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类型BBC设计天赋解说辞完整版1 The Genius of Design 1 Ghosts in the Machine.doc

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    BBC设计天赋解说辞完整版1 The Genius of Design 1 Ghosts in the Machine.doc
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    1、 1 / 7BBC The genius of design 01Ghosts in the MachineTANNOY: Attention, please. At 1:30, the Smarter Living Showcase is being held in the central feature, with all the latest innovations for saving money and energy for each room in your home. Denis Lawson (Narrator): At the Ideal Home Exhibition in

    2、 London, people come and go, dreaming about new labour-saving devices, new possibilities, new designs for living.Woman&Man: Its a fantastic product. OK, and then you lean on it, and you get your French fries. Denis Lawson (Narrator): Not everything here is a design classic, but everything here has b

    3、een designed to meet a need, fulfil a desire, or simply to raise a cheer at the breakfast table. The people who worry about this kind of stuff are called designers. They worry about stuff, not in general, but in particular - the fine detail of stuff, the stuff we build our lives from. They worry abo

    4、ut it, so that we dont have to. Sam Hecht (Designer): Our mission, our reason to be doing what were doing, is to. make.make a better world for the small things. Bruce Sterling (Author - Shaping Things): OK, theyre not scientists, theyre not engineers. Theyre certainly not writers, but theyre doing w

    5、ork which is extremely critical to the function of our society. I mean, if design has got anything to offer us, it ought to be that our relationship to objects becomes more thoughtful, wiser, deeper, better considered. Philippe Starck (Designer): You can be a plumber or you can be a journalist, you

    6、can be a designer, its exactly the same thing. One clear way for me to deserve to exist, is to serve. Paul Bennett (Design Consulant): You dont think about your toothbrush being designed until you put a badly designed toothbrush in your mouth. Denis Lawson (Narrator): So where does design come from?

    7、 What does it mean to be a designer? What is the special nature, the genius, of this thing that we call design? This series sets out to answer those questions, and along the way, well tell the story of the world that the designers have made for us. Denis Lawson (Narrator): The world can be a hostile

    8、 place for us human beings. But frail and fragile as we are, weve managed to survive it, and even thrive in it, thanks to our innate skills as designers. Starting from the simplest stone axe, weve developed tools of increasing sophistication that offer a handle on the most unpromising environment. I

    9、n fact, our design skills have reached such heights that these days we even manufacture facsimiles of environments which were once all too real and threatening. As for the modern city, the sheer density of design here reaches an almost organic level of complexity. The modern city is a new kind of na

    10、ture - man-made nature. It reflects back an image of ourselves through the things we have designed. But for the designer, the world is not enough. Plans for a new, improved version are always on the drawing board. Harvey Molotch(Author Where Comes From): I think designers always imagine that somethi

    11、ng could be better. That whatever it is now, rethinking, taking advantage of new technologies of production, all of that, I think, drives them on to the idea that theyre making a better mousetrap. This is a standard measuring cup, but the key thing is that its made to be so that you can read it from

    12、 above, and its resting on the table top and its stable. So how many of us, when you put stuff in a liquid, in a measuring cup, you have to then hold it up. And if its a liquid then it gets disturbed and you cant quite tell. And its this kind of thing, by the way, that I love about design, because s

    13、ome of the problems of the world are so difficult to solve, problems of disease, of poverty, my gosh, how we going to solve those problems? And so its inspirational to see somebody actually solve a problem. Its not a huge problem in the world, but at least it was solved.Denis Lawson (Narrator): This

    14、 is Dieter Rams. In a 50-year career, he can claim to have solved his fair share of problems, with products you may well have switched on or washed up at some time or other. If you didnt notice them, Rams would be pleased. “Design,“ says Rams, “should be as discreet as an English butler“.Dieter Rams

    15、 (Designer): What I have in my mind to make the things more quieter. That I always had in my mind.Denis Lawson (Narrator): Rams is in Tokyo to oversee the opening of an exhibition dedicated to a lifetimes work, and, as ever, to make sure things are just so.Dieter Rams (Designer): You see.that is mor

    16、e correct now. Hes also on hand to explain his Ten Commandments, as authoritative and compact as the original. Dieter Rams (Designer): The first, that is “good design is innovative“. The second - “good design makes a product useful“. And, of course, the third is “good design is aesthetic design“. Ha

