《工业设计专业英文文献及翻译》
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? T est. Web page layout? Test.This procedure is hardly unique to Google. /doc/f51636438.html, 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 iswhat 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 whichdirection 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 wouldinitially 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. T o 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。
工业设计专业英语（第3版）lesson26文章翻译
The marketplace demands more. Today, the material o en becomes the product. We know that materials can help to differen ate our product’s character, add value, enhancoer mpaenrfce and make the difference between success and failure. In a world where new processes and new
Today, we do not need a vast working knowledge of material and processes. All we need is to know how to find that knowledge. And most of it exists within the framework of IDSA, through the experiences of its members, their personal contacts and resources. The networking, programs and educa on of IDSA’s special Interest Sec on on Materials and Processed tap this knowledge base and put the informa on we need literally at our finger ps.
包豪斯工业设计外文翻译文献
外文文献翻译(含：英文原文及中文译文)英文原文Germany Bauhaus design and Future Design TrendAbstractGerman 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 Y ou cannot ignore the industrial design ten trend Keywords: Bauhaus, industrial design, project teaching, practice , 10 Industrial Design Trends1. German Bauhaus and industrial designGerman Bauhaus Design and Future Design TrendsAbstractGerman Bauhaus has a significant influence. At the same time, modern design education laid the foundation for the world's leading German industrial design. By analyzing the current industrial design conditions in different countries, artistic design is considered as the main industrial design. This article reviews the process of developing industrial designs in the last 10 years. Industrial design programs have taken considerable success in many areas such as the German practice model, professional construction, teaching reform, collaboration between production and engineering colleges, teaching and design competitions and ten trends in industrial design that you cannot ignore.Key words: ten trends of Bauhaus, industrial design, project teaching, practice, industrial design1. German Bauhaus and Industrial DesignIn 1919, the school had built Bauhaus Weimar, Germany. This is known as the “cradle of world industrial design” and the history of this milestone art design. Bauhaus believes that the most important thing is to allow students to explore their own ways of designing, rather than teaching their teachers; to cultivate students' ability to think independently and critically, instead of putting certain design styles on them. Compared with other schools with similar design education, Bauhaus philosophy has a unique philosophy of education. It took a thorough reform of the traditional art design education system andestablished art design as a new professional discipline. At the same time, Walter Gropius, the founder of Bauhaus, put forward the "unified art and technology" as the leading design philosophy of education.One of Bauhaus's works is a general industrial product that actively purifies the form. Bauhaus stressed that the design of the product's shape should be based on basic geometric models such as cubes, squares, and circles. The form of the product, and outlined should be simple and varied in different ways and follow abstract forms of principles and aesthetics. Because of Bauhaus's bravery and active exploration and reform, he took a major influence on the formation of the modernist artistic style and enabled Bauhaus to design a world-class reputation. Therefore Bauhaus became a milestone in the history of modern design art.The American artist Jose Sinel first mentioned the industrial design of the term in 1919. However, in China, until 1983, the Ministry of Education had met the industrial design disciplines and sample major ordinary universities. The original name was "The main product formation was" students for the arts. In 1998, the national priority category was adjusted to be integrated into international conventions. The “major” product formation has long since focused on the human-product-environment relationship in the field of product morphology and other research. This name has replaced "industrial design" and some of the major schools for engineering and art education.Bauhaus has many top European artists during this time, such as Kandinsky and Kerry. They are famous abstract painters. Their teaching trains students and leads to Bauhaus's 20th-century art design. The most famous industrial designers such as Philip Starck behar Marc Newson and Maca graduated from the School of Art Design. Their success proves that industrial design education in art design education is effective. The product form design