工业设计外文翻译
工业设计_精品文档
工业设计工业设计（Industrial Design）引言：工业设计是现代社会中一个重要且不可或缺的领域。
它涵盖了诸多方面，包括产品外观设计、功能设计、用户体验等。
在新产品开发和市场竞争中，工业设计可以为企业带来巨大的竞争优势。
本文将探讨工业设计的概念、历史、重要性以及未来的发展趋势。
一、概念工业设计是将艺术、科学和技术相结合，以提升产品的功能性、可用性和美观性的设计过程。
它不仅仅关注产品的外观，还注重产品的功能性、人机交互性等方面。
通过工业设计，产品可以更好地满足用户的需求，提供更好的用户体验，从而增强产品的竞争力。
二、历史工业设计起源于19世纪末的工业化时代。
当时，工业革命带来了大规模的生产，产品的外观和质量成为了市场竞争的关键。
工业设计的先驱者们开始关注产品的外观和舒适性，以吸引消费者的注意，并提高产品的销售额。
20世纪，工业设计更加发展壮大，成为一个独立的学科。
许多著名的设计师和设计学院在此时兴起，为工业设计的发展做出了巨大的贡献。
三、重要性工业设计在当今的商业竞争中扮演着重要的角色。
以下是工业设计的几个重要方面：1. 创新和差异化：通过工业设计，企业可以为产品注入创新的元素，并与竞争对手区别开来。
独特的外观和功能设计可以使产品更加吸引消费者，并增强品牌的竞争力。
2. 用户体验：工业设计注重产品的人机交互性，使用户能够更加方便、舒适地使用产品。
良好的用户体验可以提升产品品牌形象，并增加用户的忠诚度。
3. 生产效率：优秀的工业设计可以提高产品的生产效率和质量。
通过合理的结构设计和工艺优化，产品可以更加容易生产，并减少生产成本。
4. 环境友好性：工业设计也强调产品的环境友好性。
通过设计环保的材料和节能的功能，产品可以降低对环境的影响，并符合可持续发展的要求。
四、发展趋势工业设计正朝着以下几个方向发展：1. 数字化设计：随着计算机技术的进步，数字化设计正在成为工业设计的主流。
数字化设计不仅可以提高设计效率，还可以方便产品的制造和修改。
工业设计外文翻译---中国要有自己的创新之道
1.Creative China must find its ownPath网站截图：/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4 %CE%C4%CF%D7&tn=sogouie_1_dg原文：Creative China must find its own PathJustin 0'ConnorIt is commonly said that China needs to ‘catch-up’ with `the west' or the `developed world'. This phrase implies a singular path; there may be short cuts and `late-comer advantages' but the destination一a modern, developed country一is the same. But just when it seems China is within touching distance, the `developed world' changes the definition of what it is to be `developed' and puts more obstacles in the path of those trying to catch-up. In English we call this `moving the goal-posts'. After manufacturing, services and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new `value-added' product and service sector, posing yet more problems for the country's policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully `developed'.Much of this can be dismissed as another example of the West's superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture一are highly creative and innovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and identity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond `the arts，一galleries,museums, opera houses, universities, arts schools, journals etc. 一to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.The cultural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of research, knowledge transfer and, above all, innovation. In the West artists or `cultural producers' have long been associated with dynamic, often unpredictable creative innovation. Now the innovative capacity of the cultural industries is extended to a new range of creative products and services and is also seen as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultural products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and services, finding new audiences, differentiating rather than imitating what already sells. It requires new kinds of `soft skills' that are hard to acquire as they are often`tacit', demanding experience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills. In the last few years the central driving force behind cultural and creative industries policies has been the idea of `cluster'. Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist in the West, though these terms cover extremely diverse developments. There are some good reasons why China would choose this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that seem ripe for this kind of development. The model of concentration to facilitate rapid development also fits well with China's history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers because they are highly visible一successful ones give publicity to them and the city. At the same time they offer clear and concrete steps to support a sector that is very new and not very well understood. However, there are some real problems to be overcome if these clusters are to deliver what is expected of them.Many clusters emerged organically, with artists looking for cheap workspace; but in China, as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers raise the profile of a place and this is very quickly translated into rent rises, typically driving out the first occupants. This is a complex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are seconomically important we should let the market decide. There is some truth in this; it is very easy to subsidise bad artists and creative producers. However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can raise rents muchmore rapidly than with other kinds of occupancy, often from a low base, and can provide good profit. But these rent rises are often too fast for a slowly emerging sector, which is not just to be seen as individual companies but as a complex emerging `creative ecology'. The real estate market measures `good' or `bad' creative by their ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estate success一higher rent yield一but how are we measuring the innovative capacity of the local economy? In general, local governments should not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if government is find a productive balance in this area.Clusters are often conceived as places for the `industrialization' of cultural products一that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the world's low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected by inter-provincial tariffs. These products might inflate the statistics一according to one report China is third largest exporter of cultural products一but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative sector.Better understanding and governance of clusters is necessary. Clusters deliver benefits for many but not the entire cultural creative sector. Computer games, for example, does not benefit from clusters because more or less everything is produced in-house in great secrecy. They go to clusters because of tax and rent subsidies, not to be in proximity to others. Visual artists benefit from cheaper rents, the reputation of a `cool' place and from space to work in quiet; they do not necessarily engage in intensive networking and knowledge transfer. Other project based industries, such as new media, want the networking possibilities provided by clusters, what economists called `untraced interdependencies'. There are thus different requirements for the different branches, and both the mix of companies and the quality of the space need to be carefully understood.There is real scope for informed government policy here. In general they should look to raise the quality of production as well as developing new audiences and markets. Clusters can have a role in this, but they have to form part of a wider policy strategy. For example, universities are vital to building new human capital一they have to be encouraged to look to creative skills not just teaching from established models,.Local television stations can be encouraged to pay more for high quality content一at the moment the purchase is a one size fits all approach which often pays the worst and the best exactly the same. The design of urban spaces can be enhanced to support the city as a `creative milieu'. More directly, the cultural creative industries need new creative attitudes and mentalities that take some time to come through; they also demand a range of `soft skills' associated with project management, branddevelopment and marketing which have to be learned `on the job'. But they find it hard to learn these skills when they are mostly delivering services at the lowest part of the value chain, where innovation effects and intellectual property go abroad. Talent is wasted in servicing when it should be focused on developing original content. Local governments have to realize that though the cultural creative industries have strong economic benefits they are also about quality一high values which demand the long term view not the quick return of the `bottom line'. This push for high quality and higher levels of innovation is something that demands a more holistic approach to policy; and clusters can play a crucial role in this.Rather than be seen as convenient containers for cultural creative producers they need to become focal points for targeted development. Universities and art schools need to be more involved. As do their cultural creative industry research centres. Real knowledge transfer can be encouraged and facilitated by intelligent cluster managers. The skills to run a cluster are just emerging and there are some good exemplars一but much of it is just real estate management as in any other sector and this is a wasted opportunity. Networking events, joint marketing, seminars with foreign companies, spaces and occasions for experimentation, a carefully managed programme for the general public (too much tourism can destroy a cluster, as in Tianzi fang in Shanghai), intelligent links to other clusters and larger creative companies一all these demand specific skills to deliver. These skills also should be disseminated and improved across between the clusters. China does need to look to foreign experts and models; but it has also shown time and again that it can also find its own way, and in ways that have astonished outsiders. It can do this with the cultural creative industries but it has to look long term, beyond immediate economic gain (including rent increases) to the long-term creative and innovative capacity of the country. It has to recognize that it is catching up at a time when western creative industry corporations are more global than ever, looking to penetrate local Chinese markets just when the country is trying to develop its own creative sector. This presents a real challenge, but I would say that rather than try and use policy tools derived from the West, China should look to its own traditions and strengths. I do not just mean its traditional culture in terms of calligraphy or opera or ink painting; I mean its resources for social and economic development that uses, but is not subservient to, the `free' market. In fact the UK, closely associated with the creative industries agenda, has very little capacity to deliver industry support, relying on demands that people be more `entrepreneurial' rather than deliver systematic and intelligent sectoral strategy. This is why it has let a 250-year-old world famous ceramics company一Wedgewood一go bankrupt. China has some things to learn from the UK, but its deep resources of intelligent and pragmatic policy will be ultimately decisive. Most important, policy makers should not loose sight of the importance of culture for collective meaning and identity. This is much more diverse, fluid and open to new influences, and the Chinese government has increasingly stood back from direct intervention. In the search for the new economic benefits of the cultural creative industries their deeper cultural contexts should not be neglected.译文：中国要有自己的创新之道Justin 0'Connor 贾斯丁奥·康纳人们总是说中国需要赶超西方或发达国家，这似乎意味着是唯一的道路。
工业设计中英文词汇
Industrial design工业设计Conspectus design 设计概论Aesthetics of design 设计美学Principle of design 设计原理History of design 设计历史Criticism of design 设计批评Environmental design 环境设计Function 功能Form 形式Model造型，模型Creativity 创造性Theory on design 设计理论Procedure of product design 产品设计程序Human requirement 人的需要Redesign from original product 从产品入手开展重新设计developmental design开发性设计Design language 设计语言Perceptual 感性的Lifeblood 生命力的Design comment 设计评价Design culture 设计文化Color material surface 色彩材料表面肌理Texture 材质、肌理Drawing 制图Orientation 定位Design history 设计史Craftsman 工匠Decorate 装饰Symbol 符号Ergonomics 人机工程学Product semantics 产品语义学Human-machine interface 人机界面Methodology 方法论Handicraft 手工艺的Metallic 金属性的style 风格Streamline 流线型Clay 油泥sterling character 品位Consumption 消费A generalized design 通用设计“off –line”machine非通用设计Sketch草图draft out起草Foam泡沫材料Tendency 趋势Standard 标准Accessory 附件Part零件Finished product 成品Design requirement设计需求Conception 概念conceptual design 概念设计Product property analysis 产品属性分析People using analysis 使用分析System design 系统设计Design target 设计目标Function definition 功能定义Function analysis 功能分析Principle of formal aesthetics 形式美学的原则VI(visual identity) 视觉识别Communication 传播、信息传播Hearing design 听觉传播Comformity design 整合传播Design exploitation 设计开发Produce manufacture 生产制造Sale 销售Reclaim 回收Recycle重复利用constituent element要素Environment analysis 环境形式系统分析Total value 整体价值Man-machine system analysis 人机系统分析Marketing 市场营销传播Mass design 大众传播Visual design 视觉传达Design conception 设计理念Communication design 传播设计Intelligent 智能性Interactive 交互性Symbol 符号性Systematization 系统性Modular design 模块化设计Ecosystem design 生态系统设计Virtual design 虚拟设计Environment value analysis 环境价值系统分析Use value 使用价值spirit value 精神价值Digital age 数字化时代Information Industry(IT) 信息产业Informationism 信息论Analysis 分析Benefit-cost Analysis 效益- 成本分析Business Analysis商业分析Requirement Analysis 需求分析Sales Analysis 销售分析Shape Analysis 形式分析Statistical Analysis 统计分析Value Analysis 价值分析Synthesized Analysis 综合分析Decision Analysis 决策分析Demand Analysis 需求分析Design Analysis 设计分析Detailed Analysis 详细分析Dynamic Analysis 动态分析Factor Analysis 动态分析Feasibility Analysis 可行性分析Financial Analysis 财务分析Market Analysis 市场分析System Analysis 系统分析Predictive Analysis 预测分析Price Analysis 价格分析Procedure Analysis 过程分析Product Analysis 产品分析Quantitative Analysis 定量分析Gerrit Thomas Rietreid格里特托马斯里特维尔德Walter Gropius 沃尔特格罗皮乌斯Ramona loewy雷蒙罗维Poul HenningSen 保罗汉宁森Luigi Colani卢吉科拉尼Robert Venturi 罗伯特文丘里Arne Jacobsen 阿纳雅各布森John Ruskin 约翰拉斯金Michael Graves 米歇尔格雷夫斯Aesthetic 美学的Brands and marks商标与标志Configuration 结构Structuralism 结构主义Deconstruction解构主义Design management 设计管理GUI(Graphic User Interface)图形用户界面Context语境semiotics符号学ＰＯＰ（Point of purchase）促销海报。
