工业设计 外文文献 美国设计师之家2012年1~3月份发表 ：the OnlyConnect Experience

A76 The OnlyConnect Experience

Catherine Hu, Ernesto Spicciolato, Roger Ball, School of Design, The Hong Kong Polytechnic University Yasu Santo, School of Design, Faculty of Built Environment and Engineering, Queensland University of Technology

Introduction

In an increasingly networked society, the ability and know-how to work in geographically dispersed teams has become a vital skill to acquire. In the context of design teaching, a course titled, “Information, Interaction, and Global Context” was created at the School of Design of the Hong Kong Polytechnic University to provide undergraduate students with an experience-based learning opportunity in remote and collocated design collaboration. Course contents covered information technology, communications, and teamwork, and manifested in an international, online collaborative design project named “OnlyConnect.” Between 2001 and 2005, the Hong Kong–based OnlyConnect project was conducted for five iterations, with international partnering institutions in US, Austria, Japan, Korea, and Taiwan. Hong Kong students from different design disciplines (product design, fashion design, environmental design, and visual communication design) teamed up with design students from collaborating institutions and collaborated on a given design task. The course encouraged students to explore both human and infrastructural issues relating to networked design collaboration including communication protocols, collaboration process, team dynamics, available technology, and potentials and limitations of the virtual environment. The ultimate goal is to enable design students to cultivate individual strategies and methodology to carry out effective online design collaboration in their future career.

This paper aims to share experiences gained from the design and implementation of five iterations of the OnlyConnect project. Insights are summarized into an overview on how to plan for and implement an international, online collaborative design project. Key factors for success and failures will also be discussed with relevance to implications for design teaching and learning.

Conceptual Framework for the OnlyConnect Project

Design is inherently a collaborative act. In the design process, ideas are constantly being presented and critiqued upon amongst personnel within the design studio in search of an optimum solution to a design problem. Innovation-driven and technology-intensive design tasks of the 21st-century demands a more complex level of collaboration as multiprofessional design expertise are often required, involving parties geographically dispersed outside the design studio. Indeed, design educators have envisioned this scenario over a decade ago, and have responded with series of action research and experiments based on the concept of a Virtual Design Studio (VDS) (Wojtowicz, 1995;Maher, Simoff, and Cicognani, 2000; Kvan, 2001).

In a VDS, designers who are dispersed across geographical spaces and time, collaboratively generate, communicate, and implement design ideas via the support of computer networks (Maher, 1996). Characteristics of a VDS are (Maher, 1996):

?the design team is composed of people in different physical locations

?the design process and designers' communications are computer-mediated and network-supported

?design information is in digital form

?the final design documentation is often in electronic form

The dispersed nature of a VDS has enabled the design task at hand to involve design experts most suited for the context disregard of geographical limitations. However, this has also added an extra layer of demand on the designers in that they now need to adapt to a network-mediated design process and associated interactions. Similar to other institutions which had carried out VDS experiments, learning to

successfully operate in this new virtual social environment has been one of the major pedagogical objectives of the OnlyConnect project.

Another important concept for the VDS is the notion of collaboration, which could be generally understood as the sharing of goals, process, and activities when more than one party is involved in a single, common task. A more elaborated definition could draw reference from the distinctions between collaboration and cooperation as suggested by Dillenbourg et al. (Dillenbourg, Baker et al., 1996):

Cooperation and collaboration do not differ in terms of whether or not the task is distributed, but

by virtue of the way in which it is divided; in cooperation the task is split (hierarchically) into

independent subtasks; in collaboration cognitive processes may be (heterarchically) divided into intertwined layers. In cooperation, coordination is only required when assembling partial results,

while collaboration is ? ...a coordinated, synchronous activity that is the result of a continued

attempt to construct and maintain a shared conception of a problem?.

A similar differentiation is conceived as single task collaboration and multiple task collaboration by Maher et al. (Maher, 1996):

During single task collaboration the resultant design is a product of a continued attempt to

construct and maintain a shared conception of the design task. In other words each of the

participants has his own view over the whole design problem and the shared conception is

developed by the "superposition" of the views of all participants.

During multiple task collaboration the design problem is divided among the participants in a way

where each person is responsible for a particular portion of the design. Thus, multiple task

collaborative design does not necessarily require the creation of a single shared design

conception, though designers work cooperatively in a common electronic workspace.

Yet another approach to designing collaboration within a VDS is full collaboration and partial collaboration. In full collaboration model, the design team shares one common design task and collaborate fully throughout the entire design process until final implementation of one resultant design. While single task collaboration does not necessarily specify the total coverage of the entire design process, full collaboration implies shared responsibilities from beginning to end of the design task. In partial collaboration model, typically the design team shares initial research or design conception phase, and split up to either develop and implement different portions of the design, or to generate different solutions from multiple perspectives in response to findings from initial phase.

The above discussions on collaboration aim to provide background understanding to designing tasks in a VDS, which have important bearings on learning experiences thus enabled.

The OnlyConnect Project 2001–2005

The OnlyConnect project was a major initiative of the School of Design to nourish global perspectives amongst design students in their undergraduate studies. It had its early conception in a small scale international design workshop taught by Yasu Santo in the summer of 2001 in collaboration with Keio University, involving about 15 Hong Kong and Japanese environmental design students working physically together in a two-week collaborative design project. While witnessing the communication problems students encountered due to language barriers, interests were developed in coming up with a technological solution so that students could communicate through exchanging images. Such was later realized in custom-developed groupware used in the following OnlyConnect projects.

