工业设计外文翻译---不需要设计师的设计
(完整版)设计专业名词中英对照
设计专业名词中英对照设计的分类(英语)1 设计Design2 现代设计Modern Design3 工艺美术设计Craft Design4 工业设计Industrial Design5 广义工业设计Generalized Industrial Design6 狭义工业设计Narrow Industrial Design7 产品设计Product Design8 传播设计Communication Design8 环境设计Environmental Design9 商业设计Commercial Design10 建筑设计Architectural11 一维设计One-dimension Design12 二维设计Tow-dimension Design13 三维设计Three-dimension Design14 四维设计Four-dimension Design15 装饰、装潢Decoration16 家具设计Furniture Design17 玩具设计Toy Design18 室内设计Interior Design19 服装设计Costume Design20 包装设计Packaging Design21 展示设计Display Design22 城市规划Urban Desgin23 生活环境Living Environment24 都市景观Townscape25 田园都市Gardon City26 办公室风致Office Landscape27 设计方法论Design Methodology28 设计语言Design Language 29 设计条件Design Condition30 结构设计Structure Design31 形式设计Form Design32 设计过程Design Process33 构思设计Concept Design34 量产设计,工艺设计Technological Design35 改型设计Model Change36 设计调查Design Survey37 事前调查Prior Survey38 动态调查Dynamic Survey39 超小型设计Compact type40 袖珍型设计Pocketable Type41 便携型设计Protable type42 收纳型设计Selfcontainning Design43 装配式设计Knock Down Type44 集约化设计Stacking Type45 成套化设计Set (Design)46 家族化设计Family (Design)47 系列化设计Series (Design)48 组合式设计Unit Design49 仿生设计Bionics Design50 功能Function51 独创性Originality52 创造力Creative Power53 外装Facing54 创造性思维Creating Thinking55 等价变换思维Equivalent Transformationn Thought56 KJ法Method of K.J57 戈顿法Synectice58 集体创造性思维法Brain Storming59 设计决策(Design) Decision Making60 T-W-M体系T-W-M system61 O-R-M体系O-R-M system62 印象战略Image Stratagem63 AIDMA原则Law of AIDMA64 功能分化Functional Differentiation65 功能分析Functional Analysis66 生命周期Life Cycle67 照明设计Illumination Design设计色彩方法(英)1 色Color2 光谱Spectrum3 物体色Object Color4 固有色Propor Color5 色料Coloring Material6 色觉三色学说Three-Component Theary7 心理纯色Unique Color8 拮抗色学说Opponent Color Theory9 色觉的阶段模型Stage Model of the Color Perception10 色彩混合Color Mixing11 基本感觉曲线Trisimulus Valus Curves12 牛顿色环Newton's Color Cycle13 色矢量Color Vector14 三原色Three Primary Colors15 色空间Color Space16 色三角形Color Triangle17 测色Colourimetry18 色度Chromaticity19 XYZ表色系XYZ Color System20 实色与虚色Real Color and Imaginary Color21 色等式Color Equation 22 等色实验Color Matching Experiment23 色温Color Temperature24 色问轨迹Color Temperature Locus25 色彩三属性Three Attribtes and Color26 色相Hue27 色相环Color Cycle28 明度Valve29 彩度Chroma30 环境色Environmetal Color31 有彩色Chromatic Color32 无彩色Achromatic Colors33 明色Light Color34 暗色Dark Color35 中明色Middle Light Color36 清色Clear Color37 浊色Dull Color38 补色Complementary Color39 类似色Analogous Color40 一次色Primary Color41 二次色Secondary Color42 色立体Color Solid43 色票Color Sample44 孟塞尔表色系Munsell's Color System45 奥斯特瓦德表色系Ostwald's Color System46 日本色研色体系Practical Color Co-ordinate System47 色彩工程Color Engineering48 色彩管理Color Control49 色彩再现Color Reproduction50 等色操作Color Matching51 色彩的可视度Visibility Color52 色彩恒常性Color Constancy53 色彩的对比Color Contrast54 色彩的同化Color Assimilation55 色彩的共感性Color Synesthesia56 暖色与冷色Warm Color and Cold Color57 前进色与后退色Advancing Color Receding Color58 膨胀色与收缩色Expansive Color and Contractile Color59 重色与轻色Heavy Color and Light Color60 色价Valeur61 色调Color Tone62 暗调Shade63 明调Tint64 中间调Halftone65 表面色Surface Color66 平面色Film Color67 色彩调和Color Harmony68 配色Color Combination69 孟塞尔色彩调和Munsell's Color Harmony70 奥斯特瓦德色彩调和Ostwald's Color Harmony71 孟.斯本瑟色彩调和Moon.Spencer's Color Harmony72 色彩的感情Feeling of Color73 色彩的象征性Color Symbolism74 色彩的嗜好Color Preference75 流行色Fashion Color76 色彩的功能性Color Functionalism77 色彩规划Color Planning78 色彩调节Color Conditioning79 色彩调整Color Coordinetion80 色彩设计Color Design 材料与加工成型技术(英)1 材料Material2 材料规划Material Planning3 材料评价Material Appraisal4 金属材料Metal Materials5 无机材料Inorganic Materials6 有机材料Organic Materials7 复合材料Composite Materials8 天然材料Natural Materials9 加工材料Processing Materials10 人造材料Artificial Materials11 黑色金属Ferrous Metal12 有色金属Nonferrous Metal13 轻金属材料Light Metal Materials14 辅助非铁金属材料Byplayer Nonferrous Metal Materials15 高熔点金属材料High Melting Point Metal Materials16 贵金属材料Precions Metal Materials17 辅助非铁金属材料Byplayer Nonferrous Metal Materials18 高熔点金属材料High Melting Point Metal Materials19 贵金属材料Precions Metal Materials20 陶瓷Ceramics21 水泥Cement22 搪瓷、珐琅Enamel23 玻璃Glass24 微晶玻璃Glass Ceramics25 钢化玻璃Tuflite Glass26 感光玻璃Photosensitive Glass27 纤维玻璃Glass Fiber28 耐热玻璃Hear Resisting Glass29 塑料Plastics30 通用塑料Wide Plastics31 工程塑料Engineering Plastics32 热塑性树脂Thermoplastic Resin33 热固性树脂Thermosetting Resin34 橡胶Rubber35 粘接剂Adhesives36 涂料Paints37 树脂Resin38 聚合物Polymer39 聚丙烯树脂Polypropylene40 聚乙烯树脂Polyethylene Resin41 聚苯乙烯树脂Polystyrene Resin42 聚氯乙烯树脂Polyvinyl Chloride Resin43 丙烯酸树脂Methyl Methacrylate Resin44 聚烯胺树脂,尼龙Polyamide Resin45 氟化乙烯树脂Polyfurol Resin46 聚缩醛树脂Polyacetal Resin47 聚碳酸脂树脂Polycarbonate Resin48 聚偏二氯乙烯树脂Polyvinylidene Resin49 聚醋酸乙烯脂树脂Polyvinyl Acetate Resin50 聚烯亚胺树脂Polyimide Resin51 酚醛树脂Phenolic Formaldehyde Resin52 尿素树脂Urea Formaldehyde Resin53 聚酯树脂Polyester Resin54 环痒树脂Epoxy Resin55 烯丙基树脂Allyl Resin56 硅树脂Silicone Resin57 聚氨酯树脂Polyurethane Resin58 密胺Melamine Formaldehyde Resin 59 ABS树脂Acrylonitrile Butadiene Styrene Redin60 感光树脂Photosensition Plastics61 纤维强化树脂Fiber Reinforced Plastic62 印刷油墨Printing Ink63 印刷用纸Printing Paper64 铜板纸Art Paper65 木材Wood66 竹材Bamboo67 树脂装饰板Decorative Sheet68 蜂窝机制板Honey Comb Core Panel69 胶合板Veneer70 曲木Bent Wood71 浸蜡纸Waxed Paper72 青铜Bronge73 薄壳结构Shell Construction74 技术Technic75 工具Tool76 金工Metal Work77 铸造Casting78 切削加工Cutting79 压力加工Plastic Working80 压力加工Plastic Working81 焊接Welding82 板金工Sheetmetal Woek83 马赛克Mosaic84 塑性成型Plastic Working85 灌浆成型Slip Casting86 挤出成型Sqeezing87 注压成型Injection Molding88 加压成型Pressing89 水压成型Cold Isostatic Pressing90 加压烧结法Hot Pressing91 HIP成型Hot Isostatic Pressing92 压缩成型Compression Molding Pressing93 气压成型Blow Molding94 压延成型Calendering95 转送成型Transfer Molding96 雌雄成型Slash Molding97 铸塑成型Casting98 喷涂成型Spray Up99 层积成型Laminating100 FW法Fillament Winding101 粘接与剥离Adhesion and Excoriation 102 木材工艺Woodcraft103 竹材工艺Bamboo Work104 表面技术Surface Technology105 镀饰Plating106 涂饰Coating107 电化铝Alumite108 烫金Hot Stamping109 预制作Prefabrication110 预制住宅Prefabricated House111 悬臂梁Cantilever112 金属模具Mold113 型板造型Modeling of Teplate114 染料Dyestuff115 颜料Artist Color传播与传媒设计(英)1 传播Communication2 大众传播Mass Communication3 媒体Media4 大众传播媒体Mass Media5 视觉传播Visual Communication6 听觉传播Hearing Communication7 信息Information8 符号Sign9 视觉符号Visual Sign10 图形符号Graphic Symbol11 符号论Semiotic12 象征Symbol13 象征标志Symbol Mark14 音响设计Acoustic Design15 听觉设计Auditory Design16 听觉传播设计Auditory Communication Design17 图象设计Visual Communication Design18 视觉设计Visual Design19 视觉传播设计Visual Communication Design20 图形设计Graphic Design21 编辑设计Editorial Design22 版面设计Layout23 字体设计Lettering24 CI设计Corporate Identity Design25 宣传Propaganda26 广告Advertising27 广告委托人Adveertiser28 广告代理业Advertising Agency29 广告媒体Advertising Media30 广告目的Avertising Objectives31 广告伦理Morality of Advertising32 广告法规Law of Advertising33 广告计划Advertising Planing34 广告效果Advertising Effect35 广告文案Advertising Copy36 广告摄影Advertising Photography37 说明广告Informative Advertising38 招贴画海报Poster39 招牌Sign-board40 小型宣传册Pamphlet41 大型宣传册Portfolio42 商品目录Catalogue43 企业商报House Organ44 户外广告Outdoor Advertising45 POP广告Point of Purchase Advertising46 展示Display47 橱窗展示Window Display48 展示柜Cabinet49 博览会Exposition50 万国博览会World Exposition51 包装Packaging52 工业包装Industrial Packing53 标签Label54 企业形象Corporate Image55 企业色Company Color56 动画Animation57 插图Illustration58 书法Calligraphy59 印刷Initial60 设计费design fee61 标准standard62 注册商标registered trade mark设计美学与设计实验(英)1 美Beauty2 现实美Acture Beauty3 自然美Natural Beauty4 社会美Social Beauty5 艺术美Artisitc Beauty6 内容与形式Content and Form7 形式美Formal Beauty8 形式原理Principles and Form9 技术美Beauty of Technology10 机械美Beauty of Machine11 功能美Functional Beauty12 材料美Beauty of Material13 美学Aesthetics14 技术美学Technology Aesthetics15 设计美学Design Aesthetics16 生产美学PAroduction Aesthetics17 商品美学Commodity Aedthetics18 艺术Art19 造型艺术Plastic Arts20 表演艺术Performance Art21 语言艺术Linguistic Art22 综合艺术Synthetic Arts23 实用艺术Practical Art24 时间艺术Time Art25 空间艺术Spatial Art26 时空艺术Time and Spatial Art27 一维艺术One Dimantional28 二维艺术two Dimantional29 三维艺术Three Dimantional30 四维艺术Four Dimantional31 舞台艺术Stagecraft32 影视艺术Arts of Mmovie and Television33 环境艺术Environmental Art34 美术Fine Arts35 戏剧Drama36 文学Literature37 意匠Idea38 图案Pattern39 构思Conception40 构图Composition41 造型Formation42 再现Representation43 表现Expression44 构成Composition45 平面构成Tow Dimentional Composition46 立体构成Three Dimentional Composition47 色彩构成Color Composition48 空间构成Composition of Space49 音响构成Composition and Sound50 多样与统一Unity of Multiplicity51 平衡Balance52 对称Symmetry53 调和、和声Harmony54 对比Contrast55 类似Similarity56 比例Proportion57 黄金分割Golden Section58 节奏Rhythm59 旋律Melody60 调子Tone61 变奏Variation62 纹样Pattern63 形态Form64 有机形态Organic Form65 抽象形态Abstract Form66 简化形态Simptified Form67 变形Deformation 68 图学Graphics69 透视画法Perspective70 线透视Linear Perspective71 视点Eye on Picture Plane72 灭点Vanishing Point73 平行透视Parallel Persective74 成角透视Angular Perspective75 斜透视Obligue Perspective76 单点透视Single Paint Perdpective77 两点透视Tow-Point Perdpective78 三点透视Three-Point Perdpective79 鸟瞰图Bird's Eye View80 平面视图Ground Plain81 轴侧投影Axonometric Projection82 设计素描Design Sketch83 预想图Rendering84 模型Model85 粘土模型Clay Model86 石膏模型Plaster Model87 木制模型Wooden Model88 缩尺模型Scale Model89 原大模型Mock Up90 仿真模型Finished Model91 制造原形Prototype92 计算机图形学Computer Graphics93 框架模型Frame Model94 实体模型Solid Model95 计算机辅助设计COMPUTER AIDED DESIGN96 计算机辅助制造Computer Aided Manufacture97 计算机三维动画Computer Three Dimentional Animation98 计算机艺术Computer Arts99 计算机书法Computer Calligraphy100 计算机图象处理Computer Image Processing101 计算机音响构成Computer Sound Composition实验心理学与人机工程学(英)1 人类工程学Human Engineering2 人机工程学Man-Machine Engineering3 工效学Ergonomice4 人因工程学Human Factors Engineering5 人因要素Human Factors6 人机系统Man-Machine System7 人体工程学Human Engineering8 人本位设计Human Sstandard Design9 实验心理学Experimental Psychology10 物理心理学Psychophysics11 感觉Sensation12 知觉Perception13 感觉阙限Threshold of Senssation14 心理量表Psychological Scaling15 视觉Visual Perception16 视觉通道Visual Pathway17 听觉Hearing Perception18 肤觉Skin Sensation19 视觉心理学Visual Psychology20 听觉心理学Hearing Psychology21 感光元Photoreceptor Cell22 明视、暗视、间视Phootopic Vision ,Scotopic Vision , Mesopic Vision23 光适应与暗适应Photopic Adaptation and Sscotopic Adaptation 24 格式塔,完形Gestalt25 形状知觉Shape Perception26 轮廓Conotour27 主观轮廓Subjictive Contour28 图形与背景Figure and Ground29 图形与背景逆转Reversible Figure30 良好形状法则Prinzip der Guten Gestalt31 群化Grouping32 等质性法则Fsctor of Similarity33 伪装Camouflage34 形状的恒常性Shape Constancy35 大小的恒常性Size