连接主义 符号主义_元现代主义设计案例

连接主义 符号主义

重点 (Top highlight)

This year marked the 100th anniversary of the founding of Bauhaus. More than a design aesthetic, Bauhaus was a movement, with its school contributing to an era of thought leadership that shaped our modern world. The founding principles of Bauhaus lauded function: the idea that design should scale and serve society. That impact is still felt today in the way we teach the practice of design. Bauhaus led to the creation of disciplines like industrial design and product design, focusing on people’s needs as a way to inspire form. Methodologies like human-centered design and design thinking respond to the teachings of Bauhaus and align to a certain modernist approach to mass-produced artistry.

今年是包豪斯成立100周年。 包豪斯不仅是设计美学，更是一场运动，其学校为塑造现代世界的思想领导时代做出了贡献。 包豪斯(Bauhaus)的创立原则赞扬功能：设计应扩展规模并服务于社会的理念。 今天，在我们教授设计实践的方式中仍然可以感受到这种影响。 包豪斯(Bauhaus)导致了工业设计和产品设计等学科的创立，着眼于人们的需求，以此作为激发形式的一种方式。 诸如以人为中心的设计和设计思维之类的方法对包豪斯的教义做出了回应，并与某种现代主义的批量生产艺术作品相吻合。

As 2019 comes to a close, I challenge the industry in 2020 to move into a meta-modernist approach: to redesign design itself through education. In 1919, the founders of Bauhaus were responding to a profound change in society and culture where industrialization changed everyday lives at an unprecedented scale. They believed something was missing: that in exchange for productivity, we lost art, humanity, and nature. Bauhaus sought to correct this and translate mere objects into artistic — and therefore human — connection. They taught that form and function are not mutually exclusive.

随着2019年的结束，我向2020年的行业提出挑战，要求其采用元现代主义方法：通过教育来重新设计设计本身。 1919年，包豪斯(Bauhaus)的创始人响应了社会和文化的深刻变化，工业化以前所未有的规模改变了日常生活。 他们认为缺少了一些东西：为了换取生产力，我们失去了艺术，人类和自然。 包豪斯(Bauhaus)试图纠正这一问题，并将纯粹的物体转化为艺术的，从而与人的联系。 他们教导说形式和功能不是相互排斥的。

A century later, this theory still holds weight. But the industrialization that necessitated Bauhaus has shifted to the digitization of the planet with an arguably greater impact on everyday lives. The scale of design has bled from the tangible into the intangible. It’s not only the objects we create and use, but it’s also the intelligence held within them. The straining ecological effects of mass production are no longer our only concern. We are now mass-producing feelings at an unprecedented scale.

一个世纪后，这一理论仍然占了上风。 但是，包豪斯(Bauhaus)所必需的工业化已经转向了地球数字化，这对人们的日常生活产生了更大的影响。 设计的规模已从有形变为无形。 这不仅是我们创建和使用的对象，而且还是其中包含的智能。 大规模生产带来的紧张生态影响不再是我们唯一关心的问题。 我们现在正在批量生产 情怀 以前所未有的规模。

We create digital experiences that reach millions (often billions) instantaneously, experiences that engage you and “make” you react. Manufacturing feelings has a profound effect on society, creating enormous opportunities to empower, to connect, to motivate, to give joy. But like all technology, it can also have unintended consequences that create harm, isolation, fear, and doubt. Function now extends into the realm of behavioral science. As designers, we influence the entirety of these experiences. We influence society and humanity at scale.