With accumulated interests in providing international collaborative experience to design students, and experiences gained form the initial summer workshop, the School decided to launch its first design collaboration project in virtual space. Conceived and led by Catherine Hu and Yasu Santo, the first OnlyConnect project was implemented in September 2001. As opposed to most other VDS projects in scale and subject nature, the OnlyConnect project was implemented as a compulsory, major design studio subject that the entire group of over one hundred second-year design students from all design

disciplines had to participate in. From the onset, the OnlyConnect project was a real challenge in planning and implementation. Throughout the five years of offer, over six hundred design students and faculty had participated in the OnlyConnect project, with a wide variety of collaborated design project outcomes that spanned from spatial designs to furniture designs, product designs, fashion designs and Websites. Project Objectives

Aims of the OnlyConnect project were:

1. to provide an understanding in the relations between design and digital culture

2. to facilitate learning experiences in team work

3. to provide a learning experience in computer-supported design collaboration, with the intention of

preparing individuals to navigate and succeed in a world of networked communications

4. to cultivate an understanding in the potentials and limitations of a networked design studio, and to

explore the enabling factors and derive strategies for an effective virtual collaborative

environment

If education is less and less about transferring knowledge and increasingly about providing opportunities for students to create knowledge on their own (Coker, 1999), providing a rich responsive learning environment is what the OnlyConnect project was intended to be. The faculty team conceived the project as an experience-based learning opportunity. The goal was to design the conditions and environment which would enable students to formulate their own personal learning experiences.

Collaborating Institutions and Team Formation

Local participants in the OnlyConnect project from School of Design came from several design disciplines: Environmental design, Product design, Fashion Design, and Visual Communication Design. Over the years, the school had seek collaboration from numerous overseas institutions with compatible design specialization and was fortunate in forming collaboration with nine institutions in the past five years of offer of the OnlyConnect project. These included Asian, American and European institutions, involving disciplines and departments like architecture design, environmental and information design, fashion design, information design, product design, digital media design and digital art. Most institutions began collaboration more as observers and played a less active role during the first year of collaboration, but with accumulated experience, they promptly assumed full involvement in second year and continued to participate in all aspects of planning and management of the project in the third year.

Due to the large number of local students, it had proven to be very hard to find matching number of design students with compatible design expertise to collaborate with. As a result, teams in the OnlyConnect project were dominated by Hong Kong students which sometimes proved too overwhelming and caused pressure on the collaborating remote participants.

The project had also tried grouping students into multi-disciplinary teams, for example, local visual communication design students would team up with overseas architecture design students. After some experience, feedback from students confirmed this was not such a desirable structure after all, as the incompatibility in expertise further deteriorates communication that was already made difficult by differences in language and culture.

Structure of the OnlyConnect Project

The OnlyConnect project spanned a total of seven weeks in the fall semester each year. The structure of the OnlyConnect project typically began with a short, one-week ice-breaking project. This was meant to stimulate team dynamics within a very short period of time so teams could quickly get into collaboration mode. Second week was usually a physical interaction week when students from collaborating institutions would come visit Hong Kong and the School such that there was a chance for team members to have face-to-face meetings (Figure 1). This had proven to be very useful in nourishing friendship, cultivating

cultural understandings and team dynamics. In most cases, the

ties that built up within this period had resulted in better

collaboration when team members resumed to operating remotely.

After the face-to-face meetings, teams basically followed a normal

design process of identifying a design issue to explore, carried out

research and sharing insights, then collaboratively developing

design concepts and finally implementing the design into physical

artifacts as well as representing the design digitally in the form of

team websites. The final phase of the OnlyConnect project was a

series of collaborative networked presentations when members of

each design team had to jointly present the project outcome via video conferencing. This was regarded as the highlight and an indispensable component of the OnlyConnect project, one that most OC participants valued as the most valuable experience

(Figures 2 and 3).

Figure 1. Face-to-face meeting is important to cultivate bonds amongst remote team.

Figures 2 and 3. Final networked presentations. Onlyconnect 2003.

Project Requirements

To coordinate efforts and to lay the ground for successful collaboration, the OnlyConnect project proposed the following requirements for all OC participants:

1. Remote collaboration: OC participants are encouraged to interact with each other frequently -

with own team members as well as with other teams in terms of peer learning, either via

synchronous means like chat or video conference, or asynchronously using emails or

participating in online discussions. The OnlyConnect website was an open space dedicated to

serve this online community. Teams are advised to constantly upload recent images to each

team’s web space to establish its online presence, and also to initiate responses and discussions amongst each other. Participants are also encouraged to use the communication tools provided on the project website to communicate and interact, as well as to freely cruise the websites of

different teams and be informed in each others’ progress.

2. Team work: To work effectively as a team, it is advisable to identify roles that each individual

team member will play in the team. Roles and responsibilities might change and evolve as the

project progresses. Teams should also develop a team identity with a team name and team logo design, and establish its unique presence in this virtual community.

3. Team website: Each team is required to design, develop and maintain a team website. All design

information relating to the OnlyConnect project should be documented and presented in the form of web pages in the team website. Team should update their website frequently such that latest information is uploaded in a timely fashion.

4. The design task: At the end of the seven weeks period, each team should present a body of

design work that collectively exemplifies an overall vision which the team has defined in phase 1 of the project. There is no limit to the format of the deliverables (could be physical or virtual

models, test garments, booklets, prototypes, video, and so forth) except that all physical artifacts should also be represented digitally on team websites.

5. Charting progress: Participants of the OnlyConnect project will work collaboratively in a ‘mixed

reality’ that is equal parts studio and online interaction. In fact, in the OnlyConnect project, the

process of design collaboration is as important (if not more) as the final design outcome. Teams are advised to keep an online log book to document explorations and interactions which they

have experienced in the process.