Constancy36 空间知觉Space Perception37 立体视Stereopsis38 运动知觉Movement Perception39 视错觉Optical Illusion40 残像After Image41 似动Apparent Movement42 视觉后效Aftereffects in Visuvl43 瀑布效应Waterfall Effect44 视线记录仪Eye Camera45 听觉刺激Auditory Stimulus46 声压Sound Pressure47 声压水平Sound Pressure Level48 频谱Spectrum49 乐音与非乐音Tone and Nontone50 噪声Noise51 听觉阙限Auditory Threshold52 响度Loudness53 听觉掩蔽Auditory Masking54 音乐心理学Psychology of Music55 音响心理学Psychology of Sound56 音的四属性Four Attribute Sound57 音高Pitch58 音色Timbre59 力度Loudness60 频率辨别阙限Difference Threshold of Frequency61 强度辨别阙限Difference Threshold of Loudness62 混响Reverberation63 音源距离感Distance Perception of Sound64 音源方位感Orientation Perception of Sound65 立体声Stereophony66 语言心理学Psycholinguistics67 语言声谱Language Spectrum68 语言清晰度Articulation69 人体尺寸Humanlady Size70 作业空间Work Space71 模数Module72 心理尺度Psychological Measure73 动作分析Motion Analysis74 时间研究Time Study75 动作时间研究Motion and Time Study76 时间动作轨迹摄影Chronocyclegragh77 动迹Traffic Line78 光迹摄影Luminogram79 脑波Brain Wave80 生物钟Bio-o'clock81 睡眠Sleep82 疲劳Fatigue83 姿态Body Posture84 皮肤电反应Galranic Skin Response85 临界闪烁频率Critical Flicker Frequence 86 肌肉运动学Kinesiology87 肌电图Electromyography88 形态学Morphology89 仿生学Bionics90 人、环境系统Man-Environment System91 照明Hlumination92 振动Oscillate93 气候Climate94 空气调节Air Conditioning95 功能分配Functional Allocation设计生产经营与评价(英)1 工业工程学Industrial Engineering2 工业心理学Industrial Psychology3 科学管理法Scientific Management4 生产管理Production Control5 质量管理Quality Control6 系统工程System Engineering7 批量生产Mass Production8 流水作业Conveyer System9 互换式生产方式Interchangeable Produsction Method10 标准化Standardization11 自动化Automation12 市场调查Market Research13 商品化计划Merchandising14 产品开发Product Developement15 产品改型Model Change16 产品测试Product Testing17 产品成本Product Cost18 营销学Marketing19 买方市场Buyer's Market20 卖方市场Seller's Marker21 促销Sales Promotion22 适销Marketability23 消费者Consumer24 购买动机调查Motivation Research25 深层面接法Depth Interview26 销售热点Selling Point27 卡通测试法Cartoon Test28 产品形象Product Image29 形象策略Image Strategy30 公共关系Public Relations31 运筹学Operations Research32 设计策略Design Policy33 艺术总监Art Director设计法规与标准(英)1 知识产权Intellectual Property2 著作权Copyright3 工业产权Industrial Property4 专利Patent5 发明专利Patent for Invention6 实用新型Utility Modle7 外观设计专利Registation of Design8 注册商标Registered Trade Mark9 广告法Advertising Law10 反不正当竞争Repression of Untair Competition11 设计费Design Fee12 标准Standard13 德国工业标准Deutsche Industrie Normen 设计思潮与流派(英)1 学院派Academicism2 理性主义Rationalism3 非理性主义Irrationalism4 古典主义Classicism5 浪漫主义Romanticism6 现实主义Realism7 印象主义Impressionism8 后印象主义Postimpressionism9 新印象主义Neo-Impressionisme(法)10 那比派The Nabject11 表现主义Expressionism12 象征主义Symbolism13 野兽主义Fauvism14 立体主义Cubism15 未来主义Futurism16 奥弗斯主义Orphism17 达达主义Dadaisme(法)18 超现实主义Surrealism19 纯粹主义Purism20 抽象艺术Abstract Art21 绝对主义,至上主义Suprematism22 新造型主义Neo-plasticisme(法)23 风格派De Stiji24 青骑士Der Blaus Reiter25 抒情抽象主义Lyric Abstractionism26 抽象表现主义Abstract Expressionism27 行动绘画Action Painting28 塔希主义Tachisme(法)29 视幻艺术Op Art30 活动艺术、机动艺术Kinetic Art31 极少主义Minimalism32 概念主义Conceptualism33 波普艺术Pop Art34 芬克艺术、恐怖艺术Funk Art35 超级写实主义Super Realism36 人体艺术Body Art37 芝加哥学派Chicago School38 艺术与手工艺运动The Arts & Crafts Movement39 新艺术运动Art Nouveau40 分离派Secession41 构成主义Constructivism42 现代主义Modernism43 包豪斯Bauhaus44 阿姆斯特丹学派Amsterdam School45 功能主义Functionalism46 装饰艺术风格Art Deco(法)47 国际风格International Style48 流线型风格Streamlined Forms49 雅典宪章Athens Charter50 马丘比丘宪章Charter of Machupicchu51 斯堪的纳维亚风格Scandinavia Style52 新巴洛克风格New Baroque53 后现代主义Postmodernism54 曼菲斯Memphis55 高技风格High Tech56 解构主义Deconstructivism57 手工艺复兴Crafts Revival58 准高技风格Trans High Tech59 建筑风格Architecture60 微建筑风格Micro-Architecture61 微电子风格Micro-Electronics62 晚期现代主义Late Moddernism。
工业设计包豪斯设计外文翻译
毕业设计(论文)外文文献翻译译文题目 德国包豪斯设计与未来设计趋势专 业 工业设计 班 级 1班 姓 名 朱 灿 学 号 2011403030123 指导教师 郭庆机械工程学院JINGCHU UNIVERSITY OF TECHNOLOGYGermany 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’ in dependent 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 way s 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 Art Style 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 th e 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 of 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 medical equipment 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 theupcoming 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 Differences in Industrial Design Education between China and Germany from th e 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-Computer 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[12] STAR-CD User Guide Version 3.10, Computational Dynamics Limited 1999[13] STAR-CD Tutorial Manual V ol. 1 Tutorial 1 ~ Tutorial 7 Version 3.10, Computational Dynamics【中文翻译】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。
工业设计专业英语词汇
设计的分类与方法学(英语)1 设计 Design2 现代设计 Modern Design3 工艺美术设计 Craft Design4 工业设计 Industrial Design5 广义工业设计 Generalized Industrial Design6 狭义工业设计 Narrow Industrial Design7 产品设计 Product Design8 传播设计 Communication Design8 环境设计 Environmental Design9 商业设计 Commercial Design10 建筑设计 Architectural11 一维设计 One-dimension Design12 二维设计 Two-dimension Design13 三维设计 Three-dimension Design14 四维设计 Four-dimension Design15 装饰、装潢 Decoration16 家具设计 Furniture Design17 玩具设计 Toy Design18 室内设计 Interior Design19 服装设计 Costume Design20 包装设计 packaging Design21 展示设计 Display Design22 城市规划 Urban Design23 生活环境 Living Environment24 都市景观 Townscape25 田园都市 Garden City26 办公室风致 Office Landscape27 设计方法论 Design Methodology28 设计语言 Design Language29 设计条件 Design Condition30 结构设计 Structure Design31 形式设计 Form Design32 设计过程 Design Process33 概念设计 Concept Design34 量产设计,工艺设计 Technological Design35 改型设计 Model Change36 设计调查 Design Survey37 事前调查 Prior Survey38 动态调查 Dynamic Survey39 超小型设计 Compact type40 袖珍型设计 Pocket able Type41 便携型设计 Portable type42 收纳型设计 Selfcontainning Design43 装配式设计 Knock Down Type44 集约化设计 Stacking Type45 成套化设计 Set (Design)46 家族化设计 Family (Design)47 系列化设计 Series (Design)48 组合式设计 Unit Design49 仿生设计 Bionic Design50 功能 Function51 独创性 Originality52 创造力 Creative Power53 外装 Facing54 创造性思维 Creative Thinking55 等价变换思维 Equivalent Transformation Thought58 集体创造性思维法 Brain Storming59 设计决策 (Design) Decision Making62 印象战略 Image Strategy64 功能分化 Functional Differentiation65 功能分析 Functional Analysis66 生命周期 Life Cycle67 照明设计 Illumination Design68 结构素描 Structure Sketching设计色彩方法(英)1 色 Color2 光谱 Spectrum3 物体色 Object Color4 固有色 Proper Color5 色料 Coloring Material6 色觉三色学说 Three-Component Theory7 心理纯色 Unique Color10 色彩混合 Color Mixing11 基本感觉曲线 Trisimulus Valus Curves12 牛顿色环 Newton's Color Cycle13 色矢量 Color Vector14 三原色 Three Primary Colors15 色空间 Color Space16 色三角形 Color Triangle17 测色 Colourimetry18 色度 Chromaticity19 XYZ表色系 XYZ Color System20 实色与虚色 Real Color and Imaginary Color21 色等式 Color Equation22 等色实验 Color Matching Experiment23 色温 Color Temperature24 色问轨迹 Color Temperature Locus25 色彩三属性 Three Attributes of Color26 色相 Hue27 色相环 Color Cycle28 明度 lightness29 彩度(纯度) Chroma30 环境色 Environmental Color31 有彩色 Chromatic Color32 无彩色 Achromatic Colors33 明色 Light Color34 暗色 Dark Color35 中明色 Middle Light Color36 清色 Clear Color37 浊色 Dull Color38 补色 Complementary Color39 类似色 Analogous Color40 一次色 Primary Color41 二次色 Secondary Color42 色立体 Color Solid43 色票 Color Sample44 孟塞尔表色系 Munsell Color System45 奥斯特瓦德表色系 Ostwald Color System46 日本色研色体系 Practical Color Co-ordinate System47 色彩工程 Color Engineering48 色彩管理 Color Control49 色彩再现 Color Reproduction50 等色操作 Color Matching51 色彩的可视度 Visibility of Color52 色彩恒常性 Color Constancy53 色彩的对比 Color Contrast54 色彩的同化 Color Assimilation55 色彩的共感性 Color Synesthesia56 暖色与冷色 Warm Color and Cold Color57 前进色与后退色 Advancing Color Receding Color58 膨胀色与收缩色 Expansive Color and Contractile Color59 重色与轻色 Heavy Color and Light Color60 色阶 Valeur61 色调 Color Tone62 暗调 Shade63 明调 Tint64 中间调 Halftone65 表面色 Surface Color66 平面色 Film Color67 色彩调和 Color Harmony68 配色 Color Combination69 孟塞尔色彩调和 Munsell Color Harmony70 奥斯特瓦德色彩调和 Ostwald Color Harmony71 孟.斯本瑟色彩调和 Moon.Spencer' Color Harmony72 色彩的感情 Feeling of Color73 色彩的象征性 Color Symbolism74 色彩的嗜好 Color Preference75 流行色 Fashion Color76 色彩的功能性 Color Functionalism77 色彩规划 Color Planning78 色彩调节 Color Conditioning79 色彩调整 Color Coordination80 色彩设计 Color Design材料与加工成型技术(英)1 材料 Material2 材料规划 Material Planning3 材料评价 Material Appraisal4 金属材料 Metal Materials5 无机材料 Inorganic Materials6 有机材料 Organic Materials7 复合材料 Composite Materials8 天然材料 Natural Materials9 加工材料 Processing Materials10 人造材料 Artificial Materials11 黑色金属 Ferrous Metal12 有色金属 Nonferrous Metal13 轻金属材料 Light Metal Materials14 辅助非铁金属材料 By player Nonferrous Metal Materials15 高熔点金属材料 High Melting Point Metal Materials16 贵金属材料 Precious Metal Materials17 辅助非铁金属材料 By player Nonferrous Metal Materials18 高熔点金属材料 High Melting Point Metal Materials19 贵金属材料 Precious Metal Materials20 陶瓷 Ceramics21 水泥 Cement22 搪瓷、珐琅 Enamel23 玻璃 Glass25 钢化玻璃 toughened Glass26 感光玻璃 Photosensitive Glass27 玻璃纤维Glass Fiber28 耐热玻璃 Hear Resisting Glass29 塑料 Plastics30 通用塑料 Wide Plastics31 工程塑料 Engineering Plastics32 热塑性树脂 Thermoplastic Resin33 热固性树脂 Thermosetting Resin34 橡胶 Rubber35 粘接剂 Adhesives36 涂料 Paints37 树脂 Resin38 聚合物 Polymer39 聚丙烯树脂 Polypropylene40 聚乙烯树脂 Polyethylene Resin41 聚苯乙烯树脂 Polystyrene Resin42 聚氯乙烯树脂Polyvinyl Chloride Resin43 丙烯酸树脂 Methyl Methacrylate Resin44 聚烯胺树脂,尼龙 Polyamide Resin45 氟化乙烯树脂 Polyfurol Resin46 聚缩醛树脂 Polyacetal Resin47 聚碳酸脂树脂 Polycarbonate Resin48 聚偏二氯乙烯树脂 Polyvinylidene Resin49 聚醋酸乙烯脂树脂 Polyvinyl Acetate Resin50 聚烯亚胺树脂 Polyimide Resin51 酚醛树脂 Phenolic Formaldehyde Resin52 尿素树脂 Urea Formaldehyde Resin53 聚酯树脂 Polyester Resin54 环痒树脂 Epoxy Resin55 烯丙基树脂 Allyl Resin56 硅树脂 Silicone Resin57 聚氨酯树脂 Polyurethane Resin58 密胺 Melamine Formaldehyde Resin59 ABS树脂 Acrylonitrile Butadiene Styrene Redin60 感光树脂 Photosensition Plastics61 纤维强化树脂 Fiber Reinforced Plastic62 印刷油墨 Printing Ink63 印刷用纸 Printing Paper64 铜板纸 Art Paper65 木材 Wood66 竹材 Bamboo67 树脂装饰板 Decorative Sheet68 蜂窝机制板 Honey Comb Core Panel69 胶合板 Veneer70 曲木 Bent Wood71 浸蜡纸 Waxed Paper72 青铜 Bronze73 薄壳结构 Shell Construction74 技术 Technique75 工具 Tool76 金工 Metal Work77 铸造 Casting78 切削加工 Cutting79 压力加工 Plastic Working80 压力加工 Plastic Working81 焊接 Welding82 板金工 Sheet metal Work83 马赛克 Mosaic84 塑性成型 Plastic Working85 灌浆成型 Slip Casting86 挤出成型 Squeezing87 注压成型 Injection Molding88 加压成型 Pressing89 水压成型 Cold Isostatic Pressing90 加压烧结法 Hot Pressing91 HIP成型 Hot Isostatic Pressing92 压缩成型 