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Roger:中国设计足以开辟一个“新的王朝”

群鸟网 | 2015-3-07 11:10
 Roger Billington简介:中国深圳B+SW设计董事及首席执行官。建筑概念、室内设计师及产品设计师。新西兰设计师协会理事会员、澳大利亚设计师协会会员、英国工业艺术家与设计师协会会员。毕业于英国沃夫汉普顿大学,获空间设计学学士学位、灯光设计研究生学历,在英国、新西兰以及中国都完成了很多优秀的设计项目。


    1.据了解,B+SW每年都会组织优秀设计师外出考察,您认为这么做能为贵公司及员工带来哪些好处?

  【Roger】We do have a commitment to travel experiences for our designers as part of the strategy I implemented when we started the business 6 years ago. The basic idea is to broaden the designers understanding and experience of design both locally and internationally to ensure that their design proposals are not just creatively good solutions but also reflect the highest levels of innovation and pragmatism.

  Also part of this strategy I run history of design seminars that they all have to prepare and present at monthly intervals. All staff have a research topic and in combination this assists in the development of mature business focused design solutions. A good example is our current success in the design of complex commercial interiors which demonstrate a solid understanding of the most modern office systems and philosophies, all brought about by our research into American and European systems, technology and equipment but developed to reflect the Chinese context that they must perform in.

  【翻译】我们确实有信守为我们设计师提供外出考察机会的承诺,并且在这6年以来一直将其作为我们实施管理策略的一部分。其最基本的出发点是开阔设计师们的视野,并且加深他们对国内以及国际的设计理解和体验,从而确保他们的设计方案不仅仅是有创造性的好方案,同时也要映射出高水准的革新与务实。

  作为管理策略的一部分,我每个月都开展设计研讨会,所有员工都会准备一个研究主题,最终将它们结合起来助其发展成为一个个成熟集中的设计方案。举个例子来说,我们最近成功完成一个复杂的商业区室内设计,它展现了我们对于现代化办公系统和原则的透彻理解,既植入了我们对于欧美体系,科技以及设备的深入研究,又体现了我们对中式背景的理解。

  2.你们对考察地的选址有何要求?

  【Roger】The basic criteria for selection of destinations is that the experience must be of benefit to both the individual and the company. The designer submits a suggested destination based on an interest derived from either their research topic or a design history topic which they have found to be worthwhile. The result of the trip will then be recorded and shared with the team when they get back to the office. The form of recording will always depend on the destination but will always include an image and text file which can be archived at the office for future reference.

  【翻译】对于考察地选址的基本标准是必须同时益于公司及个人。设计师们会提交推荐地址,当然他们选择这些目的地是基于他们的调查主题或是他们认为值得研究的设计历史课题。设计师们外出考察归来后会记录报告并将成果与整个团队分享,记录的形式则包括图像以及文字档案,我们会把这些资料并存于公司共享,以便于日后参考所用。

        3.除了B+SW,业内很多设计企业、商业机构以及各协会单位也经常组织设计师集体出国考察,从全球化的角度来看,您认为这类考察为中国设计业以及设计师们带来了哪些深远的影响?

  【Roger】I have no idea what other companies expect from their overseas trips for their staff. At B+SW I believe that the way we integrate the experience with other knowledge gathering, research, history etc makes the experience more valid and acts as an incentive to staff to ‘earn’this educational experience.

  At B+SW it is a serious contribution to the knowledge and culture of the business.The benefits to the designers are obvious in that they develop a broader perspective and a confidence that they are actually ‘quite good’when they have the opportunity to compare their work with the real thing, not just photos of completed international designs.

  The development of design in china, we are still in transition from the big boss decision period. Those big now who recognize our depth and innovative capabilities and choose to take advantage of them are the winners. Modern international business requires that a company not only looks good but also reflects that look in the way they do the business, that’s why we are at the top of the commercial design ladder, we can align the look and the performance through our attention to research and international systems.

  【翻译】虽然我不确定其他公司对其员工海外考察有何种期待,但我确信在B+SW,我们将历史经验和其他知识学问以及研究调查等结合在一起,会使得考察体验的效果更佳,同时能够激励员工努力工作来“赚得”海外教育性体验的机会。

  在B+SW,知识文化的分享对整个公司都起到极大贡献与作用,对于设计师们的益处更是显而易见。由于他们拥有更广的视野和自信,当他们有机会对自己的设计和成品作比较时,他们实际上是“看好”自己作品的,当然不仅仅只是对着国际化设计的照片进行对比。

  对于中国的设计发展,我们还处在老板独大、一人拍板的过渡期中。那些看重我们的思考深度和创新价值,并选择利用它们的人会成为赢家。现在国际化事业要求一个公司不只是看起来好,同时也要与他们的行事方式匹配,这也就是为什么我们能处于商业设计阶梯的顶端,我们对研究国际体系的执着和关注使得我们的外表和实际行动保持着一致的优异性。

        4.您眼中的中国传统设计文化是怎样的?

  【Roger】Traditional Chinese design culture, to me, is affected very much by the traditional social norms and behaviours evident in china. This is not necessarily a good thing for the future of design here because these conventions often stifle the response to solutions. This is why I have introduced the programmes of research, history and travel as opportunities for our designers to ‘see and feel’how design operates overseas. I also run a comprehensive internship system and these people are part of the exposure to international practice when integrated with the other areas of design education. There is a push by government to encourage innovation and technology into business, you cannot do this just by wanting it to happen, there has to be an intervention that supports designers while they gain the skills and confidence to challenge the existing conventions of design. In this way the development of a truly Chinese internationalism can grow and compete on the world scene.