包豪斯工业设计外文翻译文献
包豪斯工业设计外文翻译文献包豪斯工业设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文：Germany Bauhaus design and Future Design Trend【Abstract】German Bauhaus had a significant influence on the modern design education, meanwhile, it established the foundation of the leading position in the world for German industrial design. Through analyzing on current industrial design conditions from different countries, art design is considered as the main part of industrial design. This paper reviewed the last 10 years’ development of industrial design program in Zhejiang University of Science and Technology. The industrial design program have taken considerable achievements in many fields, such as the practice of Germany model, disciplines construction, teaching reform, manufactures & college cooperation, project teaching and design competitions. And You cannot ignore the industrial design ten trend 【Keywords】Bauhaus, industrial design, project teaching, practice ，10 Industrial Design Trends1. German Bauhaus and industrial designIn 1919, the Bauhaus school had been built in Weimar, Germany. This have been called the “cradle of world industrial design”, the milestone in the art design history. Bauhaus believed that the foremost thing is letting the students explore their own design ways, rather than just teaching them the teachers’ ways; developing students’ independent and critical thinking ability rather than imposing certain design styles on them. Compared with other design schools that had similar education philosophies, Bauhaus had distinctive education philosophy. It took thorough reform on the traditional art design education system and established art design as a new professional discipline. Meanwhile, Walter Gropius, the founder of Bauhaus made “Unity of art and technology” as the dominant design education philosophy.One of Bauhaus initiative works is purifying the forms of general industrial products. Bauhaus stressed that the product forms should be designed based on basic geometric patterns such as cubes, squares and circles. The product forms and outlines should be simple and varied in different ways and follow abstract form principles and aesthetics. Because Bauhaus’s brave and aggressive exploring and reform, it took significant key influence on the forming of Modernism ArtStyle and made the Bauhaus design a world-wide reputation. Therefore Bauhaus became the milestone of modern art design history.American artist Joseph Sinel first mentioned the term of Industrial design in 1919. However in China, until 1983, the Ministry of Education had conformed industrial design discipline as the sample major of general colleges. The original name of the major is “Product Forming” for art students. In 1998 the national major category had been adjusted to be integrated into the international conventions. The “Product forming” major had removed the focus from the product forms to the area of researching the human-product-environment relationships. The name had been replaced by “Industrial design” and the major had been set for both engineering and art education schools.Bauhaus had many top European artists at that time, such as Itten, Kandinsky, and Klee etc. They are famous abstract painters. Their teaching cultivated the Bauhaus students and contributed to the 20’s century art design. Most o f famous industrial designers such as Philippe Starck, Marc Newson and yves béhar are graduated from the art design schools. Their success proved that the art design education is effective for industrial design education. The product form design is still an important aspect in undergraduate industrial design studies and the industrial design is an important component of current famous art design schools.Royal College of Art Norwegian Institute of Art and Design University of Duisburg-Essen, Politecnico di Milano, Hannover University of Applied Sciences and Arts (FH Hannover), their industrial design departments are belong to art and design schools.America: According to a survey of IDSA (The Industrial Designers Society of America) in 1998, there are 49 institutes that have industrial design undergraduate or graduate programs registered in IDSA list. Typical industrial design majors usually are set in art schools, which can grant bachelor degree in fine arts or science. Most of them got the certification of NASAD (National Association of Schools of Art and Design). Only 15 in the 49 schools did not get the certification. IDSA declared that 5 years later, only the certified the industrial design majors can get be recognized. There are 37 industrial design majors in universities, 6 in design colleges, 4 in art schools. This situation did not vary in current years.Asia: In Japan, industrial design majors also set in art schools or independent industrial design faculties, such as Tokyo Zokei University, Musashino Art University, Tama Art University,and University of Tsukuba etc. In Hongkong, The Hong Kong Polytechnic University has famous industrial design programs. In Taiwan, Shih Chien University, National Cheng Kung University, National Yunlin University of Science & Technology have famous industrial design programs. In mainland of China, Jiangnan University, Tsinghua University, Hunan University, Tongji University and the Guangzhou academic of fine arts all have their industrial design departments in the art design schools or departments.2 .10 Industrial Design Trends You Can't Ignore2.1Design For A CauseCompanies including Herman Miller and American Apparel are promoting their ideals through design. Yves Béhar's leaf lamp for Herman Miller (shown) uses a biomorphic grid of LEDs, which consume 40% percent less energy than fluorescent lights and last for 100,000 hours. And Nike plans to make its entire footwear line out of sustainable materials by 2010.2.2SimplexitySteve McCallion, executive creative director of Portland, Ore.-based industrial design firm Ziba Design, says there's a trend toward "simplexity," products that have many functions but are approachable, ergonomically correct and easy to use--like Apple's iPhone. The baby boomers have also propelled simplexity; as the generation ages, the need for easy-to-use, at-home medicalequipment becomes greater. Ami Verhalen, director of industrial design at Madison, Wis.-based Design Concepts, says that in-home health care will be a huge driver for product innovation in the upcoming decade.2.3PersonalizationFrom Nike ID shoes to Build-a-Bear teddies, retailers are adding a "build your own" element to brands. Do it yourself--or DIY--serves as an important element of this trend. Publications like Ready Made magazine and books like designer Wendy Mullin's Sew U encourage consumers to put their own spin on things.2.4GlobalizationLike other industries, outsourcing has affected international design. Today a designer in Delhi might be working with a manufacturer in Columbus. Steve McCallion says that the globalization of product design has created Internet communities that enable more people to participate in the design process. Companies like Kid Robot can employ toy designers from Tokyo to Tucson with greater ease than ever.2.5OrnamentationIn fashion design, we're seeing a return to minimalism, but in home decor, ornate details are in fashion. For the first time in decades, wallpaper is in fashion, and the details are rich--brocades, velvets and jewel-tone colors. Long-forgotten textile designers like Florence Broadhurst and Vera Neumann are receiving attention from a new generation of design-savvy consumers.2.6Polarization Of DesignBig-box or luxury retailer? Many experts say that design has been polarized, with innovative products available at both the very high end (Neiman Marcus, Moss) and the very low end (Target, Ikea). Meanwhile, midrange retailers like Macy's suffer from lack of fresh, on-trend ideas. That isolates the huge chunk of the population that can afford something higher-end than the $200 Malm bed at Ikea but scoff at the price of a $16,000 Hastens mattress.2.7Pink DesignGadgets are a guy's game, right? Not if you consider the latest products with feminine mystique. Motorola released a lipstick pink Razr cellphone, and more recently, LG released a Prada phone. More and more manufacturers are creating sleeker, feminized versions of their clunky, chunky products, and both men and women are biting. Want proof of the feminization of product design? Just check out , which rates several items a day as "Geek chic" or "Just Plain Geeky."2.8Mass ImperfectionSome designers are creating intentionally flawed pieces, like designer Jason Miller's duct tape chair or Bodum's Pavina glassware collection, which uses mouth-blown double-walled glass, giving each piece a slight variation in height, thickness and weight. Whiskered and weathered textiles--on denim as well as furniture and tapestries--are more recognizable examples of intentional imperfection in production.2.9CraftAs mass retailers like Target become more design-focused, there's a countertrend of independent manufacturers and designers creating one-off, heirloom pieces. Where to find these limited-edition treasures? Artisan e-commerce sites like , classical craft companies like Heath Ceramics and modernist design houses such as Design Within Reach.2.10Focus On The Other 90%Anthony Pannozzo, vice president of design strategy at Waltham, Mass.-based firm Herbst LaZar Bell, says that well-designed products are available to only 10% of the world's population. However, more and more designers are starting to cater to consumers in Africa, Asia and Latin America.【References】[1] S Z Wang. “A History of Modern Design”, China Youth Press, Beijing, 2002[2] D.S. Yang. “A Discussion of The Differ ences in Industrial Design Education between China and Germany from the Workshop Project Practice”, Journal of Hefei University (Natural Sciences), 2006:21-22[3] Rosson M.B, J.M.Carroll. “Usability Engineering: Scenario-Based Development of Human-Compute r Interaction”, San Francisco:Morgan Kaufmann, 2002[4] Kevin N. Otto, Kristin L Wood. “Product Design: Techniques in Reverse Engineering and New Product Development”, Tsinghua University Press, Beijing, 2003[5]《industrial design history》Herenke Beijing Institute of Technology Press[6]《The modern history of design》Wangshouzhi China Youth Press[7]《Product System Design》Wuxiang China Light Industry Press[8]《Design of products》magazine[9] L. Axon, K. Garry etc.，An Evaluation of CFD for Modeling the Flow Around Stationary and Rotating Isolated Wheel, SAE 980034[10] N. Horinouchi, Y. Kato etc., Numerical Investigation of V ehicle Aerodynamics with Overlaid Grid System, SAE 950628[11] U. B. Mehta, Some Aspects of Uncertainty in Computational Fluid Dynamics Results, Journal of Fluids Engineering Transactions of the ASME, Dec. 1991, V ol. 113, pp538 - 543翻译：德国包豪斯设计与未来设计趋势摘要德国包豪斯有显著的影响,与此同时,现代设计教育奠定了基础,它处于世界领先地位的德国工业设计。
工业设计专业英语
Industrial design is an applied art whereby the aesthetics美学and usability可用性 of mass-produced products批量化生产产品may be improved for marketability and production.改良得更适合 The role of an Industrial Designer is to create and execute design solutions towards problems of engineering, usability, user ergonomics, marketing, brand development and sales.工业设计是一门利用艺术美学和可用性设计将产品改良得更适合于市场化批量化生产的应用型美术。
一个工业设计师的任务就是解决工程、可用性、人机工程、销售、商标发展和销售难题，创新和实行设计方案。
“工业设计”这个名字一直被认为是设计师 Joseph Claude Sinel在1919年命名的（虽然他在之后的采访里都否认），但这个学科的诞生比这早了至少十年。
它来源于产品工业化。
比如成立于1907年的德意志制造联盟，包豪斯前身，是一个国家支持的致力于整合传统工艺和工业化生产技术的机构，使德国有了与英国和美国的竞争的立足点。
The term "industrial design" is often attributed to 把。
归属于the designer Joseph Claude Sinel in 1919 (although he himself denied it in later interviews) but the discipline学科 predates早了至少十年that by at least a decade. Its origins lay in the industrialization of consumer products.产品工业化 For instance the Deutscher Werkbund, founded in 1907 and a precursor to the Bauhaus, was a state-sponsored国家支持 effort to 致力于integrate 整合的traditional crafts传统民间工艺 and industrial mass-production techniques,批量化生产技术 to put Germany on a competitive footing with England and the United States.Process of design 设计过程Rapid prototyping at RCA 美国无线电公司的快速成型法Although the process of design may be considered ' creative'创造性的, many analytical processes also take place. In fact, many industrial designers often use various design methodologies in their creative process. Some of the processes that are commonly used are user research用户研究, sketching写生, comparative product research对比研究, model making模型制作, prototyping原型设计 and testing测试.虽然设计的过程也许被认为是“富有创造性的”，很多分析过程也会在设计中发生。
现代工业设计中英文翻译
