何形状，原始的三维样板被网格化（图4（b））。这使得平展过程可以进行（图4（c））。在展平过程中，省道上的节点被双重化，这样省道才能形成。启动悬垂引擎时，省道上的节点被固定在同样的3D 位置。最后的结果如图4（d）所示。

5 结论

本文简单介绍了服装生产中的集成制造技术。设计界面、平展技术和悬垂性

已被认为是阻碍技术发展的主要困难。例子中表现了服装最终形状怎样受到面料性质和省道等工艺技术的影响。为了使CAD 系统被服装设计者和制造商实际使用，它必须提高模拟服装真实表现的功能。

Dedicated 3DCAD for garment modelling

Abstract

While considerable progress has been made in fabric modelling techniques,

which could be used in garment computer aided design(CAD) systems, less attention has been paid to the way in which garments might be specified in a CAD system. The final shape taken by a garment is often achieved through the incorporation of darts,

seams, edges, stiffening pads and local stretch of the fabric. In order to gain

credibility,CAD systems should have to functionally handle the level of complexity

normally found in garment assemblies combined with a simple interface to specify the constructional detail. Different conceptual approaches are possible. Given an accurate

drape algorithm,garment block patterns in a chosen fabric could simply be anchored

or attached around the mannequin in order to achieve avisualisation of a garment. If

changes were necessary, the user would alter the 2D patterns and re-run the

visualisation. An alternative and possibly more productive approach

would be to

specify in 3D, with advanced drawing tools, the 3D shape required. Processing of the

3D garment piece using expert rules would indicate the 2D shape and constructional detail required to achieve the final form. This paper describes a CAD system that is

under development and which aims to facilitate both the approaches.

Keywords: CAD; Garment design; Flattening; Draping

1. Introduction

Computer aided design (CAD) is now an established technique for generating

practical designs for most engineering applications. Early systems were simply a

replacement for drafting boards and drawing tools. However, modern CAD systems

incorporate many analysis tools to assist designers in optimising designs or testing the functionality of their designs. In addition, manufacturing information can be

generated efficiently fromCAD designs.The development of computer systems to aid

the manufacture of garments has been rather piece meal to date.Design systems have concentrated on the visualisation of garments and the need to efficiently create an

image of a design.Such systems have proven very effective with companies who

manufacture garments for large retail organisations where volumes arelarge and

designs have to be vetted by buyers from theretailer. The ability to quickly try

different colours and textures is invaluable in such circumstances. Also, such systems are capable of generating prototype textile prints using the latest printer technology. In addition, there is a high degree of automation available in subsequent manufacturing processes which nest 2D patterns and generate cutter head path information for large cutting tables.

There remain three areas where computer assistance has met with little or no

success.

1. The 3D specification of a complete garment.

2. The creation of 2D patterns.

3. Accurate simulation of garment visualisation sensitive to fabric type and

constructional detail.

The lack of development in these areas has resulted in the inability of companies

to truly adopt a computer integrated approach to design and manufacture. The purpose of the work described here is to offer a possible configuration for such an integrated

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外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.

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服装设计参考文献

参考文献 [1]李平.面料再造的艺术表现力[J].服装设计师,2009，10 [2]艺术与设计[J].2011.05 [3]马慧颖,肖圣颖.浅谈环保主义影响下的服装设计[J].才智，2009，06 [4]李苏君,彭景荣.三宅一生与解构主义服装[J]. 美与时代2010, 01 [5]余建春.服装市场调查与预测[M]. 北京：中国纺织出版社,2002 [6]服装设计师.月刊.[J] .服装设计师杂志社，2008.01 [7]肖文陵，李迎军．服装设计[M].北京：清华大学出版社,2006 [8]许星．服饰配件艺术[M]. 北京：中国纺织出版社,2005 [9]罗森.魅力先生[J].青年与社会,2006，04 [10]李霞云.服装造型设计[M].上海：上海纺织工业专科学校，2008 [11]刘瑞璞．服装纸样设计原理与技术(男装编)[M].中国纺织出版社,2003 [12]尹定邦.设计学概论[M].衡阳:湖南科学科技出版社,2001.10 [13]原研哉. 设计中的设计[M]，济南：山东人民出版社，2006 [14]吴静芳. 服装配饰学[M].上海:东华大学出版社,2004.1 [15]刘元凤. 服装设计学[M]，北京：高等教育出版社，2005 [16]肖文陵.李迎军．北京：服装设计[M]. 北京：清华大学出版社.2006 [17]谢锋.时尚之旅（第二版）[M]. 北京：中国纺织出版社,2007 [18]李采姣.时尚服装设计[M]. 北京：中国纺织出版社,2007 [19](美)多丽丝·普瑟.穿出影响力[M]. 北京：中国纺织出版社,2006 [20]袁利.打破思维的界限[M]. 北京：中国纺织出版社,2005

毕业设计外文翻译格式实例.

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

附件1：外文资料翻译译文 基于一维CFD模型下汽车排气消声器的实验研究与预测Takeshi Yasuda, Chaoqun Wua, Noritoshi Nakagawa, Kazuteru Nagamura 摘要目前，利用实验和数值分析法对商用汽车消声器在宽开口喉部加速状态下的排气噪声进行了研究。在加热工况下发动机转速从1000转/分钟加速到6000转/分钟需要30秒。假定其排气消声器的瞬时声学特性符合一维计算流体力学模型。为了验证模拟仿真的结果，我们在符合日本工业标准（JIS D 1616）的消声室内测量了排气消声器的瞬态声学特性，结果发现在二阶发动机转速频率下仿真结果和实验结果非常吻合。但在发动机高阶转速下（从5000到6000转每分钟的四阶转速，从4200到6000转每分钟的六阶转速这样的高转速范围内），计算结果和实验结果出现了较大差异。根据结果分析，差异的产生是由于在模拟仿真中忽略了流动噪声的影响。为了满足市场需求，研究者在一维计算流体力学模型的基础上提出了一个具有可靠准确度的简化模型，相对标准化模型而言该模型能节省超过90％的执行时间。 关键字消声器排气噪声优化设计瞬态声学性能 1 引言 汽车排气消声器广泛用于减小汽车发动机及汽车其他主要部位产生的噪声。一般而言，消声器的设计应该满足以下两个条件：（1）能够衰减高频噪声，这是消声器的最基本要求。排气消声器应该有特定的消声频率范围，尤其是低频率范围，因为我们都知道大部分的噪声被限制在发动机的转动频率和它的前几阶范围内。（2）最小背压，背压代表施加在发动机排气消声器上额外的静压力。最小背压应该保持在最低限度内，因为大的背压会降低容积效率和提高耗油量。对消声器而言，这两个重要的设计要求往往是互相冲突的。对于给定的消声器，利用实验的方法，根据距离尾管500毫米且与尾管轴向成45°处声压等级相近的排气噪声来评估其噪声衰减性能，利用压力传感器可以很容易地检测背压。 近几十年来，在预测排气噪声方面广泛应用的方法有：传递矩阵法、有限元法、边界元法和计算流体力学法。其中最常用的方法是传递矩阵法（也叫四端网络法）。该方

服装英语论文

服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and