  【翻译】中国传统设计文化,对我而言,很大程度上受到显著的传统社会行为和规范的影响。这对于设计行业的未来并不见得是件好事,因为这些惯例通常会扼杀好的设计灵感。这也是为什么我将研究项目,历史记录以及出游考察作为我们设计师去“观察和感受”国外设计业是如何操作的机会。我在B+SW同时经营管理着一个综合的实习体系,力求让国际上的业务体验与其它设计方面的教育相结合。

  目前,中国政府正在推动鼓励将创新科技融入到商业,但不能仅仅凭借美好的愿望去推动它,而必须要有专门的举措鼓励设计师获得技术和自信去挑战现有的设计传统,这样才能发展出真正的中式国际化,去在世界的舞台上竞争。
 
        5.随着近几年中国经济的高速发展,中国的形象和国际地位不断提升,越来越多中国设计元素和设计师的声音在世界舞台上被放大,您觉得中国设计文化为国际化的设计理念和潮流带来了哪些影响?

  【Roger】Undoubtably the influence of Chinese design will continue to be seen on international forums. Stunning events like the Olympics and expo have already illustrated this. However at a lower level and in the domestic situation there is a need for a developing relationship between designers and the clients they work ‘with’, not for. Until the need for this relationship of trust and respect has been more clearly established, design in china will be too much controlled by the client. Because of this, the ability for Chinese designers to compete will always be adversely affected as this relationship is critical to the design process, rather like the relationship you develop with your lawyer or your dentist, I identify the ‘project’and then I let the professional develop the solution. I would certainly not tell the dentist how to fix my teeth, simply tell him or her that there was a need for a solution.

  【翻译】中国设计将会持续出现在国际化舞台上,这一点是毋庸置疑的,像北京奥运会和世博会等这些令人震撼的活动已经足以说明。但在当前国内的形势下,我们需要改变设计师与所服务客户之间的关系,我们是合作共赢,而并非只是为他们服务,只有当相互信任和尊重的关系被明确建立起来后,中国的设计才不会太过被客户所控制。否则,中国设计师的竞争力将会减损,因为设计师与客户的关系对于设计过程来说是至关重要的。这种关系不像你跟律师或者牙医的关系,你只要说清楚项目或者问题的内容,剩下的就都由专业人员负责给出解决方案。比如说,我不会告诉我的牙医要怎么修复好我的牙齿,而只会告诉他我的牙齿有什么问题需要他去解决。

     6.中国传统文化向来博大精深,经历了一段时期的文化断层之后,现阶段逐渐被世人重新接纳。在中国,无论是室内设计行业还是服装设计行业,都刮起了一股强劲的中式风,您如何看待这种现象?

  【Roger】I am a total supporter of Chinese style in all areas of design. My personal commitment to it has been long term and has had many manifestations. I have owned and operated a Chinese antique business and for a number of years operated one of NZ most successful restaurant/bars, called Mao Bar.

  As with any design style though, my use of Chinese style is restricted to the context and the relevance of the style to the use and function of the project. My personal interest is in the use of genuine antique and not reproduction. In small and important areas so that the impact of quality and purpose can be emphasized, not lost in a chaos of other objects or ill defined space. I think this is an approach held by other successful Chinese designers and the work they produce reflects this respect and simplicity of approach.

  【翻译】我对于在所有设计领域中的中国风是绝对的支持者。我个人对于中国风的支持已经很久了,也有许多相关的事迹证明。目前我还兼职在做中国古董生意,并在新西兰运营了最成功的中式餐吧——“毛吧”。

  对于具体的设计风格,我所使用的中国风是为了项目本身的背景和功能而服务的。我个人的喜好是运用真正的古董而不是仿制品。我会把这些古董用在很小很关键的区域来强调它的质量和作用,而不是让它淹没在其它物品的混乱之中。我认为这也是其他优秀的中国设计师所采用的方法,他们所创造的作品反映了对这种方法的尊重和简化。

        7.全球室内设计一直都是西方独大,在这种大背景下,中国设计文化的价值体现在哪里?

  【Roger】This is simply a gradual thing. If Chinese want to compete with international design companies then, I believe, that they need to adopt some of the influences I have mentioned above. This is NOT to make Chinese into western designers, but to equip them with the tools to compete.

  【翻译】这是个循序渐进的过程。如果中国设计公司想要与国际大设计公司竞争的话, 我相信,他们需要采用一些我以上所提到的影响力。这并不是让中国设计师去迎合西方设计师,而是将其作为自己的工具和装备来与对手竞争。

  8.2014艾特奖国际大师论坛也提到“东方设计与西方设计的抗衡”这一议题,那么中国作为东方大国,您觉得我们该如何提升自己在国际上的话语权?

  【Roger】The right to ‘speak’must be earnt, not given, same as respect, we need to earn the right to have influence and meaning. To do this we need to be clear that there is a need to do it. China can just carry on with its ways of design and create a new paradigm for its future. But to expect a seat on the international stage we need to be playing the same game, that is what I’m trying to equip my design company with, the tools to compete.

  【翻译】话语权是靠自己去赢得的而不是别人施与的,就像尊重一样。我们需要赢得影响力的权利。为此我们首先要明确我们是否有这么做的必要。中国可以用自己的设计方式去创造一个新的王朝,但是如果要占据世界设计舞台的一席之地,我们需要遵守游戏规则来玩同一场游戏。这也是为什么我努力去武装我的设计公司,让公司有合适的工具和方法去与别人竞争。

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