6. Individual report: In connection with the above, each participant is required to submit a one page

report at the end of the project. This brief report summarizes learning experiences gained in this collaborative project, and reports on the communication model and interactions that has occurred amongst team members. The report should also discuss individual team member’s learning

experience as well as insights on networked collaborative design.

The preceding was an extensive set of requirements used in the first run of the OnlyConnect project. With more experience, some requirements like the development and maintenance of a team website had proven to be difficult to achieve particularly for product and environmental design teams, and was subsequently removed.

Communication and Interaction

On a daily basis, teams used a mixture of communication methods to collaborate. The following shows a generic set of communication tools suggested to teams which they were asked to pick and choose based on their working habits and preferences. For video conferencing, PC stations equipped with Web cameras were set up in the studios for free access over the duration of the OC project (Figure 4).

Type of

Available Tool Information support

communication

Asynchronous Email Text, images, data files

Message boards Text, images, data files

Blogs Text, images, data files

WWW pages Text, images, multimedia contents, hyperlinks

Synchronous Chat Text

Video conferencing Video, audio, images, text

The custom-developed OnlyConnect website served as an important communication portal. (Figure 5) The site provided resources like lecture materials, schedules, profiles of participants, etc. The main forum was for posting announcements to all participants while individual team spaces were for exchanges of thoughts and ideas. The site provided good support for images as the intention was to encourage participants to communicate using visual means. There were also other communication functions like group mail which made it easy for participants to send emails to selective groups of participants, and a chat facility for participants to carry out spontaneous online discussions without leaving the OnlyConnect website and launching another instant message application.

Figure 4. A typical video conferencing discussion

Figure 5. OnlyConnect online collaborative environment. session with remote partners in the studio. Latest uploaded image messages could be viewed Onlyconnect 2002. in team space. OnlyConnect 2003. Observations and Findings

There were many lessons learned from running five years of the OnlyConnect project. Drawing on a model on the design studio’s social system (Yee 2001, Sproull, and Kiesler, 1991), key findings are summarized in the following section in terms of four key components (Yee, 2001):

1. People: collaborators, participants, faculty, students, stakeholders of the OnlyConnect project

2. Events and their organization: collaboration model, collaboration process, rituals, reviews,

presentations, other teaching & learning support activities, general behaviors

3. Content and processes: curriculum, project briefs or design tasks, work and learning processes

developed into the OnlyConnect project

4. Space: the virtual environment where collaboration activities are performed

People: Collaborating Institutions

?For collaboration to succeed, it is important for collaborators to share common goal and interests. Seek collaborators who have the same passion and commitment as you have in

providing networked learning experiences to students as a first step to succeed.

?Clearly identify roles in the partnership. It is important that a clear understanding is established in terms of responsibilities amongst stakeholders.

?Unless demanded by student numbers needing to collaborate, otherwise try to limit collaboration to a comfortable number which your institution could handle. Communication and coordination

tasks easily doubled and tripled as more collaborators are involved at the same time.

?Compatible design expertise is a viable consideration when seeking collaborators. Mismatched design expertise tends to increase tensions and worsen communication problems.

People: Students

?In regard to team formation, try to have a balanced number at both/all sides. Avoid having one single person collaborating remotely with two or more participants as he will easily be singled

out and be left out of the decision chain. Two is a bare minimum at each end.

?Four to six members is a safe maximum in a remote team. Too many members might result in not enough work to go around all members.

?Motivation to collaborate is of prime importance. Language barriers and cultural differences might post difficulties in communication but at the end of the day, successful collaboration really depends on whether one has the motivation to collaborate.

?Collaboration schedule and tasks should supersede local and personal tasks and agenda.

Always remember that there is another party out there whose schedule and tasks are

dependent on your response and actions.

?Identify roles and responsibilities in the team. Be prepared though to cross boundaries and provide assistance to other members of the team when needed. Good teams are those which

could help individuals within the team to perform and excel.

?Collaboration often breaks down because messages were not properly (often politely) transmitted. Remember that it is not a computer but a person that one is communicating with.

Common sense etiquettes in interaction should be followed and online conversations should not be taken too casually.

? A timely response is crucial to keep remote partners informed of your active participation in the project. When messages were left unanswered for few days, worries and suspicions were prone to develop which will affect team bond resulting in bad collaboration experience.

Events and Organization

?Full collaboration is demanding but worth pursuing in terms of providing more fruitful learning experience to collaborating parties.

?Mismatched academic schedule or course schedule will jeopardize collaboration. Force-fitted collaboration has the danger of either unfulfilling or bitter experience. At all cost, try to

compromise on a common schedule. When academic schedule could not compromise, try

partial collaboration instead if some degree of collaborative learning experience is still desired.

?Nature of course (subject) also affects psychology of participants. Students in a compulsory course will be much more committed than students in an elective course, and such a mismatch

is usually the cause to most collaboration breakdown.

?Face-to-face interactions are conducive and beneficial to cultivating bonds amongst team members. Try your best to factor in physical interaction in the course of collaboration, preferably at early stage while ties are developing.

?Final networked presentation should be a collaborative effort between remote team members.

This is an important phase of the collaborative project and should be carried out with all efforts.

Much preparations and testing needed to be done prior to presentation day.

Content and Process

?For short collaborative projects (2 weeks to 7 weeks), more precise design tasks are preferred.

Open-ended briefs are more suited when there is more time to collaborate, e.g. when

collaboration project spans over one semester.

?Remote collaborations are easily affected by local commitments of participants. Try to set up weekly deadlines to ensure project is progressing and on track. Deadline for final deliverables

should also be set at beginning of project and be clearly communicated to all parties concerned.

It is important to uphold deadlines with all efforts.

