GIVEN motodesign | 设计 & 工程 | 摩托定制 | 米兰

研究技术和设计

 

张贴在中国的循环 75.000 复制, 用作中国工程学院技术手册, 他卷 “技术的研究与设计” 在一个成功的系列多产教授撰写技术手册第三. 石文.
在内介绍了一些改编自我们的生产工艺, 他们采取例如用于中国青少年学生.
这本书的出版是一个非常愉快和有趣的经历.

内容提要

温为才、陈振益、苏柏霖、恩里科·莱昂纳多Fagone、Donato Cannatello编着的《产品造型设计的源点与突破》从点、线、面、体出发,对产品造型追本溯源,以该源点再次出发,探讨了演绎丰富造型的可能性,以帮助读者透析造型设计的本质。本书提出了6个造型方法,4个造型步骤,3个产品统一性的技巧,为读者从事造型设计工作提供了实际而有效的造型方法。针对自由曲面,提出了混成、围合及动作思维3种造型手法,为读者驾驭自由曲面这一造型难点提供了针对性的解决方案。本书以造型心理惯性出发,提出了5组造型心理惯性及其突破的方法,为读者打破自身的造型局限,进入更为丰富的造型世界开启了一扇窗口。本书采访了多位欧洲顶级设计师,实地走访了多家意大利顶级设计公司,为读者提供了全新的第一手设计资料,通过对这些设计案例的深入分析,可以帮助读者了解了这些优秀设计师的设计方法及优秀设计案例的造型过程,有助于开阔读者的设计视野并提高读者的审美层次。


Sintesi dell’intervista:

1一个. 摩托车的形式,自其有史以来新兴发生了很大变化. 你认为可能参与改变这一进程的因素?

2013 Triumph Boneville我不完全同意.

摩托车的灵魂在超过一百年一直基本保持不变.
这是由一些车型目前在生产,因为他们回忆摩托车的精髓,其重新诠释经典摩托车的风格证实; 两个轮子, 发动机, 振动和情感.
在形式和风格,在时间不可避免地随之而来的变化依赖于在我看来 4 原因: 技术, 时尚, 文化进化和赛车.

 

为了第一 80 多年来,我们一直主要集中在技术演进, 生产机器其目的更比其他enything完美和性能.
在最后 20 年,而不是技术和赛车更有趣的元素停止发展, 离开摩托车的演变唯一的社会/文化方面.

 

截至今天这样的方面是摩托车生产为主,并产生怀旧, 荒诞, 未来或超精细的模型.

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.1b. 以何种方式欧洲摩托车的形式可能会在未来的发展?

 

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欧洲设计, 如东方和西方设计, 将专注以下具体的紧急情况; 形式是由地方生产开始总是被定义.
尽管不可避免的文化污染, 欧洲的生产将始终致力于摩托车是既实用又充满激情, 驾驶与审美特征之间的完美平衡, 乐趣和实用性. 一切都在我们的领土一起走, 所以不均匀, 可变景观, 盘山公路和陡峭的山坡.

当美国致力于生产自己的一望无际的平原和长而笔直的道路, 而在同一时间生产东部倾向于跟随市场, 城市和街道挤满了极强的功能和合理的产品.

 

 

 

 

 

 

 

  1. 每一个优秀的摩托车设计是由它自己独特的风格特色, 传达给客户提供特殊的情感和内涵. 作为一名设计师, 你如何使用的语言形式说明了摩托车的个性 ?

在摩托车设计, 一般多在工业设计, 卷的主要特征, 首先传达一个信息给客户.
看着对着光的东西, 一个可以立即感受到它的性质: 如果它传达力量, lightness, speed, elegance or anything else.

The same happens in nature, discerning in the darkness a pit-bull from a poodle just from its outline.

 

  1. Motorbike design has to take many parts into consideration, such as the chassis, the engine and the exhaust pipe and so on. It appears complicated and overwhelming to beginners. Do you have any suggestions on how to balance the skin (the covering parts) with the structure to achieve a perfect unification?

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It depends: are we drawing on a white sheet or are we working on something?

In general, design should come first, before exhaust pipes, before the frame and before the engine. Design has to be the first approach to a motorcycle project. Mechanics will then follow the directives of design with reciprocal adaptation.

If the approach of design follows the planning (as it happens in restyling), then some fixed points have to be decided in order to proceed freely with all the rest. For technical objects such as a motorbike, there can be an easy rule: parts which are mechanically interesting or well done have not to be covered, but left in plain sight. If possible it is to be preferred to redesign a technical part that is not satisfactory and make it part of the design, instead of covering it.

There is however one fundamental thing in our designing, the point of view of a motorbike is never perfectly lateral to the bike but is placed higher; let’s do not then only design a beautiful lateral view, often a good proportion of the lateral/superior volumes is more important that the lateral view.

 

  1. In a certain extent, the perspective view, light and shadow of a motorbike is more difficult to control than those of a car. How can we get a better control in motorbike sketching? Can you Please show us the drawing process of a Motorcycle( by using 6 pictures to explain the drawing steps). For the young students, How to improve the drawing abilities.

Considering the difficulties of motorcycle design, we can interpret it as a multilevel design.

1A first level, global vision, a second level, more detailed, a third level, even more detailed, and so on. The first level is the most important, what the customer gets at first sight, what conveys you the pleasure or fun of an object.
I work following this rule.
Starting from the overall view (general volumes) and then following with the definition of more particular details: the tail, the front, the frame, 等等. up to the screws.

  1. Motorbikes and cars are all transportation vehicles and the form design of both are naturally connected. Then, what, do you think, distinguishes each of them?

Historically, the use and function of cars and motorbikes have always been different and hence also the respective design.
Now they are crossing, evolving in all directions.
Cars used to have as primary function transportation, 而自行车被多挂形式的想法 (开玩笑, 味道, speed).
今日市场趋于填补任何空隙, 因此,我们有车是纯粹的形式和摩托车这是纯粹的功能.

对于摩托车这种变化是现在巩固了市场上 (即, 摩托车), 而对于汽车这个新趋势仍然不占主导地位, 和利益的市场利基小; 但我相信很快我们就会看到汽车行驶在众目睽睽发动机, “裸”的摩托车.

 

 

  1. 现在, 许多新技术, 如碳纤维和LED, are applied to the manufacturing of motorbikes. How will these new technologies affect the form design of motorbikes?

New technologies have always influenced design as a fundamental part of its development process.
Personally the main contribution that I received and appreciated from modern technologies has been in production numbers.
Today it is easier to build a small series of motorbikes thanks to new technologies such as carbon fiber, LEDs, CNC machines, prototyping and new materials.

For example, prototyping and CNC milling applied to modern materials allow us to have a unique ABS piece, without the need of expensive and difficult injection moulding; furthermore, thanks to silicon stamps, we can build small series of copies in polyurethane with low costs.
Also polyelliptical headlights (even better with LED technology) contributed to overcome the limits of industrialization. They can be hided in a transparent Plexiglas fairing, shaping them without the need to homologate a new light as it was necessary before.
And finally carbon and laminates in general free us from structural boundaries of plastic, with mechanical and not only aesthetic improvements.

 

 

  1. Some of the top motorbike designs are completed by handicraft. How is the value of the motorbike is expressed by traditional handicraft?

I am fond and always been a supporter of handiwork.
In motorcycle design handiwork is substantially clay modeling and the level of detail is high, but it requires time and economical resources for the reverse engineering process necessary to transform everything in digital form.
I prefer using digital the means that are at our disposal, avoiding the analogical passage, to simplify and speed up the creative process.