一切都很顺利,直到竞争开始升温。1968年,他一度创作了一个巨型版本。他说,这个巨型版本在一家商店里展出时,曾经把一个小孩撞到不省人事。理查德·隆克莱因(Richard Loncraine)是一位英国演员和导演,受过雕塑训练。他制作了一个铬合金版的牛顿摆。这种设计方案成本更低廉,最终将普雷柏的公司逼入倒闭的境地。后来,普雷柏作为一名配音演员,在职业生涯中取得了光辉的成就。他的专长是有声读物(他录制了大约600部有声读物)。普雷柏现居曼哈顿。
“I always remember people saying, ‘What’s it for?’ ” he recalled, adding that his stock response was: “If you have to ask, it’s not for you.” Newton’s Cradle was never intended for offices, he said. Its status as an executive toy simply evolved.
“我记得,总是有人跟我说,‘这东西有什么用?’”他回忆道,然后表示,他的标准答案是,“如果你还得问这个问题,那就说明它不适合你。”他说,牛顿摆从来不是为办公室的人准备的,它作为办公室玩具的定位只不过是后来慢慢演化出来的。
And yet the time was ripe for artifacts that gave personality to a workplace. The design curator Donald Albrecht, who organized an exhibition in 2000 called “On the Job: Design and the American Office” at the National Building Museum in Washington, pointed out that Newton’s Cradle was finding an audience around the same time (1971) that the designer Alexander Girard was creating Environmental Enrichment textiles to enliven Herman Miller’s latest office cubicle system.
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