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

BBC 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 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 been 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 about 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 work 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 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? 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 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. In 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 nature - 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 something 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 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 some 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 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 (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 more 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. Harvey 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 economy 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 especially. 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 road 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. 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, generally, 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 kinetic design. Now, kinetic design is a design language that should 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 Lawson (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 democracy, 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, 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 stuff. 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, 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 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. 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 buying, 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 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 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 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. Michael 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 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 him 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 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 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-skilling. 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-products 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, exploiting 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 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 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 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.Reporter: 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 under the label artist. But 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 Teed. 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 would 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. The modeler makes a master pattern in plaster which will in turn be used to make the production moulds from which the mugs themselves will be made. Every industrially manufactured product, from a paperclip to an Airbus, has to go through this tooling-up process -an act of faith on the par of the manufacturers. Harvey Molotch (Author Where Comes From): Theres a lot of up-front cost with industrial design. The product designers are carrying, in effect, this load with them of a corporation thats going to make the stuff, of factories that are going to produce it, of people who are going to finance it, of marketers who have a strategy to produce it, and unless the designer is attuned to all of those things, it wont happen. So its not a casual activity, and I think designers, good designers, know all that and strive to kind of hit the sweet spot that will satisfy all these diverse elements. Denis Lawson (Narrator): For the industrial product, this is the moment of creation. The chance to get everything right before the production line starts to roll.Julian Teed (Designer): What we have here is Mark modeling directly back into the plaster. As you can see, its a very skilled, detailed and fine job, and hes putting into this mug his soul, its going in there, right now, youre watching it as hes scratching it in, and itll stay there forever. So when you go into the shop and buy a mug for12, that has got a part of Susan, a part of Mark, a part of me, you know, thats the passion of pottery. And pottery is about passion, theres no doubt about it. You know, were making pots out of mud, thats what were doing at the end of the day. Were digging mud out of the ground and were putting it through flames. And to do that with real passion, you need people. You cant do it just with machines. Denis Lawson (Narrator): Mass production complicated ideas about beauty. Show the average romantic poet a Grecian urn, or even one of the imitation urns turned out by the Wedgwood factory, and he would tell you that beauty is truth, truth beauty. But what about the beauty of a bridge made of iron? The Iron Bridge in Coalbrookdale is an early testament to the beauty of the machine-made, and the truth of the mass-produced. The modern age of industrialization was allowed to speak through the Iron Bridge with its own distinctive voice. The Iron Bridge had its origins with another 18th-century entrepreneur, Abraham Darby. Unlike Wedgwood, he worked with molten iron, rather than pliable clay. In the early 18th century, he invented a new way of casting iron, using multiple moulds made out of sticky green sand. The simple brilliance of Darbys method was that once the iron cooled, the moulds could be broken, the product removed, and the sand remoulded from a master pattern.John Challen (Technology Historian Ironbridge): This is all really sort of advanced sandcastle buil