工业设计英文文献
industrial design
design of products made by large-scale industry for mass distribution. Designing such products means, first, planning their structure, operation, and appearance and then planning these to fit efficient production, distribution, and selling procedures. Clearly, appearance is but one factor in such a complex process. Nevertheless, in consumer goods especially, appearance design is widely accepted as the principal virtue of industrial design; it is that portion of the whole least subject to rational analysis and, like craft secrets of the past, most advantageous in commercial competition. On the other hand, design of equipment for production, for services, and for sports is expected to demonstrate utility; but in these products, too, appearance design is increasingly important.
Industrial design is supplied to manufacturers by three kinds of designers: staff designers, fully employed by one firm; designers under contract, who may serve several clients simultaneously, generally avoiding conflicts of interest; and free-lancers, who sell designs, often with royalty agreements, to the best-paying manufacturer.
The first industrial designer recognized as such worked under admirable conditions: Peter Behrens (1868–1940) in 1907 was hired by the Allgemeine Elektrizit?ts-Gesellschaft in Germany to be their architect, industrial designer, and graphic designer—in fact, to give unified visible character to the numerous activities of a giant enterprise. Behrens had other clients and professional duties besides. A member of the architectural profession, Behrens applied its standards and ethics to his work as industrial designer, founding in 1907, with others, an important association of designers and businessmen, the Deutscher Werkbund. As a direct result, a number of these German and Swiss associations became well-established professional organizations of industrial designers. In the United States and Great Britain industrial designers initiated legally recognized professional associations, with codes of conduct, educational standards, etc. In London the Royal Society of Arts designates qualifying practitioners as Royal Designers for Industry; in the United States the Industrial Designers Society of America grants memberships only to those subscribing to codes and limitations of practice. In Britain the Council of Industrial Design was established in 1944 to advise on design, recommend designers, and provide courses in design appreciation for trade and exhibitions for the public. The International Council of Societies of Industrial Design was founded in London in 1957, and within 25 years it had members in more than 40 countries.
Industrial design has evolved no unified style, even for industries in which handwork is minimized. There have been, however, four significant style trends. The first of these is an emphasis on impersonality that Behrens was the first to establish. Design for industry, whether determined by an individual or by a group, shows a certain neutrality of expression. Impersonality has, on the one hand, been acclaimed as a natural aspect of mass production and marketing, of average taste in a democratic community; on the other hand, it has been criticized as submission to the machine, contradictory to free, individual expression. The style has, so far, persisted.
A second trend in industrial design is packaging, such that the designer provides a protective case for a product, leaving the inner workings to engineers. Complicated mechanical and electronic
assemblies that have come into common use require protective shells for safety, cleanliness, and orderly appearance. In this instance, industrial designers are sometimes accused of superficial embellishment of a sort suitable to package design and fashion.
The third trend is streamlining, a design principle pioneered by Raymond Loewy and others in the 1930s and still widely employed, although the term itself has fallen out of fashion. As the name suggests, streamlining is characterized by contours designed to minimize resistance to motion through a fluid (as air). Originally associated with trains, automobiles, and other vehicles, the bullet shapes and sleek lines of streamlining were seized by industrial designers and applied to objects (e.g., toasters) intrinsically unassociated with speed.
The fourth trend is artificially accelerated obsolescence, that is, design changes that intentionally tempt owners to replace goods with new purchases more frequently than would be necessary as a result of normal wear and tear or established custom. Beginning in the field of fashion, artificial obsolescence has become something of a custom itself in industrialized countries. It operates through public opinion molded by advertising, through price changes, and through improvement and change in utility as well as through appearance change provided by designers. Its assessment must be established on wide social and economic considerations, not on design values alone. Especially in the design of automobiles and large home appliances, artificial obsolescence has aroused strong criticism; yet, because of its demonstrable economic effectiveness, it is used increasingly. It is an essential aspect of fashion and has met with wide approval in the form of disposability in health and hygiene products.
