優(yōu)秀產(chǎn)品設(shè)計(jì)的十大法則

1、優(yōu)秀產(chǎn)品設(shè)計(jì)的十大法則迪特·拉姆斯1932年出生于德國威斯巴登。改學(xué)建筑之前他在這里學(xué)了木匠。1953年畢業(yè)之后，拉姆斯在一家叫Otto Apels 的建筑事務(wù)所工作。在這之后的1955年他才受聘于博朗。拉姆斯說他進(jìn)博朗完全是機(jī)緣巧合。但是他確實(shí)是在正確的時(shí)間去了正確的地方。對(duì)于拉姆斯而言，加入博朗更像是加入一個(gè)由幾個(gè)志趣相投的年輕人組織的團(tuán)隊(duì)。加入博朗不久，拉姆斯就成為了公司計(jì)劃的核心，年輕的老板Erwin和Artur Braun非常信任他。在先鋒設(shè)計(jì)師Wilhelm Wagenfeld(包豪斯)，F(xiàn)ritz Eichler 和Hans Gugelot(烏爾姆學(xué)院)的影響下，他們徹

2、底重組了這個(gè)在1921年由父輩創(chuàng)立的公司。接下來整整一年時(shí)間，拉姆斯一直跟Hans Gugelot合作設(shè)計(jì)一款新型的收錄機(jī)。這就是著名的Phonosuper SK4。這臺(tái)收錄機(jī)因?yàn)橛兄该黜斏w和白色的金屬外殼，而被稱作“雪白的匣子”。SK4具有革命性的創(chuàng)新設(shè)計(jì)。她跟當(dāng)時(shí)任何家用電器都不一樣不僅僅因?yàn)槎貙?shí)的比例而是因?yàn)椴紶枂虂唫冪姁鄣募矣秒娖鞅蝗绱饲擅畹陌卜旁谝粋€(gè)像家具一樣的盒子里。這在當(dāng)時(shí)無疑是非常時(shí)髦的設(shè)計(jì)。SK4只是拉姆斯和博朗40年合作的開始。1961年，29歲的拉姆斯成為博朗設(shè)計(jì)部門的負(fù)責(zé)人。他帶領(lǐng)著他的團(tuán)隊(duì)成員承擔(dān)了幾乎所有跟設(shè)計(jì)相關(guān)的事務(wù)，包括產(chǎn)品設(shè)計(jì)到平面設(shè)計(jì)，甚至新技術(shù)開發(fā)。而

3、各種國際設(shè)計(jì)獎(jiǎng)項(xiàng)也都紛至沓來。拉姆斯的職業(yè)生涯中很少設(shè)計(jì)除博朗以外的產(chǎn)品。但是，跟Niels Vitsae的合作是個(gè)例外。這家德國家具品牌從而開發(fā)出了“拉姆斯式”的產(chǎn)品遠(yuǎn)離時(shí)尚；設(shè)計(jì)精良；品質(zhì)優(yōu)秀；堪稱經(jīng)典。1960年，拉姆斯為Vitsae設(shè)計(jì)了模塊化的606家具系統(tǒng)。這套系統(tǒng)延續(xù)了一系列模塊化家具的設(shè)計(jì)理念。作為一套家具系統(tǒng)，拉姆斯幾乎盡他所能將其做到了完美。這套系統(tǒng)從發(fā)布開始一直生產(chǎn)銷售至今。上世紀(jì)60年代購買這套系統(tǒng)的客戶到現(xiàn)在仍然可以添加或者更換其中的組件，像書桌，茶幾，書柜都可以完美搭配。Naoto Fukasawa 和 Jasper Morrison 這兩位當(dāng)紅的設(shè)計(jì)大師可以說都深

4、受拉姆斯的影響。另外還有蘋果的設(shè)計(jì)總監(jiān)Jonathan Ive打造的iPod iBook也折射出了拉姆斯的設(shè)計(jì)哲學(xué)“更少但是更好的設(shè)計(jì)”。為了向大師致敬，Jonathan 甚至把iPhone的計(jì)算器界面直接設(shè)計(jì)成了拉姆斯1987年設(shè)計(jì)的ET44便攜式計(jì)算器的模樣。2006年東京的“Super Normal”設(shè)計(jì)展上，F(xiàn)ucasawa 和 Morrison從推廣優(yōu)良設(shè)計(jì)的角度出發(fā)，展出和介紹了拉姆斯的606家具系統(tǒng)。拉姆斯的許多設(shè)計(jì)，比如LE1揚(yáng)聲器，T2臺(tái)燈和T3便攜收音機(jī)都被紐約MoMA博物館永久收藏。 道德的設(shè)計(jì)，耐久的設(shè)計(jì)“耐久設(shè)計(jì)”這個(gè)概念數(shù)年前就出現(xiàn)了。拉姆斯自始至終都堅(jiān)持把這一概念

