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1、毕业设计(论文)外文资料翻译学 院： 艺术学院 专 业： 视觉传达专业 姓 名： 叶露桧 学 号： 081201709 外文出处： (用外文写) 附 件： 1.外文资料翻译译文；2.外文原文。 指导教师评语： 签名： 年 月 日附件1：外文资料翻译译文Alexander McQueen的标志性设计这个问题，设计问题提醒我们，“历代通常认为它们存在的特殊条件下超越前一代”（Hobday，博丁顿和Grantham）的动荡和戏剧性的变化。因此，收集的论文涉及范围广泛的角度上设计一起，保持固有的人类生存条件。惠特曼曾经指出，“有孩子出去每天，他成为了他的第一个对象时，该对象lookd。”因此，这些文件
2、图表对象和我们内心的感觉和思想的空间物理世界之间的无缝连接。一起，他们提醒我们，我们首先要对象，然后对象使我们的。当我们改变世界，它开始改变我们。此外，这些文件强调强大和调解的影响，设计可以帮助塑造人际关系或社会凝聚力的形成然后持续。特雷西贝里斯特伦的纸棚埃里克吉尔和伯爵哈利凯斯勒（生产克拉纳赫出版社的罚款的的书Canticum canticorum Salomonis）之间的关系的新光源。凯斯勒的吉尔的同胞Ditchling，工匠，爱德华约翰斯顿，早前乘客造成海平面变化，德国的国家的视觉感受力。而爱德华约翰斯顿礼貌地桥，中世纪和现代，埃里克吉尔在魏玛偏心抵达竖起眉毛。在这里，贝里斯特伦的痕迹
3、在凯斯勒不得不调整自己习惯的关系，作为靠山，到现在更故意设计的存在，由埃里克吉尔人格化的方式。克莱因的克里斯蒂娜泰勒的美国设计师的工作，乔治Sakier，介绍一个安静的，但是，也许更强大的影响力对一个民族的情感。虽然画仍然Sakier的激情，他津津乐道的国内对象，他的设计可以注入现代主义的理想，最终会找到自己的方式为全国各地的家庭的想法。正如巴哈尔Emgin提请我们注意的方式，在设计干预可以恢复平凡的对象的生命，使埃德蒙多莫拉莱斯说明如何日常的东西可以投资与代码社会阶层。他的安第斯头饰的图像包含的残余殖民地征收.在他们的移情设计社会思想的分析，克里斯蒂娜Lauche，Carolien波斯特马和
4、彼得月Stappers勾勒了一个框架，旨在提供一种思维工具，以更好地了解用户体验设计师。马克斯蒂恩继续通过这次辩论，争论，创新往往是推动技术的发展，而不是用户的需求和喜好的关注。Kannengiesser和约翰格罗进一步讨论，探索如何在用户和工件可以互相交流，以创建动态效果。他们去上显示动态，这样可以延长超出了设计者的意图时，首先构思一个神器。最后，Hobday，Boddington和Grantham总结与概述的方法和理论，设计和创新研究的两杆的T纸。在这方面，他们第一次评估的来路，以设计作为一种解决问题的活动。这是由设计和复杂的挑战，不确定的自然反射。然后，他们研究结论与现代设计遥感和更广的
5、范围内，以人为本的方法management.Herbert西蒙曾经指出：“人类，被视为表现系统，是很简单的之间的关系考虑领先的美国学者，有识之士小号。随着时间的推移，我们的行为是明显的复杂性很大程度上反映了我们发现自己所处的环境的复杂性。“在这个问题上的论文，寻求解决这个问题的丰富性和复杂性，因为它通过动态关系的发展。设计师刺激之间的物理世界的事物和思想的内心世界。Bruce BrownRichard BuchananDennis DoordanVictor MargolinAlexander McQueens Iconic DesignsThis issue of Design Issues
6、 reminds us that “successive generationsoften think they exist under special conditions of turbulence and dramatic change beyond those of previous generations” (Hobday, Boddington and Grantham). Accordingly, the collected papers address a broad range of perspectives on design that, together, remain
7、intrinsic to the human condition. Walt Whitman once observed, “There was a child went forth every day, and the first object he lookd upon, that object he became.” So these papers chart a seamless link between the physical world of objects and our inner spaces of feeling and thought. Together, they r
8、emind 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 have in helping to shape human relationships or when social cohesion is to be formed then sustained.Tracy Be
9、rgstroms paper sheds new light on the relationship between Eric Gill and Count Harry Kessler (for production of the Cranach Presss fine book Canticum canticorum Salomonis). Kesslers earlier patronage of Gills fellow Ditchling craftsman, Edward Johnston, caused a sea-change to Germanys national visua
10、l sensibility. Whereas Edward Johnston politely bridged the mediaeval and the modern, Eric Gills eccentric arrival in Weimar raised eyebrows. Here, Bergstrom traces the ways in which Kessler had to adjust his customary relationship, as a patron, to this now more willful design presence personified b
11、y Eric Gill. Christine Taylor Kleins paper on the work of American designer, George Sakier, describes a quieter but, perhaps, more powerful influence on a nations sensibilities. Though painting remained Sakiers passion, he relished the idea that his designs could inject the ideals of modernism into
12、domestic objects that, eventually, would find their way into 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 invested with the code
13、s of a social hierarchy. His images of Andean headdresses contain the remnants of Colonial imposition.In their analysis of social thinking for empathic design, Carolien Postma, Kristina Lauche and Pieter Jan Stappers outline a framework intended to provide designers with a thinking tool to better un
14、derstand the user experience. Marc Steen continues this debate by arguing 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 artifacts
15、 can interact with each other in order to create dynamic effects. They go on to suggest that dynamics like this can extend beyond the intentions of a designer when first conceiving an artifact. Finally, Hobday, Bodd ington and Grantham conclude their two -par t paper with an overview of approaches to, and theories of, design and innovation studies. In this, they first assess the antecedents to design as a problem-solving activity. T
