‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽车设计的演进
简介
Evolution of Automobile Design
A Brief Introduction

Author 作者 ‫ﻧﻮﯾﺴﻨﺪه‬
‫ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ‬
莫森
Mohsen Jaafarnia

Translators 翻译 ‫ﻣﺘﺮﺟﻤﯿﻦ‬
Sahar Boroomand 陆曼 ‫ﺳﺤﺮ ﺑﺮوﻣﻨﺪ‬
Gao Meng 高梦 ‫ﮔﺎﺋﻮ ﻣﻨﮓ‬

١٣٩٨ ‫ ﻗﻮﭼﺎن‬، ‫اﯾﺮان‬

伊朗, 2019
Ghochan , Iran 2019

Jaafarnia, Mohsen (2019). Evolution of Automobile Design, A Brief Introduction.

Ghochan, Iran: Yadegar Omr Publication. ISBN: 978-600-91409-8-5
Title: Evolution of Automobile 汽车设计的演进 ‫ ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ‬:‫ﻧﺎم ﮐﺘﺎب‬
Design, A Brief Introduction (简介) ‫ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬
Author: Mohsen Jaafarnia 莫森 ‫ ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ‬:‫ﺗﺎﻟﯿﻒ‬
Publisher: Yadegar Omr Yadegar Omr ‫ اﻧﺘﺸﺎرات ﯾﺎدﮔﺎر ﻋﻤﺮ‬:‫ﻧﺎﺷﺮ‬
Print: First print in Iran 2019 第一次出版 2019 ١٣٩٨ / ‫ اول‬:‫ﻧﻮﺑﺖ ﭼﺎپ‬
Circulation: 333 Hard copy 333 ‫ ﻧﺴﺨﮫ ﭼﺎﭘﯽ‬٣٣٣ :‫ﺗﯿﺮاژ‬
Persian trans.: Sahar Boroomand 陆曼 ‫ ﺳﺤﺮ ﺑﺮوﻣﻨﺪ‬:‫ﻣﺘﺮﺟﻢ ﻓﺎرﺳﯽ‬
English editor: Anupa Lahkar 阿努帕 ‫ آﻧﻮﭘﺎ ﻻھﮑﺎر‬:‫وﯾﺮاﺳﺘﺎر اﻧﮕﻠﯿﺴﯽ‬
Chinese translation: Gao Meng 高梦 ‫ ﮔﺎﺋﻮ ﻣﻨﮓ‬:‫ﻣﺘﺮﺟﻢ ﭼﯿﻨﯽ‬
Scientific editors: :‫وﯾﺮاﺳﺘﺎر ﻋﻠﻤﯽ‬
Ravi Mokashi Punekar ‫راوی ﻣﻮﮐﺎﺷﯽ ﭘﻮﻧﮫ ﮐﺎر‬
Adele Bass ‫ﻋﺎدﻟﮫ ﺑﺎس‬
Price: See the next page 参见下一页 ‫ ﺑﮫ ﺻﻔﺤﮫ ﺑﻌﺪ ﻣﺮاﺟﻌﮫ ﻧﻤﺎﯾﺪ‬:‫ﺑﮭﺎ‬
ISBN: 978-600-91409-8-5 978-600-91409-8-5 :‫ﺷﺎﺑﮏ‬
/‫ ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬:‫ﻋﻨﻮان و ﭘﺪﯾﺪآور‬ - ١٣۵۴ ،‫ ﻣﺤﺴﻦ‬،‫ ﺟﻌﻔﺮﻧﯿﺎ‬: ‫ﺳﺮﺷﻨﺎﺳﮫ‬
.‫ ﮔﺎﺋﻮ ﻣﻨﮓ‬،‫ﻧﻮﯾﺴﻨﺪه ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ ؛ ﻣﺘﺮﺟﻤﯿﻦ ﺳﺤﺮ ﺑﺮوﻣﻨﺪ‬ .١٣٩٨، ‫ ﯾﺎدﮔﺎر ﻋﻤﺮ‬:‫ ﻗﻮﭼﺎن‬:‫ﻣﺸﺨﺼﺎت ﻧﺸﺮ‬
‫ﻣﺼﻮر)ﺑﺨﺸﯽ رﻧﮕﯽ(؛ ﺟﺪول‬: .‫ ص‬١۴۶ :‫ﻣﺸﺨﺼﺎت ظﺎھﺮی‬ ‫ ﻓﯿﭙﺎ‬:‫وﺿﻌﯿﺖ ﻓﮭﺮﺳﺖ ﻧﻮﯾﺴﯽ‬
.‫ وزﯾﺮی‬،‫ ﻗﻄﻊ‬.(‫ ﻧﻤﻮدار )ﺑﺨﺸﯽ رﻧﮕﯽ‬،(‫)ﺑﺨﺸﯽ رﻧﮕﯽ‬ .‫ اﻧﮕﻠﯿﺴﯽ‬-‫ ﭼﯿﻨﯽ‬-‫ ﻓﺎرﺳﯽ‬: ‫ﯾﺎدداﺷﺖ‬
Automobiles- Design and construction- History. : ‫ ﻣﻮﺿﻮع‬.‫ ﺗﺎرﯾﺦ‬-‫ طﺮح و ﺳﺎﺧﺘﻤﺎن‬-‫ اﺗﻮﻣﺒﯿﻞ ھﺎ‬: ‫ﻣﻮﺿﻮع‬
Antiqe and classic cars- Pictorial works. : ‫ﻣﻮﺿﻮع‬ .‫ ﻣﺼﻮر‬-‫ اﺗﻮﻣﺒﯿﻞ ھﺎی ﻗﺪﯾﻤﯽ‬: ‫ﻣﻮﺿﻮع‬
Trans.,-Gao, Meng ,1992‫ ﻣﺘﺮﺟﻢ ؛‬،.‫ م‬١٩٩٢،‫ ﻣﻨﮓ‬،‫ ﮔﺎﺋﻮ‬:‫ ﻣﺘﺮﺟﻢ ﺷﻨﺎﺳﮫ اﻓﺰوده‬،- ١٣۶٢،‫ ﺳﺤﺮ‬،‫ ﺑﺮوﻣﻨﺪ‬:‫ﺷﻨﺎﺳﮫ اﻓﺰوده‬
۶٢٩/٢٣ :‫رده ﺑﻨﺪی دﯾﻮﯾﯽ‬ TL٢۴٠ :‫رده ﺑﻨﺪی ﮐﻨﮕﺮه‬ ۵٧٣١١٧۶ :‫ﺷﻤﺎره ﮐﺘﺎﺑﺸﻨﺎﺳﯽ ﻣﻠﯽ‬

Copyright © Mohsen Jaafarnia, 2019

New car generation Copyright. Consumer can design the front face and back
face of car by himself using an App of phone © Mohsen Jaafarnia, 2016
New car generation has registered patents in 2016. Therefore, please do not use this
idea illegally. Benefit of this invention goes to the noble cause. Three lawyers from
Iran, China and Europe are employed to protect the right of this invention. We
request you to apply for permission from Mohsen Jaafarnia.
designmo85@yahoo.com

All rights reserved

.‫ﮐﻠﯿﮫ ﺣﻘﻮق ﺑﺮای ﻧﻮﯾﺴﻨﺪه ﻣﺤﻔﻮظ اﺳﺖ‬

Yadegar Omr Publication

Taheri Publication, Attar St. , Motahari Ave.
Ghochan , khorasan Razavi, Iran.
(0098) 915 8865367
(0098) 51 4723 0987
 ،‫دوﺳﺖ ﮔﺮاﻣﯽ‬

‫ از طﺮﯾﻖ ﺟﺴﺘﺠﻮی ﻧﺎم ﮐﺘﺎب در اﯾﻨﺘﺮﻧﺖ اﻣﮑﺎن ﭘﺬﯾﺮ ﻣﯽ ﺑﺎﺷﺪ و ﺟﮭﺖ‬e-book ‫ﺗﮭﯿﮫ اﯾﻦ ﻧﺴﺨﮫ از‬
‫ ﷼ )ﺑﺴﺘﮫ ﺑﮫ ﻣﯿﺰان درآﻣﺪ ﺧﻮد( اﻧﺘﺨﺎب ﻧﻤﻮده و ﺑﮫ‬٣٣٣/٠٠٠ ‫ﭘﺮداﺧﺖ ﺑﮭﺎء ﮐﺘﺎب ﻣﺒﻠﻐﯽ را ﺗﺎ ﺳﻘﻒ‬
.‫ﯾﮑﯽ از ﻣﻮﺳﺴﮫ ھﺎی زﯾﺮ ﭘﺮداﺧﺖ ﻧﻤﺎﯾﯿﺪ‬

‫ﺑﺎ ﺗﺸﮑﺮ از ﺷﻤﺎ‬

https://behnamcharity.org.ir/ ‫ﻣﻮﺳﺴﮫ ﺧﯿﺮﯾﮫ ﺑﮭﻨﺎم دھﺶ ﭘﻮر‬
http://mahak-charity.org/main/index.php/fa ‫ﻣﻮﺳﺴﮫ ﺧﯿﺮﯾﮫ ﻣﺤﮏ‬
http://kahrizak.com/ ‫آﺳﺎﯾﺸﮕﺎه ﺧﯿﺮﯾﮫ ﮐﮭﺮﯾﺰک‬

您可以通过进入湖南大学设计艺术学院的官方网站（链接如下），获取全书的电
子版。考虑到这项崇高的事业，您需要支付一定的费用来下载本书。根据您的支
付能力，支付金额最多 33 人民币，支付是通过直接捐赠给以下的慈善组织完成
的。请进入下面的壹基金官方网站完成您的捐赠。
http://www.onefoundation.cn/

Dear friend,

You can find a digital copy of this e-book in the Internet. You can download
this book with a price that goes to a noble cause. So, you are kindly requested
to pay any amount up to 33 Euro (EUR) as per your capacity. Payment to be
done to any charity organizations based in your country, for instance: OLD
AGE HOME, HEALTH CARE (CANCER), CHILD LABOUR, and so on.
(Readers in every country must find the exchange rate of Euro (EUR) then do
the payment with their own currency in their own country).

Thank you

Mohsen Jaafarnia
Author of the book
Contents 内容 Page ‫ﻓﮭﺮﺳﺖ‬
Introduction 简介 6 ‫ﻣﻘﺪﻣﮫ‬
Evolution of car form 汽车形态的演进 9 ‫ﺳﯿﺮ ﺗﮑﺎﻣﻞ ﻓﺮم ﺧﻮدرو‬
Evolution of car face 汽车前脸的演进 40 ‫ﺳﯿﺮ ﺗﮑﺎﻣﻞ ﺻﻮرت ﺧﻮدرو‬
Past craft, Modern craft & 历史工艺、现代工 79 ‫ ﻣﺪرن‬،‫ھﻨﺮ و ﺻﻨﻌﺖ ﮔﺬﺷﺘﮫ‬
Post-modern craft: 艺和后现代工艺： ‫ ﺗﺒﺪﯾﻞ ﻣﺮدم‬:‫و ﭘﺴﺎﻣﺪرن‬
Transition of ordinary 普通人向手艺人的 ‫ﻋﺎدی ﺑﮫ ﺻﻨﻌﺘﮕﺮ‬
people being
转变
handicraftsmen
Future of automobile design 汽车设计的未来 107 ‫آﯾﻨﺪه طﺮاﺣﯽ ﺧﻮدرو‬
Final words 结语 139 ‫ﺳﺨﻦ آﺧﺮ‬
References 参考文献 140 ‫ﻣﻨﺎﺑﻊ‬
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ او ﺑﻮاﺳﻄﮫ اﺣﺘﺮاﻣﯽ ﮐﮫ‬.‫ﻧﻮﯾﺴﻨﺪه اﯾﻦ ﮐﺘﺎب ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ داﻧﺸﯿﺎر در ﻣﺪرﺳﮫ طﺮاﺣﯽ داﻧﺸﮕﺎه ھﻮﻧﺎن ﻣﯽ ﺑﺎﺷﺪ‬
车 .‫ﺑﮫ ﻣﻮﻻﻧﺎ ﺟﻼل اﻟﺪﯾﻦ ﻣﺤﻤﺪ ﺑﻠﺨﯽ روﻣﯽ ﻗﺎﺋﻞ اﺳﺖ اﯾﻦ ﮐﺘﺎب را ﺑﮫ روح ﺑﺰرگ او ﺗﻘﺪﯾﻢ ﻣﯽ ﮐﻨﺪ‬
设 :‫ﻣﻮﻻﻧﺎ ﺟﻼل اﻟﺪﯾﻦ ﻣﺤﻤﺪ ﺑﻠﺨﯽ روﻣﯽ درﺑﺎره وظﯿﻔﮫ ﻣﺎ در دﻓﺘﺮ اول ﻣﺜﻨﻮی ﻣﻌﻨﻮی ﻣﯽ ﮔﻮﯾﺪ‬
计
的 ‫دﺳﺘﮕﯿﺮی ھﺮ ﮐﮫ ﭘﺎﯾﺶ در ﮔﻠﺴﺖ‬ ‫ﺗﺮﺟﻤﺎﻧﯽ ھﺮﭼﮫ ﻣﺎ را در دﻟﺴﺖ‬
演
进
简
介

本书作者莫森·贾阿法尼亚（Mohsen），现任湖南大学设计艺术学院副教授。
他在本书中表达了对波斯诗人及哲学家缪兰那·贾拉勒丁·穆罕默德·巴尔希
（Mewlana）（别名鲁米）（Rumi）的深深敬意。作者谨以此书向他伟大的精神
致敬。

The author of this book Mohsen Jaafarnia is an Associate Professor at School of

Design, Hunan University. His deep respect for Mewlana Jalal ad Din Muhammad
Balkhi (Rumi) who was a Persian poet and philosopher finds reflection in this book.
The author dedicates this book to his great spirit.

Mewlana Jalal ad Din Muhammad Balkhi (Rumi) in Masnavi-ye Manavi says:

“The heart believes in just one thing. * Help whoever needs you.”

5
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻣﻘﺪﻣﮫ‬
车
设
简介
计 Introduction
的
演
进
简
介
،‫ از ﺟﻤﻠﮫ ﻣﯽ ﺗﻮان ﺑﮫ ﺗﺄﺛﯿﺮات ﻓﻦ آوری ﺟﺪﯾﺪ‬.‫ﻣﻄﺎﻟﻌﮫ ﺗﺎرﯾﺦ اﻏﻠﺐ ﺳﺮﻧﺦ ھﺎﯾﯽ را ﺑﺮای آﯾﻨﺪه ﺑﮫ ھﻤﺮاه ﻣﯽ آورد‬
‫ درﺳﺖ ﺑﻌﺪ از طﺮاﺣﯽ‬.‫ﺷﯿﻮه زﻧﺪﮔﯽ و ﻓﺮھﻨﮓ ﺑﺮ طﺮاﺣﯽ ﺧﻮدرو ﮐﮫ از آﻏﺎز ﺗﻮﻟﯿﺪ ﻣﻮﺟﻮد ﺑﻮده اﺷﺎره ﻧﻤﻮد‬
‫ ﺗﻼش ﺷﺪ ﺗﺎ طﺮاﺣﯽ ﺧﻮدرو در ﻣﺴﯿﺮی ﺣﺮﮐﺖ ﮐﻨﺪ ﮐﮫ ﺑﯿﺎن اﺣﺴﺎﺳﯽ ﺳﺮﻋﺖ را درﺑﺮداﺷﺘﮫ‬،‫ﮐﺎﻟﺴﮑﮫ ﺑﺪون اﺳﺐ‬
‫ ﺗﻐﯿﯿﺮات در ﺷﯿﻮه زﻧﺪﮔﯽ‬،‫ ﺑﮫ اوج ﺧﻮد رﺳﯿﺪ و ﺑﺎ ﮔﺬﺷﺖ زﻣﺎن‬١٩۵٠ ‫ﺑﺎﺷﺪ ﮐﮫ ﺑﺎ اﺳﺘﻔﺎده از ﻓﺮم ﻣﻮﺷﮏ در دھﮫ‬
‫ در اﯾﻨﺠﺎ اﯾﻦ ﻣﻄﺎﻟﻌﮫ ﺑﺮ اﺳﺎس ﺧﻂ‬.‫ ﻣﻔﺎھﯿﻢ و ﻣﻌﺎﻧﯽ ﻣﻮرد اﺳﺘﻔﺎده در طﺮاﺣﯽ ﺧﻮدرو را ﺗﻐﯿﯿﺮ داد‬،‫و ﻓﺮھﻨﮓ‬
‫ ﺧﻮدرو را ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﻗﺮار‬،‫ﺳﯿﺮ زﻣﺎﻧﯽ ﺑﮫ طﺮاﺣﺎن ﺧﻮدرو ﮐﻤﮏ ﻣﯽ ﮐﻨﺪ ﺗﺎ اﯾﺪه ھﺎﯾﯽ ﮐﮫ در طﻮل ﺳﯿﺮ ﺗﮑﺎﻣﻞ‬
.‫داده درک ﺷﻮد و ﺑﮫ ﻋﻨﻮان اﺑﺰاری ﺑﺮای ﭘﯿﺶ ﺑﯿﻨﯽ آﯾﻨﺪه ﻓﺮم ﺧﻮدرو ﻋﻤﻞ ﻧﻤﺎﯾﺪ‬
‫ ﺑﮫ ﺑﻌﺪ ﺗﺎ اﻣﺮوز( اﺳﺖ ﮐﮫ ﺗﮑﺎﻣﻞ ﻓﺮم ﺧﻮدرو را ﻣﻮرد ﺑﺮرﺳﯽ ﻗﺮار ﻣﯽ‬١٨٨۵) ‫اﯾﻦ ﭘﮋوھﺶ ﭼﺸﻢ اﻧﺪاز ﺗﺎرﯾﺨﯽ‬
‫دھﺪ و ﺑﺮ آن اﺳﺖ ﺗﺎ ﻋﻮاﻣﻠﯽ ﮐﮫ ﻧﻘﺶ در ﺗﻮﺳﻌﮫ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﻓﺮم ﺧﻮدرو داﺷﺘﮫ را ﻣﺸﺨﺺ ﻧﻤﺎﯾﺪ و ﺑﮫ دﻧﺒﺎل‬
‫ﭘﯿﺪا ﮐﺮدن آن دﺳﺘﮫ از ﻋﻮاﻣﻠﯽ ﻣﯽ ﺑﺎﺷﺪ ﮐﮫ وظﯿﻔﮫ ﺑﺮﻗﺮاری ارﺗﺒﺎط اﺣﺴﺎﺳﯽ ﺑﯿﻦ ﯾﮏ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ و ﮐﺎرﺑﺮان آن‬
.‫را ﺑﺮﻋﮭﺪه دارﻧﺪ‬
对历史的研究往往带来预见未来的线索。汽车设计自工业大生产后伴随着新技术、
生活方式和文化等影响因素逐渐发展起来。从无马驱动的运输开始，汽车设计发
展的动力一直来自人们对速度的情感表达的追求，这一趋势随着 20 世纪五十年
代导弹外形设计的引入而达到顶峰。久而久之，生活方式和文化的变迁改变了原
本设计架构内的语义内涵。本项研究，在汽车设计演变的时间线基础上帮助汽车
设计师更好地理解汽车制造商的想法，同时也可以作为预测未来汽车设计发展的
工具。
本实验采用历史视角（1885 年至今）研究汽车外形的演进，努力发掘汽车外形
美学发展的影响因素，以及汽车与用户之间情感关系建立的影响因素。
The study of history often yields clues to the future. Influences such as new
technology, lifestyle and culture have shaped automobile design since manufacturing
began. Right from a horseless carriage, automobile design has been driven by the
attempt to create an emotional expression of speed. This reached an apex with the
adoption of missile designs of the 1950’s. Over time, changes in lifestyle and culture
have altered the semantic meaning of the frame. This study, based on a time line helps
automobile designers comprehend the maker’s ideas that influenced the evolution of
the automobile and acts as a tool to predict the future of car designs.
This experiment has examined from a historical perspective (1885 onwards till date)
the evolution of the form of automobile and attempts to map factors that influenced
the development of aesthetics in automobile forms. It seeks to find out those factors
that are responsible for establishing the emotional relationship between a vehicle and
its users.

6
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫در اﯾﻦ ﺗﺤﻘﯿﻖ ﺑﺮای ﺑﺮرﺳﯽ ﻧﻔﻮذ ﻓﻦ آوری ﺟﺪﯾﺪ و ﺷﯿﻮه زﻧﺪﮔﯽ و ﻓﺮھﻨﮓ در طﺮاﺣﯽ ﺧﻮدرو و ﺑﮫ ﻧﻘﺸﮫ در‬
车 ‫ ﺗﻼش ﺷﺪه ﺗﺎ ﺧﻮدروھﺎی ﺷﻨﺎﺧﺘﮫ ﺷﺪه را اﻧﺘﺨﺎب ﻧﻤﺎﯾﯿﻢ و ﺑﺮ آن اﺳﺖ ﺗﺎ دو ﻣﺮﺗﺒﮫ ﺗﻮﺳﻌﮫ‬،‫آوردن ﺗﺎﺛﯿﺮات آﻧﮭﺎ‬
设 ‫ در اﺑﺘﺪا ﺗﮑﺎﻣﻞ ﻓﺮم ﮐﻠﯽ ﺧﻮدرو ﻣﻮرد‬.‫ﺧﻮدرو را ﺗﺎ ﺑﮫ اﻣﺮوز ﺑﺮ اﺳﺎس دوران ھﺎی ﻣﺨﺘﻠﻒ طﺒﻘﮫ ﺑﻨﺪی ﻧﻤﺎﯾﺪ‬
计 ‫ﺑﺮرﺳﯽ ﺗﺎرﯾﺨﯽ ﻗﺮار ﮔﺮﻓﺘﮫ و ﺳﭙﺲ ﺗﺎﮐﯿﺪ ﺑﺮ روی ﺻﻮرت ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ و در ﻧﮭﺎﯾﺖ ﺷﻨﺎﺳﺎﯾﯽ اﯾﺪه ھﺎی ﻧﺎب‬
的 .‫در طﻮل اﯾﻦ دوران ﺻﻮرت ﻣﯽ ﮔﯿﺮد‬
演
进
在一些著名汽车制造商的援助下，本实验试图指出新技术、生活方式和文化对汽
简
介 车设计的影响。研究者根据这几方面，对至今为止发生在特定历史阶段的两次汽
车演变进行了分类，首先采用历史视角研究轿车外形的演进，然后着重关注汽车
前脸设计。最后，我们探寻当代的杰出思想。

In this experiment with the aid of selected well-known automakers, attempt has been
made to map the influence of new technology; lifestyle and culture on automobile
design. These have categorized evolution of automobile two times into identified eras
till date. At first the historical review of evolution of Car Forms was examined and
then it lays emphasis on the car front face. Finally we search for brilliant ideas of this
period of time.

Figure 1: Early product development.

7
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اوﻟﯿﻦ ﻣﺤﺼﻮﻻت‬
车
设
早期的科技产品
计 Early products
的
演 ‫ ﻓﺎﻗﺪ ﺑﺪﻧﮫ و‬١٨٨۵ ‫ ﺟﺪﯾﺪﺗﺮﯾﻦ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ ﻣﻮﺗﻮری در ﺳﺎل‬.‫در اواﯾﻞ ﺗﻤﺎﻣﯽ ﺧﻮدروھﺎ اﺳﺎﺳﺎ ﺑﺴﯿﺎر ﻣﺘﺸﺎﺑﮫ ﺑﻮدﻧﺪ‬
进 ‫ ﭼﺮخ‬،‫ رﯾﺶ ﺗﺮاش‬،‫ اوﻟﯿﻦ ﻣﺎﺷﯿﻦ ﺗﺎﯾﭗ‬،‫ ﺑﺮای ﻣﺜﺎل‬.‫ اﯾﻦ ﻣﻮﺿﻮع در ﺗﻤﺎﻣﯽ ﻣﺤﺼﻮﻻت دﯾﺪه ﻣﯽ ﺷﺪ‬.‫ﭘﻮﺷﺶ ﺑﻮد‬
简
‫ﺧﯿﺎطﯽ و ھﻮاﭘﯿﻤﺎ ﻓﺎﻗﺪ ﺑﺪﻧﮫ ﺑﻮدﻧﺪ ﮐﮫ ﻣﻘﺎﯾﺴﮫ آﻧﮭﺎ ﺑﺎ ﻧﻤﻮﻧﮫ ھﺎی ﺑﻌﺪی ھﻤﯿﻦ ﻣﺤﺼﻮﻻت اﯾﻦ ﻣﻮﺿﻮع را آﺷﮑﺎر‬
介
.‫( و اﻟﺒﺘﮫ ﻣﺤﺼﻮﻻﺗﯽ ﭼﻮن دورﺑﯿﻦ ﻋﮑﺎﺳﯽ و زﯾﺮدرﯾﺎﯾﯽ از اول دارای ﭘﻮﺳﺘﮫ ﺑﻮدﻧﺪ‬١‫ﻣﯽ ﺳﺎزد )ﺗﺼﻮﯾﺮ‬
最初，所有车辆看起来都差不多。在 1885 年，刚诞生的机动车连躯体或外壳都
没有。这种情况在每种产品设计中都很常见，例如第一台打字机，第一把电动剃
须刀，第一台缝纫机，第一架飞机都没有外壳。图 1（Heskett,1980) 将这些早
期科技产品的最初形态与之后的版本进行了比较。相机和潜水艇之类的产品则具
备外壳。

In the beginning, all vehicles basically looked the same. In 1885, the new motorized
vehicles did not have a body or shell. This issue was common in every kind of product
design. For example, the first typewriters, electric shavers, sewing machines and
airplanes had no external shell. Fig. 1 compares the original forms of these early
machines with later versions (Heskett, 1980). Products like cameras and submarines
did have a shell.

Figure: 1885 Benz.

8
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺳﯿﺮ ﺗﮑﺎﻣﻞ ﻓﺮم ﺧﻮدرو‬

车
设
汽车形态的演进
计 Evolution of car form1
的 Author: Mohsen Jaafarnia and Adele Bass 2
演
进
‫اﯾﻦ ﺑﺨﺶ از ﺗﺤﻘﯿﻖ ﺳﻌﯽ در ﺷﻨﺎﺳﺎﯾﯽ ﻓﺎﮐﺘﻮرھﺎﯾﯽ دارد ﮐﮫ اﯾﺠﺎد راﺑﻄﮫ ی اﺣﺴﺎﺳﯽ ﺑﯿﻦ ﺧﻮدرو و ﮐﺎرﺑﺮان آن‬
简 ‫ ﺑﺪﻧﮫ ﺧﻮدرو را در ﺳﯿﺮ ﺗﮑﺎﻣﻞ آن ﺑﺮ ﺧﻂ ﺳﯿﺮ زﻣﺎن ﺑﮫ ھﻔﺖ‬،‫ ﭘﺲ ﺑﺎ ﻣﻄﺎﻟﻌﮫ ﺗﺎرﯾﺦ اﺳﺘﺎﯾﻞ‬.‫را ﻋﮭﺪه دار اﺳﺖ‬
介 ‫ دوره‬،‫ دوره ﺳﺎﺧﺖ‬،‫ دوره ﻧﻮآوری‬،‫ دوره اﺧﺘﺮاع‬:‫دوره ﻣﺨﺘﻠﻒ ﺗﻘﺴﯿﻢ ﻣﯽ ﮐﻨﯿﻢ ﮐﮫ ﺑﮫ ﺗﺮﺗﯿﺐ زﻣﺎﻧﯽ ﻋﺒﺎرﺗﻨﺪ از‬
‫ ھﺮ دوره ﯾﮏ ﺳﺒﮏ ﺧﺎص و ﯾﺎ زﯾﺒﺎﯾﯽ طﺮاﺣﯽ را ﺑﮫ‬.‫ دوره ادﻏﺎم و دوره ﻣﺪرن‬،‫ دوره ﮐﻼﺳﯿﮏ‬،‫ﭘﻮﺷﺶ ﺑﺴﺘﮫ‬
‫ ھﻨﺮ و‬،‫ ﻣﺪل ﻣﻮ‬،‫ آراﯾﺶ‬،‫ﺧﻮد اﺧﺘﺼﺎص داده اﺳﺖ ﮐﮫ آن زﯾﺒﺎﯾﯽ ﺧﺎص ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﺗﻌﺪادی از ﻋﻮاﻣﻞ ﻣﺎﻧﻨﺪ ﻣﺪ‬
‫ ﺑﺮای ﻣﺜﺎل در اﯾﻦ دوران ﺗﺎرﯾﺦ ﺷﺎھﺪ ﮔﺬار از ﮐﺎﻟﺴﮑﮫ ﺑﺪون‬.‫ ﻓﺮھﻨﮓ ﻋﺎﻣﮫ و ﻓﯿﻠﻢ ﻗﺮار ﮔﺮﻓﺘﮫ ﺑﻮد‬،‫ﻣﻌﻤﺎری‬
‫ ﻓﻮرد ﺑﻮدﯾﻢ و ﻣﻌﺎﻧﯽ ﻓﺮم ﺧﻮدرو ﺑﻌﺪ از اﺳﺘﻔﺎده از ﻗﻮس ﺑﺮای اﯾﺠﺎد ﺳﺮﻋﺖ و ﻗﺪرت ﺑﮫ اوج آن‬T ‫اﺳﺐ ﺑﮫ ﻣﺪل‬
‫ طﺮاﺣﺎن وارد ﺣﻠﻘﮫ ﮐﺎﻣﻠﯽ ﺷﺪﻧﺪ ﺗﺎ ﺑﺎ‬،‫ﯾﻌﻨﯽ اﺳﺘﻔﺎده از ﻓﺮم ﻣﻮﺷﮏ )در آﻣﺮﯾﮑﺎ( رﺳﯿﺪ و ﻧﮭﺎﯾﺘﺎ در دوره ﻣﺪرن‬
.‫اﺳﺘﻔﺎده از ﻓﺮم ھﺎی ارﮔﺎﻧﯿﮏ و ﺣﯿﻮاﻧﺎت و ﺑﺎﯾﻮ دﯾﺰاﯾﻦ ﺑﯿﺎﻧﮭﺎی اﺣﺴﺎﺳﯽ را اراﺋﮫ ﻧﻤﺎﯾﻨﺪ‬
本部分试图确定汽车与用户情感关系建立的影响因素，追溯方法主要是通过把时
间线划分为七个时期，来研究车身的演变史。这七个时期按时间先后分别是：发
明期（Invention era）、革新期（Innovation era）、 量产期 （Manufacturing era）、
胶囊期（Capsule era）、古典期（Classic era）、 整合期（Integration era）和现代
期（Modern era）。 每个时期都以特定的风格或设计美学作为标志。 这种美学的
影响因素众多，包括时装、化妆品、发型、艺术、建筑、流行文化和电影等。历
史上的这一阶段见证了交通工具从马车到福特 T 型车的过渡，汽车形式语义学沿
着速度与马力之间的曲线发展着，并在美国政治的导弹时代达到巅峰。在现代，
汽车设计师们已经走完了有机形态的设计循环，其中动物和仿生设计给他们的情
感表达提供了支撑。
This part of the research tries to identify those factors that are responsible for
establishing the emotional relationship between a vehicle and its users. This is being
traced by studying the history of car body by dividing the time line into seven
different eras. The seven eras in chronological order are: Invention era, Innovation era,
Manufacturing era, Capsule era, Classic era, Integration era and Modern era. Each era
is earmarked by a particular style or design aesthetic. The particular aesthetic was
influenced by a number of factors like fashion, makeup, hairstyles, art and
architecture, popular culture and movies. This period in history witnessed the
transition from the horse carriage to the Model T Ford and Form semantics of
automobile followed an arc of speed and power reaching its zenith at the missile era in
U.S. politics.In the modern age, designers have arrived full circle using organic forms,
animals and bio designing which supports their emotional expression.

1
This part of the study was undertaken as part of a research and the same has also been published by Mohsen Jaafarnia
and Prof. Adele Bass under the title “Tracing the Evolution of Automobile design: Factors influencing the
development of aesthetics in automobiles from 1885 to the present.” during the IMProVe International Conference on
Innovative Methods in Product Design, Venice, Italy.
2
Prof. Adele Bass is a Professor at the Art Center College of Design, Pasadena, California, USA

9
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره اﺧﺘﺮاع‬
车
设
发明期
计 Invention era
的
演 ‫ ﻓﺮاﯾﻨﺪ ﺗﻮﺳﻌﮫ و ﺗﻮﻟﯿﺪ ﻣﺤﺼﻮل را‬،‫از طﺮﯾﻖ ﯾﮏ ﻣﺮور ﮐﻠﯽ ﻣﯽ ﺗﻮان دﯾﺪ ﮐﮫ ﭼﮕﻮﻧﮫ ﻧﯿﺎز ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن‬
进 ‫ ﺑﻨﺰ ﺗﻨﮭﺎ ﺑﮫ ﺳﺎﺧﺖ ﯾﮏ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ ﺑﻨﺰﯾﻨﯽ از طﺮﯾﻖ ﻣﮭﻨﺪﺳﯽ ﻣﯽاﻧﺪﯾﺸﯿﺪ و‬،١٨٨٥ ‫ در ﺳﺎل‬.‫ﺗﻐﯿﯿﺮ داده اﺳﺖ‬
简
‫ ﺑﮫ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﻣﻮﺗﻮری ﺟﺪﯾﺪ ﺑﺪون ﺑﺪﻧﮫ‬.‫ﺗﻮﺟﮭﯽ ﺑﮫ ﺧﻮاﺳﺘﮫھﺎی ﺑﺼﺮی ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﻧﻤﯽﮐﺮد‬
介
‫ اﯾﻦ ﻣﺮﺑﻮط ﺑﮫ زﻣﺎﻧﯽ ﻣﯽﺷﺪ ﮐﮫ ﻣﺨﺘﺮﻋﺎن ﺑﯿﺸﺘﺮ ﺑﮫ ﻋﻤﻠﮑﺮد اھﻤﯿﺖ ﻣﯽدادﻧﺪ‬.‫ﺑﺎزار ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺗﺤﻤﯿﻞ ﺷﺪ‬
‫ ﮐﺎر ﮐﺮدن‬.‫ ﺳﮫ ﭼﺮخ و ﯾﮏ ﻗﺎﻟﺐ ﺑﺮای دﺳﺘﺮﺳﯽ آﺳﺎن ﺗﺸﮑﯿﻞ ﻣﯽﺷﺪ‬،‫ ﻧﺨﺴﺘﯿﻦ ﻣﺎﺷﯿﻦ از ﯾﮏ ﻣﻮﺗﻮر‬.‫ﺗﺎ ﺷﮑﻞ‬
.‫درﺳﺖ اﯾﻦ دﺳﺘﮕﺎه اوﻟﻮﯾﺖ ﻣﺤﺴﻮب ﻣﯽﺷﺪ و زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ طﺮاﺣﯽ ﺑﺎ ﺑﺎزارﯾﺎﺑﯽ ﺑﻌﺪھﺎ ﺑﮫ ﻣﯿﺎن آﻣﺪ‬

通过这一概述，我们可以看到消费者的需求已经改变了产品开发过程。1885 年，
本茨制造汽车时只是单纯的考虑到工程机械问题，忽视了消费者对汽车的视觉外
观需求。
因此，新的没有车身的机动车辆支配了整个消费者市场。在这个时代，创作者更
关心是功能，而不是形式。所以第一辆车只包括了一个引擎，三个轮子，为方便
检修，整个框架都暴露在外面。在当时，让机器能够正常工作是首要考虑的，迎
合市场的美学设计到后来
才出现 (Jaafarnia, 2013) 。

Through an overview one

can see how consumers
needs have changed the
Product Development
Process. In 1885, Benz
simply thought about
making a gasoline vehicle
through engineering, he did not pay attention to consumers’ visual desires. Therefore
the new motorized vehicles without a body dictated the consumers market. It was in
an era when inventors were more concerned about function than form. The first car
comprised an engine, three wheels and a frame all exposed for easy access. Getting the
machine to work properly was the foremost priority and designing aesthetics with
marketing came later (Jaafarnia, 2013).

Figure: Left & Middle, 1896 Ford. Right, 1893 Benz.

10
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﯾﻦ دوره ﺑﺎ اﺧﺘﺮاع ﻣﺎﺷﯿﻦ ﺑﻨﺰ آﻏﺎز ﺷﺪ و ﺣﺪود ده ﺳﺎل ﺑﻌﺪ از آن ﺑﺎ ﻣﻌﺮﻓﯽ اوﻟﯿﻦ ﺧﻮدرو ھﻨﺮی ﻓﻮرد اداﻣﮫ‬
车 .‫ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ای ﮐﮫ ﻗﺎدر ﺑﮫ ﺟﺎﺑﺠﺎﯾﯽ اﻧﺴﺎن ﺑﺎﺷﺪ ﻋﻤﺪﺗﺎ ﺑﺎ ﺑﺨﺎر ﮐﺎر ﻣﯽ ﮐﺮد‬،‫ ﻗﺒﻞ از ﻣﻌﺮﻓﯽ ﺧﻮدرو ﺑﻨﺰ‬.‫ﯾﺎﻓﺖ‬
设 ‫( ﻣﺎﺷﯿﻦ ﺑﻨﺰ اوﻟﯿﻦ ﺧﻮدرو ﺑﻮد ﮐﮫ از ﺑﻨﺰﯾﻦ اﺳﺘﻔﺎده ﻣﯽ ﮐﺮد و ﻣﺠﮭﺰ ﺑﮫ ﻣﻮﺗﻮر اﺣﺘﺮاق‬٢٠٠١،Eckermann)
计 ‫ اﻏﻠﺐ ﻣﺮدم آن‬.‫ اﻣﺎ ﻣﺮدم را ﺳﺮدرﮔﻢ ﻣﯽ ﮐﺮد‬،‫ ﺟﺬاﺑﯿﺖ زﯾﺎدی داﺷﺖ‬،‫ اﯾﻦ ﮐﺎﻟﺴﮑﮫ ﺟﺪﯾﺪ ﺑﺪون اﺳﺐ‬.‫داﺧﻠﯽ ﺑﻮد‬
的 ‫ ﮐﺎرل ﺑﻨﺰ ﻣﺎﺷﯿﻦ ﻣﻮﺗﻮرھﺎی ﺑﻨﺰﯾﻨﯽ‬.‫را ﻋﺠﯿﺐ و ﻏﺮﯾﺐ ﯾﺎﻓﺘﻨﺪ ﮐﮫ ﺣﻤﻞ و ﻧﻘﻞ ﻣﯽ ﺗﻮاﻧﺪ ﺑﺪون اﺳﺐ ﺻﻮرت ﮔﯿﺮد‬
演 .‫ او ﻣﯽ ﺧﻮاﺳﺖ ﺧﻮدروﯾﯽ را ﺧﻠﻖ ﻧﻤﺎﯾﺪ ﮐﮫ ﺑﺘﻮاﻧﺪ ﺑﺎ اﺳﺘﻔﺎده از ﻗﺪرت ﺧﻮد ﺣﺮﮐﺖ ﮐﻨﺪ‬.‫اﺳﺘﺎﺗﯿﮏ ﺗﻮﻟﯿﺪ ﻣﯽ ﮐﺮد‬
进 ‫ او اﺧﺘﺮاع ﺧﻮدرو ﺧﻮد را ﺑﺎ اﺳﺘﻔﺎده از ھﻤﺎن ﻓﻦ آوری ﮐﮫ در‬.‫اﯾﻦ ﻧﻤﯽ ﺗﻮاﻧﺴﺖ ھﻤﺎﻧﻨﺪ ﮐﺎﻟﺴﮑﮫ اﺳﺐ دار ﺑﺎﺷﺪ‬
简
‫ ﻣﻌﺮﻓﯽ ﻧﻤﻮد ﮐﮫ از ﭼﺮخ ھﺎی ﺳﯿﻤﯽ )ﺑﺮﺧﻼف ﭼﺮﺧﮭﺎی ﮐﺎﻟﺴﮑﮫ ﮐﮫ ﭼﻮﺑﯽ‬١٨٨۵ ‫دوﭼﺮﺧﮫ ﻣﻮﺟﻮد ﺑﻮد در ﺳﺎل‬
介
‫( و ﯾﮏ ﻣﻮﺗﻮر ﭼﮭﺎر زﻣﺎﻧﮫ ﮐﮫ طﺮاﺣﯽ ﺧﻮد ﺑﻨﺰ ﺑﻮد ﺗﺸﮑﯿﻞ ﺷﺪه‬٢٠٠۵، Seidel ;١٩٨۵،Georgano) (‫ﺑﻮدﻧﺪ‬
‫ اﯾﻦ ﻣﻮﺗﻮر از ﺳﯿﺴﺘﻢ ﺟﺮﻗﮫ زن ﺑﺴﯿﺎر ﭘﯿﺸﺮﻓﺘﮫ و ﺳﯿﺴﺘﻢ ﺧﻨﮏ ﮐﻨﻨﺪه ﺗﺒﺨﯿﺮی ﺑﮫ ﺟﺎی ﯾﮏ رادﯾﺎﺗﻮر ﺑﮭﺮه ﻣﻨﺪ‬.‫ﺑﻮد‬
.‫ﺑﻮد و ﻗﺪرت آن ﺑﺎ اﺳﺘﻔﺎده از دو زﻧﺠﯿﺮ ﻏﻠﺘﮑﯽ ﺑﮫ ﻣﺤﻮر ﻋﻘﺐ ﻣﻨﺘﻘﻞ ﻣﯽ ﺷﺪ‬

这一时期始于卡尔本茨汽车的诞生，延续了 10 年，期间还见证了亨利·福特第一
辆汽车的面世。在本茨推出机动三轮车之前，能载人的车辆主要是靠蒸汽驱动的
（Eckermann, 2001）。本茨汽车是第一辆使用汽油驱动内燃机的汽车。这辆无马
驱动的新型马车具有强大的魅力，然而它让人们无所适从，大多数人都觉得一辆
没有马拉也能动的车非常奇怪。
卡尔·本茨制造了静态汽油发动机，想要创造一辆完全靠自身动力来奔跑的汽车。
这种车不会像马车那样。1885 年，他通过采用在心爱的自行车上用到的技术，
推出了“奔驰专利奔驰一号”（Benz.Patent.Motorwagen）汽车，这种车的特点是钢
丝轮 （不像传统马车所用的木制车轮）（Georgano，1985；Seidel，2005），和
本茨自主设计的四冲程汽油发动机。它采用了非常先进的线圈点火技术和非散热
片的蒸汽冷却系统，动力通过两条滚子链传递到车后轴。

This era began with the invention of the Benz car and continued for roughly ten years
with the introduction of Henry Ford’s first automobile. Before Benz introduced his
motorized wagon, vehicles capable of human transport were mainly steam-powered
(Eckermann, 2001). The Benz car was the first car to use a gas powered internal
combustion engine. This new horseless carriage had a powerful allure, but it confused
people. Most found that a carriage could move without a horse very strange.
Karl Benz produced static gas engines. He wanted to create an automobile that would
run entirely on its own power. This would not be like horse carriage. Using the same
technology that was in his beloved bicycle, he introduced the Benz Patent
Motorwagen in 1885 which featured wire wheels (unlike the wooden ones on
carriages) (Georgano, 1985 ; Seidel, 2005) and a four-stroke engine of Benz’ own
design. It incorporated a very advanced coil ignition and evaporative cooling system
rather than a radiator and Power was transmitted by means of two roller chains to the
rear axle.

11
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 2: Invention era.

‫ ﭘﺎﯾﮫ و اﺳﺎس ﺑﺴﯿﺎری از ﺗﺸﺒﯿﮭﺎت اﺳﺖ و ﻣﮭﻢ اﺳﺖ ﮐﮫ ﻣﺎ ﭼﮕﻮﻧﮫ ﻓﮑﺮ ﻣﯽ ﮐﻨﯿﻢ و ﭼﮕﻮﻧﮫ اﯾﺪه‬،‫طﺮاﺣﯽ ﻓﻦ آوری‬
‫ اﺳﺘﻔﺎده از ﺗﺸﺒﯿﮫ در ﻓﺮآﯾﻨﺪھﺎی طﺮاﺣﯽ و ﺗﻮﺳﻌﮫ‬.‫ھﺎی ﻣﺎ ﺗﺤﻘﻖ ﻣﯽ ﯾﺎﺑﺪ و ﺻﻮرت ﺧﺎرﺟﯽ ﺑﺨﻮد ﻣﯽ ﮔﯿﺮﻧﺪ‬
‫طﺮاﺣﯽ ﺧﻮدرو ﭼﺮﺧﺸﯽ ﻣﯽ ﺑﺎﺷﺪ ﺑﮫ اﯾﻦ ﻣﻌﻨﺎ ﮐﮫ ﮐﻤﮏ ﺑﮫ ﺷﮑﻞ ﮔﯿﺮی ﻓﻦ آوری و ﮔﺎھﯽ اوﻗﺎت ﻓﻦ آوری ھﺎی‬
‫ﺟﺪﯾﺪ ﻣﻨﺠﺮ ﺑﮫ ﺗﺸﺒﯿﮭﺎت ﺟﺪﯾﺪ ﻣﯽ ﮔﺮدﻧﺪ اﻟﺒﺘﮫ ﺗﻐﯿﯿﺮات ﻋﻤﺪه ﺑﻮﺟﻮد آﻣﺪه ﻣﺎﻧﻨﺪ اﻧﺘﻘﺎل ﻓﺮم ﮐﺎﻟﺴﮑﮫ اﺳﺐ دار ﺑﮫ‬
‫ اﯾﺪه ھﺎی اﺑﺘﺪاﯾﯽ ﺑﮫ طﻮر طﺒﯿﻌﯽ ﺗﺸﺒﯿﮭﯽ ﺑﺮای اﯾﺪه ھﺎی‬.‫ ﺑﮫ ﺻﻮرت دوره ای ﺑﻮده اﺳﺖ‬،‫وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﻣﻮﺗﻮردار‬
‫ ھﻢ ﮐﻼﻣﯽ و ھﻢ‬،‫ ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل در "ﮐﺎﻟﺴﮑﮫ ﺑﺪون اﺳﺐ" ارﺗﺒﺎط ﮔﺮﻓﺘﻦ ﺑﺎ ﻓﻦ آوری ھﺎی ﻗﺒﻠﯽ‬،‫ﺑﻌﺪی ﺑﻮدﻧﺪ‬
.‫ طﺮح ھﺎی اوﻟﯿﮫ از وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﺷﻮاھﺪ و ﻣﺪارک ﺗﺼﻮﯾﺮی را از اﺳﺘﻌﺎره ﻧﺸﺎن ﻣﯽ دھﻨﺪ‬.‫ﺑﺼﺮی ﻣﯽ ﺑﺎﺷﺪ‬
‫ اﻟﺒﺘﮫ ﮐﺎﻟﺴﮑﮫ اﺳﺐ دار ھﻤﺎﻧﻨﺪ ﮐﺎﻟﺴﮑﮫ ﺑﺪون‬،‫ﺑﺮای ﻣﺜﺎل آﻧﮭﺎ ﺑﺨﺶ ﻋﻤﺪه ﻓﺮم را از ﮐﺎﻟﺴﮑﮫ اﺳﺐ دار ﺣﻔﻆ ﻧﻤﻮدﻧﺪ‬
.(٢٠٠٠،Wake) ‫ ﺧﻮدش ﻧﯿﺰ ﯾﮏ ﻧﻮآوری ﺗﮑﻨﻮﻟﻮژﯾﮑﯽ ﺑﻮد‬،‫اﺳﺐ و ﺧﻮدروھﺎی ﺑﻌﺪ‬
设计的技术是我们许多隐喻的基础，对我们的思维方式和将思想变成现实的方式
都很重要。就隐喻帮助塑造技术这一意义而言，隐喻的使用，设计的过程和汽车
设计的演进是有周期性的，有时新技术带来新的隐喻。一些重大的变化周期性出
现，比如从靠马拉的马车转变到机械驱动的汽车。最初对后者的描述是自然而然
地带有隐喻，正如术语“无马马车”所体现的那样，因为新技术与从前技术的联系
既是字面上的，又是视觉上的。在这种汽车的早期设计版本上，隐喻的证据显而
易见，因为它们在外形上保留了传统马车的许多特点。当然，正如无马马车和后
来的汽车对马车而言一样，马车本身就是一种技术革新（Wake，2000）。
Designing technology is the basis of many of our metaphors and is important in terms
of how we think and how our ideas materialize. The use of metaphor and processes of
design and the evolution of car designing are cyclic in the sense that metaphors help to
shape technology, and sometimes new technology leads to new metaphors. Major
changes arise periodically, such as the transition from horse-drawn carriages to motor-
driven vehicles. The initial description of the latter is naturally metaphorical, as in the
term "horseless carriage." because the association with the previous technology is both
verbal and visual. The early designs of such vehicles show visual evidence of the
metaphor, as they retained much of the appearance of horse-drawn carriages. Of
course the horse-drawn carriage was itself a technological innovation, as were the
horseless carriage and later automobiles (Wake, 2000).

12
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﻧﻮآوری‬
车
设
革新期
计 Innovation era
的
演 ،‫ در طﻮل دوره ﻧﻮآوری‬.‫ ﺧﻮدرو اﺳﺎﺳﺎ از آﻧﭽﮫ ﮐﮫ در ﺳﺎل ھﺎی ﮔﺬﺷﺘﮫ ﺑﻮدﻧﺪ ﻣﺘﻔﺎوت ﺷﺪﻧﺪ‬،١٨٩٦ ‫ﺑﻌﺪ از‬
进 ‫اﺳﺘﻔﺎده از ﺧﻮدرو ﻧﺴﺒﺖ ﺑﮫ دوره ﻗﺒﻞ ﮔﺴﺘﺮده ﺗﺮ ﺷﺪ و اﻟﺒﺘﮫ ھﻨﻮز ﺗﻌﺪاد ﮐﺎرﺑﺮان ﮐﻤﯽ از اﯾﻦ ﻣﺤﺼﻮل اﺳﺘﻔﺎده‬
简
‫ زﯾﺮا‬،‫ﻣﯽ ﮐﺮدﻧﺪ و ﻣﺮدم اﯾﻦ ﺧﻮدرو را ﺑﯿﺸﺘﺮ ﺑﮫ ﭼﺸﻢ ﯾﮏ ﻣﺤﺼﻮل ﺗﺎزه ﻣﯽ دﯾﺪﻧﺪ ﺗﺎ ﯾﮏ ﻣﺤﺼﻮل واﻗﻌﺎ ﻣﻔﯿﺪ‬
介
‫ طﺮاﺣﺎن‬.‫ اﻣﺎ ﺧﻮدرو ﺗﺼﻮرات ﻣﺮدم را ﺑﺮاﻧﮕﯿﺨﺖ‬،‫ﮐﮫ اﺳﺐ و ﮐﺎﻟﺴﮑﮫ روش ﻗﺎﺑﻞ اﻋﺘﻤﺎد ﺣﻤﻞ و ﻧﻘﻞ ﺑﻮد‬
‫ﺧﻮدرو ﻣﯽ داﻧﺴﺘﻨﺪ ﮐﮫ ﻓﺮم ﮐﺎﻟﺴﮑﮫ ﺑﺮای اﺳﺘﻔﺎده ﺑﺎ اﺳﺐ طﺮاﺣﯽ ﺷﺪه و ﺑﺮای اﺳﺘﻔﺎده در ﺧﻮدروھﺎی ﺟﺪﯾﺪ ﻧﻤﯽ‬
‫ ﺧﻮدروھﺎی ﺟﺪﯾﺪ ﺗﻐﯿﯿﺮاﺗﯽ را در ﺟﺎﻣﻌﮫ ﻣﻨﻌﮑﺲ ﮐﺮدﻧﺪ و ﺻﻨﺎﯾﻊ ﺟﺪﯾﺪ ﺑﮫ ﺳﺮﻋﺖ ﺧﻮد را ﺑﺎ‬.‫ﺗﻮاﻧﺪ ﻣﻨﺎﺳﺐ ﺑﺎﺷﺪ‬
‫ ﺗﺠﺴﻢ آن و درک اﺣﺴﺎس‬،‫ ﭼﻮن ﺧﻮدرو در ﺣﺎل ﺗﻮﺳﻌﮫ ﺑﻮد‬.‫ﺳﺒﮏ زﻧﺪﮔﯽ اﺳﺘﻔﺎده ﮐﻨﻨﺪﮔﺎن ﻣﻨﻄﺒﻖ ﻧﻤﻮدﻧﺪ‬
‫ ھﻨﺮی ﻓﻮرد اوﻟﯿﻦ ﮐﺴﯽ ﺑﻮد ﮐﮫ طﺮح ھﺎی اﺑﺘﮑﺎری ﺧﻮد را ﺑﮫ دﻧﯿﺎی ﺟﺪﯾﺪ ﻋﺮﺿﮫ‬.‫ﺳﺮﻋﺖ و آزادی ﺑﯿﺸﺘﺮ ﺷﺪ‬
‫ روش ﺟﺪﯾﺪ او در ﺗﻮﻟﯿﺪ اﻧﺒﻮه و اﺳﺘﻔﺎده‬.‫ ﺧﻮدروھﺎی ﻓﻮرد ﻣﺘﻔﺎوت از ﺳﺎﯾﺮ ﺧﻮدروھﺎی در دﺳﺘﺮس ﺑﻮدﻧﺪ‬.‫ﻧﻤﻮد‬
‫ ﻗﯿﻤﺖ ﺧﻮدرو ﻓﻮرد ﺑﯿﺸﺘﺮ از ﺳﺎﯾﺮ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﺑﻮد‬.‫ ﻣﺠﻤﻮﻋﮫ ﺧﻮدروھﺎی او را ﻣﺘﻔﺎوت ﻧﻤﻮد‬،‫از ﻣﻮاد ﺑﺎ ﮐﯿﻔﯿﺖ‬
.‫و اﯾﻦ اﻣﺮ ھﻢ ﺑﮫ ﺟﺬاﺑﯿﺖ آن اﻓﺰود‬

1896 年以后，汽车相比从前发生了根本上的改变。在整个革新期，汽车的广泛
使用依然罕见，汽车更大程度上被视为新事物，而不是随便使用的设备。马匹和
马车还是可靠的交通工具，不过汽车激发了人们的想象力。汽车设计师们明白，
传统马车的形态是与马相适应的，并不适用于他们新型汽车。
新型汽车折射出社会变迁。新兴工业家很快适应了快节奏的生活方式。随着汽车
不断演进，它自身变成了速度和自由的缩影。亨利·福特是第一个把他的革新设
计带到新大陆的人。福特的汽车与众不同，这是由于他发明了汽车的量产方式，
采用了高质量的材料。福特的汽车比其他汽车要昂贵。这只会让他的汽车越发吸
引人。

After 1896, automobiles changed radically from those in the previous years.
Throughout the Innovation era, widespread car use was still uncommon and the
automobile was seen as more of a novelty than a genuinely useful device. The horse
and carriage were reliable methods of transportation, but automobiles sparked
people’s imaginations. Automobile designers knew that the carriage’s form, designed
in accordance to the horse was not appropriate for their new automobiles.
The new cars reflected changes in society. The new industrialists were quickly
adapting the fast-paced lifestyle. As the automobile evolved, it epitomized speed and
freedom. Henry Ford was the first to bring his innovative designs to the New World.
Ford’s automobiles were different from the other available cars. His new mass
production methods and quality materials set his cars apart. The price of Ford’s car
was higher than other vehicles. This only added to the allure.

13
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 3: Innovation Era.

Figure: Left, 1898 Ford Model A . Right, 1904 First Kilbirnie’s Car.

Figure: Left, 1898 Renault. Right, 1898 Daimler Phoenix.

