訪談設計師：Simon Yan

“人生開始于舒適圈的盡頭”，美國的一位作家曾經(jīng)這么說過。我們常說，人要走出自己的舒適圈，才能變得更加優(yōu)秀，但是需要足夠大的勇氣才能跨出第一步，許多人有這個覺悟，卻遲遲沒有行動。而我們今天訪談的主人公就擁有這樣的勇氣和行動力，在自己事業(yè)和生活最平順的時候選擇走出了自己舒適圈，經(jīng)過多年的努力，他為自己當初的決定交出了一份滿意的答卷。

Simon Yan，美國工業(yè)設計師協(xié)會成員，出生于香港，1988年畢業(yè)于美國紐約普拉特學院，而后在美國多家知名設計公司擔任高級工業(yè)設計師、項目經(jīng)理等，2001年在美國創(chuàng)立屬于自己的工作室Bluemap Design。在其設計生涯中，Yan曾收獲多項知名設計大獎，包括iF、紅點、PDC金獎等，其設計作品也曾先后發(fā)表在紐約時報、華爾街日報、時代雜志、iF設計年鑒等各大書刊、報紙、國際雜志中。Yan設計風格干凈、現(xiàn)代、永恒，追求形式和功能之間的平衡，注重用戶的身體與情感之間的關聯(lián)性。

No.1這一切都是為了走出舒適區(qū)，挑戰(zhàn)自己

Narkii:

您出生于香港，為何會想要出國發(fā)展呢？

You were born in Hong Kong, why do you want to go abroad for development?

Yan：

1984年，我決定離開香港前往美國紐約普拉特藝術與設計學院學習。適應一個全新的國家不是一件容易的事情，但是我不能忍受被限制在一個我已經(jīng)習慣的空間里，我需要看到更多，這里是一種強調(diào)反復學習和實踐的亞洲教育方式，幾乎沒有留給你想象和反思的空間。我記得，我在普拉特大學繪畫課上的第一個家庭作業(yè)是畫一幅我們選擇的靜物畫，我很興奮，花了好幾個小時畫了一幅非常精細、超寫實的畫，我為它感到驕傲，我認為這是我畫過的最好的一幅畫。而當教授評價的時候，我很震驚，他認為我的畫缺乏精神，太膽小。他指著我旁邊同學的畫，我當時覺得畫得不太好，他說:“這是一幅偉大的畫，它有活力和生命?！蔽一艘恍r間才明白他在說什么，最后我在那門課上得了第一名。普拉特大學的教育開闊了我的視野，讓我從那時起以不同的方式看待事物。如果我不出國，我永遠也做不到這一點。

1984, I decided to leave Hong Kong and go to New York, USA to study art and design at Pratt Institute. Adapting myself to a brand-new country is not an easy thing, but I can’t stand confining in a space I accustom to, and I need to see more. Coming from an Asian style of education which emphasis on repetitive study and practice, it leaves very little room for imagination and reflection on yourself. I remembered, my first home assignment of drawing class at Pratt was to draw a still life of our choice. I was excited and spent hours working on a highly detailed and super realistic drawing. I was so proud of it thinking that no doubt it is the best drawing I have ever done. When it came to the critique, I was shocked that my professor thought my drawing lack spirit and is too timid. He pointed to my classmate’s drawing next to me which I thought was not that good at the time. He said, “this is a great drawing, it has energy and life” I was puzzled and lost for a while. It took me some time to understand what he was talking about. I ended up finishing on top of that class. The education at Pratt opens up my mind and allows me to see thing differently ever since. I would have never able to do that if I didn’t go aboard.

NYC Street Lights

Narkii:

您在幾家頂級的工作室工作后為何會想要自主創(chuàng)業(yè)開一家自己的設計工作室呢？

You had worked in several top-ranked design studios, why do you want to start your own practice later?