is still an important aspect. Industrial design in undergraduate industrial design research is currently an important part of the famous Art Design School.The Academy of Art and Design of the Norwegian Royal Academy of Arts, the University Politecnico Duisburg-Esse Milan, the applied sciences and arts of Hannover University (Hanover Industrial Design Division), all of whom belong to the School of Art and Design.According to a survey: the American Association of Industrial Designers (IDSA organized by the United States) in 1998, there are 49 colleges, which have industrial design undergraduate or graduate programs registered on the IDSA-sponsored list. Typical industrial design students are usually set up in art schools and can obtain bachelor degree or above, fine arts or related majors. Most people are accredited to the school NASAD (National Association of Arts and Design). Only 15 - schools are not certified. After five years o f IDSA’s announcement, only registered industrial design students can be recognized. Among them are37 industrial design majors in universities, 6 in design colleges, and 4 in art schools. This situation has not changed in the current year.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 Y ou Can't Ignore2.1 Design For A CauseCompanies including Herman Miller and American Apparel are promoting their ideals through design. Y ves 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 2010.2.2 SimplexitySteve McCallion, executive creative director of Portland, Ore.-basedindustrial 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 V erhalen, director of industrial design at Madison, Wis.-based Design Concepts, says that in-home health care will be a huge driver for product innovation in the upcoming decade.2.3 PersonalizationFrom 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.2.4 GlobalizationLike 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.2.5 OrnamentationIn 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 V era Neumann are receiving attention from a new generation of design-savvy consumers.2.6 Polarization 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.2.7 Pink 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."2.8 Mass 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.2.9 CraftAs 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.2.10 Focus 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.中文译文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。
工业设计专业外文翻译--中国传统思想对现代工业设计的启示(可编辑)
工业设计专业外文翻译--中国传统思想对现代工业设计的启示（可编辑）工业设计专业外文翻译--中国传统思想对现代工业设计的启示外文原文The Enlightenment of Traditional Chinese Ideologieson Modern Industrial DesignAbstract: The 21st century is a century of design. Industrial design has entered people’s daily life as an effective method of planning more reasonable conduct of life for people, which plays a very important role in coping with the relationship between humans, society and environment. Traditional Chinese ideology has a profound influence on China’s antique utensils and architecture. Meanwhile, it hasprovided sources of ideas for modern industrial design. Itintegrated many traditional ideologies of creation art including mental concepts, value systems, standards of conduct and ethnic styles and features together with the design concepts, modes of thinking and social fads, with which to take the form of a set of design ideas which is possessed of native ethnic cultural characteristics based on elegance & utility.Keywords: traditional Chinese ideology; creation art;industrial designTraditional Chinese cultural ideology has always been blending, spreading and developing in the long-term social practice of the Chinese and the summarization and refining process of all previous Chinese thinkers and it has already become the basic spirit that stands proudly in the family of nations. Such Chinese ideologies of creation art as “man is an integral part of nature” and “utensils are meant to convey truth” have provided referential and inheritable spiritual treasur y for modern design. China’s industrial design should keep on innovating while maintaining cultural continuity thereby meeting the spiritual & material demands of the people of thenew era. According to literature available and investigations into material objects, the following fundamental features of traditional Chinese ideology can be summarized:The foundation of traditional Chinese ideology “system of Chinese rites & music”In the history of Chinese culture, as a kind of obstinatefeudal ethics & concepts,Chou Kung’s system of Chinese rites & music has a profound impacton the spiritual outlook of Chinese culture as well as the formation of basic aesthetic standards. Immemorial totem singing & dancing and mediumistic rites were getting more and more complete and finally became divided. In the times of Western Zhou Dynasty, the rulers of this dynasty represented by Chou Kung inherited and perfected this andfinally systematically established a fixed