14
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﺗﻮﻟﯿﺪ‬
车
设
量产期
计 Manufacturing era
的
演 ‫ طﺮاﺣﺎن ﻋﻼﻗﻤﻨﺪ‬، ١٩٠٨ ‫ ﻗﺒﻞ از‬،‫ )آﻏﺎز ﺟﻨﮓ ﺟﮭﺎﻧﯽ اول( ﺑﻮد‬١٩١٤ ‫ ﺗﺎ‬١٩٠٨ ‫دوره ﺗﻮﻟﯿﺪ ﺣﺪودا ﺑﯿﻦ ﺳﺎﻟﮭﺎی‬
进 ‫ ﺳﺎدﮔﯽ را ﺑﺮای ﻣﻘﺮون ﺑﮫ‬،‫ اﯾﻦ دوره ﺟﺪﯾﺪ ﺻﻨﻌﺘﯽ‬.‫ ﮐﮫ ﺳﺒﮑﯽ در ﻣﻌﻤﺎری ﺑﻮد‬،‫ﺑﮫ ﻧﻘﻮش ﺳﺒﮏ ادواردﯾﻦ ﺑﻮدﻧﺪ‬
简
‫ ﻓﻦ آوری ﺧﻮدرو ﺑﮫ ﺳﺮﻋﺖ در ﺣﺎل ﺗﻮﺳﻌﮫ ﺑﻮد ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل ﺻﺪھﺎ ﺗﻮﻟﯿﺪ‬.‫ﺻﺮﻓﮫ ﺑﻮدن ﺧﻮدرو اﻧﻌﮑﺎس داد‬
介
‫ ﺗﺤﻮﻻت ﮐﻠﯿﺪی ﺷﺎﻣﻞ‬.‫ﮐﻨﻨﺪه ﮐﻮﭼﮏ ﺷﺮوع ﺑﮫ رﻗﺎﺑﺖ ﺑﺮای ﺑﮫ دﺳﺖ آوردن ﺗﻮﺟﮫ ﻣﺸﺘﺮﯾﺎن در ﺟﮭﺎن ﮐﺮدﻧﺪ‬
.(١٩٩٣،Hockman) ‫ ﺳﯿﺴﺘﻢ ﺗﻌﻠﯿﻖ ﻣﺴﺘﻘﻞ و ﺗﺮﻣﺰ ﭼﮭﺎرﭼﺮخ ﺻﻮرت ﮔﺮﻓﺖ‬،‫ﺳﯿﺴﺘﻢ ﺟﺮﻗﮫ زﻧﯽ اﻟﮑﺘﺮﯾﮑﯽ‬
‫اﻧﺘﻘﺎل و ﮐﻨﺘﺮل درﯾﭽﮫ ﮔﺎز ﺑﮫ طﻮر ﮔﺴﺘﺮده ای در ﺧﻮدرو ﺟﺎی ﮔﺮﻓﺖ ﮐﮫ اﺟﺎزه ﻣﯽ داد اﻧﻮاع ﻣﺨﺘﻠﻔﯽ از ﻣﺪل‬
.‫ھﺎی ﺳﺮﻋﺘﯽ را ﺑﻮﺟﻮد آورد‬
大约从 1908 年到 1914 年（第一次世界大战开始），汽车设计进入量产期。在
1908 年以前，设计师们更青睐爱德华七世时期的建筑，这种建筑风格风靡一时。
而这一崭新的工业时代展现的则是更简洁、更实惠的汽车。随着数以百计的小
规模汽车厂商开始争先恐后地夺取世界的目光，汽车技术迅猛发展起来。关键
的进步包括电点火系统，独立悬挂车轮和四轮刹车片（Hockman，1993）。变
速器和风门得到广泛应用，于是巡航速度有了多种选择。
The Manufacturing era roughly prevailed from 1908 to 1914, the beginning of World
War I. Before 1908, designers favored the ornate Edwardian architecture, which was
the preferred architectural style. This new industrial era reflected simpler, more
affordable automobiles. Automotive technology developed rapidly as hundreds of
small manufacturers began to compete for gaining the world's attention. Key
developments included the electric ignition system, independent suspension and four-
wheel brakes (Hockman, 1993). Transmissions and throttle controls were widely
adopted, allowing a variety of cruising speeds.

Figure 4: Manufacturing Era.

15
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简 Figure: Left, 1908 Ford model T. Middle, 1915 Ford Model T Tune car. Right, 1915 Fiat 505.
介
‫ ھﻤﮫ ﮐﺎرﺑﺮان ھﻤﭽﻨﺎن ﺑﮫ ﺧﻮدرو ﻓﻘﻂ ﺑﮫ ﭼﺸﻢ ﺳﺮﮔﺮﻣﯽ ﻣﯽ ﻧﮕﺮﯾﺴﺘﻨﺪ و ﻋﻼﻗﮫ‬،‫ﺑﺨﺎطﺮ ﻗﯿﻤﺖ ﺑﺎﻻی ﺧﻮدرو‬
‫ زﯾﺮا داﺷﺘﻦ ﺧﻮدرو ﺑﺮای اﮐﺜﺮ ﻣﺮدم ﻏﯿﺮ ﻣﻤﮑﻦ‬،‫ﻣﻨﺪان آن ﻓﻘﻂ ﮐﺴﺎﻧﯽ ﺑﻮدﻧﺪ ﮐﮫ اﺳﺘﻄﺎﻋﺖ ﻣﺎﻟﯽ آن را داﺷﺘﻨﺪ‬
‫ اﻧﻘﻼﺑﯽ در اﯾﻦ ﺻﻨﻌﺖ ﺑﻮﺟﻮد آورد و ﮐﻤﭙﺎﻧﯽ ﻓﻮرد را در اﯾﺎﻻت‬،‫ ﭘﺪر ﺧﻄﻮط ﻣﻮﻧﺘﺎژ ﻣﺪرن‬،‫ ھﻨﺮی ﻓﻮرد‬.‫ﺑﻮد‬
‫ ﻓﻮرد ﮐﮫ ﯾﮏ دﯾﺪ ﺟﮭﺎﻧﯽ داﺷﺖ و ﻣﺼﺮف ﮔﺮاﯾﯽ را ﺑﮫ ﻋﻨﻮان ﮐﻠﯿﺪی‬.‫ ﺗﺎﺳﯿﺲ ﻧﻤﻮد‬١٩٠٣ ‫ﻣﺘﺤﺪه آﻣﺮﯾﮑﺎ در ﺳﺎل‬
‫ ﯾﮑﯽ از اوﻟﯿﻦ ﻓﻌﺎﻻﻧﯽ ﺑﻮد ﮐﮫ ﺑﺮای اوﻟﯿﻦ ﺑﺎر از ﺗﮑﻨﯿﮏ ھﺎی ﺗﻮﻟﯿﺪ‬،(٢٠٠٢،Heskett) ‫ﺑﺮای ﺻﻠﺢ ﻣﯽ داﻧﺴﺖ‬
‫ او از ﺧﻂ ﻣﻮﻧﺘﺎژ‬.‫ ﺑﮫ اﯾﻦ ﺧﺎطﺮ ﺑﻮد ﮐﮫ او ﺗﻮاﻧﺴﺖ ﺧﻮدرو را ﺑﮫ ﻣﺮدم ﻋﺎدی اراﺋﮫ ﻧﻤﺎﯾﺪ‬،‫اﻧﺒﻮه اﺳﺘﻔﺎده ﻧﻤﻮد‬
‫ ﮐﮫ ﺑﺎ دﺳﺘﻤﺰد ﺑﺎﻻ ﺑﺮای ﮐﺎرﮔﺮان ﺧﻮد‬،‫اﺳﺘﻔﺎده ﮐﺮد ﺗﺎ ﺗﻌﺪاد زﯾﺎدی از ﺧﻮدروھﺎی ارزان ﻗﯿﻤﺖ را ﺗﻮﻟﯿﺪ ﻧﻤﺎﯾﺪ‬
‫ ﺗﻌﮭﺪ ﻓﻮرد‬.(١٩٩٣،Noblet) ‫ ﻓﻮرد ﻗﻮل داد ﺗﺎ ﺧﻮدروﯾﯽ ﻋﺎﻟﯽ ﺑﺎ ﻗﯿﻤﺖ ﻣﻨﺎﺳﺐ ﺗﻮﻟﯿﺪ ﻧﻤﺎﯾﺪ‬.‫ﻧﯿﺰ ھﻤﺮاه ﺑﻮد‬
‫ﻧﺴﺒﺖ ﺑﮫ ھﺰﯾﻨﮫ ھﺎی ﻣﻘﺮون ﺑﮫ ﺻﺮﻓﮫ او را در ﻣﺴﯿﺮ اراﺋﮫ اﯾﺪه ھﺎی ﺑﺴﯿﺎر و ﻧﻮآوری ھﺎی ﻓﻨﯽ و ﮐﺴﺐ و‬
‫ دﻻر ﺑﮫ ﺑﺎزار ﻣﻌﺮﻓﯽ‬٩٥٠ ‫ و ﺑﺎ ﻗﯿﻤﺖ ﻣﻘﺮون ﺑﮫ ﺻﺮﻓﮫ‬١٩٠٨ ‫ را در ﻣﺎه اﮐﺘﺒﺮ‬T ‫ ﻓﻮرد ﻣﺪل‬.‫ﮐﺎرھﺪاﯾﺖ ﻧﻤﻮد‬
‫ ﺑﻮد ﮐﮫ اﮐﺜﺮﯾﺖ ﻓﺮوش ﺧﻮدرو از دﯾﺪ ﺳﺮﮔﺮﻣﯽ و ﻋﻼﻗﮫ ﺑﮫ ﮐﺎرﺑﺮان و ﻣﺮدم ﻣﺘﻮﺳﻂ ﻣﻨﺘﻘﻞ‬١٩٠٨ ‫ در ﺳﺎل‬.‫ﻧﻤﻮد‬
.‫ﮔﺮدﯾﺪ‬

汽车价格高昂，只有业余爱好者和发烧友才买得起，对多数人来说它并不是真
实的。亨利·福特，现代装配线之父，于 1903 年在美国成立的福特汽车公司
（Ford.Motor.Company）颠覆了整个产业。福特拥有全球视野，认为消费主义
是通往和平的关键（Heskett，2002）。作为量产技术的第一批应用者之一，他
把汽车推向普通民众。人们认为是他采用装配线制造出了大量便宜的汽车，并
且给予工人高薪。福特发誓要制造出价格低廉的伟大汽车（Noblet，1993）。他
决心要让人们买得起汽车，因此带来了技术和商业上的多项革新。福特在 1908
年十月推出了 T 型车，价格实惠，只需 950 美元。这一年，1908 年，正是汽车
的客源从爱好者、发烧友转向普通用户的一年。

With the high value of the car it was still only the hobbyist and enthusiast who could
afford one. It was unreal for most people. Henry Ford, the father of modern assembly
lines, revolutionized the industry when he established the Ford Motor Company in
U.S in 1903. Ford had a global vision, with consumerism as the key to peace.
(Heskett, 2002) One of the first adopters of mass production techniques, he introduced
the automobile to the ordinary man. He is credited with using the assembly line to
make large numbers of inexpensive automobiles coupled with high wages for his
workers. Ford vowed to build a great car at a great price (Noblet,1993). His
commitment towards affordable costs led to many technical and business innovations.
Ford introduced the Model T in October 1908 at an affordable price of $950. The year,
1908 was when the majority of automobile sales shifted from the hobbyist and
enthusiast to the average user.

16
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﭘﻮﺷﺶ ﺑﺴﺘﮫ‬

车
设
胶囊期
计 Capsule era
的
演 ‫ ھﻨﮕﺎم طﺮاﺣﯽ ﻓﻀﺎی داﺧﻠﯽ‬.‫ طﺮاﺣﺎن ﺑﺪﻧﮫ ﺧﻮدرو را ﺑﺴﺘﮫ طﺮاﺣﯽ ﻧﻤﻮدﻧﺪ‬١٩٣٠ ‫ و‬١٩٢٠ ‫ﺑﯿﻦ ﺳﺎﻟﮭﺎی‬
进 ‫ ارزﺷﮭﺎ و ﻣﻌﺎﻧﯽ ﻓﺮم ﻣﯽ ﺗﻮاﻧﺪ ﺑﺎ ﺑﺎز ﮐﺮدن ﯾﺎ ﺑﺴﺘﻦ ﻓﻀﺎ ﺗﻐﯿﯿﺮ ﮐﻨﺪ و ﺑﮫ ﺳﺎدﮔﯽ ﺑﺎ ﺗﻐﯿﯿﺮ در ﺗﻘﺴﯿﻢ ﺑﻨﺪی‬،‫ﺧﻮدرو‬
简
‫ ﺑﺪﻧﮫ ﺑﺴﺘﮫ ﺟﺪﯾﺪ ﮐﮫ‬.(٢٠٠٧،Jaafarnia) ‫ﻓﻀﺎھﺎ ﻣﯽ ﺗﻮاﻧﺪ ﺑﯿﺎن اﺣﺴﺎﺳﯽ ﻓﻀﺎ را ﺑﺮای ﻣﺼﺮف ﮐﻨﻨﺪه ﺗﻐﯿﯿﺮ دھﺪ‬
介
‫ ﺣﻔﻆ ﺣﺮﯾﻢ ﺧﺼﻮﺻﯽ و ﺧﺼﻮﺻﯽ ﺳﺎزی را ﻣﺘﻤﺎﯾﺰ ﻧﻤﻮد ﺗﺎ ارزش ھﺎی ذھﻨﯽ را‬،‫ﺑﺎ ﺷﯿﺸﮫ ﭘﻮﺷﺶ داده ﺷﺪه‬
.‫ﺑﺮای ﻣﺼﺮف ﮐﻨﻨﺪه اﻓﺰاﯾﺶ دھﺪ‬

在 1920 年至 1930 年间，设计师把汽车车身改成了封闭式。在设计汽车的内部

时，其形态的价值和语义内涵可以通过开放或封闭空间来进行操控。光是改变
空间分割的方式，就可以改变消费者对空间的情感表达（Jaafarnia，2007）。新
发明的封闭车身用玻璃覆盖，体现了隐私对消费者的固有价值。

Between 1920 and 1930 designers closed the body of the car. While designing a car’s
interior, the value and semantic meaning of its form could be manipulated by opening
or closing the space. Simply changing the way the space is divided can change the
emotional expression of the space for the consumer (Jaafarnia, 2007). The new closed
body covered by glass and privacy had intrinsic value for the consumer.

Figure 5: The Capsule era.

Figure: Left, 1921 Ford Model T 4-Door. Middle, 1925 Ford. Right, 1920 Ford Model
T Coupe.
17
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﮐﻼﺳﯿﮏ‬
车
设
古典期
计 The Classic era
的
演 ‫ ﻣﺪت ﮐﻮﺗﺎھﯽ ﻗﺒﻞ از اﺗﻤﺎم ﺟﻨﮓ‬١٩٤٠ ‫ ﺑﻮﺟﻮد آﻣﺪ و ﺣﺪود ﺳﺎل‬١٩٣٠ ‫دوره ﮐﻼﺳﯿﮏ ﺑﺎ رﮐﻮد ﺑﺰرگ در ﺳﺎل‬
进 ‫ اﯾﻦ ﺧﻮدروھﺎی ﺟﺪﯾﺪ‬.‫ ﺧﻮدروھﺎی اﯾﻦ دوره ﮐﻤﺘﺮ ﻓﺮم ﻣﺴﺘﻄﯿﻠﯽ و ﺻﻨﻌﺘﯽ داﺷﺘﻨﺪ‬.‫ﺟﮭﺎﻧﯽ دوم ﺑﮫ ﭘﺎﯾﺎن رﺳﯿﺪ‬
简
‫ ﺗﮑﻨﻮﻟﻮژی ﺟﺪﯾﺪ ﺑﮫ طﺮاﺣﺎن اﺟﺎزه داد ﺗﺎ ﺑﺮای اﯾﺠﺎد ﺧﻮدرو ﻟﻮﮐﺴﯽ ﮐﮫ ﻓﺮم ﺳﺮﻋﺘﯽ داﺷﺘﮫ‬.‫ﺑﺮاق و زﯾﺒﺎ ﺑﻮدﻧﺪ‬
介
‫ ﺳﺪان‬/ ‫ ﺳﺒﮏ ﺟﺪﯾﺪ ﺑﺪﻧﮫ در ﻓﺮم ﺳﺎﻟﻦ‬.‫ﺑﺎﺷﺪ از ﻓﺮم ھﺎﯾﯽ ﺑﺎ ﻗﻮس و ﻣﻨﺤﻨﯽ ھﺎی ﺑﺰرگ و ﻋﻤﯿﻖ اﺳﺘﻔﺎده ﻧﻤﺎﯾﻨﺪ‬
‫ﺧﻮدروﯾﯽ ﺗﻔﺮﯾﺤﯽ را اراﺋﮫ ﻣﯽ ﮐﺮد و ﮔﻨﺠﺎﻧﺪن ﻗﺴﻤﺘﯽ ﺑﺮای ﻗﺮاردادن ﺑﺎر در ﻋﻘﺐ در ﻧﻈﺮ ﮔﺮﻓﺘﮫ ﺷﺪه ﺑﻮد‬
‫ و ﺑﻨﺎی‬١٩٢١ ‫ ﺳﭙﺲ ﻟﻮﮐﻮرﺑﻮزﯾﮫ ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﻣﻘﺎﯾﺴﮫ ای را ﺑﺮ روی ﻣﺎﺷﯿﻦ ھﺎی دوره‬.(١٩٩٨،Duncan)
.(١٩٧٢،Banham ) ‫ اﻧﺠﺎم داد و او ﺷﺒﺎھﺖ ھﺎی ﺑﺴﯿﺎری را ﺑﯿﻦ آﻧﮭﺎ ﯾﺎﻓﺖ‬.‫م‬.‫ق‬٤٣١ ‫ﭘﺎرﺗﻨﻮن دوره‬

古典期开始于 1930 年，伴随着美国经济大萧条，结束于 1940 年，第二次世界大

战开始前不久。这一时期的汽车没那么棱角分明，少了些工业气息。新出的汽车
曲线流畅，外形优美。新技术出现，使设计师们能够用大曲线和深拱形打造出符
合空气动力学的奢华车型。新出的四门轿车专门用于兜风，甚至还在车尾配有行
李箱作存储之用（Duncan, 1998）。勒·柯布西耶（Le.Corbusier）对汽车和帕特
农神庙做比较分析，发现两者有许多共同之处（Banham, 1972）

The classic era ushered with the Great Depression in 1930 and ended around 1940
shortly before World War II. The cars of this period were less rectangular and
industrial. The new automobiles were sleek and beautiful. The new technology
allowed designers to create luxurious aerodynamic cars with big curves and deep
arches. The new salon/sedan body style was made for cruising and even incorporated a
trunk or boot at the rear for storage (Duncan, 1998). Then Le Corbusier had
comparative analysis on cars (1921) with the Parthenon (431 BC) and Corbusier found
many similarities between them (Banham, 1972).

Figure: 1932 Boneschi Lancia Astura Limousine.

18
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ زﯾﺮا اﯾﻦ اﺷﯿﺎء از دﯾﺪﮔﺎه‬،‫در اﯾﻦ دوره طﺮاﺣﺎن ﺧﻮدرو ﻓﺮم ھﺎی ﺧﻮد را از روی ھﻮاﭘﯿﻤﺎ و ﻗﻄﺎر اﻟﮭﺎم ﮔﺮﻓﺘﻨﺪ‬
车 ‫ اﺳﺘﻔﺎده از ﻓﺮم ﻣﻌﻨﯽ دار ھﻮاﭘﯿﻤﺎ در ﺧﻮدروھﺎ اﯾﻦ اطﻤﯿﻨﺎن‬.‫ﻋﻠﻢ ﺳﻤﻨﺘﯿﮏ ﻣﻌﻨﺎی ﺳﺮﻋﺖ را ﺑﮭﺘﺮ اﻧﺘﻘﺎل ﻣﯽ دادﻧﺪ‬
设 ) ‫را در ﺧﻮدروﺳﺎز ﺑﯿﺸﺘﺮ ﻣﯽ ﮐﺮد ﮐﮫ ﺧﻮدرو ﺳﺮﻋﺘﯽ دﯾﺪه ﻣﯽ ﺷﻮد ﺣﺘﯽ اﮔﺮ در واﻗﻌﯿﺖ اﯾﻨﮕﻮﻧﮫ ﻧﺒﺎﺷﺪ‬
计 ‫ ﭼﺮاغ ھﺎ و ﮔﻠﮕﯿﺮھﺎ در ﮐﻨﺎر ﺑﺪﻧﮫ ﺑﻮدﻧﺪ و ﺑﯿﺎﻧﯽ از اﯾﻤﻨﯽ و اﺳﺘﻘﺎﻣﺖ ﺑﺪﻧﮫ در ﺧﻮدرو‬،‫ ﭼﺮخ ھﺎ‬.(٢٠٠٦،Beyer
的 ‫ ﭘﮭﻦ ﺗﺮ و ﺿﺨﯿﻢ ﺗﺮ ﺷﺪﻧﺪ و ﺑﮫ اﺳﺘﺤﮑﺎم ﺧﻮدرو اﺿﺎﻓﮫ‬،‫ ﻻﺳﺘﯿﮑﮭﺎ ﻧﺴﺒﺖ ﺑﮫ دوره ﭘﻮﺷﺶ ﺑﺴﺘﮫ‬.‫دﯾﺪه ﻣﯽ ﺷﺪ‬
演 ‫ راﻧﯿﻨﮕﺒﺮدھﺎ و‬،‫ ﻣﺪل روﺑﺎز و ﺗﻔﺮﯾﺤﯽ ﺧﻮدروھﺎ در ﭘﺎﯾﺎن دوران ﮐﻼﺳﯿﮏ ﻣﺘﻮﻗﻒ ﺷﺪ و ھﻤﭽﻨﯿﻦ ﮔﻠﮕﯿﺮھﺎ‬.‫ﮔﺮدﯾﺪ‬
进 .‫ﭼﺮاﻏﮭﺎی ﺟﻠﻮ ﺑﮫ ﺗﺪرﯾﺞ ﺑﮫ ﺑﺪﻧﮫ ﻣﺎﺷﯿﻦ ﭼﺴﺒﯿﺪﻧﺪ‬
简
介
在这一时期，汽车设计师们模仿飞机和火车的外形，因为这些事物在语义上都承
载着速度的内涵。把飞机的内涵加到汽车上，会使汽车制造商相信它的破车看起
来很快，即便实际上并非如此（Beyer，2006）。怀抱着车身的车轮、车灯和挡
泥板，清晰地展现了汽车框架的安全性和强度。这一时期的轮胎比胶囊期的更加
宽、厚，让汽车看上去更加坚固。到了古典期的尾声，老式的无顶敞篷车、四轮
旅游车、游览车被淘汰，车翼、脚踏板、前大灯都逐渐整合到车身中。一体化挡
泥板和全封闭式的车身开始成为支配汽车销量的重要因素。

In this era automobile designers modeled their forms on airplanes and trains because
these objects semantically carry the meaning of speed. Applying the airplane’s
meaning to a car, assured the automaker that it’s jalopies would look speedy even if,
in real, that was not the case (Beyer, 2006). The wheels, lights and fenders hugged the
body and articulated the safety and strength of the frame. Tires were wider and thicker
than in the Capsule era adding to the solidity of the vehicles. The old open-top
runabouts, phaetons, and touring cars were phased out by the end of the Classic era as
wings, running boards, and headlights were gradually integrated into the body of the
car. Integrated fenders and fully closed bodies began to dominate sales.

Figure: William Knudsen

(left), Harlow Curtice (center)
and Alfred P. Sloan, Jr.,
(right) with 1938 Buick
Folder "Chrysler Historical
Collection."

19
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 6: The Classic era.

20
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ادﻏﺎم‬
车
设
整合期
计 Integration era
的
演 ‫ اﯾﻦ‬. (١٩٩٥،Dormer ) ‫ طﺮاﺣﯽ ﺧﻮدرو در ﺟﺎﯾﮕﺎه اﺻﻠﯿﺶ ﺑﮫ ﻋﻨﻮان ﯾﮏ ﺣﺮﻓﮫ ﻗﺮار ﮔﺮﻓﺖ‬١٩٤٥ ‫از ﺳﺎل‬
进 ‫ دوره ادﻏﺎم ﺗﻤﺎم ﻗﺴﻤﺖ‬.‫ ﺑﻮﺟﻮد آﻣﺪ‬١٩٤٩ ‫دوره از طﺮاﺣﯽ ﺧﻮدرو در زﯾﺮ ﺳﺎﯾﮫ ﺟﻨﮓ ﺟﮭﺎﻧﯽ دوم در ﺳﺎل‬
简
‫ در اﯾﻦ ﺳﺎﻟﮭﺎ ﺑﻮد‬.‫ھﺎی ﺧﻮدرو را ﺑﮫ ﭘﻮﺳﺘﮫ ﭼﺴﺒﺎﻧﺪ وﺧﻮدروھﺎ ﺑﺴﯿﺎر ﺷﺒﯿﮫ ﺑﮫ ﺧﻮدروھﺎی ﻣﺪرن اﻣﺮوز ﻣﺎ ﺷﺪﻧﺪ‬
介
‫ اوﻟﺪزﻣﻮﺑﯿﻞ و ﮐﺎدﯾﻼک ﺑﺪﻧﮫ ﺟﺪﯾﺪ و ﯾﮑﭙﺎرﭼﮫ را ﺑﮫ‬،‫ ﺟﻨﺮال ﻣﻮﺗﻮرز‬،‫ﮐﮫ ﺧﻮدروﺳﺎزان اﯾﺎﻻت ﻣﺘﺤﺪه آﻣﺮﯾﮑﺎ‬
.‫ﺑﺎزار ﻣﻌﺮﻓﯽ ﻧﻤﻮدﻧﺪ‬
从 1945 年起，设计本身已经发展成为一种职业（Dormer, 1995）。整合期是从
1949 年第二次世界大战的阴影中走出来的。当时的汽车将所有的部件都整合起
来，形成的外壳与今天我们熟知的现代车身非常相近。正是在这一年，美国的
几大汽车制造商，通用汽车（General.Motors）、奥尔兹莫比尔（Oldsmobile）
和凯迪拉克（Cadillac），推出了现代一体化汽车车身。
Since, 1945 designing had become a profession in its own right (Dormer, 1995). This
era of automobile design emerged from the shadows of World War II in 1949. The
Integration era joined all the parts of the car to make a shell very similar to the modern
car body that we know today. This was the year when United States carmakers,
General Motors, Oldsmobile and Cadillac, introduced modern one-piece auto bodies.

Figure: 1937 Horch 930 V Limousine.

21
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 7: The Integration era.

Figure: 1953 Chevrolet Corvette.

22
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺗﺤﻮﻻت ﻓﻦ آوری ﻣﺸﺨﺺ ﻧﻤﯽ ﮐﻨﺪ ﮐﮫ ﺳﺎزﻧﺪه‬.‫راﺑﻄﮫ ﺑﯿﻦ طﺮاﺣﯽ و ﺗﮑﻨﻮﻟﻮژی ﯾﮏ راﺑﻄﮫ ﯾﮑﻄﺮﻓﮫ ﻧﻤﯽ ﺑﺎﺷﺪ‬
车 .(١٩٩٥،Dormer)‫ﻣﯽ ﺧﻮاھﺪ ﭼﮫ ﭼﯿﺰی را ﺑﮫ ﺗﻮﻟﯿﺪ ﺑﺮﺳﺎﻧﺪ و طﺮاح ﻣﯽ ﺧﻮاھﺪ ﭼﮫ ﻓﺮﻣﯽ را ﺧﻠﻖ ﻧﻤﺎﯾﺪ‬
设 ‫ ﮐﺎدﯾﻼک اوﻟﯿﻦ ﺷﺮﮐﺘﯽ ﺑﻮد ﮐﮫ ﺑﺎ ﻣﻮﻓﻘﯿﺖ ﻓﺮم ﻣﻮﺷﮏ را ﻗﺮض ﮔﺮﻓﺖ و آن را در ﺧﻮدروھﺎﯾﺶ‬،‫در اﯾﻦ دوره‬
计 ‫ ﻣﺜﺎﻟﯽ از اﺳﺘﻔﺎده‬١٩٥٩ ‫( و ﺳﺎﯾﮑﻠﻮن ﮐﺎدﯾﻼک در ﺳﺎل‬Fig. 8) (١٩٩٣، Noblet ;١٩٩٨، Hauffe)‫ﺑﮑﺎرﺑﺮد‬
的 ‫ ﮐﺮاﯾﺴﻠﺮ و ﻓﻮرد‬،‫ ﺟﻨﺮال ﻣﻮﺗﻮرز‬١٩٦٠ ‫ در اواﺧﺮ دھﮫ‬.‫ﻣﻌﻨﺎﯾﯽ از ﻓﺮم ﯾﮏ ﻣﻮﺷﮏ در ﯾﮏ ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ‬
演 ‫ اﻣﺎ اﯾﻦ اﻣﺮ ﻣﻮﻓﻘﯿﺖ‬،A-bodies GM ‫ ﺑﺮای ﻣﺜﻞ‬،‫ﺳﻌﯽ ﮐﺮدﻧﺪ ﺗﺎ ﺧﻮدروھﺎی ﮐﻮﭼﮏ را ﺑﮫ ﺑﺎزار اراﺋﮫ دھﻨﺪ‬
进 ‫ و ﺧﻮدروھﺎی‬pony ‫ ﺑﺮای ﻣﺜﺎل ﺑﮫ‬،‫ ﻋﻤﻠﮑﺮد ﻧﺨﺴﺖ ﺑﺮ ﺑﺎزارﯾﺎﺑﯽ ﻣﺘﻤﺮﮐﺰ ﺷﺪ‬،‫ در اﻣﺮﯾﮑﺎ‬.‫ﮐﻤﯽ در ﭘﯽ داﺷﺖ‬
简
‫ در‬.(١٩٩٦،Tambini ) Plymouth Barracuda ‫ و‬Ford Mustang ‫ﻋﻀﻼﻧﯽ ﻣﯽ ﺗﻮان اﺷﺎره ﻧﻤﻮد ﻣﺎﻧﻨﺪ‬
介
‫ ﮐﮫ ھﻤﮫ ﭘﯿﺎم ﻓﺮم ﺧﻮدرو را ﻣﺒﻨﯽ ﺑﺮ‬،‫ در دو طﺮف ﺑﻮدﻧﺪ‬Speed-lines ‫ دارای‬،‫اﯾﻦ دوره ﺑﺴﯿﺎری از ﺧﻮدروھﺎ‬
‫ ﺷﻮرﻟﺖ ظﺎھﺮ‬Corvair ‫ در اﯾﻦ زﻣﺎن‬.(٢٠٠٢،Sparke) ‫ ﺳﺮﻋﺖ و ﺟﻨﺲ اﻧﺘﻘﺎل ﻣﯽ دادﻧﺪ‬،‫داراﺑﻮدن ﻗﺪرت‬
‫ در ﻣﻘﺎﺑﻞ‬.(١٩٩٣،Julier) ‫اروﭘﺎﯾﯽ و ﭼﺮاغ ﭘﺸﺘﯽ ﺟﻨﺮال ﻣﻮﺗﻮرز ﺑﯿﺸﺘﺮ ﺧﻂ ﻓﺎﻧﺘﺰی را ﻧﺸﺎن ﻣﯽ داد‬
.‫ ﺑﺰرﮔﺘﺮﯾﻦ ﺗﺤﻮﻻت اﯾﻦ دوره ﺑﺮ روی اﯾﻤﻨﯽ ﻣﺘﻤﺮﮐﺰ ﺷﺪه ﺑﻮد‬،‫ﺗﮑﻨﻮﻟﻮژی‬

设计与技术的关系并不是对立的。技术发展并不决定生产者想生产什么，也不严
格决定设计师创造的外形（Dormer，1995）。
在这一时期，凯迪拉克是第一家成功借鉴导弹的形态并应用到汽车上的企业
（ (Hauffe ， 1998 ； Noblet ， 1993) （ 图 8 ） ， 该 公 司 1959 年 的 车 型 “ 旋 风 ”
（Cyclone），就是导弹的语义学应用到汽车上的一个范例。在 20 世纪六十年代
后期，通用汽车、克莱斯勒和福特三家公司试图让小型车市场化，例如通用的
A-bodies，但收效甚微。在美国，性能成为市场营销的主要焦点，福特的“野马”
（Ford.Mustang）和普利茅斯的“梭鱼”（Plymouth.Barracuda）等粗犷而马力强劲
的汽车（Tambini, 1996）就是很好的例证。这时期的大多数汽车在边沿上都有
“速度线”，都是为了传递汽车的“力量、速度和性感”的信息（Sparke，2002）。
在此期间，雪佛兰的“科威尔”（Chevrolet.Corvair）作为欧洲外形风格的回应，标
志着通用汽车更加空想的汽车线走向了终点（Julier，1993）。在技术方面，这
一时期最大的进步主要在于汽车的安全性。

The relationship between design and technology is not one sided. Technological
developments do not determine what the manufacturer wants to produce, nor do they
rigidly determine the shape a designer creates (Dormer, 1995).
In this era Cadillac was the first company to successfully borrow the form of the
missile and apply it to its cars (Hauffe, 1998 ; Noblet, 1993) (Fig. 8), Cadillac’s 1959
Cyclone is a prime example of the application of the semantics of a missile to an
automobile. In the late 1960’s General Motors, Chrysler, and Ford tried to market
radical small cars, like the GM A-bodies, but had little success. In America,
performance became the prime focus of marketing, exemplified by pony and muscle
cars like the Ford Mustang, and the Plymouth Barracuda (Tambini, 1996). In this era
most of the cars had ‘Speed-lines’ on the sides, all of which contributed to the
automobile’s message of ‘power, speed and sex’ (Sparke, 2002). During this time the
Chevrolet Corvair which was a European-looking response, signaled the end of
General Motors’ more fantastical line of cars (Julier, 1993). On the technology front,
the biggest developments of this era focused on safety.

23
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 8: Effect of the missile on Cadillacs.

‫ اوﻟﯿﻦ ﺧﻮدرو ھﻨﺪ در‬،‫ ﺑﺮای ﻣﺜﺎل‬.‫ وارد ﻣﺴﺎﺑﻘﮫ ﺧﻮدرو ﺳﺎزی ﺷﺪﻧﺪ‬١٩٥٠ ‫ﮐﺸﻮرھﺎی ﺟﮭﺎن ﺳﻮم در اواﺧﺮ ﺳﺎل‬
‫ ﻧﺸﺎن داده ﺷﺪه و اوﻟﯿﻦ‬١٢ ‫ اوﭘﻞ ﺑﻮد ﮐﮫ در ﺗﺼﻮﯾﺮ‬Capitan ‫ ﺗﻮﻟﯿﺪ ﺷﺪ ﮐﮫ ﺷﺒﯿﮫ ﺑﮫ ﺧﻮدرو آﻟﻤﺎﻧﯽ‬١٩٥٨ ‫ﺳﺎل‬
‫ اﯾﻦ ﺧﻮدرو ﺷﺒﯿﮫ ﺑﮫ ﺧﻮدروھﺎی آﻣﺮﯾﮑﺎﯾﯽ‬.(‫ ﻣﻌﺮﻓﯽ ﺷﺪ )ﮐﮫ در دوران ﻣﺪرن ﺑﻮد‬١٩٦٨ ‫ﺧﻮدرو اﯾﺮاﻧﯽ در ﺳﺎل‬
‫ وﻟﯽ ھﺮ‬.‫ﻧﺸﺎن داده ﺷﺪه اﺳﺖ‬١٢‫ ﮐﮫ ﺑﺎ رﻧﮓ آﺑﯽ در ﺗﺼﻮﯾﺮ‬،‫طﺮاﺣﯽ ﺷﺪه ﺑﻮد ﮐﮫ ده ﺳﺎل ﻗﺒﻞ از آن راﯾﺞ ﺑﻮد‬
.‫ در ﺣﻘﯿﻘﺖ ﺗﻮﺳﻂ طﺮاﺣﺎن اﻧﮕﻠﯿﺴﯽ طﺮاﺣﯽ ﺷﺪه ﺑﻮدﻧﺪ‬،‫دو‬

第三世界国家在 20 世纪五十年代后期加入汽车制造竞赛。比如，（图 12）1958

年印度生产的首辆汽车很像德国在 1953 年推出的欧宝牌“舰长”轿车（Opel
Capitan），如图示（图 12）。伊朗 1968 年（已在现代）推出的第一辆汽车则与
美国 10 年前设计的汽车相像，如图中蓝色轿车所示（图 12）。这两辆车，实际
上都出自英国设计师之手。

Third world countries entered the automobile race in the late 1950’s. For example,
(Fig. 12) the first Indian automobile produced in 1958 was similar to Germany’s 1953
Opel Capitan, shown in (Fig. 12) The first Iranian car introduced in 1968 (that was in
the modern era) was similar to American cars designed ten years earlier, shown in
blue (Fig. 12). Both, in fact were designed by UK designers.

Figure: Left, Cadillacs. Right, Missile.

24
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﻣﺪرن‬
车
设
现代期
计 The Modern era
的
演 ‫ اﻣﺮوز طﺮاﺣﺎن ﻧﮫ ﺗﻨﮭﺎ ﻣﺴﺎﺋﻞ ﻓﻨﯽ را ﺑﮫ‬.‫ آﻏﺎز ﺷﺪ و ﺗﺎ ﺑﮫ اﻣﺮوز ھﻤﭽﻨﺎن اداﻣﮫ دارد‬١٩٦٨ ‫اﯾﻦ دوره در ﺣﺪود‬
进 ‫ طﺮاﺣﺎن اﻣﺮوز ﺑﮫ ﺧﻮﺑﯽ‬.‫ ﺑﻠﮑﮫ ﺑﮫ واﮐﻨﺶ ھﺎی اﺣﺴﺎﺳﯽ ﻣﺼﺮف ﮐﻨﻨﺪه ﻧﯿﺰ ﺗﻮﺟﮫ ﮐﺎﻣﻞ دارﻧﺪ‬،‫ﺣﺴﺎب ﻣﯽ آورﻧﺪ‬
简
‫ اﻣﺎ اﺣﺴﺎس ﺳﺮﻋﺖ ﺗﻨﮭﺎ ﺑﯿﺎن ﺑﺼﺮی ﻧﯿﺴﺖ ﮐﮫ ﻣﺼﺮف ﮐﻨﻨﺪه‬.‫آﮔﺎه ھﺴﺘﻨﺪ ﮐﮫ ﭼﮕﻮﻧﮫ ﺣﺲ ﺳﺮﻋﺖ را اﯾﺠﺎد ﻧﻤﺎﯾﻨﺪ‬
介
‫ طﺮاﺣﺎن راه ھﺎﯾﯽ را ﺷﻨﺎﺧﺘﮫ اﻧﺪ ﮐﮫ در آن ﺗﻤﺎم ﻗﺴﻤﺖ ھﺎ و ﻧﻤﺎھﺎی ﺧﻮدرو را ﻣﯽ ﺗﻮاﻧﻨﺪ‬.‫ﺑﮫ دﻧﺒﺎل آن ﻣﯽ ﺑﺎﺷﺪ‬
.‫اﻧﺘﺨﺎب ﻧﻤﻮده ﺗﺎ ﺑﺮ اﺳﺎس درﺧﻮاﺳﺖ ھﺎی اﺣﺴﺎﺳﯽ و ﺳﻠﯿﻘﮫ ای ﻣﺼﺮف ﮐﻨﻨﺪه آن را طﺮاﺣﯽ ﻧﻤﺎﯾﻨﺪ‬
‫ اﻣﺎ‬،‫ ﺗﻨﮭﺎ ﻣﻌﺎﻧﯽ ﺳﻤﻨﺘﯿﮑﯽ ﻣﻮرد ﻧﯿﺎزﺷﺎن را از ھﻮاﭘﯿﻤﺎھﺎ و ﻣﻮﺷﮑﮭﺎ ﻗﺮض ﮔﺮﻓﺘﮫ ﺑﻮدﻧﺪ‬،‫ﻗﺒﻼ طﺮاﺣﺎن ﺧﻮدرو‬
‫ طﺮاﺣﺎن‬.‫ آﻧﮭﺎ ﺗﻼش ﻣﯽ ﮐﻨﻨﺪ ﺗﺎ ﺑﺮای ﺧﻠﻖ ﯾﮏ ﻓﺮم از ﻓﺮم ھﺎی ارﮔﺎﻧﯿﮏ و ﺑﯿﻮﻧﯿﮏ اﺳﺘﻔﺎده ﻧﻤﺎﯾﻨﺪ‬،‫اﻣﺮوزه‬
‫ﺧﻮدرو ﻣﻄﺎﻟﻌﺎﺗﯽ را در زﻣﯿﻨﮫ ﺑﺎﯾﻮ ﻣﯿﻤﯿﮑﺮی ﺣﯿﻮاﻧﺎت و ﺣﺸﺮات اﻧﺠﺎم داده و ﺑﮫ طﻮر ﻏﯿﺮ ﻣﺴﺘﻘﯿﻢ ﺑﯿﺎﻧﮭﺎی‬
‫ در اﯾﻨﺠﺎ ﻻزم ﻧﯿﺴﺖ از ﻓﺮم ﺣﯿﻮاﻧﺎت ﺑﮫ طﻮر ﻣﺴﺘﻘﯿﻢ اﺳﺘﻔﺎده‬.‫اﺣﺴﺎﺳﯽ ﺣﯿﻮاﻧﺎت را ﺑﮫ ﻓﺮم ﺧﻮدرو اﻧﺘﻘﺎل داده اﻧﺪ‬
.(١٩٩٧،Benyus ‫؛‬١٩٩٥، Papanek ) ‫ﮔﺮدد زﯾﺮا ﻣﻌﺎﻧﯽ ﺿﻤﻨﯽ ﻣﯽ ﺑﺎﺷﻨﺪ‬

这一时期开始于 1968 年左右，并持续到今天。现在的设计师们不仅考虑到汽车

的功能性，还考虑到消费者与汽车之间情感互动。怎样营造速度感，如今的设计
师对此心知肚明。但是速度感并非消费者寻求的唯一表达。设计师们已经意识到，
汽车的各个方面都可以用来满足消费者的个人情感需求和品味。
汽车设计师不再借鉴现在飞机和导弹的语义内涵了，反而大胆地描绘有机的、仿
生的形态。他们研究动物、昆虫的生物拟态，并间接将师法自然的情感表达植入
到汽车的外形和设计感觉中。直接的描绘生物形态并不是必要的，隐藏其中的内
涵意义才是真正所要表达的（Papanek, 1995；Benyus，1997）。

This era began at around 1968 and continues till date. Designers today take into
account not only the functionality, but also consumer’s emotional reactions to their
automobiles. Designers today are well aware of how to create the feeling of speed. But
the feeling of speed is not the sole expression that the consumer looks for. Designers
have recognized ways in which all areas of an automobile can be used to appeal to the
consumer’s personal emotional desires and tastes.
Automobile designers no longer only borrow semantic meaning from planes and
missiles today but venture out to portray more organic and bionic forms. Car
Designers study the bio mimicry of animals, insects and indirectly insert the animal’s
emotional expression into
the look and feel of the
car. It’s not necessary to
use the animal’s literal
form because the meaning
is implied (Papanek, 1995
; Benyus, 1997).

25
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: 1968 Peykan (in the middle).

Figure: 1958 Hindustan Ambassador.

26
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介
Figure: 1995 Papanek.

Figure 9: The Modern era.

27
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Left, 2011 Soren. Right, 2008 TATA Nano.

Figure 10: Effect of automobiles on other products.

Figure: Effect of airplane on automobiles.

28
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ او ﺑﮫ ﻋﻨﻮان ﯾﮏ‬.‫ ﯾﮑﯽ از ﺗﺎﺛﯿﺮﮔﺬارﺗﺮﯾﻦ طﺮاﺣﺎن ﺑﺮ ﻓﺮم در دﻧﯿﺎی ﻣﺪرن ﻣﯽ ﺑﺎﺷﺪ‬Giorgetto Giugiaro
车 Carrozzeria ،FIAT ‫ در‬Italdesign ‫ او ﮐﺎر ﺧﻮد را ﻗﺒﻞ از اﯾﺠﺎد‬.‫اﺳﺘﺎﯾﻠﯿﺴﺖ ﺧﻮدرو آﻏﺎز ﺑﮑﺎر ﮐﺮد‬
设 ‫ ﻧﺘﻮاﻧﺴﺖ‬Giugiaro ‫ ھﯿﭻ ﮐﺲ ﺑﮫ اﻧﺪازه‬.‫ آﻏﺎز ﻧﻤﻮد‬١٩٦٨ ‫ ﺑﺎ دو ھﻤﮑﺎر دﯾﮕﺮ ﺧﻮد در ﺳﺎل‬Ghia ‫و‬Bertone
计 ،‫ ﮐﺎﻧﺴﭙﺖ او ﺑﺮای ﮔﻠﻒ ﻓﻮﻟﮑﺲ واﮔﻦ‬١٩٧٤ ‫ ﺳﺎل‬.‫در ﺟﮭﺎن از ﻧﻈﺮ طﺮاﺣﯽ ظﺎھﺮ ﺧﻮدرو اﺛﺮﮔﺬار ﻋﻤﻞ ﮐﻨﺪ‬
的 ‫ ھﺎﭼﺒﮏ را ﺑﺎ ﺗﻮﺟﮫ ﺑﮫ‬Giugiaro .(٢٠٠٢،Heskett) ‫ﻣﻨﺠﺮ ﺑﮫ طﺮاﺣﯽ ﺧﻮدروھﺎی ھﺎﭼﺒﮏ ﻧﺴﻞ ﺑﻌﺪی ﺷﺪ‬
演 ‫ ﺑﺪﻟﯿﻞ اﯾﻨﮑﮫ ﻣﻘﺪار ﺗﻮﺷﮫ‬،‫ﻓﺮھﻨﮓ ﺳﻔﺮ ﮐﮫ در طﺮاﺣﯽ ﺧﻮدروھﺎی ﺷﺨﺼﯽ ﺑﺴﯿﺎر ﻣﮭﻢ اﺳﺖ و ﺑﯿﺸﺘﺮ از آن‬
进 .‫ طﺮاﺣﯽ ﻧﻤﻮد‬،‫ھﻤﯿﺸﮫ در ﻓﺮھﻨﮓ ھﺎی ﻣﺨﺘﻠﻒ ﻣﺘﻔﺎوت اﺳﺖ‬
简
‫ ﮐﮫ ﻗﺎﺑﻠﯿﺖ ﻗﺎﻟﺒﮕﯿﺮی و ﺗﻮﻟﯿﺪ داﺷﺖ و‬،‫ ﻣﻮاد ﻣﺼﻨﻮﻋﯽ را ﺑﺮای ﻣﺎ ﺑﮫ ارﻣﻐﺎن آورد‬،‫ ﻓﻦ آوری‬،‫در اﯾﻦ دوره‬
介
.(١٩٩٣،Noblet) ‫طﺮاح ﺑﺎ ﻣﺤﺪودﯾﺖ ﮐﻤﺘﺮی ﻣﯽ ﺗﻮاﻧﺴﺖ ﻓﺮم ھﺎی ﻣﺨﺘﻠﻒ را ﺑﺮای ﺑﺪﻧﮫ ﺧﻮدرو اﺳﺘﻔﺎده ﮐﻨﺪ‬
:‫ﺳﺒﮏ طﺮاﺣﯽ ﺑﺪﻧﮫ ﺧﻮدرو در دوران ﻣﺪرن ﺗﻐﯿﯿﺮ ﮐﺮد ﮐﮫ ﻏﺎﻟﺒﺎ در ﺑﺎزار اﻣﺮوز ﺷﺎﻣﻞ ﺳﮫ ﻧﻮع ﻣﯽ ﺑﺎﺷﺪ‬
.(١٩٩١،Beazley) ‫ ون و اﺳﭙﻮرت ﮐﮫ ھﻤﮕﯽ از اﯾﺪه ھﺎی ﻧﺴﺒﺘﺎ اﺧﯿﺮ ﻣﯽ ﺑﺎﺷﻨﺪ‬،‫ھﺎﭼﺒﮏ‬

在这个意义上，现代世界中对形态影响最大的，是乔吉托·乔治亚罗（Giorget-o
Giugiaro）。他作为汽车设计师出道，先后供职于菲亚特汽车公司（FIAT），卡
罗泽利亚·波尔通公司（Carrozzeria.Bertone）和吉亚公司（Ghia），之后在 1968
年与两位同事创办 Italdesign 公司。在影响全球汽车造型走向上，还没有人能望
其项背。他在 1974 年设计的“大众高尔夫”（Volkswagen.Golf）车型奠定了后来
小型斜背式轿车的造型基调（Heskett，2002）。在考虑到旅行文化对私人轿车设
计的重要性方面，尤其是在不同的文化环境中，行李的数量往往不同，他设计了
汽车的斜背式后舱门。在这一时期，技术的发展提供了可用于制作模型的合成材
料使得设计在造型方面 的限制更少 ，设计师可 以设计不同外观形式的 汽车
（Noblet, 1993）。车身风格在现代期发生了变化，三种风格支配着现在的汽车
市场：斜背式汽车、小型货车、运动型多用途车。全部都是近年来才有的概念
（Beazley，1991）。

One of the greatest influences on form in the modern world, in this sense, has been
Giorgetto Giugiaro. He started out as an automobile stylist, working for FIAT,
Carrozzeria Bertone and Ghia, before establishing Italdesign with two other
colleagues in 1968. No one could ever come closer to Giugiaro in terms of influencing
the direction of automobile styling around the world. His concept of the Volkswagen
Golf of 1974 set the pattern for subsequent generations of small, hatchback cars
(Heskett, 2002). That he designed hatchback because of the culture of traveling which
is very important in personal car design, more so, as quantity of luggage always differs
in various cultures. In this era,
technology gave synthetic material,
which could be molded and with less
limitation, designer could use different
forms for car (Noblet, 1993). Body
styles have changed in the modern era.
Three types dominate today's market:
the hatchback, the minivan, and the
sport utility vehicle. All are relatively
recent concepts (Beazley, 1991).

