工業(yè)設計外文資料翻譯--綠色設計與情感回歸

1、<p>　　畢業(yè)設計(論文)外文資料翻譯</p><p>　　系 別： 藝術與設計系 </p><p>　　專 業(yè)： 工業(yè)設計 </p><p>　　班 級： B090801 <

2、;/p><p>　　姓 名： 曹富淞 </p><p>　　學 號： B09080101 </p><p>　　外文出處： DONALDA.NORMAN </p><p>　　附 件： 1.

3、‘Green design’ and emotional </p><p>　　return </p><p>　　2. 綠色設計與情感回歸 </p><p><b>　　2013年03月</b></p><p><b>　　附件:1.</b></p><p&

4、gt;　　‘Green design’ and emotional return </p><p>　　‘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

5、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

6、points of view, he considered that the things around us are created by designers, designers in the Marketing and customer satisfaction is</p><p>　　Into the 21st century, because of the world's government

7、s 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

8、 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

9、'green consumption' beha</p><p>　　The main planning as a product designer and creator of the product at all stages of the environmental issues will have a direct and indirect effects. In particular,o

10、ften 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?

11、Whether to use recyclable or re - use of materials? design players a decisive role in many issues. </p><p>　　More importantly, designers connecting link between the product and people. They can lead and cha

12、nge the way people use products, while responsible for these products and services.Designed to influence people's lifestyles and socio-cultural changes. It has gradually grown accustomed through the design to reflect

13、 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 in</p><p

14、>　　The commercial value of Industrial Design increasingly recognized and valued by a number of manufacturers, designers in a number of the company's R &amp; D department has been entrusted with the task, all t

15、his allows designers 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

16、-mainstream areas to expand into the mainstream. With the 'Green Design' approach</p><p>　　Eco-design, also known as life cycle design, namely the use of ecological thinking, in the product life cyc

17、le, 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 int

18、o account the economic, functional and aesthetic factors.Product eco-design its basic theoretical foundation of industrial ecology in the theory of industrial metabolism and</p><p>　　Sustainable design is a

19、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 function

20、ality 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

21、 the products of the necessary functions</p><p>　　In addition, thereis other product design optimization method. Such as environmental materials (recyclable and recycled materials) use. Studies have shown th

22、at, in order to change the impact on the environment of the wasteful consumption of the status quo, to the earth's resources for sustainable development in the consumption level of development, our long-term goal sho

23、uld be to strive to build stronger long-term with the product links. For these originally, in the development of environmentall</p><p>　　Designer is also the founder of design style and taste, the product of

24、 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 cause

25、d 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 th</p>

26、<p>　　Relative prosperity in the material economy of today, often likes and dislikes of consumers for some products directly to determine the 'life'. </p><p>　　In some point of view, 'gre

27、en 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, desi

28、gners and relevant organizations to use the experience, knowledge and creativity of crystallization. At present there are several general design themes and trends: </p><p>　　The use of natural materials in

29、order to 'raw' form of furniture products, building materials and fabrics to be reflected and utilized. </p><p>　　The nostalgia of the simple style, well into the 'high tech' factor, allowin

30、g users to find product is amiable, warm. </p><p>　　Utility and energy conservation. </p><p>　　Emphasized the use of the material economy, get rid of useless features and purely decorative sty

31、le, and create vivid shape and return to the classic simplicity. </p><p>　　The multi-purpose product design, changes can increase the fun by design, to avoid boredom and replacement needs; it can upgrade, u

32、pdate, by as little as possible to use other materials to extend the life; the use of 'add-on smart' or dismantling components. </p><p>　　The products and services, the non-materialistic. </p>

33、;<p>　　The combination of design and cycle schemes. </p><p>　　We do not simply believe in a clear recyclable materials, the product will certainly be a 'green product', because the product re

34、cyclability 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 '

35、Green Design' gradual integration into the mainstream product design, designers face is not only a small number of 'green fanatics', but ordinary consumers</p><p>　　People-oriented design ideas f

36、rom 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

37、 design process, the coordination of product - social - environment relationships between these three. Of human knowledge and transform the nature, purpose is simply to create a good human being living conditions and env

38、ironment for development. Howe</p><p>　　products - emotional harmony. Materials, environmental protection, technology is simple, beautiful shape, making excellent products is the people really psychologicall

39、y acceptable. Second, the values of stress also contributed to people for emotional awareness. In the past quite a long period of time, the design process is seen as an artistic process, the artist's aesthetic choic

40、es to replace the more often the user can only be passively accepted. Such an outcome, making the distance between th</p><p>　　In addition, the design of the regional culture and promote the protection of pe