Industrial design is a growing force, influencing and influenced by world economy, private efficacy and enjoyment, the arts, engineering, and, not least, education. It has contributed more to economic activity than to aesthetic achievement, and many see the latter as its greatest challenge. The Museum of Modern Art, New York City, among other institutions, has sought to recognize outstanding contributions to industrial design.
工业设计专业英语英文翻译
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工业设计外文翻译
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20. 磨砂玻璃frosted glass；depolished glass 21. 磨砂milled（表面的磨砂效果) 22. 磨砂铜brushed brass 23. 磨砂面纯银效果silver brushed finish 24. 倒角chamfer 25. 圆角round corner 26. 轮廓contour 27. 样板，仿形copy 28. 设计，方案design 29. 表面，外观face 30. 利边sharp edge 31. 金属氧化Metal oxide s 32. 着色处理color coated treatment 33. 丝印silk-screen 34. 菲林film 35. 工艺technics 36. 外观appearance; Exterior; appearance; face 37. 水转印water transfer printing 38. 水转印膜water transfer printing film 39. 纹理Textures 40. 木纹wood grain 41. UV油UV oil 42. 铬chrome 43. 镀铬chromate treatment；chrome-plating；chroming；Chromium-plating 44. 镀三价铬(枪色) Plating of trivalent chromium 45. 枪色rifle color coating；Gun color 46. 深色dark color 47. 浅色light color 48. 激光雕刻Laser engraving 49. 双面激光雕刻double-sided laser engraving 50. 背面back 51. 装饰ornamental；decorate；Decorative 52. 透明红色Transparent red 53. 镜片lens；Optic 54. 模内抛光Mold polishing 55. 印刷printing 56. 印刷油墨printing ink 57. 丝网screen mesh
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Computer-Aided Design 40 (2008) 812–827 https://www.360docs.net/doc/4d221877.html,/locate/cad Reverse innovative design — an integrated product design methodology XiuziYe a,b,. , Hongzheng Liu a, Lei Chena, Zhiyang Chenc, XiangPanc, Sanyuan Zhanga a Collegeof Computer Science/StateKeyLabof CAD&CG, Zhejiang University, 310027 Hangzhou,PR China bSolidWorks Corporation, 300 BakerAvenue, Concord,MA 01742, USA cCollegeof Software Engineering, Zhejiang UniversityofTechnology, 310014, Hangzhou,PR China Received24 August 2006; accepted7July 2007 Abstract Today’sproductdesignerisbeingaskedtodevelophighquality,innovativeproductsatanever increasingpace.Tomeetthisneed,an intensive search is underway for advanced design methodologies that facilitate the acquisition of design knowledge and creative ideas for later reuse. Additionally, designers are embracing a wide range of 3D digital design applications, such as 3D digitization, 3D CAD and CAID, reverse engineering(RE),CAEanalysisandrapid prototyping(RP).Inthispaper,we proposeareverse engineeringinnovativedesign methodologycalled Reverse Innovative Design (RID). The RID methodologyfacilitates design and knowledge reuse by leveraging 3D digital design applications. The core of our RID methodology is the definition and construction of feature-based parametric solid models from scanned data. The solid model is constructed with feature datato allow for design modification and iteration. Sucha constructionis well suited fordownstream analysis and rapid prototyping. In this paper, we will review the commercial availability and technological developments of some relevant 3D digital design applications.We will then introduce threeRE modelling strategies: an autosurfacingstrategy for organic shapes;a solid modelling strategy with feature recognition and surface fitting for analytical models; and a curve-based modelling strategy for accurate reverse modelling. Freeform shapes are appearing with more frequency i n product development. Since their “natural” parameters are hard to define and extract, we propose constructionofafeatureskeleton based upon industrialorregional standardsorby user interaction. Globaland local product definition parameters
工业设计产品设计中英文对照外文翻译文献
(文档含英文原文和中文翻译) 中英文翻译原文：
DESIGN and ENVIRONMENT Product design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human. In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products. Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product. Product design includes factors of society ,economy, techology and leterae humaniores. Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface. Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.
