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1、Kinetic Design and the Animation of Products by Ben Hopson At this point in history, Industrial Design is poised to undergo major evolutionary changes. New technologies, new materials and increasingly sophisticated consumer tastes all demand colossal transformations. Perhaps most exciting among thes

2、e is the development of Kinetic Design which entails the aesthetic design of physical movement. Through this practice, industrial designers will not just create forms, but choreograph those forms' movements through space. Kinetic Design will literally open a new dimension for the aesthetic devel

3、opment of physical objects and the world will be richer for it.At Industrial Design schools around the world, students are being trained to create the objects that fill our lives. Sadly, with few exceptions, today's young designers are walking out into the world with more-or-less the same tool s

4、ets as designers of 60 years ago. One can observe this phenomenon quite readily by perusing the course catalogs of leading design schools such as Art Center College of Design or Pratt Institute. Green initiatives and CAD (computer aided design) related courses comprise the only notable updates to cu

5、rricula around the world. This is astonishingly meager given the rapidly changing nature of the field itself. The addition of Kinetic Design will help broaden curricula in order to stimulate new thinking and new potentials.Companies would never send their ideas off to market without determining what

6、 materials they were to be made of or what color. It follows that Industry should commit this same attention to how their ideas move. The animation of products is at least as important an aesthetic factor as form, color, or material.Most Industrial Design firms and departments consist of individuals

7、 with various combinations of specifically named aesthetic skills: there are designers who can draw, there are designers who can create foam or CAD models, there are designers who can develop color and graphic treatments, etc. Presently, there is no specifically designated class of designers qualifi

8、ed to decide how products move. Kinetic Designers will soon fill this void.It is universally understood that rigorous aesthetic control over all the aspects of an object's development produces more beautiful and pleasing results. Designer Raymond Loewy explained it succinctly saying, "Uglin

9、ess does not sell." Companies would never send their ideas off to market without determining what materials they were to be made of or what color. It follows that Industry should commit this same attention to how their ideas move. The animation of products is at least as important an aesthetic

10、factor as form, color, or material.In order to meet this demand within the profession, design schools will increasingly need to produce graduates who know how their objects should move. Designers are not just form-givers, they are whole object creators and experience designers. By incorporating the

11、creative and experiential notions of Kinetic Design into their vocabulary, designers will produce more exciting, more unified products, which will in turn lead to greater commercial success. Let's consider an example.Designing Movement in 3-Dimensional ObjectsWhen Sony sets out to design a porta

12、ble DVD player, it commits vast resources to making the product look good. It isn't enough that the product function properly, it must also appeal to consumer aesthetic tastes. The form, style, and graphics are all carefully designed with this goal in mind. Yet, when the user presses the "e

13、ject" button, the case cracks open in an astonishingly uninspired way. If a caveman had to design a hinged box, it would open in exactly the same manner as a 2009 Sony DVD player. For all their aesthetic consideration, that's all Sony can muster-a dull hinge. Perhaps the disc enclosure coul

14、d close like a fan, or fold up in some interesting way. Whatever the solution, the DVD player's sophisticated form should be paired with a similarly sophisticated movement.A look backwards to jukeboxes of the 50's, 60's, and 70's reveals a greater aesthetic attention to the loading/u

15、nloading of disks. For a nickel, the consumer not only got to hear her favorite tune, but was treated to a lively piece of mechanical theater as a record was spun, twisted, and loaded.产品的动态设计和动画在历史上的这个时刻，工业设计正经历着重要的渐进的转变。新技术，新材料和越来越多地富有经验的顾客体会着所有需求的巨大转变。也许在这些转变当中，最令人激动的是导致美学设计的物理运动的动态设计的发展。通过这个实践，工业

16、设计师不仅创造形状，还为这些形状设计在空间上的运动。动态设计将为物体的美学发展开辟一个新的维度，并且世界将会因此而变得更加富有。在世界范围的工业设计学校中，学生被培训来创造能够满足我们生活的物体。令人伤心的是，毫无例外地，现今的年轻设计师带着或多或少和60年前得设计师一样的设计工具来进行设计。通过详细考察那些领先的设计学校的课程分类，我们可以很容易地观察到这个现象，比如设计艺术中心学院和普瑞特艺术学院。在全世界，绿色倡议和CAD（计算机辅助设计）相关的课程是唯一的显著的更新。考虑到这个领域本身的快速发展的性质，这真是令人惊奇的贫乏。动态设计的增加将有助于拓宽课程，为了激励新的想法和新的潜力。公

17、司不会再没有决定由什么材料制成或什么颜色的情况下将他们的想法发送到市场。它遵照这样一条规则，即工业应该注意他们的想法是怎么运行的。产品的动画作为一个美学因素至少和外形、颜色及材料一样重要。大多的工业设计公司或者部门由很多个体组成，这些个体是各种各样的特称为美学技术的组合，即既有会画画的设计师，能创造外形或CAD模型的设计师，还有能开发颜色和图表处理的设计师等等。目前还没有明确的指定的设计师分类有资格决定产品是怎么运动的。动态设计将很快地填补这个空隙。人们普遍认为，在一个物体的开发过程中进行严格的美学控制各个方面，能够生产更漂亮更合意的结果。设计师Raymond Loewy 简单解释道：丑陋的东

18、西是不能卖的。公司不会再没有决定由什么材料制成或什么颜色的情况下将他们的想法发送到市场。它遵照这样一条规则，即工业应该注意他们的想法是怎么运行的。产品的动画作为一个美学因素至少和外形、颜色及材料一样重要。为了在同行中满足这个需求，设计学校将越来越多地需要培养知道他们设计的物体是怎样运动的毕业生。设计师不仅仅是形状设计，而是整个物体的创造者和经历设计师。通过将动态设计的创造性和经验性的观念的结合放进设计师得词汇里，他们将会生产出更令人兴奋、更统一的产品，反过来产生更大的商业价值。让我们思考一个例子。设计三维物体的运动。当索尼打算设计一款便携式的DVD播放器时，它依赖于广泛的资源来使产品看起来很好。产品功能适当并不足够，还必须吸引顾客的品位。带着这样的目标，必须认真地设