41、ople 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 gradua

42、lly 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</p><p>

43、;　　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 most realistic and practical needs and the most direct response is all about. More and more

44、 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 em

45、otional way of thinking has been more and more to attention and</p><p>　　Conclusion Whether the product design and development from the vertical profile view, or from the horizontal status of a modern produ

46、ct 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, de

47、signers of the product of the soul to give the process is essential. Here the soul refers to the expressed product, and can communicate with the u</p><p>　　The requirements of sustainable development of soci

48、ety indicates that '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 improveme

49、nt, 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 to creativity, new thinking and imaginative. 'Green d

50、esign' to the Industr</p><p><b>　　2.</b></p><p><b>　　譯文:</b></p><p>　　綠色設計與情感回歸 </p><p>　　“綠色設計”是20世紀80年代末出現(xiàn)的一股國際設計潮流。早在20世紀60年代末著名的工業(yè)設計師及

51、教育家維可多·佩帕尼克就出版了在設計界引起強烈反響的著作《為現(xiàn)實生活而設計》在書中提出了在當時與眾不同的觀點，他認為我們周邊的事物都是由設計師創(chuàng)造的，設計師在市場銷售和用戶滿意度方面不單單只是起到“美化”的作用，同時應強調(diào)設計師的社會及道德的倫理價值。這本書的深遠影響一直延續(xù)到今天。 </p><p>　　進入21世紀，因世界各國政府對環(huán)境問題的重視，有關環(huán)境保護法規(guī)的建立，企業(yè)間的競爭，使得帶有理

52、想主義色彩的“綠色設計”潮流逐步有了現(xiàn)實意義?；趯Νh(huán)境問題的重視和了解，人們已從20世紀60年代的過于激進的“綠色運動”,發(fā)展到現(xiàn)今相對成熟的“綠色消費”行為，這為“綠色設計”帶來了新的契機。 </p><p>　　設計師作為產(chǎn)品的主要策劃者和創(chuàng)造者，對產(chǎn)品的各個階段所產(chǎn)生的環(huán)境問題都會有直接和間接的影響。尤其是往往由他們決定產(chǎn)品所選用的主要材料，產(chǎn)品如何制造？采用何種特殊的表面處理方式以達到最終的表面效果？

53、產(chǎn)品如何使用？用后的廢棄物如何處理？是否使用可回收或再利用的材料？設計師對眾多問題起決定性的作用。 </p><p>　　更重要的是，設計師是連接產(chǎn)品與人之間的紐帶。他們能引導并改變?nèi)藗兪褂卯a(chǎn)品的方式，同時對這些產(chǎn)品和服務負有責任。設計影響著人們的生活方式和社會文化的變更。人們已逐漸習慣通過設計來體現(xiàn)自己的社會地位和個人品味。設計是“消費主義”的推動者促使產(chǎn)品式樣的“有計劃的廢止”加快產(chǎn)品的更換速度。設計還參與

54、廣告活動，從而進一步刺激消費。設計能夠使社會文化發(fā)生變革，而它們當中的大部分代表了某些特定的生活方式，所以在理論上“綠色生活方式”也可能被人們稱道和效仿這種生活方式并非必須異常節(jié)儉,而是倡導一種盡可能低調(diào)的樸素生活方式。 </p><p>　　工業(yè)設計的商業(yè)價值日益受到眾多廠家的認同和重視，設計師在不少公司的研發(fā)部門被委以重任，這一切使得設計師有機會展示他們對環(huán)保問題處理的能力，以及對環(huán)境問題的道

55、德責任感?！熬G色設計”的范圍也已從非主流領域向主流領域擴展。 </p><p>　　與“綠色設計”接近和相關的名稱不少，本文中沿用人們常見的概念，統(tǒng)稱從環(huán)境角度考慮設計的設計方法為“綠色設計”。 “綠色設計”主要關注對自然的影響和解決某些單獨的問題，如資源和能量的利用率，通過回收減少廢棄物等。在一些發(fā)達國家，廢棄的金屬和塑料等大多已可以分類回收，或為重新利用而進行了分揀。為加強家庭垃圾分揀而“應運而生“的廢棄物

56、處理方面的產(chǎn)品設計，成為當代工業(yè)設計的熱點之一。生態(tài)設計也稱之為生命周期設計，即利用生態(tài)學的思想，在產(chǎn)品生命周期內(nèi)優(yōu)先考慮產(chǎn)品的環(huán)境屬性，除了考慮產(chǎn)品的性能、質(zhì)量和成本外，還要考慮產(chǎn)品的回收和處理。同時也要考慮到產(chǎn)品的經(jīng)濟性、功能性和審美等因素。產(chǎn)品生態(tài)設計其基本理論基礎是產(chǎn)業(yè)生態(tài)學中的工業(yè)代謝理論與生命周期評價。 </p><p>　　可持續(xù)性的設計是一個比前者范圍更廣的設計方法。涉及更多的方面，諸如民族未來