我们创造的数字体验可以瞬间达到数百万(通常是数十亿)，使您参与并“使”您做出React的体验。 制造业的情感对社会产生深远的影响，创造了巨大的机会来赋权，联系，激励和给予快乐。 但是，像所有技术一样，它也可能产生意想不到的后果，从而造成伤害，孤立，恐惧和怀疑。 现在，功能已扩展到行为科学领域。 作为设计师，我们会影响所有这些体验。 我们大规模地影响着社会和人类。

And yet our design institutions still hold to the material tenets founded by Bauhaus. These pedagogical tools are insufficient for the future that awaits us and even the here and now for which we design. Political, behavioral, cultural, sociological, ethical, and philosophical implications are at play more than ever. Every interaction is weighted with unintended consequences that affect the way people move about the world. Given the realities — and unrealities — technology creates, we have a responsibility to address our foundational knowledge and bring more consciousness into design education. Designers in every sector need to be equipped with the know-how to have these conversations.

但是我们的设计机构仍然坚持包豪斯(Bauhaus)创立的材料宗旨。 这些教学工具不足以迎接我们的未来，甚至我们设计的现在和现在。 政治，行为，文化，社会学，伦理和哲学方面的影响比以往任何时候都更为重要。 每次交互都带有意想不到的后果，这些后果会影响人们在世界上的移动方式。 鉴于技术创造的现实和非现实 ，我们有责任解决我们的基础知识，并将更多的意识带入设计教育中。 每个领域的设计师都需要具备进行这些对话的专业知识。

Inclusion, equity, community, ethics, trust — are these the Design 101 courses of the future?

包容，平等，社区，道德，信任-这些是未来的101设计课程吗？

I believe this starts with a critical design rethinking that brings these conceptual frameworks into our pedagogical standards. If Bauhaus allowed a safe space for experimentation and testing for material designs, this new school allows for the same on theoretical designs. We need a safe space to test these concepts before they alter society at scale.

我相信，这首先要从对设计进行重新思考的角度出发，将这些概念框架纳入我们的教学标准。 如果包豪斯(Bauhaus)为材料设计提供了用于实验和测试的安全空间，那么这所新学校将为理论设计提供同样的空间。 在这些概念大规模改变社会之前，我们需要一个安全的空间来测试这些概念。

This is meant as a provocation for, not a disparagement of, the design industry as it stands. I recognize the privilege of speaking from the podium of design in tech. But this also means my biases lie in seeing the impact of theoretical design firsthand. Across the tech industry, we are always learning from our impact on people in the real world, and this is what compels and propels this concept. Inclusion, equity, community, ethics, trust — are these the Design 101 courses of the future? A basis for “good design” under a meta-modernist definition leads to new practices and methodologies that address today’s societal challenges. What follows is a framework for the Bauhaus of the next 100 years.

这是对设计行业的挑衅，而不是贬低它。 我认识到在技术设计讲台上发言的特权。 但这也意味着我的偏见在于亲眼目睹理论设计的影响。 在整个技术行业中，我们一直在从对现实世界中人们的影响中汲取教训，而这正是这种观念的推动和推动。 包容，平等，社区，道德，信任-这些是未来的101设计课程吗？ 在超现代主义定义下，“良好设计”的基础导致了应对当今社会挑战的新实践和新方法。 接下来是包豪斯未来100年的框架。

反映 (Reflect)

Human-centered design addresses customer need but not always customer motivation. A new curriculum would teach the psychology behind certain behaviors and how to bring a person’s feelings into the iterative design process. This requires a personal reflection on the assumptions and biases we build into our designs, recognizing the knowledge gap that exists between our work and the customer’s real life. Rarely is there time for this critical analysis within our business cycles, and so it needs to be foundational training that becomes second nature. We need to learn how to continuously ask ourselves these questions:

以人为本的设计可以满足客户需求，但不能始终满足客户动机。 新课程将教授某些行为背后的心理学，以及如何将人的感受带入迭代设计过程。 这需要个人反思我们构建到设计中的假设和偏见，认识到我们的工作与客户的真实生活之间存在的知识鸿沟。 在我们的业务周期中很少有时间进行这种关键的分析，因此需要成为基础的培训才能成为第二性质。 我们需要学习如何不断问自己以下问题：