    17、rvey Molotch (Author Where Comes From): Within the design world, there has long been a controversy of whether a designer is an artist, or the designer is an engineer, or the designer is a servant of the corporate world. For me, the designer is all of those things. Theyve got to worry about the econo

    18、my on the one hand, and art on the other. Theyre the nexus, theyre the bridge, theyre the crossroads. Dieter Rams (Designer): “Good design is honest.“ Honest.Reporter: Whats a dishonest design?Dieter Rams (Designer): Lying. And ten, “good design is as little design as possible.“ Thats what I like es

    19、pecially. Denis Lawson (Narrator): But Rams is only one voice in the world of design. There are other gurus following other commandments. J Mays is Ford Motors global head of design. Oklahoma-born and London based, Mays is ultimately responsible for the look of around 80 million Ford cars on the roa

    20、d today.J Mays (Global Design Chief, Ford): For me, design is nothing more than a communications tool. It is a way to bend the sheet metal in such a way that it communicates the values of the brand and pulls the customers in, makes them reach in their wallet, pull out the money, and pay for the car.

    21、 And design is not an analytical process. Its an emotional process. I say if you look at the customer, go into the customers home, as an example, and you will see who they are. See that same customer driving around in their car, and thats who they want to be. The problem with people movers, generall

    22、y, is that I always think they look as though they smell like diapers. Its essentially a very functional object. So the goal with this vehicle, back in about 2004, when we started designing it, was to introduce a new design language into the Ford of Europe products, and we call that design language

    23、“kinetic design“. Now, kinetic design is a design language that 2 / 7should visually communicate the idea of the vehicle really moving even when its standing still. A lot of people ask me if kinetic design has a function. Yeah, the function of kinetic design is to put a smile on your face.Denis Laws

    24、on (Narrator): However you define it, whether youre from the Church of Rams or the School of Mays, we are now in the position of being able to take good design, more or less, for granted. Well designed, well made and affordable products have become the givens of advanced capitalism, along with democ

    25、racy, wireless internet access and skinny lattes. But good design is the product of a complex, rich history in which the definition of design, and the role and status of the designer, have changed, as the tectonic plates of economics, politics and society have shifted. Capitalism, industrialization,

    26、 mass production, miniaturization, new materials, new technologies, consumerism, globalisation, environmentalism, war and peace, fads and fashion - the designed world has mirrored every move we have made. In fact, the story of design offers an alternative history of the modern world, told through st

    27、uff. And the players in this version of history arent politicians or revolutionaries, artists or philosophers - theyre the cups and chairs, appliances and vehicles, the tools, gadgets and gizmos of everyday life. But before all that, there was this. In the story of design, this is the Garden of Eden

    28、, before industrialization and mass production divided the designing of things from the making of things. Before the Industrial Revolution, this is how stuff got made - by craftsmen and women operating out of small workshops, turning out a limited range of products in small runs. Each piece could be

    29、 made broadly to the same design, but each was a little bit different from its siblings, the result of its own moment of creation, the latest expression of the workshops collective skill.Michael Eden (Potter): Though you may be producing dozens of pieces, theres still an individuality to the pieces.

    30、 So they dont need to be exactly the same, but as long as each one has a bit of a life, has a flavour, I suppose, thats the important thing - that each piece speaks. Michael Eden (Potter): Part of what the client, the customer is looking for is that essential part of the maker, and its what theyre b

    31、uying, really.Its not just the object, its everything thats gone into the making of that piece. Kate Goodwin (Glass Blower): Glass can be a little surprising at times. You think its going to do one thing and it does something slightly differently, and people cant really tell you what is to do, youve

    32、 got to feel it and youve got to be able to do it, so you make an awful lot of mistakes before you get it right. Michael Eden (Potter): I think one of the differences between the handmade pot and the industrial pot is about truth to materials. The clay has a life of its own and so you have to be in

    33、sympathy with it. Kate Goodwin (Glass Blower): As you get more practised at doing different designs then you get neater at them and neater at them. So the first ones we did were quite scruffy, and then they got a bit better. But then they went a bit too neat, so then we had to go back again and just