system related to Chineserites & music. The system of Chinese rites & music is bound up with aesthetics. The first is “rites”. Rites are a general reference to a set of rites of sacrifice, daily life, military and politics. Their fundamental features are that they make compulsory requirements, restrictions and control of individuals in terms of extrinsic behavior, activities, movements and appearances. Via restrictions on codes of individual conduct, the stability and unity of groups and organizations are guaranteed. The core of the system of “rites” sign ifies that the reigning crux has shifted from“deity” domination to the emperor, which confirms the important institutional alteration from the collegiality of aristocracy groups to autocratic monarchy. However, influencedby the system of “rites”, the t raditional Chinese system ofcreation art was taking shape and evolving further in the form of materialization.The system of “rites” is the restriction and standard of people’s daily conduct, which involves the aspects of perceptual forms of appearances, movements and patterns and so on as an expression of materialization. This aspect is relevant to “pulchritude”. Chinese rites and music include formalized requirements for a series of sequences such as various kinds of movements, conduct, expressions, apparel and colors and so on. In terms of the combination relationship of utensils, there are very clear reflections of this on bronze wares. In Zhou Dynasty, cooking vessels was substituted for drinking vessels assacrificial vessels, and inscriptions recording feats and conferring titles of nobility on somebody started to turn up the utensils, thereby declaring and intensifying the strength of monarchs’ and aristocrats’ benevolence and benefaction. On that basis, “Nine ding” system ofrigid hierarchies came into being gradually. Hierarchical differences were embodied by progressive decreases in order in “Nine ding and eight gui”.Influenced by the system of Chinese rites & music, hues of ancient creation art became symbolic emotional elaboration besides a simple visual and perceptual form. The hue concepts and sequences of the hierarchy of China’s ancient society are greatly embodied in architecture and apparel. Yellow tiles and red walls were mostly used to build imperial palaces of royal households and aristocrats, while their apparel gave priority to the hues of red and yellow. Meanwhile, ordinary residential houses were usually built with black bricks and black tiles, and the civilians’ apparel was mainly made of cloth of blue, brown or other colors. What’s more, there were strictrestrictions on the colors of officials’ dress, which meansdifferent ranks of officials differed from one another in the styles, hues, materials and trappings of their dress. The yellow color of imperial robes was regarded as t he exclusive color of emperors’ dress, and the system of costumes was a ranking system based on colors.In the ancient society, however noble or humble someone was, he or she was definitely graded, and creation art was the materialmanifestation for hierarchy. From material to varieties and frompatterns to mixing colors, there weredifferences between the noble and the humble, which was unbridgeable. Therefore, the system of Chinese rites & music is the core of China’ thousands of years’ political system s, and this concept is deeply stamped with the brand by China’s traditional system of creation art. There were always patterns which stood for some meaning on traditional Chinese utensils, thereby systematizing utensils via the system of Chinese rites & music so that the combination relationship, ornaments, connotations and functions of utensils could form a system of a deep-going structure of significance.The traditional Chinese ideology “man is an integral part ofnature”“Man is an integral part of nature” is an important ideologyraised during the development of traditional Chinese culture, and this reflects harmonious outlooks on society and nature. This ideology is embodied in Confucianism, Taoism and Buddhism. The ethic sequence of Confucianism is Jade Emperor, Yama, monarchs, relatives and teachers, which illustrated the sovereignty of Jade Emperor and Yama. Thus, Confucius put forward the ideologies of “harmony is the most precious”, “joy aims at harmony” and “seeking harmony withoutuniformity”. This proposed the interpersonal harmony and theharmony of people and society in the value of ethics. It is written in Yizhuan that “as heaven revolves, gentlemen should strive to improvethemselves…the greatest morality in the world is cherishing life”. It is written in Taoism that“people emulate earth, the earth emulates heaven, heaven emulates the ethics, and the ethics emulate nature.” As the main successor of Laozi, Zhuangzi proposed his concept of “heaven-human-ethics”, which supplemented Laozi’s c onceptof “harmony”. Zhuangzi’s basic creed is that “I coexist with heaven and earth, and all things on