設(shè)計(jì)外文翻譯--alexander+mcqueen的標(biāo)志性設(shè)計(jì)

1、<p>　　畢業(yè)設(shè)計(jì)(論文)外文資料翻譯</p><p>　　學(xué) 院： 藝術(shù)學(xué)院 </p><p>　　專 業(yè)： 視覺(jué)傳達(dá)專業(yè) </p><p>　　姓 名： </p><p>　　

2、學(xué) 號(hào)： </p><p>　　外文出處： </p><p>　　附 件： 1.外文資料翻譯譯文；2.外文原文。 </p><p>　　附件1：外文資料翻譯譯文</p><p>　　Alexander McQueen

3、的標(biāo)志性設(shè)計(jì)</p><p>　　這個(gè)問(wèn)題，設(shè)計(jì)問(wèn)題提醒我們，“歷代通常認(rèn)為它們存在的特殊條件下超越前一代”（Hobday，博丁頓和Grantham）的動(dòng)蕩和戲劇性的變化。因此，收集的論文涉及范圍廣泛的角度上設(shè)計(jì)一起，保持固有的人類生存條件?；萏芈?jīng)指出，“有孩子出去每天，他成為了他的第一個(gè)對(duì)象時(shí)，該對(duì)象look'd?！币虼?，這些文件圖表對(duì)象和我們內(nèi)心的感覺(jué)和思想的空間物理世界之間的無(wú)縫連接。一起，他們

4、提醒我們，我們首先要對(duì)象，然后對(duì)象使我們的。當(dāng)我們改變世界，它開(kāi)始改變我們。此外，這些文件強(qiáng)調(diào)強(qiáng)大和調(diào)解的影響，設(shè)計(jì)可以幫助塑造人際關(guān)系或社會(huì)凝聚力的形成然后持續(xù)。特雷西貝里斯特倫的紙棚埃里克·吉爾和伯爵哈利·凱斯勒（生產(chǎn)克拉納赫出版社的罰款的的書Canticum canticorum Salomonis）之間的關(guān)系的新光源。凱斯勒的吉爾的同胞Ditchling，工匠，愛(ài)德華·約翰斯頓，早前乘客造成海平面

5、變化，德國(guó)的國(guó)家的視覺(jué)感受力。而愛(ài)德華·約翰斯頓禮貌地橋，中世紀(jì)和現(xiàn)代，埃里克·吉爾在魏瑪偏心抵達(dá)豎起眉毛。在這里，貝里斯特倫的痕跡在凱斯勒不得不調(diào)整自己習(xí)慣的關(guān)系，作為靠山，到現(xiàn)在更故意設(shè)計(jì)的存在，由埃里克·吉爾人</p><p>　　在他們的移情設(shè)計(jì)社會(huì)思想的分析，克里斯蒂娜Lauche，Carolien波斯特馬和彼得月Stappers勾勒了一個(gè)框架，旨在提供一種思維工具，以更好

6、地了解用戶體驗(yàn)設(shè)計(jì)師。馬克·斯蒂恩繼續(xù)通過(guò)這次辯論，爭(zhēng)論，創(chuàng)新往往是推動(dòng)技術(shù)的發(fā)展，而不是用戶的需求和喜好的關(guān)注。Kannengiesser和約翰·格羅進(jìn)一步討論，探索如何在用戶和工件可以互相交流，以創(chuàng)建動(dòng)態(tài)效果。他們?nèi)ド巷@示動(dòng)態(tài)，這樣可以延長(zhǎng)超出了設(shè)計(jì)者的意圖時(shí)，首先構(gòu)思一個(gè)神器。最后，Hobday，Bodd ington和Grantham總結(jié)與概述的方法和理論，設(shè)計(jì)和創(chuàng)新研究的兩桿的T紙。在這方面，他們

7、第一次評(píng)估的來(lái)路，以設(shè)計(jì)作為一種解決問(wèn)題的活動(dòng)。這是由設(shè)計(jì)和復(fù)雜的挑戰(zhàn)，不確定的自然反射。然后，他們研究結(jié)論與現(xiàn)代設(shè)計(jì)遙感和更廣的范圍內(nèi)，以人為本的方法management.Herbert西蒙曾經(jīng)指出：“人類，被視為表現(xiàn)系統(tǒng)，是很簡(jiǎn)單的之間的關(guān)系考慮領(lǐng)先的美國(guó)學(xué)者，有識(shí)之士小號(hào)。隨著時(shí)間的推移，我們的行為是明顯的復(fù)雜性很大程度上反映了我們發(fā)現(xiàn)自己所處的環(huán)境的復(fù)雜性?！霸谶@個(gè)問(wèn)題上的論文，尋求解決這個(gè)問(wèn)題的豐富性和復(fù)雜性，因?yàn)樗ㄟ^(guò)動(dòng)態(tài)關(guān)

8、系</p><p>　　Bruce Brown</p><p>　　Richard Buchanan</p><p>　　Dennis Doordan</p><p>　　Victor Margolin</p><p>　　Alexander McQueen's Iconic Designs</p>

9、<p>　　This issue of Design Issues reminds us that “successive generations</p><p>　　often think they exist under special conditions of turbulence and dramatic change beyond those of previous generatio

10、ns” (Hobday, Boddington and Grantham). Accordingly, the collected papers address a broad range of perspectives on design that, together, remain intrinsic to the human condition. Walt Whitman once </p><p>　　o

11、bserved, “There was a child went forth every day, and the first object he look’d upon, that object he became.” So these papers chart a seamless link between the physical world of objects and our inner spaces of feeling a

12、nd thought. Together, they remind us that we first make objects then objects make us. As we change the world, it begins to change us. Moreover, these papers highlight the powerful and mediating influence that design can

13、have in helping to shape </p><p>　　human relationships or when social cohesion is to be formed then sustained.</p><p>　　Tracy Bergstrom’s paper sheds new light on the relationship between Eric G

14、ill and Count Harry Kessler (for production of the Cranach Press’s fine book Canticum canticorum Salomonis). Kessler’s earlier patronage of Gill’s fellow Ditchling craftsman, Edward Johnston, caused a sea-change to Germa

15、ny’s national visual sensibility. Whereas Edward Johnston politely bridged the mediaeval and the modern, Eric Gill’s eccentric arrival in Weimar raised eyebrows. Here, Bergstrom traces the ways in which Kes</p>&l

16、t;p>　　on a nation’s sensibilities. Though painting remained Sakier’s passion, he relished the idea that his designs could inject the ideals of modernism into domestic objects that, eventually, would find their way int

17、o homes across the nation. Just as Bahar Emgin draws our attention to the ways in which design interventions can revive the lives of undistinguished objects so does Edmundo Morales illustrate how everyday things can be i

18、nvested with the codes of </p><p>　　a social hierarchy. His images of Andean headdresses contain the remnants of Colonial imposition.</p><p>　　In their analysis of social thinking for empathic

19、design, Carolien Postma, Kristina Lauche and Pieter Jan Stappers outline a framework intended to provide designers with a thinking tool to better understand the user experience. Marc Steen continues this debate by arguin

20、g that innovation is often driven by technological developments, rather than by concerns for users’ needs and preferences. Udo Kannengiesser and John Gero further this discussion by exploring the ways in which users and