?Having teams to keep weekly online log is useful to chart progress as well as to communicate progress to remote tutors and other participants.

?Develop a habit to communicate with remote partners at least once daily. Collaboratively draft out communication profile and schedule for all weeks and agreed on regular schedule for

synchronous meetings.

Space

?Desktop video conferencing stations should be set up in studios for easy access of students. It is desirable if students develop a habit of casually and frequently utilizing video conferencing in

their daily communication with their remote partners. There are evidences to show that team

bonds are stronger in teams who frequently use video conferencing to communicate.

?Custom-developed groupware is not a must-have in remote collaborative projects. There is free software available which will also provide similar support. Choose solutions that provide good

support to use of images in communication. Evidences showed that teams that collaborated well were those which used a lot of images in their communication. This might be attributed to the

fact that images tend to lessen the pressure on verbal/textual explanations connected with

language barriers.

Conclusion

This paper has shared the experience of running a large scale online design collaboration project for five consecutive years. The project providers had constantly adjusted the structure and components of the project in response to ever shifting circumstances and conditions each year (collaborators, student numbers, motivations, mismatch schedules, etc). Not all issues were resolved effectively in a consistent manner each year, but each year’s accumulated experience had ensured a better operation and course design compared to that of previous year. And since the providers had to adapt the environment to teaching circumstances and conditions every year, a vast range of attempts and experiences to run virtual design collaborations have been accumulated, enabling the school to be a resourceful partner in future online collaborations.

References

Coker, R. (1999) The changing landscape of design education: an international perspective. Proceedings, ISDA Design Education Conference.

Kvan, T. (2001) The pedagogy of virtual design studios. Automation in construction, 10, 345-353. Maher, M. L., Simoff, S. J., & Cicognani, A. (2000) Understanding virtual design studios. Sydney: Springer Verlag.

Maher, M. L., Simoff, S. J., & Cicognani, A (1996) The potential and current limitations in the virtual design studio. University of Sydney, HTML document.

Sproull, L. & Kiesler, S. (1991)Connections: New ways of working in the networked organization. Cambridge: MIT Press.

Wojtowicz, J. (1995)Virtual design studio. Hong Kong University Press.

Yee, S. (2001) Building communities for design education: Using telecommunication technology for remote collaborative learning. Ph.D. thesis, Cambridge: MIT.

工业设计专业英语英文翻译

工业设计原著选读 优秀的产品设计 第一个拨号电话1897年由卡罗耳Gantz 第一个拨号电话在1897年被自动电器公司引入，成立于1891年布朗强，一名勘萨斯州承担者。在1889年，相信铃声“中央交换”将转移来电给竞争对手，强发明了被拨号系统控制的自动交换机系统。这个系统在1892年第一次在拉波特完成史端乔系统中被安装。1897年，强的模型电话，然而模型扶轮拨条的位置没有类似于轮齿约170度,以及边缘拨阀瓣。电话，当然是被亚历山大格雷厄姆贝尔（1847—1922）在1876年发明的。第一个商业交换始建于1878（12个使用者），在1879年，多交换机系统由工程师勒罗伊B 菲尔曼发明,使电话取得商业成功,用户在1890年达到250000。 直到1894年，贝尔原批专利过期，贝尔电话公司在市场上有一个虚拟的垄断。他们已经成功侵权投诉反对至少600竞争者。该公司曾在1896年，刚刚在中央交易所推出了电源的“普通电池”制度。在那之前，一个人有手摇电话以提供足够的电力呼叫。一个连接可能仍然只能在给予该人的名义下提出要求达到一个电话接线员。这是强改变的原因。 强很快成为贝尔的强大竞争者。他在1901年引进了一个桌面拨号模型，这个模型在设计方面比贝尔的模型更加清晰。在1902年，他引进了一个带有磁盘拨号的墙面电话，这次与实际指孔，仍然只有170度左右在磁盘周围。到1905年，一个“长距离”手指孔已经被增加了。最后一个强的知名模型是在1907年。强的专利大概过期于1914年，之后他或他的公司再也没有听到过。直到1919年贝尔引进了拨号系统。当他们这样做，在拨号盘的周围手指孔被充分扩展了。 强发明的拨号系统直到1922年进入像纽约一样的大城市才成为主流。但是一旦作为规规范被确立，直到70年代它仍然是主要的电话技术。后按键式拨号在1963年被推出之后，强发明的最初的手指拨号系统作为“旋转的拨号系统”而知名。这是强怎样“让你的手指拨号”的。 埃姆斯椅LCW和DCW 1947 这些带有复合曲线座位，靠背和橡胶防震装置的成型胶合板椅是由查尔斯埃姆斯设计，在赫曼米勒家具公司生产的。 这个原始的概念是被查尔斯埃姆斯（1907—1978）和埃罗沙里宁（1910—1961）在1940年合作构想出来的。在1937年，埃姆斯成为克兰布鲁克学院实验设计部门的领头人，和沙里宁一起工作调查材料和家具。在这些努力下，埃姆斯发明了分成薄片和成型胶合板夹板，被称作埃姆斯夹板，在1941年收到了来自美国海军5000人的订单。查尔斯和他的妻子雷在他们威尼斯，钙的工作室及工厂和埃文斯产品公司的生产厂家一起生产了这批订单。 在1941年现代艺术博物馆，艾略特诺伊斯组织了一场比赛用以发现对现代生活富有想象力的设计师。奖项颁发给了埃姆斯和沙里宁他们的椅子和存储碎片，由包括埃德加考夫曼，大都会艺术博物馆的阿尔弗雷德，艾略特诺伊斯，马尔塞布鲁尔，弗兰克帕里什和建筑师爱德华达雷尔斯通的陪审团裁决。 这些椅子在1946年的现代艺术展览博物馆被展出，查尔斯埃姆斯设计的新的家具。当时，椅子只有三条腿，稳定性问题气馁了大规模生产。 早期的LCW（低木椅）和DWC（就餐木椅）设计有四条木腿在1946年第一次被埃文斯产品公司（埃姆斯的战时雇主）生产出来，被赫曼米勒家具公司分配。这些工具1946年被乔治纳尔逊为赫曼米勒购买，在1949年接手制造权。后来金属脚的愿景在1951年制作，包括LCW（低金属椅）和DWC（就餐金属椅）模型。配套的餐饮和咖啡桌也产生。这条线一直

