評(píng)論
打印
A Bauhaus Aesthetic
包豪斯式的美學(xué)標(biāo)準(zhǔn)
Unlike most kids who grew up in Eichler homes, Jobs knew what they were and why they were so wonderful.
和大多數(shù)在埃奇勒建造的房子中長(zhǎng)大的孩子不同，喬布了解這些房子，也知道它們好在哪里。
He liked the notion of simple and clean modernism produced for the masses.
他喜歡“面向大眾的簡(jiǎn)潔現(xiàn)代主義設(shè)計(jì)”這個(gè)概念。
He also loved listening to his father describe the styling intricacies of various cars.
他還喜歡聽父親講述不同的汽車上紛繁的設(shè)計(jì)細(xì)節(jié)。
So from the beginning at Apple, he believed that great industrial design—a colorfully simple logo,
所以，從蘋果公司建立之初，他就相信杰出的工業(yè)設(shè)計(jì)——多彩簡(jiǎn)單的標(biāo)志
a sleek case for the Apple II—would set the company apart and make its products distinctive.
以及AppleII使用的雅致時(shí)髦的箱子——可以突出自己的公司，也讓公司的產(chǎn)品顯得與眾不同。
The company's first office, after it moved out of his family garage,
在公司搬出喬布斯的車庫后，
was in a small building it shared with a Sony sales office.
第一個(gè)辦公場(chǎng)所在一棟小建筑里，這里還有索尼公司的一處銷售辦事處。
Sony was famous for its signature style and memorable product designs,
索尼以其獨(dú)特的風(fēng)格和令人難的產(chǎn)品設(shè)計(jì)而聞名，
so Jobs would drop by to study the marketing material.
所以喬布斯經(jīng)常到他們的辦公室去研究宣傳材料。
"He would come in looking scruffy and fondle the product brochures and point out design features," said Dan'l Lewin, who worked there.
“他走進(jìn)來，邋里邋遢的，撫弄著產(chǎn)品宣傳冊(cè)，指出一些產(chǎn)品設(shè)計(jì)上的特點(diǎn)。”在那兒工作的丹·盧因說，
"Every now and then, he would ask, 'Can I take this brochure?'"
“時(shí)不時(shí)地，他還會(huì)問我：'我能把這個(gè)冊(cè)子拿走嗎？'”
By 1980, he had hired Lewin.
到1980年，喬布斯把盧因聘請(qǐng)到了蘋果公司。
His fondness for the dark, industrial look of Sony receded around June 1981,
從1981年6月開始，喬布斯開始參加在阿斯彭舉辦的一年一度的國(guó)際設(shè)計(jì)大會(huì)，
when he began attending the annual International Design Conference in Aspen.
這一時(shí)期，他對(duì)暗色調(diào)、工業(yè)氣息十足的索尼設(shè)計(jì)的喜愛逐漸減弱。
The meeting that year focused on Italian style,
那年會(huì)議的焦點(diǎn)是意大利風(fēng)格，
and it featured the architect-designer Mario Bellini, the filmmaker Bernardo Bertolucci,
出席的有建筑師兼設(shè)計(jì)師馬里奧、貝里尼，電影制片人貝納多·貝托魯奇,
the car maker Sergio Pininfarina, and the Fiat heiress and politician Susanna Agnelli.
汽車制造商塞爾吉奧·平尼法瑞那和菲亞特汽車公司的女繼承人、政治家蘇珊娜·阿涅利。
"I had come to revere the Italian designers,
“我就是去膜拜那些意大利設(shè)計(jì)師的，
just like the kid in Breaking Away reveres the Italian bikers," recalled Jobs,
就好像電影《告別昨日》中的孩子膜拜意大利自行車手一樣。”喬布斯回憶說，
"so it was an amazing inspiration."
“那次會(huì)議真是一個(gè)奇妙的啟示。”
