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家居电商找准重点 O2O线上线下结合是关键
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核心提示：随着红星美凯龙旗下电商平台「红美商城」的滑铁卢，以及居然之家与家得宝、美克美家同时宣布入驻天猫，家居卖场巨头们的案例，似随着红星美凯龙旗下电商平台「红美商城」的滑铁卢，以及居然之家与家得宝、美克美家同时宣布入驻天猫，家居卖场巨头们的案例，似乎向我们宣告了家居垂直电商的惨淡前景。家居产品的现场体验非常重要，特别是整体定制家居兴起以后更是如此，而B2C模式下的家居电商产品，在体验效果、物流运输、退货及维修等方面的问题，都被人们所诟病。
更加专注于本地化与产品体验的O2O电商模式（online to offline），已经在餐饮、娱乐等许多服务性行业已经取得了不错的效果，也被看作是最适合家居行业的电商模式。O2O模式具备线上线下的双重优势，它在线上聚合人气，并将顾客引导到线下体验，最终提高家居门店的顾客成交率。立足本地的优势，也使得运输、安装和售后服务有了更好的保障。
看似美妙的前景，在落地的时候总是要遭受现实的各种阻力。就目前看来，家居O2O模式被普遍看好，但缺乏真正的成功案例，这和整体家居电商刚刚起步的大形势有关，也与企业在运营当中许多暴露出来的问题没有有效解决有关。
广义上来讲，美乐乐、宝O2O平台、家居直通车等家居购物网站，都是在实行O2O模式。不过按具体经营方式来分，美乐乐经营的是自己的专有品牌，它的&垂直&的意味更强一些。而建材资讯宝O2O平台、家居建材O2O直通车则属于平台的性质：没有自营品牌，商品全部来自本地的合作经销商。这也代表了家居电商的两种主要方向：或者建立自己的品牌，或者成为一个有效率的零售渠道。
作为垂直O2O电商的代表，美乐乐凭借两轮的融资，目前在线下已经有了相当数量的体验店，商品也全是自主品牌的产品，从小的装饰品到衣柜橱柜等定制家具，一应俱全。这样做的优势在于实现了线上线下实现了无缝对接，因为在同一个公司的经营下，不管是政策的执行、信息数据的整合共享，还是一些售后的责任认定，都有很好的解决途径。另外整体家居的兴起，也预示着这种产品多元化家居品牌的不错前景。
不过这种模式缺点也很明显，首先就是线下的众多实体店增加的运营负担与风险，企业过于庞大的身躯不便快速的应对诸多可能的变化。而且在家具市场逐渐成熟的今天，品牌之间的竞争尤为激烈。美乐乐的定位是家居O2O电商，消费者对电商的印象首先是便宜，这是网购的最大理由。而做品牌则是要通过产品的特质，与用户建立更层次的关系，将形象打入消费者心理，提高产品的溢价能力。就目前来看，美乐乐主页上最突出的信息还是「便宜」二字，线下的体验馆发挥的至多是消费者现场体验、下单后就近发货的功能，与传统的家居品牌专卖店相比，并无突出优势，有些地方还显得不够专业。美乐乐在线上与线下，两头都占，但是没有一项是有明显优势的，而且二者的结合更像是O+O而不是O2O。
相比之下，建材资讯宝O2O平台的模式则更轻、更灵活。轻是说它轻装上阵，通过与已形成一定规模和口碑的家居品牌合作，将其直营店与加盟店，从线下完整地「复制」到线上来，通过科学的编辑与处理，使其在互联网上有了更好的呈现。在线上，消费者可以通过搜索与对比，可以找出性价比最高的家具产品，当然也可以专门去找自己中意的品牌，在线上挑选好产品之后，找最近的或者折扣最高的实体店面去消费。
把实体店搬到网上，把消费者引入实体店面，这是建材资讯宝O2O平台的核心功能。消费者不论是在网上进行咨询，还是最终进入实体店面，销售与服务环节，都是由相应的家具卖店来完成。建材资讯宝O2O平台在这里扮演的是「红娘」的角色，为商家提供展示平台，为消费者提供选购平台。作为第三方的角色，建材资讯宝O2O平台真实的评分系统和成交数据，可以更加公正与透明地呈现给消费者，这是其在线上的优势。而线下，不同的品牌有着不同的产品理念，也有不同的服务体系，因此消费者选择的空间非常大，和非网购时几乎没有差异，就有机会实现每一件产品的最优选择。
建材资讯宝O2O平台的优势在线上，而线下的任务属于相应的家居品牌，因为他们更专业，也更专注。B2C有的建材资讯宝O2O平台有，实体店有的建材资讯宝O2O平台也有，而消费者则掌握了更多的主动选择权。从这个角度上来说，在建材资讯宝O2O平台的O2O模式中「to」的功能似乎更为突出。
当然，目前的家居O2O电商模式刚刚起步，上述的分析也是理论大于实践，但经验告诉我们，问题真的来的时候总是比想象的多，美乐乐与建材资讯宝O2O平台代表了家居电商的两个方向，不论是前者的定位不明确，还是后者的缺少经验，更多的结论都需要市场进一步的检验才能看清楚。在美国，不少家具网站就能做到真正的O2O。他们很清楚把客流从线上带到下线的好处，最大的好处是连带消费，提高客单价。国内的家居电商也应该找准自己的&重点&，把O+O变成真正的O2O。24小时热点
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传真：028-线上线下大比较&网购家具不一定真划算
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原标题：线上线下大比较 网购家具不一定真划算
　　■调查方法
　　记者首先在全友家居、顾家家居、曲美家具的天猫旗舰店上分别选择了几件商品，然后针对这些商品（某些商家线上线下商品存在差异，在商品没有完全对应的情况下，记者选择了样式及尺寸相似的产品进行对比），在线下实体店中，针对其物流、价格等与网店的条件相比。结果发现，实体店的优势还是不容小觑的。
　　实体店订货周期神速
　　记者先拿着在网上看中的一套韩式四件套家具的照片来到全友家居实体店。销售员告诉记者，网店与实体店商品不完全对应，给记者介绍了其他韩式家具，其四件套的送货时间，最短为20天，而且保证“绝对能到”，这与网上买家反馈的数月送货期可谓天壤之别。
　　记者又来到了曲美体验店，对于线上线下同步的产品，销售员介绍，如果在实体店下单，送货周期可以从15天左右降至12天左右。
　　在顾家家居里，记者看见了一套与网店十分相似的沙发，销售员表示，如果不改颜色和榻的方向，“库里有货，几天就送到。如果需要改的话，30天就能进户。”记者又到了天猫爱蜂巢的顾家家居体验店，销售员告诉记者，在这里下单和实体店送货程序相同，比在天猫下单要快得多。
　　价格服务线下更灵活
　　12月1日，记者在全友家居网店看到一套报价为9646元的韩式四件套。在全友实体店内，虽没有这套家具的原版，记者却看到了与其极为相似的一套美式田园风格家具，当天报价就比网价低100多元。而销售员推荐的店内摆放的韩式四件套，只要8000多元。记者在12月8日全友实体店促销活动时询问，这套韩式家具更降至7031元，双12后，这套家具的网上售价“神奇”地暴涨为13780元。
　　曲美体验店中，12月1日记者首次去时，看上的家具实体不能下单，且店员表示线上线下价格同步为5071.2元，如果选择可以实体下单的产品，则可额外获得一定量的饰品。记者8日再去时，该家具可以线下下单，也许是看到记者有购买诚意，店员将家具组合中的柜子和床头柜单算折扣，最后整体价格仅为4513元，比网价便宜了500多元。
　　12月1日，记者首次来到顾家实体店，向店员展示了网上看到的沙发图片，其为3人位加榻标价为13330元。店员表示，实体与网上的产品不同，只有一个比较相似的，当天折扣价为12626元。记者当时惊呼，怎么实体反倒便宜。店员解释，“你肯定看错了，网上肯定还加个单人沙发，要不不能这个价。”但经记者详细确认网上信息，其确实只有3人位加榻的配置。8日，记者再次来到顾家店面，同样的沙发又降价100多元，而且店员表示，还能参加卖场折扣活动。在爱蜂巢的体验店里，店员直言价格肯定和网上同步，但在这里下单，300元的运费肯定免了。