冲压模具文献综述

文献综述1 引言冲压模具是冲压生产必不可少的工艺装备，是技术密集型产品。冲 压件的质量、生产效率以及生产成本等，与模具设计和制造有直接关系。模具设计与制造技术水平的高低，是衡量一个国家产品制造水平高低的重要标志之一，在很大程度上决定着产品的质量、效益和新产品的开发能力。2005 年—2008 年，我国冲压模具产品均出口较大幅度的增长。2009 年在全球高压锅炉管市场总需求量下降的情况下，国际采购商通过国内某网站采购冲压模具的数量仍逆势上扬。我国冲压模具的国际竞争力正在不断提升。根据我国海关统计资料显示，2005 年—2008 年，我国冲压模具产品均出口较大幅度的增长。2008 年，即使遭受全球金融危机，我们冲压模具出口金额达4.11 亿美元，比2007 年的3.26 亿美元增长了26 。另外，2009 年在全球高压锅炉管市场总需求量下降的情况下，国际采购商通过国内某网站采购冲压模具的数量仍逆势上扬。从全年采购情况来看，总体趋于上涨的趋势。其中，2009 年下半年回暖明显，国际采购商借此网站采购频次约616 频次，比上半年的288 频次增长了114％。虽然近年来我国模具行业发展迅速，但是离国内的需要和国际水平还有很大的差距。差距较大主要表现在：（1 ）标准化 程度低。（2）模具制造精度低、周期长。解决这些问题主要体现在模具设计上，故改善模具设计的水平成为拉近差距的关键性问题。若要很好的设计出一副冲压模具，就必须去了解冲压模具的历史、现状以及发展趋势。2 主体2.1 冲压模具的发展历史我国考古发现，早在2000 多年前，我国已有冲压模具被用于制造铜器，证明了中国古代冲压成型和冲压模具方面的成就就在世界领先。1953 年，长春第一汽车制造厂在中国首次建立了冲模车间，该厂于1958 年开始制造汽车覆盖件模具。我国于20 世纪60 年代开始生产精冲模具。在走过了温长的发展道路之后，目前我国已形成了300 多亿元（未包括港、澳、台 的统计数字，下同）各类冲压模具的生产能力。浙江宁波和黄岩地区的“模具之乡”；广东一些大集团公司和迅速崛起的乡镇企业，科龙、美的、康佳等集团纷纷建立了自己的模具

产品设计外文文献及翻译

英文原文 Modern product design ---Foreign language translation original text With the growing of economices and the developing of technologies, the essential definition of Industral Design has been deepening while its extension meaning enlarging,which resulted in the transformation and renovation of some original design theories and concepts. In the new IT epoch, the contents, methodologies, concepts etc. of design have taken a great change from what they were before.However,the method of comparison and analysis is always playing a plvotal role, during the whole process of maintaining the traditional quintessence and innovating novel conceptions. 1.1 Traditional Design Traditional industrial design and product development mainly involved to three fields,vis.Art, Engineering and Marketing. The designers, who worked in the art field, always had outstanding basic art skills and visual sketching expression capacity as well as plentiful knowledge on ergonomics and aesthetics . So they could easily solve the problems of products about art . Works in the area of the project engineer with strong technical background, they used the method of logical analysis, you can design a detailed, in line with the requirements of the drawings of a total production, manufacture use. They can you good solution to the technical aspects of products. However, they often overlook the aesthetics of products that do not pay attention to fashion and cost-effective products in the market. In the field of commercial marketing staff proficient in the knowledge economy, will use marketing theory to predict customer behavior, they focus on products in the market development trends, but do not understand aesthetic and technical aspects of the problem. In a traditional industrial product design process, the three areas of general staff in their respective areas of independent work. Product engineers solve the technical problems so that products with the necessary functional and capable of producing manufactured, the product is "useful." Designers are using aesthetics,

工业设计外文翻译

Interaction design Moggridge Bill Interaction design，Page 1-15 USA Art Press, 2008 Interaction design (IxD) is the study of devices with which a user can interact, in particular computer users. The practice typically centers on "embedding information technology into the ambient social complexities of the physical world."[1] It can also apply to other types of non-electronic products and services, and even organizations. Interaction design defines the behavior (the "interaction") of an artifact or system in response to its users. Malcolm McCullough has written, "As a consequence of pervasive computing, interaction design is poised to become one of the main liberal arts of the twenty-first century." Certain basic principles of cognitive psychology provide grounding for interaction design. These include mental models, mapping, interface metaphors, and affordances. Many of these are laid out in Donald Norman's influential book The Psychology of Everyday Things. As technologies are often overly complex for their intended target audience, interaction design aims to minimize the learning curve and to increase accuracy and efficiency of a task without diminishing usefulness. The objective is to reduce frustration and increase user productivity and satisfaction. Interaction design attempts to improve the usability and experience of the product, by first researching and understanding certain users' needs and then designing to meet and exceed them. (Figuring out who needs to use it, and how those people would like to use it.) Only by involving users who will use a product or system on a regular basis will designers be able to properly tailor and maximize usability. Involving real users, designers gain the ability to better understand user goals and experiences. (see also: User-centered design) There are also positive side effects which include enhanced system capability awareness and user ownership. It is important that the user be aware of system capabilities from an early stage so that expectations regarding functionality are both realistic and properly understood. Also, users who have been active participants in a product's development are more likely to feel a sense of ownership, thus increasing overall satisfa. Instructional design is a goal-oriented, user-centric approach to creating training and education software or written materials. Interaction design and instructional design both rely on cognitive psychology theories to focus on how users will interact with software. They both take an in-depth approach to analyzing the user's needs and goals. A needs analysis is often performed in both disciplines. Both, approach the design from the user's perspective. Both, involve gathering feedback from users, and making revisions until the product or service has been found to be effective. (Summative / formative evaluations) In many ways, instructional