Compression Molding Pressing93 气压成型 Blow Molding94 压延成型 Calendering95 转送成型 Transfer Molding96 雌雄成型 Slash Molding97 铸塑成型 Casting98 喷涂成型 Spray Up99 层积成型 Laminating100 FW法 Fillament Winding101 粘接与剥离 Adhesion and Excoriation 102 木材工艺 Woodcraft103 竹材工艺 Bamboo Work104 表面技术 Surface Technology105 镀饰 Plating106 涂饰 Coating107 电化铝 Alumite108 烫金 Hot Stamping109 预制作 Prefabrication110 预制住宅 Prefabricated House111 悬臂梁 Cantilever112 金属模具 Mold113 型板造型 Modeling of Teplate114 染料 Dyestuff115 颜料 Artist Color传播与传媒设计(英)1 传播 Communication2 大众传播 Mass Communication3 媒体 Media4 大众传播媒体 Mass Media5 视觉传播 Visual Communication6 听觉传播 Hearing Communication7 信息 Information8 符号 Sign9 视觉符号 Visual Sign10 图形符号 Graphic Symbol11 符号论 Semiotic12 象征 Symbol13 象征标志 Symbol Mark14 音响设计 Acoustic Design15 听觉设计 Auditory Design16 听觉传播设计 Auditory Communication Design17 图象设计 Visual Communication Design18 视觉设计 Visual Design19 视觉传播设计 Visual Communication Design20 图形设计 Graphic Design21 编辑设计 Editorial Design22 版面设计 Layout23 字体设计 Lettering24 CI设计 Corporate Identity Design25 宣传 Propaganda26 广告 Advertising27 广告委托人 Advertiser28 广告代理业 Advertising Agency29 广告媒体 Advertising Media30 广告目的 Advertising Objectives31 广告伦理 Morality of Advertising32 广告法规 Law of Advertising33 广告计划 Advertising Plan34 广告效果 Advertising Effect35 广告文案 Advertising Copy36 广告摄影 Advertising Photography37 说明广告 Informative Advertising38 招贴画海报 Poster39 招牌 Sign-board40 小型宣传册 Pamphlet41 大型宣传册 Portfolio42 商品目录 Catalogue43 企业商报 House Organ44 户外广告 Outdoor Advertising45 POP广告 Point of Purchase Advertising46 展示 Display47 橱窗展示 Window Display48 展示柜 Cabinet49 博览会 Exposition50 万国博览会 World Exposition51 包装 Packaging52 工业包装 Industrial Packing53 标签 Label54 企业形象 Corporate Image55 企业色 Company Color56 动画 Animation57 插图 Illustration58 书法 Calligraphy59 印刷 Initial60 设计费 design fee61 标准 standard62 注册商标 registered trade mark设计美学与设计实验(英)1 美 Beauty2 现实美 Actual Beauty3 自然美 Natural Beauty4 社会美 Social Beauty5 艺术美 Artistic Beauty6 内容与形式 Content and Form7 形式美 Formal Beauty8 形式原理 Principles and Form9 技术美 Beauty of Technology10 机械美 Beauty of Machine11 功能美 Functional Beauty12 材料美 Beauty of Material13 美学 Aesthetics14 技术美学 Technology Aesthetics15 设计美学 Design Aesthetics16 生产美学 Production Aesthetics17 商品美学 Commodity Aesthetics18 艺术 Art19 造型艺术 Plastic Arts20 表演艺术 Performance Art21 语言艺术 Linguistic Art22 综合艺术 Synthetic Arts23 实用艺术 Practical Art24 时间艺术 Time Art25 空间艺术 Spatial Art26 时空艺术 Time and Spatial Art27 一维艺术 One Dimension28 二维艺术 two Dimension29 三维艺术 Three Dimension30 四维艺术 Four Dimension31 舞台艺术 Stagecraft32 影视艺术 Arts of Movie and Television33 环境艺术 Environment Art34 美术 Fine Arts35 戏剧 Drama36 文学 Literature37 意匠 Idea38 图案 Pattern39 构思 Conception40 构图 Composition41 造型 Formation42 再现 Representation43 表现 Expression44 构成 Composition45 平面构成 Tow Dimensional Composition46 立体构成 Three Dimensional Composition47 色彩构成 Color Composition48 空间构成 Composition of Space49 音响构成 Composition and Sound50 多样与统一 Unity of Multiplicity51 平衡 Balance52 对称 Symmetry53 调和、和声 Harmony54 对比 Contrast55 类似 Similarity56 比例 Proportion57 黄金分割 Golden Section58 节奏 Rhythm59 旋律 Melody60 调子 Tone61 变奏 Variation62 纹样 Pattern63 形态 Form64 有机形态 Organic Form65 抽象形态 Abstract Form66 简化形态 Simplified Form67 变形 Deformation68 图学 Graphics69 透视画法 Perspective70 线透视 Linear Perspective71 视点 Eye on Picture Plane72 灭点 Vanishing Point73 平行透视 Parallel Perspective74 成角透视 Angular Perspective75 斜透视 Oblique Perspective76 单点透视 Single Paint Perspective77 两点透视 Tow-Point Perspective78 三点透视 Three-Point Perspective79 鸟瞰图 Bird's Eye View80 平面视图 Ground Plain81 轴侧投影 Axonometric Projection82 设计素描 Design Sketch83 预想图 Rendering84 模型 Model85 粘土模型 Clay Model86 石膏模型 Plaster Model87 木制模型 Wooden Model88 缩尺模型 Scale Model89 原大模型 Mock Up90 仿真模型 Finished Model91 制造原形 Prototype92 计算机图形学 Computer Graphics93 框架模型 Frame Model94 实体模型 Solid Model95 计算机辅助设计 COMPUTER AIDED DESIGN96 计算机辅助制造 Computer Aided Manufacture97 计算机三维动画 Computer Three Dimensional Animation98 计算机艺术 Computer Arts99 计算机书法 Computer Calligraphy100 计算机图象处理 Computer Image Processing101 计算机音响构成 Computer Sound Composition实验心理学与人机工程学1 人类工程学 Human Engineering2 人机工程学 Man-Machine Engineering3 工效学 Ergonomic4 人因工程学 Human Factors Engineering5 人因要素 Human Factors6 人机系统 Man-Machine System7 人体工程学 Human Engineering8 人本位设计 Human Standard Design9 实验心理学 Experimental Psychology10 物理心理学 Psychophysics11 感觉 Sensation12 知觉 Perception13 感觉阙限 Threshold of Sensation14 心理量表 Psychological Scaling15 视觉 Visual Perception16 视觉通道 Visual Pathway17 听觉 Hearing Perception18 肤觉 Skin Sensation19 视觉心理学 Visual Psychology20 听觉心理学 Hearing Psychology21 感光元 Photoreceptor Cell36 空间知觉 Space Perception38 运动知觉 Movement Perception39 视错觉 Optical Illusion40 残像 After Image41 似动 Apparent Movement42 视觉后效 Aftereffects in Visual43 瀑布效应 Waterfall Effect44 视线记录仪 Eye Camera45 听觉刺激 Auditory Stimulus46 声压 Sound Pressure47 声压水平 Sound Pressure Level48 频谱 Spectrum49 乐音与非乐音 Tone and Nontone50 噪声 Noise51 听觉阙限 Auditory Threshold52 响度 Loudness53 听觉掩蔽 Auditory Masking54 音乐心理学 Psychology of Music55 音响心理学 Psychology of Sound56 音的四属性 Four Attribute Sound57 音高 Pitch58 音色 Timbre59 力度 Loudness60 频率辨别阙限 Difference Threshold of Frequency61 强度辨别阙限 Difference Threshold of Loudness62 混响 Reverberation63 音源距离感 Distance Perception of Sound64 音源方位感 Orientation Perception of Sound65 立体声 Stereophony66 语言心理学 Psycholinguistics67 语言声谱 Language Spectrum68 语言清晰度 Articulation69 人体尺寸 body dimension70 作业空间 Work Space71 模数 Module72 心理尺度 Psychological Measure73 动作分析 Motion Analysis74 时间研究 Time Study75 动作时间研究 Motion and Time Study79 脑波 Brain Wave80 生物钟 Bio-o'clock81 睡眠 Sleep82 疲劳 Fatigue83 姿态 Body Posture86 肌肉运动学 Kinesiology87 肌电图 Electromyography88 形态学 Morphology89 仿生学 Bionics90 人、环境系统 Man-Environment System91 照明 illumination92 振动 Oscillate93 气候 Climate94 空气调节 Air Conditioning95 功能分配 Functional Allocation设计团体与部分人物(英)1 维也纳工厂 Wiener Werksttate2 德意志制造联盟 Der Deutsche Werkbund3 克兰布鲁克学院 The Cranbrook Academy4 国际现代建筑会议 Congres Internationaux D'Architecture Moderne5 现代艺术馆 Museum Of Modern Art6 芝加哥设计学院 Chicago Institute of Design7 英国工业设计委员会 Council of Industrial Design8 设计委员会 The Desgin Council9 国际建筑师协会 Union Internationale des Architects10 设计研究组织 Design Research Unit11 日本工业设计师协会 Japan Industrial Desginers Association12 日本设计学会 Japanese Society for Science of Design13 乌尔姆造型学院 Ulm Hochschule fur Gestallung14 国际设计协会联合会International Council of Societies Industrial Desgin15 国际工业设计会议 International Design Congress ,ICSID Congress16 国际设计师联盟 Allied International Designers17 国际室内设计师联合会 International Federation of Interior Designers18 国际图形设计协会 International Graphic Desgin Associations19 国际流行色协会International Commission for color in fashion and Textiles20 工业产品设计中心 The Centre de Creation Industrielle21 中国工业设计协会 China Industrial Design Association22 阿尔齐米亚集团 Alchymia Studio23 中国流行色协会 China Fashion Color Association24 中国技术美学委员会 China Technological Aesthetics Association25 莫里斯 Willian Morris (1834-1896E)26 奥斯特瓦德 Wilhelm Friedrich Ostwald(1853-1932G)27 孟赛尔 Albert F.Munsell (1858-1918A)28 凡.德.维尔德 Henry Vande Velde (1863-1957)29 莱特 Lloyd Wright (1867-1959A)30 贝伦斯 Peter Behrens(1868-1940G)31 霍夫曼 Joseph Hoffmann(1870-1956)32 皮克 Frank Pick(1878-1941)33 维斯宁兄弟 Alexander Leonid and Victor Vesnin34 格罗皮乌斯 Walter Gropius(1883-1969)35 蒂格 Walter Dorwin Teague36 利奇 Bernard Leach37 勒.柯不西埃 Le Corbusier(法)38 伊顿 Johennes Itten39 里特维尔德 Gerrit Thomas Rietvela40 庞蒂 Gio Ponti41 拉塞尔 Gordon Russel42 格迪斯 Norman Bel Geddes43 洛伊 Raymond Fermam44 里德 Herbert Read45 莫荷利.纳吉 Laszlo Moholy Nagy46 凡.多伦 Harold Van Doren47 阿尔托 Alvar Aalto48 拜耶 Herbert Bayer50 佩夫斯纳 Nikolans51 布劳耶尔 Marcel Breuer52 佩里安 Charlotte Perriand53 德雷夫斯 Henry Dreyfuss54 迪奥 Christian Dior55 鲍登 Edward Bawden56 贾戈萨 Dante Giacosa57 伊姆斯 Charles Eames58 伊娃齐塞尔 Eva Zeiesl59 比尔MaxBill设计法规与标准(英)1 知识产权Intellectual Property2 著作权 Copyright3 工业产权 Industrial Property4 专利 Patent5 发明专利 Patent for Invention6 实用新型 Utility Model7 外观设计专利 Registration of Design8 注册商标 Registered Trade Mark9 广告法 Advertising Law10 反不正当竞争 Repression of Unfair Competition11 设计费 Design Fee12 标准 Standard13 德国工业标准 Deutsche Industrial Normen设计生产经营与评价1 工业工程学 Industrial Engineering2 工业心理学 Industrial Psychology3 科学管理法 Scientific Management4 生产管理 Production Control5 质量管理 Quality Control6 系统工程 System Engineering7 批量生产 Mass Production8 流水作业 Conveyer System9 互换式生产方式 Interchangeable Production Method10 标准化 Standardization11 自动化 Automation12 市场调查 Market Research13 商品化计划 Merchandising14 产品开发 Product Development15 产品改型 Model Change16 产品测试 Product Testing17 产品成本 Product Cost18 营销学 Marketing19 买方市场 Buyer's Market20 卖方市场 Seller's Marker21 促销 Sales Promotion22 适销 Marketability23 消费者 Consumer24 购买动机调查 Motivation Research25 深层面接法 Depth Interview26 销售热点 Selling Point27 卡通测试法 Cartoon Test28 产品形象 Product Image29 形象策略 Image Strategy30 公共关系 Public Relations31 运筹学 Operations Research32 设计策略 Design Policy33 艺术总监 Art Director设计思潮与流派(英)1 学院派 Academicism2 理性主义 Rationalism3 非理性主义 Irrationalism4 古典主义 Classicism5 浪漫主义 Romanticism6 现实主义 Realism7 印象主义 Impressionism8 后印象主义 Postimpressionism9 新印象主义 Neo-Impressionism(法)10 那比派 The Nabject11 表现主义 Expressionism12 象征主义 Symbolism13 野兽主义 Fauvism14 立体主义 Cubism15 未来主义 Futurism16 奥弗斯主义 Orphism17 达达主义 Dadaism(法)18 超现实主义 Surrealism19 纯粹主义 Purism20 抽象艺术 Abstract Art21 绝对主义,至上主义 Suprematism22 新造型主义 Neo-plasticisme(法)23 风格派 De Stiji24 青骑士 Der Blaus Reiter25 抒情抽象主义 Lyric Abstractionism26 抽象表现主义 Abstract Expressionism27 行动绘画 Action Painting28 塔希主义 Tachisme(法)29 视幻艺术 Op Art30 活动艺术、机动艺术 Kinetic Art31 极少主义 Minimalism32 概念主义 Conceptualism33 波普艺术 Pop Art34 芬克艺术、恐怖艺术 Funk Art35 超级写实主义 Super Realism36 人体艺术 Body Art37 芝加哥学派 Chicago School38 艺术与手工艺运动 The Arts & Crafts Movement39 新艺术运动 Art Nouveau40 分离派 Secession41 构成主义 Constructivism42 现代主义 Modernism43 包豪斯 Bauhaus44 阿姆斯特丹学派 Amsterdam School45 功能主义 Functionalism46 装饰艺术风格 Art Deco(法)47 国际风格 International Style48 流线型风格 Streamlined Forms49 雅典宪章 Athens Charter50 马丘比丘宪章 Charter of Machupicchu51 斯堪的纳维亚风格 Scandinavia Style52 新巴洛克风格 New Baroque53 后现代主义 Postmodernism54 曼菲斯 Memphis55 高技风格 High Tech56 解构主义 Deconstructivism57 手工艺复兴 Crafts Revival58 准高技风格 Trans High Tech59 建筑风格 Architecture60 微建筑风格 Micro-Architecture61 微电子风格 Micro-Electronics62 晚期现代主义 Late ModernismApplication(产品应用)Telecommunication(通讯行业)Medical(医疗行业)Automotive(汽车行业) PC Peripherals(计算机行业)TV / Audio & Visual (电视;音响)OA Equipment (自动化办公设备)Products(产品种类)General Silicone Rubber 普通硅胶Key-Film (IMD) 薄膜注塑键Key-Film (IMD) + Rubber(KEY-Film+硅胶)Plastic + Rubber (P + R)(塑料+硅胶)TPE or General Rubber特别塑料或橡胶*Various Options(其它选项):Metallic Spray(材料喷涂) / 2nd Surface Printing(底面印刷) / Coating (保护层)Chrome Plated (电镀)/ Laser Etching (激光雕刻)Mobile Communication(移动通讯)Corded (有绳电话)Cordless(无绳电话)Dect Phones(普通电话)2 Way Radio(对讲机)Platform for most applications 一般用途Examples : Laser-etched, P + R, Key-Film + R, Polydome Assembly, Metaldome Assembly, Spray painted key mat(例如:镭雕,塑料+硅胶,IMD+硅胶,组装弹性导电薄膜和金属导电薄膜,键面喷涂)Various colors, material durometer, printing options to meet aesthetic requirements根据美工要求可选择多种颜色,材料硬度,印刷工艺。
