Joe Miller是來(lái)自英國(guó)的產(chǎn)品設(shè)計(jì)師，在歐洲領(lǐng)頭的產(chǎn)品設(shè)計(jì)與開(kāi)發(fā)咨詢公司之一的DCA工作已近兩年。在DCA的時(shí)間里，他摘得了iF也榮獲了紅點(diǎn)。這個(gè)熱愛(ài)創(chuàng)造和發(fā)想新鮮、有趣、且具意義的點(diǎn)子的設(shè)計(jì)師，和設(shè)計(jì)之間有怎樣的故事呢？我們不妨來(lái)了解一下。

Joe Miller

Narkii:

作為歐洲領(lǐng)頭的產(chǎn)品設(shè)計(jì)與開(kāi)發(fā)咨詢公司之一，DCA在選人上有什么標(biāo)準(zhǔn)呢？您身上有哪些優(yōu)勢(shì)？ 

As one of Europe's leading product design and development consultancies, what are the talent-selecting standards in DCA? What are your advantages?

Joe:

DCA招聘許多專業(yè)的人，針對(duì)不同專業(yè)都有獨(dú)特的人才選擇標(biāo)準(zhǔn)—內(nèi)部擁有廣泛的技能，肯定是DCA的主要優(yōu)勢(shì)之一。 由于我很少參與DCA的人才選拔策略，我只能說(shuō)說(shuō)我個(gè)人的招聘標(biāo)準(zhǔn)。任何希望在該領(lǐng)域尖端工作的設(shè)計(jì)師都應(yīng)該要能夠展示出強(qiáng)大的創(chuàng)造性思維，并擁有相應(yīng)的技能，將他們的思想和點(diǎn)子美好地帶到生活中。 

DCA employs people from such a large range of disciplines, each having their own distinct talent-selecting standards – having such a wide spread of skills in-house is certainly one of DCA’s major advantages. As I am seldom involved in DCA’s talent-selecting strategies I can only comment on what my own personal standards would be for hiring new talent. Any designer wanting to work at the top of the field should be able to show great creative thinking and have the subsequent skills to develop and bring their thoughts and ideas to life beautifully.

Narkii: 

DCA的服務(wù)范圍涵蓋多個(gè)領(lǐng)域，您有具體負(fù)責(zé)哪一塊嗎？

DCA has been focusing on many sectors, are you in charge of a specific one?

Joe:

DCA是一家大的設(shè)計(jì)顧問(wèn)公司，有一些部門經(jīng)理負(fù)責(zé)管理四個(gè)部分的設(shè)計(jì)和工程項(xiàng)目，這四個(gè)部門分別是：消費(fèi)者，交通，商業(yè)或工業(yè)以及醫(yī)療或科學(xué)。我作為一名工業(yè)設(shè)計(jì)師，可以跨越這些部門展開(kāi)工作，不過(guò)，我大部分的項(xiàng)目是消費(fèi)者部門的——消費(fèi)者部門的項(xiàng)目通常包括消費(fèi)電子產(chǎn)品，快速消費(fèi)品（FMCG）或品牌戰(zhàn)略工作。 

As DCA is a large consultancy, there are a number of sector managers that manage design and engineering projects across the four sectors, which are: consumer, transport, commercial/industrial and medical/scientific. In my role as an industrial designer I am able to work in across all of these sectors, however, most of my projects have fallen into the consumer sector – The consumer sector projects usually comprise of consumer electronics, fast moving consumer goods (FMCG) or brand strategy work.

Narkii: 

您有過(guò)三段實(shí)習(xí)經(jīng)歷，它們對(duì)您現(xiàn)在的工作有怎樣的影響呢？

You have three intern experiences. What kind of influence do they have on your current job?

Joe:

我的前三份實(shí)習(xí)為我現(xiàn)在的這份工作做了種種鋪墊。為許多著名的國(guó)際品牌服務(wù)，我獲得了寶貴的經(jīng)驗(yàn)，學(xué)會(huì)了如何做出可供生產(chǎn)的解決方案以及如何將品牌身份轉(zhuǎn)變成3D產(chǎn)品和形狀——所有的這些經(jīng)歷將我塑造成了現(xiàn)在這樣的設(shè)計(jì)師。 

My three prior internships prepared me in a number of ways for my current job. I gained valuable experience working for a number of well-known international brands, learnt about how to create production-ready solutions and how to translate a brand’s identity into 3D products & shapes – all of these experiences have helped to shape the type of designer I am in my current role.

MERSIV 沉浸式語(yǔ)言學(xué)習(xí)概念

Narkii:  

每個(gè)國(guó)家的文化、思維等都有所差異，自然設(shè)計(jì)流程上也就有所不同。您的設(shè)計(jì)流程通常是怎樣的呢？ 

Countries vary in culture, thinking pattern, etc. So does the design process. What kind of design process do you usually follow?

Joe:

我不認(rèn)為每個(gè)項(xiàng)目都應(yīng)該遵循一個(gè)“圣杯似的”的設(shè)計(jì)流程。 我的設(shè)計(jì)流程因項(xiàng)目而異，取決于項(xiàng)目的性質(zhì)和時(shí)間。 

I don’t subscribe to the thinking that there is one ‘holy-grail’ design process that should be followed for every project. My design process varies from project to project, changing depending on the nature & timeframe of the project.