　　说起实体店与网店产品的区别，顾家的店员表示，网店的产品可能是尾货、处理品，“而且做工啊、皮子的用量啊，都会不太一样。要不实体的商品怎么不在网上推，成本合不上啊。”但是她表示，网上的价格肯定是要便宜的。果不其然，双12当天，记者留意的这款沙发价格直接跳水到7912.12元，而且始终保持这个价格。
　　■消费提示
　　买前宜多比较
　　经过一番比较，记者发现，线上家具虽然一直打着便宜、快捷、时尚的旗号，但实际并不完全是那么回事。因为在实体店里，消费者反而有了更多的商量余地。比如上楼费问题，记者称住七楼没电梯，全友的销售直接说，“我是店长，这个上楼费能给你免了！”曲美电商店不提供改尺服务，但在实体店里下单却可以享受这个服务，“这是我们实体的优势。”至于是否可以延期发货，顾家家居和全友都表示：“完全没问题。”
　　两者相对比，实体与电商确实在某些方面存在差异，在此建议消费者在选购时可在电商店和实体店多做比较，以便淘到真正的实惠和优质的服务。
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by .cn. all rights reserved74室内与家具设计毕业论文中英文对照资料外文翻译文献
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74室内与家具设计毕业论文中英文对照资料外文翻译文献
中英文对照资料外文翻译文献；TransformingInteriorSpac；TiiuPoldma；SchoolofIndustrialDesign；C.P.6128,succursaleCentr；Thisarticleexplorestacit；Keywords:；1.Introduction；Inoureverydayli
中英文对照资料外文翻译文献
Transforming Interior Spaces: Enriching Subjective Experiences Through Design ResearchTiiu PoldmaSchool of Industrial Design, University of MontrealC.P. 6128, succursale Centre-ville, Montreal, Quebec H3T 1B9, CANADA AbstractThis article explores tacit knowledge of lived experience and how this form of knowledge relates to design research. It investigates how interior designers interpret user lived experiences when creating designed environments. The article argues that user experience is the basis of a form of knowledge that is useful for designers. The theoretical framework proposed in the article examines the nature of user experience and how it can be utilized in the design process. The study of lived experiences is contextualized within aesthetic, subjective, and functional aspects of the interior design process, which requires users to express their meanings and needs. A case study is described to illustrate the various stages of this process.Keywords: ex
interior spaces1. IntroductionIn our everyday lives, we live in spaces that are active, changing, and dynamic. When designers create interior spatial designs for various types of uses and experiences, they consider both the aesthetic qualities of a space and how people experience interactions and sensations within the spaces. However, people’s experiences are subjective. These are experiences people have in the moment of living, both consciously and unconsciously, in interaction with the space and others in the space. This involves a form of knowing that is “implicit, naturalistic, ecological cognition of everyday existence” as opposed to “deliberate, formal, thinking and knowledge” (Storkerson, 2010, Section 1, para. 2). This article explores these implicit forms of knowing and considers what design possibilities may emerge from them. Documenting these forms of knowing requires an understanding of how designsreflect aesthetic and functional ends while taking into account the direct experiences users have (Poldma & Thompson, 2009). This requires an understanding of how everyday experiences of the users’ life-world impact their subjective meaning-making (Shusterman, 1997; Vaikla-Poldma, 2003; White, 1998).The theoretical framework proposed here links experiential knowledge to the direct interaction of users within an environment and recognizes the dynamic nature of that link. Experiences of the life-world are taken as a basis for designing environments that actually work for their intended use.The proposed theoretical framework builds on philosophical ideas about the nature of