工业设计外文翻译---不需要设计师的设计
Design Without Designers 网站截图： https://www.360docs.net/doc/4d221877.html,/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4%CE%C4%CF%D 7&tn=sogouie_1_dg 原文： Design Without Designers I will always remember my first introduction to the power of good product design. I was newly arrived at Apple, still learning the ways of business, when I was visited by a member of Apple's Industrial Design team. He showed me a foam mockup of a proposed product. "Wow," I said, "I want one! What is it?" That experience brought home the power of design: I was excited and enthusiastic even before I knew what it was. This type of visceral "wow" response requires creative designers. It is subjective, personal. Uh oh, this is not what engineers like to hear. If you can't put a number to it, it's not important. As a result, there is a trend to eliminate designers. Who needs them when we can simply test our way to success? The excitement of powerful, captivating design is defined as irrelevant. Worse, the nature of design is in danger. Don't believe me? Consider Google. In a well-publicized move, a senior designer at Google recently quit, stating that Google had no interest in or understanding of design. Google, it seems, relies primarily upon test results, not human skill or judgment. Want to know whether a design is effective? Try it out. Google can quickly submit samples to millions of people in well-controlled trials, pitting one design against another, selecting the winner based upon number of clicks, or sales, or whatever objective measure they wish. Which color of blue is best? Test. Item placement? Test. Web page layout? Test. This procedure is hardly unique to Google. https://www.360docs.net/doc/4d221877.html, has long followed this practice. Years ago I was proudly informed that they no longer have debates about which design is best: they simply test them and use the data to decide. And this, of course, is the approach used by the human-centered iterative design approach: prototype, test, revise. Is this the future of design? Certainly there are many who believe so. This is a hot topic on the talk and seminar circuit. After all, the proponents ask reasonably, who could object to making decisions based upon data? Two Types of Innovation: Incremental Improvements and New Concepts In design—and almost all innovation, for that matter—there are at least two distinct forms. One is
工业设计常用工艺词汇中英文对照