Modern Industrial Design1.Procedures of Modern Industrial DesignIndustrial Design is a whole process from the market investigation and analysis, through the concept design and detail design, to manufacturing, packaging, advertisement and sells.The followings describe each phase:1.1 Market Investigation and AnalysisFirst, designers should acquire the products of enterprise and the situation of company's industry and customers, and decide the problem to be solved.①Market investigating and information collection and analysis.②Finding the problem that the enterprises need to solve.③Starting to research the competitive products.④Locating the products in the market. Result; Deciding the project plan.1.2 Design Conceiving-Conceptual DesignThe work core during this period is to dream up. The design company analyzes and summarizes the information and materials obtained from the last period, and then provide the innovative solution.①Creating a concept, innovation and imagination, making primarily several conceptive designs, considering the workers and environment at the same time, and presenting design drafts.②Comparing and analyzing the schemes above, and selecting 2-3 optional design schemes.③valuating and validating the schemes from ②, including:the target function,costs and economics,styles and colors of product,manufacturability,acceptability of market consumers.Result: determining the conceptual design scheme.1.3 Detailed DesignDesigning each component and assemble in details, including style, color and environment of products.Providing a complete set of drawings, from design drawing to engineering drawings, or digital design schemes.Result: Finally determining the design scheme.1.4 Design Submission and Prototype MakingBased on the determined design scheme of products, laying out the detailed manufacturing plan.①Submitting the final design scheme.②Determining the specification and techniques required during the production.③Measuring and computing the costs of materials and manufacturing.④Working out the machining process.⑤ Manufacturing the models or prototype making.⑥Judging the prototype machine.Result: Determining the productivity and putting into production.1.5 Batch ManufacturingDuring this period, the design company helps the manufacturers organize production, as well as optimize the manufacturing techniques.①Corresponding workers and facility management.②Die manufacturing and facility installing.③Establishing assemble description and production plan, and making the quality standardization.④Batch production.Result: Products are put into the market.1.6 Products Get into the Market①Product packaging.②Making the propagandist^ strategy of products in the market and advertisement producing.③Distribution strategy and ways of products.Result; New products make the huge economic benefits and drive the market improving.2.Modern Industrial Design and Marketing2.1 Analysis of Market RequirementsTraditional marketing method focuses on making up an environment to attract consumers, but not be able to offer more complete and further information. Ne w methods, in a way, capacitate the team members to understand the social behaviors better, also to foresee the product focus and trends of consumers. These methods require members to do research and to investigate the potential users more deeply.Some methods for deep research on users are:(1) Scenario DevelopmentA certain scenario or story for some typical users in the targeted activity is set up to narrate that the lack of product would make their activity harder or less fulfilling. This narrative can make team members to understand the basic situation of the users, to determine the target users and to go on to the next process.(2) New Product EthnographyTraditional ethnography is a form of cultural anthropology using fieldwork to observe the group and derive patterns of behavior, belief, and activity. The product ethnography is new developed form of ethnography. The method used in product development is a blend of the traditional methods with new emerging technology for observing, recording, and analyzing social situations. It is not merely descriptive but also predictive. The ethnography can be implied to the initial process of product development. The product ethnography can be used to predict consumer preferences for product features, form, material, color, and patterns of use and purchase , so to help determining the qualities that products should possess.(3) Lifestyle ReferenceMany successful products have formed new styles and trends in markets and are directing the fashion styles in design as well. Lifestyle Reference approach is to do the design with reference to other products, fashions and activities from the target market.(4) ErgonomicsIn order to gain a better understanding on the comfort of product for users, the ergonomically methods can be used to analyze man-machine interaction and detailed task.Teams translate all the information gained by means of all the methods above into the indications and carry them out through the whole design process.2.2 Concept of Value in ProductsIf a product is useful, usable and desirable to customers, and has strong influence on lifestyle impact, availability and ergonomics, it is valuable to customers. Good value is no longer based on more functions created with the lowest cost. Value in its true sense, however, is lifestyle-driven, not cost-driven. The emphasized attributes of the products are the terms of usefulness, usability and desirability. If the price needs to rise up, the value of the product has to increase at the same time. At the moment, the customers can accept the rising price based on the rising value. If the product does not add value, then as a commodity with higher cost it will fail in the market.2.3 Analysis of Value OpportunityValue can be broken down into specific attributes that contribute to a product's usefulness, usability, and desirability, and it is these attributes that connect a product's function features to that value.(1) Value OpportunitiesValue Opportunities are a set of opportunities to add value to a product. Value Opportunities can be represented as seven classes of value attributes; Emotion, aesthestics , identity, ergonomics, impact, core technology, and quality; each relates with the product's feature of usefulness, usability and desirability, and contributes to changing the product's value. The concept and analysis approach were also first brought forward by Professor Jonathan Cagan and Professor Craig M. Vogel of Carnegie Mellon University and have been widely applied in schools and corporations.The contents of the value attributes see chart below;(2) Value Opportunity ChartsWe use the Value Opportunity to analyze the value opportunity of the product. Each attribute of product is qualitatively measured with ranges of low, medium and high. When the product meets some level of the attribute, a line is drawn for that.The Value Opportunity Charts can help teams to understand what Value Opportunity attributes the product team targeted and how well the product turned out. In the Value Opportunity Analysis ( VOA) , this new V0s8 chart is compared either with the chart of old product or with the chart of competitive products, so that designers can find which attribute aspects of our products have increased the value or how it can be to achieve abetter solution.(3) Ways to Increase ProfitIn order to position the product, increasing of the product's value must lead to a higher cost, which can be compensated by some ways such as increasing the price and the sold quality.The Map of Price and Cost Figure ( P57 ) shows that a profit increases with added value of product, i. e. , the profit margin is significantly higher for the higher-valued product.Four ways to increase profits are;①To increase the value of product-the profit increases according to the rising of value, so we can say that high-valued product brings in high profit.②To increase the price-Remarkably, to customers, the additional price for product should be accorded with the added value and should have the appropriate profit.③To establish strong brand equity, and thus to win customers-when the trust of brand is built up in the mind of customers, a long-ranged fixed users group will also be established, which leads to a higher quantity of product sale.④To lay the lower price than the competitive price for gaining the advantage of price and a strong share of the market. The product's costs can be reduced through the scientific and efficient design mean so that the costs will not be highly increased at the same time when the product's value has been increased greatly.With the methods above, the products with the characteristics of usefulness, usabilityand desirability can achieve a better market place and gain a better profit.现代工业设计1.现代工业设计的程序工业设计是一个从市场调研和分析开始，经过概念设计和细节设计，到加工制作，再到包装、广告和销售的全过程。
工业设计毕业设计外文翻译中英文：吸尘器的技术与历史
The vacuum cleaner technology and historyVacuum cleaner - classificationVacuum cleaner species more, according to the structure points are mainly：1, vertical：a bucket or square round the majority，points on, under two parts，the upper part．is powered with motor，the lower for dust collection box．2, horizontal: rectangular or models shape，have two parts，front before for dust collection box，rear part for the motor．3 and portable，it usually has four kinds of form - shoulder type：smaller，when using back on his shoulders，smaller power；Pole type：shape like rod，handles，and on the top is for suction nozzle below，smaller power；Portable:smaller，which can be directly used in hand grip, smaller power；Mini type：multi-purpose battery-powered，smaller，more for clean clothes, instruments，smaller power．According to the drive motors to pointsvacuum cleaner and can be divided into the following categories: ac vacuum cleaners, dc cleaner and ac/dc amphibious vacuum cleaner．Vacuum cleaner - working principleCleaner mainly by up dust，vacuuming，blow 3 parts，generally includes string-excited motor, centrifugal blower KSF, blow device (bags) and vacuuming accessories. KSF string-excited motor speed up more than 20000r/min (mini vacuum cleaner analyzed．combined by micro，rated voltage dc machines for 3 ~ 6V). Blow is usually adopts mesh，flannelette or filter materials. General cleaner power for 400 ~ 1000W or higher，portable vacuum cleaner power generally lower than 250W．Cleaner principle of work is as follows：motor high-speed drive their impeller rotation, make air high-speed eduction, and the air blower front-end vacuuming cottrell constantly supply，make aspiration to fan cottrell，thus produced with outside the instantaneous vacuum forming negative pressure differential pressure，on the pressure difference，under the action of inhaled air，the dust scurf，ejecting purity is filtered air cleaner air．The greater the air pressure difference，the greater the greater ability，aspiration．A vacuum cleaner，commonly referred to as a vacuum is a device that uses an air pump to create a partial vacuum to suck up dust and dirt, usually from floors. The dirt is collected by either a dust bag or a cyclone for later disposal. Vacuum cleaners, which are used in homesas well an in industry, exist in a variety of sizes and models: from small battery-operated hand-held devices to huge stationary industrial appliances that can handle several hundred litters of dust before being emptied.TechnologyA vacuum's suction is caused by a difference in air pressure. An electric fan reduces the pressure inside the machine. Atmospheric pressure then pushes the air through the carpet and into the nozzle, and so the dust is literally pushed into the bag.Tests have shown that vacuuming can kill 100% of young fleas and 96% of adult fleas.A British inventor has developed a new cleaning technology known as Air Recycling Technology which instead of using a vacuum uses an air stream to collect dust from the carpet. This technology was tested by the Market Transformation Programmer (MTP) and shown to be more energy efficient than the vacuum method. Although working prototypes exist Air Recycling Technology is not currently used in any production cleaner.Exhaust filtrationVacuums by their nature cause dust to become airborne, by exhausting air that is not completely filtered. This can cause health problems since the operator ends up inhaling this dust. There are several methods manufacturers are using to solve this problem. Some methods may be combined together in a single vacuum. Typically the filter is positioned so that the incoming air passes through it before it reaches the motor. Typically, the filtered air then passes through the motor for cooling purposes.HistoryThe vacuum cleaner evolved from the carpet sweeper via manual vacuum cleaners. The first manual models, using bellows, came in the 1869s, and first motorised models came in the beginning of the 20th century.Daniel HessDaniel Hess of West Union, Lowe, USA invented a vacuum cleaner in 1860.Calling it a carpet sweeper instead of a vacuum cleaner, his machine did, in fact, have a rotating brush like a traditional vacuum