畢業(yè)論文外文資料翻譯---信息時代的工業(yè)設計

1、<p>　　畢業(yè)論文外文資料翻譯</p><p>　　題 目 交互式設計： </p><p>　　信息時代的工業(yè)設計 </p><p>　　學 院 </p><p>　　專 業(yè)

2、 </p><p>　　班 級 </p><p>　　學 生 </p><p>　　學 號 </p><p>　　指導教師

3、 </p><p>　　二〇一〇年三月二十三日</p><p>　　INTERACTION DESIGN: </p><p>　　Industrial Design in the Information Age </p><p>　　Elaine Ann </p><p>　　Director

4、, Kaizor Innovation </p><p>　　Abstract: This paper introduces a newly developed discipline in the U.S. and Europe: Interaction Design. As we enter the Information Age, products are n

5、o longer only electrical and </p><p>　　mechanical, but also include computing and networked capability. Designing products highly </p><p>　　interactive in nature becomes much more comp

6、lex than before going beyond the traditional realm </p><p>　　of Industrial Design. Moreover, the fundamental definition of "a product" is being challenged and </p><p>　　requires a fund

7、amental shift in thinking as well as new work methods. How people interact with </p><p>　　products, systems or environments and its social and cultural impact is what Interaction Design is </p><

8、p>　　concerned about. </p><p>　　Keywords: </p><p>　　Interaction design, user experience, networked products, interdisciplinary, industrial design. </p><p>　　1 Introduction <

9、;/p><p>　　Traditional products are mechanical and electrical like toasters, shavers, walkmans etc. With </p><p>　　today's increased computing power, miniaturized chips and the advent of the In

10、ternet, this </p><p>　　drastically alters the meaning of traditional products. Industrial Design has always dealt with how </p><p>　　people interact with things, designing for a product's fo

11、rm factor, ergonomics, psychonomics etc. </p><p>　　Computing and networked products introduces a new dimension of interactivity beyond with its </p><p>　　physical form, but extends to the digita

12、l arena. Now that most products are embedded computing </p><p>　　with complex interaction, what should industrial designers design in the information and digital </p><p>　　age? How should indust

13、rial designers innovate for these new breeds of products? </p><p>　　2 Product nature redefined in the Information Age </p><p>　　2.1 Products are software driven </p><p>　　Traditio

14、nal products are mainly physical in nature and design constrains are governed by </p><p>　　principles of physics and mechanics. Today, many products are in fact microcomputers in </p><p>　　disg

15、uise with computing capability storing more than 40GBs of digital information and ever </p><p>　　increasing processing speed. Products become hybrid in nature with both hardware and </p><p>　　s

16、oftware components. For example: traditional walkmans have evolved into digital MP3 music </p><p>　　players, mechanical cameras into digital cameras, cordless phones into cellular phones etc. </p><

17、;p>　　What defines a product is not so much dependent on the hardware when a products' function </p><p>　　resides more in its software capability. (Figure 1) </p><p>　　2.2 Products are ne

18、tworked </p><p>　　Moreover, with the advent of the Internet, products can be networked and digital information </p><p>　　stored in products can be transferred and shared. Examples of such are se

19、nding SMS messages </p><p>　　between cellular phones, syncing contact information from a PDA to the desktop computer and </p><p>　　downloading music from the web to an MP3 player. Products are n

20、o longer standalone objects </p><p>　　but systems of highly dependent interacting components. As one of the prominent industrial </p><p>　　design events in the U.S. IDSA DesignAbout: Interactive

21、 Edges summarizes: "We can no longer </p><p>　　think about products as isolated objects that are designed, produced and inserted into people's </p><p>　　lives, nor can we think about pr

22、oducts consisting of hardware design and software design. </p><p>　　Hardware and software need to become one, and products need to be thought of as part of a </p><p>　　bigger system of objects a

23、nd spaces." [1] </p><p>　　3 What is Interaction Design? </p><p>　　The field of Interaction Design is at its early infancy and has only been around for the past </p><p>　　decade