17. 阳极氧化处理 anodizing 18. 蚀纹 erode grain 19. 抛光 polishing 20. 磨砂玻璃 frosted glass ；depolished glass 工业设计常用工艺词汇中英文 对照 整理：工业设计课 吕健安 目录 、表面处理技术英文词汇 二、表面处理不良英文词汇 .3.. 三、工业设计英文词汇 4... 四、模具制造和五金加工英文词汇 8.. 五、模具塑胶缺陷英语词汇 .1..0 六、模具、塑胶原料英语词汇 1..1 七、常用印刷工艺英语词汇 .1..2 、表面处理技术英文词汇 1. 2. 3. 4. 5. 6. 7. 8. 9. 高亮光 hi-glossy 亚光 honed （石材）； matte （瓷砖）； Dull 亮光 glossy ； shine 半光 （亚光） semi dull 全消光 full dull 亚光黑色 Matte black 变色 color changing 拉丝 Brushed brushed metal Smooth surface 金属拉丝 10. 光面 11. 喷油 spray 12. 电镀 electroplate 13. 喷砂 处理 14. 金属喷镀法 15. 真空涂膜 16. 表面 蚀刻 sand blast metallikon metallizing etching
磨砂 milled （表面的磨砂效果 ） 磨砂铜 brushed brass 磨砂面纯银效果 silver brushed finish 倒角 圆角 轮廓 样板， 设计， 表面，外观 face 利边 sharp edge 金属氧化 着色处理 丝印 菲林 工艺 外观 水转印 water transfer printing 水转印膜 water transfer printing film 纹理 Textures 木纹 wood grain UV 油 UV oil 铬 chrome 镀铬 chromate treatment ；chrome-plating ；chroming ；Chromium-plating 镀三价铬 （枪色 ） Plating of trivalent chromium 枪色 rifle color coating ；Gun color 深色 浅色 light color 激光雕刻 Laser engraving 双面激光雕刻 double-sided laser engraving 背面 back 装饰 ornamental ； decorate ；Decorative 透明红色 Transparent red 镜片 lens ； Optic 模内抛光 Mold polishing 印刷 printing 印刷油墨 printing ink 丝网 screen mesh 丝网印刷 screen printing 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. chamfer round corner contour 仿形 方案 design copy Metal oxide s color coated treatment silk-screen film technics appearance; Exterior; appearance; face dark color
工业设计专业英语第三版部分翻译
艺术装饰风格 被宣告是“唯一一个总体设计”，艺术装饰必然是在众多消费者中间找到观众的最高产的设计之一。虽然它起源于19世纪20年代高度专有的法国手工裁剪装潢艺术，但它通过利用廉价的新金属材料，塑料和玻璃而发展迅速，找到了便宜，短期利用，并可以大批生产的装饰用品，如香烟盒，香水瓶，家庭用的陶瓷和玻璃，流行纺织品及各种装饰物，还有可以像鸡尾般甩动的物品。作为一种装饰风格它可以运用于无数物品的形状和表面装饰，因而赋予它们全部以相同质量的瞬间的现代性和时尚性。 就像许多这个世纪其它的流行风格一样，艺术装饰风格扎根于高雅文化，例如，立体主义、俄国芭蕾、美洲印第安风格和欧洲纯粹主义，但是相对其他文化而言，艺术装饰风格取长补短，装饰特征表现得更为折衷一些。结合艺术装饰风格在1930年代流行的因素，大规模批量生产使用新材料是商品价格相对低廉的必要条件。但这些是远远不够的，更深层次的原因是艺术装饰风格具有典型的适应性。在那段经济萧条的时期，豪华奢侈的装饰风格所带来的美感让当时的消费者有了逃避现实的放松心情。艺术装饰风格的宣传方式也促进了它的流行，艺术风格被好莱坞应用于多种流行电影中。通过影片媒体使大量观众接触到装饰风格，除此之外，艺术装饰风格也运用在广告和包装上，使其有效的影响了大量的环境之外，艺术装饰风格也影响到了建筑领域，许多新场所也运用了这种风格，美化建筑的外表，那些新商业的
娱乐楼房，例如商场电影院，工厂，甚至于新的豪华游轮，它也被利用于在1933年芝加哥展览之中。艺术装饰风格开始象征着高效率的现代化生活和新的生活理念，这种动人的方式随着人们对时尚性和社会地位的追求与渴望，艺术装饰风格得到了大量消费者的高度喜爱地位。 艺术装饰的大量应用伴随着消费产品的需求。但是，从不好的方而来看，艺术装饰风格只是作为一种中档的艺术手法，来装饰非常廉价的商品甚至留有一种杂乱的感觉。在英国有一群针对低端市场开发产品的地毯制造商，他们意识到了这个新潮流里的商业潜力。 但是，这些地毯制造商也很注意他们消费群里的保守心理，因此，即使是在一块地毯里的花紋也会出现那些很传统的1案象是老式的叶子造型和较灰暗的颜色。这种设计的消费市场不同于那些要不就是现代型或是完全传统的设计方案。1920年代到30年代，英国都铎王室的一些新居住者和新建筑的到来，使工艺美术运动和现代风格可以较为自由的发展和合理的被采用.这些各异的艺术风格也被按照使用者的喜好不同加入到地毯的设计之中。在20世纪30年代的中期，改良过的艺术装饰风格在数不清的家居装饰里都可以看到"在花园门饰上，无线电机的面板装饰上，阿芝台克寺庙的壁炉上和那些扶手椅和沙发的几何形体上。"