    34、 try and make them look a little bit more naturalistic. Jonathan Harris (Glass Designer): A design will evolve, both from the concept, through the investigation and development work, but also once we start to make a design, once weve decided on a combination and a formula, the pieces will evolve. Mi

    35、chael Eden (Potter): That ones, I think, the most pleasing so far. Compared to the first of the series, this one is much more generous. I mean its its a different pot, its designed to be far, far more open and generous than the first one, but Im pleased, its got some life, its got a bit of a spring

    36、to it. Its got a couple of air bubbles in it but, hey-ho. Denis Lawson (Narrator): For industrial designers, the hand and eye of the craftsman is both an inspiration and a standard to aspire to. Dieter Rams (Designer): My grandfather, he was a specialist for surface, for pianos, and I learnt from hi

    37、m to polish by hand. And his thumb was like his tool, like a tool, much thicker than mine. He was thinking not in mass products, and that is what we have to think today, too. We have to change mass products into quality products. Denis Lawson (Narrator): But controlling a multi-faceted manufacturing

    38、 process is more challenging than throwing a pot on a wheel. Designing for industry is based on a bold premise - that the craftsmans skills can be replicated by a mechanical system in which machines act like humans, and humans like machines.Bob Casey (Historian, The Henry Ford Museum ): What happens

    39、 in a mass production system is that the craftsmanship is actually transferred from the people who are physically assembling the product back up the chain away from the mass of workers who are actually doing the assembly. And the labour historians actually have a word for it, they call it de-skillin

    40、g. It says were going to take the skill away from the majority of people and were going to invest it in a smaller group of people, who are either designing the systems or making the machinery that the mass of the people are using. Denis Lawson (Narrator): Design was one of the more intriguing by-pro

    41、ducts of the Industrial Revolution, along with consumerism, capitalism, global warming and two-and-a-half centuries of social upheaval. Designs godfathers were the 18th century entrepreneurs, eager to find new ways of making more for less. The Staffordshire potter Josiah Wedgwood led the way, exploi

    42、ting new machine-age production methods, some of which are still in use at the Wedgwood factory today. But keeping the customer satisfied also meant seizing on the latest management thinking about ways to organise, train and exploit workers. Central to the new thinking was the idea of the “division

    43、of labour“. The Portland Vase, one of Wedgwoods most celebrated technical achievements, is still made today using the same system. Craftswoman: Im a prestige figure maker. Figure maker? Yeah. 27 years, yeah, straight from school at 15. Ive filled the plaster mould with clay, and now Im just going to

    44、 scrape the excess clay off so that you end up with just the figure in the mould. Right. When I finally get the figure out, it goes to the ornamenter to be ornamented. Man: So someone else puts the figure on the vase? Craftswoman: Yeah, the ornamenter. The trickiest part is when Im actually getting

    45、the figure out, some people call the tool I actually use a spatula, but to all the girls whove ever done this job, this is a waddler. A waddley? A waddler. Because we waddle like a duck. Theres 18 figures on the Portland Vase, and these are the same figures, I think, from when Josiah started.Reporte

    46、r: Youre on first name terms with Josiah, are you? Craftswoman: Of course, Ive earned it, 27 years. Denis Lawson (Narrator): One of the other specializations created by the division of labour was the individual who would one day become known as “the designer“, but who in Wedgwoods day usually went u

    47、nder the label “artist“. 3 / 7But whatever they were called, in the new era of industrial production, they were the ones responsible for creating the original designs from which all subsequent copies would be made. Today, at the Portmeirion Pottery in Stoke-on-Trent, the chief designer is Julian Tee

    48、d. He learned much of his craft from the late Susan William-Ellis, Portmeirions owner, designer and enduring inspiration. Julian Teed (Designer): She would spend hours and hours drawing. She would go to bed with a sketchbook. This is an example of the sketchbook. She was a prolific sketcher. She wou

    49、ld sit up all night drawing. No need for computers with Susan, I can tell you. And then Id come into work the next day and shed say, “Julian, come and have breakfast with me“. And wed go through and sit out in the garden, especially in the summer, fantastic. I mean such an experience for me, and shed show me all these drawings that shed done at, like, 3am. Denis Lawson (Narrator): Julian is working with modeller Mark Castry to create a commemorative mug based on one of Susans original designs from the 1960s

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