设计师常用英语词
设计师常用英语词——工业设计1 设计Design2 现代设计Modern Design3 工艺美术设计Craft Design4 工业设计Industrial Design5 广义工业设计Genealized Industrial Design6 狭义工业设计Narrow Industrial Design7 产品设计Product Design8 传播设计Communication Design8 环境设计Environmental Design9 商业设计Comercial Design10 建筑设计Architectural11 一维设计One-dimension Design12 二维设计Tow-dimension Design13 三维设计Three-dimension Design14 四维设计Four-dimension Design15 装饰、装潢Decoration16 家具设计Furniture Design17 玩具设计Toy Design18 室内设计Interior Design19 服装设计Costume Design20 包装设计ackaging Design21 展示设计Display Design22 城市规划Urban Desgin23 生活环境Living Environment24 都市景观Townscape25 田园都市Gardon City26 办公室风致Office Landscape27 设计方法论Design Methodology28 设计语言Design Language29 设计条件Design Condition30 结构设计Structure Design31 形式设计Form Design32 设计过程Design Process33 构思设计Concept Design34 量产设计,工艺设计Technological Design35 改型设计Model Change36 设计调查Design Survey37 事前调查Prior Survey38 动态调查Dynamic Survey39 超小型设计Compact type40 袖珍型设计Pocktable Type41 便携型设计Protable type42 收纳型设计Selfcontainning Design43 装配式设计Knock Down Type44 集约化设计Stacking Type45 成套化设计Set (Design)46 家族化设计Family (Design)47 系列化设计Series (Design)48 组合式设计Unit Design49 仿生设计Bionics Design50 功能Function51 独创性Originality52 创造力Creative Power53 外装Facing54 创造性思维Creating Thinking55 等价变换思维Equivalent Transformationn Thought56 KJ法Method of K.J57 戈顿法Synectice58 集体创造性思维法Brain Storming59 设计决策(Design) Decision Making60 T-W-M体系T-W-M system61 O-R-M体系O-R-M system62 印象战略Image Stralegy63 AIDMA原则Law of AIDMA64 功能分化Functional Differentiation65 功能分析Functional Analysis66 生命周期Life Cycle67 照明设计Illumination Design材料与加工成型技术(英)1 材料Material2 材料规划Material Planning3 材料评价Material Appraisal4 金属材料Metal Materials5 无机材料Inorganic Materials6 有机材料Organic Materials7 复合材料Composite Materials8 天然材料Natural Materials9 加工材料Processing Materials10 人造材料Artificial Materials11 黑色金属Ferrous Metal12 有色金属Nonferrous Metal13 轻金属材料Light Metal Materials14 辅助非铁金属材料Byplayer Nonferrous Metal Materials15 高熔点金属材料High Melting Point Metal Materials16 贵金属材料Precions Metal Materials17 辅助非铁金属材料Byplayer Nonferrous Metal Materials18 高熔点金属材料High Melting Point Metal Materials19 贵金属材料Precions Metal Materials20 陶瓷Ceramics21 水泥Cement22 搪瓷、珐琅Enamel23 玻璃Glass24 微晶玻璃Glass Ceramics25 钢化玻璃Tuflite Glass26 感光玻璃Photosensitive Glass27 纤维玻璃Glass Fiber28 耐热玻璃Hear Resisting Glass29 塑料Plastics30 通用塑料Wide Plastics31 工程塑料Engineering Plastics32 热塑性树脂Thermoplastic Resin33 热固性树脂Thermosetting Resin34 橡胶Rubber35 粘接剂Adhesives36 涂料Paints37 树脂Resin38 聚合物Polymer39 聚丙烯树脂Polypropylene40 聚乙烯树脂Polyethylene Resin41 聚苯乙烯树脂Polystyrene Resin42 聚氯乙烯树脂Polyvinyl Chloride Resin43 丙烯酸树脂Methyl Methacrylate Resin44 聚烯胺树脂,尼龙Polyamide Resin45 氟化乙烯树脂Polyfurol Resin46 聚缩醛树脂Polyacetal Resin47 聚碳酸脂树脂Polycarbonate Resin48 聚偏二氯乙烯树脂Polyvinylidene Resin49 聚醋酸乙烯脂树脂Polyvinyl Acetate Resin50 聚烯亚胺树脂Polyimide Resin51 酚醛树脂Phenolic Formaldehyde Resin52 尿素树脂Urea Formaldehyde Resin53 聚酯树脂Polyester Resin54 环痒树脂Epoxy Resin55 烯丙基树脂Allyl Resin56 硅树脂Silicone Resin57 聚氨酯树脂Polyurethane Resin58 密胺Melamine Formaldehyde Resin59 ABS树脂Acrylonitrile Butadiene Styrene Redin60 感光树脂Photosensition Plastics61 纤维强化树脂Fiber Reinforced Plastic62 印刷油墨Printing Ink63 印刷用纸Printing Paper64 铜板纸Art Paper65 木材Wood66 竹材Bamboo67 树脂装饰板Decorative Sheet68 蜂窝机制板Honey Comb Core Panel69 胶合板Veneer70 曲木Bent Wood71 浸蜡纸Waxed Paper72 青铜Bronge73 薄壳结构Shell Construction74 技术Technic75 工具Tool76 金工Metal Work77 铸造Casting78 切削加工Cutting79 压力加工Plastic Working80 压力加工Plastic Working81 焊接Welding82 板金工Sheetmetal Woek83 马赛克Mosaic84 塑性成型Plastic Working85 灌浆成型Slip Casting86 挤出成型Sqeezing87 注压成型Injection Molding88 加压成型Pressing89 水压成型Cold Isostatic Pressing90 加压烧结法Hot Pressing91 HIP成型Hot Isostatic Pressing92 压缩成型Compression Molding Pressing93 气压成型Blow Molding94 压延成型Calendering95 转送成型Transfer Molding96 雌雄成型Slash Molding97 铸塑成型Casting98 喷涂成型Spray Up99 层积成型Laminating100 FW法Fillament Winding101 粘接与剥离Adhesion and Excoriation102 木材工艺Woodcraft103 竹材工艺Bamboo Work104 表面技术Surface Technology105 镀饰Plating106 涂饰Coating107 电化铝Alumite108 烫金Hot Stamping109 预制作Prefabrication110 预制住宅Prefabricated House111 悬臂梁Cantilever112 金属模具Mold113 型板造型Modeling of Teplate114 染料Dyestuff115 颜料Artist Color设计美学与设计实验(英)1 美Beauty2 现实美Acture Beauty3 自然美Natural Beauty4 社会美Social Beauty5 艺术美Artisitc Beauty6 内容与形式Content and Form7 形式美Formal Beauty8 形式原理Principles and Form9 技术美Beauty of Technology10 机械美Beauty of Machine11 功能美Functional Beauty12 材料美Beauty of Material13 美学Aesthetics14 技术美学Technology Aesthetics15 设计美学Design Aesthetics16 生产美学PAroduction Aesthetics17 商品美学Commodity Aedthetics18 艺术Art19 造型艺术Plastic Arts20 表演艺术Performance Art21 语言艺术Linguistic Art22 综合艺术Synthetic Arts23 实用艺术Practical Art来源:(/s/blog_491183dd0100jopl.html) - 设计师常用英语词之(一)——工业设计_工业设计考研_新浪博客来源:(/s/blog_4a650e3001009jbc.html) - 设计师常用英语词汇-[工业设计篇]_Nigel_新浪博客24 时间艺术Time Art25 空间艺术Spatial Art26 时空艺术Time and Spatial Art27 一维艺术One Dimantional28 二维艺术two Dimantional29 三维艺术Three Dimantional30 四维艺术Four Dimantional31 舞台艺术Stagecraft32 影视艺术Arts of Mmovie and Television33 环境艺术Environmental Art34 美术Fine Arts35 戏剧Drama36 文学Literature37 意匠Idea38 图案Pattern39 构思Conception40 构图Composition41 造型Formation42 再现Representation43 表现Expression44 构成Composition45 平面构成Tow Dimentional Composition46 立体构成Three Dimentional Composition47 色彩构成Color Composition48 空间构成Composition of Space49 音响构成Composition and Sound50 多样与统一Unity of Multiplicity51 平衡Balance52 对称Symmetry53 调和、和声Harmony54 对比Contrast55 类似Similarity56 比例Proportion57 黄金分割Golden Section58 节奏Rhythm59 旋律Melody60 调子Tone61 变奏Variation62 纹样Pattern63 形态Form64 有机形态Organic Form65 抽象形态Abstract Form66 简化形态Simptified Form67 变形Deformation68 图学Graphics69 透视画法Perspective70 线透视Linear Perspective71 视点Eye on Picture Plane72 灭点Vanishing Point73 平行透视Parallel Persective74 成角透视Angular Perspective75 斜透视Obligue Perspective76 单点透视Single Paint Perdpective77 两点透视Tow-Point Perdpective78 三点透视Three-Point Perdpective79 鸟瞰图Bird's Eye View80 平面视图Ground Plain81 轴侧投影Axonometric Projection82 设计素描Design Sketch83 预想图Rendering84 模型Model85 粘土模型Clay Model86 石膏模型Plaster Model87 木制模型Wooden Model88 缩尺模型Scale Model89 原大模型Mock Up90 仿真模型Finished Model91 制造原形Prototype92 计算机图形学Computer Graphics93 框架模型Frame Model94 实体模型Solid Model95 计算机辅助设计COMPUTER AIDED DESIGN96 计算机辅助制造Computer Aided Manufacture97 计算机三维动画Computer Three Dimentional Animation98 计算机艺术Computer Arts99 计算机书法Computer Calligraphy100 计算机图象处理Computer Image Processing101 计算机音响构成Computer Sound Composition 实验心理学与人机工程学1 人类工程学Human Engineering2 人机工程学Man-Machine Engineering3 工效学Ergonomice4 人因工程学Human Factors Engineering5 人因要素Human Factors6 人机系统Man-Machine System7 人体工程学Human Engineering8 人本位设计Human Sstandard Design9 实验心理学Experimental Psychology10 物理心理学Psychophysics11 感觉Sensation12 知觉Perception13 感觉阙限Threshold of Senssation14 心理量表Psychological Scaling15 视觉Visual Perception16 视觉通道Visual Pathway17 听觉Hearing Perception18 肤觉Skin Sensation19 视觉心理学Visual Psychology20 听觉心理学Hearing Psychology21 感光元Photoreceptor Cell22 明视、暗视、间视Phootopic Vision ,Scotopic Vision , Mesopic Vision23 光适应与暗适应Photopic Adaptation and Sscotopic Adaptation24 格式塔,完形Gestalt25 形状知觉Shape Perception26 轮廓Conotour27 主观轮廓Subjictive Contour28 图形与背景Figure and Ground29 图形与背景逆转Reversible Figure30 良好形状法则Prinzip der Guten Gestalt31 群化Grouping32 等质性法则Fsctor of Similarity33 伪装Camouflage34 形状的恒常性Shape Constancy35 大小的恒常性Size Constancy36 空间知觉Space Perception37 立体视Stereopsis38 运动知觉Movement Perception39 视错觉Optical Illusion40 残像After Image41 似动Apparent Movement42 视觉后效Aftereffects in Visuvl43 瀑布效应Waterfall Effect44 视线记录仪Eye Camera45 听觉刺激Auditory Stimulus46 声压Sound Pressure47 声压水平Sound Pressure Level48 频谱Spectrum49 乐音与非乐音Tone and Nontone50 噪声Noise51 听觉阙限Auditory Threshold52 响度Loudness53 听觉掩蔽Auditory Masking54 音乐心理学Psychology of Music55 音响心理学Psychology of Sound56 音的四属性Four Attribute Sound57 音高Pitch58 音色Timbre59 力度Loudness60 频率辨别阙限Difference Threshold of Frequency61 强度辨别阙限Difference Threshold of Loudness62 混响Reverberation63 音源距离感Distance Perception of Sound64 音源方位感Orientation Perception of Sound65 立体声Stereophony66 语言心理学Psycholinguistics67 语言声谱Language Spectrum68 语言清晰度Articulation69 人体尺寸Humanlady Size70 作业空间Work Space71 模数Module72 心理尺度Psychological Measure73 动作分析Motion Analysis74 时间研究Time Study75 动作时间研究Motion and Time Study76 时间动作轨迹摄影Chronocyclegragh77 动迹Traffic Line78 光迹摄影Luminogram79 脑波Brain Wave80 生物钟Bio-o'clock81 睡眠Sleep82 疲劳Fatigue83 姿态Body Posture84 皮肤电反应Galranic Skin Response85 临界闪烁频率Critical Flicker Frequence86 肌肉运动学Kinesiology87 肌电图Electromyography88 形态学Morphology89 仿生学Bionics90 人、环境系统Man-Environment System91 照明Hlumination92 振动Oscillate93 气候Climate94 空气调节Air Conditioning95 功能分配Functional Allocation设计生产经营与评价1 工业工程学Industrial Engineering2 工业心理学Industrial Psychology3 科学管理法Scientific Management4 生产管理Production Control5 质量管理Quality Control6 系统工程System Engineering7 批量生产Mass Production8 流水作业Conveyer System9 互换式生产方式Interchangeable Produsction Method10 标准化Standardization11 自动化Automation12 市场调查Market Research13 商品化计划Merchandising14 产品开发Product Developement15 产品改型Model Change16 产品测试Product Testing17 产品成本Product Cost18 营销学Marketing19 买方市场Buyer's Market20 卖方市场Seller's Marker21 促销Sales Promotion22 适销Marketability23 消费者Consumer24 购买动机调查Motivation Research25 深层面接法Depth Interview26 销售热点Selling Point27 卡通测试法Cartoon Test28 产品形象Product Image29 形象策略Image Strategy30 公共关系Public Relations31 运筹学Operations Research32 设计策略Design Policy33 艺术总监Art Director。
工业设计专业英语 3
Industrial Design
23 极少主义 Minimalism 24 概念主义 Conceptualism 25 波普艺术 Pop Art 26 超级写实主义 Super Realism 27 人体艺术 Body Art 28 芝加哥学派 Chicago School 29 艺术与手工艺运动 The Arts & Crafts Movement 30 新艺术运动 Art Nouveau 31 构成主义 Constructivism
接下来的几章描述了调查设计与数据分析的多种 方法。
Industrial Design
Bionics design has shown its vitality with bionomics philosophy guidance.