29
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻣﺎ ﻣﯽﺗﻮاﻧﯿﻢ ﺑﺎ ﻣﺮوری ﮐﻮﺗﺎه از ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺧﻮدرو در اﯾﺮان ﺷﺮوع ﮐﺮده و ﻣﺴﺌﻠﮫ ﺟﺎﯾﮕﺎه ﻣﺸﺘﺮی را ﺑﮭﺘﺮ‬
车 ‫ ﺑﺰرﮔﺘﺮﯾﻦ ﺻﻨﻌﺖ ﻣﺤﺴﻮب ﻣﯽﺷﻮد و دھﮫھﺎ اﺳﺖ‬،‫ در اﯾﺮان ﺻﻨﻌﺖ ﺧﻮدرو ﭘﺲ از ﺻﻨﻌﺖ ﻧﻔﺖ‬.‫ﺑﺮﺟﺴﺘﮫ ﮐﻨﯿﻢ‬
设 ‫ ﯾﮏ‬،‫ در آﻏﺎز ﺑﺮای اﻧﺘﺨﺎب طﺮاﺣﯽ‬.‫ﮐﮫ اﯾﻦ ﺻﻨﻌﺖ ﺑﺮای طﺮاﺣﯽ ھﯿﭻ ﺗﻮﺟﮭﯽ ﺑﮫ ﺧﻮاﺳﺘﮫھﺎی ﻣﺸﺘﺮی ﻧﻤﯽﮐﻨﺪ‬
计 ‫ﻣﺎﺷﯿﻦ ﺗﺤﺖ ﻓﺮﻣﺎن ﻣﺤﻤﺪ رﺿﺎ ﺷﺎه ﭘﮭﻠﻮی ﺑﮫ ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه ﺗﺤﻤﯿﻞ و دﯾﮑﺘﮫ و ﺧﻮاﺳﺘﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﻧﺎدﯾﺪه ﮔﺮﻓﺘﮫ‬
的 .(٢٠١٤،Sozanchi) ‫ﺷﺪ و از ﻣﻌﺎدﻟﮫ ﮐﻨﺎر ﮔﺬاﺷﺘﮫ ﺷﺪﻧﺪ‬
演 ‫( ﮐﮫ‬٩٠ ‫ ﺗﺎ اواﺧﺮ دھﮫ‬١٩٦٠ ‫ ﺳﺎل ﯾﮏ طﺮاﺣﯽ اﺗﻮﻣﺒﯿﻞ در اﯾﺮان دﯾﮑﺘﮫ ﺷﺪ )از اواﺧﺮ‬٤٠ ‫ﻣﺎ دﯾﺪهاﯾﻢ ﮐﮫ ﺑﯿﺶ از‬
进 ‫ ﺗﺎﺛﯿﺮ ﮐﺎر‬.‫ ﺑﻮد‬Hillman Hunter ١٩٦٦ ‫ ﺧﻮدروﯾﯽ ﮐﮫ طﺮاﺣﯽ آن ﺑﺮاﺳﺎس اﺗﻮﻣﺒﯿﻞ‬،‫»ﭘﯿﮑﺎن« ﻧﺎم داﺷﺖ‬
简
‫طﺮاﺣﺎن و ﺳﺎزﻧﺪﮔﺎن در اﯾﺠﺎد ﻓﺮم ﺟﺪﯾﺪ ﺑﮫ ﻗﺪری ﮐﻢ ﺑﻮد ﮐﮫ ﺗﻨﮭﺎ ﺷﺎھﺪ ﺗﻐﯿﯿﺮات ﮐﻮﭼﮏ و ﺟﺰﺋﯽ ﻣﺎﻧﻨﺪ ﺗﻐﯿﯿﺮ در‬
介
‫ دﻟﯿﻞ آن ھﻢ اﯾﻦ ﺑﻮد ﮐﮫ ﺳﯿﺎﺳﺖھﺎی ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه ﺧﻮاﺳﺘﮫھﺎی‬.‫طﺮاﺣﯽ ﭼﺮاغ در دوره ﺗﻮﺳﻌﮫ آن ﺑﻮدﯾﻢ‬
«‫ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن را ﮐﺎﻣﻼ ﻧﺎدﯾﺪه ﮔﺮﻓﺘﮫ و ﭘﯿﺶ ﺑﯿﻨﯽ ﮐﺮده ﺑﻮد ﮐﮫ اﯾﺮان ﺗﻨﮭﺎ ﻧﯿﺎز ﺑﮫ ﯾﮏ اﺗﻮﻣﺒﯿﻞ »ﺑﺪون طﺮاﺣﯽ‬
‫ ﺑﻨﺎﺑﺮاﯾﻦ اﯾﻦ روﻧﺪ ﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ھﻨﮕﺎم ﺧﺮﯾﺪ ﺧﻮدرو‬،‫ﺑﺎ ﻣﺤﺪوده ﻗﯿﻤﺖ ﻣﺸﺨﺺ ﺑﺮای اﻓﺮاد ﻋﺎدی دارد‬
‫ ﮔﺎراﻧﺘﯽ و ھﺰﯾﻨﮫھﺎ ﺑﯿﺸﺘﺮ از طﺮاﺣﯽ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﺗﻮﺟﮫ داﺷﺘﮫ‬،‫دﯾﮑﺘﮫ ﮐﺮده ﺑﻮد ﮐﮫ ﺑﮫ ﻣﺴﺎﺋﻠﯽ ﭼﻮن ﺧﺪﻣﺎت‬
‫ اﯾﻦ ﻣﺸﮑﻞ اداﻣﮫ داﺷﺖ ﺗﺎ اﯾﻨﮑﮫ ﺑﺎﻻﺧﺮه طﺒﻖ ﮔﺰارشھﺎ دوﻟﺖ ﺑﺎ ﭘﺮداﺧﺖ ھﺰﯾﻨﮫ ﻧﻘﺪی زﯾﺎدی ﺗﻮاﻧﺴﺖ‬.‫ﺑﺎﺷﻨﺪ‬
‫ ھﻤﯿﻦ اﺗﻔﺎق ﻧﯿﺰ ﺑﺮای دﯾﮕﺮ‬. (٢٠١٣،Jaafarnia) ‫ ﮐﻨﺪ‬٢٠٠٥ ‫ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه را وادار ﺑﮫ ﭘﺎﯾﺎن ﺗﻮﻟﯿﺪ ﭘﯿﮑﺎن در ﺳﺎل‬
.‫ﺳﺎزﻧﺪﮔﺎن اﺗﻮﻣﺒﯿﻞ اﻓﺘﺎد‬
我们可以先对伊朗的汽车消费者做一个简短的评论，这样可以更好地突出消费者
地位问题。在伊朗，汽车生产是继国家石油工业之后的最大产业，这一行业几十
年来没有关注过消费者对汽车设计的需求。在做设计选择前，一辆汽车的制造只
由 King Mohammad Reza Pahlavi 统治下的制造商掌控， 而消费者这一因素不在
考虑范围内（sozanchi, 2014）。我们可以看到，以“1966 希尔曼猎人”为蓝本设计
的“培康”，在从 20 世纪 60 年代末到 90 年代末的这 40 多年来，一直支配着伊朗
的汽车设计。设计师和制造商对于创造新的形式的努力是如此薄弱，所以我们只
能看到微小的调整和小细节的修改，如在汽车发展过程中改变头灯设计。这是因
为统治者的政策总是忽视消费者的需求并预言伊朗需要的是一个简单 “没有设计”
但拥有亲民价格的汽车， 这也决定了消费者买车只看重服务，保修问题及其费
用，而不是它的美学设计。这个问题一直持续到 2005 年底，据报道政府提供了
大量现金鼓励公司停止生产“培康”（Jaafarnia，2013）。其他汽车制造商也受到
了同等待遇。
We can begin this with a short review of car consumers in Iran which can highlight the issue of
consumer position better. In Iran car production is the biggest industry after national industry
of oil, the industry which did not pay attention to consumer desires of car design for several
decades. In the beginning for design selection, a car dictated by the manufacturer under the
order of King Mohammad Reza Pahlavi and consumers were out of the calculation (Sozanchi,
2014). We have seen that for more than 40 years a car design dictated Iran (from the late 1960s
to the late '90s) called ‘Paykan’, the design of which was based on the 1966 Hillman
Hunter. The effort of designers and manufacturer were so weak for inclusion of a new form
that we can see only tiny changes and modifications and small details such as changing head
light design in the course of its development. This was because manufacturer’s policies
accurately ignored consumers’ desires and predicted that Iran was in need of a simple ‘no-
design’ automobile within the price range of ordinary people, therefore this dictated consumers
into buying their car simply emphasising on service and warranty issues and its expenses more
than its aesthetic design. This problem continued until the government reportedly offered a
large cash incentive to the company to end Paykan production by 2005 (Jaafarnia, 2013). The
same thing happened for other car manufacturers.
30
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﻣﺮوزه ﺗﺤﻘﯿﻘﺎت ﺛﺎﺑﺖ ﻣﯽﮐﻨﺪ ذاﺋﻘﮫ ﻣﺸﺘﺮﯾﺎن اﺗﻮﻣﺒﯿﻞ در اﯾﺮان در راﺑﻄﮫ ﺑﺎ ﻣﺴﺎﺋﻞ ﻣﺮﺑﻮط ﺑﮫ ﺧﺮﯾﺪ اﺗﻮﻣﺒﯿﻞ از‬
车 ‫ آنھﺎ ﺑﮫ دﻧﺒﺎل طﺮاﺣﯽھﺎی ﺟﺪﯾﺪﺗﺮی ھﺴﺘﻨﺪ ﮐﮫ ﺧﻮاﺳﺘﮫھﺎی زﯾﺒﺎﯾﯽﺷﻨﺎﺳﯽ‬.‫ﺣﺎﻟﺖ »ﮐﻠﯽ ﻧﮕﺮ« ﺧﺎرج ﺷﺪه اﺳﺖ‬
设 ‫ ﺑﺎ ﺗﻮﻗﻒ ﺧﻂ ﺗﻮﻟﯿﺪ ﭘﯿﮑﺎن اﯾﻦ ﺷﺮﮐﺖ طﺮاﺣﯽھﺎی ﺟﺪﯾﺪی از ﺟﻤﻠﮫ ﺧﻂ ﺗﻮﻟﯿﺪ »ﺳﻤﻨﺪ« را ﺑﮫ‬.‫آﻧﺎن را ﺗﺎﻣﯿﻦ ﺳﺎزد‬
计 ‫ طﺮاﺣﺎن ﺑﮫ دﻧﺒﺎل رواﺑﻂ ﻣﺘﻘﺎﺑﻞ ﻣﯿﺎن ﻋﻨﺎﺻﺮ ﻣﺨﺘﻠﻒ‬.‫ﻋﻨﻮان ﺟﺎﯾﮕﺰﯾﻦ ﻣﺪرﻧﯽ ﺑﺮای ﭘﯿﮑﺎن در ﻧﻈﺮ ﮔﺮﻓﺖ‬
的 ‫ اﯾﻦ ﺷﮑﻞ‬.‫ دل اﻧﮕﯿﺰ و ﻣﻌﻨﺎدار از ﺧﻮدرو ھﺴﺘﻨﺪ‬،‫ﺑﺼﺮی ﺑﮫ ﺷﯿﻮهای ھﻤﺎھﻨﮓ ﺑﺮای دﺳﺘﯿﺎﺑﯽ ﺑﮫ ﻓﺮﻣﯽ زﯾﺒﺎ‬
演 ‫ ﺳﺎل ﮔﺬﺷﺘﮫ ﭼﻨﺪﯾﻦ ﺑﺎر ﺗﻐﯿﯿﺮ ﯾﺎﻓﺘﮫ‬١٠ ‫اﻣﺮوزه ﺑﺮ اﺳﺎس اﻧﺘﻈﺎرات ﻣﺼﺮف ﮐﻨﻨﺪه اﯾﺠﺎد ﺷﺪه و ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ در‬
进 ‫ اﻣﺮوز در ﺑﺎزار ﺟﻨﮓ ﺗﺠﺎری ﭘﺮ از ﻣﺤﺼﻮﻻت ﺷﮑﺴﺖ‬.(٢٠١٥،MokashiPunekar‫و‬Jaafarnia) ‫اﺳﺖ‬
简
‫ ﻣﺎ ﻣﯽ داﻧﯿﻢ ﮐﮫ طﺮاﺣﯽ ﻓﺮاﯾﻨﺪی اﺳﺖ ﮐﮫ ﺑﺎ‬.‫ﺧﻮردهای اﺳﺖ ﮐﮫ ﻣﻮﻓﻖ ﺑﮫ ارﺗﺒﺎط ﺑﺎ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﻧﺸﺪهاﻧﺪ‬
介
‫درک ﻋﻤﯿﻖ از ﻣﺼﺮف ﮐﻨﻨﺪه آﻏﺎز ﻣﯽﺷﻮد و ھﻤﭽﻨﯿﻦ اﺑﺰار ﻣﻨﺎﺳﺒﯽ ﻧﯿﺰ ﺑﺮای اﻧﺪازه ﮔﯿﺮی واﮐﻨﺶ ﻣﺼﺮف‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل ﻣﺎ ﻣﺸﺎھﺪه ﻣﯽﮐﻨﯿﻢ ﮐﮫ آنھﺎ‬.(٢٠١١، Sawhney‫و‬Prahalad ) ‫ﮐﻨﻨﺪﮔﺎن ﺑﮫ ﻣﺤﺼﻮﻻت اراﺋﮫ ﻣﯽدھﺪ‬
‫ ﺑﻌﺪ از ﺗﻮاﻓﻖ ﺑﺮﺟﺎم ﺑﺎ‬.‫ﺑﺪون داﺷﺘﻦ ھﯿﭻ ﮔﻮﻧﮫ درﮐﯽ از ﺧﻮاﺳﺘﮫھﺎی ﻣﺸﺘﺮی ﺑﮫ ﺟﻨﮓ ﺗﺠﺎری وارد ﻣﯽﺷﻮﻧﺪ‬
‫ اﯾﺮان دروازهھﺎﯾﺶ را ﺑﮫ روی ﺷﺮﮐﺖھﺎﯾﯽ ﮔﺸﻮده ﮐﮫ ﻣﺸﺘﺎق ﮔﺴﺘﺮش‬،‫ﭘﺎﯾﺎن ﯾﺎﻓﺘﻦ ﻣﻮﻗﺘﯽ ﺗﺤﺮﯾﻢھﺎی آﻣﺮﯾﮑﺎ‬
‫ ﺳﺎزﻧﺪﮔﺎن ﺧﻮدرو‬،‫ در ﺳﺎﻟﮭﺎی اﺧﯿﺮ‬.‫ﺑﺎزارھﺎی ﻓﺮوش اﺗﻮﻣﺒﯿﻞ ﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺗﺸﻨﮫ طﺮاﺣﯽ ﻣﻨﺎﺳﺐ ھﺴﺘﻨﺪ‬
.‫ﺑﮫ اﻣﮑﺎن ﺑﺎزﮔﺸﺖ ﺑﮫ ﺑﺎزار اﯾﺮان ﻣﯽاﻧﺪﯾﺸﻨﺪ ﮐﮫ زﻣﺎﻧﯽ دھﻤﯿﻦ ﺑﺎزار ﻣﺎﺷﯿﻦ و ﮐﺎﻣﯿﻮن ﻣﺤﺴﻮب ﻣﯽﺷﺪ‬
现今，研究重申伊朗汽车消费者的口味已经改变了整体形式，这一形式曾被认为
是消费者考虑在汽车时最为重要的因素。他们寻找新的设计，可以满足他们的审
美需求。在“培康”停止生产后，公司收录了新设计，并投入生产，其名为“萨曼
德”，在现代社会中替代了“培康”。设计师基于当今消费者的需求， 以一种和谐
的方式看待各种视觉元素之间的相互关系，以实现一种具有审美的、 令人愉悦
的表现形式， 因此在过去的 10 年里这种表现形式在不断的改变 （jaafarnia 和
MokashiPunekar, 2015）。今天，商业战斗区充满了失败的产品。这些产品都没
有考虑到客户的因素。我们知道在设计过程中，生产商先要对消费者有深刻的理
解，良好的理解可以帮助我们衡量或预估消费者对产品的反应（Prahalad 和
Sawhney，2011）。但我们再次看到的是，他们进入这个战斗区时，对消费者的
需求并没有任何了解。如今，结束了美国制裁的伊朗，为那些热衷于拓展市场的
公司敞开大门，以便为消费者提供合适的设计。在最近的时间里，汽车制造商正
在寻找重返伊朗市场的可能性，伊朗市场曾一度是第十大汽车和卡车市场。
Today research reaffirms that Iranian car consumers’ taste has gotten over the‘holistic’ form
which was considered important for consumers’ consideration in an automobile. They look for
newer designs which can cover their aesthetic desires. Stopping at the line of Paykan , the
company has included new designs on the line called ‘Samand’ as a modern substitute for the
Paykan class. Designers look at the interrelationship between the various visual elements in a
harmonious manner to achieve an aesthetic, pleasing and expressive form of the automobile
which is based on today’s consumer expectation and therefore have changed it several times in
the last 10 years (Jaafarnia & MokashiPunekar, 2015). Today the business combat zone is full
of products’ failures that failed to connect with their consumers. We know design is a process
that begins with a deep understanding of the consumer which also gives suitable tools to
measure consumers’ reaction to products (Prahalad & Sawhney, 2011). But again we see that
they enter into this combat zone without having any understanding about consumers’ desires.
After 5+1 Agreement by temporary ending sanctions of US, Iran has opened gates to
companies keen on expanding markets to sell cars to thirsty consumers for proper design. In
the recent times, car manufacturers are looking at the possibility of returning to the Iranian
market which used to be the 10th largest car and lorry market at one point of time.

31
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ رﻧﻮ و ﺟﻨﺮال ﻣﻮﺗﻮرز ﻗﺼﺪ دارﻧﺪ ﻣﺤﺼﻮﻻﺗﺸﺎن را ﺑﮫ اﯾﻦ ﺑﺎزار‬،‫ﺑﻨﺎﺑﺮاﯾﻦ ﺷﺮﮐﺖھﺎی ﺟﻮﯾﺎی ﺑﺎزار ﭼﻮن ﭘﮋو‬
车 ‫ اﯾﻦ ﺑﺪﯾﻦ ﻣﻌﻨﯽ اﺳﺖ‬.‫ ﮐﮫ ﻗﻄﻌﺎ ﺑﺮاﺳﺎس ﺧﻮاﺳﺘﮫھﺎی ﻣﺸﺘﺮﯾﺎن اﯾﺮاﻧﯽ طﺮاﺣﯽ ﻧﺸﺪهاﻧﺪ‬.(٢٠١٦،Geller) ‫ﺑﻔﺮﺳﺘﻨﺪ‬
设 .‫ﮐﮫ آنھﺎ ﺑﺎر دﯾﮕﺮ ﻣﺤﺼﻮﻻﺗﺸﺎن را ﺑﮫ ﻣﺸﺘﺮﯾﺎن اﯾﺮاﻧﯽ ﺗﺤﻤﯿﻞ ﺧﻮاھﻨﺪ ﮐﺮد‬
计
的 因此，有抱负的公司如标致、雷诺和通用汽车正在寻找机会把产品送进这个市场
演
（Geller，2016），但这这些公司绝对不是基于伊朗消费者的需求进行设计的。
进
简 这意味着他们再次将产品强塞给伊朗消费者。
介
Hence aspiring companies like Peugeot, Renault and General Motors are looking for
this market to send their product (Geller, 2016), which definitely was not designed
based on Iranian consumers’ desires. It means they again dictate their products to
Iranian consumers.

‫ طﺮاﺣﺎن ﺷﺮوع ﺑﮫ طﺮاﺣﯽ ﻓﺮم ھﺎی ھﻨﺮی ﺑﺮای ﺑﺪﻧﮫ ﻣﺎﺷﯿﻦ ﻧﻤﻮدﻧﺪ و ﺑﮫ دﻟﯿﻞ ﻣﺤﯿﻂ‬،‫در اواﯾﻞ دوره ﻣﺪرن‬
‫ ﺑﮫ ﺧﺮﯾﺪ ﺧﻮدرو‬،‫ ﺑﺎﯾﺴﺘﯽ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن را ﺑﺎ اﺿﺎﻓﮫ ﮐﺮدن ﺷﮑﻞ ھﻨﺮی ﺑﮫ ﺑﺪﻧﮫ اﺗﻮﻣﺒﯿﻞ‬،‫رﻗﺎﺑﺘﯽ رو ﺑﮫ ظﮭﻮر‬
‫ ﺑﺎ ﮐﻤﮏ‬Hillman Hunter «‫ در راﺑﻄﮫ ﺑﺎ اﺗﻮﻣﺒﯿﻞ »ﭘﯿﮑﺎن‬١٩٦٦ ‫ ﮐﮫ دﯾﺪﯾﻢ در ﺳﺎل‬.‫ﻣﺘﻘﺎﻋﺪ ﻣﯽﮐﺮدﻧﺪ‬
‫ اﯾﻦ طﺮح اﺗﻮﻣﺒﯿﻞ را ﺗﺤﻤﯿﻞ‬،‫ﻣﺤﻤﺪرﺿﺎ ﺷﺎه ﺑﺪون ھﯿﭻ ﺗﺤﻘﯿﻘﯽ در ﻣﻮرد ﺧﻮاﺳﺘﮫھﺎی ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن در اﯾﺮان‬
.‫ﮐﺮد‬
在现代主义开始的时候, 设计师开始为车身做一些艺术形式的设计，因为在新兴
的竞争环境中，加入艺术形式的车体更容易说服消费购买。再次回到 1966 年的
“培康”案例中， Hillman Hunter 在 King Mohammad Reza 的帮助下， 决定了所有
的汽车设计，从未考虑过伊朗消费者自身的需求。
At the beginning of modernism, designers began to design artistic forms for car body,
because of the emerging competitive environment where consumers had to be
convinced to buy their car by adding artistically a form on car body again which we
see in the case of ‘Paykan’ in 1966 which Hillman Hunter with help of King
Mohammad Reza dictated on the design for Iranian consumers without any research
about consumers’ desires in Iran.

32
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺑﺤﺚ‬
车 讨论
设 Discussion
计
的 ‫ ﺟﻨﺒﺶ ھﺎی ھﻨﺮی و ﻓﻦ‬،‫ ﺷﺮاﯾﻂ ﺑﺎزار‬،‫ ﻓﺮھﻨﮓ‬،‫ آﻧﭽﮫ ﻗﺎﺑﻞ ﺗﻮﺟﮫ طﺮاﺣﺎن ﺑﻮد ﺷﺎﻣﻞ اﯾﻤﻨﯽ‬،‫در ﺗﻤﺎم دوره ھﺎ‬
演 ‫ ﺑﮭﺒﻮد در روش ھﺎی ﺗﻮﻟﯿﺪ ﺑﮫ طﻮر ﻓﺰاﯾﻨﺪه‬.‫آوری ﺑﮫ ﺻﻮرت ھﻤﺰﻣﺎن ﺑﺮ ﺳﺒﮏ طﺮاﺣﯽ ﺧﻮدرو ﺗﺎﺛﯿﺮ ﮔﺬاﺷﺘﻨﺪ‬
进 ‫ دﺳﺘﺎوردھﺎی ﺗﮑﻨﻮﻟﻮژﯾﮏ در ﺳﺎﯾﺮ رﺷﺘﮫ‬.‫ای ﺑﮫ طﺮاﺣﺎن اﺟﺎزه ﻣﯽ داد ﺗﺎ ﺑﺎ ﻣﺤﺪودﯾﺖ ھﺎی ﮐﻤﺘﺮ طﺮاﺣﯽ ﻧﻤﺎﯾﻨﺪ‬
简 ‫ھﺎ ﻣﺎﻧﻨﺪ طﺮاﺣﯽ ﻗﻄﺎر و ھﻮاﭘﯿﻤﺎ ﺑﺎ اراﺋﮫ ﯾﮏ ﭼﺎرﭼﻮب ﻣﻌﻨﺎﯾﯽ ﺑﺮای درک و اﺣﺴﺎس از ﻓﺮم ﺧﻮدرو ﺑﺮ طﺮاﺣﯽ‬
介 ‫ ﺑﻮدﯾﻢ ﮐﮫ‬٨ ‫و ﻣﻮﺷﮏ ﺗﺼﻮﯾﺮ‬١٠‫ در دوره ھﺎی ﻗﺒﻠﯽ ﻣﺎ ﺷﺎھﺪ ﺑﯿﺎن ﻣﻌﻨﺎﯾﯽ ھﻮاﭘﯿﻤﺎ ﺗﺼﻮﯾﺮ‬.‫آن ﺗﺎﺛﯿﺮ ﻣﺜﺒﺖ ﮔﺬاﺷﺘﻨﺪ‬
‫ اوﻟﯿﻦ ﻣﮑﺘﺐ در‬،‫ دو ﻣﮑﺘﺐ ﺧﻼق اﻧﺪﯾﺸﮫ در ارﺗﺒﺎط ﺑﺎ ﻣﻌﻨﺎﺷﻨﺎﺳﯽ ﺑﻮدﻧﺪ‬.‫در طﺮاﺣﯽ ﺧﻮدرو اﺳﺘﻔﺎده ﻣﯽ ﺷﺪﻧﺪ‬
‫ﺗﺮوﯾﺞ اﺳﺘﻔﺎده از ﻓﺮم ھﺎی ﻣﺤﺼﻮﻻت ﻗﺪﯾﻤﯽ آﺷﻨﺎ ﺑﻮد ﻣﺎﻧﻨﺪ ﮐﺎﻟﺴﮑﮫ اﺳﺒﺪار ﮐﮫ ﺑﮫ ﻋﻨﻮان ﯾﮏ ﻗﺎب ﺑﺮای اوﻟﯿﻦ‬
‫ در ﻣﮑﺘﺐ ﺧﻼق دﯾﮕﺮ ﮐﮫ ﺑﺎ طﺮح ﻣﺎرﮐﻮ رﯾﮑﻮﺗﯽ ﻧﺸﺎن داده ﺷﺪ ﮐﮫ طﺮاﺣﯿﺶ ﺑﺮای آﻟﻔﺎ‬.‫ﺧﻮدرو اﺳﺘﻔﺎده ﺷﺪ‬
‫ ﺑﻮد ﺑﺮ ﺻﻨﻌﺖ ھﻮاﭘﯿﻤﺎ ﺗﺎﺛﯿﺮ ﮔﺬاﺷﺖ و اﻣﺮوزه ھﻢ اﯾﻦ ﺗﺎﺛﯿﺮ دﯾﺪه ﻣﯽ ﺷﻮد‬١٩١٤ ‫روﻣﺌﻮ در ﺳﺎل‬
١٩٣٢ ‫(و ﯾﺎ در ﻣﻮردی دﯾﮕﺮ وﯾﺘﻮرﯾﻮ ﺟﺎﻧﻮ از ﻓﺮم ھﻮاﭘﯿﻤﺎی ﺳﺎل‬١٩٩٣، Noblet ‫ ؛‬١٩٩٠،Borgeson)
‫ اﺳﺘﻔﺎده ﻧﻤﻮد و در اداﻣﮫ‬Lancia Astura ‫ ﺑﺮ‬١٩٣٥ ‫ ﻗﺮض ﮔﺮﻓﺘﮫ و آن را در ﺳﺎل‬١٠ ‫ ﻓﯿﺮﭼﺎﯾﻠﺪ ﺗﺼﻮﯾﺮ‬J2K
.‫( ﺗﺎﺛﯿﺮ ﮔﺬاﺷﺖ‬١٩٥٠) ‫ ھﻢ ﺑﺮ ﺳﺎﯾﺮ ﻣﺤﺼﻮﻻت ﻣﺎﻧﻨﺪ ﮐﺎﻟﺴﮑﮫ ﺣﻤﻞ ﺑﭽﮫ‬Lancia Astura
在所有的时期中，值得一提的是安全性、文化、市场因素、艺术变革和技术发展
同时影响了汽车设计的风格。因为生产方式的改进，设计师在设计上受到的限制
日益减少。汽车设计也受益于火车和飞机设计等其他领域的技术成果，后者为汽
车的外观和感觉提供了一种新的语义框架。在之前的时期，我们看到飞机（图
10）与导弹（图 8）的语义表达用在了汽车设计上。关于语义学的思想，有两个
创造性流派。第一个流派推崇过去常见的汽车形态，比如马车，人类第一辆汽车
设计的模板。另一个创造性流派以马尔科·瑞克蒂（Marco.Ricotti）的设计为代表。
他在 1914 年为汽车品牌阿尔法·罗密欧（Alfa.Romeo）所做的设计仍影响着现在
的飞机设计（Noblet，1993；Borgeson，1990），还有例如，维托利奥·亚诺
（Vittorio.Jano）借鉴了 1932 年“仙童 J2K”轿车（图 10）的款式，并用在 1935 年
蓝旗亚牌“阿斯图拉”（Lancia.Astura）轿车的设计上。随后蓝旗亚的阿斯图拉影
响了 1950 年的婴儿车设计。
In all the eras, what was significant was that safety, culture, market conditions, art
movements and technology concurrently affected automobile styles. Improvements in
manufacturing methods increasingly allowed designers to design with fewer
limitations. Technological gains in other disciplines like train and airplane design
benefited automobile design by providing a new semantic frame for the look and feel
of the car. In previous eras we saw semantic expressions of the airplane (Fig. 10) and
missile (Fig. 8) being used in car designs. There were two creative schools of thought
regarding semantics. The first school promoted the use of the old familiar product
forms like the horse carriage as a frame for the first automobile.
The other creative school was exemplified by the designs of Marco Ricotti. His design
of the Alfa Romeo in 1914 still influences present day airplanes (Noblet, 1993 ;
Borgeson, 1990) or in another case Vittorio Jano borrowed the form from the 1932
Fairchild J2K (Fig. 10) and used it in the 1935 Lancia Astura. Continuing this the
Lancia Astura, in turn, influenced baby carriage designs in 1950.

33
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 11: Life style. 1959 Chevrolet.

‫ در دوره‬.‫و اﯾﻦ اﻣﺮ ﺷﯿﻮه زﻧﺪﮔﯽ و ﻓﺮھﻨﮓ طﺮاﺣﯽ ﺧﻮدرو را ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﻗﺮار داده و آن را دﮔﺮﮔﻮن ﺳﺎﺧﺖ‬
‫ طﺮاﺣﺎن ﺑﮫ ﺷﺪت از‬.‫ ﺷﺮﮐﺖ ھﺎی ﺧﻮدروﺳﺎزی آﻣﺮﯾﮑﺎ طﺮح ﺧﻮدروھﺎ را ﺑﮫ زﻧﺎﻧﮫ ﻣﺮداﻧﮫ ﺗﻘﺴﯿﻢ ﻧﻤﻮدﻧﺪ‬،‫ادﻏﺎم‬
.(١٩٩٨،Beazley) ‫ ﻣﺪﻟﮭﺎی رﻧﮓ ﻣﻮ و ﻣﺤﺼﻮﻻت ﺷﺨﺼﯽ ﻣﺎﻧﻨﺪ ﻋﯿﻨﮏ اﻟﮭﺎم ﮔﺮﻓﺘﻨﺪ‬،‫ آراﯾﺶ‬،‫ﻣﺪ‬
生活方式和文化上的影响使汽车发生了改变。在整合期，美国汽车公司曾将汽
车设计分为男性汽车和女性汽车。设计师大幅借鉴时装、化妆品、色彩潮流及
个人用品如眼镜（Beazley，1998）的元素。
Lifestyle and cultural influences have transformed automobiles. In the Integration era,
American car companies divided designs into men’s car and women’s car. Designers
heavily borrowed from fashion, makeup, color trends and personal products like
eyeglasses (Beazley, 1998).

34
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫آن ﭼﯿﺰھﺎ ﺑﮫ ﺳﺮﻋﺖ ﺑﺮ روی طﺮاﺣﯽ ﻋﯿﻨﮏ اﺛﺮ ﮔﺬاﺷﺖ و ﺑﻌﺪ از آن ﺑﮫ ﺳﺮﻋﺖ ﺷﺮوع ﺑﮫ ﮔﺬاﺷﺘﻦ ﺗﺎﺛﯿﺮ ﺑﺮ‬
车 ‫ در ﺗﻼش‬.‫ ﻧﺸﺎن داده ﺷﺪه اﺳﺖ‬١١‫ ﮐﮫ در ﺗﺼﻮﯾﺮ‬١٩٥٩ Chevrolets ‫ ﺑﮫ ﻋﻨﻮان ﻧﻤﻮﻧﮫ در‬،‫طﺮح ﺧﻮدرو ﻧﻤﻮد‬
设 ‫ ﺧﻮدروﺳﺎزان آﮔﮭﯽ ﺑﺮای ﺧﻮدروھﺎﯾﺸﺎن دادﻧﺪ ﮐﮫ ﺷﺒﺎھﺖ ھﺎی ﻓﺮم‬،‫ﺑﺮای ھﺪف ﻗﺮار دادن ﺑﺎزارھﺎی ﮔﻮﻧﺎﮔﻮن‬
计 .‫آﻧﮭﺎ را ﺑﺎ طﺮاﺣﯽ ﻟﺒﺎس و آراﯾﺶ ﻣﺪل اﻧﺴﺎن ﻧﺸﺎن ﻣﯽ داد‬
的 ‫ﺷﺮﮐﺖ ﻓﻮرد ﺧﻮدرو زﻧﺎﻧﮫ ای را ﺗﻮﻟﯿﺪ ﻧﻤﻮد ﮐﮫ در ﺗﺎرﯾﺨﭽﮫ ﺧﻮدرو زﻧﺎﻧﮫ ﺗﺮﯾﻦ ﺧﻮدرو ﺑﻮده اﺳﺖ در ﺗﺼﻮﯾﺮ‬
演 ‫ از ﻣﺮدم ﺧﺮﯾﺪار ﻣﯽ‬٪٨٠ ‫ ادﻋﺎ ﻧﻤﻮد ﮐﮫ‬،‫ را راه اﻧﺪازی ﮐﺮد‬Streetka ‫ وﻗﺘﯽ ﮐﮫ ﻓﻮرد‬.(Streetka 2003) ١١
进 ‫ ﮐﺎﯾﻠﯽ ﻣﯿﻨﻮگ راه اﻧﺪازی اﯾﻦ‬.‫ از ﻣﺮدان اﯾﻦ ﺧﻮدرو را ﺧﺮﯾﺪاری ﮐﺮدﻧﺪ‬٪١ ،٢٠٠٣ ‫ در ﺳﺎل‬.‫ﺗﻮاﻧﻨﺪ زﻧﺎن ﺑﺎﺷﻨﺪ‬
简
.‫ ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﮔﺮﻓﺖ‬Thunderbirds ‫ ﻧﺴﺨﮫ ﺻﻮرﺗﯽ ﺧﺎﺻﯽ از اﯾﻦ ﻣﺎﺷﯿﻦ در ﻓﯿﻠﻢ‬.‫ﻣﺎﺷﯿﻦ را اﻧﺠﺎم داد‬
介
.‫ﻟﺒﺎﺳﯽ ﺑﺮای ﻣﻄﺎﺑﻘﺖ ﺑﺎ ﻣﺎﺷﯿﻦ طﺮاﺣﯽ ﺳﺎﺧﺘﮫ و ﺑﻌﺪ از آن در ﯾﮏ ﺣﺮاج ﺧﯿﺮﯾﮫ ﻓﺮوﺧﺘﮫ ﺷﺪ‬
这些元素曾影响了眼镜的设计，不久后也开始影响汽车设计，比如 1959 年雪佛
兰的车型，如图示（图 11）。为了瞄准不同群体，汽车制造商投放了将汽车比
拟成人类模特的连衣裙和妆容（图 11）。
福特汽车公司制造出了汽车史上最有女人味的轿车（图 1 右上角 2003 年上市的
StreetKA），StreetKA 上市的时候，福特断言 80%购买它的顾客将是女性。2003
年，1%的男性购买了这种轿车。该车型由凯莉·米洛代言（美国著名歌手）。它
有一款紫色特制版，用于宣传当时的电影《雷鸟》（Thunderbirds），另有一套
特制连衣裙与之相衬，并在之后的一场慈善拍卖中售出。
Those things affected the eyeglass designing and soon it began to influence Car
designs, like the 1959 Chevrolets as shown in (Fig. 11). In an effort to target separate
markets, automakers advertised cars that resembled the design of the human model’s
dress and makeup. (Fig. 11)
The Ford Motor Company produced the most feminine car in automobile history
(Streetka 2003 in Fig. 11). When Streetka was launched, Ford claimed that 80% of the
buying public would be female. In 2003, 1% of men bought this car. The car was
launched by Kylie Minogue (a well-known American singer). A special pink version
of the car was used to promote the
Thunderbirds movie. A dress
to match the car
was made and
later sold at
a charity
auction.

Figure: 2003 Streetka.

35
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 .‫اﻣﺮوز ﻣﺎ درﯾﺎﻓﺘﮫاﯾﻢ ﮐﮫ ﺑﺮای ﻧﺘﺎﯾﺞ ﺑﮭﺘﺮ طﺮاﺣﺎن و ﻣﮭﻨﺪﺳﺎن ﺑﺎﯾﺪ ﺗﺎ ﭘﺎﯾﺎن ﻓﺮآﯾﻨﺪ ﺗﻮﻟﯿﺪ ﻣﺤﺼﻮل ﻓﻌﺎل ﺑﺎﻗﯽ ﺑﻤﺎﻧﻨﺪ‬
车 ‫اﯾﻦ ﻓﺮاﯾﻨﺪ ﺷﺎﻣﻞ ﻣﺮاﺣﻠﯽ اﺳﺖ ﮐﮫ در آن ﺳﺎزﻧﺪه از طﺮﯾﻖ ﺧﺪﻣﺎت ﻣﮭﻨﺪﺳﯽ ﭼﻮن ﻣﻮﻧﺘﺎژ ﻧﮭﺎﯾﯽ )در زﻣﺎن‬
设 ‫ طﺮاﺣﺎن ﻣﯽﺗﻮاﻧﻨﺪ ﺗﺎ ﭘﺎﯾﺎن ﺑﺎزارﯾﺎﺑﯽ‬.‫ﺑﺎزارﯾﺎﺑﯽ( و ﺗﻀﻤﯿﻦ ﮔﺎراﻧﺘﯽ ﺧﻮدرو ﺗﺎ ﭘﺎﯾﺎن دوره ﻣﺼﺮف اراﺋﮫ ﻣﯽدھﺪ‬
计 ‫ھﻤﭽﻨﺎن ﺑﮫ ﺟﻤﻊ آوری دادهھﺎ اداﻣﮫ داده و در ﻋﯿﻦ ﺣﺎل در ﺳﺎﺧﺖ ﭘﺮوﺗﻮﺗﺎﯾﭗھﺎ ﻣﺸﺎرﮐﺖ داﺷﺘﮫ ﺑﺎﺷﻨﺪ ﺗﺎ ﻣﻄﻤﺌﻦ‬
的 ‫ اﮔﺮﭼﮫ ﺳﺎﺧﺖ اﯾﻦ ﻣﺪلھﺎ‬،‫ﺷﻮﻧﺪ ﮐﮫ طﺮاﺣﯽ ﺧﻮدرو ﺧﻮاﺳﺘﮫ ﮔﺮوه ھﺪف را ﺑﮫ درﺳﺘﯽ ﺗﺤﺖ ﭘﻮﺷﺶ ﻗﺮار دھﺪ‬
演 ‫زﻣﺎن ﺑﺮ ﺑﻮده و ھﺰﯾﻨﮫ زﯾﺎدی درﺑﺮدارد اﻣﺎ ﺷﺮﮐﺖھﺎ اﯾﻦ اﻗﺪاﻣﺎت را ﺑﺮای راﺿﯽ ﻧﮕﮫ داﺷﺘﻦ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن‬
进 ‫ ﺑﺎ ﺳﻠﯿﻘﮫ ﺑﺎزار‬،‫ ﺑﺮای ﻣﺜﺎل ﺧﻮدروی رﻧﻮ زﻣﺎﻧﯽ ﮐﮫ وارد ﺑﺎزار اﯾﺮان ﺷﺪ‬.‫ﺑﮫ وﯾﮋه ﮔﺮوه ھﺪف اﻧﺠﺎم ﻣﯽدھﻨﺪ‬
简
.(٢٠٠٧،Buxton) ‫ ھﻤﭽﻨﯿﻦ ﺑﺴﯿﺎری ﻣﻮارد ﻣﺸﺎﺑﮫ دﯾﮕﺮ ﮐﮫ اﯾﻦ ﻣﺴﺌﻠﮫ را ﺑﮫ اﺛﺒﺎت ﻣﯽرﺳﺎﻧﺪ‬،‫اﯾﺮان ھﻤﺮاه ﻧﺒﻮد‬
介
‫ ﺣﺘﯽ ﭘﯿﺶ از ﺳﺎﺧﺖ ﺑﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن‬،‫ھﺮ ﭼﻨﺪ ﻣﺎ در ﺑﻌﻀﯽ ﮐﺸﻮرھﺎ ﻣﯽﺑﯿﻨﯿﻢ ﮐﮫ ﺳﺎزﻧﺪﮔﺎن ﺧﻮدروھﺎﯾﯽ را‬
.‫ﻣﯽﻓﺮوﺷﻨﺪ و اﯾﻦ اﻟﺒﺘﮫ ﻣﯽﺗﻮاﻧﺪ ﯾﮏ درﺟﮫ ﺑﺎﻻ از دﯾﮑﺘﮫ ﮐﺮدن و ﺗﺤﻤﯿﻞ طﺮاﺣﯽ ﻣﺎﺷﯿﻦ ﻣﺤﺴﻮب ﺷﻮد‬

现如今，为了更好的产品输出，设计师和工程师必须积极配合直到产品开发结束。
该过程包括制造商服务阶段，如最终组装（在营销时间） 和汽车保修期（至消
费期结束）。设计师可以不断收集数据，直到营销结束，同时参与到原型建设中
去，以确保汽车设计可以恰到好处的满足目标群体需求欲望。尽管这些模型需要
时间来建立，而且成本很大，但公司这样做是为了满足消费者的需求，尤其是目
标群体。比如从雷诺的案例及许多其他类似的案例中可以证明这一点，雷诺汽车
想要进入伊朗的设计市场，但是他们没有为伊朗消费者设计，所以他们没有成功
（Buxton，2007）。此外，在一些国家，我们会发现一些制造商甚至在制造汽车
之前就出售汽车给消费者，当然，这可以算是对汽车设计高度的专制。

Today we have understood that for better result designers and engineers must be
active till the end of Product Development The process includes the phase where the
manufacturer through engineering gives services such as final assembling (in
Marketing time) and Guaranty-warranty of car until the end of consuming period. The
designers can continue until the end of marketing to collect data and also involve the
construction of prototypes to insure that the car design can cover target group’s
desires properly, Although these models take time to build and costs a lot, but
companies do it to meet consumers demands, especially the target group, the case of
Renault that wants to enter Iran market with designs which they have not been
designed for Iranian consumers and many other similar cases prove the issue (Buxton,
2007). Also in
some countries we
see manufacturers
sell the car to
consumers even
before
manufacturing the
car, and of course
this can be high
degree of dictating
a car design.

36
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻧﺘﯿﺠﮫ‬
车
设
结论
计 Conclusion
的
演 ‫ آﻧﮭﺎ اوﻟﯿﻦ ﻣﻮﺗﻮر را‬،‫طﺮاﺣﺎن ﺧﻮدرو ھﻤﯿﺸﮫ ﺑﯿﺎن ﺳﺮﻋﺖ را در طﺮاﺣﯽ ﺧﻮدروھﺎی ﺧﻮد اﺳﺘﻔﺎده ﻣﯽ ﻧﻤﻮدﻧﺪ‬
进 ‫ ﺑﮫ ﻋﻨﻮان ﭘﺎﺳﺦ ﺑﮫ اﯾﻦ ﭘﺮﺳﺶ ﮐﮫ "ﭼﮫ ﻋﻮاﻣﻠﯽ ﻣﺴﺌﻮل اﯾﺠﺎد راﺑﻄﮫ ی‬.‫ﺑﺮ اوﻟﯿﻦ ﮐﺎﻟﺴﮑﮫ ﺑﺪون اﺳﺐ ﻗﺮاردادﻧﺪ‬
简
‫ و در طﺮاﺣﯽ "ھﺎﭼﺒﮏ" دﯾﺪه ﻣﯽ ﺷﻮد ﮐﮫ‬١١ ‫اﺣﺴﺎﺳﯽ ﺑﯿﻦ ﯾﮏ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ و ﮐﺎرﺑﺮان آن اﺳﺖ؟" در ﺷﮑﻞ‬
介
‫ دوره اﺧﺘﺮاع‬.‫ﺧﻮدرو در طﻮل زﻣﺎن ﺗﮑﺎﻣﻠﺶ ﺗﺎﺛﯿﺮات ﻓﺮاواﻧﯽ از ﻓﺮھﻨﮓ و ﺳﺒﮏ زﻧﺪﮔﯽ درﯾﺎﻓﺖ ﻧﻤﻮده اﺳﺖ‬
‫ در دوران ﻧﻮآوری ﺑﺮای ﻓﺮم ﺧﻮدرو‬.‫ﺑﺎ ﺳﺎﺧﺖ ﯾﮏ ﻣﻮﺗﻮر آﻏﺎز ﺷﺪ ﮐﮫ ﻣﯽ ﺗﻮاﻧﺴﺖ ﻓﺮﯾﻢ ﺧﻮدرو را ﺣﺮﮐﺖ دھﺪ‬
.‫ ﺻﻨﻌﺘﮕﺮ در ﺗﻮﻟﯿﺪ اﻧﺒﻮه ﻣﺎھﺮ ﺷﺪ‬،‫ در دوران ﺳﺎﺧﺖ‬.‫ﺑﺴﯿﺎر ﻣﮭﻢ ﺑﻮد ﺗﺎ ﺑﯿﺎن اﺣﺴﺎﺳﯽ ﺳﺮﻋﺖ را داﺷﺘﮫ ﺑﺎﺷﺪ‬
‫ ﺷﺮوع ﺑﮫ ﺗﻮﺟﮫ ﺑﯿﺸﺘﺮ ﺑﮫ اﯾﺠﺎد ﯾﮏ ﺑﺪﻧﮫ ﺑﺴﺘﮫ و طﺮاﺣﯽ ﻓﻀﺎی داﺧﻠﯽ آن‬،‫طﺮاﺣﺎن در دوره ﭘﻮﺷﺶ ﺑﺴﺘﮫ‬
‫ در دوران ادﻏﺎم راه ﺑﺮای طﺮاﺣﯽ ﯾﮏ ﺑﺪﻧﮫ واﺣﺪ و ﯾﮑﭙﺎرﭼﮫ ھﻤﻮار ﺷﺪ و ﻣﺎ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ اﻣﺮوزی را‬.‫ﻧﻤﻮدﻧﺪ‬
‫ ﻧﻈﺮﯾﮫ طﺮاﺣﯽ ﻣﺪرن ﮐﻨﻮﻧﯽ ﺗﺼﻮﯾﺮ ﺑﺰرﮔﺘﺮی را ﺑﺮای طﺮاﺣﯽ ﺧﻮدرو ﺷﺨﺼﯽ‬.‫از آن زﻣﺎن ﻣﺸﺎھﺪه ﻣﯽ ﮐﻨﯿﻢ‬
‫ ﺳﺮﻋﺖ ﺗﻨﮭﺎ ﺑﯿﺎن اﺣﺴﺎﺳﯽ ﻧﯿﺴﺖ ﮐﮫ طﺮاﺣﺎن در ﺣﺎل ﺗﻼش ھﺴﺘﻨﺪ ﺗﺎ از طﺮﯾﻖ ﺧﻮدرو اﻧﺘﻘﺎل‬.‫ﻧﺸﺎن ﻣﯽ دھﺪ‬
.‫ ﺑﺎﯾﺪ ﯾﮏ ﻣﻄﺎﻟﻌﮫ دﯾﮕﺮ ﺑﺮ ﺻﻮرت ﺧﻮدرو اﻧﺠﺎم ﺷﻮد‬،‫ ﺑﮭﻤﯿﻦ ﺗﺮﺗﯿﺐ ﺑﺮای دﯾﮕﺮ ﺑﯿﺎن ھﺎی اﺣﺴﺎﺳﯽ‬.‫ﯾﺎﺑﺪ‬

自从将第一台发动机装到无马马车上起，汽车设计师就一直将他们对速度的渴望
寄托到汽车设计上。接下来需要回答，“汽车和用户之间情感关系的建立是受什
么因素的影响？”
从图 11 以及斜背式舱门的设计可以看出，汽车随着岁月变迁而演进，并折射出
不同时期的文化和生活方式。发明期的主题是制造出能驱动一副支架的发动机。
在革新期，对汽车而言非常重要的一点是表达速度。量产期则见证了工业家从大
规模生产中获利。在胶囊期，汽车设计师开始更加关注封闭车身的打造和车内空
间的设计。整合期则为今天的一体化车身设计铺设了道路。而到今天，现代设计
理论关注的是私人汽车设计的更广阔图景。速度不是设计师们通过汽车想要传达
的唯一感受。如要讨论其他表达，则要对汽车前脸再做一项详细研究。

Automobile designers have been applying the expression of speed to their cars ever
since they affixed the first engine to a horseless carriage. Answering on, “What factors
are responsible for establishing the emotional relationship between a vehicle and its
users?”
It is seen in Figure 11 and in design of ‘hatchback’ that the automobile has evolved
over time reflecting the culture and lifestyle of their respective eras. The Invention era
was concerned with building an engine that could propel a frame. In the Innovation
era it was very important for a car to express speed. The manufacturing era saw the
industrialist become proficient at mass production. In the Capsule era designers began
to pay more attention to creating a close body and design of interior space. The
integration era paved the way to the uni-body designs, as seen on today’s vehicles.
Current modern design theory looks at the bigger picture to design cars for
individuals. Speed is not the only feeling designers are trying to convey through their
automobiles. As for other expressions, one should have one more study to elaborate on
the car face.

37
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ھﻢ اﮐﻨﻮن ﻣﺎ ﺑﮫ دوره ای وارد ﺷﺪه اﯾﻢ ﮐﮫ ﻧﺴﺒﺖ ﺑﮫ ﻋﻮاﻣﻞ ﻣﺤﯿﻄﯽ آﮔﺎھﯽ ﺑﯿﺸﺘﺮ دارﯾﻢ و در ﺣﺎل ﺣﺎﺿﺮ ﺧﻮدرو‬
车 ‫ اﻣﺮوزه طﺮاﺣﺎن ﺧﻮدرو ﺑﺎ اﺳﺘﻔﺎده از ﺗﻤﺎم ﻗﺴﻤﺖ ھﺎی‬.‫ﻧﯿﺎز ﺑﮫ ﻣﻨﻌﮑﺲ ﮐﺮدن ﺷﯿﻮه زﻧﺪﮔﯽ و زﯾﺒﺎﯾﯽ را دارد‬
设 .‫ﻣﺎﺷﯿﻦ ﺳﻌﯽ در ﺑﯿﺎن اﺣﺴﺎﺳﺎت ﺷﺨﺼﯽ ﺑﺮای زﻧﺪﮔﯽ ﻓﺮدی دارﻧﺪ‬
计 ‫ﺑﮫ ﻋﻨﻮان آﺧﺮﯾﻦ ﻧﺘﯿﺠﮫ اﯾﻦ ﺑﺨﺶ در اﯾﻨﺠﺎ ﻣﯽ ﺗﻮاﻧﯿﻢ ﺗﻮاﻧﺎﯾﯽ طﺮاﺣﺎن اروﭘﺎﯾﯽ و آﻣﺮﯾﮑﺎﯾﯽ را در ﺳﮫ دوره ﺗﻘﺴﯿﻢ‬
的 :‫ﻧﻤﺎﯾﯿﻢ‬
演 (١ ‫)ﺟﺪول‬.‫ ﻧﻮآوراﻧﮫ و ﭘﯿﺸﮕﺎم ﺑﻮدﻧﺪ‬١٩۶۵ ‫ و ﺑﻌﺪ از‬١٩٣۶ ‫ طﺮاﺣﺎن اروﭘﺎﯾﯽ ﻗﺒﻞ از ﺳﺎل‬
进
‫ ﻧﺒﻮغ و ﻧﻮآوری طﺮاﺣﺎن آﻣﺮﯾﮑﺎﯾﯽ‬،‫ در دو ﺑﺨﺶ از ﺗﻮﺳﻌﮫ طﺮاﺣﯽ ﺧﻮدرو‬،‫ در اﯾﻦ ﺧﻂ ﺳﯿﺮ زﻣﺎﻧﯽ‬
简
介
(١ ‫)ﺟﺪول‬.‫( آﺷﮑﺎر ﻣﯽ ﺑﺎﺷﺪ‬١٩۶۵ ‫ و‬١٩٣۶ ‫)ﺑﯿﻦ ﺳﺎﻟﮭﺎی‬

我们已经进入了这样一个时期：人们更加意识到环境因素的重要性，因此汽车
现在倾向于反映更温和的生活方式和美学。今天汽车设计师运用汽车的所有部
分，来表达对个人生活方式的一种个性化情感。
在这里，你可以看出三个不同时期里，欧洲和美国设计师的水平：
 欧洲设计师在 1936 年以前创新精神较强，扮演先驱的角色，在 1965 年以
后重新崛起。
 这一段时间线上显示出汽车演进的两个部分，体现了美国的独创能力和革
新能力（1936 至 1965 年间）。

We have entered a time of more awareness towards environmental factors and now
cars tend to reflect a gentler lifestyle and aesthetics. Auto designers today use all parts
of the car to express a personalized emotional expression for individual lifestyles.
Here, you can see the ability of European and American designers in three periods:
 European designers were innovative and pioneered before 1936 and again
resurfaced after 1965.
 Two parts of car evolution were revealed in this time line, which demonstrated
U.S. ingenuity and innovation (between 1936 and 1965), (Table.1)

Table 1: Branches of car evolution

Branch 1: from America to Branch 2: from America to Europe.
Europe .pink line yellow line
Car Number(#1-# 100) Car Number(#1- #100) Country/date
Country/date #43 (US 1940)
#38 (US 1936) #48 (US 1947)
#41 (UK 1940) #51 (UK 1953)
#44 (Italy 1947) #55 (France 1958)
#60 (Italy 1965)

38
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 12: The evolution of the automobile.

39
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺳﯿﺮ ﺗﮑﺎﻣﻞ ﺻﻮرت ﺧﻮدرو‬

车
设
汽车前脸的演进
计 Evolution of car face
的 Author: Mohsen Jaafarnia and Ravi Mokashi Punekar3
演
进 ‫ اﯾﻦ‬.‫اﯾﻦ ﺗﺤﻘﯿﻖ ﮔﺰارﺷﯽ ﺑﺮ ﻣﻄﺎﻟﻌﮫ ﺑﺼﺮی اﻧﺠﺎم ﺷﺪه ﺑﺮای درک ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺻﻮرت ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ‬
简 ‫ ﺑﺮرﺳﯽ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﺑﮫ درک ﺻﺤﯿﺤﯽ‬،‫ ﺑﮫ ﺑﻌﺪ‬١٨٨۵ ‫ﺗﺤﻘﯿﻖ ﺗﺤﻮﻻت ﻣﻮﺟﻮد در ﺳﺒﮏ ﺑﺼﺮی ﺧﻮدرو را از ﺳﺎل‬
介 ‫ اﯾﻦ ﻣﻄﺎﻟﻌﮫ ﺗﺤﻘﯿﻖ‬.‫از ﻣﻌﺎﻧﯽ ﻣﺤﺼﻮل ﮐﮫ ﺗﻮﺳﻂ طﺮاﺣﺎن ﻣﺘﻌﻠﻖ ﺑﮫ دوره ھﺎی ﺗﺎرﯾﺨﯽ ﺧﺎص دﻧﺒﺎل ﺷﺪه ﺑﺮﺳﺪ‬
‫ﺗﺼﻮﯾﺮی اﺳﺖ ﮐﮫ ﺑﺮ ﺻﻮرت ﺧﻮدروھﺎی ﻣﺨﺘﻠﻒ اﻧﺠﺎم ﺷﺪه ﮐﮫ در آن ﺳﺎﻟﮭﺎ راﯾﺞ ﺑﻮده اﻧﺪ و ﺑﺎ ﮐﻤﮏ ﻧﻘﺸﮫ‬
‫ ﻓﺮض ﺑﺮ اﯾﻦ اﺳﺖ ﮐﮫ ﭼﻨﯿﻦ ﻧﻘﺸﮫ‬.‫ﮔﺮاﻓﯿﮑﯽ ﺗﻐﯿﯿﺮات را در ﺗﻮﺳﻌﮫ طﺮاﺣﯽ ﺻﻮرت ﺧﻮدرو ﻧﺸﺎن ﻣﯽ دھﺪ‬
‫ طﺮاﺣﺎن ﺧﻮدرو را در درک ﺗﻮﺳﻌﮫ طﺮاﺣﯽ ﺻﻮرت و ھﻤﭽﻨﯿﻦ ﭘﯿﺶ ﺑﯿﻨﯽ ﺗﮑﺎﻣﻞ ﻓﺮم‬،‫ﮔﺮاﻓﯿﮕﯽ ﺑﺮ ﻣﺤﻮر زﻣﺎن‬
.‫در آﯾﻨﺪه ای ﻧﺰدﯾﮏ ﮐﻤﮏ ﻧﻤﺎﯾﺪ‬

这一部分报告的是为了理解汽车前脸设计的演进而进行的一项视觉研究。该研究
通过分析 1885 年以来汽车前脸视觉风格的演进，试图理解这一特定历史阶段的
设计师所遵循的产品语义学。为记录演进过程，对该阶段中流行的各类汽车前脸
进行了视觉研究，并图像化地展现汽车前脸设计的形态变迁。笔者认为，时间线
能帮助汽车设计师理解影响汽车前脸设计演进的标志，并预测不久的将来可能的
演进。

This Experiment reports a visual study carried out to understand the evolution of the
automobile face design. It examines the evolution in the visual style of the
Automobile faces from 1885 onwards, to understand product semantics that was
followed by designers belonging to the particular historical period. This has been
documented by undertaking a visual study of the different car faces prevailing in those
years and graphically mapping
the form changes of the car
face design. It is posited that
such a time line aids
automobile designers,
understand the markers
that influenced the
evolution of face design
as well as predict the
evolution of form in
the near future.

3
Prof. Ravi Mokashi Punekar is a Professor at the Department of Design, Indian Institute of Technology
Guwahati, India. He was the PhD. superviser of Mohsen Jaafarnia in his research about car design.
40
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوران ﺗﮑﺎﻣﻞ ﺻﻮرت ﺧﻮدرو‬

车
设
汽车前脸演进时期
计 Car face evolution eras
的
演
进
‫ ﺗﺤﻮﻻت در‬.‫ ﺷﺮوع ﺷﺪه را ﺑﮫ دوره ھﺎی ﻣﺨﺘﻠﻒ ﺗﻘﺴﯿﻢ ﻣﯽ ﻧﻤﺎﯾﺪ‬١٨٨۵ ‫اﯾﻦ ﻣﻄﺎﻟﻌﮫ ﻣﺪت زﻣﺎﻧﯽ ﮐﮫ از ﺳﺎل‬
简 ‫طﺮاﺣﯽ ﺻﻮرت ﺧﻮدرو در طﻮل ھﺮ دوره ﺑﮫ ﺻﻮرت ﺑﺼﺮی ﺗﺮﺳﯿﻢ ﺷﺪه و ﻣﻮرد ﺑﺮرﺳﯽ ﻗﺮار ﮔﺮﻓﺘﮫ اﺳﺖ ﺗﺎ‬
介 ‫ﺳﯿﺮ ﺗﮑﺎﻣﻞ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ را در طﺮاﺣﯽ ﺧﻮدرو ﮐﺸﻒ و ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﻧﻤﺎﯾﺪ ﮐﮫ ﭼﮕﻮﻧﮫ ﻣﻌﺎﻧﯽ ﻣﯽ ﺗﻮاﻧﻨﺪ در‬
‫ اﯾﻦ ﯾﺎﻓﺘﮫ ھﺎ و ﻣﺸﺎھﺪات ﮐﻤﮏ ﺑﮫ درک آن دﺳﺘﮫ‬.‫طﻮل دوره ھﺎی ﻣﺨﺘﻠﻒ ﺑﺮ ﺻﻮرت ﺧﻮدرو ﺗﺎﺛﯿﺮ ﮔﺬار ﺑﺎﺷﻨﺪ‬
.‫از ﻋﻮاﻣﻞ ﮐﮫ ﻣﻤﮑﻦ اﺳﺖ ﻋﺎﻣﻞ اﯾﺠﺎد راﺑﻄﮫ ای اﺣﺴﺎﺳﯽ ﺑﯿﻦ ﯾﮏ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ و ﮐﺎرﺑﺮان آن ﮔﺮدد ﻣﯽ ﻧﻤﺎﯾﻨﺪ‬

本研究将 1885 年以来的这一阶段分为几段不同时期，通过图表展现每个时期汽

车前脸设计的发展，并探讨汽车美学的研究，分析每个时期里语义学是如何影响
汽车前脸的。研究结果将帮助设计师和业内人士理解影响汽车与用户之间情感关
系建立的因素。

The study divided the period commencing from 1885 into different eras. The
development in the design of the car face during each era has been visually mapped
and examined to explore evolution of aesthetics on car and analyze how semantics
could influence car face during the different eras. These findings and observations
help understand those factors that may have been responsible for establishing the
emotional relationship between a vehicle and its users.