57、的發(fā)展相與之分享資源的后代的發(fā)展，如何在保證產(chǎn)品的功能的同時，減輕整個星球的負擔。典型的理論是提高產(chǎn)品的效率的同時，推動與之相關的服務系統(tǒng)的發(fā)展，考察產(chǎn)品對于用戶的必要功能延長產(chǎn)品的壽命，對于產(chǎn)品整個系統(tǒng)的可持續(xù)性的發(fā)展的設計，比只對產(chǎn)品本身的設計更為重要。可持續(xù)性產(chǎn)品設計的重點在于影響產(chǎn)品生命周期的外部因素的分析。 此外，還有其它產(chǎn)品設計的優(yōu)化方法，如環(huán)保材料(可回收和循環(huán)利用的材料)的使用。研究表明，為了改變對環(huán)境產(chǎn)生影響的揮霍性

58、消費的現(xiàn)狀，向地球資源可持續(xù)發(fā)展的消費水平發(fā)展我們的長遠目標應是努力同產(chǎn)品建立起更強的長久的聯(lián)系。為了這些原由，在環(huán)保產(chǎn)品的開發(fā)中延長產(chǎn)品的壽命比其它的策略更重要，與此同時也要鼓勵在消費者中形成可持續(xù)、長期的消費方式。設計師同時也是設計風格和品位的締造者，產(chǎn)品的視覺形象對環(huán)境保護也會產(chǎn)生間接的影響。主要體現(xiàn)在產(chǎn)品壽命期限相對材料的選擇兩個方面。由于人們以往的生活方式造成大量的產(chǎn)品品種的過時，以及產(chǎn)品頻繁更換的速度對環(huán)境保護產(chǎn)生了不好的影

59、響如果能延長產(chǎn)品壽命期限，就可以減少對資源無</p><p>　　從某些角度看，“綠色設計”不能被看作是一種風格的表現(xiàn)。成功的“綠色設計”的產(chǎn)品來自于設計師對環(huán)境問題的高度意識，并在設計和開發(fā)過程中運用設計師和相關組織的經(jīng)驗、知識和創(chuàng)造性結(jié)晶。目前大致有以下幾種設計主題和發(fā)展趨勢：</p><p>　　使用天然的材料以“未經(jīng)加工的”形式在家具產(chǎn)品、建筑材料和織物中得到體現(xiàn)和運用。 2)

60、懷舊的簡潔的風格，精心融入“高科技”的因素，使用戶感到產(chǎn)品是可親的、溫暖的。 </p><p>　　3)實用且節(jié)能。 </p><p>　　4)強調(diào)使用材料的經(jīng)濟性，摒棄無用的功能和純裝飾的樣式，創(chuàng)造形象生動的造型，回歸經(jīng)典的簡潔。 </p><p>　　5)多種用途的產(chǎn)品設計，通過變化可以增加樂趣的設計，避免因厭煩而替換的需求，它能夠升級、更新通過盡可能少

61、地使用其它材料來延長壽命，使用“附加智能”或可拆卸組件。 6)產(chǎn)品與服務的非物質(zhì)化。 </p><p>　　7)組合設計和循環(huán)設計。 </p><p>　　我們并不可以簡單地認為采用明顯的可回收材料的產(chǎn)品就一定是“綠色產(chǎn)品”，因為產(chǎn)品可回收性有可能成為加快產(chǎn)品廢棄速度的借口，人們對可回收材料的外觀的認可程度也可能會對產(chǎn)品的銷售產(chǎn)生影響。當“綠色設計”漸漸融入主流產(chǎn)品的設計時，設計師所

62、面對的不只是少數(shù)的“綠色狂熱分子”而是普通消費者。如果設計僅注重功能性，而忽視用戶的審美需求，則無法延長產(chǎn)品壽命。 以人為本的設計思想源于歐洲文藝復興時期的人道主義思想體系。提倡關懷人、重視人、以人為中心的世界觀。對現(xiàn)代的產(chǎn)品設計而言。</p><p>　　以人為本的思想核心指的就是在設計過程中協(xié)調(diào)產(chǎn)品-社會-環(huán)境這三者之間的關系。人類認識和改造自然界，目的就是為了給人類自身創(chuàng)造良好的生存條件和發(fā)展環(huán)境。然而