不過(guò)，一般我喜歡從一些非常隨意的草圖開(kāi)始，這些草圖對(duì)于其他人來(lái)說(shuō)常常更像是無(wú)法辨認(rèn)的涂鴉，但是它可以幫助我很快地專注于問(wèn)題，并思考可能的解決方案。通常，我也會(huì)在設(shè)計(jì)初期就開(kāi)始使用CAD，因?yàn)槲野l(fā)現(xiàn)畫粗略快速地3D模型是從各個(gè)角度評(píng)估設(shè)計(jì)的一個(gè)有用的工具，這是2D草圖所不能做到的。在設(shè)計(jì)流程的后期，我會(huì)在Solidworks 和 Keyshot之間來(lái)回，用后者來(lái)評(píng)估設(shè)計(jì)在不同關(guān)照條件下，以及在不同的顏色、材料和表面處理下是如何工作的。 

However, I generally prefer to start with some extremely loose sketching, often these sketches look more like indecipherable scribbles to everyone else, but this helps me to quickly wrap my head around the problem and think through potential solutions. Often, I also start using CAD quite early in the design process, as I find creating rough, fast 3D models is a useful tool in evaluating designs from every angle, something you can’t get from a 2D sketch. Towards the later stages of the design process I am generally jumping back and forth between Solidworks & Keyshot, using the latter to evaluate how the design works under different lighting conditions and how it works in a variation of colours, materials and finishes.

Narkii:   

您覺(jué)得設(shè)計(jì)流程中哪一塊最重要呢？ 

Which part of design process do you consider the most important?

Joe:

再次，我認(rèn)為這取決于項(xiàng)目。比如，如果我是從無(wú)到有地去創(chuàng)造一個(gè)產(chǎn)品，那么點(diǎn)子發(fā)想的過(guò)程是最重要的——當(dāng)點(diǎn)子很垃圾，那后續(xù)創(chuàng)造新東西也沒(méi)有意義。但是，如果項(xiàng)目是要去改良一個(gè)現(xiàn)有產(chǎn)品，那么對(duì)形式細(xì)節(jié)進(jìn)行細(xì)微調(diào)節(jié)的過(guò)程就會(huì)更重要。 

Again, I think this is dependent on the project. For example, if I was creating a product from nothing, I would consider the ideation process to be the most important – there is no point of creating something new if the idea it is based on is rubbish. However, if the project was to reskin an existing product, the process fine tuning the details of the form would then become more important.

Narkii:    

您的作品KORUS無(wú)限模塊麥克風(fēng)獲得了2017年的紅點(diǎn)概念獎(jiǎng)，您是如何想到這個(gè)設(shè)計(jì)的呢？ 

The KORUS Wireless Modular Microphone won the 2017 Red Dot Concept Award. Can you tell us how did this idea occur to you?

Joe:

在我很難同時(shí)錄下吉他和我的聲音時(shí)，我就有了這個(gè)想法——似乎其實(shí)不用這么麻煩，這么多的設(shè)備也沒(méi)必要。我開(kāi)始思考，回想以前樂(lè)隊(duì)錄音時(shí)遇到的困難。對(duì)這個(gè)問(wèn)題進(jìn)行了一些錄音和現(xiàn)場(chǎng)表演的研究后，我就想到了一種新型的麥克風(fēng)。之后我做了很多實(shí)驗(yàn)，就這個(gè)點(diǎn)子試了很多種不同概念，直到設(shè)計(jì)出了KORUS 麥克風(fēng)。 

The idea came to me when I was struggling to record both my guitar and vocals at the same time - There seemed to be an unnecessary amount of hassle and equipment required. This got me thinking, reminding me of previous struggles when trying to record bands I had been in in the past. After some more research into the problems with audio recording and live performance, the idea for a new type of microphone struck me. This idea then developed as I experimented with different variations on the idea, until the final KORUS microphone was created.

KORUS無(wú)線模塊麥克風(fēng)概念

Narkii:    

我們知道為品牌服務(wù)需要尊崇品牌的一些特定元素。在這種框架之下，您是如何創(chuàng)新的呢？這種框架對(duì)您來(lái)說(shuō)是阻礙還是促進(jìn)您的設(shè)計(jì)呢？ 

We know that designing for brands require the designers to follow specific elements of the brands. Within this frame, how do you make innovation? Does this frame obstruct you or facilitate you in design?

Joe:

我不認(rèn)為品牌的視覺(jué)語(yǔ)言對(duì)設(shè)計(jì)創(chuàng)新是一種障礙，在品牌語(yǔ)言之內(nèi)進(jìn)行設(shè)計(jì)，對(duì)于創(chuàng)造出穩(wěn)固統(tǒng)一的產(chǎn)品組來(lái)說(shuō)非常關(guān)鍵。不過(guò)，當(dāng)品牌把設(shè)計(jì)僅僅當(dāng)做在生搬硬套，而非一種創(chuàng)造新的更好的事物的工具，那么就有問(wèn)題了——這樣的心態(tài)毫無(wú)疑問(wèn)會(huì)限制設(shè)計(jì)的作用。 

I don’t see designing within a brand’s visual brand language as a barrier for innovation, designing within the brand’s language is crucial to create a strong, unified set of products. However, problems arise when brands see design merely as a box ticking exercise and not a tool to create new and better things – mentalities like this can certainly limit design’s impact.

Narkii:     

平時(shí)有什么愛(ài)好嗎？這些愛(ài)好有給您帶來(lái)什么靈感嗎？ 

What is your hobby? Do you get inspiration from it?

Joe:

我最喜歡做的事情之一就是旅行，我能看到人們是怎么生活的，以及在他們的文化之下，他們與產(chǎn)品之間的交互又有什么不同。我希望這些東西能夠影響和激勵(lì)我成為更好的設(shè)計(jì)師。 

One of my favorite things to do is travel, seeing how people live and interact with products differently depending on their culture is something I hope has influenced and inspired me to be a better designer.

 本文為藝家人原創(chuàng)，如若轉(zhuǎn)載請(qǐng)注明出處