cleaner, which also possessed an elaborate bellows mechanism on top of the body to generate suction of dust and dirt. Hess received a patent (U.S.No.29.077) for his invention of the vacuum cleaner on July 10, 1860.Elves W. Mc GaffeThe first manually-powered cleaner using vacuum principles was the “Whirlwind,”invented in Chicago, USA in 1868 by elves W. Mc Gaffe The machine was lightweight and compact, but was difficult to operate because of the need to turn a hand crank at the same time as pushing it across the floor. Mc Gaffe enlisted the help of The American Carpet Cleaning Co. of Boston to market it to the pubic. It was sold for$25. It is hard to determine how successful the Whirlwind was, as most of them were sold in Chicago and Boston, and it is likely that many were lost in the Great Chicago Fire of 1871. Only two are known to have survived, one of which can be found in the Hoover Historical Center.Mc Gaffney was but one of many 19th-century inventors in the United States and Europe who devised manual vacuum cleaners. He obtained a patent (U.S.No.91,145) on June 8,1869. Melville BissellIn 1876, Melville Bissell of Grand Rapids, Michigan, USA created a vacuum cleaner for his wife, Anna, to clean up sawdust in carpeting. Shortly after, Bissell Carpet Sweepers were born. After Melville died unexpectedly in 1889, Anna took control of the company and was one of the most powerful businesswomen of the day.John S. ThurmanOn November 14,1898, John S. Thurman of St. Louis, Missouri, USA. Submitted for patent (U.S.No.634,042)a “pneumatic carpet renovator”. It was issued on October3, 1899. Thurman created a gasoline powered carpet cleaner for the General Compressed Air Company. In a newspaper advertisement from the St. Louis Dispatch, Thurman offered his invention of the horse drawn (which went door to door) motorized cleaning system in St. Louis. Louis. He offered cleaning services at $4 per visit. By 1906, Thurman was offering built-in central cleaning systems that used compressed air, yet featured n dust collection. Thurman’s machine is sometimes considered the first vacuum cleaner. However, the dust was blown into a receptacle rather than being sucked in, an in the machine now used . In later patent litigation, Judge Augustus Hand ruled that Thurman “does not appear to have attempted to design a vacuum cleaner or to have understood the process of vacuum cleaning.”H. Cecil BoothHubert Cecil Booth has the strongest claim to inventing the motorized vacuum cleaner in 1901. As Booth recalled decades later, in 1901 he attended “a demonstration of an American machine by its inventor” at the Empire Music Hall in London. The inventor is not named, but Booth’s description of the machine conforms fairly closely to Thurman’s design, as modified in later patents. Booth watched a demonstration of the device which blew dust off the chairs, and thought it would be much more useful to have one that sucked dust. He tested the idea by laying a handkerchief on the seat of a restaurant chair, putting his mouth to the handkerchief, and then trying to suck up as much dust as he could onto the handkerchief. Upon seeing the dust and dirt collected on the underside of the handkerchief he realized the idea could work. Booth created a large device, driven first by an oil engine, and later by an electric motor electric. Nicknamed the "Puffing Billy", Booth's petrol-powered, horse-drawn vacuum cleaner relied upon air drawn through a cloth filter. Gaining the royal seal of approval, Booth's motorized vacuum cleaner was used to clean the carpets of Westminster Abbey prior to Edward VII’s coronation in 1901. Booth received his first patents on February 18 and August 30, 1901David T. KenneyNine patents granted to the New Jersey, USA inventor David T. Kenney between 1903 and 1913 established the foundation for the American vacuum cleaner industry. Membership in the Vacuum Cleaner Manufacturers’ Associatio, formed in 1919, was limited to licensees under his patents.Walter GriffithsIn 1905 "Griffith's Improved Vacuum Apparatus for Removing Dust from Carpets" was another manually operated cleaner, patented by Walter Griffiths Manufacturer, Birmingham, England. was portable, easy to store, and powered by "any one person (such as the ordinary domestic servant he task of compressing a bellows-like contraption to suck up dust through a removable, flexible pipe, to which a variety of shaped nozzles could be attached. This was arguably the first domestic vacuum-cleaning device to resemble the modern vacuum cleaner. Hermann BogenschildGerman immigrant engineer Hermann Bogenschild filed a patent in 1906 for a mechanical 'dust removing apparatus.' Emigrating from Berlin to Milwaukee in 1892, Bogenschild's device was mounted on wheels for portability and its motor was connected to a hose and filter system.James Murray SpanglerIn 1907, James Murray Spangler, a janitor Canton, Ohio, practical, portable vacuumcleaner. Crucially, in addition to suction that used an electric fan, a box, and one of his wife's pillowcases, Spangler's design incorporated a rotating brush to loosen debris. Unable to produce the design himself due to lack of funding, he sold the patent in 1908 to William Henry Hoover who had Spangler's machine redesigned with a steel casing, casters, and attachments. Subsequent innovations included the first disposal filter bags in the 1920s and the first upright vacuum cleaner in 1926.HooverSpangler patented his rotating-brush design June 2, 1908, and eventually sold the idea to his cousin's husband, Hoover. He was looking for a new product to sell, as the leather goods produced by his 'Hoover Harness and Leather Goods' company were becoming obsolete, because of the invention of the automobile. In the United States, Hoover remains one of the leading manufacturers of household goods, including vacuum cleaners; and Hoover became very wealthy from the invention. Indeed, in Britain the name Hoover became synonymous with the vacuum cleaner so much so that one "hovers one's carpets". Initially called 'The Electric Suction Sweeper Company', their first vacuum was the 1908 Model O, which sold for $60.NilfiskIn 1910, P.A. Frisker patented a vacuum cleaner using a name based on the company’s telegram address—Nilfisk. It was the first electric vacuum cleaner in Europe. His design weighed just 17.5 kg and could be operated by a single person. The company Frisker and Nielsen was formed just a few years before. Today the Nilfisk vacuums are delivered by Nilfisk-Advance.Electrolux Model VThe first vacuum cleaners were bulky stand-up units and not easily portable. But in 1921 Electrolux launched the Model V that was designed to lie on the floor on two thin metal runners. This innovation, conceived by Electrolux founder Axel Wenner-Gren, became a standard feature on generations of future vacuum cleaners.There is a recorded example of a 1930s Electrolux vacuum cleaner surviving in use for over 70 years, finally breaking in 2008.Post-World War IIFor many years after their introduction, vacuum cleaners remained a luxury item; but after World War II they became common among the middle classes. They tend to be more common in Western countries because, in most parts of the world, wall-to-wall carpeting is uncommon and homes have tile or hardwood floors, which are easily swept, wiped, or mopped.Vacuum cleaners working on the cyclone principle became popular in the 1990s, although some companies (notably Filter Queen and Regina) have been making vacuum cleaners with cyclonic action since 1928. Modern cyclonic cleaners were adapted from industrial cyclonic separators by British designer James Dyson in 1985. He launched his cyclone cleaner first in Japan in the 1980s at a cost of about US$1,800 and later the Dyson DC01 upright in the UK in 1993 for £200. It was expected that people would not buy a vacuum cleaner at twice the price of a normal cleaner, but it later became the most popular cleaner in the UK.Cyclonic cleaners do not use bags instead; the dust collects in a detachable, cylindrical collection vessel. Air and dust are blown at high speed into the collection vessel at a direction tangential to the vessel wall, creating a vortex. The dust particles and other debris move to the outside of the vessel by centrifugal force, where they fall due to gravity, and clean air from the center of the vortex is expelled from the machine after passing through a number of successively finer filters at the top of the container. The first filter is intended to trap particles which could damage the subsequent filters that remove fine dust particles. The filters must regularly be cleaned or replaced to ensure that the machine continues to perform efficiently. Since Dyson, several other companies have introduced cyclone models, including Hoover, Bissell, Eureka, Electrolux, etc and the cheapest models are no more expensive than a conventional cleaner.In early 2000 several companies developed robotic vacuum cleaners. Some examples are Roman, Robomaxx, Intellibot, Trilobite and Floor Bot. These machines propel themselves in patterns across a floor, cleaning surface dust and debris into their dustbin. They usually can navigate around furniture and find their recharging stations. Most robotic vacuum cleaners are designed for home use, although there are more capable models for operation in offices, hotels, hospitals, etc. Some such as the Roman are equipped with an impeller motor to create an actual vacuum. By the end of 2003 about 570,000 units were sold worldwide.In 2004 a British company released Airider, a hovering vacuum cleaner that floats on a cushion of air. It has claimed to be light weight and easier to maneuver (compared to using wheels), although it is not the first vacuum cleaner to do this—the Hoover Constellation predated it by at least 35 years.吸尘器的技术与历史吸尘器的种类较多，按结构分主要有：1、立式。
(完整版)工业设计外文翻译旅行产品类毕业设计
以下文档格式全部为word格式，下载后您可以任意修改编辑。
毕业设计(论文)外文资料翻译学院：机械工程学院专业：工业设计姓名： xxxxx学号： xxxx 外文出处：Design Implications ofProduct LiablityBy J.G Roche附件： 1.外文资料翻译译文；2.外文原文。
附件1：外文资料翻译译文产品责任制为设计带来的启示产品使用的舒适性不是根据设计者、制造商或者零售商自身的需求作为设计标准的，而是根据使用者的需要进行设计的。
Juran等人就将以下内容作为主要舒适性能的判断参数—产品设计质量—产品的适用性—特定性能—适用领域的服务性设计质量是在指在一项设计中所针对的三个分别独立的步骤：(1)满足使用舒适性的构成要素；(2)产品或服务的设计观念的选择，需要满足使用者对必要功能的需要；(3) 如果可以严格执行将已确定的产品设计观念融入到一系列具体的设计规范中这一理念，那么就会满足使用者的需求。
Juran将四个和使用舒适性相关的使用参数以及它们彼此的关系进行了归纳总结，正如表一所示。
而所设计产品的好坏会受到市场调查效果的影响。
产品的好坏的标准可能是很模糊的，而对于设计师或者是一个设计团队而言就有必要将不完整的市场信息列出一个设计理念框架进行研究。
市场上对生产设施的可用性和它们的承载能力的了解是必不可少的，因为对这一过程的了解和生产息息相关。
但工人们都有这种必要的技能吗？什么样的材料可用而它们的成本是多少？是否是人们依据预期的售价对成本估计过高？许多工程材料的可靠性和可维护性的基本性能还没确定，因此备件的应急使用能力对许多产品可能是至关重要的。
而产品适用领域的服务性也同样具有重要意义。
严格的产品责任的落实这些因素影响了使用的舒适性而且应该在设计师的设计中得到体现，可是设计师们在他们的设计工作中有多少成功的满足了这一要求呢？在过去的20年里消费者运动的大规模增长反映了消费者对产品以及服务的不满。
工业设计外文文献翻译及原文24页word
The impact of “3r” principles to industrial design•“3r”原则对工业设计的影响Abstract：While industrial design creates modem life and living surroundings for people，it also accelerates the exhaustion of the natural resources and the energy resources．Besides，it has done harm to the ecological balance，and threatened the existence and the sustainable development of human beings．Confront with this situation，the strategy of sustainable development，proposed in 1990s，is accepted by many people．Recycling economy and its key point，“3r” principle，were born for this situation and become important principle in all kinds of economic activities and in the area of design and manufacture．By decoding the connotation of “3r” principle，the article analyzes the influence and the guidance over industrial design of “3r” principle．Furthermore，the article tries to discuss the conception of redesign，which is the extension of the “3r” principle in the area of industrial design，and explicates 4R principle of industrial design for recycling economy at last．摘要：虽然工业设计创造了现代的生活并为人们提供了适合的生活环境，但也加快了对自然资源和能源资源的消耗。
工业设计中英文词汇