24、 or so. Since the birth of computing, designing computing systems has mainly been the </p><p>　　role of software engineers. Parallel to the field of architecture, civil engineers focus on designing </p&

25、gt;<p>　　the structure of the building while architects design how people live within that structure; in the </p><p>　　world of computing, software engineers ensures the robustness of the software whi

26、le interaction </p><p>　　designers design how people interact with computing systems and products, </p><p>　　The concept of computers used to be desktop computing, however as technology advances

27、, </p><p>　　computers evolve beyond the desktop PC and permeates into every aspect of our lives. </p><p>　　Computers take the shape and form of everyday consumer electronic appliances such as MP

28、3 </p><p>　　players, car navigation systems to internet fridges. Thus the notion of designing for computer </p><p>　　screen "interfaces" is no longer adequate. This is where Interactio

29、n Design crosses over to the </p><p>　　field of Industrial Design. The term "Interaction" was originally coined by Bill Morridge, founder of </p><p>　　IDEO and it describes the design

30、 of the behavior of products, its task flow and structure of </p><p>　　information, making technology usable, understandable and pleasant for people to use. As Irene </p><p>　　McAra-McWilliam,

31、a forerunner of the interaction design field describes, "Interaction designers </p><p>　　have to understand people, how they experience things, how they themselves interact, and how </p><p>

32、;　　they learn." [2] </p><p>　　4 Relationship between Industrial Design and Interaction Design </p><p>　　As products nature evolves, so does the role of its creators. Industrial designers&#

33、39; role in product </p><p>　　development has been designing the form factor and ergonomics of objects. A design project </p><p>　　usually starts with a design brief of mechanisms and electronic

34、s required of the product design. </p><p>　　And the industrial designer generates different physical form factors and styles suitable for the </p><p>　　user and target market. </p><p&

35、gt;　　Much of this is changing with the emerging new types of hybrid-networked products. First, with </p><p>　　software as an integral part of the products' user experience, industrial designers can no lo

36、nger </p><p>　　design the hardware independent of the software experience. A button pushed on the hardware </p><p>　　can trigger a screen display and without close integration between hardware a

37、nd software design, </p><p>　　the user's experience will be a frustrating one. Secondly, skills required of designers today are </p><p>　　beyond form making. The challenge that many corporat

38、ions are facing is not what technology can </p><p>　　do, but what technology should do. Designers' creativity can be expanded to more strategic roles </p><p>　　in redefining what these new p

39、roduct typologies should be and envision how people should </p><p>　　experience them. </p><p>　　A well illustrated example that Industrial Designers cannot design a product separately from its &

40、lt;/p><p>　　interface and context of use is the public kiosks at the Amsterdam Airport (Figure 2). The kiosk </p><p>　　allows travelers at the airport to write email as well as access Internet info

41、rmation. It is composed </p><p>　　of two parts, a touch screen input interface at waist level and a large public screen above the </p><p>　　head. Such design did not consider the privacy aspect

42、of the email activity as information entered </p><p>　　on the small screen also projects to the public on the large screen above. A touch screen </p><p>　　interface for entering email is also ve

43、ry cumbersome as the screen calibration of the virtual </p><p>　　keyboard misaligns and allows for errors in typing. </p><p>　　5 New Ways of Thinking and Working </p><p>　　A paradig

44、m shift of product nature requires new ways of thinking and working. Software driven </p><p>　　and networked products adds complexity to product development and the old way of assigning </p><p>

45、　　software functions to hard buttons after a product's physical form is complete will guarantee an </p><p>　　incoherent experience. Industrial designers need to consider the user experience as a whole &l

46、t;/p><p>　　beyond a product's physical form. In addition, industrial designers also need to think beyond </p><p>　　designing standalone objects and consider systems of interdependent products.