Yan：

這一切都是為了走出舒適區(qū)，挑戰(zhàn)自我。2001年，我在紐約一家著名的設計公司擔任設計總監(jiān)，管理他們的工業(yè)和圖形部門。當時我處在一個舒適的環(huán)境中，生活似乎很平順。我正在做的項目很好，但遠不及我認為我能做得到的程度。在這一領域我有多年的經(jīng)驗，我覺得是時候大膽嘗試一下自己做了，而我想用自己的方式來做。Bluemap設計工作室就這樣誕生于2001年11月，十七年后的今天，我們?nèi)匀辉谧鲋钊梭@嘆的作品，我們的設計獲得了重大的國際獎項，也得到了客戶的認可，更重要的是，我們的客戶對成功的產(chǎn)品感到興奮。我相信我的直覺和設計感，這證明我做出了正確的決定。人們在舒適的環(huán)境中往往會失去想法，有時給自己制造一個不自在的環(huán)境是好的，讓自己緊張，限制自己的選擇，挑戰(zhàn)自己，它將帶來新的見解和可能性。

It is all about getting out of the comfort zone and challenge yourself. In 2001, I was design director at a well-known design agency in New York managing their industrial and graphics departments. I was in a comfortable situation where life seems to be pretty easy. The projects I was doing were good but far less than what I think I could do. With many years of experience in the field, I think it is time to venture out and do it on my own. I want to do it the way I want. Bluemap Design was born in November 2001. Seventeen years later, we are still doing amazing works our designs won major international awards, and were acknowledged by our pierces, more importantly, our clients are thrill with the successful products. I trusted my intuition, design sense and it proved that I made the right decision. People tend to lose perspective when in a comfort zone. Sometimes it is good to create an uneasy situation for yourself. Putting yourself on edge, limit your option and challenge yourself. It will bring new insight and possibilities.

SAY2 Smartphone

Narkii:

請與我們介紹一下Bluemap Design工作室以及它的戰(zhàn)略定位。

Please introduce something about Bluemap Design and its strategic positions.

Yan：

Bluemap設計是一家屢獲殊榮的工業(yè)設計公司，位于美國紐約市，專注于消費電子產(chǎn)品、辦公產(chǎn)品、家居用品結(jié)構(gòu)、圖形包裝和品牌等領域。我們強調(diào)用戶體驗對產(chǎn)品的重要性，我們努力為客戶的產(chǎn)品開發(fā)需求確定最佳解決方案。憑借多年的經(jīng)驗和國際認可，我們的設計師建立了一個全面的設計流程，并取得了許多成功的設計。

Bluemap Design is an award-winning industrial design firm in New York City USA, specializing in consumer electronics, office products, housewares, structural and graphic packaging, and branding. Our approach emphasizes the vital importance of a user’s experience with a product, and we strive to determine the best solutions for our clients’ product development needs. With many years of experience and international recognition, our designers have established a comprehensive design process that has resulted in many successful designs.

No.2自然是最好的靈感來源

Narkii:

您提到您的靈感來源之一是大自然，那么大自然為您的設計帶去了哪些方面的啟發(fā)？請舉例。

You mentioned that nature is one of your source of inspiration, what enlightenment nature has brought to your design? Please give us an example.

Yan：

大自然往往使事物看起來毫不費力。例如，你在河里看到一塊光滑的鵝卵石，它是美麗的，并不是經(jīng)過人工雕琢的，而是多年來沙子和水自然打磨的結(jié)果。我喜歡毫不費力的設計，而不是被迫的設計，喜歡設計方案是顯而易見的，但之前沒有人想到過。

在設計TiO廚房工具時，我們將相同的輕松設計思想應用于項目。我利用金屬沖壓和成型工藝，手柄區(qū)域印有槽，以便在成型過程中材料膨脹，形成完美貼合手部的輪廓形狀。凹槽提供觸感握持，握持牢固且舒適，并散熱以保持手柄涼爽。我們讓材料自然形成，而不是被迫形成一些不應該形成的狂野形狀，所有元素，形式和功能都可以無縫地工作，這才是一個自然的設計靈感。

Nature tends to make things look effortless. For example, you see a smooth pebble in the river. It is beautiful, yet no one purposely makes it. It was a result of years of polishing with sand and water by nature. I like design that is effortless, not forced, and design solution that is obvious yet no one has think of before.