Figure: 1892 Daimler.

41
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره اﺧﺘﺮاع‬
车
设
发明期
计 Invention era
的
演 ‫ اﮔﺮ ﯾﮏ ﻧﻈﺮ ﺑﮫ ﺗﺎرﯾﺦ ﺻﻨﻌﺘﯽ اﯾﻦ دوره ﺑﯿﻨﺪازﯾﻢ‬.‫ را ﻣﯽ ﺗﻮان ﺑﮫ ﻧﺎم ﻋﺼﺮ اﺧﺘﺮاع ﻧﺎﻣﯿﺪ‬١٨٩٧ ‫ ﺗﺎ‬١٨٨۵ ‫دوره‬
进 ‫ ﺑﺎ وﺟﻮد اﯾﻦ ﮐﮫ ﻓﺮم ھﺎی ﻣﺤﺼﻮﻻت ﻣﺨﺘﻠﻒ اﯾﻦ دوره‬.‫ﻣﯽ ﺗﻮاﻧﯿﻢ ﺷﺎھﺪ ﺷﺒﺎھﺖ ھﺎﯾﯽ ﻣﯿﺎن ﻣﺤﺼﻮﻻت ﺑﺎﺷﯿﻢ‬
简 ‫ در اﯾﻨﺠﺎ ﻣﺨﺘﺮع ﺑﮫ ﻧﻈﺮ ﻧﻤﯽ رﺳﺪ ﺑﮫ‬.‫ ﺑﺎ اﯾﻦ ﺣﺎل ھﺮ ﯾﮏ ﻣﺸﺨﺼﮫ ﯾﮏ »اﺧﺘﺮاع« را دارد‬،‫ﻣﺘﻔﺎوت ھﺴﺘﻨﺪ‬
介 ‫ ﺑﮫ‬.‫اﻧﺪازه ای ﮐﮫ در اﺧﺘﺮاع ﺑﮫ ﻋﻤﻠﮑﺮد ﻣﺤﺼﻮل ﺗﻮﺟﮫ ﻣﯽ ﮐﻨﺪ در راﺑﻄﮫ ﺑﺎ ﺣﻞ ﻧﯿﺎزھﺎی ﮐﺎرﺑﺮ زﯾﺎد ﻓﻌﺎل ﺑﺎﺷﺪ‬
‫ﻧﻈﺮ ﻣﯽ رﺳﺪ ﻣﺤﺼﻮﻻت ﺳﺎﺧﺘﮫ ﺷﺪه از ﻗﺴﻤﺖ ھﺎی ﻣﺨﺘﻠﻒ ﺗﺸﮑﯿﻞ ﺷﺪه اﻧﺪ ﮐﮫ ﺑﺎ ھﻢ ﻣﺘﻔﺎوت ﻣﯽ ﺑﺎﺷﻨﺪ )ﺗﺼﻮﯾﺮ‬
‫ در طﻮل دوره اﺧﺘﺮاع ﻋﻤﻠﮑﺮد ﻣﺤﺼﻮل ﺑﯿﺸﺘﺮ ﺗﻮﺟﮫ را ﺑﮫ ﺧﻮد اﺧﺘﺼﺎص داده ﺗﺎ ﺣﺪی ﮐﮫ ﻧﯿﺎزھﺎی دﯾﮕﺮ‬.(١٣
‫ از ﻟﺤﺎظ ﺗﻮﻟﯿﺪ‬.‫را ﺗﺤﺖ اﻟﺸﻌﺎع ﻗﺮار داده اﺳﺖ و ﻣﺨﺘﺮﻋﯿﻦ اﺗﻔﺎق ﻧﻈﺮی در اﻣﺮ رﻓﻊ ﻧﯿﺎزھﺎ ﺑﺎ ھﻢ ﻧﺪارﻧﺪ‬
‫ ھﯿﭽﮑﺲ ﻧﻤﯽ ﺗﻮاﻧﺪ ﺷﺒﺎھﺖ زﯾﺎدی ﻣﯿﺎن ﺧﻮدروھﺎ ﭘﯿﺪا ﮐﻨﺪ و اﮐﺜﺮ ﺻﻮرت‬١٨٩٧ ‫ﺗﺎ‬١٨٨۵ ‫ در دوره ﺑﯿﻦ‬،‫ﺧﻮدرو‬
.(١٩٩٧،Kay) ‫ﺧﻮدروھﺎ دارای ﺗﻔﺎوﺗﯽ در ﺳﺎﺧﺘﺎر ﻣﯽ ﺑﺎﺷﻨﺪ‬

1885 年至 1897 年这一时期被视为“发明期”。我们如果观察工业发展的历史，可

以发现这一时期的产品存在共同之处。尽管该时期的各种产品在形态上千差万别，
但是它们每一类都具有“发明”精神的特征。当时的发明者对满足用户需求的关注，
似乎比不上对产品的发明和运转的热情。发明出来的产品看上去像是千差万别的
部件组成了一件不同的东西（图 13）。在发明期，产品的功能成为主要焦点，
掩盖了其他需求，发明者在解决这些需求方面存在偏差。
在汽车生产方面，由于 1885 年至 1897 年间的大多数汽车都有不同的前脸结构，
它们之间并无多少明显的相似性（Kay，1997）。

The period 1885 to 1897 can be labeled as the Invention era. If one looks at industrial
history one could find similarities between the products of the era. Although the forms
of the different products of this era are different, yet each is characterized by a spirit of
‘Invention’. Here the inventor doesn’t seem concerned with addressing the needs of
the user, as much as on the invention and functioning of the product. Products
developed seemed to be different parts put together differently (Fig. 13). During the
‘invention era’ the functionality of the product became the prior concern that
overshadowed other needs and inventers deviated in terms of resolving these needs. In
terms of car production, during the period from 1885 to 1897, one cannot find much
similarity between cars as most cars have difference face structure (Kay, 1997).

Figure 13: Invention era.

42
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ‬

车
设
构造组时期
计 Construction groups era
的
演
进
‫ھﺮ ﻣﺤﺼﻮل دارای ﺑﺮﺧﯽ از ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ"ﻋﻤﻠﮑﺮدی" اﺳﺖ ﮐﮫ ﺑﺮای ﺣﻞ و رﻓﻊ ﻧﯿﺎزھﺎی ﮐﺎرﺑﺮان در‬
简 ‫ ھﺮ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺷﺎﻣﻞ ﯾﮏ ﯾﺎ ﭼﻨﺪ و ﯾﺎ ﺗﻤﺎم ﻗﻄﻌﺎت ﻣﺤﺼﻮﻻت اﺳﺖ و ﮐﺎرﺑﺮد آﻧﮭﺎ‬.‫ﻣﺤﺼﻮل ﮔﻨﺠﺎده ﺷﺪه اﻧﺪ‬
介 .‫رﺳﯿﺪﮔﯽ و رﻓﻊ ﻧﯿﺎزھﺎی ﮐﺎرﺑﺮ ﻣﯽ ﺑﺎﺷﺪ‬

每种产品都有一些“功能性”的构造组来解决用户的需求。每个构造组包括产品
的一个或部分或全部部件，并且这些部件的适用性在于能满足用户的需求。

Every product has some ‘functional’ construction groups for resolving the needs of the
users. Each construction group includes one or some or all of the products’ part, and
the applicability of those parts address the needs of the user.

Figure 14: Construction groups era.

Figure: Left, 1925 Bentley. Right, 1912 Crank-starting an automobile.

43
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ،‫ طﺮاﺣﺎن آھﺴﺘﮫ آھﺴﺘﮫ ﻧﯿﺎزھﺎی ﻣﺸﺨﺺ ﮐﺎرﺑﺮان را ﺑﮫ رﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﻨﺪ‬،‫در طﻮل دوره ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ‬
车 ‫ ﮐﺎﭘﻮت‬،‫ ﭼﺮاﻏﮭﺎ‬،‫ ﻧﺸﺎن ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه‬،‫ﺑﺮای ﺣﻞ و ﻓﺼﻞ اﯾﻦ ﻧﯿﺎزھﺎ دﯾﺪه ﻣﯽ ﺷﻮد ﻗﻄﻌﺎﺗﯽ ﻣﺎﻧﻨﺪ ﻧﻤﺮه ﺧﻮدرو‬
设 ‫ در ﻧﺘﯿﺠﮫ اﯾﻦ‬.‫ درﯾﭽﮫ ھﻮا ﭘﺎﯾﯿﻨﯽ و ﻏﯿﺮه ﺑﮫ ﺻﻮرت ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ‬،‫ درﯾﭽﮫ ھﻮا‬،‫ ﺳﭙﺮ ﻣﺎﺷﯿﻦ‬،‫ﻣﻮﺗﻮر‬
计 ،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺧﻨﮏ ﮐﻨﻨﺪه‬:‫ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ اﺳﺖ ﮐﮫ ﺻﻮرت ﺧﻮدرو را ﺗﺸﮑﯿﻞ ﻣﯽ دھﻨﺪ و ﻋﺒﺎرﺗﻨﺪ از‬
的 ‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﻮر و روﺷﻨﺎﯾﯽ‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ اﺳﺘﺎرت‬،‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻓﻨﺮ ﺿﺮﺑﮫ ﮔﯿﺮ‬
演 ‫ ﮔﺮوه‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺷﯿﺸﮫ ﺟﻠﻮ‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﺸﺎن ﺧﻮدرو‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺷﻤﺎره ﺧﻮدرو‬،‫ﮔﻠﮕﯿﺮ‬
进 ‫ ﺑﮫ ﺗﺪرﯾﺞ اﯾﻦ ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ ﺑﺎ ھﻢ در‬.‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺑﺪﻧﮫ ﻣﻮﺗﻮر و ﻏﯿﺮه‬،‫ﺳﺎﺧﺘﻤﺎﻧﯽ ﺳﭙﺮ ﺿﺮﺑﮫ ﮔﯿﺮ‬
简
‫ﺻﻮرت ﺧﻮدرو ﺟﻤﻊ ﺷﺪﻧﺪ و در ﻧﺘﯿﺠﮫ ﺻﻮرت ﺧﻮدرو ﺑﻄﻮر ﺗﺪرﯾﺠﯽ ﺑﮫ ﺗﮑﺎﻣﻞ رﺳﯿﺪ و ﯾﮏ ﮐﺎراﮐﺘﺮ اﺳﺘﺎﻧﺪارد‬
介
.(١۴ ‫را ﺑﺮای ﺧﻮدرو ﺑﻮﺟﻮد آورد )ﺗﺼﻮﯾﺮ‬
‫ در اﺑﺘﺪا طﺮاح ﻣﻮﺗﻮر را در‬.‫ ﺑﺮای رﻓﻊ ﻧﯿﺎز ﺳﺮد ﺳﺎﺧﺘﻦ ﻣﻮﺗﻮر اﯾﺠﺎد ﺷﺪه اﺳﺖ‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺧﻨﮏ ﮐﻨﻨﺪه‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل ﺑﻌﺪ از ﻣﺪﺗﯽ رادﯾﺎﺗﻮر در ﺟﻠﻮی‬،‫ﻗﺴﻤﺖ ﺟﻠﻮی ﺧﻮدرو ﻗﺮار داد ﺗﺎ ﺑﺎ ﺑﺎد ﻣﺴﺘﻘﯿﻢ در ارﺗﺒﺎط ﺑﺎﺷﺪ‬
‫ ﭘﺲ از آن در ﭘﺎﯾﺎن اﯾﻦ دوره دﯾﺪه ﻣﯽ ﺷﻮد ﮐﮫ درﯾﭽﮫ ھﻮا در ﺟﻠﻮی رادﯾﺎﺗﻮر ﻗﺮار داده ﺷﺪ‬.‫ﻣﻮﺗﻮر ﻗﺮار ﮔﺮﻓﺖ‬
.‫ﺗﺎ ﺑﺮ زﯾﺒﺎﯾﯽ ﺻﻮرت ﺧﻮدرو اﺛﺮ ﮔﺬارد‬
‫ ﺑﺮای اﯾﻦ اﻣﺮ ﮔﻠﮕﯿﺮی ﺑﮫ‬.‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻣﯽ ﺗﻮاﻧﺪ ﭘﺎﺷﯿﺪن ﮔﻞ را ﮐﻨﺘﺮل ﮐﻨﺪ‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﮔﻠﮕﯿﺮ‬
.‫ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ ﮐﮫ ﻣﯽ ﺗﻮاﻧﺴﺖ ﮔﻞ را ﺑﮫ طﺮف ﭘﺎﯾﯿﻦ ھﺪاﯾﺖ ﻧﻤﺎﯾﺪ‬
在构造组时期，设计师们逐渐察觉特定用户的需求，为满足这些需求，出现了车
牌、商标牌、车灯、引擎盖、保险杠、散热格栅、散热器下部格栅等。组成汽车
前脸结构的构造组包括：散热器构造组、减震器构造组、起动构造组、照明构造
组、挡泥板构造组、车牌构造组、商标牌构造组、挡风玻璃构造组、汽车护板构
造组、引擎盖构造组等。这些构造组逐渐聚集在汽车前脸上，因而汽车的前脸慢
慢演化出了汽车的一个标准特征（图 14）。
散热器构造组：此构造组是为了解决发动机散热的问题。起初设计师把发动机设
计在汽车的前端而直接接触风来降温，但是之后散热器装在了发动机的前面。后
来，到该时期的末尾，据说格栅装在了散热器前面，以实现汽车前脸的有效美感。
挡泥板构造组：此构造组可以控制污泥，加装的挡泥板能使污泥朝下飞溅。
During the construction group era, designers slowly recognized the specific user’s
needs, and for resolving these needs, parts like Number plate , brand of company,
lighting, car bonnet, bumper car, air grille, lower grille etc are seen added. These
construction groups that constitute the car face include: radiator’s construction group,
Shock absorbers construction group, starter’s construction group, lighting’s
construction group, mud guard’s construction group, plate number’s construction
group, brand’s construction group, Windscreen’s construction group, car guard’s
construction group, engine cover’s construction group etc. Gradually these
construction groups came together on the car face and as a result the car’s face
evolved to generate a standard character to the car. (Fig. 14)
Radiator’s construction group: This was created for resolving the chilly engine issue.
At first the designer set the engine in the front of car to get direct wind, however later
the radiator was put in front of the engine. Subsequently by the end of this era it is
seen that the grille is put in front of the radiator for effective aesthetics of the car face.
Mud-guard’s construction group: This construction group could control mud. A
Fender was added which could guide mud to slip downside.

44
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺑﺮای ﺣﻞ و رﻓﻊ ﻧﯿﺎز ﺑﮫ ﻓﻨﺮ زﻣﺎﻧﯽ ﮐﮫ ﺧﻮدرو در ﺟﺎده‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻓﻨﺮ ﺿﺮﺑﮫ ﮔﯿﺮ‬
车 ‫ھﺎی ﻧﺎھﻤﻮار ﺣﺮﮐﺖ ﻣﯽ ﮐﻨﺪ ﺳﺎﺧﺘﮫ ﺷﺪه اﺳﺖ و ﻓﻨﺮی اﺳﺖ ﺑﯿﻦ اﮐﺴﻞ و ﺷﺎﺳﯽ ﮐﮫ ﺑﺮ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﺧﻮدرو‬
设 ‫ اﻣﺎ ﺑﮫ زودی ﺳﭙﺮ ﺧﻮدرو و ﺳﭙﺲ ﮔﻠﮕﯿﺮ ﺑﮫ ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ ﮐﮫ دﯾﺪ را از آن ﻣﺘﻮﻗﻒ‬،‫ﺗﺎﺛﯿﺮ ﮔﺬار ﻣﯽ ﺑﺎﺷﺪ‬
计 .‫ﺳﺎﺧﺖ‬
的 ‫ ﯾﮏ دﺳﺘﮫ در ﻗﺴﻤﺖ‬.‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﯿﺎز روﺷﻦ ﺷﺪن ﺧﻮدرو را رﻓﻊ ﻣﯽ ﻧﻤﺎﯾﺪ‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ اﺳﺘﺎرت‬
演 ‫ ﺑﺪﻟﯿﻞ آﻧﮑﮫ ﻣﻮﺗﻮر اﻟﮑﺘﺮﯾﮑﯽ ﺑﻌﺪ‬.‫ﺟﻠﻮﯾﯽ ﺧﻮدرو ﺑﺮای راﻧﻨﺪه ﻗﺮارداده ﺷﺪه ﺗﺎ راﻧﻨﺪه ﻣﻮﺗﻮر ﺑﻨﺰﯾﻨﯽ را ﺑﭽﺮﺧﺎﻧﺪ‬
进 ‫ ﺗﺎ آن زﻣﺎن ﻗﻄﻌﺎت ﻗﺎﺑﻞ روﯾﺖ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﮐﮫ ﺷﺎﻣﻞ ﯾﮏ دﺳﺘﮫ و‬،‫از ﻣﺪت طﻮﻻﻧﯽ ﺑﮫ ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ‬
简
.‫ﯾﮏ ﺳﻮراخ در زﯾﺮ رادﯾﺎﺗﻮر ﺑﻮد ﺑﺮای ﻣﺪﺗﮭﺎ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﺧﻮدرو را ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﻗﺮار ﻣﯽ داده اﻧﺪ‬
介
‫ ﻟﻨﺰ و‬،‫ ﯾﮏ ﻗﺎب‬.‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻣﺸﮑﻞ ﻧﻮر در ﺷﺐ را ﺣﻞ ﻣﯽ ﻧﻤﻮد‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﻮر و روﺷﻨﺎﯾﯽ‬
‫ﯾﮏ ﻻﻣﭗ ﺑﮫ ﺑﺨﺶ ﺟﻠﻮﯾﯽ ﺻﻮرت ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ ﮐﮫ اﯾﻦ اﻣﺮ ظﺎھﺮ ﺟﺪﯾﺪی را در ﺻﻮرت ﺧﻮدرو اﯾﺠﺎد‬
.‫ﻧﻤﻮد‬
‫ ﻧﯿﺎز ﮐﺎرﺑﺮ ﻧﺒﻮد ﺑﻠﮑﮫ ﺿﺮورﺗﯽ ﺑﺮای ﭘﻠﯿﺲ و ﻋﺎﺑﺮ ﭘﯿﺎده در‬،‫ ﻧﯿﺎز ﺑﮫ ﯾﮏ ﭘﻼک‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺷﻤﺎره ﺧﻮدرو‬
‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﯾﮏ ﺻﻔﺤﮫ ﺑﺎ ﯾﮏ ﻣﺘﻦ ھﻤﺮاه ﺑﺎ اﻋﺪاد و ﺣﺮوف ﺑﻮد ﮐﮫ ﺑﺮ زﯾﺒﺎﯾﯽ‬.‫ﻧﻄﺮ ﮔﺮﻓﺘﮫ ﺷﺪه ﺑﻮد‬
.‫ﺷﻨﺎﺳﯽ ﺻﻮرت ﺧﻮدرو ﻧﯿﺰ اﺛﺮ داﺷﺖ‬
减震器构造组：此构造组是为了解决汽车在经过崎岖路面时对减震器的需求。它
装在车轴和底盘之间的弹簧影响了汽车的美感，不过不久后汽车护板后面加上了
挡泥板，使弹簧不那么显眼。
起动构造组：此构造组的功能是起动汽车。车的前端部分装有手柄，以便驾驶员
旋转汽油引擎。因为当时电动引擎还没出现，所以构造组的部件包括手柄和散热
器下面的一个孔，比较显眼，影响了汽车的美感。
照明构造组：此构造组解决了夜间照明的问题。它使汽车前端增添了框架、镜片、
灯，也使汽车的前脸有了新的面貌。
车牌构造组：车牌的需求并不来自用户，但它对警察和行人却很必要。此构造组
的铭牌上写有数字和字母，影响了汽车前脸的美感。
Shock absorber’s construction group: This construction group was created for
resolving the Shock absorber’s need when car’s run on uneven roads. It has a spring
put between axle and chassis that affect the aesthetics of the car. But soon the car
guard was followed by the mud-guard which when added curbed the visibility of the
springs.
Start’s construction group: This construction group was created for starting the car.
There was a handle in the frontal portion of the car for the driver to spin the gasoline
engine. As the advent of electric engine came much later, the construction group parts
consisted of a handle and a hole under the radiator that were visible and affected the
aesthetics of the car.
Lighting’s construction group: This construction group resolved the problem of the
light at night. A frame, lens and a lamp were added to the frontal portion of the car
face adding to a new look to the car face.
Number plate’s construction group: The need for a number plate was not user driven
but rather it was essential for the police and street passer. This construction group had
a plate with a text combined with numbers and letters affecting the aesthetics of the
car face.

45
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺑﻠﮑﮫ آن ﻧﯿﺎز‬،‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﯿﺰ ﻧﯿﺎز ﺑﻮﺟﻮد آﻣﺪه از طﺮف ﮐﺎرﺑﺮ ﻧﺒﻮد‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﺸﺎن ﺧﻮدرو‬
车 ‫ﺷﺮﮐﺖ ﺳﺎزﻧﺪه ﺧﻮدرو ﺑﻮد ﺗﺎ ﺑﮫ ﺧﻮدرو ﺷﺨﺼﯿﺖ و ھﻮﯾﺘﯽ را اﺿﺎﻓﮫ ﻧﻤﻮده ﺗﺎ ﺑﮫ ھﻤﮕﺎن ﮐﺎرﺧﺎﻧﮫ ﺳﺎزﻧﺪه‬
设 ‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﺸﺎﻧﯽ )ﻧﺎم ﺗﺠﺎری( را ﺑﮫ ھﻤﺮاه ﯾﮏ ﻣﺠﺴﻤﮫ طﺮاﺣﯽ‬،‫ ﺑﺮای اﯾﻦ اﻣﺮ‬.‫ﺧﻮدرو را ﻣﻌﺮﻓﯽ ﻧﻤﺎﯾﺪ‬
计 ‫ﻧﻤﻮد و دﻗﯿﻘﺎ ﺑﺮ ﺑﺎﻻی ﺻﻮرت ﺧﻮدرو روی ﺧﻂ ﺗﻘﺎرن و در ﻣﻘﺎﺑﻞ ﭘﻼک ﺧﻮدرو ﻗﺮار داد ﮐﮫ اﯾﻦ اﻣﺮ اﺛﺮ ﻣﺜﺒﺘﯽ‬
的 .‫را ﺑﺮ زﯾﺒﺎﯾﯽ ﺧﻮدرو ﮔﺬاﺷﺘﮫ اﺳﺖ‬
演 ‫ ﺑﺎران و ﮔﺮد و‬،‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺑﺮای ﺣﻔﺎظﺖ از ﺳﺮ و ﺻﻮرت راﻧﻨﺪه از ﺑﺎد‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺷﯿﺸﮫ ﺟﻠﻮ‬
进 ‫ ھﺮ دو ﻗﻄﻌﮫ ﻗﺎب و ﺷﯿﺸﮫ ﺑﺮ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﺧﻮدرو ﺗﺎﺛﯿﺮ ﻣﻮﺛﺮ دارد و‬.‫ﻏﺒﺎر در ﻧﻈﺮ ﮔﺮﻓﺘﮫ ﺷﺪه اﺳﺖ‬
简
.‫ﺑﺰرﮔﺘﺮﯾﻦ ﻗﻄﻌﮫ در ﺟﻠﻮ ﺻﻮرت ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ‬
介
‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ دارای ﯾﮏ ﺑﺨﺶ اﺻﻠﯽ )ﺳﭙﺮ( ﺑﺮای ﺣﻔﺎظﺖ از ﺑﺪﻧﮫ‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﺳﭙﺮ ﺿﺮﺑﮫ ﮔﯿﺮ‬
‫ ﺳﭙﺮ ﻣﯽ ﺗﻮاﻧﺪ‬،‫ﺧﻮدرو ﺑﻮده اﺳﺖ ﮐﮫ در ﺻﻮرت ﺣﺎدث ﺷﺪن ﯾﮏ ﺗﺼﺎدف ﺑﯿﻦ ﺧﻮدرو و ﯾﮏ ﺟﺴﻢ ﺧﺎرﺟﯽ‬
.‫ﺗﺎﺛﯿﺮات ﻣﺨﺮب ﺑﺮ روی ﺻﻮرت ﺧﻮدرو را ﺑﮫ ﺣﺪاﻗﻞ ﺑﺮﺳﺎﻧﺪ‬
‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻧﯿﺎز و ﻣﺸﮑﻞ ﭘﻮﺷﺶ دادن ﻣﻮﺗﻮر ﺧﻮدرو را ﺣﻞ ﻣﯽ‬:‫ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ درﭘﻮش ﻣﻮﺗﻮر‬
‫ در اﺑﺘﺪا ﭘﻮﺷﺶ ﻣﻮﺗﻮر ﺑﺎز ﺑﻮد ﮐﮫ ﺑﮫ ھﻤﯿﻦ دﻟﯿﻞ ﺑﯿﺎن اﺣﺴﺎﺳﯽ ﭘﯿﭽﯿﺪﮔﯽ و زﺷﺘﯽ را در ﺧﻮدرو ﻧﺸﺎن ﻣﯽ‬.‫ﻧﻤﺎﯾﺪ‬
.‫ اﯾﻦ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ ﻣﻘﺪار ﻗﺎﺑﻞ ﺗﻮﺟﮭﯽ از ﺳﻄﻮح را در ﺻﻮرت ﺧﻮدرو ﺑﺨﻮد اﺧﺘﺼﺎص داد‬.‫داد‬
商标牌构造组：此构造组同样也不是为了满足用户的需求。它始于汽车企业对特
质和身份的需求，以便把厂商广而告之。因此，构造组把（品牌）标志和雕塑设
计得正好在其车前脸的最前头，和车牌呈现轴对称，起到了改善美感的效果。
挡风玻璃构造组：此构造组是为了保护驾驶员脸部免遭风吹、雨淋、尘刮。挡风
玻璃及框架对美感有巨大影响，挡风玻璃还成为汽车前脸最大的一部分。汽车护
板构造组：此构造组对保护汽车起到了特殊作用（即保险杠）。一旦汽车与外界
物体发生事故，保险杠能减轻事故对车身的冲击，减少对其车前脸的破坏。引擎
盖构造组：此构造组解决了遮盖物的问题。起初，引擎盖是敞开的，所以汽车的
情感表达是相对复杂而丑陋的。这一构造组给汽车增加了大片外壳。
Brand’s construction group: This construction group was also not driven by the
user’s need. It began with the company’s need to give it a character and identity, to
introduce the manufacturer of the car to everyone. For this, the construction group put
a sign (brand) along with a sculpture, designed exactly on the head of car face in a
symmetrical line placed opposite to the number plate creating a positive effect on it’s
aesthetic.
Windscreen’s construction group: This construction group intended to protect the
driver’s face from wind, rain and dust. The windscreen and the frame both had
effective impact on the aesthetics. Windscreen being the biggest part on the car face.
Car guard’s construction group: This construction group played a special part
(Bumper) for protecting the car. Incase an accident takes place between a car and an
external object, the bumper can limit the impact of the accident on the car body
leading to less damage on the car face.
Engine cover’s construction group: This construction group solved the covering
problem. Initially the engine cover was open because of which the emotional
expression of the car was relatively complex and ugly. This construction group added
considerable amount of surface on the car.

46
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﮐﻼﺳﯿﮏ‬
车
设
古典期
计 Classic era
的
演 ‫در اﯾﻦ دوره طﺮاﺣﺎن ﺑﺮ آن ﺑﻮدﻧﺪ ﺗﺎ از ﻓﺮم ھﺎی ﺳﺒﮏ ﮐﻼﺳﯿﮏ ﻣﻌﻤﺎری اﻟﮭﺎم ﮔﺮﻓﺘﮫ و ﺑﺮ ﺻﻮرت ﺧﻮدرو‬
进 ‫ ﮐﮫ ﻓﺮم ھﺎﯾﯽ را ﺑﺮای ﺧﻮدرو ﺑﻮﺟﻮد آورد ﮐﮫ ﺑﮫ ﻟﺤﺎظ ﺑﺼﺮی ﻣﺘﻌﺎدل و از ﻧﻈﺮ ﺗﻨﺎﺳﺐ ﺑﺴﯿﺎر‬.‫اﺳﺘﻔﺎده ﻧﻤﺎﯾﻨﺪ‬
简 ‫ ﺑﺎزﺗﺎﺑﺶ ﺑﺎﻻ و ﺟﻼی‬،‫ در اﯾﻦ دوره ﻓﺮم ھﺎی ﺧﻮدرو ﺑﺎ اﺳﺘﻔﺎده از ﺑﺎﻓﺘﮭﺎی ﻏﻨﯽ ﺑﺎ درﺧﺸﺶ ﻓﻠﺰی‬.‫ﻣﺘﻘﺎرن ﺑﻮدﻧﺪ‬
介 ‫ ﺧﻄﻮط ﻋﻤﻮدی و اﺳﺘﻔﺎده از‬.‫ﻓﻠﺰی در ﻣﻘﺎﺑﻞ ﺳﻄﻮح ﺑﺎ رﻧﮓ ﺗﯿﺮه در ﺻﻮرت ﺧﻮدرو ﺗﺮﮐﯿﺐ ﺑﻨﺪی ﺷﺪه ﺑﻮد‬
‫ ﺧﻮدرو روﻟﺰ روﯾﺲ ﯾﮏ ﻣﺜﺎل ﺧﻮب از‬.‫ﺳﻄﻮح داﯾﺮه ای ﮐﮫ در ﺗﻘﺎرن ﮐﺎﻣﻞ اﺳﺖ از ﻧﺸﺎﻧﮫ ھﺎی اﯾﻦ ﺳﺒﮏ ﺑﻮد‬
‫ اﯾﻦ ﺗﺼﻮﯾﺮ ﺑﮫ ﺑﺮرﺳﯽ ﮐﻼﺳﯿﺴﯿﺴﻢ در ﻣﻌﻤﺎری و ﺑﺮرﺳﯽ ﺗﺎﺛﯿﺮات آن‬.(١۶ ‫ و‬١۵ ‫اﯾﻦ ﺳﺒﮏ ﻣﯽ ﺑﺎﺷﺪ )ﺗﺼﻮﯾﺮ‬
.‫ﺑﺮ ﻓﺮم ﺻﻮرت ﺧﻮدرو در اﯾﻦ دوره ﻣﯽ ﭘﺮدازد‬
‫ ھﻨﺪﺳﮫ و ﻧﻈﻢ دادن ﺑﮫ ﻗﻄﻌﺎت از‬،‫ ﺗﻨﺎﺳﺒﺎت‬،‫ ﺗﺎﮐﯿﺪ ﺑﺮ ﺗﻘﺎرن‬.‫ﮐﻼﺳﯿﺴﯿﺴﻢ در ﻣﻌﻤﺎری رﻧﺴﺎﻧﺲ اﯾﺘﺎﻟﯿﺎ ﺗﻮﺳﻌﮫ ﯾﺎﻓﺖ‬
.‫ﺧﺼﻮﺻﯿﺎت ﻣﻌﻤﺎری ﻋﺼﺮ ﮐﻼﺳﯿﮏ ﻣﯽ ﺑﺎﺷﻨﺪ‬
这一时期激发了设计师们以古典主义风格为灵感，将一种形态赋予汽车前脸，使
汽车的外形实现了视觉上的平衡和构图上的对称。在这一时期，汽车的外形富有
质感，具备金属光泽，高度反光，抛光金属材质与车表面的深色和其他颜色组合
形成对比。垂直线和完全对称的圆就是这种风格的标志。劳斯莱斯汽车
（Rolls.Royce）是这一风格的典范（图 15 和 16）。本部分探讨建筑中的古典主
义，及其对这一时期汽车形态的影响。
建筑的古典主义兴起于意大利的文艺复兴（Renaissance），它强调对称、比例、
几何结构以及各部分的规整，这都在古典主义文物中有所体现。
This era evoked the designers to give a form on the car face inspired by the Classicism
style. This resulted in the car forms that were visually balanced and compositionally
symmetrical. In this era, car forms were rich in texture with metallic luster, high
reflectivity and polished metal against the dark surfaces and colors composed on the
car face. Vertical lines and circles in perfect symmetry were signs of this style. The
Rolls Royce car is a fine example of the same style (Fig. 15 & 16). This part explores
Classicism in architecture and examines its bearing on car forms of this era.
Classicism in architecture developed during the Italian Renaissance. It lays emphasis
on symmetry, proportion, geometry and the regularity of parts as demonstrated in the
architecture of Classical antiquity.

Figure 17: Classic era.

47
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 15: Left, 1591 Classicism in architecture Villa Rotonda front. Right, 1934
Rolls Royce car UK.

Figure 16: Tracing the impact of Classicism in architecture and Rolls Royce.

‫ﺑﮭﺘﺮﯾﻦ ﻣﺜﺎل دﯾﺪه ﺷﺪه در ﻣﻌﻤﺎری روم ﺑﺎﺳﺘﺎن ﺟﺎﯾﯽ اﺳﺖ ﮐﮫ در آن ﻣﯽ ﺗﻮان اﺷﮑﺎل ﻣﺘﻘﺎرن و آراﯾﺶ ﻣﻨﻈﻢ از‬
‫ ﺳﻮﻟﮫ و طﺎﻗﮭﺎ )ﮐﮫ ﺟﺎﯾﮕﺰﯾﻨﯽ اﺳﺖ ﺑﺮ ﻧﻤﺎی‬،‫ ﮔﻨﺒﺪ ﻧﯿﻢ ﮐﺮه ای‬،‫ﺳﺘﻮن ھﺎ و ﺧﻄﻮط و ھﻤﭽﻨﯿﻦ اﺳﺘﻔﺎده از ﻗﻮس ھﺎ‬
‫ ﻣﻌﻤﺎران ﻗﺮن ھﻔﺪھﻢ اﯾﻨﯿﮕﻮ ﺟﻮﻧﺰ و‬.(٢٠٠٥،Chitham ) ‫ﻧﺎﻣﻨﻈﻢ از ﺳﺎﺧﺘﻤﺎن ھﺎی ﻗﺮون وﺳﻄﯽ( را ﭘﯿﺪا ﻧﻤﻮد‬
.‫ﮐﺮﯾﺴﺘﻮﻓﺮ رن در اﻧﮕﻠﺴﺘﺎن ﺳﺒﮏ ﮐﻼﺳﯿﮏ را ﺗﺎﺳﯿﺲ ﻧﻤﻮدﻧﺪ‬

最好的例子出现在古罗马的建筑中，那里有对称的形态，整齐排列的柱子和过梁，
应用拱门、半球形穹顶、壁龛和小型建筑物，取代了中世纪建筑中的不规则轮廓
（Chitham，2005）。在十七世纪，建筑师伊尼戈·琼斯（Inigo.Jones）和克里斯
托弗·雷恩（Christopher.Wren ）创立了英国的古典主义。

The best examples are seen in the architecture of ancient Rome where one can find
symmetrical forms and regular arrangement of columns and lintels, as well as the use
of arches, hemispherical domes, niches and aedicule which replaced irregular profiles
of medieval buildings (Chitham, 2005). In the seventeenth century architects Inigo
Jones and Christopher Wren established classicism in England.

48
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介
Figure: Left, 1935 Ford Model C. Middle, 1935 BMW. Right, 1935 Bentley.

.‫اﯾﻦ ﺳﺒﮏ ﻣﻌﻤﺎری ﺗﮑﺎﻣﻞ ﯾﺎﻓﺘﮫ ﺑﮫ ﻧﻈﺮ ﻣﯽ رﺳﺪ ﺗﺎ در ﺳﺒﮏ ﮐﻼﺳﯿﮏ طﺮاﺣﯽ ﺧﻮدرو اﯾﻦ دوره ﻧﯿﺰ ﻧﻔﻮذ ﻧﻤﺎﯾﺪ‬
١٩٣٠ ‫ دوره ﮐﻼﺳﯿﮏ )ﮐﮫ طﺮاﺣﯽ ﺻﻮرت ﺧﻮدرو آﻏﺎز ﺷﺪ( ﺑﺎ رﮐﻮد ﺑﺰرگ در ﺳﺎل‬،‫زﻣﺎن ﻗﺒﻞ از ﺟﻨﮓ‬
) ‫ ﺑﮫ ﭘﺎﯾﺎن رﺳﯿﺪ‬١٩٣٨ ‫ ﺑﮫ طﻮر ﺗﻘﺮﯾﺒﯽ در ﺳﺎل‬،‫ھﻤﺮاه ﮔﺮدﯾﺪ و ﺑﺎ ﺑﮭﺒﻮد ﭘﺲ از ﺟﻨﮓ ﺟﮭﺎﻧﯽ‬
،‫ ﺳﭙﺮ‬،‫ ﺷﯿﺸﮫ ﺟﻠﻮ‬،‫ در طﻮل اﯾﻦ دوره طﺮاﺣﺎن ﺑﺮای طﺮاﺣﯽ رادﯾﺎﺗﻮر‬.(٢٠٠١،Berger‫ ؛‬٢٠٠٥،Chitham
‫ ﺑﺮﺧﯽ از ﻗﻄﻌﺎت ﻣﺎﻧﻨﺪ ﭼﺮاغ ھﺎ و ﭘﻮﺷﺶ ﻣﻮﺗﻮر در‬.‫ﭼﺮاغ ھﺎ و ﮔﻠﮕﯿﺮھﺎ از ﺳﺒﮏ ﮐﻼﺳﯿﮏ اﺳﺘﻔﺎده ﮐﺮدﻧﺪ‬
‫ اﻣﺎ ﺑﺨﺶ ھﺎی دﯾﮕﺮ را ﻣﯽ ﺗﻮان دﯾﺪ ﮐﮫ ﺑﮫ طﺮف اﯾﺠﺎد ﯾﮏ ﻓﺮم واﺣﺪ‬،‫ﻣﻮﻗﻌﯿﺖ ﻣﺸﺎﺑﮫ در دوران ﮔﺬﺷﺘﮫ واﻗﻊ ﺷﺪ‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل ﺳﻮراخ‬،‫ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ اﺳﺘﺎرت در دوران ﮐﻼﺳﯿﮏ ﻧﯿﺰ ﺗﻐﯿﯿﺮ ﻧﻤﻮد‬.‫و ﯾﮑﭙﺎرﭼﮫ ﺣﺮﮐﺖ ﮐﺮده اﻧﺪ‬
.(١٩٨٦،Halberstam) (١٧ ‫ھﻨﺪل دﺳﺘﯽ ھﻤﭽﻨﺎن در ﺟﺎی ﺧﻮد ﺣﻔﻆ ﮔﺮدﯾﺪ )ﺗﺼﻮﯾﺮ‬
从中演化的建筑风格，似乎影响了古典期汽车设计中的古典主义。汽车前脸设计
古典期的战前部分开始于 1930 年的大萧条，结束于世界大战后的重建，一般公
认是在 1938 年（Chitham, 2005; Berger, 2001）。在这一时期，设计师应用古典主
义风格来设计散热器、挡风玻璃、保险杠、灯和挡泥板。某些部件如灯和引擎盖
的位置，与前一时期一样，而其他部件则局部整合到一个统一的装置中。起动构
造组 在古典期也发生了变化，不过用来固定手柄的孔得到了保留（图 17）
（Halberstam，1986）。
The architectural style that evolved, seems to have influence on classicism in car
design of this era. The pre-war part of the classic era in car face design began with the
Great Depression in 1930, and ended with the recovery after World War, commonly
placed at 1938 (Chitham ,2005 ; Berger, 2001). During this period, designers used
classicism style to design radiator, windscreen, bumper, lights and fenders. Some parts
like lights and engine cover were located in same
position as in the previous era but other parts were
seen to be partially integrated into one unified form.
The Start’s construction group was also changed
during the classic era, however retaining the hole for
the crank in place (Fig. 17) (Halberstam, 1986).

Figure: Classic Style.

49
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ادﻏﺎم‬
车
设
整合期
计 Integration era
的
演 ‫در دوران ادﻏﺎم ﺗﻤﺎم ﻗﻄﻌﺎت ﺑﮫ طﻮر ﮐﺎﻣﻞ ﺑﮫ ﯾﮑﺪﯾﮕﺮ ﻣﻠﺤﻖ ﺷﺪﻧﺪ ﺑﮫ ﺷﮑﻠﯽ ﮐﮫ ﻓﻀﺎی ﻣﻨﻔﯽ ﺑﯿﻦ آﻧﮭﺎ از ﺑﯿﻦ ﺑﺮده‬
进 ‫ ﻓﻦ ﮐﮫ ﻗﺎﺑﻞ روﯾﺖ‬.‫ رادﯾﺎﺗﻮر ﺑﮫ ﻓﻀﺎی داﺧﻠﯽ ﻣﻮﺗﻮر ﻓﺮﺳﺘﺎده ﺷﺪ و ﭘﻨﺠﺮه ھﻮاﮐﺶ ﻣﺸﺒﮏ ﺑﺠﺎی آن ﻧﺸﺴﺖ‬.‫ﺷﺪ‬
简 ‫ در اﯾﻨﺠﺎ ﯾﮏ ﻣﻮﺗﻮر اﻟﮑﺘﺮﯾﮑﯽ دوم ﺑﺮای ﭼﺮﺧﺎﻧﺪن‬.‫ﻧﺒﻮد ﺑﺮای ﺧﻨﮏ ﮐﺮدن ﺑﯿﻦ رادﯾﺎﺗﻮر و ﻣﻮﺗﻮر ﻗﺮار داده ﺷﺪ‬
介 ‫ ﮐﮫ ﻧﯿﺎز ﺑﮫ ھﻨﺪل دﺳﺘﯽ ﺑﻄﻮر ﮐﻞ را از ﺑﯿﻦ ﺑﺮده و‬،‫ﻣﻮﺗﻮر و روﺷﻦ ﮐﺮدن آن ﺑﺮ روی ﻣﻮﺗﻮر ﺑﻨﺰﯾﻨﯽ ﻧﺼﺐ ﺷﺪ‬
‫ ﺗﺎ‬١٨٨۵ ‫ ﺷﮑﻞ داﯾﺮه ای از ﭼﺮاغ ﺑﯿﻦ ﺳﺎﻟﮭﺎی‬.‫آھﺴﺘﮫ آھﺴﺘﮫ ﺳﻮراخ ﮔﺮوه ﺳﺎﺧﺘﻤﺎﻧﯽ اﺳﺘﺎرت ﺣﺬف ﮔﺮدﯾﺪ‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل ﭼﺮاﻏﮭﺎ ﺑﮫ داﺧﻞ ﭘﻮﺷﺶ ﻣﻮﺗﻮر ﻓﺮو رﻓﺘﮫ و ﺗﻨﮭﺎ ﻟﻨﺰھﺎ ﻗﺎﺑﻞ ﻣﺸﺎھﺪه‬،‫ ﺑﺪون ﺗﻐﯿﯿﺮ ﺑﺎﻗﯽ ﻣﺎﻧﺪ‬١٩۶۶
‫ ﭘﻼک ﺧﻮدرو در طﺮاﺣﯽ‬.‫ ﮔﻠﮕﯿﺮھﺎ ﺑﯿﺶ از ﺣﺪ ﺑﮫ طﻮر ﮐﺎﻣﻞ ﺑﺎ ﭘﻮﺷﺶ ﻣﻮﺗﻮر ﯾﮏ ﭘﺎرﭼﮫ ﺷﺪﻧﺪ‬.‫ﺑﺎﻗﯽ ﻣﺎﻧﺪ‬
‫ ﺑﮫ اﯾﻦ دﻟﯿﻞ ﮐﮫ اﺻﻼح و ھﻤﺎھﻨﮕﯽ ﻓﺮم ﻣﺴﺘﻄﯿﻞ ﺷﮑﻞ آن ﮐﮫ ﻣﺘﺼﻞ ﺑﮫ ﺑﺪﻧﮫ‬،‫ھﻤﭽﻨﺎن ﻣﺸﮑﻞ اﯾﺠﺎد ﻣﯽ ﻧﻤﻮد‬
.‫ ھﻤﭽﻨﺎن ﺑﺎﻗﯽ ﻣﯽ ﻣﺎﻧﺪ‬،‫ﺧﻮدرو ﺑﻮد‬
在整合期，汽车的所有部件都完全整合，从而消除部件之间的赘余空间。散热器
搬到了引擎附近，格栅则搬到了散热器的位置。原本看不见的风扇装在了散热器
和引擎之间用以降温。新增的第二台引擎——电动引擎用来转动汽油引擎，而不
再需要手柄。渐渐地，起动构造组的孔也被省去了。灯的圆形设计在 1885 年到
1966 年间一直不变，但是灯嵌入到引擎盖中，只有镜片可见。挡泥板也完全嵌
入到引擎盖中。不可缺少的车牌带来的问题依然存在，因为这块简单的长方形牌
子和车身相连，难以改进，所以得以保留。
In the integration era all parts were joined completely eliminating the negative space
between them. The radiator shifted to the engine space and was replaced by the grille
instead. The fan that was not visible was placed between the radiator and engine for
cooling. Here a second electrical engine was installed to turning the gasoline engine,
eliminating the need of a handle. Slowly the hole of Start’s construction group was
eliminated. The circular shape of lights remained unchanged between 1885 to1966,
however the lights were embedded inside the engine cover and only the lenses were
made visible. Mudguards too were completely merged with the engine cover. The
compulsory number plate still created a problem because the simple rectangular plate
attached to the car body was difficult to modify and hence retained.

Figure 18: Integration era.

50
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ اﯾﻦ ﺗﮑﻨﻮﻟﻮژی‬.‫ طﺮاﺣﯽ ﺷﯿﺸﮫ ﺟﻠﻮ را ﺗﻐﯿﯿﺮ دادﻧﺪ‬،‫در اﯾﻦ دوره طﺮاﺣﺎن ﺑﺎ اﺳﺘﻔﺎده از ﻓﻦ آوری ھﺎی راﯾﺞ ﺷﯿﺸﮫ‬
车 ‫ ﻓﺮم‬.‫دارای ﻣﺤﺪودﯾﺖ ﮐﻤﺘﺮی ﺑﻮد و ھﻤﯿﻦ اﻣﺮ طﺮاﺣﯽ را ﺑﮫ طﺮف ﺳﺎﺧﺖ ﯾﮏ ﺗﺮﮐﯿﺐ ﺑﻨﺪی ﺧﻮب ھﺪاﯾﺖ ﻧﻤﻮد‬
设 ‫ ﺳﭙﺮ ﻣﺎﺷﯿﻦ ﻧﺰدﯾﮏ ﺑﮫ ﺑﺪﻧﮫ و ھﻮاﮐﺶ ﭘﺎﯾﯿﻨﯽ آﻣﺪه و‬.‫ﻣﻨﺤﻨﯽ ﺷﮑﻞ ﺷﯿﺸﮫ ﺟﻠﻮ ﺑﮫ زﯾﺒﺎﯾﯽ ﺑﺎ ﺑﺪﻧﮫ ﺧﻮدرو ادﻏﺎم ﺷﺪ‬
计 .(١٨ ‫ﺟﻔﺖ ﭼﺮاغ ھﺎی راھﻨﻤﺎ ﺑﮫ ﺻﻮرت ﺧﻮدرو اﺿﺎﻓﮫ ﮔﺮدﯾﺪ )ﺗﺼﻮﯾﺮ‬
的
演 在这一时期，设计师采用当时流行的玻璃工艺来设计挡风玻璃。这一工艺受到的
进
简
限制较少，因此成品质量较好。挡风玻璃呈曲面，与车身完美融合。保险杠变得
介 离下部格栅更近，并且车前脸增加了一对指示灯（图 18）。

In this era the designers used the prevalent glass technology while designing the
windscreen. This technology had lesser limitation and led to a good composition. The
curved form of the windscreen, merged beautifully with the car body. The car guard
(Bumper) went closer to the lower grille and pair of indicating lights was added to car
face. (Fig. 18)

Figure: 1955 CHRYSLER 300 Sport Coupe.

51
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫دوره ﻣﺪرن‬
车
设
现代期
计 Modern era
的
演 ‫ در اﯾﻦ دوره طﺮاﺣﺎن ﺑﮫ ﻣﻨﻈﻮر اﻓﺰاﯾﺶ زﯾﺒﺎﯾﯽ‬.‫دوره ﻣﺪرن ﺑﮭﺘﺮﯾﻦ دوره در ﺗﺎرﯾﺦ طﺮاﺣﯽ ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ‬
进 ‫ ﺷﯿﺸﮫ ﺟﻠﻮ‬،‫ ﺑﺮﺧﯽ از ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪﮔﺎن‬.‫ﺧﻮدرو ﺳﻄﻮح ﺑﺰرگ ﺷﯿﺸﮫ ای را در ﺻﻮرت ﺧﻮدرو اﺳﺘﻔﺎده ﮐﺮدﻧﺪ‬
简 ‫ﮐﻮﭼﮏ را ﺑﺮای ﻧﻤﺎﯾﺶ ﻗﺪرت و اﺳﺘﺤﮑﺎم ﺑﺪﻧﮫ ﺧﻮدرو اﺳﺘﻔﺎده ﻣﯽ ﮐﻨﻨﺪ در ﺣﺎﻟﯽ ﮐﮫ دﯾﮕﺮان ﺑﮫ ﺷﯿﺸﮫ ﺟﻠﻮ ﺑﺰرگ‬
介 ‫ در اﯾﻦ ﺣﺎﻟﺖ اﺳﺖ‬.‫ﻣﺘﻮﺳﻞ ﺷﺪه اﻧﺪ ﺗﺎ از دﯾﺪ ﺧﻮب اطﻤﯿﻨﺎن ﺣﺎﺻﻞ ﺷﻮد و در ھﻨﮕﺎم راﻧﻨﺪﮔﯽ اﯾﻤﻨﯽ ﺑﮭﺒﻮد ﯾﺎﺑﺪ‬
‫ طﺮاﺣﺎن ﺗﻮاﻧﺴﺘﮫ اﻧﺪ ﺑﺎ ﻣﺤﺪودﯾﺖ ﮐﻤﺘﺮی از ﻓﺮم ھﺎی ﭘﯿﭽﯿﺪه در ﺷﯿﺸﮫ‬،‫ﮐﮫ ﺑﺎ اﺳﺘﻔﺎده از ﻓﻦ آوری ﺷﯿﺸﮫ راﯾﺞ‬
‫ در اﯾﻦ دوره طﺮاﺣﺎن ھﻤﭽﻨﯿﻦ ﻣﯽ ﺗﻮاﻧﻨﺪ ﺑﺮای اﯾﺠﺎد ﻓﺮم ﺑﮭﺘﺮ ﺑﺮ آﯾﻨﮫ ھﺎ و ﻣﺎرک ھﺎی ﺧﻮدرو‬.‫ﺟﻠﻮ اﺳﺘﻔﺎده ﮐﻨﻨﺪ‬
.(١٩٩٨،Weston) (١٩‫ﺗﮑﯿﮫ ﻧﻤﺎﯾﺪ )ﺗﺼﻮﯾﺮ‬
现代期是汽车历史上汽车设计的黄金期。这一时期设计师普遍在汽车上使用大面
积玻璃，达到提升美感的目的。一些汽车制造商采用小面积的挡风玻璃来展现车
身的速度感和力量感，而另一些则采用大面积的挡风玻璃保证良好的视野，改善
驾驶安全。在挡风玻璃上除了坚持采用时兴的玻璃工艺，设计师也可以自由应用
各种复杂形态。因此这一时期也被认为给镜子和品牌带来了丰富性（图 19）
(Weston, 1998)。
Modern era is the best period of car designing in car history. In this era designers
extensively used a large surface of glass on the car in order to add to the aesthetics.
Some manufacturers put small windscreen for showcasing power and strength of the
car body while others resorted to big windscreen to ensure good visibility and
improved safety while driving. While adhering to prevalent glass technology,
designers could use complex forms for windscreen with fewer limitations. This era
can also be attributed for bringing sophistication to mirrors and brands (Fig. 19)
(Weston, 1998).

Figure 19: Modern era.

Figure: Comparison between Classic and Modern Styles.

52
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ھﺮ ﮐﺴﯽ ﻣﯽ ﺗﻮاﻧﺪ رﺳﺎﯾﯽ و ﺑﯿﺎن ﺑﺼﺮی‬.‫در اﯾﻦ دوره ﺳﭙﺮ ﺧﻮدرو ﺑﺎ ﺑﺪﻧﮫ ﻣﻮﺗﻮر ﺑﮫ طﻮر ﮐﺎﻣﻞ ﯾﮑﭙﺎرﭼﮫ ﺷﺪ‬
车 ‫ﻣﻮﺟﻮد در ﺻﻮرت ﺧﻮدرو و ھﻤﭽﻨﯿﻦ ﺷﺒﺎھﺖ ﻣﻼﯾﻢ ﭼﮭﺮه اﻧﺴﺎن و ﯾﺎ ﺣﯿﻮاﻧﺎت را در ﺧﻮدرو اﯾﻦ دوره ﺑﺒﯿﻨﺪ ﮐﮫ‬
设 ‫ ﺻﻮرت ﺧﻮدرو اﯾﻦ اﻣﺮ ﻣﺸﮭﻮد اﺳﺖ )ﺷﻤﺎ ﻣﯽ ﺗﻮاﻧﯿﺪ ﻧﺎم ﺧﻮدرو را از‬٣۵ ‫در آﻧﺎﻟﯿﺰ ﺑﺼﺮی اﻧﺠﺎم ﺷﺪه ﺑﺮ‬
计 ‫( ﻣﯽ ﺑﯿﻨﯿﻢ ﮐﮫ ﭼﮕﻮﻧﮫ ﺻﻮرت‬۶٧ ‫ ﺻﻔﺤﮫ‬، D5 ‫ ﺑﺮای ﻣﺜﺎل در ﻣﻮرد ﺧﻮدرو ﺑﻮﮔﺎﺗﯽ )ﮐﺪ‬،(‫ ﺑﯿﺎﺑﯿﺪ‬٢ ‫ﺟﺪول‬
的 ‫ ﻓﯿﺘﯿﻨﮓ ھﺎ و ﻓﺮم‬،‫ ﺑﯿﺎن ﺑﺼﺮی ﻏﻨﯽ و اﺣﺴﺎس ﻏﺮور را از طﺮﯾﻖ ﻓﺮم ھﺎی ﻟﻮﮐﺲ ھﻤﺎﻧﻨﺪ اﺗﺼﺎﻻت‬،‫ﺧﻮدرو‬
演 ‫ ﺧﻮدرو ﺑﻮﮔﺎﺗﯽ ﺗﻤﺮﮐﺰ را ﺑﺮ ﭘﻨﺠﺮه ﻣﺸﺒﮏ و‬،‫ در راﺑﻄﮫ ﺑﺎ ﻓﺮم ھﺎ‬.‫ھﺎی ﭘﯿﭽﯿﺪه و ﻗﻮﺳﮭﺎی زﯾﺒﺎ ﺑﯿﺎن ﻣﯽ ﻧﻤﺎﯾﺪ‬
进 ‫ ﻧﻘﻄﮫ ای ﮐﮫ در آن‬:(‫ )ﺳﻄﺢ‬۴ ‫ )ﻧﻘﻄﮫ( و‬٣ ‫ در ﺑﺨﺶ‬.‫ﻧﻘﻄﮫ ای ﮐﮫ در آن ﻟﻮﮔﻮ ﻗﺮار داده ﺷﺪه ﻗﺮار داده اﺳﺖ‬
简
‫ )ﺧﻂ( ھﻤﮫ‬٢ ‫ ﻧﻘﻄﮫ ﻣﺮﮐﺰی ﺻﻮرت ﺧﻮدرو را ﺷﮑﻞ ﻣﯽ دھﺪ و ھﻤﭽﻨﯿﻦ در ﺑﺨﺶ‬،‫ﻟﻮﮔﻮ ﻗﺮار داده ﺷﺪه اﺳﺖ‬
介
‫ﮐﻤﺎن ھﺎ ﻣﻨﺠﺮ ﺑﮫ ﺣﺮﮐﺖ دادن ﭼﺸﻢ ﺑﮫ طﺮف ﭘﻨﺠﺮه ھﻮاﮐﺶ اﺳﺖ و اﯾﻦ ﺗﻤﺮﮐﺰ اﯾﻦ ﻣﺤﻞ را ﺑﮫ ﻋﻨﻮان ﻧﻘﻄﮫ‬
.‫ﻣﺮﮐﺰی ﮐﮫ ﻓﺮم ﺑﻮﮔﺎﺗﯽ از آن ﺑﮫ ﺗﮑﺎﻣﻞ رﺳﯿﺪه ﻧﺸﺎن ﻣﯽ دھﺪ‬

这一时期见证了汽车的保险杠隐藏到引擎盖中，从而实现完全整合
从而实现完全整合。我们可以看
到，汽车前脸变得富有表现力，并逐渐开始模仿人类和动物的脸部
并逐渐开始模仿人类和动物的脸部，如下文对
35 款现代汽车前脸的视觉分析所示（汽车名称见表
汽车名称见表 2）。比如“布加迪”汽车（代
码 D5，第 67 页），可以看见它的前脸通过奢华的外观
可以看见它的前脸通过奢华的外观，如配件和弧线等复杂元
素，表达出一种华美和自豪感。在形式间的关系上
在形式间的关系上，布加迪关注格栅的设计和公
司标志的定位点。在如图的第 3 部分（定位点）和第和第 4 部分（表面），公司标志
所在的位置形成汽车前脸的中心点，所有弧线都以格栅为中心汇集
所有弧线都以格栅为中心汇集。以这一点为
中心点，布加迪的形态在此基础上不断发展。

This era saw the car-guard (bumper) r) fade with the engine cover, making it completely
integrated. One can see that car faces have become expressive and slowly they began
resembling human faces or animal faces which is visible in the visual analyzing of
these 35 modern car faces (you can find nd the name of car from table 2) for example in
case of Bugatti (Code D5, Page 67)) we can see how the face express richness and a
sense of pride through it’s luxurious forms like the fittings and complex forms like the
arcs. In terms of relation of forms, the Bugatti focuses on the grille and the point
where the logo is placed. In part 3 (point) and 4 (surface) the point where the logo is
placed, forms the central point of car face as in part 2 (line) where all arcs lead to the
t
direction of the grille. It focuses this place as the central point from which the form of
Bugatti evolves.