• How might the intended purpose be distorted?
  预期目的如何被扭曲？
• Who holds the power in this engagement model?
  谁拥有这种参与模式的力量？
• Does this design cause harm in any way?
  此设计是否会造成任何伤害？
• Does this design build or destroy trust?
  这种设计会建立或破坏信任吗？

重新思考 (Rethink)

Design thinking is limited in its process-oriented application. An expansion of our design practice includes awareness of broad systems and theories and those functions in society. This requires an evolution on the part of designers to understand the trends that drive our work. This includes areas like these:

设计思想在面向过程的应用程序中受到限制。 我们设计实践的扩展包括对广泛的系统和理论以及社会功能的认识。 这要求设计师不断发展，以了解推动我们工作的趋势。 这包括以下方面：

• Neuroscience: Digital design holds intrinsic implications for habit formation, focus, and attention. Learning more about these neural pathways is critical to curbing faulty design.

  神经科学：数字设计对于习惯形成，注意力和注意力具有内在的含义。 了解更多关于这些神经通路的知识对于遏制错误的设计至关重要。

• Economic theory: The definition of capitalism itself is evolving, driven by technology, the future of work, and the rise of automation. As designers, we take part in changing these systems, and we need to teach responsibility for their effects.

  经济理论：在技​​术，工作的未来以及自动化的兴起的驱动下，资本主义的定义正在不断发展。 作为设计师，我们参与了更改这些系统的工作，我们需要对它们的效果负责。

• Privacy law: Understanding the global forces behind policies such as GDPR and the Right to be Forgotten informs future trends for data collection and customer trust.

  隐私法：了解GDPR和“被遗忘权”等政策背后的全球力量会为数据收集和客户信任的未来趋势提供信息。

• Sustainability: Learning from the ecological challenges we’ve created serves as a blueprint for cognitive sustainability — using our resources responsibly and regulating for humane practices.

  可持续性：从我们创造的生态挑战中学习，可以作为认知可持续性的蓝图-负责任地使用我们的资源并规范人道实践。

非殖民化 (Decolonize)

Diversity and inclusion are top of mind in the industry, yet we often hold a local view of diversity. In doing so, we are bypassing a critical consideration of the heritage of indigenous societies and a global perspective that informs more inclusive design. We need to recognize that the majority of digital experiences are designed with a Western lens. Back to the definition of “good design”—what does that mean in the context of scale? How can we embrace the diversity of cultures to uphold their values? Again, there are basic questions we can ask ourselves to begin decolonizing design:

多样性和包容性是行业中的头等大事，但是我们经常持有本地的多样性观点。 在这样做的过程中，我们绕过了对土著社会遗产的批判性考虑，而绕开了提供更多包容性设计的全球视野。 我们需要认识到，大多数数字体验都是用西方的视角设计的。 回到“良好设计”的定义-在规模的背景下这意味着什么？ 我们如何才能拥抱文化的多样性来维护其价值观？ 同样，我们可以问自己一些基本问题以开始非殖民化设计：

• Who is this really for?

  这到底是谁 对于？

• Who will this reach, and who might be marginalized?
  这将影响谁，谁会被边缘化？
• Is this a re-imagined design or a re-appropriated design?
  这是重新设计的设计还是重新使用的设计？
• What cultural value is lost by mass-producing this experience?
  大规模产生这种经验会失去什么文化价值？

2020年愿景 (2020 vision)

As we enter the next 100 years of design education, this is one perspective on where to take our current approach. If the industry has moved us from “less is more” to “more is more,” this is a call to define the next industrial revolution as something more meaningful. Exponential production is not a solution — we need to capitalize on learning more together.

随着我们进入设计教育的下一个100年，这是在哪里采用当前方法的一种观点。 如果该行业将我们从“少即是多”转变为“多于更多”，那就是将下一次工业革命定义为更有意义的呼吁。 指数生产不是解决方案-我们需要利用共同学习的机会。

This is on us.

这在我们身上。

翻译自: https://modus.medium.com/the-case-for-meta-modernist-design-5ca38ee7cc9d

连接主义 符号主义