生态哲学指导下的仿生设计在现代社会显示出了 旺盛的生命力。
Industrial Design
Stiji art of all kinds as a school, not only care about aesthetics, but also to update the life and art links. 风格派作为艺术各种学派的一种,不仅关心美学, 也努力更新生活与艺术的联系。 This design includes organic curves and a hint of Art Nouveau styling. 这个设计包括了有机曲线和少许新艺术主义式样。
Industrial Design
家族化设计 Family (Design) 系列化设计 Series (Design) 组合式设计 Unit Design 仿生设计 Bionics Design 功能 Function 独创性 Originality 创造力 Creative Power 外装 Facing 创造性思维 Creating Thinking
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。
工业设计专业英语词汇
工业设计专业英语词汇设计的分类与方法学(英语)1 设计 Design2 现代设计 Modern Design3 工艺美术设计 Craft Design4 工业设计 Industrial Design5 广义工业设计 Generalized Industrial Design6 狭义工业设计 Narrow Industrial Design7 产品设计 Product Design8 传播设计 Communication Design 8 环境设计 Environmental Design 9 商业设计 Commercial Design 10 建筑设计 Architectural11 一维设计 One-dimension Design 12 二维设计 Two-dimension Design 13 三维设计 Three-dimension Design 14 四维设计 Four-dimension Design 15 装饰、装潢 Decoration16 家具设计 Furniture Design 17 玩具设计 Toy Design18 室内设计 Interior Design 19 服装设计 Costume Design20 包装设计 packaging Design 21 展示设计 Display Design22 城市规划 Urban Design23 生活环境 Living Environment 24 都市景观 Townscape25 田园都市 Garden City26 办公室风致 Office Landscape 27 设计方法论 Design Methodology 28 设计语言 Design Language 29 设计条件 Design Condition 30 结构设计Structure Design 31 形式设计 Form Design32 设计过程 Design Process33 概念设计 Concept Design34 量产设计,工艺设计 Technological Design 35 改型设计 Model Change36 设计调查 Design Survey37 事前调查 Prior Survey38 动态调查 Dynamic Survey39 超小型设计 Compact type40 袖珍型设计 Pocket able Type 41 便携型设计 Portable type42 收纳型设计 Selfcontainning Design 43 装配式设计 Knock Down Type44 集约化设计 Stacking Type45 成套化设计 Set (Design)46 家族化设计 Family (Design) 47 系列化设计 Series (Design) 48 组合式设计 Unit Design49 仿生设计 Bionic Design50 功能 Function51 独创性 Originality52 创造力 Creative Power53 外装 Facing54 创造性思维 Creative Thinking 55 等价变换思维 Equivalent Transformation Thought58 集体创造性思维法 Brain Storming 59 设计决策 (Design) Decision Making 62 印象战略 Image Strategy64 功能分化 Functional Differentiation 65 功能分析 Functional Analysis 66 生命周期 Life Cycle67 照明设计 Illumination Design 68 结构素描 Structure Sketching设计色彩方法(英)1 色 Color2 光谱 Spectrum3 物体色 Object Color4 固有色 Proper Color5 色料 Coloring Material6 色觉三色学说 Three-Component Theory7 心理纯色 Unique Color10 色彩混合 Color Mixing11 基本感觉曲线 Trisimulus Valus Curves 12 牛顿色环 Newton's Color Cycle 13 色矢量 Color Vector14 三原色 Three Primary Colors 15 色空间 Color Space16 色三角形 Color Triangle17 测色 Colourimetry18 色度 Chromaticity19 XYZ表色系 XYZ Color System 20 实色与虚色 Real Color and Imaginary Color21 色等式 Color Equation22 等色实验 Color Matching Experiment 23 色温 Color Temperature24 色问轨迹 Color Temperature Locus 25 色彩三属性 Three Attributesof Color 26 色相 Hue27 色相环 Color Cycle28 明度 lightness29 彩度(纯度) Chroma30 环境色 Environmental Color 31 有彩色 Chromatic Color32 无彩色 Achromatic Colors33 明色 Light Color34 暗色 Dark Color35 中明色 Middle Light Color36 清色 Clear Color37 浊色 Dull Color38 补色 Complementary Color39 类似色 Analogous Color40 一次色 Primary Color41 二次色 Secondary Color42 色立体 Color Solid43 色票 Color Sample44 孟塞尔表色系 Munsell Color System 45 奥斯特瓦德表色系 Ostwald Color System 46 日本色研色体系 Practical Color Co-ordinate System47 色彩工程 Color Engineering48 色彩管理 Color Control49 色彩再现 Color Reproduction 50 等色操作 Color Matching51 色彩的可视度 Visibility of Color 52 色彩恒常性 Color Constancy53 色彩的对比 Color Contrast54 色彩的同化 Color Assimilation 55 色彩的共感性 Color Synesthesia 56 暖色与冷色 Warm Color and Cold Color 57 前进色与后退色 Advancing Color Receding Color58 膨胀色与收缩色 Expansive Color and Contractile Color59 重色与轻色 Heavy Color and Light Color 60 色阶 Valeur61 色调 Color Tone62 暗调 Shade63 明调 Tint64 中间调 Halftone65 表面色 Surface Color66 平面色 Film Color67 色彩调和 Color Harmony68 配色 Color Combination69 孟塞尔色彩调和 Munsell Color Harmony 70 奥斯特瓦德色彩调和Ostwald Color Harmony 71 孟.斯本瑟色彩调和 Moon.Spencer' Color Harmony72 色彩的感情 Feeling of Color73 色彩的象征性 Color Symbolism74 色彩的嗜好 Color Preference75 流行色 Fashion Color76 色彩的功能性 Color Functionalism 77 色彩规划 Color Planning78 色彩调节 Color Conditioning79 色彩调整 Color Coordination80 色彩设计 Color Design材料与加工成型技术(英)1 材料 Material2 材料规划 Material Planning3 材料评价 Material Appraisal4 金属材料 Metal Materials5 无机材料 Inorganic Materials6 有机材料 Organic Materials7 复合材料 Composite Materials 8 天然材料 Natural Materials9 加工材料 Processing Materials 10 人造材料 Artificial Materials 11 黑色金属 Ferrous Metal12 有色金属 Nonferrous Metal13 轻金属材料 Light Metal Materials 14 辅助非铁金属材料 By player Nonferrous Metal Materials15 高熔点金属材料 High Melting Point Metal Materials16 贵金属材料 Precious Metal Materials 17 辅助非铁金属材料 By player Nonferrous Metal Materials18 高熔点金属材料 High Melting Point Metal Materials19 贵金属材料 Precious Metal Materials 20 陶瓷 Ceramics21 水泥 Cement22 搪瓷、珐琅 Enamel23 玻璃 Glass25 钢化玻璃 toughened Glass26 感光玻璃 Photosensitive Glass 27 玻璃纤维Glass Fiber28 耐热玻璃 Hear Resisting Glass 29 塑料 Plastics30 通用塑料 Wide Plastics31 工程塑料 Engineering Plastics 32 热塑性树脂 Thermoplastic Resin 33 热固性树脂 Thermosetting Resin 34 橡胶 Rubber35 粘接剂 Adhesives36 涂料 Paints37 树脂 Resin38 聚合物 Polymer39 聚丙烯树脂 Polypropylene40 聚乙烯树脂 Polyethylene Resin 41 聚苯乙烯树脂 Polystyrene Resin 42 聚氯乙烯树脂Polyvinyl Chloride Resin 43 丙烯酸树脂 Methyl Methacrylate Resin 44 聚烯胺树脂,尼龙 Polyamide Resin 45 氟化乙烯树脂Polyfurol Resin46 聚缩醛树脂 Polyacetal Resin47 聚碳酸脂树脂 Polycarbonate Resin 48 聚偏二氯乙烯树脂Polyvinylidene Resin 49 聚醋酸乙烯脂树脂 Polyvinyl Acetate Resin 50 聚烯亚胺树脂 Polyimide Resin51 酚醛树脂 Phenolic Formaldehyde Resin 52 尿素树脂 Urea Formaldehyde Resin 53 聚酯树脂 Polyester Resin54 环痒树脂 Epoxy Resin55 烯丙基树脂 Allyl Resin56 硅树脂 Silicone Resin57 聚氨酯树脂 Polyurethane Resin 58 密胺 Melamine Formaldehyde Resin59 ABS树脂 Acrylonitrile Butadiene Styrene Redin60 感光树脂 Photosensition Plastics 61 纤维强化树脂 Fiber Reinforced Plastic 62 印刷油墨 Printing Ink63 印刷用纸 Printing Paper64 铜板纸 Art Paper65 木材 Wood66 竹材 Bamboo67 树脂装饰板 Decorative Sheet68 蜂窝机制板 Honey Comb Core Panel 69 胶合板 Veneer70 曲木 Bent Wood71 浸蜡纸 Waxed Paper72 青铜 Bronze73 薄壳结构 Shell Construction 74 技术 Technique75 工具 Tool76 金工 Metal Work77 铸造 Casting78 切削加工 Cutting79 压力加工 Plastic Working 80 压力加工 Plastic Working 81 焊接Welding82 板金工 Sheet metal Work 83 马赛克 Mosaic84 塑性成型 Plastic Working 85 灌浆成型 Slip Casting86 挤出成型 Squeezing87 注压成型 Injection Molding 88 加压成型 Pressing89 水压成型 Cold Isostatic Pressing 90 加压烧结法 Hot Pressing 91HIP成型 Hot Isostatic Pressing 92 压缩成型 Compression Molding Pressing93 气压成型 Blow Molding94 压延成型 Calendering95 转送成型 Transfer Molding 96 雌雄成型 Slash Molding 97 铸塑成型Casting98 喷涂成型 Spray Up99 层积成型 Laminating100 FW法 Fillament Winding 101 粘接与剥离 Adhesion and Excoriation102 木材工艺 Woodcraft103 竹材工艺 Bamboo Work104 表面技术 Surface Technology 105 镀饰 Plating106 涂饰 Coating107 电化铝 Alumite108 烫金 Hot Stamping109 预制作 Prefabrication 110 预制住宅 Prefabricated House 111 悬臂梁 Cantilever112 金属模具 Mold113 型板造型 Modeling of Teplate 114 染料 Dyestuff115 颜料 Artist Color传播与传媒设计(英)1 传播 Communication2 大众传播 Mass Communication3 媒体 Media4 大众传播媒体 Mass Media5 视觉传播 Visual Communication6 听觉传播 Hearing Communication7 信息 Information8 符号 Sign9 视觉符号 Visual Sign10 图形符号 Graphic Symbol11 符号论 Semiotic12 象征 Symbol13 象征标志 Symbol Mark14 音响设计 Acoustic Design15 听觉设计 Auditory Design16 听觉传播设计 Auditory Communication Design17 图象设计 Visual Communication Design 18 视觉设计 Visual Design19 视觉传播设计 Visual Communication Design20 图形设计 Graphic Design21 编辑设计 Editorial Design22 版面设计 Layout23 字体设计 Lettering24 CI设计 Corporate Identity Design 25 宣传 Propaganda26 广告 Advertising27 广告委托人 Advertiser28 广告代理业 Advertising Agency 29 广告媒体 Advertising Media 30 广告目的 Advertising Objectives 31 广告伦理 Morality of Advertising 32 广告法规 Law of Advertising 33 广告计划 Advertising Plan34 广告效果 Advertising Effect 35 广告文案 Advertising Copy36 广告摄影 Advertising Photography 37 说明广告 Informative Advertising 38 招贴画海报 Poster39 招牌 Sign-board40 小型宣传册 Pamphlet41 大型宣传册 Portfolio42 商品目录 Catalogue43 企业商报 House Organ44 户外广告 Outdoor Advertising 45 POP广告 Point of Purchase Advertising46 展示 Display47 橱窗展示 Window Display 48 展示柜 Cabinet49 博览会 Exposition50 万国博览会 World Exposition 51 包装 Packaging52 工业包装 Industrial Packing 53 标签 Label54 企业形象 Corporate Image 55 企业色 Company Color56 动画 Animation57 插图 Illustration58 书法 Calligraphy59 印刷 Initial60 设计费 design fee61 标准 standard62 注册商标 registered trade mark设计美学与设计实验(英)1 美 Beauty2 现实美 Actual Beauty3 自然美 Natural Beauty4 社会美 Social Beauty5 艺术美 Artistic Beauty6 内容与形式 Content and Form7 形式美Formal Beauty8 形式原理 Principles and Form 9 技术美 Beauty of Technology 10 机械美 Beauty of Machine 11 功能美 Functional Beauty 12 材料美 Beauty of Material 13 美学 Aesthetics14 技术美学 Technology Aesthetics 15 设计美学 Design Aesthetics 16 生产美学 Production Aesthetics 17 商品美学 Commodity Aesthetics 18 艺术Art19 造型艺术 Plastic Arts20 表演艺术 Performance Art 21 语言艺术 Linguistic Art 22 综合艺术Synthetic Arts 23 实用艺术 Practical Art 24 时间艺术 Time Art25 空间艺术 Spatial Art26 时空艺术 Time and Spatial Art 27 一维艺术 One Dimension 28 二维艺术 two Dimension 29 三维艺术 Three Dimension 30 四维艺术 Four Dimension31 舞台艺术 Stagecraft32 影视艺术 Arts of Movie and Television33 环境艺术 Environment Art 34 美术 Fine Arts35 戏剧 Drama36 文学 Literature37 意匠 Idea38 图案 Pattern39 构思 Conception40 构图 Composition41 造型 Formation42 再现 Representation 43 表现 Expression44 构成 Composition45 平面构成 Tow Dimensional Composition46 立体构成 Three Dimensional Composition47 色彩构成 Color Composition 48 空间构成 Composition of Space 49 音响构成 Composition and Sound 50 多样与统一 Unity of Multiplicity 51 平衡Balance52 对称 Symmetry53 调和、和声 Harmony54 对比 Contrast55 类似 Similarity56 比例 Proportion57 黄金分割 Golden Section 58 节奏 Rhythm59 旋律 Melody60 调子 Tone61 变奏 Variation62 纹样 Pattern63 形态 Form64 有机形态 Organic Form65 抽象形态 Abstract Form66 简化形态 Simplified Form67 变形 Deformation68 图学 Graphics69 透视画法 Perspective70 线透视 Linear Perspective 71 视点 Eye on Picture Plane 72 灭点Vanishing Point73 平行透视 Parallel Perspective 74 成角透视 Angular Perspective 75 斜透视 Oblique Perspective 76 单点透视 Single Paint Perspective 77 两点透视 Tow-Point Perspective 78 三点透视 Three-Point Perspective 79 鸟瞰图Bird's Eye View80 平面视图 Ground Plain81 轴侧投影 Axonometric Projection 82 设计素描 Design Sketch83 预想图 Rendering84 模型 Model85 粘土模型 Clay Model86 石膏模型 Plaster Model87 木制模型 Wooden Model88 缩尺模型 Scale Model89 原大模型 Mock Up90 仿真模型 Finished Model91 制造原形 Prototype92 计算机图形学 Computer Graphics 93 框架模型 Frame Model94 实体模型 Solid Model95 计算机辅助设计 COMPUTER AIDED DESIGN 96 计算机辅助制造 Computer Aided Manufacture 97 计算机三维动画 Computer Three Dimensional Animation98 计算机艺术 Computer Arts99 计算机书法 Computer Calligraphy 100 计算机图象处理 Computer Image Processing 101 计算机音响构成 Computer Sound Composition实验心理学与人机工程学1 人类工程学 Human Engineering2 人机工程学 Man-Machine Engineering3 工效学 Ergonomic4 人因工程学 Human Factors Engineering5 人因要素 Human Factors6 人机系统 Man-Machine System7 人体工程学 Human Engineering8 人本位设计 Human Standard Design9 实验心理学 Experimental Psychology 10 物理心理学 Psychophysics11 感觉 Sensation12 知觉 Perception13 感觉阙限 Threshold of Sensation 14 心理量表 Psychological Scaling15 视觉 Visual Perception16 视觉通道 Visual Pathway17 听觉 Hearing Perception 18 肤觉 Skin Sensation19 视觉心理学 Visual Psychology 20 听觉心理学 Hearing Psychology 21 感光元 Photoreceptor Cell 36 空间知觉 Space Perception 38 运动知觉Movement Perception 39 视错觉 Optical Illusion40 残像 After Image41 似动 Apparent Movement42 视觉后效 Aftereffects in Visual 43 瀑布效应 Waterfall Effect 44 视线记录仪 Eye Camera45 听觉刺激 Auditory Stimulus 46 声压 Sound Pressure47 声压水平 Sound Pressure Level 48 频谱 Spectrum49 乐音与非乐音 Tone and Nontone 50 噪声 Noise51 听觉阙限 Auditory Threshold 52 响度 Loudness53 听觉掩蔽 Auditory Masking 54 音乐心理学 Psychology of Music 55 音响心理学 Psychology of Sound 56 音的四属性 Four Attribute Sound 57 音高Pitch58 音色 Timbre59 力度 Loudness60 频率辨别阙限 Difference Threshold of Frequency61 强度辨别阙限 Difference Threshold of Loudness62 混响 Reverberation63 音源距离感 Distance Perception of Sound 64 音源方位感 Orientation Perception of Sound 65 立体声 Stereophony66 语言心理学 Psycholinguistics67 语言声谱 Language Spectrum68 语言清晰度 Articulation69 人体尺寸 body dimension70 作业空间 Work Space71 模数 Module72 心理尺度 Psychological Measure 73 动作分析 Motion Analysis74 时间研究 Time Study75 动作时间研究 Motion and Time Study 79 脑波 Brain Wave80 生物钟 Bio-o'clock81 睡眠 Sleep82 疲劳 Fatigue83 姿态 Body Posture86 肌肉运动学 Kinesiology87 肌电图 Electromyography88 形态学 Morphology89 仿生学 Bionics90 人、环境系统 Man-Environment System 91 照明 illumination92 振动 Oscillate93 气候 Climate94 空气调节 Air Conditioning95 功能分配 Functional Allocation设计团体与部分人物(英)1 维也纳工厂 Wiener Werksttate2 德意志制造联盟 Der Deutsche Werkbund3 克兰布鲁克学院 The Cranbrook Academy4 国际现代建筑会议 Congres InternationauxD'Architecture Moderne5 现代艺术馆 Museum Of Modern Art6 芝加哥设计学院 Chicago Institute of Design7 英国工业设计委员会 Council of Industrial Design8 设计委员会The Desgin Council9 国际建筑师协会 Union Internationale des Architects10 设计研究组织 Design Research Unit11 日本工业设计师协会 Japan Industrial Desginers Association 12 日本设计学会 Japanese Society for Science of Design 13 乌尔姆造型学院 Ulm Hochschule fur Gestallung 14 国际设计协会联合会 International Council of Societies Industrial Desgin15 国际工业设计会议 International Design Congress ,ICSID Congress 16 国际设计师联盟 Allied International Designers 17 国际室内设计师联合会International Federation of Interior Designers18 国际图形设计协会 International Graphic Desgin Associations 19 国际流行色协会 International Commission for color in fashion and Textiles20 工业产品设计中心 The Centre de Creation Industrielle 21 中国工业设计协会 China Industrial Design Association 22 阿尔齐米亚集团 Alchymia Studio23 中国流行色协会 China Fashion Color Association 24 中国技术美学委员会 China Technological Aesthetics Association 25 莫里斯 Willian Morris (1834-1896E)26 奥斯特瓦德 Wilhelm Friedrich Ostwald(1853-1932G) 27 孟赛尔 AlbertF.Munsell (1858-1918A)28 凡.德.维尔德 Henry Vande Velde (1863-1957) 29 莱特 Lloyd Wright (1867-1959A)30 贝伦斯 Peter Behrens(1868-1940G)31 霍夫曼 Joseph Hoffmann(1870-1956)32 皮克 Frank Pick(1878-1941)33 维斯宁兄弟 Alexander Leonid and Victor Vesnin 34 格罗皮乌斯Walter Gropius(1883-1969)35 蒂格 Walter Dorwin Teague36 利奇 Bernard Leach37 勒.柯不西埃 Le Corbusier(法)38 伊顿 Johennes Itten39 里特维尔德 Gerrit Thomas Rietvela40 庞蒂 Gio Ponti41 拉塞尔 Gordon Russel42 格迪斯 Norman Bel Geddes43 洛伊 Raymond Fermam44 里德 Herbert Read45 莫荷利.纳吉 Laszlo Moholy Nagy46 凡.