Figure: Eye tracking analysis of Bugatti-Veyron

Veyron 2009 (D5).

53
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺷﮑﻞ ﮔﺮد ﺧﺎص ﭘﻨﺠﺮه ھﻮاﮐﺶ ﺑﮫ راﺣﺘﯽ ﻣﯽ ﺗﻮاﻧﺪ ﺗﻮﺟﮫ و ﭼﺸﻢ ﮐﺎرﺑﺮ را ﺑﺪزدد و ﺑﮫ ﺧﺎطﺮ طﺮاﺣﯽ ﻣﺘﻤﺎﯾﺰ از‬
车 ‫ﻓﺮم ﭼﺮاغ ھﺎ و ﭘﻨﺠﺮه ھﻮاﮐﺶ ﮐﺎرﺑﺮان ﺣﺮﻓﮫ ای ﻣﯽ ﺗﻮاﻧﻨﺪ اﯾﻦ ﺧﻮدرو را ﺣﺘﯽ ﺑﺪون ﻧﺸﺎن ﺗﺸﺨﯿﺺ دھﻨﺪ و اﯾﻦ‬
设 ‫ ﺧﻂ ﻋﻤﻮدی ﻣﻮﺟﻮد ﺑﺮ روی ﺻﻮرت ﺧﻮدرو ﺗﻘﺎرن را ﻧﺸﺎن ﻣﯽ دھﺪ‬.‫ﺑﮫ ﻋﻨﻮان ﯾﮏ ﻋﺎﻣﻞ ﻣﺜﺒﺖ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‬
计 ‫ در‬.(‫ اﯾﻦ ﺧﻂ از روی ﮐﺎﭘﻮت ﺷﺮوع ﻣﯽ ﮔﺮدد )ﻣﻘﺎﺑﻞ ﺷﯿﺸﮫ ﺟﻠﻮ‬.‫ﮐﮫ ﺑﮫ ﺧﻮﺑﯽ طﺮاح ﺧﻮدرو را ﻣﯽ ﭘﺮوراﻧﺪ‬
的 ‫ )ﺑﺎﻓﺖ( ﺑﯿﺎن ﻋﻤﯿﻘﯽ را از ﻏﻢ‬٧ ‫ )ﺣﺠﻢ( و‬۶ ،(‫ )رﻧﮓ‬۵ ،(‫ )ﺳﻄﺢ‬۴ ،(‫ )ﻧﻘﻄﮫ‬٣ ،(‫ )ﺧﻂ‬٢ ‫ ﻗﺴﻤﺖ ھﺎی‬،‫ﮔﺸﺘﺎﻟﺖ‬
演 .‫ﻧﺸﺎن ﻣﯽ دھﻨﺪ و ﺑﯿﺎن ﻧﮭﺎﯾﯽ ﻏﻢ و اﻧﺪوه ﭼﮭﺮه اﻧﺴﺎن را ﻣﻨﻌﮑﺲ ﻣﯽ ﮐﻨﺪ‬
进 ‫ از ھﺮ دو ﻧﻈﺮ ﺗﻨﺎﺳﺒﺎت ھﻨﺪﺳﯽ و طﻼﯾﯽ ﺑﺴﯿﺎر‬،‫ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﺗﻨﺎﺳﺒﺎت ھﻢ ﻧﺸﺎن ﻣﯽ دھﺪ ﮐﮫ طﺮح اﯾﻦ ﺑﻮﮔﺎﺗﯽ‬
简
‫ ﺑﺮآورد ﺷﺨﺼﯽ ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﺳﻠﺴﻠﮫ ﻣﺮاﺗﺐ ﺑﺼﺮی ﺣﺮﮐﺖ ﭼﺸﻢ ﻧﺸﺎن ﻣﯽ دھﺪ ﮐﮫ ﺑﮫ ﻋﻠﺖ ﻧﻮع‬.‫ﻗﻮی ﻣﯽ ﺑﺎﺷﺪ‬
介
.‫" ﻣﯽ رود‬A" ‫ﺷﮑﻞ )ﮐﮫ ﭼﺸﻢ را ﻣﯽ رﺑﺎﯾﺪ( و وﺟﻮد ﻧﺴﺒﺖ طﻼﯾﯽ آن ﺣﺮﮐﺖ ﭼﺸﻢ ﺑﮫ ﺳﻤﺖ ﻣﺤﻞ ﭘﻨﺠﺮه ھﻮاﮐﺶ‬
‫ از اﯾﻦ رو ﻣﯽ ﺗﻮان اﯾﻦ ﻧﺘﯿﺠﮫ را‬.‫" را ﭘﯿﮕﯿﺮی ﻣﯽ ﻧﻤﺎﯾﺪ‬B" ‫ ﭼﺮاغ‬،‫" ﺑﮫ دﻟﯿﻞ رﻧﮓ‬A" ‫ﭼﺸﻢ از ﭘﻨﺠﺮه ﻣﺸﺒﮏ‬
‫ ﻧﺘﺎﯾﺞ‬.‫" ﺟﺬاب ﺗﺮﯾﻦ ﻓﺮم در ﺻﻮرت ﺧﻮدرو اﺳﺖ ﮐﮫ ﭼﺸﻢ را ﺑﮫ ﺧﻮد ﺟﻠﺐ ﻣﯽ ﮐﻨﺪ‬A" ‫ﮔﺮﻓﺖ ﮐﮫ ﭘﻨﺠﺮه ھﻮاﮐﺶ‬
‫" را‬A" ‫ﺣﺎﺻﻞ از ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﻣﺴﯿﺮ ﺣﺮﮐﺖ ﭼﺸﻢ ردﯾﺎﺑﯽ ﺑﺎ ﮐﻤﮏ ﻣﺎﺷﯿﻦ ردﯾﺎب ﭼﺸﻢ ھﻢ اول ﭘﻨﺠﺮه ھﻮاﮐﺶ‬
‫" ﻣﯽ ﭘﺮد و اﯾﻦ ﻧﺸﺎن ﻣﯽ دھﺪ ﮐﮫ ھﺮ دو آﻧﺎﻟﯿﺰ ﻣﺴﯿﺮ ﯾﺎﺑﯽ ﭼﺸﻢ‬B" ‫ﻧﺸﺎن ﻣﯽ دھﺪ و از آﻧﺠﺎ ﭼﺸﻢ ﺑﮫ ﭼﺮاغ‬
.‫ ﺑﺎ ھﻢ ھﻤﺨﻮاﻧﻨﺪ‬٪١٠٠
格栅的独特圆形很容易就抓住用户的眼球。正是由于其独具一格的车灯和格栅设
计，专业级用户即使看不到公司标志也能认出这辆车出自谁家，这形成了积极的
影响。一条垂直线展现了车前脸的对称，是设计的精妙之处。这条线开始于车罩
（挡风玻璃前方），在外型上，如图的第 2（线）、3（点）、4（表面）、5
（颜色）、6（体积）、7 部分（质感）体现了一种深深黯然的神情，就像一张
悲伤的人脸。
比例分析揭示了布加迪在几何比例和黄金分割上都很卓越。视觉层级自我评估分
析则显示，人的注意力首先转向“A”格栅的位置，因为它们的形状特别，又位于
黄金分割区。随后受到颜色的吸引，人的注意力从“A”格栅转移到“B”车灯。可以
说“A”格栅是视野外围区域里一个非常有吸引力的搜寻图标。机器眼球跟踪分析
的结果显示，眼球的注意力从“A”格栅跳到“B”车灯处，和眼球注意力自我评估分
析的结果 100%相同。
The special rounded shape of the grille can easily steal the attention of the user.
Professional users can identify this car even without logo because of the distinctive
design of the lights form and the grille and this act as a positive factor. The vertical
line shows symmetry on the car face which works well for the design. This line starts
from the hood (in front of the windscreen). In gestalt, parts 2 (line), 3 (point), 4
(surface), 5 (color), 6 (volume) and 7 (texture) reveals a deeply saddened expression.
Finally the expression bears resemblance to a sad human face.
Proportion analysis reveals that the Bugatti is powerful in terms of both geometrical
and golden ratio. The self- Assessment visual hierarchy analysis shows, that the eye
movement first moves towards the location of grille “A” owing to the thief shape and
the existence of the golden ratio area. The eye tracks from grille “A” to lights “B”
because of the colors. It may hence be concluded that the icon grille “A” is a very
attractive search icon within the peripheral field of vision. The result of machine eye
tracking analysis shows the eye jump from grille “A” to lights “B”. It is 100% same
with the result of self assessment eye movement analysis.

54
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car F1.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car F2.

55
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car F3.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car F4.

56
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car F5.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car G1.

57
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car G2.

.
Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car G3.

58
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car G4.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car G5.

59
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car H1.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car H2.

60
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car H3.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car H4.

61
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car H5.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car J1.

62
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car J2.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car J3.

63
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car J4.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car J5.

64
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car D1.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car D2.

65
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car D3.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car D4.

66
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car D5.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car K1.

67
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car K2.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car K3.

68
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car K4.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car K5.

69
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car L1.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car L2.

70
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car L3.

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car L4.

71
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Manual eye tracking, Gestalt and golden ratio analysis for Car L5.

‫ ﮔﺮوه اﺳﺖ ﮐﮫ ھﻤﮫ آﻧﮭﺎ دارای ﯾﮏ ﺑﯿﺎن‬١٢ ‫ ﻣﺎﺷﯿﻦ ﻗﺎﺑﻞ ﺑﮫ ﺗﻘﺴﯿﻢ ﺑﮫ‬٣٥ ‫ ﺗﻤﺎم ﺻﻮرت ھﺎی‬،‫در ﻧﺘﯿﺠﮫ اﯾﻦ ﺑﺨﺶ‬
‫ ﺳﭙﺲ ﻣﺎ ﻣﯽ ﺗﻮاﻧﯿﻢ ﺑﺒﯿﻨﯿﻢ ﮐﮫ ﭼﮕﻮﻧﮫ طﺮاح در دوران‬.‫ﺑﺼﺮی ﻣﺎﻧﻨﺪ ﺑﯿﺎن ھﺎی ﺑﺼﺮی ﺻﻮرت اﻧﺴﺎن ﻣﯽ ﺑﺎﺷﻨﺪ‬
.‫ﻣﺪرن ﺑﮫ دﻧﺒﺎل ﺑﯿﺎﻧﮭﺎی ﻋﺎطﻔﯽ اﺳﺖ ﺗﺎ آﻧﮭﺎ را در ﺻﻮرت ﺧﻮدرو ﺑﮕﻨﺠﺎﻧﺪ‬

总而言之，所有 35 种汽车前脸分成了 12 组，分别与不同的人脸表情相似。这里

我们也可以看到，现代期的设计师是如何借鉴人脸的情感表达来设计汽车前脸的
（表 3）。

Concluding this part, it can be summarized that all 35 car faces have been divided into
12 groups which have expressions like those of human’s. Here we can also see how
designers follow the emotional expression in modern era to improvise them in face of
cars. (Table 3).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 Table 2: List of cars used in this part of visual analyzing.

车 No. Year Company Model URL
D1 2003 Volkswagen New Beetle http://www.volkswagen.com/
设
D2 2007 Toyota FT-HS hybrid sports concept http://www.toyota.co.jp/en/index.html
计 D3 2010 Acura ZDX four-door sports coupe http://www.acura.com/
的 D4 2011 Mini Countryman http://www.mini.com/
演 D5 2009 Bugatti Veyron Fbg par Hermès http://www.bugatti.com/
进 F1 2009 Lexus LF-Ch Concept http://www.lexus.com/
F2 2006 Mazda Nagare Concept http://www.mazda.com/
简
F3 2008 SEAT Leon Ecomotive http://www.seat.com/
介 F4 2008 Lexus LF-A Roadster Concept http://www.lexus.com/
F5 2001 Mercury Cougar Zn http://www.mercuryvehicles.com/
G1 2010 Wiesmann Roadster MF5 http://www.wiesmann.com/
G2 2010 Mercedes-Benz GLK http://www.mercedes-benz.com/
G3 2009 Mitsubishi i MiEV Sport Air Concept http://www.mitsubishi.com/
G4 2004 Dodge Sling shot http://www.dodge.com/en/
G5 2008 TATA Nano http://www.tatamotors.com/
H1 2008 Jaguar S-TYPE http://www.jaguar.com/
H2 2004 Jaguar S-Type http://www.jaguar.com/
H3 2009 Toyota Urban Cruiser http://www.toyota.co.jp/en/index.html
H4 2010 Toyota iQ3 http://www.toyota.co.jp/en/index.html
H5 2011 Toyota Auris HSD http://www.toyota.co.jp/en/index.html
J1 2009 BMW EfficientDynamics http://www.bmw.com/
J2 2012 Opel Ampera http://www.opel.com/
J3 2008 BMW M1 http://www.bmw.com/
J4 2011 Bentley Mulsanne http://www.bentleymotors.com/
J5 2010 Alfa Romeo 2uettottanta Concept http://www.alfaromeo.com/
K1 2005 Smart crosstown show car http://www.smart.com
K2 2007 Renault Kangoo Compact Concept http://www.renault.com/
K3 2011 Audi A1 http://www.audi.com
K4 2008 Peugeot RC HYmotion4 http://www.peugeot.com/
K5 2009 Toyota iQ http://www.toyota.co.jp/en/index.html
L1 2009 Ferrari California http://www.ferrari.com/
L2 2007 Lotus Hot Wheels http://www.lexus.com/
L3 2007 Buick Riviera http://www.buick.com/
L4 2009 Bugatti Galibier Concept http://www.bugatti.com/
L5 2011 Mercedes-Benz SLS AMG http://www.mercedes-benz.com/

Table 3: Result of visual analyzing.

No. Expression of car ‫ﺑﯿﺎن ﺑﺼﺮی‬ Car faces
faces ‫ﺻﻮرت ﺧﻮدرو‬
1 Disgust ‫اﻧﺰﺟﺎر‬ F1 and F4
2 Serious ‫ﺟﺪی‬ F5, G2, H3, H4, K3, K4 and K5
3 Anger ‫ﺧﺸﻢ‬ F1, F2, G1, J1, J2, J3, J4 and J5
4 Curious ‫ﮐﻨﺠﮑﺎو‬ G4 and G5
5 Happy ‫ﺷﺎد‬ F3, D1, D2, D3, G5 and H5
6 Speed ‫ﺳﺮﻋﺖ‬ F2
7 Danger ‫ﺧﻄﺮ‬ G3, L1, L2, L3, L4 and L5
8 Relaxed and normal ‫آرام‬ H5
9 Stupid ‫اﺣﻤﻖ‬ G1
10 Sad ‫ﻏﻢ‬ D4 and D5
11 Comic ‫ﺧﻨﺪه دار‬ K1 and K2
12 Surprise ‫ﺗﻌﺠﺐ‬ H1 and H2

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 Table 4: Eye tracking through using machine.

车 No No No No
D1 F5 H4 K3
设
计
的
演
进 D2 G1 H5 K4
简
介
D3 G2 J1 K5

D4 G3 J2 L1

D5 G4 J3 L2

F1 G5 J4 L3

F2 H1 J5 L4

F3 H2 K1 L5

F4 H3 K2

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺑﺤﺚ‬
车
设
结论
计 Discussion
的
演
进
‫ دوره اﺧﺘﺮاع ﺑﮫ ﺗﻨﮭﺎﯾﯽ در ﻋﻤﻠﮑﺮد‬.‫ھﺮ دوره ﺑﺮای ﺗﮑﺎﻣﻞ ﺻﻮرت ﺧﻮدرو ﺗﻐﯿﯿﺮات ﺑﯽ ﻧﻈﯿﺮی را اراﺋﮫ ﻣﯽ ﮐﻨﺪ‬
简 ‫ دوره ﮔﺮوه ھﺎی‬.‫ اﯾﻦ دوره از ﻟﺤﺎظ زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﭼﮭﺮه ﺧﻮدرو ﺑﺴﯿﺎر ﺿﻌﯿﻒ ﺑﻮد‬.‫ﻣﺎﺷﯿﻦ ﻣﺘﻤﺮﮐﺰ ﺷﺪ‬
介 ‫ ﭼﺮا ﮐﮫ در اﯾﻦ دوره طﺮاﺣﺎن ﻧﯿﺎز ﮐﺎرﺑﺮان را درک‬،‫ﺳﺎﺧﺘﻤﺎﻧﯽ اوﻟﯿﮫ ﺣﺮﮐﺖ ﺗﮑﺎﻣﻠﯽ ﺻﻮرت ﺧﻮدرو ﺑﻮد‬
‫ دوره ﮐﻼﺳﯿﮏ اوﻟﯿﻦ‬.‫ﮐﺮدﻧﺪ و ﭘﺲ از آن ﺑﺮای ﺣﻞ و رﻓﻊ اﯾﻦ ﻧﯿﺎزھﺎ ﮔﺮوه ھﺎی ﺳﺎﺧﺘﻤﺎﻧﯽ را ﺑﻮﺟﻮد آوردﻧﺪ‬
‫دوره ای ﺑﻮد ﮐﮫ طﺮاﺣﺎن ﺷﺮوع ﺑﮫ طﺮاﺣﯽ ﺑﺮای ﻧﯿﺎزھﺎی ﺑﺼﺮی ﻧﻤﻮدﻧﺪ ﮐﮫ ﻣﺮﺑﻮط ﺑﮫ ﭘﺎراﻣﺘﺮھﺎی زﯾﺒﺎﯾﯽ‬
‫ ﻣﺸﺨﺼﮫ ھﺎﯾﯽ از دوران‬.‫ دوره ادﻏﺎم ﯾﮏ دوره اﺗﺼﺎل ﺑﯿﻦ دوران ﮐﻼﺳﯿﮏ و ﻣﺪرن ﺑﻮد‬.‫ﺷﻨﺎﺳﯽ ﻣﯽ ﺷﺪ‬
‫ اﯾﻦ‬.‫ﮐﻼﺳﯿﮏ و ﻣﺪرن ﮐﮫ ﺑﺎ ھﻢ در زﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﺧﻮدرو ﻣﻨﻌﮑﺲ ﺷﺪه ﺑﻮد در اﯾﻦ ﻣﺮﺣﻠﮫ ﮔﺬار دﯾﺪه ﻣﯽ ﺷﻮد‬
‫ﻣﻮﺿﻮع ﺑﯿﺎن ﻣﯽ ﮐﻨﺪ ﮐﮫ در طﻮل ﺗﻤﺎم اﯾﻦ دوران ﭘﯿﺸﺎﻧﯽ ﺻﻮرت ﺧﻮدرو ﺑﮫ طﻮر ﻣﺪاوم ﺑﺮای ﻗﺮارﮔﯿﺮی ﻧﺸﺎن‬
‫ اﻣﺎ ﺗﻨﮭﺎ در دوران ادﻏﺎم اﺳﺖ ﮐﮫ ﺑﺮﺧﯽ از طﺮاﺣﺎن ﻧﻤﺎد و ﻧﺎم‬،‫و ﻧﺎم ﺗﺠﺎری ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﻣﯽ ﮔﺮﻓﺘﮫ‬
‫ ﺑﺮای ﻣﺜﺎل‬.‫ﺗﺠﺎری را در ﯾﮑﯽ از دو طﺮف ﺻﻮرت ﺧﻮدرو ﺑﺪون در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻋﻨﺼﺮ ﺗﻘﺎرن ﻗﺮار ﻣﯽ دادﻧﺪ‬
‫ ﺑﻮد ﮐﮫ ﺗﺤﺴﯿﻦ ﻣﻨﺘﻘﺪان را ﺑﺮای اﯾﻦ‬Studebaker Avanti ١٩٦٢ ‫ در طﺮاﺣﯽ رﯾﻤﻮﻧﺪ ﻟﻮﯾﯽ ﺑﺮای‬٢٠ ‫ﺗﺼﻮﯾﺮ‬
.‫ﻣﺠﺴﻤﮫ زﯾﺒﺎ ﺑﺨﻮد ﺟﻠﺐ ﻧﻤﻮد‬

对于汽车前脸的演进而言，每个时期都是独一无二的。发明期仅关注汽车的功能
这一方面，在汽车前脸的美学上非常薄弱。构造组时期是汽车前脸的一大主要进
步，因为在这个时期，设计师了解用户的需求，进而创造了构造组来解决这些需
求。古典期是汽车设计师开始出于视觉需求，借助美学因素来设计的第一个时期。
整合期是古典期和现代期之间承上启下的一个时期。古典期和现代期的元素都在
这一过渡期的汽车美学中有所体现。在这些时期里，我们看到车前脸的最前端一
直都是用来展现品牌的，但只在整合期里才有某些设计师把品牌符号放在前脸的
任何一侧，而不考虑对称元素，比如（图 20）雷蒙德·洛威（Raymond.Loewy）
设计的 1962 年高端版“斯图贝克·阿凡蒂”汽车（Studebaker.Avanti），因其精心雕
琢般的外形而大受赞美（Raizman, 2003；Dormer，1995）。

Every era was invincible for the evolution of car face. Invention era was concentrated
on functionality of the car alone. This era was very weak in terms of car face
aesthetics. Construction group era was a primary movement for car face because in
this era designers understood about users’ need and subsequently construction groups
emerged for resolving these needs. Classic era was the first era where designers started
to design for visual needs involving aesthetic parameters.
Integration era is a connecting era between classic and modern era. Elements of classic
and modern eras together are seen reflected in the car aesthetics during this transition
phase. It is seen that during all these eras the head of the car face was consistently
used for branding but it is only during the Integration era that some of designers have
put brand symbols on either side of car face without taking the element of symmetry
into consideration, For example (Fig. 20) in the Raymond Loewy design for the
upscale 1962 Studebaker Avanti, which received critical acclaim for its sculpted
contour (Raizman, 2003; Dormer, 1995).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介
Figure 20: Brand in Modern era.

Figure 21: Sculpture in car face.

Figure 22: Brand in car face.

‫ اﻟﻒ( ﻧﺸﺎن ھﺎی ﻧﻮﺷﺘﺎری ﺑﺎ ﮐﻠﻤﺎت ب( ﻧﺸﺎﻧﮫ ھﺎی ﮔﺮاﻓﯿﮑﯽ ث( ﻣﺠﺴﻤﮫ‬:‫ھﻮﯾﺖ اﯾﻦ ﻣﺎرﮐﮭﺎ از ﺳﮫ دﺳﺘﮫ ﺑﻮدﻧﺪ‬
‫ ﺑﺮﺧﯽ از ﺧﻮدروھﺎ ﻧﯿﺰ ھﻤﮫ اﯾﻦ ﻋﻨﺎﺻﺮ را در ﺑﺮ‬.(٢٢ ‫ و‬٢١ ‫ ﺷﮑﻞ ﺣﯿﻮاﻧﺎت و اﺷﯿﺎء )ﺗﺼﻮﯾﺮ‬،‫ﺑﺎ ﺷﮑﻞ اﻧﺴﺎن‬
‫ ﻧﮭﺎﯾﺘﺎ در دوره ﻣﺪرن ﻣﯽ ﺑﯿﻨﯿﻢ ﮐﮫ ﭼﮫ‬.‫ ﺗﺎ ﺷﺨﺼﯿﺖ و ھﻮﯾﺖ ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه ﺧﻮدرو را ﺑﮫ ﻧﻤﺎﯾﺶ ﺑﮕﺬارﻧﺪ‬،‫داﺷﺘﻨﺪ‬
.‫اﻧﺪازه طﺮاﺣﺎن در ﮔﻨﺠﺎﻧﺪن ﺑﯿﺎﻧﮭﺎی اﺣﺴﺎﺳﯽ در ﺻﻮرت ﺧﻮدرو ﻣﺴﺮ ﻣﯽ ﺑﺎﺷﻨﺪ‬
这些品牌承载的特性可以分成三类：1）文字标志；2）图案标志；3）人形、动
物、物体等的雕塑（图 21 和 22）。一些汽车具备以上全部元素，以达到彰显汽
车特质和汽车制造商品牌的目的。最后我们可以看到，现代期是如何改变汽车
前脸，对其植入不同的情感表达的。
The identities imposed in these brands could be classified into three categories: a)
words sign b) graphical sign c) sculpture with human figure, animal figure and objects
(Fig. 21 & 22). Some cars also included all of these elements together; to define the
character and identity for the car manufacturer. And finally we can see how modern
era transformed the face of the car to insert different emotional expressions.

76
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介 Figure: Left, 1932 Auburn. Middle, 1933 Chrysler Imperial CL Phaeton is cited by
some as the car that placed Chrysler alongside many of the other luxury marques of
the era. Photo by Mark Elias. Right, 1958 Jaguar.

‫ﻧﺘﯿﺠﮫ‬
结论
Conclusion
‫در ﭼﻨﺪ دوره اﺧﯿﺮ ﺻﻮرت ﺧﻮدرو ﺑﮫ ﻋﻨﻮان ﯾﮏ ﻣﮑﺎن ﺧﻮب ﺑﺮای اﻧﺘﻘﺎل ﭘﯿﺎم ھﺎی ﺑﺼﺮی ﺷﻨﺎﺧﺘﮫ ﺷﺪ و‬
‫ ھﺮ‬.‫ﺑﺴﯿﺎری از طﺮاﺣﺎن درﯾﺎﻓﺘﻨﺪ ﮐﮫ ﺻﻮرت ﺧﻮدرو ﺑﮭﺘﺮﯾﻦ ﻣﮑﺎن ﺑﺮای اﻧﺘﻘﺎل ﻋﺒﺎرات اﺣﺴﺎﺳﯽ ﻣﯽ ﺑﺎﺷﺪ‬
‫ ﻋﻼوه ﺑﺮ اﯾﻦ‬.‫ﻓﺮدی در دوره ﻣﺪرن ﻣﯽ ﺗﻮاﻧﺪ ﺗﺎﺛﯿﺮات ﭼﮭﺮه ﺣﯿﻮان و ﭼﮭﺮه اﻧﺴﺎن را در ﺻﻮرت ﺧﻮدرو ﺑﯿﺎﺑﺪ‬
‫ھﺮﮐﺲ ﻣﯽ ﺗﻮاﻧﺪ ﻣﺸﺨﺼﮫ ﻧﺎم ﺗﺠﺎری و ﺗﺎﺛﯿﺮات آﻧﺮا در ﺳﯿﺮ ﺗﮑﺎﻣﻞ ھﻮﯾﺖ ﺧﻮدرو در دوران ﮐﻼﺳﯿﮏ دﯾﺪه و‬
‫ ھﻨﺮی و ﺷﯿﻮه زﻧﺪﮔﯽ در طﺮاﺣﯽ ﺧﻮدرو‬،‫ ﻣﺪ‬،‫ ﺗﺎ اﯾﻨﺠﺎ ﻣﺎ ﺷﺎھﺪ آﺛﺎر ﺗﮑﻨﻮﻟﻮژی‬.‫آن را ﻣﻮرد ارزﯾﺎﺑﯽ ﻗﺮار دھﺪ‬
‫ ﭘﺲ از ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﺗﻄﺒﯿﻘﯽ در ﺳﯿﺮ ﺗﮑﺎﻣﻞ ﻓﺮم ھﺎی ﺧﻮدرو و‬.‫ﺑﻮدﯾﻢ در ﻧﺘﯿﺠﮫ ﺗﺎﺛﯿﺮ ﻓﺮھﻨﮓ ﻏﺎﻟﺒﺘﺮﯾﻦ ﺑﻮد‬
‫دوره ادﻏﺎم و‬- ‫ ﺑﮫ ﺧﺼﻮص در دو دوره اﺧﯿﺮ‬،‫ طﺮاﺣﺎن طﺮاﺣﯽ اﺣﺴﺎﺳﮕﺮا را ﺗﮑﺎﻣﻞ دادﻧﺪ‬،‫ﺻﻮرت ﺧﻮدرو‬
.‫ طﺮاﺣﺎن ﻣﺘﻮﺟﮫ ﺷﺪﻧﺪ ﮐﮫ ﺻﻮرت ﺧﻮدرو ﺑﮭﺘﺮﯾﻦ ﻣﻮﻗﻌﯿﺖ ﺑﺮای اﻧﺘﻘﺎل ﺑﯿﺎﻧﮭﺎی اﺣﺴﺎﺳﯽ ﻣﯽ ﺑﺎﺷﺪ‬-‫دوران ﻣﺪرن‬
在过去的几段时期里，汽车前脸占据了重要地位，正如大多数设计师都明白，汽
车前脸是表达情感的最佳位置。在现代期，我们可以看到人类和动物的脸部在形
态上对汽车前脸的影响。另外，我们可以评估品牌标志因素，以及古典期体现的，
品牌标志因素对汽车特性演进的影响。在上两项研究中我们发现了，首先是技术、
时尚、艺术因素和生活方式对汽车设计产生影响，之后则是文化产生更具主导性
的影响。经过对汽车演进、汽车外形和汽车前脸的比较分析，我们也发现设计师
改进了情感表达的设计，这在上两段时期里尤其明显——即整合期和现代期——
设计师明白汽车前脸是表达情感的最佳位置。
In the last few eras, car faces occupied an important position, as most designers saw
that the car face was the best place for conveying emotional expressions. In the
modern era one could see the influence of the human face or animal face reflected in
the ‘front face’ of the form of the car.
Further one can evaluate the element of brand sign and their influence on evolving an
identity for the car as seen in the classic era. In the last two experiments, we saw the
effect of technology, fashion, artistic element and lifestyle on car design after which
the impact of culture was much more dominant. After comparative analysis on car
evolution, car forms and car faces, the designers evolved emotional design, especially
in the last two eras - integration era and modern era - where designers understood that
car face is the best position for conveying emotional expressions.

77
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 23: Time line of car faces.

78
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺗﺒﺪﯾﻞ ﻣﺮدم ﻋﺎدی ﺑﮫ ﺻﻨﻌﺘﮕﺮ‬:‫ ﻣﺪرن و ﭘﺴﺎﻣﺪرن‬،‫ھﻨﺮ و ﺻﻨﻌﺖ ﮔﺬﺷﺘﮫ‬

车
设
历史工艺、现代工艺和后现代工艺：普通人向手艺人的转变
Past craft, Modern craft & Post-modern craft: Transition of ordinary people being handicraftsmen
计
Author: Mohsen Jaafarnia
的
演 ‫ھﻨﺮ و ﺻﻨﻌﺖ در ﺗﻮﻟﯿﺪ ﻣﺤﺼﻮﻻت را ﻣﯽﺗﻮان ﻓﻌﺎﻟﯿﺘﯽ ﺧﻼﻗﺎﻧﮫ داﻧﺴﺖ ﮐﮫ در ﺟﻨﺒﮫھﺎی زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﻣﺤﺼﻮل‬
进 ‫ ﺳﺎﺧﺖ ﻣﺤﺼﻮل از طﺮﯾﻖ ھﻨﺮ و طﺮاﺣﯽ ﻧﯿﺰ ھﻤﻮاره ﺗﺤﺖ ﺗﺄﺛﯿﺮ ﭘﯿﺸﺮﻓﺖھﺎ و ﺟﮭﺖﮔﯿﺮیھﺎ در‬.‫ﺗﺎﻣﻞ ﻣﯽﮐﻨﺪ‬
简 ‫ اﯾﻦ ﯾﻌﻨﯽ ﭘﻮﺷﺶ‬.‫ ﺑﻮده اﺳﺖ‬،‫ ﻣﺎﻧﻨﺪ ﺟﻨﺒﺶ ھﻨﺮ و ﭘﯿﺸﮫ و ﻣﺪرﻧﯿﺴﻢ‬،‫ﺣﻮزه ﺳﺒﮏھﺎی طﺮاﺣﯽ و ﻋﻠﻮم اﺟﺘﻤﺎﻋﯽ‬
介 ‫ ﺑﮫ دﻟﯿﻞ وﺟﻮد ﺳﻠﯿﻘﮫھﺎی ﻣﺨﺘﻠﻒ در‬،‫ اﻣﺎ در واﻗﻌﯿﺖ‬.‫ﺳﻠﯿﻘﮫھﺎ ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺟﻨﺒﮫھﺎی زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﻣﺤﺼﻮل‬
‫ ﺣﺘﯽ طﺮاﺣﯽای ﮐﮫ‬.‫ ھﯿﭻ ﮐﺲ ﻧﺘﻮاﻧﺴﺘﮫ ﻧﻈﺮ ھﻤﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن را ﺗﺄﻣﯿﻦ ﮐﻨﺪ‬،‫ از آﻏﺎز دوران ﻣﺪرﻧﯿﺴﻢ‬،‫ﺟﺎﻣﻌﮫ‬
‫ ﺗﻨﮭﺎ ﻣﯽﺗﻮاﻧﺪ ﺳﻠﯿﻘﮫ ﺗﻌﺪاد اﻧﺪﮐﯽ از ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن را ﺗﺄﻣﯿﻦ ﮐﻨﺪ ﮐﮫ‬،‫ﺑﺮای ﯾﮏ ﻓﺮھﻨﮓ ﺧﺎص اﻧﺠﺎم ﺷﺪه ﺑﺎﺷﺪ‬
‫ ﺑﺮای ﻧﻤﺎﯾﺶ‬.‫ﻣﺪرن اﺳﺖ‬/‫ اﯾﻦ ﻣﺴﺌﻠﮫ اﺻﻠﯽ ﺟﺎﻣﻌﮫ ﺻﻨﻌﺘﮕﺮی‬.‫در دﻧﯿﺎی ﻣﺪرن »ﮔﺮوه ھﺪف« ﺧﻮاﻧﺪه ﻣﯽﺷﻮﻧﺪ‬
‫ ﻣﺎ آزﻣﺎﯾﺸﯽ ﺑﺎ ﺣﻀﻮر‬.‫ ﻣﺮور ﻣﮑﺘﻮﺑﺎت ﺑﮫ ﻣﺎ ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﺗﺎ آﯾﻨﺪه ﻣﺤﺼﻮﻻت را ﺷﻨﺎﺳﺎﯾﯽ ﮐﻨﯿﻢ‬،‫اﯾﻦ ﭘﺪﯾﺪه‬
‫ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎﻧﯽ از ھﻨﺪ و اﯾﺮان اﻧﺠﺎم دادﯾﻢ ﺗﺎ ﭘﺎﺳﺦھﺎی ﻣﻤﮑﻦ ﺑﮫ اﯾﻦ ﭘﺮﺳﺶھﺎ ﺑﮫدﺳﺖ آﯾﺪ ﮐﮫ آﯾﺎ طﺮاﺣﯽ‬
‫ﻣﯽﺗﻮاﻧﺪ ﭘﯿﺎم ﯾﮑﺴﺎﻧﯽ را ﺑﮫ ﮐﺎرﺑﺮان ﻣﻨﺘﻘﻞ ﮐﻨﺪ؟ آﯾﺎ ﻣﺮدم ﺳﻠﯿﻘﮫھﺎی ﯾﮑﺴﺎﻧﯽ دارﻧﺪ؟ در اﯾﻦ آزﻣﺎﯾﺶ ﺗﻼش ﮐﺮدﯾﻢ‬
.‫ﺗﺎ درک ﻣﺸﺘﺮک از ﻧﺸﺎﻧﮫھﺎ را ﻣﯿﺎن اﯾﺮاﻧﯿﺎن و ھﻨﺪیھﺎ در ﻣﻮرد ﺷﮑﻞ ﺻﻮرت ﺧﻮدرو ﭘﯿﺪا و ارزﯾﺎﺑﯽ ﮐﻨﯿﻢ‬
产品设计中的工艺制作可以概括为对产品美学深思熟虑的一种创造性活动。艺术
和设计的工艺制作受到了设计风格、社会科学领域发展和趋势的影响，如“工艺
美术运动”（Arts & Crafts）和现代主义风格的影响。工艺制作既需要注意产品的
美学，又需要考虑消费者的愿望，然而事实上，自从现代主义的开端以来，虽然
社会上存在着不同愿望的多样性，但没有人能兼顾所有消费者的意见。设计作品
即使是针对某一特定的文化，它也只能回应一部分消费者的愿望，这部分消费者
在现代风格里被称为“目标群体”（Target.Group）。这是工艺乃至现代社会的一
个主要问题。为了揭示这种现象，我们通过文献回顾来研究手工艺品的未来，并
面向印度和伊朗的人群进行一项调查，以寻找这些问题的答案：设计能否向用户
传达始终一致的信息？人们是否具有共同的需求？同时我们尝试找出并评估伊朗
人和印度人对汽车前脸相关标志的共同认识。
Craft making in product design can be summed up as a creative activity that
contemplates the aesthetical aspects of a product. Making craft through art and design
has been influenced by directions and developments in the domains of design styles
and social sciences; such as styles of Arts&Crafts and Modernism. This involves
covering desires keeping in mind the aesthetical aspects of the product, but in reality
from the beginning of Modernism, no one could cover all the consumers’ opinion;
despite the existence of multiplicity of different desire in a society. Even when the
design is for a specific culture again it can only answer to desires of a few numbers of
consumers which in Modern style call it ‘Target Group’. This is the main issue of
craft/modern society. In order to show this phenomenon, the literature review helps us
to identify the future of manmade artifact; an experiment has been conducted
involving respondents from India and Iran. Seeking possible answers on whether
design can transfer the same message to the users?. Do people have common desires?
an attempt has been made to skim out and evaluate the results of common
understanding of signs between people in Iranian and Indian, pertaining to car face.

79
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺳﺎﺧﺖ ﻣﺤﺼﻮل را ﻣﯽﺗﻮان ﯾﮏ ﺣﻞ ﻣﺴﺌﻠﮫ ﺧﻼﻗﺎﻧﮫ داﻧﺴﺖ ﮐﮫ در ﺟﻨﺒﮫھﺎی زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﻣﺤﺼﻮل دﺳﺖ ﺳﺎز‬
车 ‫ ﭘﺮﺳﺸﯽ ﮐﮫ در‬.‫ اﯾﻦ ﯾﻌﻨﯽ ﭘﻮﺷﺶ ﺳﻠﯿﻘﮫھﺎ ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺟﻨﺒﮫھﺎی زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﻣﺤﺼﻮل‬.‫دﻗﯿﻖ ﻣﯽﺷﻮد‬
设 ‫اﯾﻨﺠﺎ ﭘﯿﺶ ﻣﯽآﯾﺪ اﯾﻦ اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان ﭼﻄﻮر ﺑﮫ رﺿﺎﯾﺖ ﻓﺮدی ﻣﯽرﺳﻨﺪ؟ ﻣﺴﺌﻠﮫ از آﻧﺠﺎ ﻧﺎﺷﯽ ﻣﯽﺷﻮد ﮐﮫ ﭘﺲ‬
计 ‫ ﺻﻨﻌﺘﮕﺮان ﺗﻨﮭﺎ ﻧﻈﺮات ﺧﻮد را اﻋﻤﺎل ﻣﯽﮐﺮدﻧﺪ و ﺗﻮﺟﮭﯽ ﺑﮫ ﭘﯿﺎم ﻣﻄﻠﻮب ﻣﺼﺮفﮐﻨﻨﺪه‬،‫از اﻧﻘﻼب ﺻﻨﻌﺘﯽ‬
的 ‫ در اﯾﻦ دوران طﺮاﺣﺎن ﺳﻠﯿﻘﮫ ﻣﺸﺘﺮک ﺟﺎﻣﻌﮫ را از طﺮﯾﻖ ﻧﻈﺮﺳﻨﺠﯽ ﺑﮫدﺳﺖ ﻣﯽآوردﻧﺪ و‬.‫ﻣﺤﺼﻮل ﻧﺪاﺷﺘﻨﺪ‬
演 ،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.‫طﺮح آﻧﮭﺎ ﺗﻨﮭﺎ ﯾﮏ ﮔﺮوه از ﻣﺮدم را ﮐﮫ ﭼﻨﯿﻦ ﺳﻠﯿﻘﮫای داﺷﺘﻨﺪ ﭘﻮﺷﺶ ﻣﯽداد و ﺑﮫ ﺑﻘﯿﮫ ﻧﻤﯽﭘﺮداﺧﺖ‬
进 ‫ھﻤﮫ ﻣﺤﺼﻮﻻت ﺗﻮﻟﯿﺪ اﻧﺒﻮه ﺷﺪه دﭼﺎر اﯾﻦ ﻣﺸﮑﻞ ﺑﻮدﻧﺪ ﮐﮫ ﻧﻤﯽﺗﻮاﻧﺴﺘﻨﺪ ﺑﺮای ﺗﻤﺎم اﻋﻀﺎء ﺟﺎﻣﻌﮫ ارزش ﺧﻠﻖ‬
简
‫ ﻣﺸﮑﻠﯽ ﮐﮫ ﺗﻔﮑﺮ ﭘﺴﺎﻣﺪرن و ﻧﻈﺮﯾﮫھﺎی‬.‫ اﯾﻦ ﻣﺸﮑﻞ اﺻﻠﯽ طﺮاﺣﯽ ﻣﺤﺼﻮل در دوره ﻣﺪرن ﺑﻮد‬.‫ﮐﻨﻨﺪ‬
介
.‫ﺗﻮﺻﺮﻓﮑﻨﻨﺪه ﻣﯽﺗﻮاﻧﻨﺪ از طﺮﯾﻖ راﺿﯽﮐﺮدن ﺗﻤﺎم ﮐﺎرﺑﺮان ﺟﺎﻣﻌﮫ آن را ﺣﻞ ﮐﻨﻨﺪ‬
‫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺑﮫ طﻮر روزاﻓﺰوﻧﯽ در ﺧﻠﻖ ارزش ﺧﻮد ﻧﻘﺸﯽ ﻓﻌﺎل اﯾﻔﺎ‬،‫در ﺟﺎﻣﻌﮫ ﺻﻨﻌﺘﮕﺮی ﭘﺴﺎﻣﺪرن‬
.‫ اﮐﻨﻮن ﺷﺮﮐﺖھﺎ و ﮐﺎرﺑﺮان داﺋﻢ در اﻗﺪاﻣﺎت اﺑﺘﮑﺎری و ﺳﺎزﻧﺪه ﺑﺮای ﺣﻞ ﻣﺸﮑﻞ ﺑﺎ ھﻢ ھﻤﮑﺎری دارﻧﺪ‬.‫ﻣﯽﮐﻨﻨﺪ‬

产品设计中的工艺制作可以概括为对手工艺品美学深思熟虑的一种解决问题的创
造性活动。这个过程既需要注意产品的美学，又需要考虑消费者的愿望。这里出
现了一个疑问，用户是如何达到个人满足的？这个问题在工业革命的时候便开始
存在了，那时汽车制造商只是把自己的想法付诸实践，没有考虑用户想要获取的
信息，这一时期做过调查的设计师发现了社会上人们存在共同需求，而他们的设
计只能迎合有共同需求的一部分人群，避开其他人。因此所有的生产（大规模生
产）在不能为社会的每个成员都创造价值时，都面临着同样的问题，这也是“生
产消费者”（Prosumer）的现代、后现代思想和理论针对的主要问题，并且可以
通过满足社会上所有用户的需求来解决它。
在后现代工艺社会中，当消费者在创造自身价值的过程中发挥日益积极的角色，
这个问题就不再存在了。
Product making can be described as a creative problem solving activity that
contemplates the aesthetical aspects of a handicraft. This involves covering desires
keeping in mind the aesthetical aspects of the product. A question arises here. How
users reach to the level of individual satisfaction? The problem starts by industrial
revolution when manufacturer just apply their opinion without thinking about desired
message of user; in this era designers with a survey were finding the common desires
in society and their design just could cover a group of people whoever had the same
common desires and escape others. Therefore all kinds of production (mass production)
had the same problem when they could not do the value creation for every member of
society, which was the main problem of modern; and post-modern thinking and
theories of Prosumer could solve it through satisfaction of all users in the society. In
the Post-modern craft society,
problem is no longer as
costumers take increasingly
active roles in the creation of
their own value. Now
companies and users
continually co-operate in
innovative and productive
efforts more to pass the issue.
80
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺑﺎ درﻧﻈﺮ ﮔﺮﻓﺘﻦ ﻣﺮدم ﺑﮫ‬.‫اﯾﻦ ﮔﺬار ﻣﺴﺘﻠﺰم ﺗﻐﯿﯿﺮی ﺑﻨﯿﺎدﯾﻦ در ﺗﻔﮑﺮ طﺮاﺣﯽ از ﻣﺪرﻧﯿﺴﻢ ﺑﮫ ﭘﺴﺎﻣﺪرﻧﯿﺴﻢ اﺳﺖ‬
车 ‫ طﺮاﺣﯽ آﯾﻨﺪهﻧﮕﺮ ﺑﺎﯾﺪ ﺑﺮ ﺗﺄﻣﯿﻦ ﺳﻠﯿﻘﮫ ھﻤﮫ اﻓﺮاد ﺟﺎﻣﻌﮫ ﻣﺘﻤﺮﮐﺰ ﺑﺎﺷﺪ و از طﺮﯾﻖ‬،‫ﻋﻨﻮان ﮐﺎرﺑﺮ ﻧﮭﺎﯾﯽ‬
设 ‫ﻓﺮاھﻢﮐﺮدن اﻣﮑﺎن ھﻤﮑﺎری ﻣﯿﺎن ﮐﺎرﺑﺮان و ﺻﻨﻌﺘﮕﺮان در ﻓﺮاﯾﻨﺪ طﺮاﺣﯽ ﺑﮫ دﻧﺒﺎل ﺑﺮﻗﺮاری رواﺑﻄﯽ ﺳﻮدﻣﻨﺪ‬
计 .‫ ﮐﺎرﺑﺮ را در ﻣﺮﮐﺰ ﺗﻮﺟﮫ ﻗﺮار ﻣﯽدھﺪ‬،‫ اﯾﺪه ﮔﺬار از دوران ﻣﺪرن در طﺮاﺣﯽ ﺳﺎزﻧﺪه‬.‫ﺑﺮای ھﺮ دو طﺮف ﺑﺎﺷﺪ‬
的 ‫ ﺗﺴﮭﯿﻞ و ﭘﺮورش‬.‫زداﯾﯽ ﭘﯿﺸﻨﮭﺎدی اﯾﻦ اﯾﺪه ﻣﯽﺗﻮاﻧﺪ ﺑﮫ ﺷﺨﺼﯽﺳﺎزی طﺮاﺣﯽ ﺑﺮای ﮐﺎرﺑﺮان ﻣﻨﺠﺮ ﺷﻮد‬ ‫اﻧﺒﻮه‬
ِ
演 ‫اﯾﻦ ﺟﺎﯾﮕﺎه وﯾﮋه ﺗﺎ ﺣﺪی ﻣﺮھﻮن ﺗﻤﺎﯾﻞ روزاﻓﺰون ﺳﺎزﻧﺪه ﺑﮫ واﮔﺬاری ﺑﺨﺸﯽ از وظﺎﯾﻒ طﺮاﺣﯽ و ﺗﻮﻟﯿﺪ ﺑﮫ‬
进 ‫ ﺷﺮﮐﺖھﺎ ﺑﺎ اﯾﻦ ﮐﺎر ﮐﺎرﺑﺮ را در ﻓﺮاﯾﻨﺪ ﺳﺎﺧﺖ دﺳﺘﯽ ﺷﺮﮐﺖ و ﺑﮫ آﻧﮭﺎ آزادی‬.‫ﮐﺎرﺑﺮ ﺟﮭﺖ ﺗﺄﻣﯿﻦ ﺳﻠﯿﻘﮫ اوﺳﺖ‬
简
‫ ھﻤﮕﺮاﯾﯽ ﻓﻨﺎوریھﺎی ﺑﮫﺳﺮﻋﺖ در ﺣﺎل ظﮭﻮر ﮐﮫ از ﭘﺘﺎﻧﺴﯿﻞ ﺗﺒﺪﯾﻞ ﮐﺎرﺑﺮان ﺑﮫ ﺻﻨﻌﺘﮕﺮان اﺳﺘﻔﺎده‬.‫ﻣﯽدھﻨﺪ‬
介
‫ اﮐﻨﻮن ﮐﺎرﺑﺮان و ﺷﺮﮐﺖھﺎ در ﺳﺎﺧﺖ ﻋﺼﺮ‬.‫ﻣﯽﮐﻨﻨﺪ ﺑﺴﯿﺎری از ﺟﻨﺒﮫھﺎی دﻧﯿﺎی طﺮاﺣﯽ را ﺗﻐﯿﯿﺮ داده اﺳﺖ‬
.‫ﺟﺪﯾﺪ ﭘﺴﺎﻣﺪرن ﺷﺮﯾﮏ ھﻢ ھﺴﺘﻨﺪ‬
现在企业和用户不断合作，在创新和生产上努力，从而解决这个问题。这也要求
设计思维必须在根本上从现代主义转向后现代主义。以人为最终用户，需要未来
主义的设计，必须专注于覆盖社会中每一个人的需求，并通过让用户在设计过程
中成为手艺人的合作者，积极寻求参与性的互利关系。这种在设计中超越现代期
的理念，把焦点放在了制造商和用户身上，它暗示了可以为用户个性化设计的分
众化（demassification）。制造商越来越愿意将设计和生产任务的一部分让渡给用
户，并满足其需求，这部分促进了这种特权用户的地位。通过这样的设置，公司
让用户参与到手工制作的过程中，并实现了新的解放。借助用户作为手艺人的潜
力，技术融合迅速兴起，改变了设计界的许多方面。现在，用户和公司都是构建
后现代新时期的合作伙伴。
This passing necessitates a fundamental shift in design thinking from modernism to
post-modernism. Considering people as the end users, need futuristic design which
must concentrate on covering everyone desirers in the society, and actively seek
engaged mutually beneficial relationships by enabling users to be handicraftsmen
collaborator in the design process. This idea of passing modern era in design puts the
spotlight on the manufacturer and users in; it suggests demassification that can
personalize design for users. This privileged user position is partially facilitated and
fostered by the manufacturers' increased willingness to relinquish some part of the
design&production task to user, and cover his desires. By placing this, companies
allow user to engage in man-made process, and newly liberated. A convergence of
technologies rapidly emerging using potential of users working as a handicraftsmen;
this has changed many aspects of the design world. Now users and companies are
partners in constituting new era of post-modern.

Figure: Comparison between Classic, Modern and Postmodern Styles.