earth and I prove to be one.” In terms of “heaven and earth are of indescribable magnificence”, heaven refers to nature here. Therefore, Confucianism a dvocates “natural humanization”, while what Zhuangzi recommended is actually “naturalization of humans.” The former talks about “man is an integral part of nature”, which describes and complies with human affairs by means of nature. The concept of “man is an integral part to nature” which was raised by Zhuangzi indicates that the relation between people and heaven is not antagonistic and running counter to natural laws is not advised. This emphasizes that humans must give up their sociality so that their naturalitywill not be stained and they will integrate naturally with the universe. This sort of world outlook can help people regard everything with a lenient attitude and observe the objects which will be remoulded with the spirit of diversified harmonious coexistence and the mind of bemoaning the state of the universe and pitying the fate of humankind. Finally, nature and humans can coexist harmoniously.The traditional concept of “man is an integral part of nature” is not only a concept of long prevalence in Chineseaesthetics and artistic creation, but also an aesthetical principleall Chinese artists of past dynasties abided by. Based on this principle, the ancients took the utility relationship with the natural environment into account first when examining production practice of constructionand handicrafts. Traditional Chinese utensils emulated natural laws and applied such laws to utensil designing. It is recorded in Kao kung chi which was written during the Spring & Autumn Period and the WarringSt ates Period that “Making utensilsrequires conforming to weather, adapting to geographic elements,high-quality material and ingenuous craftsmanship. Only with these four elements can fine utensils be made”Thereof, “weather, geography and material” proc eed fromcharacteristics which comply with natural laws, and“craftsmanship” refers to the process and manufacture of forms and shapes of utensils, which gives prominence to people’s subjective initiative during the manufacture process. Only when work of nature and manual work are combined can fine utensils be made. This is a kind of concept of creation art and such concept respects nature and material, thus to integrate humans, utensils and nature.Creation art relies heavily on nature. In ancient China, metal, wood, water, fire and earth were regarded as five basic material elements that constitute the world, and thus the concept of five elements was formed.Pottery made of natural clay was the utensils used most in people’sdaily life in ancient China. During the manufacture process, theancients gradually grasped the natural quality of clay material, andthen they elutriated and kneaded the clay according to its properties. Next via jolleying and carburization techniques, eggshell pottery whichis as black as lacker, as bright as a mirror, as thin as paper and as hard as porcelain would be finished. This is exactly a masterpiece of which workmanshipof nature was applied to manual work.Chinese people’s worship and reverence for nature pursued the loft y realm of “man is an integral part of nature”, and this was also embodied in the forms and shapes of utensil manufacture. In terms of the design and manufacture of vehicles, it was described in Kao kung chithat “square carriages symbolize earth; round ca nopies symbolize heaven; spokes symbolize thirty days in each month; bow-shaped timber frames symbolize the lunar mansions of the sidereal revolution.” The shapes of canopies and carriages were compared to “heaven is round and earth is square”, the thirty spokes which symbolizedthirty days in each month stood for the alternating movement of the sun and the moon, and twenty-eight bow-shaped timber frames symbolized the lunar mansions. Carriages symbolized earth, canopies symbolized heaven, and then the mod e of “manis an integral part of nature” would take shape with people sitting in them. Traditional Chinese architectural forms also contain theprofound ideology of “man is an integral part of nature”. Just takethe Temple of Heaven as an example: in ancient China, the figure 9 was regarded as the greatest so as to embody the supremacy of heaven. Many constructions of theTemple of Heaven are related to the figure 9: the length of the topof three-layer bluestones is measured in the figure 9, and the figure 9 was used as the cardinal number for the stones paved on the altar. In addition, the railings of the Temple of Heaven increase progressively by the figure 9: there are nine pieces for the upper part, eighteen pieces for the middle part and twenty-seven pieces for the lower part. In the next place, the Temple of Heaven has a distinct feature: square andround geometric figures constitute the general configuration of the Temple of Heaven. Together with round altars and square walls, external alter walls and internal