評論
打印
Jobs felt that design simplicity should be linked to making products easy to use.
喬布斯認為，簡約化設計的一個核心要素就是讓人能直觀地感覺到它的簡單易用。
Those goals do not always go together.
設計上的簡單并不總能帶來操作上的簡易。
Sometimes a design can be so sleek and simple that a user finds it intimidating or unfriendly to navigate.
有時候，設計得太漂亮、太簡化，用戶用起來反而不會那么得心應手。
"The main thing in our design is that we have to make things intuitively obvious,"
“我們作設計的時候，最重要的事情就是讓產品特性一目了然。”
Jobs told the crowd of design mavens.
喬布斯告訴一群設計專家。
For example, he extolled the desktop metaphor he was creating for the Macintosh.
作為例子，他高度贊揚自己為麥金塔電腦創造的桌面概念：
"People know how to deal with a desktop intuitively.
“人們直觀上就知道該怎么處理桌面。
If you walk into an office, there are papers on the desk.
你走進辦公室，桌子上有一堆文件。
The one on the top is the most important.
放在最上面的就是最重要的。
People know how to switch priority.
人們知道怎樣轉換優先級。
Part of the reason we model our computers on metaphors like the desktop is that we can leverage this experience people already have."
我們在設計電腦的時候引入桌面這個概念，一定程度上就是想充分利用人們已經擁有的這一經驗。”
Speaking at the same time as Jobs that Wednesday afternoon,
那個周三下午，在喬布斯演講的同時，
but in a smaller seminar room, was Maya Lin, twenty-three,
另一場演講正在一個小型會議室里進行，發言人是23歲的林瓔。
who had been catapulted into fame the previous November when her Vietnam Veterans Memorial was dedicated in Washington, D.C.
前一年的11月份，林瓔設計的越南戰爭紀念碑在華盛頓落成，她也因此一舉成名。
They struck up a close friendship, and Jobs invited her to visit Apple.
喬布斯和她成了親密的朋友，并邀請她訪問蘋果公司。
"I came to work with Steve for a week," Lin recalled.
“我和史蒂夫一起工作了一個星期，”林瓔回憶說，
"I asked him, 'Why do computers look like clunky TV sets?
“我問他，為什么電腦看上去就像笨重的電視機？
Why don't you make something thin? Why not a flat laptop?'"
為什么你們不把它做得薄一點兒？為什么不做成平板的便攜式電腦？”
Jobs replied that this was indeed his goal, as soon as the technology was ready.
喬布斯回答說那正是他的目標，只是現在技術還沒有成熟。
At that time there was not much exciting happening in the realm of industrial design, Jobs felt.
那一時期，喬布斯覺得工業設計領域沒有多少令人興奮的事情。
He had a Richard Sapper lamp, which he admired, and he also liked the furniture of Charles and Ray Eames and the Braun products of Dieter Rams.
他有一盞理查德·薩珀設計的臺燈，這是他很欣賞的一個作品，同時，他還喜歡伊姆斯夫婦設計的家具，以及迪特爾·拉姆斯設計的博朗產品。
But there were no towering figures energizing the world of industrial design the way that Raymond Loewy and Herbert Bayer had done.
但沒有人能像當年的雷蒙德·洛伊和赫伯特·拜爾兩位大師一樣，推動工業設計領域的發展。
"There really wasn't much going on in industrial design,
“工業設計界真的沒有什么激動人心的事情，
particularly in Silicon Valley, and Steve was very eager to change that," said Lin.
尤其是在硅谷，而史蒂夫急切盼望改變這一局面。”林瓔說，
"His design sensibility is sleek but not slick, and it's playful.
“他的設計理念是：造型優美，但不能華而不實，同時還要充滿樂趣。
He embraced minimalism, which came from his Zen devotion to simplicity,
他崇尚極簡派的設計風格，這源自他作為一名佛教禪宗信徒對簡單的熱愛，
but he avoided allowing that to make his products cold. They stayed fun.
同時他又竭力避免陷入過度的簡單而讓產品顯得冷冰冰的，要使產品的趣味感得以保留。
He's passionate and super-serious about design,
他對待設計充滿熱情、極其嚴肅，
but at the same time there's a sense of play."
同時，其中也帶有一點玩樂精神。”
As Jobs's design sensibilities evolved,
隨著喬布斯設計鑒賞力的不斷提升，
he became particularly attracted to the Japanese style and began hanging out with its stars, such as Issey Miyake and I.M. Pei.
他開始尤其青睞日式風格，還漸漸地和三宅一生及貝聿銘這樣的明星人物進行更多接觸，
His Buddhist training was a big influence.
比如他的禪修對此有很大的影響。
"I have always found Buddhism, Japanese Zen Buddhism in particular, to be aesthetically sublime," he said.
“我一直都認為佛教--尤其是日本的佛教禪宗--在審美上是超群的。”他說，
"The most sublime thing I've ever seen are the gardens around Kyoto.
“我見過的最美的設計，就是京都地區的花園，
I'm deeply moved by what that culture has produced, and it's directly from Zen Buddhism."
這一文化的產物深深打動了我，而它們都直接源自佛教禪宗。”