lived experiences and subjective meanings, and relates it to the process by which users accept or reject a space. These ideas are explored using the example of a research project done in a residential long-term care institution. The research clarifies how the exchanges between the design researcher and the participants contribute to changes in the space.2. Designing Interior Space2.1. Current ResearchCurrently, when researchers study the design of interior space, they tend to be concerned with either the causal relationship between people and their environment or the interactions between material properties and the space being designed. Often, environment-behavior theories form the basis of design inquiry. Such inquiry seeks to understand the relationship between people and their environment using evidence that codifies the relationship (Dickinson & Marsden, 2009; Poldma & Thompson, 2009; Zeisel, 2006). In this form of design inquiry, design researchers demonstrate how appropriately designed space can add value to living well in an institution, how safety and security can add to productivity in working environments, or how evidence-based knowledge of environment-behavior relationships can inform the design process.Examples of this type of research include the use of questionnaire-based statistical data to glean how the environment affects people’s activities (Botti-Salitsky, 2009; Dickenson & Marsden, 2009). This type of research is usually framed in a positivist mode, which seeks objective knowledge (Guba & Lincoln, 1994). Studying human behavior in terms of causal relationships involves verification or falsification of a priori hypotheses. A limitation of this approach is that, as Guba and Lincoln have stated, “[h]uman behaviour, unlike that of physical objects, cannot be understoodwithout reference to the meanings and purposes attached by human actors to their activities” (Guba & Lincoln, 1994, p. 106).It is these meanings and purposes that tacit forms of knowledge contain. Such meanings and purposes are usually studied through narratives and conversations between designers and users (Creswell, 1998; Merriam & Associates, 2002; Vaikla-Poldma, 2003).2.2. The Role of Lived ExperiencePeople develop meanings attached to objects and environments, be these art objects, personal things, or other people in their lives (Bachelard, 1969; Csikszentmihalyi & Rochberg-Halton, 1981). These meanings arise through interactions that occur within spaces such as homes, offices, or the meanings in turn affect perceptions and subsequent interactions (Poldma, ; Vaikla-Poldma, 2003). Design of interior spaces needs to take the above meaning-making process into account. When designing interior space, the designer (or architect) works directly with clients and users to take an existing (or imagined) interior space and transform it.A variety of knowledges come into play in this process. The role of the technical aspects of the space, such as air quality and material properties, is well recognized in design, but how the tacit aspects shape the design process is less understood.In practice, the tacit aspects of experience within spaces and between people often shape how the design evolves. Multiple experiences and contexts act together to transform empty spaces into aesthetically functional interior places (Vaikla-Poldma, 2003). These