工业设计中英文词汇Industrial design工业设计Conspectus design 设计概论Aesthetics of design 设计美学Principle of design 设计原理History of design 设计历史Criticism of design 设计批评Environmental design 环境设计Function 功能Form 形式Model造型，模型Creativity 创造性Theory on design 设计理论Procedure of product design 产品设计程序Human requirement 人的需要Redesign from original product 从产品入手开展重新设计developmental design开发性设计Design language 设计语言Perceptual 感性的Lifeblood 生命力的Design comment 设计评价Design culture 设计文化Color material surface 色彩材料表面肌理Texture 材质、肌理Drawing 制图Orientation 定位Design history 设计史Craftsman 工匠Decorate 装饰Symbol 符号Ergonomics 人机工程学Product semantics 产品语义学Human-machine interface 人机界面Methodology 方法论Handicraft 手工艺的Metallic 金属性的style 风格Streamline 流线型Clay 油泥sterling character 品位Consumption 消费A generalized design 通用设计“off –line”machine非通用设计Sketch草图draft out起草Foam泡沫材料Tendency 趋势Standard 标准Accessory 附件Part零件Finished product 成品Design requirement设计需求Conception 概念conceptual design 概念设计Product property analysis 产品属性分析People using analysis 使用分析System design 系统设计Design target 设计目标Function definition 功能定义Function analysis 功能分析Principle of formal aesthetics 形式美学的原则VI(visual identity) 视觉识别Communication 传播、信息传播Hearing design 听觉传播Comformity design 整合传播Design exploitation 设计开发Produce manufacture 生产制造Sale 销售Reclaim 回收Recycle重复利用constituent element要素Environment analysis 环境形式系统分析Total value 整体价值Man-machine system analysis 人机系统分析Marketing 市场营销传播Mass design 大众传播Visual design 视觉传达Design conception 设计理念Communication design 传播设计Intelligent 智能性Interactive 交互性Symbol 符号性Systematization 系统性Modular design 模块化设计Ecosystem design 生态系统设计Virtual design 虚拟设计Environment value analysis 环境价值系统分析Use value 使用价值spirit value 精神价值Digital age 数字化时代Information Industry(IT) 信息产业Informationism 信息论Analysis 分析Benefit-cost Analysis 效益- 成本分析Business Analysis商业分析Requirement Analysis 需求分析Sales Analysis 销售分析Shape Analysis 形式分析Statistical Analysis 统计分析Value Analysis 价值分析Synthesized Analysis 综合分析Decision Analysis 决策分析Demand Analysis 需求分析Design Analysis 设计分析Detailed Analysis 详细分析Dynamic Analysis 动态分析Factor Analysis 动态分析Feasibility Analysis 可行性分析Financial Analysis 财务分析Market Analysis 市场分析System Analysis 系统分析Predictive Analysis 预测分析Price Analysis 价格分析Procedure Analysis 过程分析Product Analysis 产品分析Quantitative Analysis 定量分析Gerrit Thomas Rietreid格里特托马斯里特维尔德Walter Gropius 沃尔特格罗皮乌斯Ramona loewy雷蒙罗维Poul HenningSen 保罗汉宁森Luigi Colani卢吉科拉尼Robert Venturi 罗伯特文丘里Arne Jacobsen 阿纳雅各布森John Ruskin 约翰拉斯金Michael Graves 米歇尔格雷夫斯Aesthetic 美学的Brands and marks商标与标志Configuration 结构Structuralism 结构主义Deconstruction解构主义Design management 设计管理GUI(Graphic User Interface)图形用户界面Context语境semiotics符号学ＰＯＰ（Point of purchase）促销海报。
工业设计外文文献翻译及原文
The impact of “3r” principles to industrial designAbstractWhile industrial design creates modem life and living surroundings for people，it also accelerates the exhaustion of the natural resources and the energy resources．Besides，it has done harm to the ecological balance，and threatened the existence and the sustainable development of human beings．Confront with this situation，the strategy of sustainable development，proposed in 1990s，is accepted by many people．Recycling economy and its key point，“3r” p rinciple，were born for this situation and become important principle in all kinds of economic activities and in the area of design and manufacture．By decoding the connotation of “3r” principle，the article analyzes the influence and the guidance over indust rial design of “3r” principle．Furthermore，the article tries to discuss the conception of redesign，which is the extension of the “3r” principle in the area of industrial design，and explicates 4R principle of industrial design for recycling economy at last．Key words3 R principle；industrial design；recycling economy；Redesign1 IntroductionIndustrial design as a cross-cutting technology and the arts disciplines， it is closely related to the economy and to maintain its development and progress of society. It can be summarized： First， it services for industrial mass production， making industrial products enhance the value and value-added. Second， It leads the fashion，to effectively stimulate consumption， so that consumers not only use the product at the same time， but also enjoy the new technology and material； Third， it puts technology to link up with the market， making products enhance competitiveness； Last but not the least， it can bring the innovation into the enterprise. Therefore，the economic development needs industrial design which has become indispensable to the country's economic construction .However， along with the traditional industrial design creating high-quality modern lifestyle and living environment and promoting economic development ，it also speeds up the consumption of resources and energy. What is more ，it dose harm to the ecological balance of the Earth and brings about a serious of great damage to human survival andsustainable development. Especially the excessive commercialization of industrial design，utilitarian and excessive pursuit of profit， the implementation of "merchandise has plans to abolish the system" without taking into account production， use， process waste， such as the environment， the impact of resources. It can be said that people are in inappropriate and excessive consumption patterns of life， the industrial design objectively becomes essential mediumto encourage people to uncontrolled consume， which is countered to the essence of industrial design—creating a science and healthy way of life.Facing the threat of human survival and sustainable development， in the 20th century， people began to question the sustainable development of humanity ，to carry out a profound reflection on sustainable development and to put forward a suitable model of circular economy ，the principle of circular economy is “3r” (i.e. Reduce， Reuse，Recycle) which is of great significance to the implementation and promotion ofsocio-economic stability， sustainable development Against this background， the concept of sustainable development into rapid economic development is inextricably linked to the design，based on this ongoing exploration and practice. “3r” principles in tended to sort out this article on various aspects of industrial design and the guiding role， and attempts to explore the “3r” principles of industrial design at the extension.2 Cycle economic model and the principle of “3r”Economy is engaged in production， consumption and reproduction activities， which is to meet human material needs of their own material .Recycling economy is considered following the original economy， the agricultural economy， industrial economy after the time of the post-industrial economy， with the industrial economy is different between the resources and environment relationship. Following the economic cycle refers to the natural ecosystem of the material circulation and energy flow reconstruction of the economic system so that it harmoniously into the natural ecosystems of the material energy recycling process to product clean production， resource recycling and efficient recycling characterized eco-economic development patterns， also known as eco-economy， green economy.2.1 The relationship between economic model， environment and the resourcesHuman survival and economic activities rely on the resources and the environment. On one hand ，it is the source of the human beings material system； on the other hand，it bears the economic activities of human waste generated by the various roles. The Earth can provide resources but are limited， even though it must have the ability to purify，however it is subject to human economic activity the ability of emissions is also limited.Industrial economic development patterns are from "One Product One resource pollution" posed by one-way flow of material and an open economy， this openness has led to a global depletion of resources and waste， as well as the serious deterioration of the ecological environment.Circular economy development pattern is from "one of resources of renewable resources， one of green products" posed by the material energy of the closed-loop feedback loop process， this closed loopsystem， can maintain economic production of low， high-quality， low-waste， which will be economic activity of natural resources and environmental impacts to minimize damage.2.2 Interpretation of the circular economy mode “3r” principle“3r” principle is the basic ma nifestation of the economic cycle， and its specific contents are as follows："Reduction" principle is the first principle of circular economy， that is the source of control method， which requires the source of economic activity - the design stage，pay attention to the use of resources-saving and pollution reduction requirements with fewer resources to achieve the established purpose of the production or consumption In the production areas， usually the energy-saving production processes， materials and conservation of resources， the products of small size and lightweight， and easy and simple packaging requirements in order to achieve the purpose of reducing waste emissions； In the consumer area， reduction of the supremacy of the principle of a change in consumer lifestyles and advocate moderate consumption and green consumption. "Reuse" principle is the second principle of circular economy， that is， process control methods， with the aim to improve the products and resources use efficiency， it calls for product design to initial the form of packaging for multiple items to prevent premature become waste. In the design， to the use of standard-sized parts， repair and upgrade in order to replace，thus prolonging the service life of products； In the consumer area， to promote the purchase of durable consumer goods， to reduce the use of disposable products， such as after-sales service by strengthening the means to extend the product life as possible and not waste."Recycling" principle is the third principle of circular economy， that is， terminal control method of production and consumption in the process of waste generated， through the "resources" of the means of its re-processing of raw materials can be re-used or product， put it back on consumption. Resources of the so-called class of resources usually include the original and secondary resources. The original class of resources is the waste of resources after the formation of the same with the original products， sub-resource is the waste of resources into different types of after the new products. To promote waste recycling economy will be the source of the original and sub-class of combining resources in order to fully realize the recycling use of resources.3. The impact of the “3r” principle of to industrial design“3r” principle is not only on products from the design， production， sales， use，disposal and so on throughout the life cycle have an impact on all aspect， but also on the industrial design itself， a more extensive and profound changes：3.1 The impact of design conceptIn modern industrial economy， the product design is often to serve the people，just from the people to meet needs and solve the problem as the starting point， and do not consider the follow-up products， use of resources and energy consumption and emissions on the environment and other ecological problems. “3r” principle in the design concept under the influence from the "people-oriented" towards the "harmony between man and nature" of green design， while respecting the needs of people， but also consider the safety of the ecosystem. Cycle economic model of the industrial design under the design concept，put people and nature live in harmony and common development in the first place， the use of systems theory and Calibration of all acts of industrial design， from product design at the beginning of the macro-environment had priority to consider and pay attention to the coordination of products that run the various elements of the process in order to achieve system optimization. Here， the environmental factors are the starting point of the whole design and end points， through the design， efforts to improve and reduce the products in the production， use， recycling process， such as the adverse impact of the environment. So Green Design Products are in the "harmony between man and nature" under the guidance of thought to the harmonious development of man and nature， the principle of human - machine system one considers the environment， a comprehensive optimization of the industrial design of a new concept.3.2 The impact of design styleSimple is an aesthetic pursuit of extremists on the design of easy style， popular in the 20th century， in the United States age 80. If we say that in the industrial economic model， the simple style of product design aesthetic is a subjective pursuit of people，then in the recycling economy mode， the structure of the simplest and most parsimonious of the materials， the most beautiful modeling， the most pristine appearance simplicity of product design，sustainable development concept is a concrete manifestation. “3r” Products doctrine of the meaning of this simple style more in-depth， specific， practical significance.First， the premise of ensuring the functionality as far as choice of materials can be recycled， such as biological materials， so less material on refined， appropriate；Second， to promote. Small is beautiful ". Less Is More"， the lightweight and pleasantform of products. Third， the design features of the object collation， evaluation，definition， must always focus on the merger， to simplify， optimize， and makes the core functions briefly products； Fourth， the product is intended to be simpleand clear language； Fifth， the structure of simple， easy to create； Sixth， the choice of degradable material， the structure of easy solutions， such as withholding together.3.3 The impact of design methodThe impact of the “3r” principle and under the guidance of the implementation of green design methods are： modular design， removable design， recyclable design， long-life design.Modular design is at a certain range of different functions or different functions the same performance， different specifications of the products on the basis of functional analysis， and design into a series of functional modules， through the selection and combination of modules can constitute different products to designed to meet the different