評(píng)論
打印
In Aspen he was exposed to the spare and functional design philosophy of the Bauhaus movement,
在阿斯彭，喬布斯接觸到了包豪斯運(yùn)動(dòng)干凈、實(shí)用的設(shè)計(jì)理念，
which was enshrined by Herbert Bayer in the buildings,
這一理念深受赫伯特·拜爾的推崇，被他運(yùn)用到了建筑、
living suites, sans serif font typography, and furniture on the Aspen Institute campus.
家居房屋、無(wú)襯線(xiàn)字體排印以及阿斯彭研究所的家具上。
Like his mentors Walter Gropius and Ludwig Mies van der Rohe,
拜爾和他的導(dǎo)師沃爾特·格羅皮烏斯以及路德維希·密斯·凡德羅一樣，
Bayer believed that there should be no distinction between fine art and applied industrial design.
也認(rèn)為藝術(shù)和應(yīng)用工業(yè)設(shè)計(jì)之間不應(yīng)該有區(qū)別。
The modernist International Style championed by the Bauhaus taught that design should be simple,
包豪斯擁護(hù)的現(xiàn)代主義國(guó)際風(fēng)格告訴人們，設(shè)計(jì)應(yīng)該追求簡(jiǎn)約，
yet have an expressive spirit.
同時(shí)具有表現(xiàn)精神。
It emphasized rationality and functionality by employing clean lines and forms.
它通過(guò)運(yùn)用干凈的線(xiàn)條和形式來(lái)強(qiáng)調(diào)合理性和功能性。
Among the maxims preached by Mies and Gropius were "God is in the details" and "Less is more."
密斯和格羅皮烏斯宣揚(yáng)的準(zhǔn)則中就有“上帝就在細(xì)節(jié)之中”和“少即是多”這樣的話(huà)。
As with Eichler homes, the artistic sensibility was combined with the capability for mass production.
正如埃奇勒的房屋一樣，藝術(shù)敏感性和大規(guī)模生產(chǎn)的能力結(jié)合到了一起。
Jobs publicly discussed his embrace of the Bauhaus style in a talk he gave at the 1983 design conference,
1983年的阿斯彭設(shè)計(jì)大會(huì)上，喬布斯發(fā)表了一篇以“未來(lái)絕對(duì)不會(huì)和過(guò)去相同”為主題的演講，
the theme of which was "The Future Isn't What It Used to Be."
公開(kāi)闡述他對(duì)包豪斯風(fēng)格的熱情擁護(hù)。
He predicted the passing of the Sony style in favor of Bauhaus simplicity.
喬布斯稱(chēng)贊了包豪斯風(fēng)格的簡(jiǎn)單樸素，也預(yù)言了索尼風(fēng)格的消亡。
"The current wave of industrial design is Sony's high-tech look,
“當(dāng)下工業(yè)設(shè)計(jì)的潮流就是索尼的那種髙科技感，
which is gunmetal gray, maybe paint it black, do weird stuff to it," he said.
也就是金屬灰色，要么就涂成黑色，加一些怪異的設(shè)計(jì)。”
"It's easy to do that. But it's not great."
他說(shuō)，“這么做很容易，但不夠好。”
He proposed an alternative, born of the Bauhaus,
他提出了一個(gè)源自包豪斯風(fēng)格的替代方案，
that was more true to the function and nature of the products.
更加忠實(shí)于產(chǎn)品的功能和本性：
"What we're going to do is make the products high-tech,
“我們要做的，就是讓產(chǎn)品科技感十足，
and we're going to package them cleanly so that you know they're high-tech.
然后用上簡(jiǎn)單干凈的包裝，讓科技感一目了然。
We will fit them in a small package,
我們會(huì)把產(chǎn)品放在小包裝盒里，
and then we can make them beautiful and white, just like Braun does with its electronics."
讓它們看上去純白漂亮，就像博朗生產(chǎn)的電器一樣。”
He repeatedly emphasized that Apple's products would be clean and simple.
他反復(fù)強(qiáng)調(diào)蘋(píng)果公司的產(chǎn)品會(huì)是干凈而簡(jiǎn)涪的。
"We will make them bright and pure and honest about being high-tech,
“我們會(huì)把產(chǎn)品做得光亮又純凈，能展現(xiàn)高科技感，
rather than a heavy industrial look of black, black, black, black, like Sony," he preached.
而不是一味使用黑色、黑色、黑色，滿(mǎn)是沉重的工業(yè)感，就像索尼那樣。”他朗聲說(shuō)道，
"So that's our approach. Very simple, and we' re really shooting for Museum of Modern Art quality.
“我們的設(shè)計(jì)思想就是：極致的簡(jiǎn)約，我們追求的是能讓產(chǎn)品達(dá)到在現(xiàn)代藝術(shù)博物館展出的品質(zhì)。
The way we're running the company, the product design, the advertising, it all comes down to this:
我們管理公司、設(shè)計(jì)產(chǎn)品、廣告宣傳的理念就是一句話(huà)：
Let's make it simple. Really simple."
讓我們做得簡(jiǎn)單一點(diǎn)，真正的簡(jiǎn)單。”
Apple's design mantra would remain the one featured on its first brochure:
蘋(píng)果奉行的這一原則也在它的第一版宣傳冊(cè)上得到了突出：
"Simplicity is the ultimate sophistication."
“至繁歸于至簡(jiǎn)。”
