【ystore雅浩家具】健康辦公 專業人體工學區

Don't be like I was. Don't be afraid of history. Take all of it you can get. 

不要像我的過去，也別害怕歷史，拿走所有你能拿走的一切。

【A NOTE ON 100 QUOTES】-35

I had been making wet plate pictures, mixing my own emulsions, for more than a year before I found out that film had been invented!

我自己製作溼盤相片，調配顯影劑超過了一年，才發現膠捲已被發明了!

【A NOTE ON 100 QUOTES】-34

The familiarity with tools and the experience of designing tools for specific purposes play a great part in our attitude toward and problem we approach.

熟悉運用工具與特殊用途設計工具的經驗，深刻影響著我們解決任何問題的心態。

【A NOTE ON 100 QUOTES】-33

I don't believe in this "gifted few" concept, just in people doing things they are really interested in doing. They have a way of getting good at whatever it is.

我不相信「少數的天才」，我只相信人只要做他有興趣的事，他們自然會找出精通的方法。

【A NOTE ON 100 QUOTES】-32

So actually, my grandfather was born in the 18th century, my father in the 19th, and I was born in the 20th. Which made for a reasonably wide spread, and that's why my upbringing in St. Louis, even, was largely 19th century upbringing.

實際上，我的祖父出生於18世紀，我父親在19世紀，而我則是20世紀。剛好平均分配到每個世紀，這也是為什麼雖然我在聖路易斯成長，背景卻大多屬於19世紀。

【A NOTE ON 100 QUOTES】-31

The same stars that shine down on Russia shine down on the United States. From the sky our cities would look much the same.

照耀著俄羅斯的星星也同樣照耀著美國。從天空看下來我們的城市看來都差不多。

Of most importance is the learning from primary experiences.

從你自己的主要經驗學習是最重要不過了。

We wanted to make the best for the most for the least.

我們想用最低的成本製作出適合大多數人的最佳產品。

We work because it's a chain reaction, each subject leads to the next.

我們的工作源於連鎖反應，每個主題都會帶出下個主題。

To be realistic one must always admit the influence of those who have gone before.

所謂實事求是就是我們必須隨時承認前人對我們的影響。

Pardon me---I don't think it broke with traditionor was absolutely new, not if you take a good look at the development of chairs. Things seldom develop in a vacuum.

請見諒---我不認為我背叛了傳統或者說我的設計絶對是新的，如果你仔細回顧一下椅子的發展歷史，你就會認識到這點。很少有事物是憑空發展出來的。

Eero[Saarinen] was a marvelous architect. He was a great firend－a very close friend of mine－－and I couldn't possible think of talking about work without also talking about Eero a little bit.

Eero是位了不起的建築師。他是位了不起的朋友－也是跟我很親近的朋友－－而且我談論自己作品時幾乎沒辦法不稍微的提到他。

The idea was to do a piece of furniture that would be simple and yet comfortable.  It would be a chair on which mass production would not have anything but a positive influence; it would have in its appearance the essence of the method that produced it.  It would have an inherent rightness about it, and it would be produced by people working in a dignified way.  That sounds a little pompous, but at the time it was a perfectly legitimate thing to strive for.

我的概念就是創造一個極簡約而仍然舒適的傢俱，這張椅子即使大量生產也絲毫不會有負面的影響，在外表上甚至還能反映其製造的精髓，內在透露出正直的氣質，因為我們用尊重的態度來製造它。這樣聽起來有點矯情，但當時確是最值得奮鬥的目標。

I believe that we did for the Museum of Modern Art's Organic Furniture Competition in 1940 was really a statement of concept. We weren't particularly concerned with the economics of the solution even though at the time we thought we were.

我相信我們在1940年紐約現代博物館「有機傢俱比賽」中參展的作品純粹只是概念的表達。儘管當時我們認為已經考慮到這種方案的經驗成本，但其實我們考慮得並不成熟。

The blood will never show.

幕後的辛苦從來不為人知。

We've always been aware of not even attempting to solve the problem of how people should sit, but of rather arbitrarily accepting the way people do sit and of operating within that framework.

我們一直以來都明白，不要嘗試去解決人們如何坐的問題，而是大膽接受人們任何坐的樣子，以及在這樣架構下進行設計。

If nothing else, a student must get from his training, a feeling of security in change.

即使學生在訓練中沒有學到其他知識，至少要學到在改變時的一種安全感。

 Thinking of how a chair looks comes pretty far down on the list of things I worry about when designing. I only think about how they look in relation to how they are doing their job. They must be comfortable － comfortable for the kind of use they're going to get.

椅子最後會是什麼樣子，那是我設計上幾乎到最後才會考慮到的問題。我只會考慮椅子在被使用時看上去如何。他們一定要很舒服－依其設計用途所能達到的舒適。

【 On choosing a plastic chair color:】What I really want is a black with feeling.

【 在選擇一張塑膠椅的顏色時：】我真正要的是帶些感情的黑色。

Here is one of the few effective keys to the design problem－the ability of the designer to recognize as many of the constraints as possible－his willingness and enthusiasm for working within these constraints. Constraints of price, of size, of strength, of balance, of surface,of time, and so forth. Each problem has its own peculiar list.

解決設計上問題的少數有效方法之一就是 － 設計師能辨識出所有可能存在限制的本能 － 然後在這些侷限框框中繼續創作的意願與熱誠。不管是屬於價格、尺寸、強度、平衡、表面、時間等的限制。每種問題都有屬於自身的限制條件。