多伦 Harold Van Doren47 阿尔托 Alvar Aalto48 拜耶 Herbert Bayer49 卡桑德拉 A.M.Cassandre50 佩夫斯纳 Nikolans51 布劳耶尔 Marcel Breuer52 佩里安 Charlotte Perriand53 德雷夫斯 Henry Dreyfuss54 迪奥 Christian Dior55 鲍登 Edward Bawden56 贾戈萨 Dante Giacosa57 伊姆斯 Charles Eames58 伊娃齐塞尔 Eva Zeiesl59 比尔MaxBill设计法规与标准(英)1 知识产权Intellectual Property2 著作权 Copyright3 工业产权 Industrial Property4 专利 Patent5 发明专利 Patent for Invention6 实用新型 Utility Model7 外观设计专利 Registration of Design 8 注册商标 Registered Trade Mark 9 广告法 Advertising Law10 反不正当竞争 Repression of Unfair Competition11 设计费 Design Fee12 标准 Standard13 德国工业标准 Deutsche Industrial Normen设计生产经营与评价1 工业工程学 Industrial Engineering2 工业心理学 Industrial Psychology3 科学管理法 Scientific Management4 生产管理 Production Control5 质量管理 Quality Control6 系统工程 System Engineering7 批量生产 Mass Production8 流水作业 Conveyer System9 互换式生产方式 Interchangeable Production Method10 标准化 Standardization11 自动化 Automation12 市场调查 Market Research13 商品化计划 Merchandising14 产品开发 Product Development 15 产品改型 Model Change16 产品测试 Product Testing17 产品成本 Product Cost18 营销学 Marketing19 买方市场 Buyer's Market20 卖方市场 Seller's Marker 21 促销 Sales Promotion 22 适销Marketability23 消费者 Consumer24 购买动机调查 Motivation Research25 深层面接法 Depth Interview 26 销售热点 Selling Point 27 卡通测试法 Cartoon Test 28 产品形象 Product Image 29 形象策略 Image Strategy 30公共关系 Public Relations 31 运筹学 Operations Research 32 设计策略Design Policy 33 艺术总监 Art Director设计思潮与流派(英)1 学院派 Academicism2 理性主义 Rationalism3 非理性主义 Irrationalism4 古典主义 Classicism5 浪漫主义 Romanticism6 现实主义 Realism7 印象主义 Impressionism 8 后印象主义 Postimpressionism 9 新印象主义Neo-Impressionism(法)10 那比派 The Nabject11 表现主义 Expressionism 12 象征主义 Symbolism13 野兽主义 Fauvism14 立体主义 Cubism15 未来主义 Futurism16 奥弗斯主义 Orphism17 达达主义 Dadaism(法)18 超现实主义 Surrealism19 纯粹主义 Purism20 抽象艺术 Abstract Art 21 绝对主义,至上主义 Suprematism 22 新造型主义 Neo-plasticisme(法)23 风格派 De Stiji24 青骑士 Der Blaus Reiter 25 抒情抽象主义 Lyric Abstractionism26 抽象表现主义 Abstract Expressionism27 行动绘画 Action Painting28 塔希主义 Tachisme(法)29 视幻艺术 Op Art30 活动艺术、机动艺术 Kinetic Art 31 极少主义 Minimalism32 概念主义 Conceptualism 33 波普艺术 Pop Art34 芬克艺术、恐怖艺术 Funk Art 35 超级写实主义 Super Realism 36 人体艺术 Body Art37 芝加哥学派 Chicago School 38 艺术与手工艺运动 The Arts & Crafts Movement39 新艺术运动 Art Nouveau40 分离派 Secession41 构成主义 Constructivism 42 现代主义 Modernism43 包豪斯 Bauhaus44 阿姆斯特丹学派 Amsterdam School 45 功能主义 Functionalism 46 装饰艺术风格 Art Deco(法)47 国际风格 International Style 48 流线型风格 Streamlined Forms 49 雅典宪章 Athens Charter 50 马丘比丘宪章 Charter of Machupicchu51 斯堪的纳维亚风格 Scandinavia Style 52 新巴洛克风格 New Baroque 53 后现代主义 Postmodernism 54 曼菲斯 Memphis55 高技风格 High Tech56 解构主义 Deconstructivism 57 手工艺复兴 Crafts Revival 58 准高技风格 Trans High Tech 59 建筑风格 Architecture60 微建筑风格 Micro-Architecture 61 微电子风格 Micro-Electronics 62 晚期现代主义 Late ModernismApplication(产品应用)Telecommunication(通讯行业)Medical(医疗行业) Automotive(汽车行业) PC Peripherals(计算机行业) TV / Audio & Visual (电视;音响)OA Equipment (自动化办公设备)Products(产品种类)General Silicone Rubber 普通硅胶Key-Film (IMD) 薄膜注塑键Key-Film (IMD) + Rubber(KEY-Film+硅胶)Plastic + Rubber (P + R)(塑料+硅胶)TPE or General Rubber特别塑料或橡胶*Various Options(其它选项):Metallic Spray(材料喷涂) / 2nd Surface Printing(底面印刷) /Coating(保护层) Chrome Plated (电镀)/ Laser Etching (激光雕刻) Mobile Communication(移动通讯)Corded (有绳电话)Cordless(无绳电话)Dect Phones(普通电话)2 Way Radio(对讲机)Platform for most applications 一般用途Examples : Laser-etched, P + R, Key-Film + R, Polydome Assembly, Metaldome Assembly, Spraypainted key mat(例如:镭雕,塑料+硅胶,IMD+硅胶,组装弹性导电薄膜和金属导电薄膜,键面喷涂)Various colors, material durometer, printing options to meet aesthetic requirements根据美工要求可选择多种颜色,材料硬度,印刷工艺。
工业设计外文翻译
The Design Response to a Wash of Green: Whole Systems and Life Cycle Thinking, by Simon LockreyThe Keep Cup, a reusable cup for the takeaway espresso market.What a great idea: a 'green' product to make a difference, make one happy, and assist in performing the menial tasks that litter an otherwise hectic day. Or is it? Consumer decision-making is beginning to follow a distinctly 'green' trend, which is fantastic in principle but often contrived in reality. What does this mean for the designer who imagines, designs and creates these goods that cater for growing consumer demand in 'sustainability?' There lies the contradiction between designing for the consumption obsessed market and designing to the core principles of sustainability, where environmental, economic and social aspects are somewhat detached from a consumer driven market.According to Ezio Manzini, design theorist from the famed Politecnico di Milano, we have a crisis of the commons (common areas, goods, etc), a lack of contemplative time (a time poor existence, longer hours at work, etc), and most relevant to designers, a proliferation of remedial goods (Manzini 2003). The latter sees products solving every perceived problem imaginable. Whether it is a toothbrush that oscillates the plaque off in half the time, or a breakfast bar filling the five-minute bus ride, we have become increasingly, unconsciously used to products feeding our increasing wants, without a thought as to how that consumption impacts the environment. Last century, the raw materials consumed by one person in the US increased five fold (Matos and Wagner 1998). This looks more ominous when combined with the fact that only around 15-20 % of the world is highly developed to a US or western style of consumption (UN, 2009). One approach is for design to lower the user's consumption, without degrading the consumer's experience. The question is whether the new breed of 'eco' products adds to the crisis, or makes a real difference.They may be adding to the crisis if the design method follows the 'rules of thumb' for that infiltrated the design community in last two decades. The reality is that these techniques do have potential to make a difference, but are often ineffective. Take design for disassembly. A designer in an appliance company designs a product for disassembly although there is no effective product stewardship scheme to collect the parts from reclaimed models. The design driven benefit is not delivered, rendering the methodology a waste of time. It is also well and good to reduce the weight of components and thus the embodied energy of the same appliance, however if the bulk of the impacts are generated during use from electricity (like an electric kettle), then the strategy most likely has negligible benefit in reducing environmental load. Likewise by making parts from commonised, recyclable materials, the likelihood is that there is no post consumer recycling stream or infrastructure in place to handle the majority of parts and materials, due to the commercial reality of recycling. This design for environment mentality has long been detached from the benefit it has aimed to deliver upon.There is a light at the end of this tunnel. There are ways to make a difference, and there is evidence these methods are filtering through the design world. Life cycle thinking or applying a 'whole systems' approach can make 'paradigm shifts' in the reduction of environmental impacts of a product or service, without reducing perceived quality, or increasing cost.As these ideas infiltrate design methodology, certain products shine as considered, sustainable shifts in the current 'wash of green'.Cheviot Bridge's sustainable wine packaging.Cheviot BridgeThe romantics among us would never have thought Shiraz would prosper in a Tetra Pak, a packaging form traditionally reserved for juice and milk. However some producers such as have, with a reduced packaging weight of almost 10 times a conventional bottle (unfilled). This dematerialisation enables huge embodied energy, carbon and water use reductions on the packaging, not to mention reduced haulage impact after filling (particularly for export, 1.05 kg rather than 1.5 kg per unit), and a smart palletisation shape for shipping and storage. The decision to move to a paper board packaging mode derived from extensive life cycle research, cost comparison and product testing (which funnily enough, contrary to some stigma, highlighted longer shelf life) to measure the potential benefits. The weight reduction, combined with an additional 250 mL of wine to the customer(the product is delivered in 1 L), delivers a quality driven outcome, with a raft of environmental and economic benefits due to life cycle thinking.Dyson's Airblade.DysonJames Dyson didn't go places by creating a better bag, he decided to create a cyclonic vacuum cleaner based on a saw mill, and the rest is history. This whole systems approach led Dyson to design highly efficient, miniature digital motors for the appliance market around ten years ago. The use life cycle impacts of an electrical appliance generally dwarf the respective material and manufacture impacts. This relates back to the energy, fuels and raw materials consumed in operation of an appliance. By identifying the original motor as a major contributor to inefficiency within the product system, an opportunity for a technology leap was found. Carbon producing, large, heavy,inefficient, failure-prone, brushed motors were replaced by highly efficient, light, fast, small, digital ones.Last year saw the latest Dyson products incorporate a tiny Dyson Digital Motor (DDM) V2 resulting in substantial dematerialisation coupled with ergonomic weight benefits. Handheld vacuums were launchedwith the DDM, replacing the traditional carbon brushed motor. The cost difference between base models is negligible, while functional and environmental credentials have improved markedly. The new models are smaller and lighter, and remain almost half the weight of competitor machines. The DDM V2 size allows for high speed rotation, not achievable in larger, heavier motors. This produces around twice the power output at around half the weight of traditional motors, the new base model handheld pulling the same suction power as the previous model, using two less batteries.The Dyson Airblade™, which incorporates the first iteration of the DDM, is the first hand dryer to earn the coveted Carbon Reduction Label from the UK Carbon Trust. This achievement relates back to efficiency and whole systems design. By reverting to a polymer chassis compared to aluminium on the first Airblade™ release, Dyson cut carbon emissions in raw material, product manufacture and transport by over half, however thi s is not the preeminent story. Airblade™ 'strips' the water off the hands, rather than heating air up and 'evaporating' water like a conventional warm air hand dryer. Airblade™ drops the drying time to around 10 seconds, as opposed to up to 30 seconds with competitors which use inefficient carbon brush motors and heated air. Things start to look substantially thrifty without even crunching the numbers. In a press release, the comparison is up to 80% less energy used compared to traditional warm hand dryers (Carbon Trust 2010), which directly relates to carbon emission reductions. This giant gap in energy consumption, combined with product longevity, and a product stewardship scheme, delivers environmental benefits that directly reduce impacts in new Dyson models.The Keep Cup and its many color combinations.Keep Cup: An LCA Case StudyWhilst operating a chain of cafés in Melbourne, Abigail and Jamie Forsyth saw a need and responsibility to address disposable packaging waste generated both to reduce environmental impacts and costs. They estimated that in Australia at least 500 million disposable cups are used and discarded each year with large numbers of adults in urban communities consuming a disposable coffee on a daily basis (National Coffee Association of America found that in 2007, 14% of adults in the United States drank gourmet coffee daily). Although disposable cups are a low margin, the wider impacts of the daily 'take away coffee set' seemed one problem that did not justify the convenience. Others have attempted to either incorporate Post Consumer Recycled (PCR) content or sell reusable products such as 'travel mugs' designed to keep coffee hot for hours. The former has issues with food regulations; the latter is cumbersome and impractical for the savvy, on-the-go consumer, not designed to fit the needs of quality café baristas. The duo engaged industrial design consultancy Niche, with government funding, to create a solution dropping environmental impacts without reducing the consumer's experience.The result was KeepCup, a reusable cup for the takeaway espresso market. It is the world's first barista standard reusable cup, consisting Polyethylene (PE) lid, Polypropylene (PP) cup, Thermoplastic Polyurethane (TPU) plug, and Silicone ring. It mimics the core geometry and functions of disposable paper cups, including coffee machine modularity, waterproofing, sip slot, lid,individual coffee detailing, and adds hand insulation (avoiding double cupping), steam plug, branding, and most importantly ergonomics to allow for convenience ie light weight, bag storable, etc. The concept has gained momentum, the cup used all over the Melbourne CBD, Australia, and now globally. 300,000 KeepCups have been sold in twelve months of trading, as adoption of the KeepCup by end users has generated revenue and costs savings for café owners. But is it really making a difference?We did some research here at RMIT Centre for Design. Disposable paper cups (combined with a PE film) have little post consumer demand from reprocessors, and generally end up in Australian landfill. Although the KeepCup promotes recyclability, the fact still remains that the same system is more likely going to spit the various polymers it is made from to landfill, even if the components are separated by the consumer. With this in mind we modeled the 8 oz KeepCup (it is available in various sizes) against a comparable disposable paper cup using Life Cycle Assessment (LCA) methodology in a streamlined fashion. The functional unit was 1 take away coffee per day delivered to the consumer over a year, with the cups disposed of to landfill over or at the end of that period. We used raw material, manufacturing, transport, and end of life data from the Australian Life Cycle Inventory (LCI) 2009 and European Ecoinvent 2.0 database. Regional transport routes were considered (shipping from Asia for the disposable cup, lid, and the ring from the KeepCup, trucking from port to consumer), as well as tertiary packaging, and a wash cycle per use for the KeepCup, ranging from a quick rinse with warm water, a fully loaded dishwasher, half loaded dishwasher, and sink washing, the latter three with detergent. We also modeled coffee cultivation, production and brewing in Spain from a study out of Switzerland (Humbert, Loerincik et al. 2009) to see what bearing the KeepCup had in context to the 'whole productThe results were determined using the LCA Australian Impact Method. The KeepCup compared to the disposable paper cup (not including the coffee) depending upon the wash type (the sink seeing the smallest through to quick rinse seeing the biggest environmental impact reductions), sees a 71-92% reduction in global warming potential, a 71-95% reduction in water use, and a 95-96% reduction in landfill waste over the year. Although the 'take away latté set' consumer will still purchase the coffee whether in a disposable or reusable option, it is interesting to see how the previously stated savings compare when included with the impacts relating to coffee, which would in general dilute the savings of the container on its own. The KeepCup compared to