畢業(yè)論文外文資料翻譯---信息時(shí)代的工業(yè)設(shè)計(jì)

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

2、 </p><p>　　班 級(jí) </p><p>　　學(xué) 生 </p><p>　　學(xué) 號(hào) </p><p>　　指導(dǎo)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(shè)計(jì)：信息時(shí)代的工業(yè)設(shè)計(jì)</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(shè)計(jì)學(xué)科：交互式設(shè)計(jì)。當(dāng)我們進(jìn)入信息時(shí)代，產(chǎn)品不再僅僅囿于電子產(chǎn)品和機(jī)

57、械制品，還包括計(jì)算機(jī)和網(wǎng)絡(luò)設(shè)計(jì)。自然界中高度交互式的產(chǎn)品設(shè)計(jì)要比以前傳統(tǒng)的工業(yè)設(shè)計(jì)形式復(fù)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(shè)計(jì)方式。交互設(shè)計(jì)所關(guān)注的是人是怎樣與產(chǎn)品、系統(tǒng)、環(huán)境以及社會(huì)文化因素相互影響的。</p><p>　　關(guān)鍵詞 交互設(shè)計(jì)、用戶體驗(yàn)、網(wǎng)絡(luò)產(chǎn)品、跨學(xué)科、工業(yè)設(shè)計(jì)</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(jī)、剃須刀、隨身聽等的機(jī)械電子產(chǎn)品。隨著今天計(jì)算機(jī)技術(shù)能力的提升，微型芯片和網(wǎng)絡(luò)的出現(xiàn)，傳統(tǒng)產(chǎn)品的概念已經(jīng)改變了。工業(yè)設(shè)計(jì)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(jī)工程學(xué)、心理規(guī)律學(xué)等而設(shè)計(jì)。計(jì)算機(jī)網(wǎng)絡(luò)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(shè)計(jì)而延伸到數(shù)字設(shè)計(jì)領(lǐng)域。如今大多數(shù)產(chǎn)品都通過復(fù)雜的交互設(shè)計(jì)嵌入了計(jì)算機(jī)技術(shù)，那么

59、在這個(gè)信息和數(shù)字時(shí)代工業(yè)設(shè)計(jì)師們?cè)撛O(shè)計(jì)什么呢？面對(duì)這些新的衍生產(chǎn)品工業(yè)設(shè)計(jì)師們又該怎樣去創(chuàng)新呢？</p><p>　　產(chǎn)品的本質(zhì)在信息時(shí)代得以重新闡釋</p><p>　　2.1 產(chǎn)品由軟件驅(qū)動(dòng)</p><p>　　傳統(tǒng)的產(chǎn)品本質(zhì)上是物理性的，而且設(shè)計(jì)受到物理規(guī)律和機(jī)械規(guī)律的限制。如今，許多產(chǎn)品實(shí)際上就是微型電腦，其中隱藏著很強(qiáng)的計(jì)算能力，如可以儲(chǔ)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(jī)械照相機(jī)演變成了數(shù)碼照相機(jī)，無線電話演變成了手機(jī)等等。當(dāng)一個(gè)產(chǎn)品的功能更多地依賴于軟件能力時(shí)，那么對(duì)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(luò)性質(zhì)</p><p>　　再者，隨著網(wǎng)絡(luò)的出現(xiàn)，產(chǎn)品可以聯(lián)網(wǎng)而且存儲(chǔ)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(jī)之間發(fā)送短信息，從個(gè)人數(shù)字設(shè)備到桌上電腦同步傳輸信息，以及從網(wǎng)絡(luò)上下載音樂到MP3。產(chǎn)品不再是獨(dú)立的物體，而是各個(gè)部分相互深刻影響的系統(tǒng)。作為美國杰出的工業(yè)設(shè)計(jì)項(xiàng)目之一，交互邊緣總結(jié)：我們不再把產(chǎn)品看作是設(shè)計(jì)、生產(chǎn)并嵌入到人們生活的獨(dú)立的物體，而是將其看作是硬件設(shè)計(jì)和軟件設(shè)計(jì)的綜合。硬件和軟件需要形成統(tǒng)一體，并且我們應(yīng)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(shè)計(jì)是

62、什么 </p><p>　　交互設(shè)計(jì)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(jì)算機(jī)技術(shù)的誕生，計(jì)算機(jī)設(shè)計(jì)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(shè)計(jì)建筑的結(jié)構(gòu)，而建筑師主要設(shè)計(jì)人們?cè)谶@種結(jié)構(gòu)下的生活方式；在計(jì)算機(jī)技術(shù)的世界里，軟件工程師確保軟件的可用性，而交互設(shè)計(jì)師設(shè)計(jì)人們與計(jì)算機(jī)系統(tǒng)產(chǎn)品之間的交互方式。</p><p>　　過去，計(jì)算機(jī)的

63、概念就是臺(tái)式電腦，然而隨著技術(shù)的進(jìn)步，計(jì)算機(jī)發(fā)生了演變，它已經(jīng)不僅指?jìng)€(gè)人臺(tái)式電腦而是滲入到了我們生活的方方面面。消費(fèi)者的日常電子用品，例如：MP3，汽車導(dǎo)航系統(tǒng)以及可聯(lián)網(wǎng)的電冰箱，都是計(jì)算機(jī)在日常生活中所表現(xiàn)出來的形式。這樣只為計(jì)算機(jī)屏幕“界面”而設(shè)計(jì)的概念已不再足夠了。就這一點(diǎn)而言，交互設(shè)計(jì)跨越了工業(yè)設(shè)計(jì)的領(lǐng)域?！敖换ァ边@個(gè)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(shè)計(jì)、任務(wù)流和信息結(jié)構(gòu)的，它使技術(shù)得以