81
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮐﮫ از طﺮﯾﻖ اﻓﺰاﯾﺶ ﻣﺸﺎرﮐﺖ و رﺿﺎﯾﺖ ﮐﺎرﺑﺮ ﻧﮭﺎﯾﯽ ﺑﺮای‬،‫ﺷﺮﮐﺖھﺎ اﯾﻦ واﻗﻌﯿﺖ طﺮاﺣﯽ ﻣﺸﺎرﮐﺘﯽ ﺟﺪﯾﺪ را‬
车 ‫ ﻣﺠﻤﻮع ﻧﺘﺎﯾﺞ اﯾﻦ‬.(٢٠٠٩ ،Darmody) ‫ ﺑﮫ رﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﮫاﻧﺪ‬،‫ﺳﺎزﻣﺎن ﻋﻤﻠﮑﺮد ﺑﺮﺗﺮ ﺑﮫ ارﻣﻐﺎن ﺧﻮاھﺪ آورد‬
设 ‫ ﮐﺎرﺑﺮان ﻣﮭﺎرتھﺎی‬.‫اﻗﺪام ﺧﻼﻗﺎﻧﮫ ﺑﯿﺸﺘﺮ از آن ﭼﯿﺰی اﺳﺖ ﮐﮫ ﺷﺮﮐﺖ ﺑﮫ ﺗﻨﮭﺎﯾﯽ ﻣﯽﺗﻮاﻧﺪ ﺑﮫ آن دﺳﺖ ﯾﺎﺑﺪ‬
计 ‫ ﮐﺎرﺑﺮان ﺳﺎزﻧﺪﮔﺎﻧﯽ ھﺴﺘﻨﺪ ﮐﮫ ﺷﺮﮐﺖھﺎ‬،‫ از اﯾﻦ دﯾﺪﮔﺎه‬.‫ﺧﺎﺻﯽ دارﻧﺪ ﮐﮫ ﺷﺮﮐﺖھﺎ ﻣﯽﺗﻮاﻧﻨﺪ از آﻧﮭﺎ اﺳﺘﻔﺎده ﮐﻨﻨﺪ‬
的 ‫ﺑﮫ آﻧﮭﺎ ﻣﺠﻮز دادهاﻧﺪ ﺗﺎ اﻟﺰاﻣﺎت وﯾﮋه ﺧﻮد را ﺗﺸﺮﯾﺢ و ﻣﮭﺎرتھﺎی ﺧﺎص ﺧﻮد را ﺑﺮ وظﺎﯾﻒ ﻣﺼﺮﻓﯽ ﻣﻮﺟﻮد‬
演 ‫ وﺟﻮد ﮐﺎرﮐﻨﺎن‬،‫ ھﻤﭽﻨﯿﻦ‬.‫ ﺷﺮﮐﺖ از ﺑﺮونﺳﭙﺎری ﮐﺎر ﺑﮫ ﮐﺎرﺑﺮان ﻣﺘﻨﻮع و ﻣﻨﻌﻄﻒ ﺳﻮد ﻣﯽﺑﺮد‬.‫اﻋﻤﺎل ﮐﻨﻨﺪ‬
进 ‫ ﺷﺮﮐﺖ‬،‫ ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ‬.‫ﺳﺎزﻧﺪه راﯾﮕﺎن ﺗﻤﺎم ﺟﻨﺒﮫھﺎی زﻧﺪﮔﯽ را ﺑﮫ ﺷﺎﺧﮫھﺎﯾﯽ از ﺗﻮﻟﯿﺪ ﺳﺮﻣﺎﯾﮫداری ﺗﺒﺪﯾﻞ ﻣﯽﮐﻨﺪ‬
简
‫ﺑﺴﺘﺮی ﺑﺮای ﺗﺒﺎدل ﺑﮫوﺟﻮد ﻣﯽآورد ﮐﮫ در آن ﺑﮫ ﮐﺎرﺑﺮان آزادی ﻓﺮدی ﻣﯽدھﺪ و ﺑﺎ ﺑﮫﮐﺎرﮔﯿﺮی ﭘﺘﺎﻧﺴﯿﻞ آﻧﮭﺎ در‬
介
‫ ﮐﺎرﺑﺮان ﭘﻮل ﭘﺮداﺧﺖ ﻣﯽﮐﻨﻨﺪ ﺗﺎ ﮐﺎرﮐﻨﺎﻧﯽ‬،‫ در ﻋﯿﻦ ﺣﺎل‬.‫ﺧﻠﻖ طﺮاﺣﯽ ﺑﺪون رﯾﺴﮏ ﺳﻼﯾﻘﺸﺎن را ﺗﺄﻣﯿﻦ ﻣﯽﮐﻨﺪ‬
‫ ﻣﺎﯾﻠﯿﻢ اﻣﮑﺎن ﮔﺬار ﺻﻨﻌﺖ ﺧﻮدروﺳﺎزی را‬،‫ ﺑﺮ ﻣﺒﻨﺎی اﯾﻦ ﻧﮑﺎت ﻣﻘﺪﻣﺎﺗﯽ‬.(٢٠٠٩ ،Darmody) ‫راﯾﮕﺎن ﺑﺎﺷﻨﺪ‬
‫ ﺧﻄﻮط‬،‫ ﻣﮭﺎرتھﺎی ﮐﺎرﺑﺮان‬،‫ در ﺧﺼﻮص اﻧﺒﻮهزداﯾﯽ‬،‫ ﺑﺮای اﯾﻦ ﻣﻨﻈﻮر‬.‫ﺑﮫ ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن ﺑﺮرﺳﯽ ﮐﻨﯿﻢ‬
‫ از آﻧﺠﺎ ﮐﮫ اﻋﻀﺎء ﯾﮏ ﺟﺎﻣﻌﮫ ﺳﻼﯾﻖ زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ‬،‫ ھﻤﭽﻨﯿﻦ‬.‫ﺗﻤﺎﯾﻞ و ﺗﺠﺮﺑﮫ ﮐﺎرﺑﺮی ﺻﺤﺒﺖ ﺧﻮاھﯿﻢ ﮐﺮد‬
.‫ ﺑﮫ ﮐﻤﮏ آزﻣﺎﯾﺶ ﻧﺸﺎن ﺧﻮاھﯿﻢ داد ﮐﮫ ﺳﻠﯿﻘﮫ ﮐﺎرﺑﺮان ﻓﺎزی ﻋﻤﻞ ﻣﯽﮐﻨﺪ‬،‫ﻣﺘﻔﺎوﺗﯽ دارﻧﺪ‬
汽车公司认识到了这种协作设计的新现实，可以通过增加最终用户的参与和满意
度，来实现卓越的组织表现（Darmody，2009）。用户的这种创造性付出的总和
要远远大于公司所能独自实现的。用户有一系列特定技能是公司可以使用的。从
这个角度来看，用户是工艺制作者，他们获得公司的授权，得以明确自己的具体
要求，并将其特殊技能应用于手头的消费任务。公司则通过外包给多样、灵活的
用户而收益。而且，这相当于有了免费的工艺制作员工，生活的方方面面都成为
资本主义生产的延伸。基于这个想法，公司建立一个交换平台，从而利用用户的
潜力创造无风险的设计，同时为用户提供个人自由，满足用户的需求，而用户则
付费来担任免费的工艺制作员工（ Darmody，2009）。
基于前言的这些观点，我们渴望探讨汽车产业向后现代社会过渡的可能性。为此，
我们对分众化、用户技能、需求线和用户体验进行了更多讨论，由于社会的每一
个成员都有不同的审美愿望，我们通过研究证明了用户的欲望是模糊的。

Companies recognize this new collaborative design reality which will achieve superior
organizational performance by way of increased end user involvement and satisfaction
(Darmody, 2009). The sum total of this creative user effort is greater than what the
company can achieve alone. Users have a range of specific skills that companies can
use them. From this perspective, users are craft-makers, who are granted authority by
companies to articulate their specific requirements and apply their particularized skills
to the consumption tasks at hand. The company get benefit from outsourcing to a
diverse and flexible user. Also with free craft-maker employee, all facets of life
become extensions of capitalist production. With this idea, a company makes
a platform for exchange, where company offers users individual freedom and cover
users’ desires by using potential of them to create non-risk design, and users pay for
being free craft-maker employee (Darmody, 2009).
Based on these points of introduction in this research we are eager to find out the
possibility of passing the car industry to the post-modern society. For this aim we have
more discussion about demassification, skills of user, desire lines, and user
experience; and since every member of society has different aesthetic desires, we
show the desires of users are Fuzzy through an experiment.
82
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ھﻨﺮ و ﺻﻨﻌﺖ ﭘﺴﺎﻣﺪرن‬

车
设
后现代工艺
计 Post-modern craft
的
演 ‫ ﺧﻮدروﺳﺎزان ھﺮ روز ﺑﯿﺸﺘﺮ ﺑﮫ طﺮاﺣﯽ‬.‫اﻣﺮوزه ﺷﺮﮐﺖھﺎ ﺗﻮﻟﯿﺪ ﻗﻄﻌﺎت و اﺟﺰاء را ﺑﮫ ﺗﺄﻣﯿﻦﮐﻨﻨﺪﮔﺎن ﺳﭙﺮدهاﻧﺪ‬
进 ‫ اﻣﺎ ﺑﺮای ﭘﯿﺸﮕﻮﯾﯽ‬،‫ آﻧﮭﺎ ﻣﯽﺧﻮاھﻨﺪ درﺑﺎره آﯾﻨﺪه ﺑﺪاﻧﻨﺪ‬.(٢٠٠٩ ،‫ و ھﻤﮑﺎران‬Niemann) ‫و ﺧﺪﻣﺎت ﻣﯽاﻧﺪﯾﺸﻨﺪ‬
简 ‫ اﯾﻦ در ﺣﺎﻟﯽ اﺳﺖ ﮐﮫ‬.‫در ﺣﻮزه طﺮاﺣﯽ ﺑﺎﯾﺪ ﺑﺘﻮاﻧﯿﻢ ﭘﯿﺶﺑﯿﻨﯽ ﮐﻨﯿﻢ ﮐﮫ ﮐﺎرﺑﺮ ﺑﮫ دﻧﺒﺎل ﭼﮫ ﺗﺠﺮﺑﮫای اﺳﺖ‬
介 ‫ اﯾﻦ‬.(٢٠١١ ،Sawhney ‫ و‬Prahalad) ‫ﭘﯿﺶﺑﯿﻨﯽ اﯾﻨﮑﮫ اﯾﻦ ﺗﺠﺮﺑﮫ ﭼﮫ ﺑﺎﯾﺪ ﺑﺎﺷﺪ ﺑﮫ ﻗﺪر ﮐﺎﻓﯽ دﺷﻮار اﺳﺖ‬
‫ ﻣﯽداﻧﯿﻢ ﮐﮫ ﮐﺎرﺑﺮان آﯾﻨﺪه‬.‫ﭘﯿﺶﺑﯿﻨﯽھﺎ ﺷﺎﯾﺴﺘﮕﯽھﺎی ﻣﺤﻮری اﯾﻦ ﭘﮋوھﺶ درﺑﺎره ﻣﺤﺼﻮﻻت ﮐﺎرﺑﺮﻣﺤﻮر ھﺴﺘﻨﺪ‬
‫ طﺮاﺣﺎن از طﺮﯾﻖ ﭘﮋوھﺶھﺎی آﻣﺎری روی ﻓﺮھﻨﮓ‬،‫ ھﻤﭽﻨﯿﻦ‬.‫اﺟﺎزه ﻧﺨﻮاھﻨﺪ داد ﮐﺴﯽ ﺑﺮای آﻧﮭﺎ ﺗﺼﻤﯿﻢ ﺑﮕﯿﺮد‬
‫ ﻣﺤﺼﻮﻟﯽ‬،‫ در آﯾﻨﺪه‬.‫ﺳﻼﯾﻘﯽ را ﻣﯽﯾﺎﺑﻨﺪ ﮐﮫ ﻣﯿﺎن اﻓﺮاد ﺟﺎﻣﻌﮫ ﻣﺸﺘﺮکاﻧﺪ اﻣﺎ ﺑﺎ ﺳﻼﯾﻖ ﺗﮏﺗﮏ اﻓﺮاد ﻓﺮق دارﻧﺪ‬
‫ ﻓﻨﺎوریھﺎی ﺟﺪﯾﺪ ﻣﯽﺗﻮاﻧﻨﺪ ﺑﺮ زﻧﺪﮔﯽ ﮐﺎرﺑﺮان‬.‫ﮐﮫ ﻧﺘﻮاﻧﺪ ﺳﻠﯿﻘﮫ ﺗﮏﺗﮏ اﻓﺮاد ﺟﺎﻣﻌﮫ را ﺗﺄﻣﯿﻦ ﮐﻨﺪ رد ﻣﯽﺷﻮد‬
‫ ﭼﺮا ﮐﮫ اﯾﻦ‬،‫( و اﯾﺪهھﺎی ﺟﺪﯾﺪ ﺑﺮای ﻣﺤﺼﻮﻻت ﺟﺪﯾﺪ ﺧﻠﻖ ﮐﻨﻨﺪ‬٢٠٠٨ ،Minor ‫ و‬Mowen) ‫اﺛﺮ داﺷﺘﮫ ﺑﺎﺷﻨﺪ‬
‫ﻓﻨﺎوریھﺎ ﺑﮫ ﺧﻮﺑﯽ ﻣﺎ را ﻗﺎدر ﺑﮫ ﮔﺬار ﺑﮫ ﻋﺼﺮ ﭘﺴﺎﻣﺪرن ﮐﺮدهاﻧﺪ؛ ﮔﺬاری ﮐﮫ ﺑﮫ ﮐﺎرﺑﺮ اﻣﮑﺎن ﻣﯽدھﺪ ﺑﮫ ﻋﻨﻮان‬
‫ ھﻤﯿﺸﮫ از ﺻﻨﻌﺘﮕﺮان ﺣﺮﻓﮫای اﻧﺘﻈﺎر ﻣﯽرود ﮐﮫ ﺗﻮاﻧﺎﯾﯽ طﺮاﺣﯽ داﺷﺘﮫ‬.‫ﯾﮏ ﺻﻨﻌﺘﮕﺮ در ﮐﺎر ﻣﺸﺎرﮐﺖ ﮐﻨﺪ‬
‫ ﭼﺮا ﮐﮫ آﻧﮭﺎ ھﻤﯿﺸﮫ ﺗﺮﮐﯿﺒﺎت ﻣﺨﺘﻠﻔﯽ از ﻟﺒﺎس و‬،‫ ﮐﺎرﺑﺮان ھﻢ ﻣﯽﺗﻮاﻧﻨﺪ دارای ﭼﻨﯿﻦ ﺗﻮاﻧﺎﯾﯽھﺎﯾﯽ ﺑﺎﺷﻨﺪ‬.‫ﺑﺎﺷﻨﺪ‬
.‫آراﯾﺶ را اﻣﺘﺤﺎن ﻣﯽﮐﻨﻨﺪ‬
如今，公司已将零部件的生产留给供应商。汽车制造商越来越多地考虑设计和服
务（Niemann 等，2009）。他们希望了解未来，但设计上的“算命师”需要预测用
户想要什么样的体验。尽管很难预测它必须是什么样的（Prahalad 和 Sawhney，
2011），这些预测却是我们研究面向用户产品的核心能力。我们看到，将来用户
不会允许任何人为他们做决定，也不会让设计师通过对文化的统计研究来发现用
户愿望，这种愿望是社会中人与人之间常见的，又因个人愿望而有所不同。在未
来，产品如果不能满足社会中每个人的愿望，就会被淘汰。新技术可以影响用户
的生活（Mowen 和 Minor，2008），它可以帮助我们产生孕育新产品的新想法；
因为技术已经给了我们足够的能力，使我们能够过渡到后现代时期，一个让用户
作为手艺人参与其中的时期。一直以来，专业的手工艺人员都有设计能力，用户
也可能有设计能力，因为他们能做服装搭配和化妆。
Nowadays, companies have left production of components for suppliers. Carmakers more
and more think about design and service (Niemann et al., 2009). They are looking to know
about future, but being a fortune-teller in design needs to forecast what experience users
want? It is hard enough to predict what it must be (Prahalad and Sawhney, 2011). These
predictions are the core competencies of our research on user orientated products. We see
tomorrow’s user is not allowing anyone decide for him or designer with a statistical
research on culture find desires, which are common between people in the society, and
different with his individual desire. In future the product which can not cover the desires
of every individual in society is rejected. New technologies can have effects on the users’
life (Mowen and Minor, 2008), it can help generating new ideas for new products; as
technology has given us enough ability for transition to Post-modern era, a transition
which let user participate as a handicraftsman. Always professional handicraftsmen are
expected to have design abilities; users also may have design ability since they can do
arrangement of clothes combination and makeup.

83
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ اﺷﺎرات ﻗﺪرﺗﻤﻨﺪی از رﺷﺪ ﻣﮭﺎرت طﺮاﺣﯽ را در ﻣﮭﺪﮐﻮدکھﺎ ﻣﯽﺑﯿﻨﯿﻢ و آﺛﺎر طﺮاﺣﯽ‬،‫ﺟﺪای از اﯾﻦ ﻣﻄﻠﺐ‬
车 .‫ﺷﺎﯾﺴﺘﮫ داﻧﺶآﻣﻮزان دﺑﺴﺘﺎﻧﯽ و راھﻨﻤﺎﯾﯽ ھﻢ ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﺗﻮاﻧﺎﯾﯽ طﺮاﺣﯽ در ذات ھﻤﮫ اﻧﺴﺎنھﺎ وﺟﻮد دارد‬
设 ‫ ﺣﺘﯽ در ﺟﻮاﻣﻊ ﺻﻨﻌﺘﯽ ھﻢ ﮐﮫ‬.‫ ﻣﺮدم اﻏﻠﺐ ﭼﯿﺰھﺎی ﺑﺴﯿﺎر زﯾﺒﺎﯾﯽ ﻣﯽﺳﺎزﻧﺪ‬،‫در ﺟﻮاﻣﻊ ﻣﺒﺘﻨﯽ ﺑﺮ ﺻﻨﺎﯾﻊ دﺳﺘﯽ‬
计 ‫ ﮔﺎھﯽ ھﻢ اﻓﺮاد در‬.‫ ﻣﯽﺑﯿﻨﯿﻢ ﮐﮫ ﮐﺎرﺑﺮان ﺑﮫ دﻧﺒﺎل ﻧﺤﻮه ﮐﺎرﮐﺮدن ﭼﯿﺰھﺎ ھﺴﺘﻨﺪ‬،‫طﺮاﺣﺎن ﺣﺮﻓﮫای ﺣﻀﻮر دارﻧﺪ‬
的 ‫ ﺑﺮای اطﻤﯿﻨﺎن از ﻣﻮﺿﻮع‬.‫اﯾﻦ ﺟﻮاﻣﻊ ﭼﯿﺰھﺎﯾﯽ ﺑﺎ طﺮاﺣﯽ ﺳﺎده و ﺑﺎ ﺧﺼﻮﺻﯿﺎت ﻣﺜﺒﺖ ھﻨﺮ آﻣﺎﺗﻮر ﻣﯽﺳﺎزﻧﺪ‬
演 ،‫ﻣﯽﺗﻮاﻧﯿﺪ ﺑﮫ ﮐﺘﺎب »طﺮاﺣﯽ و ﻣﺸﺎھﺪه« رﺟﻮع ﮐﻨﯿﺪ ﺗﺎ ﻣﺘﻮﺟﮫ ﺷﻮﯾﺪ ﮐﮫ ھﻤﮫ ﻣﯽﺗﻮاﻧﻨﺪ طﺮاﺣﯽ ﮐﻨﻨﺪ )ﺟﻌﻔﺮﻧﯿﺎ‬
进 ‫ ﻧﻤﻮﻧﮫای از اﯾﻦ ﻣﻮﺿﻮع »ﺑﺮجھﺎی واﺗﺲ« ﺳﯿﻤﻮن رودﯾﺎ ھﺴﺘﻨﺪ ﮐﮫ آﻧﮭﺎ را ﺑﺎ واردﮐﺮدن اﻓﺮاد ﻋﺎدی‬.(٢٠١٣
简
.‫ﺑﮫ ﻓﺮاﯾﻨﺪ طﺮاﺣﯽ ﭘﺮوژه ﻣﻌﻤﺎری در ﺣﯿﺎط ﭘﺸﺘﯽ ﺧﺎﻧﮫاش در ﻟﻮسآﻧﺠﻠﺲ ﺳﺎﺧﺘﮫ اﺳﺖ‬
介
除此之外，人的设计能力在幼儿园时就开始得到发展，这是有明显迹象可以佐证
的，中小学生出色的设计作业也可以证明，设计能力是每个人与生俱来的。在手
工艺社会，人们亲手制造物品，而且通常非常漂亮。即使在拥有专业设计师的工
业社会中，我们也看到用户希望知道产品应该如何做，甚至有时人们也设计简单
的物品，体现出业余艺术的诸多优良品质。书籍《设计与观察》（Design &
Observation）对这一点提供了佐证，在书上我们可以看到每个人是如何设计的
（Jaafarnia，2013）。一个例子就是西蒙·罗迪亚（Simon.Rodia）在洛杉矶自家
后院的“华兹塔”（Watts.Towers），在它的诞生过程中普通人参与了建筑项目的
设计。（译者注：华兹塔是西蒙·罗迪亚花费 33 年靠双手和简单的工具建造而成
的。信息来源：https://www.wattstowers.org/about-us）
Apart from this we see a strong indication of how design skill is growing in
kindergarten, also it has been seen from the competent design work of primary and
middle school that design ability is inherent in everyone. In craft-based societies,
people make objects and often very beautiful. Even in industrial societies which have
professional designers, we see users are looking to know
how things should be done, and sometimes people design
simple objects in industrial societies, with many of the
positive qualities that amateur art has; to prove this one
can have a look at the book name ‘Design &
Observation’ to see how everyone can design
(Jaafarnia, 2013). An example can be
the ‘Watts Towers’ of Simon
Rodia in his Los Angeles
backyard which has been
designed with
incorporation of
ordinary people into
the design process
of architectural
project.
Figure: watts
towers.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮔﺎھﯽ ﺧﻮاھﯿﻢ دﯾﺪ ﮐﮫ ﮐﺎرﺑﺮان‬،‫ ﻣﻘﺎﯾﺴﮫ ﮐﻨﯿﻢ‬،‫ از ﻧﻈﺮ ﺧﻼﻗﯿﺖ‬،‫اﮔﺮ ﮐﺎرﺑﺮان ﻋﺎدی را ﺑﺎ طﺮاﺣﺎن ﺣﺮﻓﮫای‬
车 ‫ اﻟﮑﺲ آزﺑﻮرن ھﻢ اﯾﻦ ﻣﺴﺌﻠﮫ را در ﺗﮑﻨﯿﮏ »طﻮﻓﺎن ﻣﻐﺰی« ﺧﻮد در ﻧﻈﺮ ﮔﺮﻓﺘﮫ و ﻣﯽﮔﻮﯾﺪ ﮐﮫ‬.‫ﺧﻼقﺗﺮ ھﺴﺘﻨﺪ‬
设 ‫ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن ﺑﺎﯾﺪ اﻓﺮاد ﻣﺘﻔﺎوﺗﯽ ﺑﺎ ﺗﺤﺼﯿﻼت ﻣﺘﻔﺎوت ﺑﺎﺷﻨﺪ ﺗﺎ ﻓﺮﺻﺘﯽ ﭘﯿﺶ آﯾﺪ ﮐﮫ ھﻤﮫ ﺗﺠﺮﺑﯿﺎت ﺧﻮد را ﺑﮫ‬
计 ،Mazursky ‫ و‬Goldenberg) ‫ اﻓﺮاد ﻋﺎدی اﯾﺪهھﺎی ﺧﻼﻗﺎﻧﮫ ﺑﮭﺘﺮی دارﻧﺪ‬،‫ ﮔﺎھﯽ ھﻢ‬.‫اﺷﺘﺮاک ﺑﮕﺬارﻧﺪ‬
的 ‫ »اھﻤﯿﺖ زﯾﺎدی دارد ﮐﮫ اﻓﺮاد ﻣﺘﻔﺎوﺗﯽ را در‬:‫( در ھﻤﯿﻦ ارﺗﺒﺎط ﻣﯽﮔﻮﯾﺪ‬٢٠١٢) ‫ وﯾﺎﻧﺎ و ھﻤﮑﺎران‬.(٢٠٠٢
演 ‫ﮐﺎرﺷﻨﺎس ﺗﺠﺮﺑﯿﺎت ﺧﻮد راهﺣﻞھﺎﯾﯽ‬ ‫ﻓﺮاﯾﻨﺪ ﺗﻮﻟﯿﺪ اﯾﺪه دﺧﺎﻟﺖ دھﯿﻢ؛ اﯾﻦ ﻣﻌﻤﻮﻻً ﺷﺎﻣﻞ اﻓﺮادی اﺳﺖ ﮐﮫ ﺑﮫ ﻋﻨﻮان‬
ِ
进 «‫« دان ﻧﻮرﻣﻦ ھﻢ ﻋﻘﯿﺪه ﻣﺸﺎﺑﮭﯽ دارد ﮐﮫ آن را در ﮐﺘﺎب آورده اﺳﺖ ﮐﮫ »ﻣﺎ ھﻤﮫ طﺮاحاﯾﻢ‬.‫اراﺋﮫ ﻣﯽدھﻨﺪ‬
简
‫ ﺑﺮ ﻣﺒﻨﺎی اﯾﻦ اظﮭﺎرات ﻣﯽﺗﻮان ﻧﺘﯿﺠﮫ ﮔﺮﻓﺖ ﮐﮫ طﺮاﺣﺎن ﻣﯽﺗﻮاﻧﻨﺪ ﺑﺎ ﻏﯿﺮﺣﺮﻓﮫایھﺎ ﻣﺎﻧﻨﺪ‬.(٢٠٠۴ ،Norman)
介
‫ اﯾﻦ ﮔﺬار‬.(٢٠٠۶ ،Cross) ‫ ﭼﺮا ﮐﮫ ﻣﮭﺎرت طﺮاﺣﯽ ﻣﺨﺘﺺ ﺣﺮﻓﮫایھﺎ ﻧﯿﺴﺖ‬،‫ ﮐﺎر و ھﻤﮑﺎری ﮐﻨﻨﺪ‬،‫ﮐﺎرﺑﺮان‬
‫ﺳﺎزی اﻧﺒﻮه ﻣﻔﮭﻮم ﺗﺎزهای اﺳﺖ ﮐﮫ از ﺗﻮاﻧﺎﯾﯽ ﮐﺎرﺑﺮ ﺑﺮای‬
ِ ‫ﺑﮫ ﻋﺼﺮ ھﻨﺮ و ﺻﻨﻌﺖ ﭘﺴﺎﻣﺪرن از طﺮﯾﻖ ﺳﻔﺎرﺷﯽ‬
‫( در ﮐﺘﺎب »ﻓﺮﻗﮫ آﻣﺎﺗﻮرھﺎ« از اﯾﻦ اﯾﺪه اﻧﺘﻘﺎد‬٢٠٠٧) ‫ اﮔﺮﭼﮫ اﻧﺪرو ﮐﯿﻦ‬،‫طﺮاﺣﯽ ﻣﺤﺼﻮل ﺧﻮد ﺳﺨﻦ ﻣﯽﮔﻮﯾﺪ‬
.(٢٠٠٩ ،Morris) ‫ﮐﺮده اﺳﺖ‬
在比较专业设计师和用户的创造力时，笔者发现有时用户更有创造力，亚历克
斯·奥斯本（Alex.Osborne）在他的“大脑风暴”技巧中也提到了同样的观点，即参
与者必须来自教育水平不同的人，因为它有机会分享每个人的经验。有时普通人
会 提 出更 好 的创 造性 想法 （ Goldenberg 和 Mazursky， 2002 ） 。Vianna 等 人
（2012）也提出与此相关的观点，说：“重要的是让不同类型的人参与到想法构
思的过程中，相应地就包括这样一类人：他们享受的解决方案是他们作为自身体
验的专家，凭借自己的能力来提供的”；唐·诺曼（Don.Norman）也有同样的观点，
他在自己的书中写道：“我们都是设计师。”（Norman，2004）。基于以上表述，
我们可以得出这样的结论：设计师可以与非专业人员（如用户）合作，因为设计
技能不是专业人员的专属（Cross，2006）。通过大规模定制向后现代工艺时期
的过渡，这是一个新概念，它描述了用户设计自己产品的能力，尽管安德鲁·基
恩（Andrew.Keen）在他的书《业余崇拜》（Cult.of.the.Amateur ） 中（2007）批
判了这一概念（Morris，2009）。
When we compare professional designers with users in terms of creativity, we see
sometimes users are more creative, Alex Osborne has mention the same in his
technique of ‘brain storming’ that participants must come from different people with
different educational level, since it has an opportunity to share everyone experiences.
And sometimes common people give creative ideas better (Goldenberg and Mazursky,
2002). Related to this Vianna et al. (2012) say: “it is important to have different kinds
of people involved in the process of generating ideas, and accordingly, this usually
includes the people who will be served by the solutions in their capacity as experts on
their own experience”; Don Norman has the same opinion, he had written in his book
that ‘We are all designers.’ (Norman, 2004).
Base on these statements one can conclude that the designers can work and collaborate
with the non-professionals such as users since skill of design is not only belonging to
professionals (Cross, 2006). This transition to Post-modern craft era through mass
customization is a new concept that describes a user’s ability to design his own
product, although this idea has been criticized by Andrew Keen (2007) in ‘Cult of the
Amateur’ (Morris, 2009).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫زﯾﺒﺎﯾﯽ ﭼﯿﺴﺖ؟‬
车
设
什么是美？
计 What is the beauty?
的
演 ‫ ﻓﻼﺳﻔﮫ و ھﻨﺮﻣﻨﺪاﻧﯽ دارﯾﻢ ﮐﮫ ھﺰاران ﺳﺎل اﺳﺖ ﺑﮫ دﻧﺒﺎل ﭘﺎﺳﺨﯽ ﺑﺮای اﯾﻦ ﺳﻮال‬،‫در ﺗﺌﻮری زﯾﺒﺎﯾﯽﺷﻨﺎﺳﯽ‬
进 ‫ اﻣﺎ ﺗﺎ ﮐﻨﻮن ﻧﺘﻮاﻧﺴﺘﮫاﻧﺪ ﭘﺎﺳﺦ ﯾﮑﺴﺎﻧﯽ ﺑﯿﺎﺑﻨﺪ ﮐﮫ ﺗﻮﺿﯿﺢ دھﺪ زﯾﺒﺎﯾﯽ در ﯾﮏ ﺷﯽء‬،‫ﻣﯽﮔﺮدﻧﺪ ﮐﮫ زﯾﺒﺎﯾﯽ ﭼﯿﺴﺖ‬
简 ‫ ﻣﺼﺮﯾﺎن و ﺳﭙﺲ ﯾﻮﻧﺎﻧﯿﺎن ﻧﺴﺒﺖ طﻼﯾﯽ را اﺑﺪاع ﮐﺮدﻧﺪ و ﺑﻌﺪﺗﺮ ﻓﻠﺴﻔﮫ‬،‫ از اﯾﻦ رو‬.‫ﺳﺎﺧﺘﮫ دﺳﺖ اﻧﺴﺎن ﭼﯿﺴﺖ‬
介 ‫ اﻣﺎ ﻓﺮھﻨﮓھﺎی دﯾﮕﺮ ﺑﺮای اﯾﻦ ﭘﺮﺳﺶ ﭘﺎﺳﺨﯽ ﯾﺎﻓﺘﮫاﻧﺪ و ﻣﻌﺘﻘﺪﻧﺪ ﮐﮫ‬.(٢٠٠۵ ،Burdek)‫ﮔﺸﺘﺎﻟﺖ را ﭘﺪﯾﺪ آوردﻧﺪ‬
(١۵٨٨) «‫ ﺷﮑﺴﭙﯿﺮ در »درد ﺑﯿﮭﻮده ﻋﺸﻖ‬.‫« اﯾﻦ ﯾﻌﻨﯽ زﯾﺒﺎﯾﯽ درﮐﯽ ذھﻨﯽ اﺳﺖ‬.‫»زﯾﺒﺎﯾﯽ در ﭼﺸﻢ ﺑﯿﻨﻨﺪه اﺳﺖ‬
،‫ اﻣﺎ ﻣﺤﺘﺎج ﺗﺰﯾﯿﻦ و ﻧﻘﺶ و ﻧﮕﺎر ﺗﺤﺴﯿﻦ ﺗﻮ ﻧﯿﺴﺖ‬،‫ اﮔﺮﭼﮫ ﺣﻘﯿﺮ اﺳﺖ‬،‫ زﯾﺒﺎﯾﯽ ﻣﻦ‬،‫»ﺧﺪای ﻣﻦ ﺑﻮﯾﮫ‬: ‫ﻣﯽﮔﻮﯾﺪ‬
«.‫ ﻧﮫ ﺑﺎ ﺗﺒﻠﯿﻎ ﭘﺴﺘﯽ ﮐﮫ زﺑﺎن ﻓﺮوﺷﻨﺪﮔﺎن ﺑﮫﮐﺎر ﻣﯽﺑﺮد‬،‫زﯾﺒﺎﯾﯽ ﺑﺎ ﻗﻀﺎوت ﻧﮕﺎه ﺧﺮﯾﺪاری ﻣﯽﺷﻮد‬
‫ در ﭼﺸﻢ ﯾﮑﯽ زﯾﺒﺎﺳﺖ و در‬.‫ﻣﯽداﻧﯿﻢ ﮐﮫ ﮐﺎرﺑﺮان ﻧﻈﺮ واﺣﺪی درﺑﺎره ﯾﮏ ﻣﺼﻨﻮع دﺳﺖﺳﺎز ﯾﮑﺴﺎن ﻧﺪارﻧﺪ‬
‫ ﺑﮫ ﻟﻄﻒ ﻓﻨﺎوری ﻣﯽﺗﻮاﻧﯿﻢ ﺳﻼﯾﻖ ﺗﮏ ﺗﮏ ﮐﺎرﺑﺮان را ﺗﺄﻣﯿﻦ ﮐﻨﯿﻢ و ﺧﻮاﺳﺘﮫھﺎی‬،‫ اﻣﺎ اﻣﺮوز‬.‫ﭼﺸﻢ دﯾﮕﺮ زﺷﺖ‬
‫ ﮐﮫ‬،‫ زﯾﺒﺎﯾﯽﺷﻨﺎﺳﯽ‬.‫ ﭘﻮﺷﺶ دھﯿﻢ‬،‫ ﮐﮫ ﺧﻮد ﭘﺎﺳﺨﯽ اﺳﺖ ﺑﮫ ﭼﯿﺴﺘﯽ زﯾﺒﺎﯾﯽ‬،‫ھﻤﮫ ﻣﺮدم را در ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن‬
.‫ ﺑﮫ ﮐﺎرﺑﺮ اﻣﮑﺎن ﻣﯽدھﺪ ﮐﮫ ﺑﺮای ﺧﻮد طﺮاﺣﯽ ﮐﻨﺪ‬،‫رﯾﺸﮫ در ﻧﻈﺮ اﻓﺮاد دارد‬
在美学理论中，几千年来的哲学家和艺术家都在寻找美是什么的答案，但却找不
到一个普适宏大的基础来解释手工艺品中的美是什么，以这种方式，埃及和随后
的希腊提出过黄金比例，后来出现了格式塔哲学，还有其他哲学家的思想也一样
（Burdek，2005）。但许多文化对这个问题都有回答，正如它们的人民有一句俗
语：“美在观察者的眼中”，这意味着对美的感知是主观的。莎士比亚在剧本《爱
的徒劳》（Love's.Labours.Lost）（1588）中说：“尊敬的鲍益大人，我的美貌虽
然卑不足道，却也不需要你的谀辞的渲染；美貌是凭着眼睛判断的，不是贾人的
利口所能任意抑扬。”我们发现不同用户对同一件手工艺品的看法各不相同，它的
模样在一个人的眼里很漂亮，在另一个人的眼里却很难看。但是今天，借助科技
的力量，产业可以满足用户的一个又一个愿望，并且覆盖后现代社会中所有人的
愿望，而这种能力本身就回答了美是什么。这是以个人观点为基础，让用户为自
己设计的美学。
In theory of aesthetic we see philosophers and artists for thousands of years were
looking for an answer of what beauty is, but could not find a common grand base to
explain what the beauty is in a man-made craft. In this way Egyptian and then Grecian
offered golden proportion, later on philosophy of Gestalt, and other philosophers the
same (Burdek, 2005). But many culture have answer for this issue, as their people
have a say that ‘Beauty is in the eye of the beholder’, it means the perception of
beauty is subjective, Shakespeare says in ‘Love's Labours Lost’ (1588) “Good Lord
Boyet, my beauty, though but mean, Needs not the painted flourish of your praise:
Beauty is bought by judgement of the eye, Not utter'd by base sale of chapmen's
tongues”.
We see users do not have a same opinion about a single man-made craft, when its
form is beautiful in one eye, the same is ugly in another user’s eye. But today with
help of technology can answer to one by one desires of users, and cover all people
desires in post-modern society which itself is an answer on what beauty is. The
aesthetics which has bases on individual opinion and let user design for himself.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺗﺎﻓﻠﺮ‬
ِ ‫ از ﺟﻤﻠﮫ اﯾﻦ اﻓﺮاد اﻟﻮﯾﻦ‬.‫ﻣﺼﺮفﮐﻨﻨﺪه« ﺻﺤﺒﺖ ﻣﯽﮐﻨﻨﺪ‬+‫اﻣﺮوز ﻋﺪه زﯾﺎدی درﺑﺎره »ﺗﻮﻟﯿﺪﮐﻨﻨﺪه‬
车 ‫( درﺑﺎره اﯾﻦ ﻣﻔﮭﻮم ﺳﺨﻦ ﮔﻔﺘﮫ اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان در‬١٩٨٠) «‫آﯾﻨﺪهﭘﮋوھﯽ اﺳﺖ ﮐﮫ در ﮐﺘﺎب »ﻣﻮج ﺳﻮم‬
设 ‫( در ﭘﮋوھﺶ ﺧﻮد‬٢٠١٠:١٣-٣۶) ‫ رﯾﺘﺰر و ﺟﻮرﺟﻨﺴﻦ‬.‫ﺳﻔﺎرﺷﯽﺳﺎزی اﻧﺒﻮه ﻧﻘﺶ ﺗﻮﻟﯿﺪﮐﻨﻨﺪه را اﯾﻔﺎ ﺧﻮاھﻨﺪ ﮐﺮد‬
计 ‫»ﺗﺎزه در ﭼﻨﺪ ﺳﺎل اﺧﯿﺮ اﺳﺖ ﮐﮫ ﺗﻮﻟﯿﺪ ﺗﻮﺳﻂ ﻣﺼﺮفﮐﻨﻨﺪه ﺑﮫ ﻣﻮﺿﻮع ﻣﮭﻤﯽ در ﺗﺤﻘﯿﻘﺎت ﭘﮋوھﺸﯽ‬: ‫ﻣﯽﮔﻮﯾﻨﺪ‬
的 ‫ ﮐﺎرﺑﺮان وﯾﮑﯽﭘﺪﯾﺎ دﯾﮕﺮ ﺗﻨﮭﺎ‬،(٢٠١۴ ،Ritzer) ‫« ﻣﯽﺑﯿﻨﯿﻢ ﮐﮫ اﻣﺮوز و ﺑﺮ ﻣﺒﻨﺎی اﯾﻦ اﯾﺪه‬.‫ﺗﺒﺪﯾﻞ ﺷﺪه اﺳﺖ‬
演 ‫ اﻣﺎ آﻏﺎزﮔﺮ‬.(٢٠٠۶ ،Williams ‫ و‬Tapscott) ‫ﮐﺎرﺑﺮ ﻧﯿﺴﺘﻨﺪ ﺑﻠﮑﮫ ﺑﮫ ﻋﻨﻮان ﭘﺪﯾﺪآورﻧﺪه در آن ﻣﺸﺎرﮐﺖ دارﻧﺪ‬
进 ‫ اﺟﺎق و ﻗﺎﺑﻠﻤﮫھﺎی‬،‫ در رﺳﺘﻮرانھﺎی ﭼﯿﻨﯽ‬.‫ ﺑﻠﮑﮫ ﺳﺎﺑﻘﮫای دﯾﺮﯾﻦ در ﭼﯿﻦ دارد‬،‫اﯾﻦ اﯾﺪه اﻟﻮﯾﻦ ﺗﺎﻓﻠﺮ ﻧﺒﻮده اﺳﺖ‬
简
‫ رﺳﺘﻮران ﻣﻮاد آﻣﺎده را در اﺧﺘﯿﺎر ﻣﺸﺘﺮی ﻣﯽﮔﺬارد و ﻣﺸﺘﺮی ﺑﺎ‬،‫ﻓﻠﺰی ﻧﯿﻢﮔﺮم در ﻣﺮﮐﺰ ﻣﯿﺰ ﻗﺮار دارد‬
介
‫ اﯾﻦ ﯾﻌﻨﯽ ﻣﺸﺘﺮی در ﺟﺎﯾﮕﺎه ﺳﺮآﺷﭙﺰ ﻗﺮار ﮔﺮﻓﺘﮫ‬.‫اﺿﺎﻓﮫﮐﺮدن ﻣﻮاد ﺑﮫ ھﻢ در ﻗﺎﺑﻠﻤﮫ ﺑﺮای ﺧﻮدش ﻏﺬا ﻣﯽﭘﺰد‬
‫ رﯾﺸﮫ اﯾﺪه‬،‫( دارد‬٢٠١٢ ،YiWeiYu) ‫ ﺳﺎل در ﺳﻠﺴﻠﮫ ﺗﺎﻧﮓ‬١٠٠٠ ‫ ﮐﮫ ﺗﺎرﯾﺨﯽ ﺑﯿﺶ از‬،‫ اﯾﻦ ﺳﻨﺖ‬.‫اﺳﺖ‬
‫ ﻋﻠﺖ‬.(٢٠٠٩ ،Knott ‫ و‬Zwick) ‫اﻣﺮوزی ﺗﻮﺻﺮﻓﮑﻨﻨﺪه اﺳﺖ ﮐﮫ ﺑﮫ ﮐﺎرﺑﺮ اﻣﮑﺎن ﻣﯽدھﺪ ﺗﻮﻟﯿﺪﮐﻨﻨﺪه ﺑﺎﺷﺪ‬
‫اﯾﻨﮑﮫ اﯾﺪه ﺗﻮﺻﺮﻓﮑﻨﻨﺪه اﻣﺮوز ﺟﺎ اﻓﺘﺎده اﯾﻦ اﺳﺖ ﮐﮫ ھﻤﯿﻦ اﺗﻔﺎق در ﻣﻮرد ﻣﺤﺼﻮﻻت دﯾﮕﺮی ﻣﺎﻧﻨﺪ اﺗﻮﻣﺒﯿﻞ رخ‬
.‫ﻣﯽدھﺪ‬
现在很多人都在谈论“生产者+消费者”，比如未来学家阿尔文·托夫勒（Alvin
Toffler）在他的书《第三波》（The.Third.Wave）（1980）中，提出了用户将在
大规模定制中扮演生产者角色的概念。瑞泽尔（Ritzer）和杰金森（Jurgenson）
（2010:13-36）在他们的研究中提到，“直到最近，生产消费合一（prosumption）
才成为研究文献中的一个重要话题。”我们发现维基百科的用户不再仅仅是用户，
他们还作为创作者进行参与（Tapscott 和 Williams，2006），并且基于这个观点
也发生了许多变化（Ritzer，2014）。但是这个想法并不起源于阿尔文·托夫勒的
思想，因为它在中国有着悠久的历史；中国人去餐馆，坐在一张桌子周围，桌子
中央有烤箱和金属锅，餐馆提供现成的材料，用户往锅里添加食材，在桌子上自
己烹饪，这意味着顾客也是厨师。这一理念在唐代已有 1000 多年的历史（Yi
Wei Yu，2012），它是现在让用户成为生产消费者这一理念的始祖（Zwick 和
Knott，2009）。生产消费者的理念今天仍方兴未艾，因为汽车等其他产品的用
户也出现了同样的情况；
Many people are talking about ‘producer + consumer’ these days, such as
futurologist Alvin Toffler in his book ‘The Third Wave’ (1980), he has coined the
concept users would take on producer roles in mass customization. Ritzer and
Jurgenson (2010: 13-36) in their research has been mentioned “It is only recently that
prosumption has become an important topic in the literature.” which we see how
users of Wikipedia are not only users any more, since they participate as a creator
(Tapscott and Williams, 2006), and many changes based on this idea today (Ritzer,
2014). But this idea has not started from idea of Alvin Toffler, as it has a long history
in China; they go to the restaurants and seat around a table which has oven and
simmering metal pot at the centre, the restaurant provides ready material, users add
food ingredients into the pot to cook their own food by themselves at the table, this
means user is a chef too. This idea has history of more than 1,000 years in the period
of Tang Dynasty (YiWeiYu, 2012), which is the ancestor of today idea of prosumer
which allows user to be a producer (Zwick and Knott, 2009). Prosumer idea is going
on today since the same is happening on the user of other products such as car;

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮐﺎرﺑﺮ اﺟﺎزه ﯾﺎﻓﺘﮫ اﺳﺖ ﺑﺮای دﺳﺘﯿﺎﺑﯽ ﺑﮫ رﺿﺎﯾﺖ ﻧﺎﺷﯽ از اﯾﻨﮑﮫ ﺧﻮدش ﻣﺤﺼﻮل را ﻣﯽﺳﺎزد در ﮐﻨﺎر‬،‫ﯾﻌﻨﯽ‬
车 ‫ اﯾﻦ ﺑﺎﻋﺚ ﻣﯽﺷﻮد ﺑﺨﺸﯽ از وظﯿﻔﮫ طﺮاح ﺑﺮ ﻋﮭﺪه ﮐﺎرﺑﺮ ﺑﺎﺷﺪ و ﺳﺎزﻧﺪه از رﯾﺴﮏ ﭘﺬﯾﺮش‬.‫طﺮاح ﮐﺎر ﮐﻨﺪ‬
设 ‫ ﻣﺪﺗﮭﺎ ﭘﯿﺶ در ﻗﺮن ﻧﻮزدھﻢ ﮔﻔﺘﮫ ﺑﻮد ﮐﮫ در‬،‫ ﮐﺎرل ﻣﺎرﮐﺲ‬،‫ ﻣﻔﺴﺮ اﺟﺘﻤﺎﻋﯽ‬.‫طﺮاﺣﯽ از ﺳﻮی ﮐﺎرﺑﺮ رھﺎ ﺷﻮد‬
计 ‫ ﺑﺮ اﺳﺎس دﺳﺘﻮراﻟﻌﻤﻞ ﻓﺮدﮔﺮاﯾﯽ و‬،‫ اﻣﺮوز‬.‫آﯾﻨﺪه از اﯾﺪهﺳﺎزی اﻧﺒﻮه ﺑﮫ ﺳﻮی ﺗﺄﻣﯿﻦ ﺳﻼﯾﻖ ﮐﺎرﺑﺮ ﺧﻮاھﯿﻢ رﻓﺖ‬
的 ‫ ﺗﻤﻠﮏ ﻣﺤﺼﻮﻟﯽ ﻣﻨﺤﺼﺮﺑﻔﺮد و ﺷﺨﺼﯽ‬.‫ ﻣﺎﻟﮑﺎن ﻣﯽﺗﻮاﻧﻨﺪ ﻣﺤﺼﻮﻻﺗﺸﺎن را ﺳﻔﺎرﺷﯽﺳﺎزی ﮐﻨﻨﺪ‬،‫اﻧﺒﻮهزداﯾﯽ‬
演 .(٢٠٠٩ ،Morris) ‫ﺑﺎﻋﺚ ﻣﯽﺷﻮد ﮐﺎرﺑﺮان اﺣﺴﺎس ﺗﻮاﻧﻤﻨﺪی و رﺿﺎﯾﺖ ﮐﻨﻨﺪ‬
进 ‫ﮔﻔﺘﮫ ﻣﯽﺷﻮد ﮐﮫ اﻧﺒﻮهزداﯾﯽ ﻧﺎﺷﯽ از ﺗﻤﺎﯾﻞ ﺑﮫ ﯾﺎﻓﺘ ِﻦ ﻧﮫ ﺗﻨﮭﺎ ﻓﺮدﯾﺖ ﺑﻠﮑﮫ ﺷﺎدﻣﺎﻧﯽ ﻓﺮدی اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان آن را‬
简
‫ ﭼﺮا ﮐﮫ ﭘﯿﺶ از آن ﺳﺎزﻧﺪه ﻣﺤﺼﻮل را در ﺗﻨﮭﺎﯾﯽ‬،‫در »اﻧﻘﻼب ﺻﻨﻌﺘﯽ« و ﺟﺎﻣﻌﮫ ﻣﺪرن از دﺳﺖ دادهاﻧﺪ‬
介
‫ ﻣﯽﺑﯿﻨﯿﻢ ﮐﮫ اﻓﺮاد‬،‫ در ﺑﺴﯿﺎری ﻣﻮارد‬.‫ﻣﯽﺳﺎﺧﺖ و ﻧﺘﯿﺠﮫ ﮐﺎرش ﺗﻨﮭﺎ ﺑﺮای ﺧﻮد او ﺷﺎدی ﺑﮫ ارﻣﻐﺎن ﻣﯽآورد‬
‫ ﮐﺴﺎﻧﯽ ﮐﮫ ﺑﺎغ ﺗﻮتﻓﺮﻧﮕﯽ دارﻧﺪ در‬،‫ ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل‬.‫ﺧﻼق از ﮐﺎرﺑﺮان ﻣﯽﺧﻮاھﻨﺪ در ﻓﺮاﯾﻨﺪ ﺗﻮﻟﯿﺪ ﻣﺸﺎرﮐﺖ ﮐﻨﻨﺪ‬
.‫ازای ﻣﺒﻠﻐﯽ ﭘﻮل ﺳﺒﺪھﺎﯾﯽ در اﺧﺘﯿﺎر ﺑﺎزدﯾﺪﮐﻨﻨﺪﮔﺎن ﻣﯽﮔﺬارﻧﺪ و اﺟﺎزه ﻣﯽدھﻨﺪ ﺧﻮدﺷﺎن ﺗﻮتﻓﺮﻧﮕﯽ ﺑﭽﯿﻨﻨﺪ‬
‫ اﻣﮑﺎن ﻣﯽدھﺪ‬،‫ ﮐﮫ آرزوی ﺧﻮاﻧﻨﺪه ﺷﺪن دارﻧﺪ‬،‫ ﺑﮫ ﮐﺎرﺑﺮاﻧﺶ‬KTV:‫ﻧﻤﻮﻧﮫ دﯾﮕﺮ را در ﺷﺮق دور ﻣﯽﺗﻮان ﯾﺎﻓﺖ‬
.‫ﮐﮫ واﻗﻌﺎ ً ﺧﻮاﻧﻨﺪﮔﯽ را ﺗﺠﺮﺑﮫ ﮐﻨﻨﺪ‬
让用户与设计师一起工作，自己亲手制造，从而获得满足感；这使得设计师的部
分职责落到了用户的肩上，从而减轻了制造商的设计不被用户接受的风险。
很久以前，社会评论人卡尔·马克思在 19 世纪就注意到，社会将出现从立足大众
到满足用户愿望的转变。今天，基于个性化和分众化的准则，产品可以由其所有
者定制，用户把自己独有的产品变成现实，从而获得权力感和满足感（Morris，
2009）。
有人认为，分众化的驱动力不只是人们对个性的追求，还有个人的幸福感，这种
幸福感是用户在“工业革命”和现代社会中失去的，因为在那之前，人们可以自己
制造产品，并看到其工作的成果，而这也给个人带来了幸福感。在许多情况下，
我们看到创意工作者让用户也参与生产。例如，草莓园的园丁提供篮子，收取一
定的费用，让游客自己采摘草莓。还有一个例子是，在远东，KTV 给了用户成
为真正歌手的机会，在以前人们只能在梦里实现。
And let user work beside the designer for the gain of satisfaction with allowing the
user make for himself; This put some part of designer’s duty on the shoulder of user,
which relive manufacturers from the risk of design acceptance by user. Long time ago
social commentator, Karl Marx was noting in the nineteenth century that there will be
a shift from mass-ideation to cover user’s desires. Today based on a guideline of
individuality and demassification , products can be customized by their owners, giving
users feelings of empowerment and satisfaction through realizing their own unique
product (Morris, 2009).
It is argued that demassification is driven by the desire to find not just individuality,
but personal happiness, which users have lost it by ‘The Industrial Revolution’ and
modern society, since before that the maker could go through making the product just
by himself and see the result of his work which were creating personal happiness for
him. In many cases we see creative people ask users to participate in production. For
example, gardeners of strawberry give baskets and charge an amount of money and let
visitors collect strawberry by themselves. In another case, In Far East, KTV has given
the chance of being a real singer which users were just looking to this desire in their
dream.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﺟﺎزه ﺑﺪھﯿﺪ ﮐﺎرﺑﺮان ﻣﺤﺼﻮل را ﺑﺮ ﻣﺒﻨﺎی ﻧﯿﺎزﺷﺎن ﺷﮑﻞ دھﻨﺪ‬

车
设
让用户按照自己的需求塑造产品
计 Let users shape based on their need
的 ‫آﯾﺎ ﺗﺎ ﺑﮫ ﺣﺎل در ﻣﺴﯿﺮ ﺧﺎکﮐﻮﺑﯿﺪه از ﻣﯿﺎن ﭘﺎرک ﻋﺒﻮر ﮐﺮدهاﯾﺪ؟ واﺿﺢ اﺳﺖ ﮐﮫ اﯾﻦ ﻣﺴﯿﺮ را طﺮاﺣﺎن طﺮاﺣﯽ‬
演 ‫ اﯾﻨﮭﺎ ﻣﺴﯿﺮھﺎﯾﯽ ھﺴﺘﻨﺪ‬.‫ ﺑﻠﮑﮫ از ﯾﮏ »ﺗﺠﺮﺑﮫ ﮐﺎرﺑﺮی« ﻧﺎﺷﯽ ﺷﺪه ﮐﮫ »ﺧﻄﻮط ﺗﻤﺎﯾﻞ« ﺧﻮاﻧﺪه ﻣﯽﺷﻮد‬،‫ﻧﮑﺮدهاﻧﺪ‬
进 .‫ آﻧﮭﺎ را ﺑﮫ راهھﺎﯾﯽ ﮐﮫ طﺮاﺣﺎن ﺑﮫ آﻧﮭﺎ ﺗﺤﻤﯿﻞ ﻣﯽﮐﻨﻨﺪ ﺗﺮﺟﯿﺢ ﻣﯽدھﻨﺪ‬،‫ ﺑﺮ اﺳﺎس ﺗﻤﺎﯾﻠﯽ ﺷﺨﺼﯽ‬،‫ﮐﮫ ﻣﺮدم‬
简
‫»ﺧﻄﻮط ﺗﻤﺎﯾﻞ« ﻧﺸﺎن ﻣﯽدھﻨﺪ طﺮﺣﯽ ﮐﮫ ﺑﮫ دﻧﺒﺎل ﺳﺎزﮔﺎری ﺑﺎ ھﻤﮫ ﺑﺎﺷﺪ ﻣﻌﻤﻮﻻً ﻣﻨﺎﺳﺐ ھﯿﭻﮐﺲ ﻧﯿﺴﺖ‬
介
‫طﺮح طﺮاح و ﻣﺤﺘﻮای اطﻼﻋﺎت‬ ِ ‫ اﯾﻦ ﺧﻄﻮط اﻋﺘﺮاض ﮐﺎرﺑﺮان ﻋﻠﯿﮫ ﺗﺤﻤﯿﻞ‬.(٢٠١٠ ،‫ و ھﻤﮑﺎران‬Lidwell)
‫ »ﺧﻄﻮط ﺗﻤﺎﯾﻞ« ﻧﮫ‬.‫ارزﺷﻤﻨﺪی ھﺴﺘﻨﺪ ﮐﮫ ﻣﯽﺗﻮان آﻧﮭﺎ را در طﺮاﺣﯽ آﯾﻨﺪهﻧﮕﺮاﻧﮫ ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن اﻋﻤﺎل ﮐﺮد‬
‫ ﺑﻠﮑﮫ ﻣﯽﺗﻮان از آﻧﮭﺎ ﺑﺮای‬،‫ﺗﻨﮭﺎ ﻓﺮﺻﺘﯽ ﺑﺮای داﺷﺘﻦ ﻣﺴﯿﺮی ﺑﮭﺘﺮ و ﭘﯿﺎدهروﯾﯽ ﺑﺎ ﻣﺴﯿﺮ ﻣﻨﺎﺳﺐﺗﺮ ﭘﺪﯾﺪ ﻣﯽآورد‬
‫ اﯾﻦ ﺧﻄﻮط ھﻤﭽﻨﯿﻦ ﺑﺮای ﺑﺮرﺳﯽ »ﺗﺠﺮﺑﮫ‬.‫ﺷﻨﺎﺳﺎﯾﯽ طﺮﺣﯽ ﮐﮫ ﻣﻨﺎﺳﺐ ﮔﺮوه ﮐﺜﯿﺮی از ﻣﺮدم ﻧﯿﺴﺖ اﺳﺘﻔﺎده ﮐﺮد‬
‫ ھﻨﮕﺎﻣﯽ ﮐﮫ ﻣﺸﺨﺺ ﺷﻮد اﺳﺘﻔﺎده ﺣﻘﯿﻘﯽ ﺑﺎ اﺳﺘﻔﺎده ﭘﯿﺶﺑﯿﻨﯽﺷﺪه ﻣﺘﻔﺎوت اﺳﺖ اﯾﻦ‬.‫ﮐﺎرﺑﺮی« ھﻢ ﺑﮫﮐﺎر ﻣﯽروﻧﺪ‬
‫ »ﺧﻄﻮط ﺗﻤﺎﯾﻞ« اﺑﺰارھﺎﯾﯽ ﻋﺎﻟﯽ ھﺴﺘﻨﺪ ﮐﮫ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.(٢٠٠۴ ،Myhill) ‫روﯾﮑﺮد ﻣﻄﻤﺌﻨﺎ ً ارﺟﮭﯿﺖ ﭘﯿﺪا ﻣﯽﮐﻨﺪ‬
.(٢٠١٠ ،‫ و ھﻤﮑﺎران‬Lidwell) ‫طﺮاح از آﻧﮭﺎ اﺳﺘﻔﺎده ﻣﯽﮐﻨﺪ ﺗﺎ ﺧﻮاﺳﺘﮫھﺎی ﻣﺮدم را در ﺗﻮﻟﯿﺪ طﺮح ﺑﺒﯿﻨﺪ‬
‫ردﮔﯿﺮﯾﮭﺎی ﻣﮑﺮر »ﺗﯿﻮﻧﯿﻨﮓ ﻣﺎﺷﯿﻦ« ھﻢ ﻧﻮﻋﯽ ﺧﻄﻮط ﺗﻤﺎﯾﻞ را ﻧﺸﺎن ﻣﯽ دھﻨﺪ ﮐﮫ ﺑﮫطﻮر ﮐﻠﯽ اھﻤﯿﺖ اﯾﻦ‬
.‫ﻣﻼﺣﻈﺎت را در طﺮاﺣﯽ اﺗﻮﻣﺒﯿﻞ ﻧﺸﺎن ﻣﯽدھﻨﺪ‬
你走过公园的柏油路吗？这种路显然不是由设计师设计的，反而属于一种“用户
体验”（User.Experience），称为“愿望路线”（Desire.Lines），它们是人
们按个人意愿选择的路，而不是设计师指示他们选的。不管设计师们设计了多么
漂亮的公园步行区，都不重要。愿望路线反映了设计如果要迎合所有人，一般反
而迎合不了任何人（Lidwell 等，2010）。它代表了用户对设计师支配设计的抗
议，而这蕴含重要的信息价值，可以应用于后现代社会的未来设计。愿望路线不
仅为更好的人行道和策略性设置的人行道创造了机会，还可以用来确定设计如何
不适合为大量的人服务。它们可以用来研究用户体验。当发现实际产品的使用体
验与预期的不同时，这种方法当然更适合反映设计师支配的影响（Myhill，
2004）。因此，愿望路线是设计师在产品设计中用来发掘人们愿望的一种伟大工
具（Lidwell 等，2010）。在汽车行业中，汽车改装就是一种愿望路线，通常都
体现了考虑汽车设计的重要性。
Have you ever been walking on paved way through a park? The way was clearly not designed
by the designers, but it’s a ‘User Experience’ which called ‘Desire Lines’, they are the paths
people choose to take as individual desire to the way designers dictate them to take. It doesn’t
matter how beautiful designers have designed the walk side of park. ‘Desire Lines’ shows the
design that seeks to accommodate everyone generally accommodates no one well (Lidwell et
al., 2010). It represents a protest of user against a design dictation of designer, which has
valuable information that can be applied to the futuristic design in post-modern society. ‘Desire
lines’ don’t just create an opportunity for better footpaths and more strategically placed
sidewalks, they can be used to identify how a design is not suitable for serving a large number
of people. They can be used to study ‘User Experience’. The approach is certainly preferable to
show the dictation when it is discovered that real product use differs from anticipated use
(Myhill, 2004). Therefore ‘desire lines’ are a great tool that designer uses in product design to
see the wishes of people (Lidwell et al., 2010). And here traces indicate frequency of ‘car
tuning’ is a kind of ‘desire lines’ generally shows the importance of having consideration in the
design of car.
89
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 24: Differences between design and user experience desire lines.
90
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﺣﺴﺎﺳﺎت و ﺗﺠﺮﺑﮫ ﮐﺎرﺑﺮی‬