disposable paper cup (including coffee) sees a 36-47% reduction in global warming, a 64-85% reduction in water use, and a 91-92% reduction in landfill waste annually.Although these are streamlined results using existing LCI data (a full LCAs may be more accurate, although often results are of a similar quantum), the figures indicate Keepcup would drastically reduce environmental impacts of consumers in drinking coffee, although in the grand scheme of things this would account for a very small proportion of a consumers overall impacts annually. This just seems like common sense, reusing rather than disposing, although this begs the question how the Keepcup strategy could apply to more resource intensive services such as heating, cooling, cooking, food, housing, and transport; if social rituals adapt. The KeepCup aesthetics are clean, and functionally it is thoughtfully designed, evident in the now global appeal. Although KeepCup is most likely not going to be recycled in the Australian context, the shift from disposable to reusable adds environmental credibility, significantly reduces waste, cuts the economics down to size, and enables a social shift, a welcome change for a society now used to throwaway culture.Paris VélibWide spread change in avoiding behaviours that embody high consumption may be some way off. Design has been instrumental in delivering some of the first tentative steps in facilitating individual and community action in this respect. Take the Paris Vélib, a bike share program introduced in 2007 to promote cycling as opposed to other transport modes throughout Paris for short journeys. By diverting investment traditionally earmarked for carbon intensive transport modes, like more roads, a highly design oriented system delivers the low consumption alternative. If success is measured in use alone, 42 million rentals by 2009 speak loudly. The system works as a whole, with infrastructure, communications and servicing the key in delivering this success, producing a product that would continue to be used and reduce impacts inherent in other transport modes.The bikes, stands and 1451 bike stations (one every 300 meters) designed by JC Decaux stay true to core design principles of 'form follows function' and user centred methodology. Stations release only functioning bikes to users, a smart system alerting well resourced and mobile service staff of faults through diagnostic checks when bikes 'check-in'. This computer monitoring system is also used to monitor bike location for potential theft and station overloading, with bikes actively moved too and from understocked and overloaded stations. Locks guarantee integrated bike and station security. Bespoke components and economic deterrents dissuade potential thieves; with credit cards debited a deposit on a user's non return of a bike. Economic incentives also drive timely travel, with free bike use in the first half hour. Compared to short trip alternatives such as cars or public transport, this product driven system delivers substantial dematerialisation through lower embodied energy and shared amenities, as well as massive comparative drops in fuel and electricity use. Social interaction is generally inherent in the cycling fraternity; however this is also aided through infrastructure design. Finally, the Vélib negates the problem of storage required when a bike is owned in a bustling city. Like any public system, there have been problems with vandalism and theft; however the success of the Vélib is evident as use patterns remain high and similar bike sharing schemes flourish across Europe, and are proliferating globally.Paris Vélib bicycle rental system. Picture by austineven.Vélib is an elegantly integrate d, cost effective design solution allowing users to enact behaviours needed if environmental impacts are to be reigned in, as well as reinvigorating the social fabric of the city. Vélib rejects the remedial with long lasting functional infrastructure, clai ms back the common in a shared public service, and provides amenities that go some way in reducing congestionand providing a convenient, communal conveyance that gifts back the free time Manzini believes we have long being lacking in our fast paced, consumer oriented urban existence.People are not going to stop consuming any time soon; however behavior will eventually need to shift if society is serious about being truly sustainable. In the interim, analyse the bigger picture, both as a designer and a consumer. So often designers get caught up in the details, but now stepping back and taking a life cycle and whole systems approach facilitates a future in delivering functional 'paradigm shift' benefits for a product, service, client, and the environment. Ecological parameters are 'locked in' at the design stage, so designers can reduce impacts through materials, efficiency, or in some cases the grander scenario of changing consumer behavior. Designing for low consumption, without increasing price or reducing quality is achievable, and presents a powerful and bright design landscape. To achieve this, designers will have to draw upon their ability to combine technical skills in research, conceptualization, prototyping, and testing, with their greatest weapon, their creativity, because that's what they have done, and will always do best.Acknowledgments to Thomas Blower (Dyson, UK), Hugh Cuthbertson (Cheviot Bridge), Abigail Forsyth (KeepCup), Andrew Carre (CfD), and Stephen Clune (CfD)Simon Lockrey is a Research Fellow at RMIT Centre for Design in Melbourne设计对绿色风潮的响应:整体系统和生命周期思想作者西蒙·洛克雷一个伟大的想法,“绿色”产品使情况与众不同,让人们感到快乐,并且帮助人们执行重要的任务以避免人们被忙碌的生活搅乱。
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 外文翻译
Creative China must find its own Path∙Update:2009-12-08∙Justin 0'Connor∙Source: No.199 | November2009Creative 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 much more 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 capacityof 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, brand development 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 termview 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.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。
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商标和标志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。
工业设计专业英文文献及翻译
工业设计专业英文文献及翻译'Green design' and emotional return'Green design' is a late 20th century, there at the moment 80 international design trends. As early as the late 20th century, 60 well-known industrial designer and educator-dimensional multi-Peipanike on the publication aroused strong repercussions in the design world works 'is designed for real-life', presented in the book and the public at the time different points of view, he considered that the things around us are created by designers, designers in the Marketingand customer satisfaction is not only just play 'beautify' the role of the designer should also be emphasized that the social and moral ethics Worth . Far-reaching impact of this book has continued to this day.Into the 21st century, because of the world's governments on environmental issues seriously. The establishment of laws and regulations relating to environmental protection, competition among enterprises, making with the idealism of 'green design' step by step with the trend of practical significance. Based on the attention and understanding of environmental issues, people from the 20th century,60's too radical a 'green movement', developed to present a relatively mature 'green consumption' behavior, which is 'green design' has brought new opportunities.The main planning as a product designer and creator of the productat all stages of the environmental issues will have a direct andindirect effects. In particular,often by their decision to use the product key materials, products, how to make? Adopt in a special surface treatment method to achieve the final surface effect? Products How to use? How to deal with the waste after use? Whether to use recyclable or re-use of materials? design players a decisive role in many issues.More importantly, designers connecting link between the product and people. They can lead and change the way people use products, while responsible for these products and services.Designed to influencepeople's lifestyles and sociol-cultural changes. It has gradually grown accustomed through the design to reflect their social status and personal taste. Design is 'consumerism' of the promoter of products from style 'planned obsolescence', speed up the pace of product replacement. Design is also involved in advertising activities, thus further boosting consumer spending. Is designed to make social and cultural changes took place, while the majority of them represents a certain lifestyle, so in theory, 'green lifestyle' could also be that people praise and follow, this lifestyle is not unusual to be frugal, but is to promote a low-key and simple way of life as much as possible.The commercial value of Industrial Design increasingly recognized and valued by anumber of manufacturers, designers in a number of the company's R& D department has been entrusted with the task, all this allowsdesigners to have the opportunity to demonstrate their ability to deal with environmental issues, as well as environmental issues, ethical a sense of responsibility.'Green design' from the scope of non-mainstream areas to expand into the mainstream.With the 'Green Design' approach and the associated name of the many people in this article follow the common concepts, collectively referred to as the design from an environmental point of view of the design method for 'green design'. 'Green design' focuses on the impact of nature and the resolution of certain individual issues, such as resource andenergy efficiency, reducing waste through recycling and so on. In some developed countries, abandoned most of metals and plastics can now be sorted and recycled, or re-use of the sorting carried out. To enhance household garbage sorting and 'emerged' in the product design, waste management has become one of the hot contemporary industrial design.Eco-design, also known as life cycle design, namely the use of ecological thinking, in the product life cycle, to give priority products environmental attributes, in addition to considering the product performance, quality and cost, but also take into account the product recovery and processing. The product must also take into account the economic, functional and aesthetic factors.Product eco-design its basic theoretical foundation of industrial ecology in the theory of industrial metabolism and life cycle assessment.Sustainable design is a broader design approach than the earlier ones. Involved in more aspects, such as the nation's future development phase and the sharing of resources in the development of future generations, how to ensure the functionality of the product at the same time, reducing the burden on the entire planet. A typical theory is to improve the efficiency of products, while promoting the services associated with development of the system: To study the products of the necessary functions for the user to extend the life of the product; for product development of the sustainability of the overall system design, rather than just the design of the product itself is more important.The focus of sustainable product design, product life-cycle impact of external factors analysis.In addition, there is other product design optimization method. Such as environmentalmaterials (recyclable and recycled materials) use. Studies have shown that, in order to change the impact on the environment of the wasteful consumption of the status quot to the earth's resources for sustainable development in the consumption level of development, our long-term goal should be to strive to build stronger long-term with the product links. For these originally, in the development of environmentally friendly products to extend the life of the product is more important than other strategies, while also encouraging consumers to form sustainable, long-term consumption patterns.Designer is also the founder of design style and taste, the product of the visual image of environmental protection will also have an indirect impact.Is mainly reflected in the product lifetime of two aspects of the relative choice of materials. Because people in the past way of life caused by a large number of product varieties obsolete, and the frequent replacement of the speed of products for environmental protection had a bad effect, if they can extend the product life time, we can reduce the unnecessary waste of resources. Studies have shownthat in promoting existing products obsolete, consumers of psychological factors and materials play an important role. Relative prosperity in the material economy of today, often likes and dislikes of consumers for some products directly to determine the 'life'.In some point of view, 'green design' cannot be seen as a style of performance.The success of 'green design' products from the designer a high degree of awareness of environmental issues, and in the design and development process, designers and relevant organizations to use the experience, knowledge and creativity of crystallization. At present there are several general design themes and trends:1) The use of natural materials in order to 'raw' form of furniture products, building materials and fabrics to be reflected and utilized.2) The nostalgia of the simple style, well into the 'high tech' factor, allowing users to find product is amiable, warm.3) Utility and energy conservation.4) Emphasized the use of the material economy, get rid of useless features and purely decorative style, and create vivid shape and return to the classic simplicity.5) The multi-purpose product design, changes can increase the fun by design, to avoid boredom and replacement needs; it can upgrade, update, by as little as possible to use other materials to extend the life; the use of 'add-on smart' or dismantling components.6) The products and services, the non-materialistic.7) The combination of design and cycle schemes.We do not simply believe in a clear recyclable materials, theproduct will certainly be a 'green product', because the product recyclability of products may become obsolete to accelerate the speed of an excuse, people have recognized the appearance of recyclable materials, the degree may also be would have an impact on product sales.When the'Green Design' gradual integration into the mainstream product