When designing the TiO kitchen tools, we apply the same effortless design thinking to the project. I take advantage of the metal stamping and forming process. The handle area is stamped with slots to allow the material to expand during the forming process to create a contour shape that fit the hand perfectly. The grooves provide a tactile grip that is secure and comfortable to hold as well as dissipating the heat to keep the handle cool. We allow the material to form naturally, not forced into some wild shape that is not meant to be. All the elements, form and function work seamlessly. It is an effortless design inspired by nature.

TiO kitchen tools

Narkii:

以您的觀點來看，何為永恒的設計？

In your eyes, what is timeless design?

Yan：

對我來說，永恒的設計是形式、功能、顏色、比例和比例的平衡，這些設計元素的完美結(jié)合創(chuàng)造了一個永恒的設計，它不受文化、時間或地點的限制。一個永恒的設計可以在幾千年前，也可以在今天，它可以由當?shù)氐牟柯涔そ郴蛑脑O計師制作，它可以來自遠東，也可以來自西方。工業(yè)設計師迪特爾·拉姆斯(Dieter Rams)和建筑師路易斯·卡恩(Louis Kahn)的作品是永恒設計的典范。

To me, timeless design is a balance of form, function, color, scale, and proportion. It is a magic combination of the perfect level of these design elements that give birth to a timeless design. It is not bound by cultures, time, or places. A timeless design can be made thousands of years ago or today. It could be made by a native tribal craftsman or a famous designer. It can be from the far east or the west. Good examples of timeless design are the work of industrial designer Dieter Rams and Architect Louis Kahn.

No.3 The design style of Yan

Narkii:

您如何讓您的設計達到形式與功能之間的經(jīng)典平衡？

How do you get your design to achieve a classic balance between form and function ?

Yan：

你走在一條平衡形態(tài)和功能的線上，如果你太注重形式，可能就太過頭了，另一方面，太強調(diào)功能，它可能又會太功利。許多設計師首先關注的是美學(形式)，然后再讓工程師弄清楚它的功能。不盡人意的是，工程師可能會改變設計人員的意圖，以滿足工程需求。最后，您可能無法識別自己的設計。我喜歡從多個角度來處理一個問題，試圖在形式和功能之間找到一個平衡點。有時甚至是由內(nèi)而外。了解它的工作原理(功能)最終有助于實現(xiàn)您想要的外觀(形式)。

例如，在iPad Air項目的打字鍵盤上，市場上有許多iPad鍵盤產(chǎn)品，大多數(shù)都只有一個或幾個固定的視角，都沒有可拆卸鍵盤。通過我們的研究，我們意識到人們在打字時想要自由地調(diào)整視角，而實現(xiàn)自由旋轉(zhuǎn)運動的唯一方法是從內(nèi)到外進行設計。因此，我們與一家世界知名的鉸鏈制造商合作，開發(fā)了一種專有的微摩擦鉸鏈，它非常小，但扭矩值可以在任何角度安全地支撐iPad我沒有馬上開始設計產(chǎn)品的美學，相反，先解決機械問題，然后形式就位。當你在玩形式和功能游戲時，知道從哪里開始，什么時候停止是很重要的。

You are walking on a fine line balancing form and function. If you focus too much on the form it might be overdone, on the other hand, too emphasis on the functionality, it might make something too utilitarian. Many designers focus on aesthetics (form) first and let the engineer figure out how it works (function). The danger is that the engineer might change the designer’s intent to fit the engineering requirement. In the end, you might not recognize your own design. I like to approach a problem from many angles, try to find an equilibrium between form and function. Sometimes even from inside out. Knowing how it works (function) ultimately will help you achieve the look (form) you want.

For example, on the TYPO keyboard for iPad Air project. There are many iPad keyboard products on the market. Most of them have one or few fixed viewing angles. None of them has a detachable keyboard. We realized that people want to adjust the viewing angle freely for typing during our research. The only way to achieve a free pivoting movement is to design it from the inside out. So we collaborated with a world renounce hinge manufacturer to develop a proprietary micro-friction hinge. It is super small but has the torque value that could hold up the iPad securely at any angles. I did not start to design the aesthetics of the product right away. Instead solve the mechanical problem first, and then the form falls into place. It is essential to know where to start and when to stop when juggling form and function.

Typo Keyboard for iPad Air

Narkii:

為使作品滿足用戶的情感需求，您認為設計的關鍵是什么？

What is the key of design in order for the work to meet the emotional needs of the users?