(完整版)冲压类外文翻译、中英文翻译冲压模具设计

附件1：外文资料翻译译文 冲压模具设计 对于汽车行业与电子行业，各种各样的板料零件都是有各种不同的成型工艺所生产出来的，这些均可以列入一般种类“板料成形”的范畴。板料成形（也称为冲压或压力成形）经常在厂区面积非常大的公司中进行。 如果自己没有去这些大公司访问，没有站在巨大的机器旁，没有感受到地面的震颤，没有看巨大型的机器人的手臂吧零件从一个机器移动到另一个机器，那么厂区的范围与价值真是难以想象的。当然，一盘录像带或一部电视专题片不能反映出汽车冲压流水线的宏大规模。站在这样的流水线旁观看的另一个因素是观看大量的汽车板类零件被进行不同类型的板料成形加工。落料是简单的剪切完成的，然后进行不同类型的加工，诸如：弯曲、拉深、拉延、切断、剪切等，每一种情况均要求特殊的、专门的模具。 而且还有大量后续的加工工艺，在每一种情况下，均可以通过诸如拉深、拉延与弯曲等工艺不同的成形方法得到所希望的得到的形状。根据板料平面的各种各样的受应力状态的小板单元体所可以考虑到的变形情形描述三种成形，原理图1描述的是一个简单的从圆坯料拉深成一个圆柱水杯的成形过程。 图1 板料成形一个简单的水杯

拉深是从凸缘型坯料考虑的，即通过模具上冲头的向下作用使材料被水平拉深。一个凸缘板料上的单元体在半径方向上被限定，而板厚保持几乎不变。板料成形的原理如图2所示。 拉延通常是用来描述在板料平面上的两个互相垂直的方向被拉长的板料的单元体的变形原理的术语。拉延的一种特殊形式，可以在大多数成形加工中遇到，即平面张力拉延。在这种情况下，一个板料的单元体仅在一个方向上进行拉延，在拉长的方向上宽度没有发生变化，但是在厚度上有明确的变化，即变薄。 图2 板料成形原理 弯曲时当板料经过冲模，即冲头半径加工成形时所观察到的变形原理，因此在定向的方向上受到改变，这种变形式一个平面张力拉长与收缩的典型实例。 在一个压力机冲程中用于在一块板料上冲出一个或多个孔的一个完整的冲压模具可以归类即制造商标准化为一个单工序冲孔模具，如图3所示。

模具毕业设计外文翻译(英文+译文)

Injection Molding The basic concept of injection molding revolves around the ability of a thermoplastic material to be softened by heat and to harden when cooled .In most operations ,granular material (the plastic resin) is fed into one end of the cylinder (usually through a feeding device known as a hopper ),heated, and softened(plasticized or plasticized),forced out the other end of the cylinder, while it is still in the form of a melt, through a nozzle into a relatively cool mold held closed under pressure.Here,the melt cools and hardens until fully set-up. The mold is then opened, the piece ejected, and the sequence repeated. Thus, the significant elements of an injection molding machine become: 1) the way in which the melt is plasticized (softened) and forced into the mold (called the injection unit); 2) the system for opening the mold and closing it under pressure (called the clamping unit);3) the type of mold used;4) the machine controls. The part of an injection-molding machine, which converts a plastic material from a sold phase to homogeneous seni-liguid phase by raising its temperature .This unit maintains the material at a present temperature and force it through the injection unit nozzle into a mold .The plunger is a combination of the injection and plasticizing device in which a heating chamber is mounted between the plunger and mold. This chamber heats the plastic material by conduction .The plunger, on each stroke; pushes unbelted plastic material into the chamber, which in turn forces plastic melt at the front of the chamber out through the nozzle The part of an injection molding machine in which the mold is mounted, and which provides the motion and force to open and close the mold and to hold the mold close with force during injection .This unit can also provide other features necessary for the effective functioning of the molding operation .Moving

工业设计产品设计中英文对照外文翻译文献

(文档含英文原文和中文翻译) 中英文翻译原文：

DESIGN and ENVIRONMENT Product design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human. In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products. Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea of product design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product. Product design includes factors of society ,economy, techology and leterae humaniores. Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface. Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.