needs of the Ways. The benefits of modular design： First， make products with good performance Recycling demolition， settled design different types of products and waste of resources； Second， it will be able to be easy to use or duplicate the functions of independent recovery， enhance the versatility of the components， once the end-of-life products， they can re-use or recycling； Third， improve the repair of products can extend the life of the product.Product design is removable at the design stage， so that parts of the Products has a good performance of the demolition. Conducive to the re-use of components or recycled materials to save not only protect the environment and Materials. The demolition of the design requirements， Product First， connect the various parts and components， as far as possible the use of detachable connection， such as threaded connections， unified type fasteners， reducing the number of fasteners， try not to use welding， riveting， bonding and other non-removable the connection； Second， in the selection and processing of raw materials， the demolition of the connection； to use and reuse of recyclable materials，the types of materials， such as less as possible.Recyclable design refers to product design， to take full account of the various materials Product components the possibility of recycling， recovery treatment， recycling and product recovery of costs related to a series of questions， thus saving materials and reducing waste， minimum of environmental pollution for the purpose of a design method. Long-life design is the design of products based on life in the economic indicators to ensure that products， value and environmental requirements at the same time try to makeour products to extend the life to achieve the slow resource consumption of a design method. Specifically include the following： First， improving product reliability and durability；Second， products are easy to repair and maintenance； Third，using standard， modular product structure3.4 The impact of design material“3r” principle in guidance and norms， product design， material selection should be taken into consideration： First of all， minimize the use of materials. Try using high quality materials to enhance the service life of products； the prohibition of the use of contaminated material against big， look for the corresponding sound material substitution； Reuse as much as possible the use of recyclable materials. Secondly， the preferred sound of the ecological environment of the material， after the preferred decomposition of waste and the natural world to absorb the material， preferred low power，low cost， low-polluting materials， preferred easy processing， and processing of non-polluting or less polluting materials， preferred materials recycling. Finally， to reduce the use of the types of materials in order to reduce the cost of Recycling Materials；maintain original material， as far as possible the use of simple materials， the use of alloy materials， to avoid material harm to the environment of the surface treatment；Marked parts Products material composition for the materials to facilitate recycling and so on.4. From “3r” to 4RIn the recycling economy mode， the product life cycle from the previous end-of-life for the end product， after the extension to the end-of-life recycling. It should be noted that starting from the waste products for the consideration of a second use for them，so that the product design is no longer a product before， but the other products. Therefore，the design process we will call it "re-engineering (Redesign)"4.1 The concept of re-engineeringThe so-called re-engineering， that is， through the product components as well as their overall utilization of the re-design method to save resources. Given the United Kingdom Environmental Design Alliance is defined as： "Materials by Product， the structure of a meaningful way to re-use， in order to save resources for the purpose of the premise，to extend the product life cycle， and tap the potential ecological value of the design method." In short， the product re-engineering refers to the product life cycle after the re-use design.Whether they are re-engineering the design of a new trend， or the design of a self-activity changes， which are related to the sustainable development strategy in line belong to the scope of green design. If it is said that green design is usually consideredthe entire product life-cycle environmental impact， and re-design considerations are at the end of product life-weeks to reduce the environmental impact of problem， it is the “3r” principle in the extension of the field of industrial design. Therefore， the re-engineering in conjunction with the “3r” principle， as a mode of circular economy 4R principles of industrial design.4.2 The form of re-engineeringProduct re-engineering is aimed at new products to effectively use the original parts and components products and materials. Product re-engineering have a variety of forms，for the same product re-engineering can have a variety of forms， can be divided into assimilation and alienation of the re-engineering.Assimilation refers to re-design is a before and after re-engineering products，have been recycling their own re-engineering of the parts not changed before and after. For example， before the re-design car audio， re-engineering the home was converted into sound.Alienation refers to the re-engineering re-design before and after are different products， re-use of components was necessary in order to be used transformation. For example， re-engineering before the cell phone components， into a walkie-talkie after the re-engineering of an important part of； In another example， the re-engineering of old jeans before， by re-engineering can be turned into shorts， vest and so on.5. ConclusionsCircular economy is to achieve sustainable human development of new economic development model，“3r” principle is the core substance of the economic cycle， the idea of circular economy is the fundamental expression. "Re-design" are able to make the best of “3r” in the extension of the field of industrial design and development， is a matter of deep study and practice the new task， it should be，together with the “3r” principle， become a model of circular economy are industrial 4R principles of design.As the international chairman of the Federation of Societies of Industrial Design，Mr. Peter said "the design of human development as an important factor， with the exception of self-destruction might be the ruin of mankind， human arrival may also become a shortcut to a better world." Today， in the framework of national sustainable development strategies， the role of industrial design is changing， and actively looking for a new direction for the development of circular economy at all levels play a role. Industrial design will become a powerful for cycling of our country economic.“3r”原那么对的工业设计的阻碍摘要在工业设计为人类制造了现代生活和生活环境的同时，也进一步加速自然资源和能源资源的消耗。
id设计相关概念
理论：工业设计为舶来词，Industrial Design （ID) 直译而来。
ID也可理解为产品设计师的英文缩写。
工业设计分为产品设计、环境设计、传播设计、设计管理；包括造型设计、机械设计、电路设计、服装设计、环境规划、室内设计、建筑设计、UI设计、平面设计、包装设计、广告设计、动画设计、展示设计、网站设计等。
国际工业设计协会ICSID(International Council of Societies of Industrial Design) ：工业设计是一种创造性的活动，其目的是为物品、过程、服务以及它们在整个生命周期中构成的系统建立起多方面的品质。
中国工信部：工业设计是以工业产品为主要对象，综合运用科技成果和工学、美学、心理学、经济学等知识，对产品的功能、结构、形态及包装等进行整合优化的创新活动。
工业设计的核心是产品设计，广泛应用于轻工、纺织、机械、电子信息等行业。
工业设计与产品设计的区别：工业设计它突出的是设计的科学性,而产品设计是与包装工程有关,要能够表现出该产品的外型,用途,要有很强的表现力,对科学性的要求不是很严,因此从某种意义上讲工业设计和产品设计的区别就在与其目的和侧重点不同。
工业设计是一种新兴的边缘学科，它是一件产品的功能设计和美学设计的结合，就是说不仅要实现用户对产品的功能要求，还要实现用户对产品的美观要求。
1.实用性（结构、功能要求），2.外观质量（美观性），3.使用舒适性。
满足所有条件的是工业设计，仅满足1、2条件的是传统的产品设计。
工业设计这个概念是为了区别传统的产品设计只注重功能要求而不太注重外形美观要求而提出的。
ＩＤ与ＭＤ的区别：工业设计(ID)：属於产品外观及属性概念设计，常用的软体为alias和rhino，此类软体的特点为，自由曲面建构，可随设计者的概念自由建构产品的造型曲线，并有著还不错的CAM支援能力和彩现能力，因此是最常被ID们所采用的软体之二。
机构设计(MD)：属於产品结构及后段设计，如分件、组装...等，常用软体为pro-e、solidworks，当然还有其他的软体(UG、catia..)但普及率不及以上两种，这类软体特性为必须有严谨的尺寸限制，因必须跟后段的制造配合，因此此类软体的特性为实体建构(符合后端制造原理)加上曲面建构(辅助造型建构)，注重精确的设计和格式。
工业设计_外文翻译-1
Design Without Designers网站截图：/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4%CE%C4%CF%D7&tn=sogouie_1_dg原文：Design Without DesignersI will always remember my first introduction to the power of good product design.I was newly arrived at Apple, still learning the ways of business, when I was visited by a member of Apple's Industrial Design team. He showed me a foam mockup of a proposed product. "Wow," I said, "I want one! What is it?"That experience brought home the power of design: I was excited and enthusiastic even before I knew what it was. This type of visceral "wow" response requires creative designers. It is subjective, personal. Uh oh, this is not what engineers like to hear. If you can't put a number to it, it's not important. As a result, there is a trend to eliminate designers. Who needs them when we can simply test our way to success? The excitement of powerful, captivating design is defined as irrelevant. Worse, the nature of design is in danger.Don't believe me? Consider Google. In a well-publicized move, a senior designer at Google recently quit, stating that Google had no interest in or understanding of design. Google, it seems, relies primarily upon test results, not human skill or judgment. Want to know whether a design is effective? Try it out. Google can quickly submit samples to millions of people in well-controlled trials, pitting one design against another, selecting the winner based upon number of clicks, or sales, or whatever objective measure they wish. Which color of blue is best? Test. Item placement? Test. Web page layout? Test.This procedure is hardly unique to Google. has long followed this practice. Years ago I was proudly informed that they no longer have debates about which design is best: they simply test them and use the data to decide. And this, of course, is the approach used by the human-centered iterative design approach: prototype, test, revise.Is this the future of design? Certainly there are many who believe so. This is a hot topic on the talk and seminar circuit. After all, the proponents ask reasonably, who could object to making decisions based upon data?Two Types of Innovation: Incremental Improvements and New ConceptsIn design—and almost all innovation, for that matter—there are at least two distinct forms. One is incremental improvement. In the manufacturing of products, companies assume that unit costs will continually decrease through continual, incremental improvements. A steady chain of incremental innovation enhances operations, the sourcing of parts and supply-chain management. The product design is continually tinkered with, adjusting the interface, adding new features, changing small things here and there. New products are announced yearly that are simply small modifications to the existing platform by a different constellation of features. Sometimes features are removed to enable a new, low-cost line. Sometimes features are enhanced or added. In incremental improvement, the basic platform is unchanged. Incremental design and innovation is less glamorous than the development of new concepts and ideas, but it is both far more frequent and far more important. Most of these innovations are small, but most are quite successful. This is what companies call "their cash cow": a product line that requires very little new development cost while being profitable year after year.The second form of design is what is generally taught in design, engineering and MBA courses on "breakthrough product innovation." Here is where new concepts get invented, new products defined, and new businesses formed. This is the fun part of innovation. As a result, it is the arena that most designers and inventors wish to inhabit. But the risks are great: most new innovations fail. Successful innovations can take decades to become accepted. As a result, the people who create the innovation are not necessarily the people who profit from it.In my Apple example, the designers were devising a new conception. In the case of Google and Amazon, the companies are practicing incremental enhancement. They are two different activities. Note that the Apple product, like most new innovations, failed. Why? I return to this example later.Both forms of innovation are necessary. The fight over data-driven design is misleading in that it uses the power of one method to deny the importance of the second. Data-driven design through testing is indeed effective at improving existing products. But where did the idea for the product come from in the first place? From someone's creative mind. Testing is effective at enhancing an idea, but creative designers and inventors are required to come up with the idea.Why Testing Is Both Essential and IncompleteData-driven design is "hill-climbing," a well-known algorithm for optimization. Imagine standing in the dark in an unknown, hilly terrain. How do you get to the top of the hill when you can't see? Test the immediate surroundings to determine which direction goes up the most steeply and take a step that way. Repeat until every direction leads to a lower level.But what if the terrain has