altar walls compose a shape of which the northern part is round while the southern part is square. The designers and architectural craftsmen of the Temple of Heaven gave full play to their wisdom and applied many techniques such as figures, shapes, colors, names and layouts etc, which embodied the supremacy and sacredness of heaven as well as the close relationship between emperors and heaven. This integrated the ancients’ world outlook and the attainments they made in astronomy with the Temple of Heaven. Such world outlook createda perfect artistic conception of great harmony of heaven and people, and thus the Temple of Heaven became a shining example in the architectural history.Thus it can be seen that the belief that Chinese people and nature are in harmony has influenced many aspects like mental culture, material culture, behavioral culture, institutional culture etc. The concept of “man is an integral part of nature” in traditional Chinese creationart gives expression to a high degree of harmony & unity in all aspects: the harmony & unity of utility and aesthetics, the harmony & unity of perceptual manifestation and rational norms, the unity of craftsmanship and the construction of artistic conception.3. The traditional Chinese creation art ideology of “utensils are meant to convey truth”The ideology of “utensils are meant to convey truth” were often applied in traditional Chinese creation art, and this ideology embodies the semantic values of traditional Chinese design culture. It is written in The Book of Change?Xici I “that metaphysical objects xing’ershangin pinyin refer to abstract objects dao in pinyin, while practical objects xing’erxia in pinyin refer to concrete objects qi in pinyin.” Xing refers to shape and structure, which is the perceivable shape and quality of utensils and is possessed of materiality; Qi stresses the functions of utensils, which is of certainutility. Xing is extrinsic and concrete, qi is intrinsic and functional, and dao is metaphoric and intentional. These three elements are three essential factors that composed utensil designing and shaped the traditional Chinese design system. Hence utensils embodied the ancients’ cognition on formal beauty through not only apparent beautybut also through conveying intangible objects by means of tangible objects, thereby breaking through the general material significance of utensils and achieving mental artistic conception of pursuing the value of life.There was an allusion in ancient China. The ancients discovered in their experience in grinding and manufacturing utensils that some tough and imperishable beautiful stones would become lustrous after a polish. They named such stones jade because they believed such beautiful stones were abundant in vitality. Jade had nine virtues, and monarchs took “the nine virtues” as the code of conduct for their rule. Besides the texture and shape of jade, engraved patterns and symbols were also elements that might produce supernatural power of telepathy. So those Chinese ancient people who believed in the bird of deity were fond of carving abstract or concrete flying birds with splendid jade, such as the cirrus jade of Hung-shanculture and the hawk relief on a jade tablet of Shandong Lung-shan culture. In Eastern Zhou, Qin and Han Dynasties, patterns of two-body animals were often engraved on round flat pieces of jade with holes in the middle. The ancients believed that the middle of the hole on a round piece of jade was the immutable north pole of the world outlook tai chi, taiyi, so when honored aristocrats were buried, they were put into boxes with jade pieces stitched onto. In addition, a round flat piece of jade with holes in the middle was stitched onto the part of the box which covered the top of the head of the dead. This was just because they wereconvinced that the souls of the deceased could reach the acme of immortality through the gate to the Heavenly Palace via the hole on the jade.Meanwhile, traditional Chinese ceramics is more of an embodiment of which Chinese art stresses integrity, perfection, harmony, flavor & tone and artistic conception. Porcelains of Song Dynasty are the best example of the beauty of “artistic conception”. Celadon which was baked in Ru Kiln and Guan Kiln were top-notch work of porcelains of Song Dynasty.Its hue is greenish, bluish and grayish. Its glaze is lustrous. Thereare almost no ornaments on it except for some irregular crackles. All of these have gathered artistic conception of ornamentationin the glaze which is as gentle as jade and the classic & elegant shapes. “It is distinguished and accomplished even with no words engraved on it”, and it is also thought-provoking, withwhich the solemn, quiet and implicit beauty have culminated in perfection. The artistic conception of porcelains of Song Dynastyreposed their intrinsic message via their shapes, ornaments and artistic images. For example, the implicit shapes and glaze colors of porcelainsof Song Dynasty symbolize an intangible and silent realm, whichrepresents scholars’ demeanor a nd embodies the Chinese artisticfeatures of conveying spirit through form and conveying a profound message as well as the tranquil, implicit and euphemistic oriental taste.Consequently, traditional Chinese creation culture has experienced changes from emulating natural forms to emulating inherent laws of natural things in order to achieve harmony,from cognition on qi to solicitude f。