47、 </p><p>　　To innovate for new products, Industrial Designers need to consider shifting the focus of </p><p>　　designing aesthetically pleasing objects to first understanding people's behavi

48、ors and needs. By </p><p>　　adopting a designer-researcher role to uncovering these latent needs can designers be inspired </p><p>　　to innovate based on experiences with real people. </p>

49、<p>　　With added complexity to products, it is necessary for industrial designers to break away from the </p><p>　　traditional notion of designing for hardware products and cross boundaries to work wi

50、th </p><p>　　interdisciplinary teams of interaction designers, software engineers etc. This can help ensure a </p><p>　　more coherent user experience integrating hardware, software and distribut

51、ed systems design. . </p><p>　　References </p><p>　　[1] Schmidt, A. "DesignAbout: Interactive Edges." Innovation, Spring 2001 </p><p>　　[2] Walker, A. "Interactio

52、n, introspection and experience: New Signposts for design." BluePrint, </p><p>　　August 2001 </p><p>　　[3] Norman, D. The Invisible Computer: Why Good Products Can Fail, the Persona

53、l Computer Is </p><p>　　So Complex, and Information Appliances Are the Solution. MIT Press (reprint), 1999. </p><p>　　[4] Preece, Rogers, Sharp. Interaction Design: beyond human-computer intera

54、ction. John Wiley </p><p>　　and Sons Inc., 2002 </p><p>　　[5] Alben, L. "At the Heart of Interaction Design." Design Management Journal, Summer 1997. </p><p>　　[6] Alben,

55、L. "Quality of Experience: Defining the Criteria for Effective Interaction Design." </p><p>　　Interactions, May 1996. </p><p>　　Journal of American Chemical Society, 2006, 128(7): 2421

56、-2425.</p><p>　　交互式設計：信息時代的工業(yè)設計</p><p><b>　　安綺麗</b></p><p><b>　　高介原創(chuàng)董事長</b></p><p>　　摘 要 這篇論文介紹的是發(fā)端于歐美的一種新的設計學科：交互式設計。當我們進入信息時代，產(chǎn)品不再僅僅囿于電子產(chǎn)品和機

57、械制品，還包括計算機和網(wǎng)絡設計。自然界中高度交互式的產(chǎn)品設計要比以前傳統(tǒng)的工業(yè)設計形式復雜得多。此外，“產(chǎn)品”的基本定義正在接受挑戰(zhàn)，而且這種定義需要根本性的改變，已形成一種新的設計方式。交互設計所關(guān)注的是人是怎樣與產(chǎn)品、系統(tǒng)、環(huán)境以及社會文化因素相互影響的。</p><p>　　關(guān)鍵詞 交互設計、用戶體驗、網(wǎng)絡產(chǎn)品、跨學科、工業(yè)設計</p><p><b>　　1 簡介&l

58、t;/b></p><p>　　傳統(tǒng)的產(chǎn)品都是像烤面包機、剃須刀、隨身聽等的機械電子產(chǎn)品。隨著今天計算機技術(shù)能力的提升，微型芯片和網(wǎng)絡的出現(xiàn)，傳統(tǒng)產(chǎn)品的概念已經(jīng)改變了。工業(yè)設計始終在解決著人與事物之間的交互方式問題，為產(chǎn)品的形式因素、人機工程學、心理規(guī)律學等而設計。計算機網(wǎng)絡產(chǎn)品引入了一種新的交互方式，這種方式超越了產(chǎn)品的外形設計而延伸到數(shù)字設計領(lǐng)域。如今大多數(shù)產(chǎn)品都通過復雜的交互設計嵌入了計算機技術(shù)，那么

59、在這個信息和數(shù)字時代工業(yè)設計師們該設計什么呢？面對這些新的衍生產(chǎn)品工業(yè)設計師們又該怎樣去創(chuàng)新呢？</p><p>　　產(chǎn)品的本質(zhì)在信息時代得以重新闡釋</p><p>　　2.1 產(chǎn)品由軟件驅(qū)動</p><p>　　傳統(tǒng)的產(chǎn)品本質(zhì)上是物理性的，而且設計受到物理規(guī)律和機械規(guī)律的限制。如今，許多產(chǎn)品實際上就是微型電腦，其中隱藏著很強的計算能力，如可以儲存超過40GB的