many hills? How would you know whether you are on the highest? Answer: you can't know. This is called the "local maximum" problem: you can't tell if you are on highest hill (a global maximum) or just at the top of a small one.When a computer does hill climbing on a mathematical space, it tries to avoid the problem of local maxima by initiating climbs from numerous, different parts of the space being explored, selecting the highest of the separate attempts. This doesn't guarantee the very highest peak, but it can avoid being stuck on a low-ranking one. This strategy is seldom available to a designer: it is difficult enough to come up with a single starting point, let alone multiple, different ones. So, refinement through testing in the world of design is usually only capable of reaching the local maximum. Is there a far better solution (that is, is there a different hill which yields far superior results)? Testing will never tell us.Here is where creative people come in. Breakthroughs occur when a person restructures the problem, thereby recognizing that one is exploring the wrong space. This is the creative side of design and invention. Incremental enhancements will not get us there.Barriers to Great InnovationDramatic new innovation has some fundamental characteristics that make it inappropriate for judgment through testing. People resist novelty. Behavior tends to be conservative. New technologies and new methods of doing things usually take decades to be accepted - sometimes multiple decades. But the testing methods all assume that one can make a change, try it out, and immediately determine if it is better than what is currently available.There is no known way to tell if a radical new idea will eventually be successful. Here is where great leadership and courage is required. History tells us of many people who persevered for long periods in the face of repeated rejection before their idea was accepted, often to the point that after success, people could not imagine how they got along without it before. History also tells us of many people who persevered yet never were able to succeed. It is proper to be skeptical of radical new ideas.In the early years of an idea, it might not be accepted because the technology isn't ready, or because there is a lot more optimization still to be done, or because the audience isn't ready. Or because it is a bad idea. It is difficult to determine which of those reasons dominates. The task only becomes easy in hindsight, long after it becomes established.These long periods between formation and initial implementation of a novel idea and its eventual determination of success or failure in the marketplace is what defeats those who wish to use evidence as a decision criterion for following a new direction.Even if a superior way of doing something has been found, the automated test process will probably reject it, not because the idea is inferior, but because it cannot wait decades for the answer. Those who look only at test results will miss the large payoff.Of course there are sound business reasons why ignoring potentially superior approaches might be a wise decision. After all, if the audience is not ready for the new approach, it would initially fail in the marketplace. That is true, in the short run. But to prosper in the future, the best approach would be to develop and commercialize the new idea to get marketplace experience, to begin the optimization process, and to develop the customer base. At the same time one is preparing the company for the day when the method takes off. Sure, keep doing the old, but get ready for the new. If the company fails to recognize the newly emerging method, its competitors will take over. Quite often these competitors will be a startup that existing companies ignored because what they were doing was not well accepted, and in any event did not appear to challenge the existing business: see "The innovator's dilemma."Gestural, multi-touch interfaces for screen-driven devices and computer games are good examples. Are these a brilliant new innovation? Brilliant? Yes. New? Absolutely not. Multi-touch devices were in research labs for almost three decades before the first successful mass-produced products. I saw gestures demonstrated over two decades ago. New ideas take considerable time to reach success in the marketplace. If an idea is commercialized too soon, the result is usually failure (and a large loss of money).This is precisely what the Apple designer of my opening paragraph had done. What I was shown was a portable computer designed for schoolchildren with a form factor unlike anything I had ever seen before. It was wonderful, and even to my normally critical eye, it looked like a perfect fit for the purpose and audience. Alas, the product got caught in a political fight between warring Apple divisions. Although it was eventually released into the marketplace, the fight crippled its integrity and it was badly executed, badly supported, and badly marketed.The resistance of a company to new innovations is well founded. It is expensive to develop a new product line with unknown profitability. Moreover, existing product divisions will be concerned that the new product will disrupt existing sales (this is called "cannibalization"). These fears are often correct. This is a classic case of what is good for the company being bad for an existing division, which means bad for the promotion and reward opportunities for the existing division. Is it a wonder companies resist? The data clearly show that although a few new innovations are dramatically successful, most fail, often at great expense. It is no wonder that companies are hesitant - resistant - to innovation no matter what their press releases and annual reports claim. To be conservative is to be sensible.The FutureAutomated data-driven processes will slowly make more and more inroads into the space now occupied by human designers. New approaches to computer-generated creativity such as genetic algorithms, knowledge-intensive systems, and others will start taking over the creative aspect of design. This is happening in many other fields, whether it be medical diagnosis or engineering design.We will get more design without designers, but primarily of the enhancement, refinement, and optimization of existing concepts. Even where new creative artificial systems are developed, whether by neural networks, genetic algorithms, or some yet undiscovered method, any new concept will still face the hurdle of overcoming the slow adoption rate of people and of overcoming the complex psychological, social, and political needs of people. To do this, we need creative designers, creative business people, and risk takers willing to push the boundaries. New ideas will be resisted. Great innovations will come at the cost of multiple great failures.Design without designers? Those who dislike the ambiguity and uncertainty of human judgments, with its uncertain track record and contradictory statements will try to abolish the human element in favor of the certainty that numbers and data appear to offer. But those who want the big gains that creative judgment can produce will follow their own judgment. The first case will bring about the small, continual improvements that have contributed greatly to the increased productivity and lowering of costs of our technologies. The second case will be rewarded with great failures and occasional great success. But those great successes will transform the world.译文不需要设计师的设计唐·诺曼我永远也不会忘记我第一次向人们介绍优秀产品设计的魅力的经历，那时候我刚刚到苹果公司，还在逐渐的学习工作上的事务。
工业设计_外文翻译-3
1.Creative China must find its ownPath网站截图：/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4 %CE%C4%CF%D7&tn=sogouie_1_dg原文：Creative China must find its own PathJustin 0'ConnorIt is commonly said that China needs to ‘catch-up’ with `the west' or the `developed world'. This phrase implies a singular path; there may be short cuts and `late-comer advantages' but the destination一a modern, developed country一is the same. But just when it seems China is within touching distance, the `developed world' changes the definition of what it is to be `developed' and puts more obstacles in the path of those trying to catch-up. In English we call this `moving the goal-posts'. After manufacturing, services and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new `value-added' product and service sector, posing yet more problems for the country's policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully `developed'.Much of this can be dismissed as another example of the West's superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture一are highly creative and innovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and identity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond `the arts，一galleries,museums, opera houses, universities, arts schools, journals etc. 一to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.The cultural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of research, knowledge transfer and, above all, innovation. In the West artists or `cultural producers' have long been associated with dynamic, often unpredictable creative innovation. Now the innovative capacity of the cultural industries is extended to a new range of creative products and services and is also seen as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultural products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and services, finding new audiences, differentiating rather than imitating what already sells. It requires new kinds of `soft skills' that are hard to acquire as they are often`tacit', demanding experience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills. In the last few years the central driving force behind cultural and creative industries policies has been the idea of `cluster'. Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist in the West, though these terms cover extremely diverse developments. There are some good reasons why China would choose this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that seem ripe for this kind of development. The model of concentration to facilitate rapid development also fits well with China's history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers because they are highly visible一successful ones give publicity to them and the city. At the same time they offer clear and concrete steps to support a sector that is very new and not very well understood. However, there are some real problems to be overcome if these clusters are to deliver what is expected of them.Many clusters emerged organically, with artists looking for cheap workspace; but in China, as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers raise the profile of a place and this is very quickly translated into rent rises, typically driving out the first occupants. This is a complex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are seconomically important we should let the market decide. There is some truth in this; it is very easy to subsidise bad artists and creative producers. However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can raise rents muchmore rapidly than with other kinds of occupancy, often from a low base, and can provide good profit. But these rent rises are often too fast for a slowly emerging sector, which is not just to be seen as individual companies but as a complex emerging `creative ecology'. The real estate market measures `good' or `bad' creative by their ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estate success一higher rent yield一but how are we measuring the innovative capacity of the local economy? In general, local governments should not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if government is find a productive balance in this area.Clusters are often conceived as places for the `industrialization' of cultural products一that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the world's low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected by inter-provincial tariffs. These products might inflate the statistics一according to one report China is third largest exporter of cultural products一but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative sector.Better understanding and governance of clusters is necessary. Clusters deliver benefits for many but not the entire cultural creative sector. Computer games, for example, does not benefit from clusters because more or less everything is produced in-house in great secrecy. They go to clusters because of tax and rent subsidies, not to be in proximity to others. Visual artists benefit from cheaper rents, the reputation of a `cool' place and from space to work in quiet; they do not necessarily engage in intensive networking and knowledge transfer. Other project based industries, such as new media, want the networking possibilities provided by clusters, what economists called `untraced interdependencies'. There are thus different requirements for the different branches, and both the mix of companies and the quality of