Yan：

設計的關鍵是與客戶建立聯(lián)系，用戶可以從情感上聯(lián)系到的東西，這種聯(lián)系可能是多方面的，它可以是一種顏色，一種形狀，一種聲音，甚至是一種氣味，它可以是明顯的，也可以是微妙的。我關注人們的生活方式，以及他們?nèi)绾闻c他人、與產(chǎn)品互動，這有助于我在設計產(chǎn)品和包裝時與人建立聯(lián)系。

在設計柯達V-570數(shù)碼相機時，我們想要更深入的接觸用戶，我們希望人們愛上相機。當所有相機的鏡頭都移到身體的一邊時，我們選擇將鏡頭置于相機的中心。我們生活在一個對稱的世界里，對稱代表美和秩序。無論你的年齡、性別或國籍如何，它都是普遍的一樣，因此，人們潛意識里傾向于對稱的事物是很自然的。當你看到相機的時候，你會立刻被它吸引，不得不把它拿在手里。平衡布局不僅看起來不同，它還在情感上與客戶聯(lián)系在一起。

The key to the design is to make a connection with the customers. Something that the users can relate to emotionally. The link could be many things. It could be a color, a shape, a sound, or even a smell. It could be obvious or subtle. I pay attention to the way people live and how they interact with each other and products. This help me make connection with people when designing products and packaging.  

When designing the Kodak V-570 digital camera, we want to touch the customers on a deeper level. We want people to fall in love with the camera. While all the cameras have the lens off to one side of the body, we choose to position the lens in the center of the camera. We live in a symmetric world. Symmetry represents beauty and order. It is universal regardless your age, gender or, nationality. Therefore, it is natural that people subconscious gravitate toward things that are symmetrical. When you see the camera, you are instantly attracted by it and have to hold it in your hand. The balance layout didn’t just look different it connects with customers emotionally.

Kodak EasyShare V570 Dual Lens Digital Camera

Narkii:

您一般會從哪些方面去了解客戶的需求并將產(chǎn)品理念傳達給最終消費者？

In what ways do you generally use to understand the customer's needs and then communicate the product concept to the final consumers?

Yan：

在項目的研究階段，我們采用了訪談、產(chǎn)品矩陣映射、用戶場景開發(fā)、探索性頭腦風暴會議、競品評審、市場研究、趨勢研究、門店審核、用戶觀察等方法來了解和挖掘用戶的需求。

很多時候，這些收集到的數(shù)據(jù)以錄音、視頻剪輯、筆記、數(shù)字、圖表、圖片等形式出現(xiàn)。將這些看似無關、抽象的數(shù)據(jù)聯(lián)系起來是一項艱巨的任務。重要的是分析和組織這些信息，并將其轉(zhuǎn)化為有意義的觀點。這些觀點能讓我們建立指導方針，以幫助概念的創(chuàng)造。如你所見，我們從收集數(shù)據(jù)開始，并進行分析和組織，直至將它們轉(zhuǎn)化為有用的觀點，并幫助指導概念，最終轉(zhuǎn)化為最終產(chǎn)品。

During the research phase of the project, we use many methods such as interviews, product matrix mapping, user scenario development, exploratory brainstorm session, competitive products review, market study, trend study, store audit, and user observation, etc. to learn and understand what customers want.  

A lot of time these collected data are in the form of voice recording, video clips, notes, numbers, charts, pictures, etc. Making the connection of these seemingly unrelated and abstract data is a big task. The important thing is to analyze and organize this information and turn them into meaningful insight. These insights allow us to establish guidelines which aid the concept creation. As you can see, we started by collecting data, analyze and organize them, turn them into useful insight and help guide the concepts and eventually turn into the final product.  

Narkii:

您的包裝設計作品大都比較簡潔、直觀，您認為這種包裝風格可以帶來哪些優(yōu)勢？

Clean and intuitive are the main styles of your packaging design, what is the strategy this packaging style can bring?