60、數(shù)字信息，甚至能夠提高處理速度。產(chǎn)品在本質(zhì)上成為了既包括軟件又包括硬件的混合體。例如：傳統(tǒng)的隨身聽演變成了MP3，機械照相機演變成了數(shù)碼照相機，無線電話演變成了手機等等。當一個產(chǎn)品的功能更多地依賴于軟件能力時，那么對于產(chǎn)品的定義就不僅僅取決于硬件了。</p><p>　　2.2 產(chǎn)品具有網(wǎng)絡性質(zhì)</p><p>　　再者，隨著網(wǎng)絡的出現(xiàn)，產(chǎn)品可以聯(lián)網(wǎng)而且存儲在產(chǎn)品中的數(shù)字信息得以轉(zhuǎn)換并

61、且分享。例如：手機之間發(fā)送短信息，從個人數(shù)字設備到桌上電腦同步傳輸信息，以及從網(wǎng)絡上下載音樂到MP3。產(chǎn)品不再是獨立的物體，而是各個部分相互深刻影響的系統(tǒng)。作為美國杰出的工業(yè)設計項目之一，交互邊緣總結(jié)：我們不再把產(chǎn)品看作是設計、生產(chǎn)并嵌入到人們生活的獨立的物體，而是將其看作是硬件設計和軟件設計的綜合。硬件和軟件需要形成統(tǒng)一體，并且我們應該將產(chǎn)品視為物體和空間這一更大系統(tǒng)的一部分。</p><p>　　交互式設計是

62、什么 </p><p>　　交互設計領(lǐng)域仍然處于哺乳期，僅僅發(fā)展了大概十年左右。由于計算機技術(shù)的誕生，計算機設計系統(tǒng)已經(jīng)成為了軟件工程的主角。與建筑領(lǐng)域類似，土木工程師主要設計建筑的結(jié)構(gòu)，而建筑師主要設計人們在這種結(jié)構(gòu)下的生活方式；在計算機技術(shù)的世界里，軟件工程師確保軟件的可用性，而交互設計師設計人們與計算機系統(tǒng)產(chǎn)品之間的交互方式。</p><p>　　過去，計算機的

63、概念就是臺式電腦，然而隨著技術(shù)的進步，計算機發(fā)生了演變，它已經(jīng)不僅指個人臺式電腦而是滲入到了我們生活的方方面面。消費者的日常電子用品，例如：MP3，汽車導航系統(tǒng)以及可聯(lián)網(wǎng)的電冰箱，都是計算機在日常生活中所表現(xiàn)出來的形式。這樣只為計算機屏幕“界面”而設計的概念已不再足夠了。就這一點而言，交互設計跨越了工業(yè)設計的領(lǐng)域?！敖换ァ边@個詞最初由ＩＤＥＯ的創(chuàng)始人比爾·莫里扎創(chuàng)造，它是用來描述產(chǎn)品的行為設計、任務流和信息結(jié)構(gòu)的，它使技術(shù)得以

64、應用、理解并且讓人們快樂地使用使用它們。一名交互設計領(lǐng)域的先驅(qū)艾琳·麥卡拉-麥克威廉說：“交互設計師必須要理解人，理解人們做事、交流、學習的方式?！?lt;/p><p>　　4. 工業(yè)設計和交互式設計的關(guān)系</p><p>　　隨著產(chǎn)品性質(zhì)的演變，產(chǎn)品制造者的角色也在發(fā)生著變化。在產(chǎn)品的發(fā)展過程中，工業(yè)設計師一直在設計物品的外形極其人機設計。一個設計項目通常開始于產(chǎn)品設計中所需的簡單