experiences are both internal and external to the user, in that the persons who use the space attach meaning to the space where they live and contribute socially through the interrelations they have with others (Malnar & Vodvarka, 1992; Poldma, 2009).2.3. Conversation and Meaning MakingDesigned spaces, whether real or virtual, trigger various experiences. When designing interior spaces, we are preoccupied with both tangible and intangible aspects. We are preoccupied with its volume and phys we are also preoccupied with how the space forms a backdrop for a complex set of interrelationships among people, objects, contexts, and lived experiences.
Moreover, these interrelationships evolve over time (Malnar & Vodvarka, 1992; Mitchell, 1993).Designing interior spaces also requires an understanding of what happens when the spatial experiences people have are grounded in their real, lived experiences that areboth subjective and social. These experiences happen simultaneously with changing physical conditions, such as lighting, and changing time-space relations, such as when we work at home, live and work in multiple contexts, or “live at work.” In these contemporary ways of living and working, the physical space is a backdrop for changing activities, not bounded by any particular states of being or any particular ways of knowing (Ainley, 1998; Ardener, 1981).Spaces are designed after investigating multiple issues including user needs, building contexts, space requirements, appropriate materials, colour and lighting, furnishings, social needs, cultural setting, and then combining it all aesthetically to create the interior space. The space is expected to support the activities and human engagements about to take place there.Designers engage in conversations with clients and users at various stages of the design process, in part to make sense of the information gathered and then to make decisions and generate ideas for the design of the space. Aesthetic and functional design decisions are made on the spot by designers engaged with stakeholders as they define how the space should be occupied and for what purposes (Poldma, 2009; Vaikla-Poldma, 2003). There is a service relationship that develops between the designers and users as they participate together in both design and production processes (Nelson & Stolterman, 2003).2.4. Static and Dynamic SpacesInterior space has long been documented theoretically in terms of physical attributes such as objects, walls, lighting, and color (Malnar & Vodvarka, 1992). Students learn about interior space as an architectural entity grounded in physical attributes that are static and exist as independent features (Poldma & Wesolkowska, 2005).
Consequently interior spaces are often reduced to their physical attributes, material and surface decoration, producing static spaces where an office is an office, a restaurant is a restaurant.In practice, however, spaces are required to be used in a flexible manner where multiple activities can occur in the same place. Designers are often called upon to design spaces for dynamic lived situations, not static ones. This calls for a more dynamic concept of space.3. Proposed Theoretical Framework3.1. Beyond Causal Explanations包含各类专业文献、应用写作文书、各类资格考试、中学教育、文学作品欣赏、高等教育、74室内与家具设计毕业论文中英文对照资料外文翻译文献等内容。　
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