冲压模具技术外文翻译(含外文文献)

前言 在目前激烈的市场竞争中，产品投入市场的迟早往往是成败的关键。模具是高质量、高效率的产品生产工具，模具开发周期占整个产品开发周期的主要部分。因此客户对模具开发周期要求越来越短，不少客户把模具的交货期放在第一位置，然后才是质量和价格。因此，如何在保证质量、控制成本的前提下加工模具是值得认真考虑的问题。模具加工工艺是一项先进的制造工艺，已成为重要发展方向，在航空航天、汽车、机械等各行业得到越来越广泛的应用。模具加工技术，可以提高制造业的综合效益和竞争力。研究和建立模具工艺数据库，为生产企业提供迫切需要的高速切削加工数据，对推广高速切削加工技术具有非常重要的意义。本文的主要目标就是构建一个冲压模具工艺过程，将模具制造企业在实际生产中结合刀具、工件、机床与企业自身的实际情况积累得高速切削加工实例、工艺参数和经验等数据有选择地存储到高速切削数据库中，不但可以节省大量的人力、物力、财力，而且可以指导高速加工生产实践，达到提高加工效率，降低刀具费用，获得更高的经济效益。 1.冲压的概念、特点及应用 冲压是利用安装在冲压设备（主要是压力机）上的模具对材料施加压力，使其产生分离或塑性变形，从而获得所需零件（俗称冲压或冲压件）的一种压力加工方法。冲压通常是在常温下对材料进行冷变形加工，且主要采用板料来加工成所需零件，所以也叫冷冲压或板料冲压。冲压是材料压力加工或塑性加工的主要方法之一，隶属于材料成型工程术。 冲压所使用的模具称为冲压模具，简称冲模。冲模是将材料（金属或非金属）批量加工成所需冲件的专用工具。冲模在冲压中至关重要，没有符合要求的冲模，批量冲压生产就难以进行；没有先进的冲模，先进的冲压工艺就无法实现。冲压工艺与模具、冲压设备和冲压材料构成冲压加工的三要素，只有它们相互结合才能得出冲压件。 与机械加工及塑性加工的其它方法相比，冲压加工无论在技术方面还是经济方面都具有许多独特的优点，主要表现如下； (1) 冲压加工的生产效率高，且操作方便，易于实现机械化与自动化。这是

模具设计与制造外文翻译

The mold designing and manufacturing The mold is the manufacturing industry important craft foundation, in our country, the mold manufacture belongs to the special purpose equipment manufacturing industry. China although very already starts to make the mold and the use mold, but long-term has not formed the industry. Straight stabs 0 centuries 80's later periods, the Chinese mold industry only then drives into the development speedway. Recent years, not only the state-owned mold enterprise had the very big development, the three investments enterprise, the villages and towns (individual) the mold enterprise's development also rapid quietly. Although the Chinese mold industrial development rapid, but compares with the demand, obviously falls short of demand, its main gap concentrates precisely to, large-scale, is complex, the long life mold domain. As a result of in aspect and so on mold precision, life, manufacture cycle and productivity, China and the international average horizontal and the developed country still had a bigger disparity, therefore, needed massively to import the mold every year . The Chinese mold industry must continue to sharpen the productivity, from now on will have emphatically to the profession internal structure adjustment and the state-of-art enhancement. The structure adjustment aspect, mainly is the enterprise structure to the specialized adjustment, the product structure to center the upscale mold development, to the import and export structure improvement, center the upscale automobile cover mold forming analysis and the structure improvement, the multi-purpose compound mold and the compound processing and the laser technology in the mold design manufacture application, the high-speed cutting, the super finishing and polished the technology, the information direction develops . The recent years, the mold profession structure adjustment and the organizational reform step enlarges, mainly displayed in, large-scale, precise, was complex, the long life, center the upscale mold and the mold standard letter development speed is higher than the common mold product; The plastic mold and the compression casting mold proportion increases; Specialized mold factory quantity and its productivity increase;

工业设计外文翻译---不需要设计师的设计

Design Without Designers 网站截图： https://www.wendangku.net/doc/4f18029002.html,/baidu?word=%B9%A4%D2%B5%C9%E8%BC%C6%D3%A2%CE%C4%CE%C4%CF%D 7&tn=sogouie_1_dg 原文： Design Without Designers I will always remember my first introduction to the power of good product design. I was newly arrived at Apple, still learning the ways of business, when I was visited by a member of Apple's Industrial Design team. He showed me a foam mockup of a proposed product. "Wow," I said, "I want one! What is it?" That experience brought home the power of design: I was excited and enthusiastic even before I knew what it was. This type of visceral "wow" response requires creative designers. It is subjective, personal. Uh oh, this is not what engineers like to hear. If you can't put a number to it, it's not important. As a result, there is a trend to eliminate designers. Who needs them when we can simply test our way to success? The excitement of powerful, captivating design is defined as irrelevant. Worse, the nature of design is in danger. Don't believe me? Consider Google. In a well-publicized move, a senior designer at Google recently quit, stating that Google had no interest in or understanding of design. Google, it seems, relies primarily upon test results, not human skill or judgment. Want to know whether a design is effective? Try it out. Google can quickly submit samples to millions of people in well-controlled trials, pitting one design against another, selecting the winner based upon number of clicks, or sales, or whatever objective measure they wish. Which color of blue is best? Test. Item placement? Test. Web page layout? Test. This procedure is hardly unique to Google. https://www.wendangku.net/doc/4f18029002.html, has long followed this practice. Years ago I was proudly informed that they no longer have debates about which design is best: they simply test them and use the data to decide. And this, of course, is the approach used by the human-centered iterative design approach: prototype, test, revise. Is this the future of design? Certainly there are many who believe so. This is a hot topic on the talk and seminar circuit. After all, the proponents ask reasonably, who could object to making decisions based upon data? Two Types of Innovation: Incremental Improvements and New Concepts In design—and almost all innovation, for that matter—there are at least two distinct forms. One is