the space need to be carefully understood.There is real scope for informed government policy here. In general they should look to raise the quality of production as well as developing new audiences and markets. Clusters can have a role in this, but they have to form part of a wider policy strategy. For example, universities are vital to building new human capital一they have to be encouraged to look to creative skills not just teaching from established models,.Local television stations can be encouraged to pay more for high quality content一at the moment the purchase is a one size fits all approach which often pays the worst and the best exactly the same. The design of urban spaces can be enhanced to support the city as a `creative milieu'. More directly, the cultural creative industries need new creative attitudes and mentalities that take some time to come through; they also demand a range of `soft skills' associated with project management, branddevelopment and marketing which have to be learned `on the job'. But they find it hard to learn these skills when they are mostly delivering services at the lowest part of the value chain, where innovation effects and intellectual property go abroad. Talent is wasted in servicing when it should be focused on developing original content. Local governments have to realize that though the cultural creative industries have strong economic benefits they are also about quality一high values which demand the long term view not the quick return of the `bottom line'. This push for high quality and higher levels of innovation is something that demands a more holistic approach to policy; and clusters can play a crucial role in this.Rather than be seen as convenient containers for cultural creative producers they need to become focal points for targeted development. Universities and art schools need to be more involved. As do their cultural creative industry research centres. Real knowledge transfer can be encouraged and facilitated by intelligent cluster managers. The skills to run a cluster are just emerging and there are some good exemplars一but much of it is just real estate management as in any other sector and this is a wasted opportunity. Networking events, joint marketing, seminars with foreign companies, spaces and occasions for experimentation, a carefully managed programme for the general public (too much tourism can destroy a cluster, as in Tianzi fang in Shanghai), intelligent links to other clusters and larger creative companies一all these demand specific skills to deliver. These skills also should be disseminated and improved across between the clusters. China does need to look to foreign experts and models; but it has also shown time and again that it can also find its own way, and in ways that have astonished outsiders. It can do this with the cultural creative industries but it has to look long term, beyond immediate economic gain (including rent increases) to the long-term creative and innovative capacity of the country. It has to recognize that it is catching up at a time when western creative industry corporations are more global than ever, looking to penetrate local Chinese markets just when the country is trying to develop its own creative sector. This presents a real challenge, but I would say that rather than try and use policy tools derived from the West, China should look to its own traditions and strengths. I do not just mean its traditional culture in terms of calligraphy or opera or ink painting; I mean its resources for social and economic development that uses, but is not subservient to, the `free' market. In fact the UK, closely associated with the creative industries agenda, has very little capacity to deliver industry support, relying on demands that people be more `entrepreneurial' rather than deliver systematic and intelligent sectoral strategy. This is why it has let a 250-year-old world famous ceramics company一Wedgewood一go bankrupt. China has some things to learn from the UK, but its deep resources of intelligent and pragmatic policy will be ultimately decisive. Most important, policy makers should not loose sight of the importance of culture for collective meaning and identity. This is much more diverse, fluid and open to new influences, and the Chinese government has increasingly stood back from direct intervention. In the search for the new economic benefits of the cultural creative industries their deeper cultural contexts should not be neglected.译文：中国要有自己的创新之道Justin 0'Connor 贾斯丁奥·康纳人们总是说中国需要赶超西方或发达国家，这似乎意味着是唯一的道路。
工业设计-外文翻译
Design and Environment原文：DESIGN and ENVIRONMENTProduct design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human。
In spscificity，products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality，anything，whatever it is tangibile or intangible，that can be provided for a market,can be weighed with value by customers，and can satisfy a need or desire，can be entiled as products.Innovative design has come into human life. It makes product looking brand—new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle ，emphasis on individuation and self—expression,market competition and requirement of individuation of product.Product design includes factors of society ,economy, techology and leterae humaniores.Tasks of product design includes styling, color, face processing and selection of material and optimization of human—machine interface.Design is a kind of thinking of lifestyle。
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Interaction designMoggridge BillInteraction design，Page 1-15USA Art Press, 2008Interaction design (IxD) is the study of devices with which a user can interact, in particular computer users. The practice typically centers on "embedding information technology into the ambient social complexities of the physical world."[1] It can also apply to other types of non-electronic products and services, and even organizations. Interaction design defines the behavior (the "interaction") of an artifact or system in response to its users. Malcolm McCullough has written, "As a consequence of pervasive computing, interaction design is poised to become one of the main liberal arts of the twenty-first century."Certain basic principles of cognitive psychology provide grounding for interaction design. These include mental models, mapping, interface metaphors, and affordances. Many of these are laid out in Donald Norman's influential book The Psychology of Everyday Things.As technologies are often overly complex for their intended target audience, interaction design aims to minimize the learning curve and to increase accuracy and efficiency of a task without diminishing usefulness. The objective is to reduce frustration and increase user productivity and satisfaction.Interaction design attempts to improve the usability and experience of the product, by first researching and understanding certain users' needs and then designing to meet and exceed them. (Figuring out who needs to use it, and how those people would like to use it.)Only by involving users who will use a product or system on a regular basis will designers be able to properly tailor and maximize usability. Involving real users, designers gain the ability to better understand user goals and experiences. (see also: User-centered design) There are also positive side effects which include enhanced system capability awareness and user ownership. It is important that the user be aware of system capabilities from an early stage so that expectations regarding functionality are both realistic and properly understood. Also, users who have been active participants in a product's development are more likely to feel a sense of ownership, thus increasing overall satisfa.Instructional design is a goal-oriented, user-centric approach to creating training and education software or written materials. Interaction design and instructional design both rely on cognitive psychology theories to focus on how users will interact with software. They both take an in-depth approach to analyzing the user's needs and goals. A needs analysis is often performed in both disciplines. Both, approach the design from the user's perspective. Both, involve gathering feedback from users, and making revisions until the product or service has been found to be effective. (Summative / formative evaluations) In many ways, instructionaldesign can be considered a precursor to interaction design.Interaction Design is often associated with the design of system interfaces in a variety of media (see also: Interface design, Experience design) but concentrates on the aspects of the interface that define and present its behavior over time, with a focus on developing the system to respond to the user's experience and not the other way around. The system interface can be thought of as the artifact (whether visual or other sensory) that represents an offering's designed interactions. Interactive voice response (Telephone User Interface) is an example of interaction design without graphical user interface as a media.Interactivity, however, is not limited to technological systems. People have been interacting with each other as long as humans have been a species. Therefore, interaction design can be applied to the development of all solutions (or offerings), such as services and events. Those who design these offerings have, typically, performed interaction design inherently without naming it as such. MethodologiesInteraction designers often follow similar processes to create a solution (not the solution) to a known interface design problem. Designers build rapid prototypes and test them with the users to validate or rebut the idea.There are six major steps in interaction design. Based on user feedback, several iteration cycles of any set of steps may occur.1. Design researchUsing design research techniques (observations, interviews, questionnaires, and related activities), designers investigate users and their environment in order to learn more about them and thus be better able to design for them.[2]2. Research analysis and concept generationDrawing on a combination of user research, technological possibilities, and business opportunities, designers create concepts for new software, products, services, or systems. This process may involve multiple rounds of brainstorming, discussion, and refinement.To help designers realize user requirements, they may use tools such as personas or user profiles that are reflective of their targeted user group. From these personae, and the patterns of behavior observed in the research, designers create scenarios (or user stories) or storyboards, which imagine a future work flow the users will go through using the product or service.After thorough analysis using various tools and models, designers create a high level summary spanning across all levels of user requirements. This includes a vision statement regarding the current and future goals of a project.3. Alternative design and evaluationOnce a clear view of the problem domain exists, designers develop alternative solutions with crude prototypes to help convey concepts and ideas. Proposed solutions are evaluated and, perhaps, merged. The end result should be a design that solves as many of the user requirements as possible.Among the tools that may be used for this process are wireframing and flow diagrams. The features and functionality of a product or service are often outlinedin a document known as a wireframe ("schematics" is an alternate term). Wireframes are a page-by-page or screen-by-screen detail of the system, which include notes ("annotations") describing how the system will operate. Flow Diagrams outline the logic and steps of the system or an individual feature.The cognitive dimensions framework provides a specialized vocabulary to evaluate particular design solutions, and aid in the creation of new designs from existing ones through design manoeuvres.4. Prototyping and usability testingInteraction designers use a variety of prototyping techniques to test aspects of design ideas. These can be roughly divided into three classes: those that test the role of an artifact, those that test its look and feel and those that test its implementation. Sometimes, these are called experience prototypes to emphasize their interactive nature. Prototypes can be physical or digital, high- or low-fidelity.5. ImplementationInteraction designers need to be involved during the development of the product or service to ensure that what was designed is implemented correctly. Often, changes need to be made during the building process, and interaction designers should be involved with any of the on-the-fly modifications to the design.6. System testingOnce the system is built, often another round of testing, for both usability and errors ("bug catching") is performed. Ideally, the designer will be involved here as well, to make any modifications to the system that are required.交互设计比尔•摩格里吉交互设计 1-15页美国艺术出版社，2008交互设计，又称互动设计，(英文Interaction Design, 缩写 IxD 或者 IaD),是定义、设计人造系统的行为的设计领域。