车
设
情感和用户体验
计 Emotions and User Experience
的
演 ‫ ﺑﮫ ﺻﻮرت »ﻣﻄﺎﻟﻌﮫ‬،‫( ﺗﮭﯿﮫ و ﻣﻌﺮﻓﯽ ﺷﺪه اﺳﺖ‬١٩٨۴) ‫ ﮐﮫ ﺗﻮﺳﻂ ﮐﺮﯾﭙﻨﺪورف و ﺑﺎﺗﺮ‬،‫ﻣﻌﻨﺎﺷﻨﺎﺳﯽ طﺮاﺣﯽ‬
进 ‫ از دﯾﺪ‬.‫ در ﺑﺴﺘﺮ ﺷﻨﺎﺧﺘﯽ و اﺟﺘﻤﺎﻋﯽ ﮐﺎرﺑﺮدﺷﺎن« ﺗﻌﺮﯾﻒ ﻣﯽﺷﻮد‬،‫ﺧﺼﻮﺻﯿﺎت ﻧﻤﺎدﯾﻦ اﺷﮑﺎل دﺳﺖﺳﺎز‬
简 ‫ ﺻﻨﻌﺘﮕﺮ ﯾﺎ طﺮاح( ﻓﺮاھﻢ ﻣﯽﮐﻨﺪ ﺗﺎ‬،‫ ﮐﺎرﮐﺮد ﻣﻌﻨﺎﺷﻨﺎﺳﯽ داﻣﻨﮫای ﺑﺮای ﺳﺎزﻧﺪه )ھﻨﺮﻣﻨﺪ‬،(١٩٩۶) ‫وﯾﮏاﺳﺘﻮرم‬
介 ‫ اﯾﻦ ﯾﻌﻨﯽ ﺳﺎزﻧﺪه ﺑﺎﯾﺪ ﺗﺼﻤﯿﻢ ﺑﮕﯿﺮد ﮐﮫ‬.‫ﭘﯿﺎﻣﯽ روﺷﻦ را از طﺮﯾﻖ ﻣﺤﺼﻮل دﺳﺖﺳﺎزش ﺑﮫ دﯾﮕﺮان اﻋﻼم ﮐﻨﺪ‬
‫ ﮐﺎرﮐﺮدھﺎی ﻣﻌﻨﺎﺷﻨﺎﺧﺘﯽ ﺑﺎﯾﺪ ﺑﮫﮔﻮﻧﮫای ﻋﻤﻞ ﮐﻨﻨﺪ ﮐﮫ درک ﭘﯿﺎم‬.‫ﭼﮫ ﭼﯿﺰی ﺑﺎﯾﺪ از طﺮﯾﻖ ﻓﺮم ﺑﯿﺎن ﺷﻮد ﯾﺎ ﻧﺸﻮد‬
‫( در اﯾﻦ ﻣﻮرد ﭘﮋوھﺸﯽ در زﻣﯿﻨﮫ طﺮاﺣﯽ اﻧﺠﺎم‬٢٠٠۴) ‫ ﻧﻮرﻣﻦ‬.‫ﻣﻮرد ﻧﻈﺮ از ﺷﯽء ھﻨﺮی ﻗﺎﺑﻞ ﻓﮭﻢ ﺑﺎﺷﺪ‬
.‫ﻣﯽدھﺪ و ﺗﻼش ﻣﯽﮐﻨﺪ ﺗﺎ ﺑﻔﮭﻤﺪ آﯾﺎ ﻓﺮم ﯾﮏ ﺳﺎزه دﺳﺖﺳﺎز ﻣﯽﺗﻮاﻧﺪ »ﭘﯿﺎم« را ﺑﺮﺳﺎﻧﺪ ﯾﺎ ﺧﯿﺮ‬
‫ ﺑﮫ ﺑﺮرﺳﯽ ﻣﻌﻨﺎﺷﻨﺎﺳﯽ و ادراک در ﺗﻮﺳﻌﮫ‬،١٩٨٠ ‫ از اواﯾﻞ دھﮫ‬،‫ ﻣﻮﺿﻮع طﺮاﺣﯽ اﺣﺴﺎسﮔﺮا‬،‫ھﻤﭽﻨﯿﻦ‬
‫ ھﻢ در ﺟﻨﺒﮫھﺎی‬،‫ ﺗﻼش ﺷﺪه اﺳﺖ ﺗﺎ اﺣﺴﺎﺳﺎت ﻣﺮدم‬،‫ در ﺳﺎلھﺎی اﺧﯿﺮ‬.‫ﻣﺤﺼﻮﻻت ﮐﺎرﺑﺮ ﭘﺮداﺧﺘﮫ اﺳﺖ‬
‫ طﺮاﺣﺎن ﺑﮫ دﻧﺒﺎل روﻧﺪھﺎﯾﯽ ﺑﻮدهاﻧﺪ ﮐﮫ در آن‬،‫ در طﻮل زﻣﺎن‬.‫ درک ﺷﻮد‬،‫ﻓﯿﺰﯾﮑﯽ و ھﻢ روانﺷﻨﺎﺧﺘﯽ طﺮاﺣﯽ‬
‫ ﻧﻘﺶ ﻗﺎﺑﻞ ﺗﻮﺟﮭﯽ‬،‫ اﺣﺴﺎﺳﺎت و ﺗﺠﺮﺑﯿﺎت‬،‫ اﯾﻦ ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﻣﺴﺎﺋﻞ ﺷﻨﺎﺧﺘﯽ‬،«‫»ﻓﺮم از اﺣﺴﺎس ﭘﯿﺮوی ﮐﻨﺪ‬
.‫دارﻧﺪ‬

设计语义学，由克里彭多夫（Krippendorff）和巴特（Butter）（1984）创立和引
入，被定义为“在人造形状使用的认知和社会背景下研究其符号品质”。维克斯特
罗姆（Wikstrom）（1996）认为，语义功能为制造者（艺术家、手艺人或设计师）
提供了通过人造物品传达明确信息的视野。这意味着制造者必须明确什么应该、
什么不应该通过某种形态来传达。语义功能应使手工艺品易于理解，以便传递预
期的信息。对此诺曼（2004）展开对设计的研究，并试图找出手工艺品的形态本
身 是 否 能 够 传 达 “ 信 息 ” 。 另 外 ， 从 20 世 纪 80 年 代 初 起 “ 情 感 设 计 ”
（Emotional.Design）的主题就开始在用户产品的开发中探索语义和感知。近年
来人们试图从设计的物理和心理方面来理解情感和人。一直以来，设计师都在追
求“形态跟随情感”的趋势，这意味着认知、情感和经验的问题明显占据着重要地
位。

Design semantics developed and introduced by Krippendorff & Butter (1984) is

defined as “the study of symbolic qualities of man-made shapes, in the cognitive and
social context of their use”. Wikstrom (1996) opines that the semantic function
provides scope to the maker (Artist, Handicraftsman or Designer) to communicate a
clear message through the Man-made product. This means that the maker has to be
definite as to what should and should not be communicated through the form. The
semantic functions should make the handicraft comprehensible to deliver the intended
message. To this Norman (2004) attempts an enquiry of design and tries to find out if
form of a handicraft can communicate ‘The message’. Also the subject of Emotional
Design has explored semantics and perception in the development of user products
since the early 1980s. in the recent past efforts have been made to understand emotion,
people in both the physical and psychological aspects of design. Designers throughout
time have pursued trends where ‘form followed emotions’ which implies the issues of
cognition, emotions and experiences are significantly playing a major role.

91
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﻣﻮﺿﻮع ﻟﻤﺲ )ﮐﮫ در ان ﭘﯿﺎم ﻓﺮم را از طﺮﯾﻖ ﺗﻤﺎس ﭘﻮﺳﺖ درﯾﺎﻓﺖ‬،‫ در طﺮاﺣﯽ ﯾﮏ ﻋﯿﻨﮏ‬،‫ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل‬
车 ‫ ﭼﺮا ﮐﮫ‬،‫ در ﮐﻨﺎر درک ﻓﺮم از ﺳﻮی ﮐﺎرﺑﺮ ﺑﺴﯿﺎر ﻣﮭﻢ ﺗﻠﻘﯽ ﻣﯽﺷﻮد‬،‫ ﻣﺴﺎﺋﻠﯽ ﻣﺎﻧﻨﺪ ﺗﻨﺎﺳﺐ و راﺣﺘﯽ‬،(‫ﻣﯽﮐﻨﯿﻢ‬
设 ‫ اﻣﺎ وﻗﺘﯽ ﺑﮫ »ﺗﺠﺮﺑﮫ‬.(٢٠٠٧ ،Formosa) ‫ﺗﻤﺎم ﺗﺠﺮﺑﮫ اﺳﺘﻔﺎده از ﻋﯿﻨﮏ ﺑﺎﯾﺪ ﺑﮫ »ﺣﺲ ﺧﻮب« ﺧﺘﻢ ﺷﻮد‬
计 ‫ ﻣﯽﺑﯿﻨﯿﻢ ﮐﮫ ﮐﺎرﺑﺮ ﺗﻼش ﻣﯽﮐﻨﺪ ﻋﯿﻨﮏ را ﺳﻔﺎرﺷﯽﺳﺎزی ﮐﻨﺪ و ﺑﺎ اﺳﺘﻔﺎده از دﺳﺘﻤﺎل‬،‫ﮐﺎرﺑﺮی« ﻧﮕﺎه ﻣﯽﮐﻨﯿﻢ‬
的 ‫ ﻣﯽﺗﻮان ﮔﻔﺖ‬.‫ﮐﺎﻏﺬی و ﻧﻮارﭼﺴﺐ ﺷﮑﻞ آن را ﺗﻐﯿﯿﺮ دھﺪ ﺗﺎ »ﺧﻄﻮط ﺗﻤﺎﯾﻞ« ﺧﻮد را روی ﻋﯿﻨﮏ ﺑﮫوﺟﻮد اورد‬
演 ‫ از اﯾﻦ ﻣﺜﺎل ﻣﺸﺨﺺ اﺳﺖ ﮐﮫ ارزشﮔﺬاری‬.(٢٠٠٧ ،Formosa) ‫ﮐﮫ واﮐﻨﺶھﺎی اﻧﺴﺎﻧﯽ اﺣﺴﺎس ﻣﺤﻮرﻧﺪ‬
进 .‫زﯾﺒﺎﯾﯽﺷﻨﺎﺳﺎﻧﮫ در ذھﻦ ﮐﺎرﺑﺮان ﻣﺘﻔﺎوت اﺳﺖ و درک ھﻤﮕﺎن ﺑﺎ طﺮاﺣﯽ طﺮاح ﺗﻔﺎوت دارد‬
简
‫( در اﺛﺮ ﺧﻮد ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﻣﺤﺼﻮﻻت ﺑﺎزﺗﺎبدھﻨﺪه ﻣﻌﺎﻧﯽای ھﺴﺘﻨﺪ ﮐﮫ ﺑﺮ ﻣﺒﻨﺎی ارﺗﺒﺎطﺎت‬١٩٩٩) ‫ﮔﺮﯾﻔﯿﻦ‬
介
‫ ﯾﮏ ﻓﺮم ﻧﻤﯽﺗﻮاﻧﺪ ﺑﮫ ﺗﻤﺎﯾﻼت‬،‫ﺣﺎﺻﻞ از ﺗﺠﺎرب ﮔﺬﺷﺘﮫ ﺗﻔﺴﯿﺮ ﻣﯽﺷﻮﻧﺪ و ﭼﻮن ھﺮﮐﺲ ﺗﺠﺮﺑﯿﺎت ﻣﺘﻔﺎوﺗﯽ دارد‬
‫اﺣﺴﺎﺳﯽ ھﻤﮫ ﮐﺎرﺑﺮان ﭘﺎﺳﺦ دھﺪ و از آﻧﺠﺎ ﮐﮫ ﻣﺤﺼﻮﻻت اﺣﺴﺎﺳﺎت ﮐﺎرﺑﺮان را ﺑﮫ ﺷﮑﻞھﺎی ﻣﺨﺘﻠﻔﯽ ﺗﺤﺮﯾﮏ‬
‫ ﺷﺎد و اﻣﯿﺪ‬،‫ ﻣﺮدم در ﺑﺮاﺑﺮ ﯾﮏ طﺮح ﯾﮑﺴﺎن در ﻣﺤﺼﻮل واﮐﻨﺶھﺎی ﻣﺘﻔﺎوﺗﯽ دارﻧﺪ؛ ﻋﺪهای ﺧﻮﺷﺤﺎل‬،‫ﻣﯽﮐﻨﻨﺪ‬
.(٢٠٠٣ ،‫ و ھﻤﮑﺎران‬Desmet) ‫وار ﺷﺪه در ﺣﺎﻟﯽ ﮐﮫ ﻋﺪه دﯾﮕﺮ ﻧﺎاﻣﯿﺪ ﻣﯽﺷﻮﻧﺪ‬
例如，在眼镜的设计中，我们考虑到触摸的方式（ （我们通过皮肤触摸形状，从而
接受形状的信息），诸如舒适、合身，以及用户对形态的感知等问题都非常重要
以及用户对形态的感知等问题都非常重要，
因为戴眼镜的整个体验应该是“感觉良好”的（FormoFormosa，2007）。但是观察“用户
体验”时，我们看到用户试图对眼镜进行定制，用纸巾和胶带来改变形状
用纸巾和胶带来改变形状，在眼
镜上创造出自己的“愿望路线”。可以说，人类的反应是以情感为导向的
（Formosa，2007），从这个例子中可以明显看出
从这个例子中可以明显看出，审美价值在用户的心中是不
同的，每个感知也不同于设计师所设计的。
格里芬（Griffin）（1999）在他的著作中提出，产品是意义的反射者
产品是意义的反射者，其解释是
基于以前的经验中衍生出的关联，而由于每个人的经验各不相同
而由于每个人的经验各不相同，因此一种形态
回应不了所有用户的情感愿望，而且由于产品可能激发用户的不同情感
而且由于产品可能激发用户的不同情感，因此人
们对特定设计的反应不同。有些人受到启发，而另一些人则感到失望
而另一些人则感到失望（Desmet
等，2003）。
For instance in the design of an eyewear, we consider the touch form (which we
receive the massage of form through touching the form by our skin), issues such as
being fit and comfort, along with the perception off the form by the user are extremely
important; since the entire experience of wearing the eyeglasses should be one of ‘feel
good’ (Formosa, 2007). But when we look at ‘User Experience’ we see he tries to do
customization on eyewear and use tissue paper andd tape to change the form and create
his ‘desire lines’ on glasses. It can be argued that human reflexes are emotion oriented
(Formosa, 2007) and it is evident from the example, that aesthetic valuation differs in
mind of users and every one perception differs
fers from the design of designers.
Griffin (1999) in his work suggests that products are reflectors of meaning
which interpreted based on associations derived from previous
experience and since everyone has different
experiences one form cannot answer all users’
emotional desire, and since products may incite
users’ emotion in variations so people react
differently to fix design in products; while some
get inspired others get disappointed (Desmet et
al., 2003). Figure: Ernst Gombrich illustration.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮐﮫ از اواﯾﻞ ﮐﻮدﮐﯽ آﻏﺎز‬،‫ اﯾﻦ ﻓﺮاﯾﻨﺪ‬.‫ ﻣﺮدم را ﺗﺮﺑﯿﺖ ﻣﯽﮐﻨﻨﺪ‬،‫( ﻣﯽﮔﻮﯾﺪ ﮐﮫ ﺗﺠﺮﺑﯿﺎت و ﻓﺮھﻨﮓ‬١٩٩٠) ‫ﭘﯿﺎژه‬
车 ‫ ﻣﯽﺗﻮاﻧﯿﻢ ﺑﮫ اﯾﻦ ﻧﺘﯿﺠﮫ ﺑﺮﺳﯿﻢ ﮐﮫ ﺗﻤﺎﯾﻼت ﮐﺎرﺑﺮان ﺛﺎﺑﺖ ﻧﯿﺴﺖ و ﯾﮏ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.‫ ﻓﺮاﯾﻨﺪی ﻣﺪاوم اﺳﺖ‬،‫ﻣﯽﺷﻮد‬
设 ‫( ھﻢ روی اﯾﻦ ﻣﻄﻠﺐ ﺗﺄﮐﯿﺪ ﻣﯽﮐﻨﻨﺪ ﮐﮫ اﻓﮑﺎر‬٢٠٠٣) ‫ دﻣﯿﺮﺑﻠﯿﮏ و ﺳﻨﺮ‬.‫طﺮح ﺛﺎﺑﺖ ﻧﻤﯽﺗﻮاﻧﺪ ھﻤﮫ را راﺿﯽ ﮐﻨﺪ‬
计 ‫ﻣﯽﺗﻮاﻧﻨﺪ ﻧﺴﺒﺖ ﺑﮫ ﺗﻐﯿﯿﺮ ﺣﺴﺎس ﺑﺎﺷﻨﺪ و ﭘﺎﺳﺦ ﯾﺎ واﮐﻨﺶ ﺑﮫ ﻣﻌﻨﺎی ﻣﻨﻌﮑﺲﺷﺪه از ﯾﮏ ﻣﺤﺼﻮل ﺑﺮ اﺳﺎس طﺒﻘﮫ‬
的 ‫ ﻣﯽﺗﻮان دﯾﺪ ﮐﮫ‬.‫ ﻣﻤﮑﻦ اﺳﺖ ﻣﺘﻔﺎوت ﺑﺎﺷﺪ‬،‫ ﮐﮫ ھﻤﻮاره ﺗﻐﯿﯿﺮ ﻣﯽﮐﻨﻨﺪ‬،‫ دﯾﻦ و ﻏﯿﺮه‬،‫ ﺳﻄﺢ ﺗﺤﺼﯿﻼت‬،‫اﺟﺘﻤﺎﻋﯽ‬
演 ‫طﺮاﺣﯽ ﻣﺎﺷﯿﻨﯽ ﮐﮫ ﺣﺎﺻﻞ ﮐﺎر ﮔﺮوھﯽ از طﺮاﺣﺎن ﺑﺎﺷﺪ ﻧﻤﯽﺗﻮاﻧﺪ ﺳﻠﯿﻘﮫ ھﻤﮫ ﮐﺎرﺑﺮان در ﯾﮏ ﻓﺮھﻨﮓ را ﺗﺄﻣﯿﻦ‬
进 ‫ اﯾﻦ ﻣﺴﺌﻠﮫ ﺳﮫ ﻋﻠﺖ‬.‫ﮐﻨﺪ؛ درﺳﺖ ھﻤﺎﻧﻄﻮر ﮐﮫ اﻋﻀﺎء ﯾﮏ ﺧﺎﻧﻮاده ﻧﻈﺮات ﻣﺘﻔﺎوﺗﯽ در اﻧﺘﺨﺎب ﺧﻮدرو دارﻧﺪ‬
简
‫ ﮐﺎرﺑﺮان ھﻤﯿﺸﮫ‬،‫ دوم‬.‫ ﺳﻠﯿﻘﮫ ﮐﺎرﺑﺮان در ﺟﺎﻣﻌﮫای ﮐﮫ دو ﻧﻔﺮ ھﻢ ﺷﺒﯿﮫ ھﻢ ﻧﯿﺴﺘﻨﺪ ﯾﮑﺴﺎن ﻧﯿﺴﺖ‬،‫ اول‬:‫دارد‬
介
‫ ﻧﻈﺮاﺗﯽ ﮐﮫ طﺮاح از طﺮﯾﻖ ﻧﻈﺮﺳﻨﺠﯽ ﺟﻤﻊآوری‬،‫ﻣﺎﺳﮏ ﺑﺮ ﺻﻮرت دارﻧﺪ و ﺣﻘﯿﻘﺖ را ﻧﻤﯽﮔﻮﯾﻨﺪ و ﺑﻨﺎﺑﺮاﯾﻦ‬
‫ اﻣﺮوز ﯾﮏ ﭼﯿﺰ ﻣﯽﺧﻮاھﺪ و ﻓﺮدا ﻧﻈﺮش ﻋﻮض‬:‫ ﺳﻠﯿﻘﮫ ﻣﺸﺘﺮی ﺗﻐﯿﯿﺮ ﻣﯽﮐﻨﺪ‬،‫ و ﺳﻮم‬.‫ﻣﯽﮐﻨﺪ ﻗﺎﺑﻞ اﺗﮑﺎء ﻧﯿﺴﺖ‬
‫ ﻣﺪﯾﺮان ﺑﺎﯾﺪ راه‬،‫ از آﻧﺠﺎ ﮐﮫ ﻧﻤﯽﺗﻮان ﺑﻼﻓﺎﺻﻠﮫ ﺳﻠﯿﻘﮫ ﮐﺎرﺑﺮ را در ﻣﺤﺼﻮل اﻋﻤﺎل ﮐﺮد‬،‫ ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ‬.‫ﻣﯽﺷﻮد‬
‫ اﯾﻦ ﯾﻌﻨﯽ ﮐﮫ ﺗﮭﯿﮫ طﺮح ﺛﺎﺑﺘﯽ ﮐﮫ ﺳﻠﯿﻘﮫ ﮐﺎرﺑﺮان ھﺪف را‬.‫ﮔﻔﺘﮕﻮ را ﺑﺎز ﮐﻨﻨﺪ ﺗﺎ دﯾﺪﮔﺎه ﺟﺪﯾﺪی ﺑﮫدﺳﺖ آورﻧﺪ‬
.‫ﺗﺄﻣﯿﻦ ﮐﻨﺪ در دﻧﯿﺎی ﻣﺪرن ﭼﺎﻟﺸﯽ ﭘﯿﭽﯿﺪه اﺳﺖ‬
皮亚杰（Piaget）（1990）指出，人们从他们的经历和文化中学习，这种经历和
文化从童年早期就开始了，并且是一个持续的过程，那么我们可以得出这样一个
观点：用户的愿望不是一成不变的，一成不变的设计不能满足每个人。对此，迪
米比利克（Dimirbilek）和塞纳（Sener）（2003）强调了思想如何容易受到变化
的影响，而对产品所反映的意义的反应或回答可能会因社会阶层、教育水平、宗
教等差异而不同，而这些都是不断变化的。我们可以看到，一辆汽车的设计诞生
于一群设计师的努力，但它无法满足一种文化中所有用户的需求，正如在任何家
庭中，所有成员对挑选汽车都有不同的标准。这个问题有三个答案：第一，社会
上如果有两个用户的愿望不相近，那么用户的愿望就是不同的。第二个答案是，
用户的脸上总是戴着面具，不讲真话，所以如果设计师通过调查收集他们的意见，
就不够准确；第三，消费者的愿望是可变的，今天他们有一个购物标准，明天就
改变了自己的愿望，而且因为用户愿望不可能迅速反映到品牌的管理层，开启对
话，并带来新的洞察，因此，创造固定设计来满足目标用户需求，是现代主义的
一个复杂挑战。
Piaget (1990) states that people learn through their experiences and culture, which starts
early in childhood and is an ongoing process, then we can derive this point that desires of
users are not fix and fix design cannot answer to everyone. To this Demirbilek and Sener
(2003) highlights how thoughts can be susceptible to change and the response or reaction
to a meaning as reflected by a product could vary depending on social class, educational
level, religion, etc. which all always change. One can see a car design which has come out
based on the effort of a group of designers cannot answer to the desires of all users in a
culture, as in any family all members have different scales for car selection. There are
three answers for this issue, first, users’ desires are not same in a society which two of
them are not similar. The second answer, users always have mask on their face and do not
tell the truth so it is not confidential survey if designer collects opinion of them through a
research, and the third, costumers’ desires are changeable, today they have one scale for
shopping tomorrow they change their desires, and since it is not possible to immediate
reflecting users’ desires to brand executives to open up a dialog and lead to new insights.
Therefore creating a fix design that addressed the desires of targeted users is a complex
challenge in modernism.
93
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻣﻄﺎﻟﻌﮫ ﻧﺸﺎﻧﮫﺷﻨﺎﺳﯽ ﻣﯽﺗﻮاﻧﺪ ﺑﮫ اﯾﺠﺎد ﻣﻌﺎﻧﯽ در ﺟﺎﻣﻌﮫ ﻣﻨﺠﺮ ﺷﻮد و از آﻧﺠﺎ ﮐﮫ ﻣﻌﺎﻧﯽ و ﻧﺸﺎﻧﮫھﺎ از ﻓﺮھﻨﮓ‬
车 ‫ ﯾﮏ ﻧﻤﺎد‬.(٢٠٠٨،Minor‫و‬Mowen) ‫ ﯾﮏ ﻧﻤﺎد ﻣﯽﺗﻮاﻧﺪ در ﺟﺎﻣﻌﮫ ﻣﻌﺎﻧﯽ ﻣﺘﻔﺎوﺗﯽ داﺷﺘﮫ ﺑﺎﺷﺪ‬،‫ﻧﺸﺄت ﻣﯽﮔﯿﺮﻧﺪ‬
设 ‫ اﯾﻦ‬.‫ در ﺣﺎﻟﯽ ﮐﮫ ﺑﺮای ﻓﺮد دﯾﮕﺮ ھﻤﺎن ﻣﻌﻨﺎ را ﻧﺸﺎن ﻧﺪھﺪ‬،‫ﻣﻤﮑﻦ اﺳﺖ ﺑﺮای ﻣﺎ ﻣﻔﮭﻮم ﻣﺸﺨﺼﯽ داﺷﺘﮫ ﺑﺎﺷﺪ‬
计 ‫ اﯾﻦ ﻣﺴﺌﻠﮫ در ﺗﺼﻮﯾﺮی ﮐﮫ ارﻧﺴﺖ‬.‫ﯾﻌﻨﯽ ﮐﮫ اﻓﺮاد ﻣﺨﺘﻠﻒ ﻣﻌﺎﻧﯽ ﯾﮑﺴﺎﻧﯽ را از ﯾﮏ ﻧﻤﺎد ﺑﺮداﺷﺖ ﻧﻤﯽﮐﻨﻨﺪ‬
的 ‫ ﺗﺼﻮﯾﺮ دﺧﺘﺮی در ﺣﺎل اﺟﺮای‬:‫(در ﻣﻘﺎﻟﮫ »ﺗﺼﻮﯾﺮ ﺑﺼﺮی« ﺧﻮد اﺳﺘﻔﺎده ﮐﺮده دﯾﺪه ﻣﯽﺷﻮد‬١٩۶٠) ‫ﮔﺎﻣﺒﺮﯾﭻ‬
演 ‫ اﯾﻦ‬.‫ﺣﺮﮐﺎت ﻣﻮزون ﮐﮫ واﻧﻤﻮد ﻣﯽﮐﻨﺪ ﯾﮏ ﮔﻞ اﺳﺖ اﻣﺎ ھﯿﭻﮐﺲ دﻗﯿﻘﺎ ً درک ﻧﻤﯽﮐﻨﺪ ﮐﮫ اﯾﻦ دﺧﺘﺮ ﭼﮫ ﻣﯽﮐﻨﺪ‬
进 ‫ ﺑﺎزﺗﺎﺑﯽ از اﺑﮭﺎم‬.‫ﺗﺼﻮﯾﺮ ﻧﻤﺎﯾﯽ از ﭼﺎﻟﺸﯽ اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان ھﻨﺮ و ﺻﻨﻌﺖ ﻣﺪرن اﻣﺮوز ﺑﺎ آن ﻣﻮاﺟﮫ ھﺴﺘﻨﺪ‬
简
‫ ﺑﮫ طﻮری ﮐﮫ ﯾﮏ ﻓﺮم ﻣﯽﺗﻮاﻧﺪ ﻣﻌﺎﻧﯽ ﻣﺨﺘﻠﻔﯽ ﺑﺮای اﻓﺮاد ﯾﮏ ﻓﺮھﻨﮓ داﺷﺘﮫ ﺑﺎﺷﺪ ﯾﺎ اﺣﺴﺎس ﻣﺘﻔﺎوﺗﯽ در‬،‫ﻧﻤﺎدھﺎ‬
介
‫ اﯾﻦ ﻣﺴﺌﻠﮫ از آﻧﺠﺎ اھﻤﯿﺖ دارد ﮐﮫ ارزش ﻣﺤﺼﻮل ھﻨﮕﺎم ﺧﺮﯾﺪ ﺗﺎ ﺣﺪی‬.(١٩٩٨،Mijksenaar) ‫آﻧﮭﺎ ﺑﺮاﻧﮕﯿﺰد‬
‫ ﺑﮫ ﺳﺮاغ درک‬،‫ ﺑﺎ ﺑﺮرﺳﯽ ﻣﻮﻓﻘﯿﺖھﺎ و ﺷﮑﺴﺖھﺎی ﺑﺰرگ‬.‫ﻣﯽﺗﻮاﻧﺪ ﺑﺮ ﻣﺒﻨﺎی ارزﺷﯿﺎﺑﯽ ارزش ﻧﻤﺎدﯾﻦ آن ﺑﺎﺷﺪ‬
‫ ﺧﻮدروﺳﺎزان ھﻢ از اﺣﺴﺎﺳﺎت ﺣﺮف‬.‫اﺣﺴﺎﺳﺎت ﭘﯿﭽﯿﺪه اﻧﺴﺎﻧﯽ ﮐﮫ ﺑﺎ ﺗﺠﺮﺑﯿﺎت ﻣﺤﺼﻮل ھﻤﺮاه ھﺴﺘﻨﺪ ﻣﯽروﯾﻢ‬
‫ ﺧﻮدروﺳﺎزان ﺑﺎﯾﺪ ﻓﺮﻣﯽ ﻗﺎﺑﻞ ﺗﻐﯿﯿﺮ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.‫ اﻣﺎ اﯾﻦ ﺑﺪون داﺷﺘﻦ درک ﻣﺸﺘﺮک ﺑﺎ ﻣﺸﺘﺮی ﮐﺎﻓﯽ ﻧﯿﺴﺖ‬.‫ﻣﯽزﻧﻨﺪ‬
‫ﺑﺴﺎزﻧﺪ ﮐﮫ ﺑﮫ ﮐﺎرﺑﺮ اﻣﮑﺎن دھﺪ طﺮاﺣﯽ ﺑﺎﺷﺪ ﮐﮫ ﻓﺮم ﺧﻮدرو ﺧﻮد را ﻣﻄﺎﺑﻖ ﺑﺎ رﺿﺎﯾﺖ ﺷﺨﺼﯽ ﺧﻮد‬
.‫ﺳﻔﺎرﺷﯽ ﮐﻨﺪ‬
符号学的研究可以带来社会中表达的创造，而且由于意义和符号来自文化，符号
可能意味着社会中的不同意义（Mowen 和 Minor，2008）。虽然对我们来说一个
符号可以代表一个特定的事物，但同样的符号对另一个人可能含义不同，因此所
有人可能无法理解出相同的含义。恩斯特·贡布里奇（Ernst.Gombrich）（1960）
在他的文章《视觉形象》（The.Visual.Image）中用了一幅插图，一个女孩在跳舞，
假装自己是一朵花。但是没有人能凭正确的理解来解释她在做什么。这象征了用
户在现代工艺中面临的挑战。这还反映了符号的模糊性，也就是一种形态可以创
造不同的含义 ，即使对 同一文化中的人，形态 传达的情感表达也是不 同的
（Mijksenaar，1998），这一点非常重要，因为用户购买产品可能部分基于对其
符号价值的评估。通过检验显著的成功和失败案例，我们把注意力转向了理解产
品体验相关的复杂人类情感。汽车制造商也谈论情感，但如果没有在我们的客户
中建立起共识，那就是不够的，因此汽车制造商需要发展出可变的形态，使用户
能够成为手艺人，以获取个人满足的方式，来定制汽车的形态。
Study of semiotics can lead to creating of expressions in society, and since meanings and
symbols emanate from culture, a symbol may imply different meaning in society (Mowen
and Minor, 2008). While one symbol could represent a particular thing for us, the same
symbol may not have the same meaning for another person and therefore everyone may
not decipher the same meaning. It is seen in the illustration, used by Ernst Gombrich
(1960) in his article’ The visual image’ a girl is dancing, pretending she has been a flower.
But no one has correct perception to interpret what she has been doing. This represents the
challenge users were facing in modern craft today. This reflects the ambiguity of symbols
where one form can create different meaning and communicate different emotional
expressions to people of one culture (Mijksenaar, 1998), which is very important as
products may partly be based on evaluation of their symbolic value when purchased. With
examination of remarkable successes and failures, we turned our attention to understand
the complex human emotions attached to the product experiences. Car makers also talk
about emotion, but it is no sufficient without developing a common understanding among
our clients therefore car makers need to develop changeable form which makes user able
to be a handicraftsman to customize the car form in the way to find individual satisfaction
by himself.
94
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺗﻔﺎوتھﺎی ﻓﺮدی در ﺟﺎﻣﻌﮫ‬

车
设
社会中的个人差异
计 Individual differences in society
的
演 ‫ اﻣﺎ ﭘﯿﺶ‬.‫اﺷﺎره ﮐﺮدﯾﻢ ﮐﮫ اﻓﺮاد ﻧﻈﺮات ﻣﺘﻔﺎوﺗﯽ دارﻧﺪ ﮐﮫ ﻣﯽﺗﻮاﻧﺪ ﺑﺮ ارزﺷﯿﺎﺑﯽ زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﮐﺎرﺑﺮ اﺛﺮ ﺑﮕﺬارد‬
进 ‫ ھﯿﭻ ﺳﺎزﻧﺪهای ﻧﻤﯽﺗﻮاﻧﺴﺖ ﻧﻈﺮ ﻣﺨﺎطﺐ را ﺑﮫ ﺧﻮﺑﯽ ﭘﻮﺷﺶ دھﺪ و ھﯿﭻﮐﺲ ﻧﻤﯽﺗﻮاﻧﺴﺖ‬،‫از دوران ﭘﺴﺎﻣﺪرن‬
简
‫ ھﻨﺮﻣﻨﺪ ﺻﻨﻌﺘﮕﺮ ﺑﮭﺘﺮ ﻣﯽﺗﻮاﻧﺴﺖ در اﯾﻦ ﻣﻮرد ﻋﻤﻞ ﮐﻨﺪ ﭼﻮن‬،‫ﺑﺮای ﺗﮏﺗﮏ ﮐﺎرﺑﺮان طﺮاﺣﯽ ﮐﻨﺪ؛ اﮔﺮﭼﮫ‬
介
‫ در ﺣﺎﻟﯽ ﮐﮫ‬،‫طﺮاح ﺻﻨﻌﺘﯽ ﻓﺮم را ﺑﺮای ﻧﻈﺮات ﻣﺸﺘﺮک ﮐﺎرﺑﺮان )اﻣﺎ ﻧﮫ ﻧﻈﺮات ﺗﮏﺗﮏ آﻧﮭﺎ( ﭘﺪﯾﺪ ﻣﯽآورد‬
.‫ھﻨﺮﻣﻨﺪ ﺻﻨﻌﺘﮕﺮ ﻓﺮم را ﺑﺮ ﻣﺒﻨﺎی ﻧﻈﺮ اﺳﺘﻔﺎده ﮐﻨﻨﺪه ﻣﯽﺳﺎزد‬
‫( و اﺳﺘﺎﻧﺪاردﺳﺎزی زﻧﺪﮔﯽ‬١٩٩۵ ،Foucault) ‫ ﺑﺮاﺑﺮی ﺻﻮری‬،‫ ﺑﺎ اوﻟﻮﯾﺖ ﻓﺮدﮔﺮاﯾﯽ‬،‫طﺮاح در ﺟﺎﻣﻌﮫ ﻣﺪرن‬
،Mooney ‫ و‬Szreter ‫؛‬٢٠١٢ ،Mura Andrea ‫؛‬١٩٨٩ ،Reichl) (‫)ﺑﺮای ﺟﻤﻌﯿﺘﯽ ﮐﮫ در ﺣﺎل رﺷﺪ اﺳﺖ‬
‫ ﺗﻨﮭﺎ ﻣﯽﺗﻮاﻧﺪ ﻣﺤﺼﻮل را ﺑﺮ ﻣﺒﻨﺎی ﺳﻠﯿﻘﮫ و ﻧﻈﺮ ﮔﺮوه ﮐﻮﭼﮑﯽ از اﻓﺮاد ﺟﺎﻣﻌﮫ )ﮔﺮوه ھﺪف( طﺮاﺣﯽ‬،(١٩٩٨
‫ طﺮاح ﻣﯽﺗﻮاﻧﺪ ﻧﻈﺮات‬،‫ اﻣﺎ در ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن‬.‫ﮐﻨﺪ و ﺑﻨﺎﺑﺮاﯾﻦ ﻧﻤﯽﺗﻮاﻧﺪ رﺿﺎﯾﺖ ھﻤﮫ ﮐﺎرﺑﺮان را ﺑﮫدﺳﺖ اورد‬
‫ﺗﮏﺗﮏ ﮐﺎرﺑﺮان را ﺗﺄﻣﯿﻦ ﮐﻨﺪ؛ او ﺑﺴﺘﺮی ﻣﯽﺳﺎزد و ﺳﭙﺲ ﺗﮏﺗﮏ ﮐﺎرﺑﺮان ﻧﻘﺶ ﺻﻨﻌﺘﮕﺮ را اﯾﻔﺎ و طﺮاﺣﯽ‬
.‫ﻣﺤﺼﻮل ﺧﻮد را ﺑﺮ ﻣﺒﻨﺎی ﻧﻈﺮات و ﺳﻼﯾﻖ ﺷﺨﺼﯿﺸﺎن ﮐﺎﻣﻞ ﻣﯽﮐﻨﻨﺪ‬

我们之前提到，人与人之间有不同的观点，这可能影响用户的审美评价。但是在
后现代之前的所有风格中，制造商无法恰当地涵盖用户的意见，也没有人能够为
个别用户设计。但是手艺人可以比设计师更擅长回答这个问题，毕竟设计师是基
于一般的用户意见（但不基于所有人，也不基于个别意见）来创造形态，不像艺
术家和手艺人的创作那样基于消费者的意见。
在推崇个人主义、形式平等（Foucault，1995）和生活标准化（针对开始增加的普
通人口）（Reichl，1989；MuraAndrea，2012；Szreter 和 Mooney，1998）的现代
社会中，设计师只能根据社会中一小部分人（目标群体）的愿望和意见来设计产
品，因此，设计师不能用自己的设计来满足所有用户。

We mentioned that person to person has different opinion which could influence the
aesthetic evaluation of user. But in all style before Post-modern maker could not cover
the opinion of user properly, and no one could design for individual user, although
handicraftsman could answer to this better than designer since designer is creating
form for common users’ opinions (but not for all and not every individual opinion),
unlike the artist and handicraftsman whom his creation is based on consumer opinion.
In Modern society with prioritization of individualism, formal equality (Foucault,
1995) and the standardizing of living (for the general population which began to
increase) (Reichl, 1989; Mura Andrea, 2012; Szreter and Mooney, 1998) designer just
could design product based on desires and opinion of a
small group of people in society (target group),
therefore designer could not satisfy all users by his
design. But in Post-modernism society, designer
can answer to one by one of users’ opinion, he
makes a platform, then every user acts as a
handicraftsman and complete the product design
by/for himself base on his own opinion and desires.
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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺻﻨﻌﺘﮕﺮ و ھﻨﺮﻣﻨﺪ ﻧﺸﺎن ﻣﯽدھﻨﺪ ﮐﺎرﺑﺮی ﮐﮫ در ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن ﺑﺮای ﺧﻮد طﺮاﺣﯽ‬،‫اﯾﻦ ﺗﻔﺎوتھﺎ ﻣﯿﺎن طﺮاح‬
车 ‫»ﺑﺮای ھﻤﮫ ﺑﮭﺘﺮ‬: ‫ راﺳﮑﯿﻦ و ﻣﻮرﯾﺲ در اﯾﻦ ﺑﺎره ﻣﯽﮔﻮﯾﻨﺪ‬.‫ ﺑﻠﮑﮫ در واﻗﻊ ﺻﻨﻌﺘﮕﺮ اﺳﺖ‬،‫ﻣﯽﮐﻨﺪ طﺮاح ﻧﯿﺴﺖ‬
设 ‫ ]آﻧﮕﺎه ھﺮ ﮐﺴﯽ[ ﻣﯽﺗﻮاﻧﺴﺖ اﺷﯿﺎء زﯾﺒﺎﯾﯽ ﺑﺴﺎزد ﮐﮫ در ﻧﻘﻄﮫ ﻣﻘﺎﺑﻞ‬.‫ﺑﻮد اﮔﺮ ﺻﻨﻌﺘﮕﺮی ﻓﺮدی اﺣﯿﺎء ﻣﯽﺷﺪ‬
计 ‫ اﯾﻦ ﻋﺒﺎرت‬.(١٩٩۵ ،Jirousek)«‫ﻣﺤﺼﻮﻻت ﺣﻘﯿﺮ ﺗﻮﻟﯿﺪ اﻧﺒﻮه ﻧﺘﯿﺠﮫ ﺻﻨﻌﺘﮕﺮی را ﺑﮫ ﻧﻤﺎﯾﺶ ﻣﯽﮔﺬاﺷﺘﻨﺪ‬
的 ‫ھﻤﭽﻨﯿﻦ رواﺑﻂ اﺟﺘﻤﺎﻋﯽ ﻣﺮﺗﺒﻂ ﺑﺎ ﺻﻌﻮد ﺳﺮﻣﺎﯾﮫداری و ﺗﻐﯿﯿﺮات رﻓﺘﺎری ﻣﺮﺗﺒﻂ ﺑﺎ زﻧﺪﮔﯽ ﭘﺴﺎﺻﻨﻌﺘﯽ را در‬
演 .(٢٠١٠ ،Berman) ‫ﺑﺮ ﻣﯽﮔﯿﺮد‬
进 ‫ در‬.‫اﯾﻦ ﻧﮑﺎت اھﻤﯿﺖ ﺑﺮرﺳﯽ ادراک و ﻗﺎﺑﻠﯿﺖ ﺗﻐﯿﯿﺮ ﻓﺮم ﺧﻮدرو را ﻣﻄﺎﺑﻖ ﺑﺎ ﺳﻼﯾﻖ روزﻣﺮه ﻧﺸﺎن ﻣﯽدھﻨﺪ‬
简
‫ آزﻣﺎﯾﺶ اﯾﻦ ﭘﮋوھﺶ ﻣﯽﺗﻮاﻧﺪ ﻧﺸﺎن دھﺪ ﮐﮫ اﻓﺮاد درﺑﺎره ﯾﮏ ﻓﺮم ﻣﺸﺨﺺ ﺧﻮدرو ﭼﻘﺪر ﻣﺘﻔﺎوت‬،‫ھﻤﯿﻦ راﺳﺘﺎ‬
介
.‫ﻓﮑﺮ ﻣﯽﮐﻨﻨﺪ‬

但在后现代主义社会中，设计师可以逐个迎合用户的意见，他创造了一个平台，
然后每个用户都充当手艺人，根据自己的意见和愿望，自己完成产品设计。根据
设计师与手工艺术家的差异，可以证明后现代社会中为自己设计的个人用户不是
设计师，而其实是一个手艺人。对此罗斯金（Ruskin）和莫里斯（Morris）提出：
“如果个体手工艺能复兴，那么每个人都能生产出体现精细手工艺的精美物品，而
不是大规模生产的劣质产品，这将造福所有人”（Jirousek，1995），也会影响与
资本主义兴起相关的社会关系，以及与后工业生活相关的态度转变（Berman，
2010）。
这些观点强调了研究感知和满足日常愿望的可变汽车形态非常重要。因此，本研
究中的实验会展示不同人对同一种汽车形态的看法。

Because of these differences between designer and artist handicraftsman; this reaches
to prove the individual user who designs for himself in the Post-modern society is not
a designer actually he is a handicraftsman. About this Ruskin, Morris proposed “it
would be better for all if individual craftsmanship could be revived [then everyone]
could produce beautiful objects that exhibited the result of fine craftsmanship, as
opposed to the shoddy products of mass
production” (Jirousek, 1995) which also
includes the social relations associated with
the rise of capitalism, and shifts in attitudes
associated with post-industrial
life (Berman, 2010).
These points highlight the importance
studying of perception and changeable car
form for everyday desires. Therefore the
experiment of study can show how
different people think about a same car
form.

Figure: John Ruskin and William Morris

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫آزﻣﺎﯾﺶ‬
车
设
实验
计 Experiment
的
演
进
简
介
‫ﻣﻼﺣﻈﺎت ﻓﻮق ﻣﺴﯿﺮ ﺗﺪوﯾﻦ آزﻣﺎﯾﺸﯽ ﺗﺠﺮﺑﯽ را ﭘﯿﺶ روﯾﻤﺎن ﮔﺸﻮدﻧﺪ ﮐﮫ ﺑﮫ ﻣﺎ ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﺗﺎ ﺑﺎ اﺳﺘﻔﺎده از‬
.‫ﭼﺎرﭼﻮﺑﯽ ﻧﻈﺮی ﺑﺮ ﻣﺒﻨﺎی ﺣﺎﻟﺖ طﺮاﺣﯽ واﮐﻨﺶ ﻣﺴﺘﻘﯿﻢ ﮐﺎرﺑﺮ را ﺑﮫ ﺷﮑﻞ ظﺎھﺮی ﺧﻮدرو ارزﺷﯿﺎﺑﯽ ﮐﻨﯿﻢ‬
‫اﯾﻦ ﭘﮋوھﺶ در زﻣﯿﻨﮫ ﺣﻮزه ﺑﺼﺮی در ﻓﺮمھﺎی ﺧﻮدرو اﻧﺠﺎم ﺷﺪه ﮐﮫ ﻣﯽﺗﻮان آن را ﺑﮫوﺳﯿﻠﮫ ﯾﮏ آزﻣﺎﯾﺶ‬
.‫ ﺗﺤﻠﯿﻞ و ارزﯾﺎﺑﯽ ﮐﺮد‬،‫ﺗﺠﺰﯾﮫ‬

‫اﯾﻦ آزﻣﺎﯾﺶ ﺟﻨﺒﮫھﺎی ﻣﻌﻨﺎﺷﻨﺎﺧﺘﯽ و واﮐﻨﺶ اﺣﺴﺎﺳﯽ ﺑﯿﻨﻨﺪه را ﺑﮫ ﻣﺠﻤﻮﻋﮫای اﻧﺘﺨﺎﺑﯽ از ظﺎھﺮھﺎی ﮔﺮاﻓﯿﮑﯽ‬
‫ آﯾﺎ طﺮح ﺧﻮدرو ﻣﯽﺗﻮاﻧﺪ‬:‫ﺧﻮدرو ﺑﺮرﺳﯽ و ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ ﺑﮫ ﻣﺎ ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﺑﮫ اﯾﻦ ﭘﺮﺳﺶھﺎ ﭘﺎﺳﺦ دھﯿﻢ ﮐﮫ‬
‫ﭘﯿﺎم ﯾﮑﺴﺎﻧﯽ را ﺑﮫ ﮐﺎرﺑﺮان ﻣﻨﺘﻘﻞ ﮐﻨﺪ؟ آﯾﺎ ﻣﺮدم ﺳﻼﯾﻖ ﻣﺸﺘﺮﮐﯽ دارﻧﺪ؟‬

‫ﻧﺘﺎﯾﺞ را ﻣﯽﺗﻮان ﺑﺎ اﺳﺘﻔﺎده از روشھﺎ و ﺗﮑﻨﯿﮏھﺎی آﻣﺎری ﺑﺮ ﻣﺒﻨﺎی ﺗﮑﻨﯿﮏ ارﺗﺒﺎط ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞھﺎی‬
‫ ﺑﺮای آﻧﮑﮫ ﺑﺘﻮاﻧﯿﻢ از اﯾﻦ ﻧﻈﺮﺳﻨﺠﯽ ﺑﮫ ﯾﮏ دﯾﺪﮔﺎه‬.‫دادهھﺎی ﺑﺼﺮی ظﺎھﺮ ﮔﺮاﻓﯿﮑﯽ ﺧﻮدرو ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﮐﺮد‬
.‫ﻣﯿﺎنﻓﺮھﻨﮕﯽ ﺑﺮﺳﯿﻢ ﭘﺎﺳﺦدھﻨﺪﮔﺎن ھﻨﺪی و اﯾﺮاﻧﯽ را اﻧﺘﺨﺎب ﮐﺮدهاﯾﻢ‬
上述观点成为本研究制定实证实验的广泛准则，引导我们使用基于设计表达的理
论框架，来评估与汽车前脸直接相关的用户反应。
这项研究针对的是汽车形态中的视觉方面，后者的分析和评估可以通过研究产品
语义学和观察者对特定一组汽车前脸图的情感反应来实现。因而我们需要回答这
样的问题：设计是否可以将相同的信息传递给用户？人们有共同的愿望吗？

利用基于关系投射法的统计方法和技巧，笔者对汽车前脸图的视觉数据进行分析。
为了从调查中获得跨文化的视角；对于本研究，我们选取了来自印度和伊朗的受
试者。
The above considerations form the broad guidelines for formulating an empirical
experiment for this research which lead us to use a theoretical framework based on
expression of design, to evaluate user response, related directly to the face of car.
The study responds to the visual domain in car forms which can be analyzed and
assessed from an experiment that enquires into aspects of product semantics and
emotional response of the viewer to a selected set of graphical car faces. This leads us
to answer to the questions, whether design can transfer the same message to the
users?. Do people have common desires?

The results can be analyzed using statistical method and technique which is based on
relation technique for analyses of visual data on the graphical front face of cars. To
derive a cross-cultural perspective from the survey; for this study respondents from
India and Iran are shortlisted.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻧﻤﻮﻧﮫ‬
车 样本
设 Sample
计
的
‫ ﺟﺰﺋﯿﺎت اﯾﻦ‬.‫ ﻓﺮم ﮔﺮاﻓﯿﮑﯽ ﺗﺮﮐﯿﺒﯽ ﺧﻮدرو ﺑﺎ اﺳﺘﻔﺎده از ﺗﮑﻨﯿﮏ درھﻢآﻣﯿﺰی ﺗﮭﯿﮫ ﺷﺪ‬٢٠ ‫ﻣﺠﻤﻮﻋﮫای از‬
演
.‫ ﻧﺸﺎن داده ﺷﺪه اﺳﺖ‬٢۵ ‫ ﺗﺎﯾﯽ از ﻧﻤﻮﻧﮫھﺎ در ﺷﮑﻞ‬٢٠ ‫ﻣﺠﻤﻮﻋﮫ‬
进
简
介 一组 20 个混合的汽车前脸图，经过变形手法的处理。如下是这 20 个汽车前脸图
的详细信息（图 25）。

A set of 20 hybrid graphical car forms derived using the technique of morphing. The
details of the series of 20 graphical car face samples were presented (Figure 25).

Figure 25: Graphical car faces.