5、貫穿到他所有的設(shè)計(jì)中去。他提倡設(shè)計(jì)要去除日益增長(zhǎng)的所謂“視覺污染”和“膚淺的垃圾文化”。Vitsoe的總監(jiān)Mark Adams也支持拉姆斯“耐久設(shè)計(jì)”的設(shè)計(jì)哲學(xué)。他也堅(jiān)決反對(duì)不合理的低劣設(shè)計(jì)所帶來的污染和浪費(fèi)：“半個(gè)世紀(jì)以來，我們?cè)絹碓秸J(rèn)識(shí)到：我們必須認(rèn)識(shí)到用少而耐久的物品可以過更理想的生活 ?！眱?yōu)秀的設(shè)計(jì)一定是道德的設(shè)計(jì)，優(yōu)秀的設(shè)計(jì)也一定是耐久的設(shè)計(jì)，然而優(yōu)秀的設(shè)計(jì)也需要好的策略來支持。拉姆斯認(rèn)為：只有具備以下條件才能通過設(shè)計(jì)創(chuàng)造出品質(zhì)優(yōu)秀的產(chǎn)品跟制造商和用戶保持良好的溝通與合作；設(shè)計(jì)能被大多數(shù)的民眾所接受和理解?！爱a(chǎn)品文化的危機(jī)迫使我們不得不接受新的設(shè)計(jì)價(jià)值觀：設(shè)計(jì)的價(jià)值必須由其在市場(chǎng)的表

6、現(xiàn)來評(píng)價(jià)。”建立起20世紀(jì)工業(yè)設(shè)計(jì)標(biāo)準(zhǔn)的拉姆斯本該急流勇退安享晚年，但是他現(xiàn)在仍然在為他的理想而忙碌。拉姆斯在Kronberg的家里幾乎所有的東西都是自己親自設(shè)計(jì)的。他解釋道：“我只能跟我自己設(shè)計(jì)的東西一起生活?！爆F(xiàn)在拉姆斯很少在家里工作，而是一直奔波于世界各地辦展覽，向公眾展示他的設(shè)計(jì)和理念。最近在莫斯科的Kuskovo Palace博物館就有他的個(gè)人作品展。拉姆斯非常喜歡日本傳統(tǒng)美學(xué)。其中Wabi-Sabi跟他自己的理想“詩意的簡(jiǎn)約”非常接近。他自己的花園采用日本式的線條；而且他稱2005年在日本Kyoto的Kenninji Zen 個(gè)展是他“個(gè)人職業(yè)生涯的閃光點(diǎn)”。拉姆斯十大設(shè)計(jì)定律：1

7、. 好設(shè)計(jì)是創(chuàng)新的 Good Design is innovativeIt does not copy existing product forms, nor does it produce any kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities in this respect are by no means exhausted. Technological development

8、 keeps offering new chances for innovative solutions.2. 好設(shè)計(jì)讓產(chǎn)品有用 Good Design makes a product useful非可用勿擾A product is bought in order to be used. It must serve a defined purpose in both primary and additional functions. The most important task of design is to optimise the utility of a product.3. 好設(shè)計(jì)有

9、美感 Good Design is aesthetic美感很重要，懂得審美也很重要The aesthetic quality of a product and the fascination it inspires is an integral part of the its utility. Without doubt, it is uncomfortable and tiring to have to put up with products that are confusing, that get on your nerves, that you are unable to relate

10、 to. However, it has always been a hard task to argue about aesthetic quality, for two reasons.Firstly, it is difficult to talk about anything visual, since words have a different meaning for different people.Secondly, aesthetic quality deals with details, subtle shades, harmony and the equilibrium

11、of a whole variety of visual elements. A good eye is required, schooled by years and years of experience, in order to be able to draw the right conclusion.4. 好設(shè)計(jì)有助于產(chǎn)品的傳達(dá) Good Design helps a product be understood讓產(chǎn)品會(huì)說話It clarifies the structure of the product. Better still, it can make the product ta

12、lk. At best, it is self-explanatory and saves you the long, tedious perusal of the operating manual.5. 好設(shè)計(jì)無障 Good Design is unobtrusive留點(diǎn)空間給用戶Products that satisfy this criterion are tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restra

13、ined leaving room for the users self-expression.6. 好設(shè)計(jì)是誠實(shí)的 Good Design is honest吹噓，越吹越虛An honestly-designed product must not claim features it does not have being more innovative, more efficient, of higher value. It must not influence or manipulate buyers and users.7. 好設(shè)計(jì)是持久的 Good Design is durable美

14、感很重要，懂得審美也很重要It is nothing trendy that might be out-of-date tomorrow. This is one of the major differences between well-designed products and trivial objects for a waste-producing society. Waste must no longer be tolerated.8. 好設(shè)計(jì)追求細(xì)節(jié) Good Design is thorough to the last detailThoroughness and accuracy of design are synonymous with the product and its functions, as seen through the eyes of the user9. 好設(shè)計(jì)關(guān)注環(huán)境 Good Design is concerned with environment拒絕垃圾，實(shí)體或像素的Design must contribute towards a stable environment and a sensi