工业设计专业外文文献加翻译_图文(精)
李雁飞工设 10011011033010参考文献Future of Automotive Design &Materials 汽车设计与材料的未来Trends and Developments in Design and Materials 设计与材料的趋势与发展(译by李雁飞Renault Zoe Z.E. 雷诺 Zoe Z.E.Jan Willem van der Wiel Senior Consultant ATC 高级顾问 ATCKo-finanziert durch die EuropäischeUnion (EFREDie europäischeKommission investiert in Ihre ZukunftTABLE OF CONTENTS 目录TABLE OF CONTENTS 目录 2 1INTRODUCTION 介绍 3 2CURRENT SITUATION 现状 4 2.1Design 设计 4 2.1.1International 国际 4 2.1.2Design in The Netherlands 荷兰的设计 5 2.2Materials 材料 6 2.2.1International 国际 6 2.2.2Materials in The Netherlands 荷兰的材料 92.3Design &Materials 设计与材料 93FUTURE PERSPECTIVE 未来展望 10 3.1Design by Tiers 10 3.2Design trends 设计方向 10 3.2.1Inspired by nature 自然灵感 11 3.2.2Floating elements 113.2.3Sculpted surfaces 镂空表面 11 3.2.4Individuality 个性 12 3.2.5Femininity 女性化12 3.3.6Electric drive 电子驾驶 12 3.3.7Light design 灯光设计 123.3Materials 材料 13 3.3.1Intelligent materials 智能材料 13 3.3.2New conductive materials 新导体 14 3.3.3Materials for energy storage 能量存储物质 15 3.4Design&Materials 设计与材料 15 3.4.1Sustainability 耐受程度 15 3.4.2Downsizing 193.4.3Cost down 193.4.4Rapid manufacturing 高速制造 194RELEVANCE FOR THE DUTCH INDUSTRY 与荷兰工业的相关性 19 References:参考 211INTRODUCTION 介绍Design and Materials are two different worlds and still strongly related. Each very different in their being and both equally important in shaping the physical world around us. Design creates products and products are made of materials. Design gives functions to products and materials are chosen and formed to best incorporate those functions. Design can also relate to graphics and the virtual world observed on displays or advanced visualization techniques. This trend study however focuses on Design of the physical world, shaped in 3D. And since this trend study originates from the Automotive Technology Centre the subject of this focus is on automotive products 设计和材料是两个不同的世界,仍然密切相关。
包豪斯工业设计外文翻译文献
包豪斯工业设计外文翻译文献包豪斯工业设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文：Germany Bauhaus design and Future Design Trend【Abstract】German Bauhaus had a significant influence on the modern design education, meanwhile, it established the foundation of the leading position in the world for German industrial design. Through analyzing on current industrial design conditions from different countries, art design is considered as the main part of industrial design. This paper reviewed the last 10 years’ development of industrial design program in Zhejiang University of Science and Technology. The industrial design program have taken considerable achievements in many fields, such as the practice of Germany model, disciplines construction, teaching reform, manufactures & college cooperation, project teaching and design competitions. And You cannot ignore the industrial design ten trend 【Keywords】Bauhaus, industrial design, project teaching, practice ，10 Industrial Design Trends1. German Bauhaus and industrial designIn 1919, the Bauhaus school had been built in Weimar, Germany. This have been called the “cradle of world industrial design”, the milestone in the art design history. Bauhaus believed that the foremost thing is letting the students explore their own design ways, rather than just teaching them the teachers’ ways; developing students’ independent and critical thinking ability rather than imposing certain design styles on them. Compared with other design schools that had similar education philosophies, Bauhaus had distinctive education philosophy. It took thorough reform on the traditional art design education system and established art design as a new professional discipline. Meanwhile, Walter Gropius, the founder of Bauhaus made “Unity of art and technology” as the dominant design education philosophy.One of Bauhaus initiative works is purifying the forms of general industrial products. Bauhaus stressed that the product forms should be designed based on basic geometric patterns such as cubes, squares and circles. The product forms and outlines should be simple and varied in different ways and follow abstract form principles and aesthetics. Because Bauhaus’s brave and aggressive exploring and reform, it took significant key influence on the forming of Modernism ArtStyle and made the Bauhaus design a world-wide reputation. Therefore Bauhaus became the milestone of modern art design history.American artist Joseph Sinel first mentioned the term of Industrial design in 1919. However in China, until 1983, the Ministry of Education had conformed