模具毕业设计外文翻译7081204

(此文档为word格式，下载后您可任意编辑修改！) 冷冲模具使用寿命的影响及对策 冲压模具概述 冲压模具--在冷冲压加工中，将材料(金属或非金属)加工成零件(或半成品)的一种特殊工艺装备，称为冷冲压模具(俗称冷冲模)。冲压--是在室温下，利用安装在压力机上的模具对材料施加压力，使其产生分离或塑性变形，从而获得所需零件的一种压力加工方法。 冲压模具的形式很多，一般可按以下几个主要特征分类： 1?根据工艺性质分类 (1)冲裁模沿封闭或敞开的轮廓线使材料产生分离的模具。如落料模、冲孔模、切断模、切口模、切边模、剖切模等。 (2)弯曲模使板料毛坯或其他坯料沿着直线(弯曲线)产生弯曲变形，从而获得一定角度和形状的工件的模具。 (3)拉深模是把板料毛坯制成开口空心件，或使空心件进一步改变形状和尺寸的模具。 (4)成形模是将毛坯或半成品工件按图凸、凹模的形状直接复制成形，而材料本身仅产生局部塑性变形的模具。如胀形模、缩口模、扩口模、起伏成形模、翻边模、整形模等。2?根据工序组合程度分类 (1)单工序模在压力机的一次行程中，只完成一道冲压工序的模具。 (2)复合模只有一个工位，在压力机的一次行程中，在同一工位上同时完成两道或两道以上冲压工序的模具。 (3)级进模(也称连续模) 在毛坯的送进方向上，具有两个或更多的工位，在压力机的一次行程中，在不同的工位上逐次完成两道或两道以上冲压工序的模具。 冲冷冲模全称为冷冲压模具。 冷冲压模具是一种应用于模具行业冷冲压模具及其配件所需高性能结构陶瓷材料的制备方法，高性能陶瓷模具及其配件材料由氧化锆、氧化钇粉中加铝、错元素构成，制备工艺是将氧化锆溶液、氧化钇溶液、氧化错溶液、氧化铝溶液按一定比例混合配成母液，滴入碳酸氢铵，采用共沉淀方法合成模具及其配件陶瓷材料所需的原材料，反应生成的沉淀经滤水、干燥，煅烧得到高性能陶瓷模具及其配件材料超微粉，再经过成型、烧结、精加工，便得到高性能陶瓷模具及其配件材料。本发明的优点是本发明制成的冷冲压模具及其配件使用寿命长，在冲压过程中未出现模具及其配件与冲压件产生粘结现象，冲压件表面光滑、无毛刺，完全可以替代传统高速钢、钨钢材料。 冷冲模具主要零件冷冲模具是冲压加工的主要工艺装备，冲压制件就是靠上、下模具的相对运动来完成的。 加工时由于上、下模具之间不断地分合，如果操作工人的手指不断进入或停留在模具闭合区，便会对其人身安全带来严重威胁。 1

工业设计专业英语第三版部分翻译

艺术装饰风格 被宣告是“唯一一个总体设计”，艺术装饰必然是在众多消费者中间找到观众的最高产的设计之一。虽然它起源于19世纪20年代高度专有的法国手工裁剪装潢艺术，但它通过利用廉价的新金属材料，塑料和玻璃而发展迅速，找到了便宜，短期利用，并可以大批生产的装饰用品，如香烟盒，香水瓶，家庭用的陶瓷和玻璃，流行纺织品及各种装饰物，还有可以像鸡尾般甩动的物品。作为一种装饰风格它可以运用于无数物品的形状和表面装饰，因而赋予它们全部以相同质量的瞬间的现代性和时尚性。 就像许多这个世纪其它的流行风格一样，艺术装饰风格扎根于高雅文化，例如，立体主义、俄国芭蕾、美洲印第安风格和欧洲纯粹主义，但是相对其他文化而言，艺术装饰风格取长补短，装饰特征表现得更为折衷一些。结合艺术装饰风格在1930年代流行的因素，大规模批量生产使用新材料是商品价格相对低廉的必要条件。但这些是远远不够的，更深层次的原因是艺术装饰风格具有典型的适应性。在那段经济萧条的时期，豪华奢侈的装饰风格所带来的美感让当时的消费者有了逃避现实的放松心情。艺术装饰风格的宣传方式也促进了它的流行，艺术风格被好莱坞应用于多种流行电影中。通过影片媒体使大量观众接触到装饰风格，除此之外，艺术装饰风格也运用在广告和包装上，使其有效的影响了大量的环境之外，艺术装饰风格也影响到了建筑领域，许多新场所也运用了这种风格，美化建筑的外表，那些新商业的

娱乐楼房，例如商场电影院，工厂，甚至于新的豪华游轮，它也被利用于在1933年芝加哥展览之中。艺术装饰风格开始象征着高效率的现代化生活和新的生活理念，这种动人的方式随着人们对时尚性和社会地位的追求与渴望，艺术装饰风格得到了大量消费者的高度喜爱地位。 艺术装饰的大量应用伴随着消费产品的需求。但是，从不好的方而来看，艺术装饰风格只是作为一种中档的艺术手法，来装饰非常廉价的商品甚至留有一种杂乱的感觉。在英国有一群针对低端市场开发产品的地毯制造商，他们意识到了这个新潮流里的商业潜力。 但是，这些地毯制造商也很注意他们消费群里的保守心理，因此，即使是在一块地毯里的花紋也会出现那些很传统的1案象是老式的叶子造型和较灰暗的颜色。这种设计的消费市场不同于那些要不就是现代型或是完全传统的设计方案。1920年代到30年代，英国都铎王室的一些新居住者和新建筑的到来，使工艺美术运动和现代风格可以较为自由的发展和合理的被采用.这些各异的艺术风格也被按照使用者的喜好不同加入到地毯的设计之中。在20世纪30年代的中期，改良过的艺术装饰风格在数不清的家居装饰里都可以看到"在花园门饰上，无线电机的面板装饰上，阿芝台克寺庙的壁炉上和那些扶手椅和沙发的几何形体上。"