Apple does not solely follow the German functional style of industrial design. It also draws on amore exuberant US tradition, reaching back to mid-century designers such as Raymond Loewyand Harley Earl — the man who fitted fins to Cadillacs — in the colourful versions of iPods andother products. Sir Jonathan’s team somehow manages to blend the two approaches.
苹果的工业设计并没有完全遵从德国式实用风格,它还从更加活泼的美国传统中汲取了灵感。彩色版iPod和其他产品的设计风格可追溯至上世纪中期的一些美国设计师,比如雷蒙德•洛伊(Raymond Loewy)、以及创造了凯迪拉克(Cadillac)的高尾鳍设计的哈利•厄尔(Harley Earl)。乔纳森爵士的团队不知用了何种方法,居然将两种不同的设计传统融合到了一起。
It is hard to remember now, but Jobs seemed to have set himself an almost impossible task onreturning to Apple in the late 1990s — to resist the steady commoditisation of personalcomputers into a set of grey boxes containing software. By enlisting Mr Ive, he both achievedthis and altered where value lay — in the integration of hardware, software and services.
如今我们很难记起这一点,不过乔布斯在上世纪90年代末一回到苹果,似乎就为自己设定了一个近乎不可能完成的任务——抵制把个人电脑变成一个个装有软件的灰色盒子的日益同质化的潮流。通过把艾夫拉入伙,他不仅成功地完成了这一任务,还改变了个人电脑业务的价值所在——对硬件、软件和服务的整合,这就是价值所在。
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