industrial design discipline as the sample major of general colleges. The original name of the major is “Product Forming” for art students. In 1998 the national major category had been adjusted to be integrated into the international conventions. The “Product forming” major had removed the focus from the product forms to the area of researching the human-product-environment relationships. The name had been replaced by “Industrial design” and the major had been set for both engineering and art education schools.Bauhaus had many top European artists at that time, such as Itten, Kandinsky, and Klee etc. They are famous abstract painters. Their teaching cultivated the Bauhaus students and contributed to the 20’s century art design. Most o f famous industrial designers such as Philippe Starck, Marc Newson and yves béhar are graduated from the art design schools. Their success proved that the art design education is effective for industrial design education. The product form design is still an important aspect in undergraduate industrial design studies and the industrial design is an important component of current famous art design schools.Royal College of Art Norwegian Institute of Art and Design University of Duisburg-Essen, Politecnico di Milano, Hannover University of Applied Sciences and Arts (FH Hannover), their industrial design departments are belong to art and design schools.America: According to a survey of IDSA (The Industrial Designers Society of America) in 1998, there are 49 institutes that have industrial design undergraduate or graduate programs registered in IDSA list. Typical industrial design majors usually are set in art schools, which can grant bachelor degree in fine arts or science. Most of them got the certification of NASAD (National Association of Schools of Art and Design). Only 15 in the 49 schools did not get the certification. IDSA declared that 5 years later, only the certified the industrial design majors can get be recognized. There are 37 industrial design majors in universities, 6 in design colleges, 4 in art schools. This situation did not vary in current years.Asia: In Japan, industrial design majors also set in art schools or independent industrial design faculties, such as Tokyo Zokei University, Musashino Art University, Tama Art University,and University of Tsukuba etc. In Hongkong, The Hong Kong Polytechnic University has famous industrial design programs. In Taiwan, Shih Chien University, National Cheng Kung University, National Yunlin University of Science & Technology have famous industrial design programs. In mainland of China, Jiangnan University, Tsinghua University, Hunan University, Tongji University and the Guangzhou academic of fine arts all have their industrial design departments in the art design schools or departments.2 .10 Industrial Design Trends You Can't Ignore2.1Design For A CauseCompanies including Herman Miller and American Apparel are promoting their ideals through design. Yves Béhar's leaf lamp for Herman Miller (shown) uses a biomorphic grid of LEDs, which consume 40% percent less energy than fluorescent lights and last for 100,000 hours. And Nike plans to make its entire footwear line out of sustainable materials by 2010.2.2SimplexitySteve McCallion, executive creative director of Portland, Ore.-based industrial design firm Ziba Design, says there's a trend toward "simplexity," products that have many functions but are approachable, ergonomically correct and easy to use--like Apple's iPhone. The baby boomers have also propelled simplexity; as the generation ages, the need for easy-to-use, at-home medicalequipment becomes greater. Ami Verhalen, director of industrial design at Madison, Wis.-based Design Concepts, says that in-home health care will be a huge driver for product innovation in the upcoming decade.2.3PersonalizationFrom Nike ID shoes to Build-a-Bear teddies, retailers are adding a "build your own" element to brands. Do it yourself--or DIY--serves as an important element of this trend. Publications like Ready Made magazine and books like designer Wendy Mullin's Sew U encourage consumers to put their own spin on things.2.4GlobalizationLike other industries, outsourcing has affected international design. Today a designer in Delhi might be working with a manufacturer in Columbus. Steve McCallion says that the globalization of product design has created Internet communities that enable more people to participate in the design process. Companies like Kid Robot can employ toy designers from Tokyo to Tucson with greater ease than ever.2.5OrnamentationIn fashion design, we're seeing a return to minimalism, but in home decor, ornate details are in fashion. For the first time in decades, wallpaper is in fashion, and the details are rich--brocades, velvets and jewel-tone colors. Long-forgotten textile designers like Florence Broadhurst and Vera Neumann are receiving attention from a new generation of design-savvy consumers.2.6Polarization