63、這個簡單的道理，曾一再被模糊和曲解。在過去相當長的時期內(nèi)，人們的各種行為活動都是遵循以科學技術為手段，以征服自然為目的，以物質(zhì)財富的增長為動力的傳統(tǒng)發(fā)展模式，在一定程度上破壞了人類賴以生存的基礎，人們在試極典型的例子，他們的出現(xiàn)滿足了人們的物質(zhì)需求，可帶給人們更多的是情感上的失落和生活環(huán)境的重創(chuàng)。一再被自然警告后，人們開始意識到以人為本的真諦在于對人性的真正關懷人們開始挖掘人與社會與自然的和諧關系。而產(chǎn)品設計中對產(chǎn)品情感化的追求以及

64、對產(chǎn)品人性化的強調(diào)在以人為本的宗旨下順理成章。而人-社會-環(huán)境的和諧關系在產(chǎn)品設計中也可以被理解為人-產(chǎn)品-情感的和諧關系。材料環(huán)保，工藝簡捷，形態(tài)美觀，制作精良的產(chǎn)品才是人們真正從心理上接受的。 </p><p>　　其次，價值觀的強調(diào)也推動了人們對于情感的認知。在過去相當長的一段時期，設計過程被看作是一個藝術過程，藝術家的審美代替了更多人的選擇，往往用戶只能是被動接受。這樣的結(jié)果，使得產(chǎn)品和用戶之間的距離越加

65、疏遠，人們甚至感受不到產(chǎn)品帶來的任何功能以外的享受。人們內(nèi)心的感受也因此變得麻木起來。隨著市場運作方式的改變，用戶的思想更加主動的參與到了設計過程，設計者不再是藝術家，專業(yè)的設計師應當調(diào)和各種設計因素的影響。好的設計追求的是價值觀的認同，思想的共鳴，情感的觸動。設計有關情感的思考也就孕育在價值觀樹立的沃土里。 </p><p>　　另外，設計中對地域性民族文化的保護和發(fā)揚同樣體現(xiàn)了人們對于情感的關注。設計不再追

66、求批量化、標準化所帶來的單一審美，而是趨于多元化的考慮。設計中的情感需求漸漸被意識到是多向的。地域性差別，名族文化的沉積以及習俗、慣例都在設計中得以討論和探究。最終，能體現(xiàn)名族特性和個性的產(chǎn)品才是設計的成功范例。這都是對設計中情感注重的佐證?，F(xiàn)代的產(chǎn)品設計，讓人們意識到產(chǎn)品與人之間的交流關系，設計的重點也放在如何定位用戶對象的情感需求以及如何表達這種情感上，設計中對于情感因素各種形式的考慮也變的比任何時候都更加周全。 </p&g

67、t;<p>　　如果說設計理論的完善意味著人們對于設計的重新思考，那么新的設計類型的誕生則是從實踐出發(fā)的最實際需求及最直接反應的體現(xiàn)。越來越多有關于情感的問題被提到設計的過程中來，于是人因設計、界面設計、交互設計、無障礙設計等等一系列關乎交流和情感的設計思考方式被越來越多地加以重視和研究，并最終應用到設計生產(chǎn)過程中。產(chǎn)品設計與各類心理學、社會學等關乎人性特點研究的學科之間的協(xié)作研究也成為了指導設計的重要組成部分。 <

68、;/p><p>　　結(jié)論：無論是從縱向的產(chǎn)品設計發(fā)展概況來看，還是從橫向的現(xiàn)代產(chǎn)品設計的現(xiàn)狀圖征服自然的同時，往往成為了被自然懲罰的對象。機器大工業(yè)時代的工業(yè)產(chǎn)品就是個及各學科之間的關系來看，情感設計無疑已經(jīng)成為了當下設計中最為熱門的話題之一。人們漸漸意識到產(chǎn)品設計過程中，設計師對產(chǎn)品靈魂的賦予過程是至關重要的。這里的靈魂指的就是產(chǎn)品所表達出的，能與用戶產(chǎn)生交流的情感。換句話說，現(xiàn)代產(chǎn)品設計應當是一種關乎情感的規(guī)劃活

69、動，不再是發(fā)展初期簡單的物質(zhì)造型的過程。它的整個設計過程從一定意義上講就是一個物質(zhì)情感化的過程。當代的設計師們也應當在設計中充分考慮到情感因素的影響，把握情感定位設計出真正能與人溝通的產(chǎn)品。在現(xiàn)代這樣一個物欲橫流、信息更迭迅速的時代里，由于情感上的嚴重缺失感，人們對于情感上滿足感的需求比以往任何一個時期都顯得急迫。設計師將面臨更多的挑戰(zhàn)和責任，設計在很好的滿足功能，為人服務的基礎上，更加被期待的就是情感的回歸。</p>