65、的機械和電子裝置的設計。并且由工業(yè)設計師設計出不同的外形和風格以適應于用戶和目標市場。</p><p>　　隨著新形式混合型網(wǎng)絡產(chǎn)品的出現(xiàn)，這種情況也在發(fā)生著變化。首先，由于軟件成為了產(chǎn)品用戶體驗不可或缺的一部分，工業(yè)設計師就不能夠不考慮軟件的體驗而單獨設計硬件了。硬件上的一個按鈕可以激活屏顯，并且如果硬件和軟件之間沒有緊密結(jié)合起來的話，用戶在體驗上將會失望。第二，今天設計師所需的技能不僅僅是外形設計。許多公司正

66、在面臨的挑戰(zhàn)不是技術(shù)能夠做什么而是技術(shù)應該做什么。在重新定義這些新的產(chǎn)品類型學應該是什么和設想人們應該怎樣體驗它們這方面，設計師的創(chuàng)造力可以拓展到更多的戰(zhàn)略角色上。</p><p>　　工業(yè)設計師設計一個產(chǎn)品不能夠?qū)⑵浣缑婧褪褂铆h(huán)境分離開來，一個很好的例子就是：阿姆斯特丹機場的公用電話亭。這個電話亭可以發(fā)郵件還可以上網(wǎng)。它由兩個部分組成，一個是在腰部位置的輸入界面觸摸屏，一個是在頭部的大的公共顯示屏。這樣的設計就

67、沒有考慮到郵件隱私方面的問題，當郵件進入到小的屏幕中是也會在上面的大屏幕中顯示出來。由于虛擬的鍵盤不準確并且可能有錯誤的輸入，因此用一個觸摸屏界面來接受郵件也是非常笨重的。</p><p>　　5.思維與創(chuàng)作的新形式</p><p>　　一個產(chǎn)品本性的典型變化需要新形式的思維與創(chuàng)造。軟件驅(qū)動的并且聯(lián)網(wǎng)的產(chǎn)品使得產(chǎn)品的發(fā)展更具復雜性，而且當產(chǎn)品外觀設計完整之后，將軟件功能分配給硬件按鈕的老方

68、法將不能保證一個合理的操作體驗。工業(yè)設計師應該把用戶體驗作為一個整體來考慮，而不是僅僅考慮產(chǎn)品的外觀設計。另外，工業(yè)設計師也應該跨越獨立物體設計的思維，轉(zhuǎn)而考慮相互依賴的產(chǎn)品系統(tǒng)的設計。</p><p>　　對于新產(chǎn)品的創(chuàng)新，工業(yè)設計師考慮的重點應該從集中于產(chǎn)品外觀設計轉(zhuǎn)變到首先考慮人們的行為和需求。依靠采取設計師-研究者的角色去揭開這些潛在的需求可以鼓舞設計師們在人們真實體驗的基礎(chǔ)上去創(chuàng)新。</p>

69、<p>　　隨著產(chǎn)品復雜性的增加，對于工業(yè)設計師來說突破只為硬件產(chǎn)品而設計的傳統(tǒng)觀念是必要的，并且跨越國界組成一個交互設計師、軟件工程師等的團隊來一起工作也是必要的。這樣可以確保產(chǎn)生一個融硬件、軟件及分布式系統(tǒng)設計于一體的更加合理的用戶體驗式設計。</p><p><b>　　參考文獻：</b></p><p>　　施密特，A.“設計雜談：交互邊緣” 創(chuàng)

70、新，2001年4月</p><p>　　沃克，A.“交互，反映與體驗：設計的新招牌” 藍圖，2001年8月</p><p>　　諾曼，D.《隱形電腦：為什么好的產(chǎn)品會失敗，個人電腦是如此的復雜？信息家電才是解決方法》 麻省理工學院出版社（再版），1999年</p><p>　　普瑞斯，羅杰斯和夏普 《交互式設計：超越人機交互》約翰威利和父子公司，2002年</