Of DesignBig-box or luxury retailer? Many experts say that design has been polarized, with innovative products available at both the very high end (Neiman Marcus, Moss) and the very low end (Target, Ikea). Meanwhile, midrange retailers like Macy's suffer from lack of fresh, on-trend ideas. That isolates the huge chunk of the population that can afford something higher-end than the $200 Malm bed at Ikea but scoff at the price of a $16,000 Hastens mattress.2.7Pink DesignGadgets are a guy's game, right? Not if you consider the latest products with feminine mystique. Motorola released a lipstick pink Razr cellphone, and more recently, LG released a Prada phone. More and more manufacturers are creating sleeker, feminized versions of their clunky, chunky products, and both men and women are biting. Want proof of the feminization of product design? Just check out , which rates several items a day as "Geek chic" or "Just Plain Geeky."2.8Mass ImperfectionSome designers are creating intentionally flawed pieces, like designer Jason Miller's duct tape chair or Bodum's Pavina glassware collection, which uses mouth-blown double-walled glass, giving each piece a slight variation in height, thickness and weight. Whiskered and weathered textiles--on denim as well as furniture and tapestries--are more recognizable examples of intentional imperfection in production.2.9CraftAs mass retailers like Target become more design-focused, there's a countertrend of independent manufacturers and designers creating one-off, heirloom pieces. Where to find these limited-edition treasures? Artisan e-commerce sites like , classical craft companies like Heath Ceramics and modernist design houses such as Design Within Reach.2.10Focus On The Other 90%Anthony Pannozzo, vice president of design strategy at Waltham, Mass.-based firm Herbst LaZar Bell, says that well-designed products are available to only 10% of the world's population. However, more and more designers are starting to cater to consumers in Africa, Asia and Latin America.【References】[1] S Z Wang. “A History of Modern Design”, China Youth Press, Beijing, 2002[2] D.S. Yang. “A Discussion of The Differ ences in Industrial Design Education between China and Germany from the Workshop Project Practice”, Journal of Hefei University (Natural Sciences), 2006:21-22[3] Rosson M.B, J.M.Carroll. “Usability Engineering: Scenario-Based Development of Human-Compute r Interaction”, San Francisco:Morgan Kaufmann, 2002[4] Kevin N. Otto, Kristin L Wood. “Product Design: Techniques in Reverse Engineering and New Product Development”, Tsinghua University Press, Beijing, 2003[5]《industrial design history》Herenke Beijing Institute of Technology Press[6]《The modern history of design》Wangshouzhi China Youth Press[7]《Product System Design》Wuxiang China Light Industry Press[8]《Design of products》magazine[9] L. Axon, K. Garry etc.，An Evaluation of CFD for Modeling the Flow Around Stationary and Rotating Isolated Wheel, SAE 980034[10] N. Horinouchi, Y. Kato etc., Numerical Investigation of V ehicle Aerodynamics with Overlaid Grid System, SAE 950628[11] U. B. Mehta, Some Aspects of Uncertainty in Computational Fluid Dynamics Results, Journal of Fluids Engineering Transactions of the ASME, Dec. 1991, V ol. 113, pp538 - 543翻译：德国包豪斯设计与未来设计趋势摘要德国包豪斯有显著的影响,与此同时,现代设计教育奠定了基础,它处于世界领先地位的德国工业设计。
工业设计专业英语(第三版部分翻译
艺术装饰风格被宣告是“唯一一个总体设计”，艺术装饰必然是在众多消费者中间找到观众的最高产的设计之一。
虽然它起源于19世纪20年代高度专有的法国手工裁剪装潢艺术，但它通过利用廉价的新金属材料，塑料和玻璃而发展迅速，找到了便宜，短期利用，并可以大批生产的装饰用品，如香烟盒，香水瓶，家庭用的陶瓷和玻璃，流行纺织品及各种装饰物，还有可以像鸡尾般甩动的物品。
作为一种装饰风格它可以运用于无数物品的形状和表面装饰，因而赋予它们全部以相同质量的瞬间的现代性和时尚性。
就像许多这个世纪其它的流行风格一样，艺术装饰风格扎根于高雅文化，例如，立体主义、俄国芭蕾、美洲印第安风格和欧洲纯粹主义，但是相对其他文化而言，艺术装饰风格取长补短，装饰特征表现得更为折衷一些。
结合艺术装饰风格在1930年代流行的因素，大规模批量生产使用新材料是商品价格相对低廉的必要条件。
但这些是远远不够的，更深层次的原因是艺术装饰风格具有典型的适应性。
在那段经济萧条的时期，豪华奢侈的装饰风格所带来的美感让当时的消费者有了逃避现实的放松心情。
艺术装饰风格的宣传方式也促进了它的流行，艺术风格被好莱坞应用于多种流行电影中。
通过影片媒体使大量观众接触到装饰风格，除此之外，艺术装饰风格也运用在广告和包装上，使其有效的影响了大量的环境之外，艺术装饰风格也影响到了建筑领域，许多新场所也运用了这种风格，美化建筑的外表，那些新商业的娱乐楼房，例如商场电影院，工厂，甚至于新的豪华游轮，它也被利用于在1933年芝加哥展览之中。
艺术装饰风格开始象征着高效率的现代化生活和新的生活理念，这种动人的方式随着人们对时尚性和社会地位的追求与渴望，艺术装饰风格得到了大量消费者的高度喜爱地位。
艺术装饰的大量应用伴随着消费产品的需求。
但是，从不好的方而来看，艺术装饰风格只是作为一种中档的艺术手法，来装饰非常廉价的商品甚至留有一种杂乱的感觉。
在英国有一群针对低端市场开发产品的地毯制造商，他们意识到了这个新潮流里的商业潜力。
专外-课文翻译--工业设计
（6)·（Twentieth—century··industrial nations）20世纪意大利设计仅仅是意大利当代文化、政治、社会和经济事物的一个方面。
流行的大批生产的家具、装饰性的家用品、家用电器、办公设备、汽车以及后来的时装设计及服饰使得意大利在当代物质文化世界中获得如此重要的地位,从本质上来讲，这些事物是意大利寻求现代化以及力争在本世纪使自己现代化工业国家之一的反映。
（9)·（Markers and colored pencils ideal ··any drawing surface）马克笔和彩铅既是设计过程中最理想的工具，又是最终表现效果中最理想的工具。
由于很多的草图是画在薄的描图纸上的，在上面涂以水彩和加以蛋黄的颜料是不合适的，因为它们会使纸张弯曲变形。
马克笔能过迅速风干，并且它不会使纸张变形。
马克笔可以和彩铅一起快速的使用于任何图画的表现。
·（Neither extensive practice··as casein and tempera）有了这两种上色工具，既不需要过多的练习,也不需要高超的技巧，这两种方法简单明了.通过对这两种方法的熟悉，你的工作速度或许能得到很大的提高。
这种上色的方法比排刷的上色方法以及大多数学生和专业人士在某种程度上都熟悉的上色方法来说要更快更容易掌握。
水彩以及其他排刷的优点以及精细程度是用马克笔和彩铅也能够实现的。
水彩的混合和叠加以及喷绘技术是可以被模仿的，就好像诸如使用酪蛋白或加蛋黄的颜料也可以获得高光效果一样。
·（Markers and colored pencils are readily··and watercolor）马克笔可以很容易的买到,并且如今在专业的设计事务所里它大概是应用最为广泛的上色工具-—比加蛋黄的颜料的画法和水彩应用更为广泛。