Yan：

它帶來清晰和聯(lián)系。消費者只有很短的時間跨度從商店的大量產(chǎn)品中選擇，而很多包裝設計強調(diào)的是一個大膽和響亮的圖形。視覺上干凈的包裝設計將使您的產(chǎn)品脫穎而出，獨特的包裝結(jié)構(gòu)設計可以讓消費者直觀的感受到產(chǎn)品。

It brings clarity and connection. Consumers have very short time span to choose from a large number of products in the store. While a lot of packaging design emphasis on a bold and loud graphic. Visually clean packaging design will make your product stand out more. A unique packaging structure design could invite the consumer to pick up the product intuitively.

RING Video Doorbell Packaging

Narkii:

您認為國外的設計水平如何？有哪些是我們可以學習借鑒的？

What do you think of the design level in Western Countries? And what can we learn from it?

Yan：

過去，西方主導著設計世界，我們從他們身上尋找靈感和方向。今天我覺得設計水平更均衡了，好的設計無處不在，從東到西，從北到南。世界變得越來越緊密，越來越小，我們應該互相學習。盡管如此，我們?nèi)杂性S多東西可以向西方學習。

例如，美國是一個相當年輕的國家，沒有太多包袱和遺產(chǎn)。她的天性就是珍惜探索、冒險和發(fā)現(xiàn)新事物，正是這種自由、活力和態(tài)度幫助設計蓬勃發(fā)展。我們可以從這里學到的是勇于嘗試，不怕失敗的精神。我們要尊重歷史，但不要太拘泥于過去，發(fā)現(xiàn)自己的長處，發(fā)展自己的風格。人必須放手才能有所得。

For example, the US is a rather young country and don’t have too much baggage and legacy. It is in her DNA to cherish exploration, taking risk, and discover new things. It is that kind of freedom, energy, and attitude that help flourish design. What we can learn from here is the willingness to try and not afraid to fail. We need to respect history but not hanging on too much to the past, discover our strength and develop our style. One must let go to gain.

In the past, the west dominates the world of design. We look at them for inspiration and direction. Today I think the design level is more even out. Good design is everywhere. From east to west and from north to south. The world is more connected and getting smaller. We ought to learn more from each other. Being said that there are still many things we can learn from the west.

No.4 生活豐富了工作，工作讓生活更有意義

Narkii:

您對生活與工作分別持一種怎樣的態(tài)度？

What’s your attitude toward life and work?

Yan：

靈感就在我們身邊。你不能保證在9點到5點的辦公時間里有一個好主意。如果你想成為一個好的設計師，你不能下班后就把所有的設計思維都關掉。設計師不是一份工作，而是一種生活方式。我認為生活和工作是相互聯(lián)系的，一個激發(fā)另一個，生活豐富了工作，工作使生活更有意義。

Inspiration is all around us. You cannot guarantee to have a good idea between the office hours of 9 to 5. If you want to be a good designer you cannot just turn off all your design thinking after work. Being a designer is not a job it is a way of life. I think life and work are inter-connected. One inspires the other. Life enriches the work. Work makes life more meaningful.

Narkii:

您在美國已學習工作多年，如今可說事業(yè)有成，是否有想過回故鄉(xiāng)開分公司？

You have been studying and working in the United States for many years. Now your career is very successful. Have you ever thought about going

back to your hometown to open a branch?

VeriFone Digital Taxi-Top Advertising Display

Yan：

如果有合適的時機和機會，我將考慮在我的家鄉(xiāng)開一家分公司。

If the right moment and opportunity arise, I will consider opening a branch office in my hometown.

Narkii:

您希望您的子女將來繼承您的設計產(chǎn)業(yè)嗎？為什么呢？

Do you want your children to inherit your design industry in the future? why?

Yan：

作為一個設計師，我喜歡我每天做的事情。如果我的孩子有同樣的激情和決心，我會鼓勵他們成為像我一樣的設計師。然而，我相信每個人都有自己的命運和使命。如果你沿著命中注定的路走，你會做得很好。否則，做出妥協(xié)，強迫自己做一些你不喜歡的事情，將是一個悲劇。

As a designer, I love what I do every day. If my children have the same passion and determination, then I will encourage them to be a designer like me. However, I do believe that everybody has his or her destiny and calling. If you follow the path that is meant to be you will do well. Otherwise, making a compromise and forcing yourself to do something you don’t love will be a tragedy.

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