64、應(yīng)用、理解并且讓人們快樂地使用使用它們。一名交互設(shè)計(jì)領(lǐng)域的先驅(qū)艾琳·麥卡拉-麥克威廉說：“交互設(shè)計(jì)師必須要理解人，理解人們做事、交流、學(xué)習(xí)的方式。”</p><p>　　4. 工業(yè)設(shè)計(jì)和交互式設(shè)計(jì)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(shè)計(jì)師一直在設(shè)計(jì)物品的外形極其人機(jī)設(shè)計(jì)。一個(gè)設(shè)計(jì)項(xiàng)目通常開始于產(chǎn)品設(shè)計(jì)中所需的簡單

65、的機(jī)械和電子裝置的設(shè)計(jì)。并且由工業(yè)設(shè)計(jì)師設(shè)計(jì)出不同的外形和風(fēng)格以適應(yīng)于用戶和目標(biāo)市場(chǎng)。</p><p>　　隨著新形式混合型網(wǎng)絡(luò)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(yàn)不可或缺的一部分，工業(yè)設(shè)計(jì)師就不能夠不考慮軟件的體驗(yàn)而單獨(dú)設(shè)計(jì)硬件了。硬件上的一個(gè)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(yàn)上將會(huì)失望。第二，今天設(shè)計(jì)師所需的技能不僅僅是外形設(shè)計(jì)。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(yīng)該做什么。在重新定義這些新的產(chǎn)品類型學(xué)應(yīng)該是什么和設(shè)想人們應(yīng)該怎樣體驗(yàn)它們這方面，設(shè)計(jì)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(shè)計(jì)師設(shè)計(jì)一個(gè)產(chǎn)品不能夠?qū)⑵浣缑婧褪褂铆h(huán)境分離開來，一個(gè)很好的例子就是：阿姆斯特丹機(jī)場(chǎng)的公用電話亭。這個(gè)電話亭可以發(fā)郵件還可以上網(wǎng)。它由兩個(gè)部分組成，一個(gè)是在腰部位置的輸入界面觸摸屏，一個(gè)是在頭部的大的公共顯示屏。這樣的設(shè)計(jì)就

67、沒有考慮到郵件隱私方面的問題，當(dāng)郵件進(jìn)入到小的屏幕中是也會(huì)在上面的大屏幕中顯示出來。由于虛擬的鍵盤不準(zhǔn)確并且可能有錯(cuò)誤的輸入，因此用一個(gè)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(gè)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(dòng)的并且聯(lián)網(wǎng)的產(chǎn)品使得產(chǎn)品的發(fā)展更具復(fù)雜性，而且當(dāng)產(chǎn)品外觀設(shè)計(jì)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(gè)合理的操作體驗(yàn)。工業(yè)設(shè)計(jì)師應(yīng)該把用戶體驗(yàn)作為一個(gè)整體來考慮，而不是僅僅考慮產(chǎn)品的外觀設(shè)計(jì)。另外，工業(yè)設(shè)計(jì)師也應(yīng)該跨越獨(dú)立物體設(shè)計(jì)的思維，轉(zhuǎn)而考慮相互依賴的產(chǎn)品系統(tǒng)的設(shè)計(jì)。</p><p>　　對(duì)于新產(chǎn)品的創(chuàng)新，工業(yè)設(shè)計(jì)師考慮的重點(diǎn)應(yīng)該從集中于產(chǎn)品外觀設(shè)計(jì)轉(zhuǎn)變到首先考慮人們的行為和需求。依靠采取設(shè)計(jì)師-研究者的角色去揭開這些潛在的需求可以鼓舞設(shè)計(jì)師們?cè)谌藗冋鎸?shí)體驗(yàn)的基礎(chǔ)上去創(chuàng)新。</p>

69、<p>　　隨著產(chǎn)品復(fù)雜性的增加，對(duì)于工業(yè)設(shè)計(jì)師來說突破只為硬件產(chǎn)品而設(shè)計(jì)的傳統(tǒng)觀念是必要的，并且跨越國界組成一個(gè)交互設(shè)計(jì)師、軟件工程師等的團(tuán)隊(duì)來一起工作也是必要的。這樣可以確保產(chǎn)生一個(gè)融硬件、軟件及分布式系統(tǒng)設(shè)計(jì)于一體的更加合理的用戶體驗(yàn)式設(shè)計(jì)。</p><p><b>　　參考文獻(xiàn)：</b></p><p>　　施密特，A.“設(shè)計(jì)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(yàn)：設(shè)計(jì)的新招牌” 藍(lán)圖，2001年8月</p><p>　　諾曼，D.《隱形電腦：為什么好的產(chǎn)品會(huì)失敗，個(gè)人電腦是如此的復(fù)雜？信息家電才是解決方法》 麻省理工學(xué)院出版社（再版），1999年</p><p>　　普瑞斯，羅杰斯和夏普 《交互式設(shè)計(jì)：超越人機(jī)交互》約翰威利和父子公司，2002年</