design, designers face is not only a small number of 'green fanatics', but ordinary consumers. If you only focus on the design functionality, while the neglect of the aesthetic needs of the user, you cannot extend the product life.People-oriented design ideas from the European Renaissance of the humanitarian ideology. To promote care of people pay attention to people, people-centered world view. In terms of modern product design, human-centered thinking that is the core of the design process, the coordination of product - social - environment relationships betweenthese three. Of human knowledge and transform the nature, purpose is simply to create a good human being living conditions and environmentfor development. However, this simple truth, have repeatedly been vague and misinterpreted. In the past quite a long period of time, people's respect through a variety of activities are acts of science and technology as a means to conquer nature for the purpose, to growth of material wealth as the driving force of the traditional development model, to a certain extent, the destruction of human Lai basis in order to survive, people at the same time trying to conquer nature, often become the object of being a natural punishment. Large industrial era machinery of industrial product is a very typical example, their presence to meet people's material needs, can bring with it more of an emotional loss and the living environment of the hit. Repeatedly by natural warnings, people began to realize that the essence of people-oriented is a real concern of humanity, people started digging people and the harmonious relationship between society and nature. The product design, product-oriented pursuit of emotional and humane products emphasize the purpose of people-oriented under the natural. And people - society - environment, harmonious relations in product design can also be understood as personal qualities - products - emotional harmony. Materials, environmental protection, technology is simple, beautiful shape, making excellent products is the people really psychologically acceptable.Second, the values of stress also contributed to people foremotional awareness. In the past quite a long period of time, the design process is seen as an artistic process, the artist's aesthetic choices to replace the more often the user can only be passively accepted. Such an outcome, making the distance between the product and the user has become increasinglyalienated, people even do not feel the product, with any function other than to enjoy. The feelings of the people and therefore become numb up. As the market changes in the mode of operation, the user's thinking of a more active participation in the design process, the designer is no longer an artist, a professional designer should be to reconcile a variety of design factors. The pursuit of good design is the recognition of values, ideas of resonance, emotional touch. Thoughts on design-related emotions also were born in the fertile soil where the values set.In addition, the design of the regional culture and promote the protection of people also reflects the concern for the feelings. Design is no longer the pursuit of volume, standardization brought about by a single aesthetic, but to diversify into account. The emotional needs of the design was gradually realized that it was multi-directional. Regional differences in the deposition as well as the name of ethnic culture, customs and practices which are in the design to be discussed and explored. In the end, be able to reflect the name of ethnic identity and personality of the product is designed for success stories. This isthe design of emotion-oriented evidence. Of modern product design, product and make people aware of the relationship between communication, the design also focused on how to locate the user object's emotional needs and how to express such feelings, the design of various forms of emotional factors for considerations change is more comprehensive than ever.If the design theory for the design of the improvement means that people re-think, then the birth of a new design type is the mostrealistic and practical needs and the most direct response is all about. More and more on the emotional issues were referred to the process of designing for, so people were the design, interface design, interaction design, accessible design, and so a series of related to the design of communication and emotional way of thinking has been more and more to attention and research, and ultimately applied to the design and production process. Product design and all kinds of psychology,sociology and other disciplines related to human characteristics of the study of collaborative research between the guidance has become an important part of the design.ConclusionWhether the product design and development from the vertical profile view, or from the horizontal status of a modern product design, look at the relationship between the various disciplines, Emotional Design has undoubtedly become a contemporary design, one of the most popular topics. People gradually realize that product design process, designers of theproduct of the soul to give the process is essential. Here the soul refers to the expressed product, and can communicate with the user-generated emotions. In other words, modern product design should be a planning activities related to emotion, early stage of development is no longer a simple physical modeling process. Its entire design process, a certain sense, is a physical emotional process. Contemporary designers should also be taken fully into account in the design of emotional factors, grasp the emotional positioning, designed to communicate with the real products. Such a materialistic in the modern information era of rapid change, due to the severe lack of emotional feeling, it is the demand for the emotional satisfaction of a period of time than ever before are obviously urgent. Designers will face more challenges and responsibilities of a good design to meet the function, on the basis of serving other, and more are expected to return is the emotional.The requirements of sustainable development of society indicatesthat 'green design' remains will be the 21st century, one of the hot industrial design. In order to reduce environmental problems, designers should be the product environmental performance improvement, environmental issues and want to have a good understanding of their impact; this was in science and Technology than ever before to learn more about, and needs tocreativity, new thinking and imaginative. 'Green design' to the Industrial Design has broughtadditional challenges, it also brings more opportunities.The impact of "3r" principles to industrial design 1. Introduction Industrial design as a cross-cutting technology and the arts disciplines, it is closelyrelated to the economy and to maintain its development and progress of society. It can be summarized: First, it services for industrial mass production, making industrialproducts enhance the value and value-added. Second, It leads the fashion, to effectivelystimulate consumption, so that consumers not only use the product at the same time, butalso enjoy the new technology and material; Third, it puts technology to link up with themarket, making products enhance competitiveness; Last but not the least, it can bringthe innovation into the enterprise. Therefore, the economic development needs industrialdesign 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 upthe consumption of resources and energy. What's more ,it dose harm to the ecologicalbalance of the Earth and brings about a serious of great damage to human survival and sustainable development. Especially the excessive commercialization of industrial design,utilitarian and excessive pursuit of profit, the implementation of "merchandise has plans toabolish the system" without taking into account production, use,process waste, suchas 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 becomesessential medium to encourage people to uncontrolled consume, which is countered to theessence of industrial design—creating a science and healthy way of life.Facing the threat of human survival and sustainable development, in the 20thcentury, people began to question the sustainable development of humanity ,to carry outa profound reflection on sustainable development and to put forward a suitable model of circular economy , the principle of circular economy is "3r" (is Reduce, Reuse,Recycle) which is of great significance to the implementation and promotion of socio-economic stability, sustainable development Against this background, the conceptof sustainable development into rapid economic development is inextricably linked to the design, based on this ongoing exploration and practice. "3r" principles intended to sort out this article on various aspects of industrial design and the guiding role, and attempts toexplore 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, whichis to meet human material needs of their own material .Recycling economy is considered following the original economy, the agricultural economy, industrial economy after thetime of the post-industrial economy, with the industrial economy is different between theresources 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 characterizedeco-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, itbears 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, howeverit 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 ledto a global depletion of resources and waste, as well as the serious deterioration of theecological 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 loop system, can maintain economic production of low,high-quality, low-waste, which will be economic activity ofnatural resources andenvironmental impacts to minimize damage.2.2 Interpretation of the circular economy mode "3r" principle"3r" principle is the basic manifestation of the economic cycle,and its specificcontents are as follows:"Reduction" principle is the first principle of circular economy,that is the source ofcontrol method, which requires the source of economic activity -the design stage, payattention 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 andconservation of resources, the products of small size and lightweight, and easy andsimple packaging requirements in order to achieve the purpose of reducing waste emissions;In the consumer area, reduction of the supremacy of the principleof 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 theaim to improve the products and resources use efficiency, it calls for product design toinitial 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, thusprolonging the service life of products; In the consumer area, to promote the purchase ofdurable consumer goods, to reduce the use of disposable products,such as after-salesservice 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, terminalcontrol method of production and consumption in the process of waste generated, throughthe "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 ofresources 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 theindustrial 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, justfrom the people to meet needs and solve the problem as the starting point, and do notconsider the follow-up products, use of resources and energy consumption and emissionson 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, putpeople and nature live in harmony and common development in thefirst place, the use ofsystems theory and Calibration of all acts of industrial design,from product design at thebeginning 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 inthe 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 theindustrial 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 the20th 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 therecycling economy mode, the structure of the simplest and most parsimonious of the materials, the most beautiful modeling, the most pristine appearance simplicity ofproduct design, sustainable development concept is a concrete manifestation. "3r" Productsdoctrine of the meaning of this simple style more in-depth,specific, practicalsignificance.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 thecore functions briefly products; Fourth, the product is intended to be simple and clearlanguage; Fifth, the structure of simple, easy to create; Sixth,the choice ofdegradable 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-lifedesign.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 ofmodules 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 Recyclingdemolition, 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, enhancethe versatility of the components, once the end-of-life products,they can re-use orrecycling; Third, improve the repair of products can extend thelife of the product.Product design is removable at the design stage, so that parts of the Products has agood 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 typefasteners, reducing the number of fasteners, try not to use welding, riveting,bonding and other non-removable the connection; Second, in the selection andprocessing of raw materials, the demolition of the connection; to use and reuse ofrecyclable materials, the types of materials, such as less as possible.Recyclable design refers to product design, to take full account of the variousmaterials Product components the possibility of recycling, recovery treatment, recyclingand product recovery of costs related to a series of questions,thus saving materials andreducing 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 make our 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, modularproduct structure.3.4 The impact of design material。
工业产品设计外文翻译参考文献
工业产品设计外文翻译参考文献(文档含中英文对照即英文原文和中文翻译)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 allassume 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 greatfailures and occasional great success. But those great successes will transform the world.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。
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Design Without Designers网站截图:/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4%CE%C4%CF%D 7&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 isincremental 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 difficultenough 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 andlowering 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。