不过,用个性化的工艺品来装点办公室的时机已经成熟。设计策展人唐纳德·阿尔布雷希特(Donald Albrecht)曾于2000年在华盛顿国家建筑博物馆(National Building Museum)举办了一场展览,名为“在职场:设计与美国办公室”。他指出,牛顿摆寻找受众的时间与设计师亚历山大·吉拉德(Alexander Girard)创作Environmental Enrichment系列纺织品的时间(1971年)差不多。Environmental Enrichment的创作宗旨,是为了给家居公司赫曼米勒(Herman Miller)的最新办公隔间系统注入活力。
For Mr. Albrecht, executive toys are “aspirational,” as he put it — less tools for provoking creativity than foghorns of identity and status in a sea of corporate homogeneity.
用阿尔布雷希特的话来说,办公室玩具在他的眼里很“励志”——与其说它们是激发创造力的工具,不如说它们是我们在企业同质化的海洋中彰显自身身份和地位的雾号(雾号是指,为警告雾中航行的船只而鸣的号角——译注)。
But if the ’60s introduced nonconformity to the office, later efforts weren’t always judged as benign. A 1971 segment of the British television show “Tomorrow’s World” featured James Burke contemplating desktop diversions like kinetic sculpture and a motorized drink holder on the executive floor of the BBC. “What is a lonely, redundant human being to do all day,” he mused, “while the computer’s doing the work downstairs?”
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