‫ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن‬
参与者
Participant

(٣٨٪) ‫ ﻧﻔﺮ‬۴٨ ‫( و‬۵۴ ‫ ﺗﺎ‬١٨ ‫( ﻣﺮد )ﺳﻦ‬۶٢٪) ‫ ﻧﻔﺮ‬٧٨ ،‫ از اﯾﻦ ﻋﺪد‬.‫ ﺷﺮﮐﺖﮐﻨﻨﺪه ﺑﻮد‬١٢۶ ‫اﻧﺪازه ﮐﻞ ﻧﻤﻮﻧﮫ‬
١٢۶ ‫ از ﻣﺠﻤﻮع‬.‫ اھﻞ ھﻨﺪ و اﯾﺮان ﺑﻮدﻧﺪ‬،‫ ﮐﻠﯿﮫ ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن آﺳﯿﺎﯾﯽ‬.‫ ﺳﺎل( ﺑﻮدﻧﺪ‬۵٠ ‫ ﺗﺎ‬١٨ ‫زن )ﺳﻦ‬
.‫( اﯾﺮاﻧﯽ ﺑﻮدﻧﺪ‬۵٢٪) ‫ ﻧﻔﺮ‬۶۶ ‫( ھﻨﺪی و‬۴٨٪) ‫ ﻧﻔﺮ‬۶٠ ،‫ﺷﺮﮐﺖﮐﻨﻨﺪه‬

调查的总样本量为 126 名受试者。78 名受试者（62%）为男性（18-54 岁）， 48

名受试者（38%）为女性（18-50 岁）。 所有受试者都是来自印度和伊朗的亚洲
人。在 126 名受试者中，60 人（48%）来自印度，66 人（52%）来自伊朗。

The total sample size of the survey was 126 respondents. 78 respondents (62%) were
men (age 18-54) and 48 respondents (38%) were women (age 18-50). All the
respondents were Asians from India and Iran. Out of the total of 126 respondents 60
people (48%) were from India and 66 people (52%) from Iran.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫روش ﮐﺎر‬
车 实验方法
设 Methodology
计
的
演
进
:‫روش ﻣﻮرد اﺳﺘﻔﺎده ﺷﺎﻣﻞ ﮔﺎمھﺎی زﯾﺮ ﻣﯽ ﺑﺎﺷﺪ‬
简
介 ‫ ﻓﺮم ﮔﺮاﻓﯿﮑﯽ ﺧﻮدروی ﺗﺮﮐﯿﺒﯽ ﺑﺎ اﺳﺘﻔﺎده از ﺗﮑﻨﯿﮏ درھﻢآﻣﯿﺰی‬٢٠ ‫ ﺣﺎﻟﺖ ﻋﺎطﻔﯽ و اﺳﺘﺨﺮاج‬٨ ‫( رﺳﻢ‬١
‫ ﺗﮭﯿﮫ ﺷﺪﻧﺪ و ﻓﺮم ﺻﻮرت ﺧﻮدرو ﻣﯿﺎﻧﯽ‬C15 ‫ و‬C5 ‫ ﻓﺮم ﺻﻮرت ﺧﻮدروھﺎی‬،‫ ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل‬.(٢۵ ‫)ﺷﮑﻞ‬
.‫ ﺣﺎﺻﻞ ﺷﺪ‬C15 ‫ و‬C5‫ از ﻓﺮاﯾﻨﺪ درھﻢآﻣﯿﺰی‬C10
.‫( ﺷﻨﺎﺳﺎﯾﯽ راﺑﻄﮫ ﻓﺮمھﺎی ﺻﻮرت ﺧﻮدرو ﺑﺎ ﺣﺎﻟﺖ ﻋﺎطﻔﯽ ﻣﺮﺑﻮطﮫ‬٢
‫ ﮐﻠﻤﮫ‬٨ ‫( ﺑﮫ طﻮری ﮐﮫ ﯾﮑﯽ ﺑﻌﺪ از دﯾﮕﺮی در ارﺗﺒﺎط ﺑﺎ‬C20 ،... ،C2 ،C1) ‫( ﺗﻨﻈﯿﻢ ﻣﺠﻤﻮﻋﮫھﺎی ﺑﺼﺮی‬٣
.‫ﻣﺮﺑﻮط ﺑﮫ ﺣﺎﻻت ﻋﺎطﻔﯽ ﻗﺮار ﻣﯽ ﮔﯿﺮﻧﺪ‬
‫ از ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن ﺧﻮاﺳﺘﮫ ﺷﺪ ﮐﮫ ﯾﮏ ﻓﺮم ﮔﺮاﻓﯿﮑﯽ ﺻﻮرت‬.‫( ﺛﺒﺖ واﮐﻨﺶ ﮐﺎرﺑﺮ از طﺮﯾﻖ ﺻﻔﺤﮫ ﻧﻤﺎﯾﺶ‬۴
‫ در اﯾﻨﺠﺎ از ﺗﮑﻨﯿﮏ ارﺗﺒﺎطﯽ ﮐﺸﻒ ﺑﺮای‬.‫ ﻣﺠﻤﻮﻋﮫ ﻣﻮﺟﻮد( ﺑﺮای ھﺮ ﮐﻠﻤﮫ ﻋﺎطﻔﯽ اﻧﺘﺨﺎب ﮐﻨﻨﺪ‬٢٠ ‫ﺧﻮدرو )از‬
.‫اﻧﺘﺨﺎب ﮐﺎرﺑﺮ اﺳﺘﻔﺎده ﺷﺪ‬

所采用的方法包括以下步骤：

（1）图中描绘了 8 种情绪，一套 20 个混合的汽车前脸图，经过变形手法处理

（图 25）。例如，汽车前脸图 C5 和 C15 衍生出了别的图，并且中间的汽车前
脸 C10 就是衍生自 C5 和 C15。
（2）汽车前脸与情感相关性的识别。
（3）20 个汽车前脸图（C1、C2、……C20）依次排成一组，与 8 个情感表达词
逐个对应。
（4）通过屏幕捕捉用户反应。受试者被要求为每个情感表达词选择一个汽车前
脸图（20 个中的一个）。在这个发现过程中，用户的选择应用了关系投射法。

The methodology followed involved the following steps:

(1) Drawing depict the 8 emotions a set of 20 hybrid graphical car forms were
using the technique of morphing. (Figure 25) For example car face C5 and C15 were
derived and the intermittent car face C10 was derived through the process of morphing
from C5 and C15.
(2) Identification of co-relationship correspondence between car face and
emotional correspondence
(3) The Visual sets of 20 graphical car face (C1, C2 … C20) were arranged in a
set in such a way that they corresponded with 8 emotional expression word one after
the other.
(4) User response was sought through screen. Respondents were asked to select a
graphical car face (out of 20 graphical car faces) for each word expression. In this
discovery relational technique was used for user’s selection.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﺑﺰار‬
车 工具
设 Tool
计
的 ‫ ﻣﺠﻤﻮﻋﮫ ﮔﺮاﻓﯿﮑﯽ ﺻﻮرت‬٢٠ ‫ ﭘﺮﺳﺶ ﻣﯽ ﺑﺎﺷﺪ و در آن ھﻤﺎن‬٩ ‫از ﯾﮏ ﭘﺮﺳﺸﻨﺎﻣﮫ اﺳﺘﻔﺎده ﺷﺪه ﮐﮫ ﺷﺎﻣﻞ‬
演 .‫ﺧﻮدرو ﺑﮫ ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن اراﺋﮫ ﺷﺪه اﺳﺖ ﺗﺎ آﻧﮭﺎ را در ارﺗﺒﺎط ﺑﺎ ﻣﻨﺎﺳﺐﺗﺮﯾﻦ ﮐﻠﻤﮫ اﺣﺴﺎﺳﯽ اﻧﺘﺨﺎب ﮐﻨﻨﺪ‬
进 :‫ از ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن درﺧﻮاﺳﺖ ﺷﺪه اﺳﺖ ﺑﮫ ﭘﺮﺳﺶھﺎی زﯾﺮ ﭘﺎﺳﺦ دھﻨﺪ‬،‫ھﻤﭽﻨﯿﻦ‬
简 ‫ ﮐﺪاﻣﯿﮏ اﺣﺴﺎس ﺧﻄﺮ را اﻟﻘﺎء‬:Q٢۴ - ‫ ﮐﺪاﻣﯿﮏ از اﯾﻦ ﻓﺮمھﺎی ﺻﻮرت ﮔﺮاﻓﯿﮑﯽ را دوﺳﺖ دارﯾﺪ؟‬:Q-٢٣
介 ‫ ﮐﺪاﻣﯿﮏ ﺣﺎﻟﺖ‬:Q٢٧ - ‫ ﮐﺪاﻣﯿﮏ ﺣﺎﻟﺖ ﺧﺸﻤﮕﯿﻦ دارد؟‬:Q٢۶ - ‫ ﮐﺪام ﯾﮏ اﺣﺴﺎس ﻏﻢ دارد؟‬:Q٢۵ - ‫ﻣﯽﮐﻨﺪ؟‬
‫ ﮐﺪاﻣﯿﮏ‬:Q٣٠ - ‫ ﮐﺪاﻣﯿﮏ ﺣﺎﻟﺖ ﮐﻨﺠﮑﺎو دارد؟‬:Q٢٩ - ‫ ﮐﺪاﻣﯿﮏ ﺣﺎﻟﺖ ﺷﮕﻔﺖزده دارد؟‬:Q٢٨ - ‫ﺟﺪی دارد؟‬
‫ ﮐﺪاﻣﯿﮏ ﺣﺎﻟﺖ ﺷﺎد دارد؟‬:Q٣١ - ‫اﺣﺴﺎس ﺗﻨﻔﺮ را ﻧﺸﺎن ﻣﯽدھﺪ؟‬
工具是问卷调查，包含 9 个问题，同样一套 20 个汽车前脸图呈现给受试者，他
们将根据问题涉及的情感选择最合适的一个。受试者需要回答以下问题：问题
23-你喜欢哪一个（汽车前脸图）？问题 24-哪一个表达了危险？问题 25-哪一个
表达了悲伤？ 问题 26-哪一个表达了愤怒？问题 27-哪一个表达了严肃？ 问题
28-哪一个表达了惊讶？问题 29-哪一个表达了好奇？ 问题 30-哪一个表达了厌恶？
问题 31-哪一个表达了愉快？
A questionnaire was the tool which had 9 questions in which the same set of 20
graphical car faces were presented to the respondents and they were to select the one
against corresponding to the most appropriate expression. Response was sought for the
following questions. Q23- which one (graphical car face) do you like? Q24- which one
has an expression of danger? Q25- which one has a sad expression? Q26- which one
has an angry expression? Q27- which one has a serious expression? Q28- which one
has a surprised expression? Q29- which one has a curious expression? Q30- which one
has an expression of disgust? Q31- which one has a happy expression?
‫ﻧﺘﺎﯾﺞ‬
结果
Result
‫ درﺻﺪھﺎی ﺑﮫ دﺳﺖ‬.‫ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ دادهھﺎ ﺑﺎ اﺳﺘﻔﺎده از ﺗﮑﻨﯿﮏ ﻧﻤﻮدار ﺳﺘﻮﻧﯽ و ﺑﺮ ﻣﺒﻨﺎی ﻓﺮاواﻧﯽ اﻧﺠﺎم ﺷﺪ‬
‫ ﻧﺘﺎﯾﺞ ﺑﮫدﺳﺖ‬.‫آﻣﺪه ﺗﻌﺪاد ﻓﺮمھﺎی ﮔﺮاﻓﯿﮑﯽ ﻧﻤﻮﻧﮫای ھﺴﺘﻨﺪ ﮐﮫ در ﭘﺎﺳﺦ ﺑﮫ ھﺮ ﭘﺮﺳﺶ ﺑﮫ آﻧﮭﺎ اﺷﺎره ﺷﺪه اﺳﺖ‬
.‫ در اداﻣﮫ ﻧﺸﺎن داده ﺷﺪهاﻧﺪ‬،‫آﻣﺪه از ﭘﺮﺳﺶھﺎ ﺑﮫ ﺻﻮرت آﻣﺎری ﺟﻤﻊآوری و ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ طﻮل اﯾﻦ ﺑﺨﺶ‬
利用基于频率的柱状图对数据进行统计分析，展示与每个问题相关的每个汽车前
脸图出现的百分比。根据数据对问题的选定结果进行了统计汇编，如下图所示，
与本部分的长度保持一致。
Statistical analysis of the data was done by using Column graph technique which is based
on frequency. Percentages emerged for each graphical car face samples pertaining to each
question. Selected results for questions have been statistically compiled from the data and
presented below, keeping in view the length of this part.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 26: Q23- which one (graphical car face) do you like?
Figure 27: Q24- which one (graphical car face) has an expression of danger?

Figure 28: Q25- which one (graphical car face) has a sad expression?
Figure 29: Q26- which one (graphical car face) has an angry expression?

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 30: Q27- which one (graphical car face) has a serious expression?
Figure 31: Q28- which one (of graphical car face) has a surprised expression?

Figure 32: Q29- which one (graphical car face) has an expression of curiosity?
Figure 33: Q30- which one (graphical car face) has an expression of disgust?

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 Figure 34: Q31- which one (graphical car

车 face) has a happy expression?
设
计
的
演
进
简 ‫ﺑﺤﺚ‬
介
讨论
Discussion
،‫اﯾﻦ ﭘﮋوه ﺑﺮ اﺳﺎس ﺳﮫ ﺣﻮزه ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞ ﺑﺼﺮی‬
‫ﻣﻌﻨﺎﺷﻨﺎﺳﯽ طﺮاﺣﯽ و طﺮاﺣﯽ اﺣﺴﺎﺳﯽ اﻧﺠﺎم ﺷﺪه و ﺑﺮ‬
‫ ﺷﺎﻣﻞ ارزﺷﯿﺎﺑﯽ و ﻧﻈﺮات‬،‫ﺗﺮﮐﯿﺒﯽ از روﯾﮑﺮدھﺎ‬
(‫ ﭼﮭﺮه ﮔﺮاﻓﯿﮑﯽ‬٢٠) ‫ ﺑﺮای اﯾﺠﺎد ﭘﺎﯾﮕﺎه داده‬،‫ﮐﺎرﺷﻨﺎﺳﺎن‬
‫ ﺗﻤﺮﮐﺰ ﮐﺮده‬،‫و ارزﺷﯿﺎﺑﯽ ﭘﺎﺳﺦدھﻨﺪﮔﺎن ﺑﺮای اﯾﺠﺎد ﻧﺘﺎﯾﺞ‬
.‫اﺳﺖ‬
‫ﺗﮑﻨﯿﮏھﺎی ﻣﻮرد اﺳﺘﻔﺎده ﻣﺎھﯿﺘﯽ ﮐﯿﻔﯽ دارﻧﺪ و ﭘﺎﺳﺦھﺎی‬
‫ﮐﺎرﺑﺮان ﻧﮭﺎﯾﯽ را ﺑﺎ ﻓﺮمھﺎی ﮔﺮاﻓﯿﮑﯽ ظﺎھﺮ اﺗﻮﻣﺒﯿﻞ‬
‫ ﺗﮑﻨﯿﮏ ارزﺷﯿﺎﺑﯽ ﺷﺎﻣﻞ ﺗﮑﻨﯿﮏ ارﺗﺒﺎط‬.‫ﻣﺮﺑﻮط ﮐﺮده اﻧﺪ‬
‫ﻣﺘﻘﺎﺑﻞ ﺻﻮرت ﺧﻮدرو از طﺮﯾﻖ ﺗﺠﺮﺑﮫ اﺳﺖ ﮐﮫ ﺑﮫ‬
‫ ھﺪف دﺳﺘﯿﺎﺑﯽ ﺑﮫ اﻟﮕﻮی ﺗﺮﺟﯿﺤﺎت ﻓﺮھﻨﮓ ﮐﺎرﺑﺮان اﯾﻦ دو ﮐﺸﻮر و ﻣﻘﺎﯾﺴﮫ‬.‫ﺷﮑﻠﯽ ﯾﮑﭙﺎرﭼﮫ اﺟﺮا ﺷﺪه اﺳﺖ‬
‫ﺗﻔﺎوتھﺎی ﭘﺎﺳﺦھﺎی ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎن ﺑﺮ ﻣﺒﻨﺎی ﺑﺮداﺷﺖ ﻣﺘﻔﺎوت اﺳﺖ ﺗﺎ ﺑﮫ اﯾﻦ ﭘﺮﺳﺶھﺎ ﭘﺎﺳﺦ داده ﺷﻮد ﮐﮫ آﯾﺎ‬
‫طﺮاﺣﯽ ﻣﯽﺗﻮاﻧﺪ ﭘﯿﺎم ﻣﺸﺎﺑﮭﯽ را ﺑﮫ ﺗﻤﺎم ﮐﺎرﺑﺮان ﻣﻨﺘﻘﻞ ﮐﻨﺪ؟ آﯾﺎ ﻣﺮدم ﺳﻼﯾﻖ ﻣﺸﺘﺮک دارﻧﺪ؟‬

本研究从上述视觉分析、设计语义学和情感设计三个方面出发，将自我评价与专
家意见相结合，整理数据库（20 个前脸图）与受试者评价，并得到组合结果。所
采用的方法本质上是定性的，使最终用户对汽车前脸图的视觉形式作出反应。评
估方法包括通过综合实验对汽车前脸进行的关系投射法。目的是了解基于这两个
国家的用户文化偏好模式，并比较不同的回答者回答的差异，这体现了不同的感
知，从而回答设计是否可以向用户传递相同的信息，人们是否有共同的愿望这两
个问题。

Drawing from the above three domains: visual analysis; design semantics and
emotional design, this research has focused on a combination of approaches including
self-evaluation and expert opinion to make the data base (20 graphical faces) and
respondents evaluation in generating the comprising results. The techniques applied
were qualitative in nature engaging end users response to the visual form of graphical
car faces. The technique for evaluation included Co-relation technique on car faces
through the experiment conducted in an integrated manner. The objective was to get a
sense of the cultural preference patterns of users based on these two countries and to
compare how different respondents answer which show different perception to explore
answer of questions whether design can transfer the same message to the users?. Do
people have common desires?

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汽 ‫ ﻣﯽﺗﻮان دﯾﺪ ﮐﮫ ﺗﻤﺎم ﭘﺎﺳﺦدھﻨﺪﮔﺎن در ﻣﻮرد ﺧﻮشآﻣﺪن ﯾﺎ ﻧﯿﺎﻣﺪن و ﺣﺴﯽ ﮐﮫ از ﯾﮏ‬،‫ﺑﺮ اﺳﺎس ﻧﺘﺎﯾﺞ ﻧﮭﺎﯾﯽ ﻓﻮق‬
车 ‫ اﯾﻦ ﺛﺎﺑﺖ ﻣﯽﮐﻨﺪ ﮐﮫ ادراکھﺎ و ﻧﻈﺮات ﮐﺎرﺑﺮان در ﯾﮏ ﺟﺎﻣﻌﮫ ﯾﮑﺴﺎن‬.‫ﻓﺮم ﻣﯽﮔﯿﺮﻧﺪ ﻧﻈﺮات ﻣﺸﺎﺑﮭﯽ ﻧﺪارﻧﺪ‬
设 ‫ ﺷﮑﻞ‬٢٠ ‫ ﻧﺘﺎﯾﺞ‬،‫ ھﻤﭽﻨﯿﻦ ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ‬.‫ ﻧﺎﻣﺘﺮاﮐﻢ ﺑﻮدن ﻧﻈﺮات ھﻢ ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﻧﻈﺮات ﻓﺎزیﺗﺮ ھﺴﺘﻨﺪ‬.‫ﻧﯿﺴﺖ‬
计 ‫ در ﺟﺎﯾﯽ ﮐﮫ ﭘﺎﺳﺦدھﻨﺪﮔﺎن اﯾﺮاﻧﯽ و ھﻨﺪی در ﻣﻮرد ﺣﺎﻟﺖ‬،‫ﺻﻮرت اﺗﻮﻣﺒﯿﻞ ﺑﺮ ﻣﺒﻨﺎی ﺗﮑﻨﯿﮏ ارﺗﺒﺎط ﻣﺘﻘﺎﺑﻞ‬
的 .‫ از دﯾﺪﮔﺎه ﻣﯿﺎنﻓﺮھﻨﮕﯽ ﺑﺮرﺳﯽ ﺷﺪه اﺳﺖ‬،‫ﻣﺎﺷﯿﻦ و اﺣﺴﺎس ﻣﺮﺑﻮط ﺑﮫ آن ﺑﺎ ھﻢ ﺗﻮاﻓﻖ ﻧﺪاﺷﺘﮫ اﻧﺪ‬
演 ‫طﺮاﺣﯽ ﺳﺎزﻣﺎن ﺑﺮﻧﺎﻣﮫرﯾﺰیﺷﺪهای از ﻋﻨﺎﺻﺮ در ﯾﮏ زﻣﯿﻨﮫ اﺳﺖ ﮐﮫ ﺑﺎ ھﺪف اﯾﺠﺎد ﺣﺲ ﻋﺎطﻔﯽ در ﮐﺎرﺑﺮ‬
进 ‫( ﻧﯿﺰ ﻣﯽﮔﻮﯾﺪ ﮐﮫ اﻓﺮاد واﮐﻨﺶ ﻣﺘﻔﺎوﺗﯽ ﺑﮫ ﯾﮏ طﺮح واﺣﺪ‬٢٠٠٢) ‫ دﺳﻤﺖ‬.(٢٠٠٩ ،Chitturi) ‫ﺗﮭﯿﮫ ﻣﯽﺷﻮد‬
简
‫ ﺣﺘﯽ ﮔﺎھﯽ ﯾﮏ طﺮح اﺣﺴﺎﺳﺎﺗﯽ ﺑﺎ‬.‫ طﺮﺣﯽ ﮐﮫ ﺑﮫ ﻋﺪهای اﻟﮭﺎم ﻣﯽﺑﺨﺸﺪ ﻣﯽﺗﻮاﻧﺪ ﻋﺪه دﯾﮕﺮی را ﻧﺎاﻣﯿﺪ ﮐﻨﺪ‬.‫دارﻧﺪ‬
介
‫ اھﻤﯿﺖ‬،‫ در ﮐﻨﺎر ﻧﺘﺎﯾﺞ ﺑﮫدﺳﺖآﻣﺪه‬،‫ اﯾﻦ ﻧﮑﺘﮫ‬.‫ﻧﻮع و ﺷﺪت ﻣﺘﻔﺎوت در ﻣﯿﺎن ﮐﺎرﺑﺮان ﯾﮏ ﻓﺮھﻨﮓ اﯾﺠﺎد ﻣﯽﮐﻨﺪ‬
‫ﺑﮭﺒﻮد اﺛﺮﺑﺨﺸﯽ ﯾﮏ ﻣﺤﺼﻮل طﺮاﺣﯽﺷﺪه را ﺑﺮای ﺳﻼﯾﻖ ﻓﺮدی اﻓﺮاد در ﺟﺎﻣﻌﮫ ﭘﺴﺎﻣﺪرن ﺑﺎ ﺗﻐﯿﯿﺮ ﻋﻈﯿﻤﯽ در‬
‫ ﻓﺎﯾﺪه اﯾﻦ ﮐﺎر اﯾﻦ اﺳﺖ ﮐﮫ ﺷﺮﮐﺖھﺎ دﯾﮕﺮ ﻧﯿﺎزی ﻧﯿﺴﺖ ﺑﮫ ﻓﺮم ﻧﮭﺎﯾﯽ و‬.‫»ﻓﺮاﯾﻨﺪ ﺗﻮﺳﻌﮫ ﻣﺤﺼﻮل« ﻧﺸﺎن ﻣﯽدھﺪ‬
‫ ﭼﺮا ﮐﮫ طﺮاﺣﯽ ﻧﮭﺎﯾﯽ ﺗﻮﺳﻂ ﮐﺎرﺑﺮ ﺗﻌﯿﯿﻦ ﻣﯽﺷﻮد؛ ﮐﺎرﺑﺮی ﮐﮫ طﺮاﺣﯽ را رد‬،‫طﺮاﺣﯽ ﺧﻮدرو ﻓﮑﺮ ﮐﻨﻨﺪ‬
.‫ﻧﺨﻮاھﺪ ﮐﺮد‬
从以上用户回答的最终结果可以看出，并非所有的受试者对喜欢/不喜欢以及情感
表达都有一样的看法，这证明了社会上用户的感知和愿望是不一样的，数据中意
见的稀少表明他们的愿望更模糊。同时，我们总结了基于关系投射法的 20 个汽车
前脸图的跨文化结果，印度和伊朗的受试者对汽车前脸的情感表达及其相应的情
绪有着不同的观点。
设计是对一个领域中的元素做有计划的组织，为用户创建情感表达（Chitturi，
2009），德梅（Desmet）（2002 年）进一步指出，人们对设计的反应不同；有些
人受到启发，而另一些人则会失望，甚至有时在同一种文化中，同一个设计会激
发用户不同类型和强度的情感。除了我们的研究结果外，这些观点表明，在“产品
开发过程”（Product.Development.Process）发生重大变化的后现代社会，提高设计
产品满足人们个人需求的有效性具有重要意义。这样做的好处在于，公司不需要
考虑汽车的最终形态和设计，因为最终设计由用户决定，而且用户不会拒绝
Based on above final results of the users’ responses, one can see all respondents do not
have same opinion about like/dislike and expression which is the proof on the idea that
perceptions and desires of users are not same in society, the sparseness of opinions
show the desires are more Fuzzy. Also in this way, results of 20 car faces based on co-
relational technique are summarized from a cross cultural perspective where
respondents from both India and Iran are not in agreement with the expression of the
face of the cars and their corresponding emotion.
Design is a planned organization of elements in a field, to create emotional
expressions for the user (Chitturi, 2009), and Desmet (2002) further states people react
differently to a design; while some get inspired others get disappointed, even
sometimes a design elicits different types and intensities of emotions for users in a
culture. These points beside our results show the importance of improving the
effectiveness of a designed product for individual desires of people in post-modern
society with big change in ‘Product Development Process’. The benefit of this comes
when the company does not need to think about the final form and design of car,
because the final design decided by user, and will not reject the car design.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫( در ﺗﻌﺮﯾﻒ آﻓﺮﯾﻨﺶ ﺗﻮﺳﻂ ﮐﺎرﺑﺮ ﺑﮫ ورود اﯾﺪﺋﻮﻟﻮژﯾﮏ ﮐﺎرﺑﺮان ﺑﮫ رواﺑﻂ ﻣﻮﻟﺪ‬٢٠٠٨) ‫زووﯾﮏ و ھﻤﮑﺎران‬
车 ‫ھﻤﮑﺎری در ﺗﻮﻟﯿﺪ اﺷﺎره ﻣﯽﮐﻨﺪ؛ رواﺑﻄﯽ ﮐﮫ ﺣﻮل ﻣﺤﻮر ﺳﻼﯾﻖ ﮐﺎرﺑﺮان ﺑﺮای آزادی ﻓﺮدی ﺷﮑﻞ ﻣﯽﮔﯿﺮﻧﺪ ﮐﮫ‬
设 ‫ ﺻﻨﻌﺘﮕﺮ راﯾﮕﺎﻧﯽ در ﺧﺪﻣﺖ ﺳﺎزﻧﺪه ﺧﻮدرو‬،‫ﺑﮫ اﻋﺘﻘﺎد ﻣﺎ ﻋﻠﺖ ﮐﺎھﺶ رﯾﺴﮏ ﭘﺬﯾﺮش ﮐﺎرﺑﺮی اﺳﺖ ﮐﮫ ﺧﻮد‬
计 ‫ آﻧﮭﺎ ﺑﺎ اﺷﺎره ﺑﮫ اﯾﻦ ﻧﮑﺘﮫ اﺳﺘﺪﻻل ﻣﯽﮐﻨﻨﺪ ﮐﮫ ﺟﻨﺒﮫ اﻗﺘﺼﺎدی ﺗﻮﻟﯿﺪ ﺗﻮﺳﻂ ﻣﺼﺮفﮐﻨﻨﺪه ﻧﯿﺰ ﺑﺮ ﻣﺒﻨﺎی‬.‫ﺷﺪه اﺳﺖ‬
的 » ‫( ﺑﺎ اﯾﻦ اﯾﺪه ﻣﻮاﻓﻖ اﺳﺖ و ﺑﮫ ﻧﻈﺮ ﻣﺎرﮐﺲ اﺷﺎره ﻣﯽﮐﻨﺪ ﮐﮫ‬٢٠١۴) ‫ رﯾﺘﺰر‬.‫آزادی ﺧﻼﻗﯿﺖ ﮐﺎرﺑﺮ رﺷﺪ ﻣﯽﮐﻨﺪ‬
演 ‫ ﻣﻨﺒﻊ اﺻﻠﯽ »ارزش اﻓﺰوده« و ﺑﮫ ﺑﯿﺎن‬،‫اﯾﻨﮑﮫ ﺑﮫ ﮐﺎرﮔﺮان ﮐﻤﺘﺮ از ارزش ﭼﯿﺰی ﮐﮫ ﺗﻮﻟﯿﺪ ﮐﺮدهاﻧﺪ ﭘﺮداﺧﺖ ﺷﻮد‬
进 ‫« رﯾﺘﺰر ھﻢ ﻣﯽﮔﻮﯾﺪ ﮐﮫ در ﺑﯿﺸﺘﺮ ﻣﻮارد ﺗﻮﺻﺮﻓﮑﻨﻨﺪهھﺎ از ﺳﺮﻣﺎﯾﮫداراﻧﯽ ﮐﮫ‬.‫ ﺳﻮد ﺳﺮﻣﺎﯾﮫداران اﺳﺖ‬،‫ﺳﻨﺘﯽﺗﺮ‬
简
‫ ﻣﯽﺗﻮان ﮔﻔﺖ ﮐﮫ اﯾﻦ ﺳﺮﻣﺎﯾﮫداران ﺳﻮد‬،‫ در واﻗﻊ‬.‫ﺳﻮد ﮐﻼﻧﯽ از اﯾﻦ ﺳﯿﺴﺘﻢ ﻣﯽﺑﺮﻧﺪ ھﯿﭻ ﭘﻮﻟﯽ درﯾﺎﻓﺖ ﻧﻤﯽﮐﻨﻨﺪ‬
介
‫ اﮐﻨﻮن‬،‫ ﭼﻮن در ﺣﺎﻟﯽ ﮐﮫ ﭘﯿﺶ از اﯾﻦ ﺣﻘﻮق ﻧﺎﭼﯿﺰی ﺑﮫ ﮐﺎرﮔﺮان ﻣﯽدادﻧﺪ‬،‫ﺑﺴﯿﺎر ﺑﯿﺸﺘﺮی ﺑﮫ دﺳﺖ ﻣﯽآورﻧﺪ‬
.‫ھﯿﭻ ﻣﺒﻠﻐﯽ ﺑﮫ اﯾﻦ ﺻﻨﻌﺘﮕﺮان ﭘﺮداﺧﺖ ﻧﻤﯽﮐﻨﻨﺪ‬

在用户创造的概念中，兹维克（Zwick）等人（2008）提到，从意识层面上将用
户招募到富有成效的共同创造关系中，取决于满足用户对个人自由的渴望，而我
们认为，这种渴望能降低用户拒绝产品的风险，用户成为汽车制造商免费的手艺
员工。基于这一点，他们认为，生产消费合一的经济方面也随着用户的自由和创
造力而增长。瑞泽尔（Ritzer）（2014）同意这一观点，并提到了马克思的看法，
“支付工人的工资，低于他们生产的产品的价值。这是‘剩余价值’的基本来源，在
更传统的说法中，是资本家的利润来源。”然而瑞泽尔说，在大多数情况下，从
这种安排中获利巨大的资本家不会向产消者支付任何报酬。事实上可以说，他们
赚取了更大的利润，因为他们不用像通常那样支付工人微薄工资，而是根本不支
付给这些手艺人。

In definition of creation by user, Zwick et al. (2008) mention, the ideological

recruitment of users into productive co-creation relationships hinges on
accommodating users’ desire for individual freedom which we believe is the reason of
reducing risk of acceptance of user who is the free
handicraftsman employee for car manufacturer. With this
point they argue that economic aspect of prosumption
also grows based on the freedom and creativity of
the user. Ritzer (2014) agrees with this idea and
mention the opinion of Marx that “In terms of
paying the workers less than the value of what
they produce. This is the basic source of
‘surplus value’ and, in more conventional
terms, of profit for the capitalists.” However
Ritzer says, in most cases prosumers are paid
nothing by the capitalists who profit enormously
from this arrangement. In fact, it could be
argued that they earn far greater profits
because instead of the pittance normally
paid to workers, they pay to these
handicraftsmen nothing at all.
Figure: Marx.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻧﺘﯿﺠﮫﮔﯿﺮی‬
车 结论
设 Conclusion
计
的 ‫ﻣﯽﺗﻮان از ﻧﺘﺎﯾﺞ اﯾﻦ ﺗﺠﺰﯾﮫ و ﺗﺤﻠﯿﻞھﺎی ارﺗﺒﺎطﯽ ﺑﯿﻨﺶھﺎی ھﯿﺠﺎناﻧﮕﯿﺰی ﺑﺮای درک ﺷﺒﺎھﺖھﺎ و ﺗﻔﺎوتھﺎی‬
演 ‫ ﻣﺎ در اﻧﺘﺨﺎب ﮐﻠﻤﺎت ﺑﯿﺎن اﺣﺴﺎس‬.‫ ﺑﮫ دﺳﺖ آورد‬،‫ ﻋﻼﺋﻖ و درک ھﺮ ﮐﺲ ﺗﺄﺛﯿﺮ ﻣﯽﭘﺬﯾﺮد‬،‫ ﮐﮫ از ﺳﻠﯿﻘﮫ‬،‫ادراک‬
进 ‫ ﺑﺎ اﯾﺠﺎد ﺣﺎﻟﺖھﺎی ظﺎھﺮی ﮔﺮاﻓﯿﮑﯽ ﭘﺎﺳﺦھﺎ را ﺟﻤﻊآوری‬،‫ ﺳﭙﺲ‬.‫ھﻢ از ﮐﻠﻤﺎت ﻣﺜﺒﺖ اﺳﺘﻔﺎده ﮐﺮدﯾﻢ و ھﻢ ﻣﻨﻔﯽ‬
简 ‫ ﻣﺎ ﻣﺘﻮﺟﮫ ﺷﺪﯾﻢ ﮐﮫ در ﺑﺴﯿﺎری ﻣﻮارد ﭘﺎﺳﺦدھﻨﺪﮔﺎن از ﯾﮏ‬.‫و ﺑﺮداﺷﺖ و ﻧﻈﺮات ﭘﺎﺳﺦدھﻨﺪﮔﺎن را ﺛﺒﺖ ﮐﺮدﯾﻢ‬
介 ‫ اﻋﺘﻤﺎد ﺑﮫ ﻧﻈﺮی ﮐﮫ ھﺮ روز‬،‫ ﺣﺘﯽ اﮔﺮ درک ﯾﮑﺴﺎﻧﯽ داﺷﺘﻨﺪ ھﻢ‬.‫ﺣﺎﻟﺖ ﯾﮑﺴﺎن ﺑﺮداﺷﺖ اﺣﺴﺎﺳﯽ ﻣﺘﻔﺎوﺗﯽ دارﻧﺪ‬
‫ ﻓﺮﺿﯿﮫ اﯾﻦ ﭘﮋوھﺶ اﯾﻦ اﺳﺖ ﮐﮫ ھﺮ ﻋﻀﻮ ﺟﺎﻣﻌﮫ ﺑﺮداﺷﺖ و ﺧﻮاﺳﺘﮫھﺎی‬.‫ﻋﻮض ﻣﯽﺷﻮد ﮐﺎر دﺷﻮاری ﺑﻮد‬
‫ ﺷﺮﮐﺖھﺎ ﺑﺎﯾﺪ از ﻣﺮﺣﻠﮫ ﮔﺬار ﺑﮫ‬.‫ ﻧﺘﺎﯾﺞ ﺻﺤﺖ ﻓﺮﺿﯿﮫ را ﻧﺸﺎن ﻣﯽدھﻨﺪ‬.‫ﻣﺘﻔﺎوﺗﯽ درﺑﺎره ظﺎھﺮ ﺧﻮدرو دارﻧﺪ‬
‫ﻋﺼﺮ ﭘﺴﺎﻣﺪرن ﻋﺒﻮر ﮐﻨﻨﺪ؛ ﻋﺼﺮی ﮐﮫ در آن ﺷﺨﺼﯽﺳﺎزی در طﺮاﺣﯽ ﺿﺮورت ﺧﻮاھﺪ داﺷﺖ و اﻧﺒﻮهزداﯾﯽ‬
‫ﺑﺎزار رﻗﺎﺑﺘﯽ اﻣﺮوز طﺮاﺣﺎن را وادار ﺧﻮاھﺪ ﺳﺎﺧﺖ ﮐﮫ ﺑﮫ ﺟﺎی ﺗﺤﻤﯿﻞ ﯾﮏ ﻓﺮم ﺛﺎﺑﺖ ﭼﻨﺪﯾﻦ ﻣﺤﺼﻮل‬
‫ ﺧﻮدروﺳﺎزان ﺑﺎﯾﺪ ﺑﺴﺘﺮی ﻣﻨﺎﺳﺐ ﺑﺮای اﯾﻦ ﮔﺬار آﻣﺎده ﮐﻨﻨﺪ ﮐﮫ ﺑﮫ ﮐﺎرﺑﺮان‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.‫ﺳﻔﺎرﺷﯽﺷﺪه اراﺋﮫ دھﻨﺪ‬
‫اﻣﮑﺎن دھﺪ ﻣﻄﺎﺑﻖ ﺳﻠﯿﻘﮫ ﻓﺮدی ﺧﻮد طﺮاﺣﯽ ﮐﻨﻨﺪ؛ ﭼﺮا ﮐﮫ ﭘﯿﺸﺮﻓﺖھﺎی ﺗﮑﻨﻮﻟﻮژﯾﮏ در ﺗﻮﻟﯿﺪ و ﻋﻠﻮم اطﻼﻋﺎت‬
.‫ﺗﻮﻟﯿﺪ ﻓﺮم ﺳﻔﺎرﺷﯽ ﺧﻮدرو را ﻣﻤﮑﻦ ﮐﺮده اﺳﺖ‬
因此，从这种关系分析的结果中可知，找出每种特定品味、偏好和理解影响下的
感知的相似性和差异，我们就可以得出令人兴奋的见解。我们选出积极和消极的
情绪表达词，然后生成图形化的面部表情来收集反应，并记录受试者的理解和意
见。我们发现，在许多情况下，受试者对同一表达的情感感知是不同的。即使他
们有同样的理解，需要再次注意，他们经常都会改变意见，所以也很难相信。本
研究的假设是，每个社会成员对一张汽车前脸的理解和渴望都是不同的。结果表
明，我们的假设是正确的；企业应该向后现代时期过渡，因为个性化将成为设计
中必不可少的一部分，而当今高度竞争市场的分众化迫使设计师提供许多定制化
产品，而不是一个固定的形态。因此，汽车制造商必须为这一转变准备一个良好
的平台，让用户为自己的个人需求来设计，受益于制造业和信息科学的技术进步，
创造定制的汽车形态已经成为可能。
It can therefore be seen from the results of such a co-relational analysis that exciting
insights can be drawn to figure out the similarities and differences of perceptions which
are influenced by every one specific taste, like and understanding. We selected positive
and negative emotional expressions words, and then generated graphical facial expressions
to collect responses and record the understanding and opinion of respondents. We realized
in many cases respondents had a different perception of emotion for a same expression.
Even if they have same understanding, again it is too difficult to trust to their opinion
when they change it every day. The hypothesis of this research is telling, every member of
society has different understanding and desires about a car face. Result shows our
hypothesis is true; companies should pass through the transition to the post-modern era
since personalization will become essential in design, and the demassification of today’s
competitive market has forced designers to offer many customized products instead of
dictating a fixed form. Therefore car manufacturers must prepare a good platform for this
transition to let user design for his individual desires since technological advances in
manufacturing and information sciences have made it possible to create customized car
form.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫آﯾﻨﺪه طﺮاﺣﯽ ﺧﻮدرو‬

车
设
汽车设计的未来
计 Future of automobile design
的 Author: Mohsen Jaafarnia
演
进
‫ آﯾﻨﺪهای ﮐﮫ ﺑﺎ وﺿﻌﯿﺖ ﻓﻌﻠﯽ ﻣﺘﻔﺎوت‬،‫ﺑﺎ ﻧﮕﺎھﯽ ﺑﮫ ﮔﺬﺷﺘﮫ ﻣﯽﺗﻮاﻧﯿﻢ درک ﺑﮭﺘﺮی ﻧﺴﺒﺖ ﺑﮫ آﯾﻨﺪه داﺷﺘﮫ ﺑﺎﺷﯿﻢ‬
简 ‫ در اﯾﻨﺠﺎ ﻣﯽﺗﻮاﻧﯿﻢ ﻣﺮوری ﮐﻮﺗﺎه ﺑﺮ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺧﻮدرو و رﺳﯿﺪن ﺑﮫ ﯾﮏ ﻧﻘﻄﮫ ﺧﺎﺻﯽ ﮐﮫ ﻗﺒﻼ‬.‫ﺧﻮاھﺪ ﺑﻮد‬
介 .(٢٠١٣، Jaafarnia‫ ؛‬٢٠١١،DK) ‫ﺗﻌﺮﯾﻒ ﺷﺪه داﺷﺘﮫ ﺑﺎﺷﯿﻢ‬
‫ طﺮاﺣﺎن ﺧﻮدرو ﻣﯽداﻧﺴﺘﻨﺪ ﮐﮫ ﺷﮑﻞ ﮐﺎﻟﺴﮑﮫھﺎ در ﺳﺎزﮔﺎری ﺑﺎ اﺳﺐھﺎ طﺮاﺣﯽ ﺷﺪه و ﻣﻨﺎﺳﺐ‬:١٩٠٠ ‫دھﮫ‬
.(٢٠١٣،Jaafarnia) ‫ اﯾﻦ آﻏﺎز ﻋﺼﺮ ﻧﻮآوری ﺑﻮد‬.‫اﺗﻮﻣﺒﯿﻞھﺎی ﺟﺪﯾﺪ آنھﺎ ﻧﯿﺴﺖ‬
‫ ﻓﻦ آوری ﺧﻮدروﺳﺎزی ﺑﮫ‬.‫ اﯾﻦ آﻏﺎز ﻋﺼﺮ ﺳﺎﺧﺖ ﺧﻮدروھﺎی ﺳﺎدهﺗﺮ و ﻣﻘﺮون ﺑﮫ ﺻﺮﻓﮫ ﺗﺮ ﺑﻮد‬:١٩١٠ ‫دھﮫ‬
‫ﺳﺮﻋﺖ در ﺣﺎل ﭘﯿﺸﺮﻓﺖ ﺑﻮده و ﺻﺪھﺎ ﺳﺎزﻧﺪه ﮐﻮﭼﮏ ﺑﺮای ﺑﮫ دﺳﺖ آوردن ﺗﻮﺟﮫ ﺟﮭﺎﻧﯽ وارد ﺑﺎزار رﻗﺎﺑﺖ‬
.(٢٠١٣، Jaafarnia‫ ؛‬٢٠١١،DK) ‫ﺷﺪﻧﺪ‬
‫ ﻋﺼﺮی طﻼﯾﯽ ﺑﺮای ﺻﻨﻌﺖ ﺧﻮدروﺳﺎزی ﺑﻮد زﯾﺮا ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺑﮫ دﻧﺒﺎل ھﺮ ﻧﻮع ﺧﻮدروﯾﯽ‬:١٩٢٠ ‫دھﮫ‬
.(٢٠١١،DK) ‫ﺑﻮدﻧﺪ ﮐﮫ ﺑﺮاﯾﺸﺎن ﺗﺎزه و ﺟﺪﯾﺪ ﺑﻮد‬
‫ دﻟﯿﻞ آن ﺳﺎﯾﮫ اﻧﺪاﺧﺘﻦ ﻣﺪلھﺎی ﺑﺴﯿﺎر اﻓﺴﺮده و‬.‫ اﯾﻦ دھﮫ اﺑﺘﺪای دوره ﮐﻼﺳﯿﮏ ﺑﺮای ﻓﺮم ﺑﺪﻧﮫ ﺑﻮد‬:١٩٣٠ ‫دھﮫ‬
.‫ﺻﺮﻓﮫ ﺟﻮﯾﯽ ﺑﻮد ﮐﮫ ﭘﺲ از آن ﻣﻨﺠﺮ ﺑﮫ ﺗﺴﺎوی طﻠﺒﯽ ﺑﯿﺸﺘﺮ ﺑﺮای ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺷﺪ‬
回顾过去，有助于我们对未来有更好的了解，过去与现在的情况有所不同。在这
里，我们会对汽车消费者做一个简短的概述，从而得到我们之前定义好的的一个
特殊观点。(DK, 2011; Jaafarnia, 2013)。 20 世纪开端：汽车设计师知道马车的外
形是根据马设计的，并不适合他们的新车设计。这是创新时代的开始 (Jaafarnia,
2013)。
20 世纪 10 年代：开启制造业时代，开始考虑简单的，价格亲民的汽车。汽车技
术迅速发展，数百家小厂商开始为获得全球关注而竞争 (DK, 2011)。 20 世纪 20
年代：这是汽车工业的黄金时代，因为消费者正在寻找对他们来说新颖的任何类
型的汽车(DK, 2011)。
20 世纪 30 年代：这十年是车身的经典时代的开始。这是因为经济大萧条的影响
和节约型汽车的问世加重了消费中的平等观念 (DK, 2011)。
Looking back at the past helps us to have a better understanding about the future, the
future which will be different with current situation. Here we can have a short
overview on the car consumers and arrive at a particular point defined previously (DK,
2011). THE 1900s: Automobile designers knew that the carriage’s form is designed in
accordance to the horse and were not appropriate for their new automobiles. It was the
beginning of Innovation Era (Jaafarnia, 2013).
THE 1910s: This was the beginning of Manufacturing Era reflecting simpler, more
affordable automobiles. Automotive technology developed rapidly as hundreds of
small manufacturers began to compete for gaining global attention (DK, 2011).
THE 1920s: This was a golden age for the car industry, because consumers were
looking for any kind of cars since which was new to them (DK, 2011).
THE 1930s: This decade was the beginning of classic era for body form. This was
because of the shadow of the great depression and thrifty models of cars which led
more to egalitarianism for consumers (DK, 2011).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺑﺎ اﯾﻦ ﺣﺎل ﺑﻌﺪھﺎ ﺧﻮدروھﺎی‬.‫ ﺟﻨﮓ ﺟﮭﺎﻧﯽ دوم ﺗﻮﻟﯿﺪ ﺧﻮدرو را ﺑﺎ ﯾﮏ ﻣﮑﺚ ﺑﺰرگ ﻣﻮاﺟﮫ ﺳﺎﺧﺖ‬:١٩٤٠ ‫دھﮫ‬
车 .‫ﻧﻈﺎﻣﯽ ﺳﺒﺐ ﺗﻮﻟﯿﺪ ﻣﻮﺗﻮرھﺎی ﺟﺪﯾﺪ ﻋﺎﻟﯽ و ﺧﻮدروھﺎی ﮐﻮﭼﮏ ﻣﻘﺮون ﺑﮫ ﺻﺮﻓﮫ ﺑﺮای ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺷﺪﻧﺪ‬
设 .(٢٠١٣،Jaafarnia) ‫اﯾﻦ زﻣﺎن آﻏﺎز دوران ادﻏﺎم اﺟﺰای ﺑﺪﻧﮫ ﺑﻮد‬
计 ‫ ﻣﻮﺷﮏ و‬،‫ در اﯾﻦ زﻣﺎن اﺗﻮﻣﺒﯿﻞﺳﺎزان اﯾﺎﻻت ﻣﺘﺤﺪه آﻣﺮﯾﮑﺎ ﺑﺎ ﺑﮭﺮه ﮔﺮﻓﺘﻦ از ﻓﺮم ھﻮاﭘﯿﻤﺎھﺎ‬:١٩٥٠ ‫دھﮫ‬
的 ‫ زﻣﺎﻧﯽ ﮐﮫ‬،‫ زﯾﺒﺎﯾﯽ و ﻗﺪرت در ﺧﻮدروھﺎ ﺑﻮدﻧﺪ‬،‫ ﺑﮫ دﻧﺒﺎل ﺑﺎﻻ ﺑﺮدن اﺣﺴﺎس ﺳﺮﻋﺖ‬،‫دﮐﻮراﺳﯿﻮن ﺑﺎ روﮐﺶ ﮐﺮوم‬
演 .(٢٠١١،DK) ‫در اروﭘﺎ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺧﻮاﺳﺘﺎر اﺗﻮﻣﺒﯿﻞھﺎی ﻣﺴﺎﺑﻘﮫ ﺑﻮدﻧﺪ‬
进 .(٢٠١٣،Jaafarnia) ‫ اﯾﻦ زﻣﺎن آﻏﺎز ﻋﺼﺮ ﻣﺪرن ﺑﺮای ﻣﻮﺗﻮرھﺎ و ﺷﮑﻞ ﺑﺪﻧﮫ ﺟﺪﯾﺪ ﺑﻮد‬:١٩٦٠ ‫دھﮫ‬
简
‫ در اﯾﻦ زﻣﺎن ﺗﻤﺮﮐﺰ ﺑﺮ ﺳﻼﻣﺖ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺧﻮدرو ﺑﺎ اﺿﺎﻓﮫ ﮐﺮدن ﮐﻤﺮﺑﻨﺪ اﯾﻤﻨﯽ ﺧﻮدﮐﺎر و‬:١٩٧٠ ‫دھﮫ‬
介
.(٢٠١١،DK) ‫ﮐﯿﺴﮫ ھﻮا ﺑﯿﺸﺘﺮ ﺷﺪ‬
‫ ﭘﯿﺸﺮﻓﺘﮫﺗﺮ و ﻣﺠﮭﺰﺗﺮ‬،‫ در اﯾﻦ زﻣﺎن ﺳﺎزﻧﺪﮔﺎن ﺧﻮدرو روی ﺳﯿﺴﺘﻢھﺎی اﻟﮑﺘﺮوﻧﯿﮑﯽ راﺣﺖﺗﺮ‬:١٩٨٠ ‫دھﮫ‬
.(٢٠١١،DK) ‫ﺑﺮای ﺟﻠﺐ رﺿﺎﯾﺖ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺗﻮﺟﮫ داﺷﺘﻨﺪ‬
‫ ﻋﻤﻠﮑﺮد و ﺳﺎﺧﺘﺎر ﻋﺎﻟﯽ‬،‫ زﯾﺒﺎﯾﯽ‬،‫ ﮐﺎرﺑﺮﭘﺴﻨﺪ ﺑﻮدن‬،‫ در اﯾﻦ زﻣﺎن ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺧﻮاﺳﺘﺎر اﯾﻤﻨﯽ‬:١٩٩٠ ‫دھﮫ‬
‫ ﺷﺮﮐﺖھﺎی آﺳﯿﺎﯾﯽ ﮐﮫ اوﻟﯿﻦ آن ژاﭘﻦ ﺑﻮد ﺑﺴﯿﺎر‬.‫ در اﯾﻦ دھﮫ طﺮاﺣﯽ در ﺟﮭﺖ ﺟﮭﺎﻧﯽ ﺷﺪن ﺗﻐﯿﯿﺮ ﮐﺮد‬.‫ﺑﻮدﻧﺪ‬
.‫زود اھﻤﯿﺖ طﺮاﺣﯽ را در راﺳﺘﺎی ﺗﻼش ﺑﺮای ارﺗﻘﺎء ﺑﺎزارﯾﺎﺑﯽ ﻓﺸﺮده داﻧﺴﺘﻨﺪ‬

20 世纪 40 年代：第二次世界大战使汽车大规模停产，但后来军用汽车为消费者
带来了极好的新引擎和经济型小型汽车。这段时间也是车身零件整合时代的开
始。
20 世纪 50 年代：美国汽车制造商通过参考飞机、导弹和镀铬装饰的形式强化了
汽车的速度、豪华程度和动力，但欧洲的消费者仍然执着于速度型的跑车。
20 世纪 60 年代：这是产生了新引擎和车身外形的现代的开端（Jaafarnia, 2013）。
20 世纪 70 年代：更关注消费者乘车时的安全——为汽车增加了自动安全带和气
囊（DK, 2011）。
20 世纪 80 年代：为满足消费者需求，制造商专注于舒适度，优良装备和改进的
电子系统（DK, 2011）。
20 世纪 90 年代：消费者要求安全的，人性化的，上档次的，性能完善的设计。
在这十年中，设计逐步趋向全球化。来自日本的亚洲企业很早就明白设计对营
销的重要性，并在这方面下工夫。
THE 1940s: World War II brought car production to a great pause, but later military
cars resulted in excellent new engines and economical small cars for consumers. This
time also was the beginning of integration era for components of body (Jaafarnia,
2013). THE 1950s: U.S. car makers highlighted speed, luxury, and power by
borrowing the form from airplane and missile and chrome-plated decoration, but in
Europe consumers were looking for racing sport cars (DK, 2011).
THE 1960s: This was the beginning of modern era for new engines and body shapes.
THE 1970s: Concentrating on consumers’ car health became better by adding
automatic seatbelts and airbags (DK, 2011).
THE 1980s: Manufacturers were focusing on comfortable and better equipped,
improved electronic systems to answer consumer desires (DK, 2011).
THE 1990s: Consumers demanded safety, user-friendly, luxury, performance, and
perfect build. In this decade, design changed the direction to globalization. Asian
corporations from Japan started very early on the importance of design for their
intensive marketing efforts.
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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫آنھﺎ درﯾﺎﻓﺘﻨﺪ ﮐﮫ درﺟﮫ ﺗﻔﺎوت ﻓﺮھﻨﮕﯽ و اﺟﺘﻤﺎﻋﯽ ﻣﯿﺎن ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺑﺪان ﻣﻌﻨﯽ اﺳﺖ ﮐﮫ ارزﯾﺎﺑﯽھﺎی اﻧﺠﺎم‬
车 ‫ ﺷﺮﮐﺖھﺎی اروﭘﺎﯾﯽ ﻧﯿﺰ ﺑﮫ وﯾﮋه‬.‫ﺷﺪه از راه دور ﻧﻤﯽﺗﻮاﻧﻨﺪ ﻧﺘﺎﯾﺞ ﮐﺎراﯾﯽ ﺑﺮای ﻣﺤﺼﻮل و طﺮاﺣﯽ ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪ‬
设 ‫ دﻓﺎﺗﺮی ﺧﺎرج از ﮐﺸﻮر ﮔﺸﻮدﻧﺪ ﺗﺎ از ﻧﺰدﯾﮑﺘﺮ روﻧﺪ ﺳﺒﮏ زﻧﺪﮔﯽ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن را دﻧﺒﺎل‬،‫در ﺻﻨﺎﯾﻊ ﺧﻮدرو‬
计 ‫ ﺧﻮدروی آﺋﻮدی‬.‫ﮐﺮده و ﻧﺘﺎﯾﺞ ﻣﻄﺎﻟﻌﺎت ﺧﺎرﺟﯽ را ﺑﺎ ﺳﺮﻋﺖ ﺑﯿﺸﺘﺮی ﺑﺎ اﻣﺮ ﺗﻮﻟﯿﺪ ﻣﺤﺼﻮل در ﺧﺎﻧﮫ ادﻏﺎم ﮐﻨﻨﺪ‬
的 ‫ﺗﯽﺗﯽ ﺑﺮ روی ﺻﻔﺤﺎت طﺮاﺣﯽ ﯾﮏ آژاﻧﺲ در ﮐﺎﻟﯿﻔﺮﻧﯿﺎ ﺑﮫ دﻧﯿﺎ آﻣﺪ و ﻣﻮﻓﻘﯿﺖ ﺑﺮاﺑﺮی در آﻣﺮﯾﮑﺎ و اروﭘﺎ ﺑﮫ‬
演 .(٢٠٠٥،Burdek) ‫دﺳﺖ آورد‬
进 ‫ ﭼﯿﺪﻣﺎن ﻣﺴﺎﻓﺮ و ﻋﻤﻠﮑﺮد‬،‫ در اﯾﻦ زﻣﺎن ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺑﯿﺸﺘﺮ ﺑﮫ ظﺎھﺮ طﺮاﺣﯽ ﺷﺪه ﻋﺎﻟﯽ اﺗﻮﻣﺒﯿﻞ‬:٢٠٠٠ ‫دھﮫ‬
简
.(٢٠١١،DK) ‫اھﻤﯿﺖ ﻣﯽدادﻧﺪ‬
介
‫ اﯾﻦ ﺗﺤﻘﯿﻖ ﺑﺮ آن‬،.‫ﻗﺒﻞ از اﯾﻦ ﮐﮫ ﺑﮫ ﺑﺨﺶ ﭘﯿﺸﻨﮭﺎدات ﺑﺮﺳﯿﻢ ﻣﯽ ﺗﻮاﻧﯿﻢ ﻧﮕﺎه ﻣﺨﺘﺼﺮی ﺑﮫ اﻧﻘﻼب ﺧﻮدرو ﺑﯿﻨﺪازﯾﻢ‬
‫اﺳﺖ ﺗﺎ ﯾﮏ ﺑﺎر دﯾﮕﺮ ﺑﺮرﺳﯽ را اﻧﺠﺎم دھﺪ ﺗﺎ ﺣﺮﮐﺎت اﻧﻘﻼﺑﯽ و ﻣﻮﺛﺮ در طﺮاﺣﯽ ﺑﺪﻧﮫ ﺧﻮدرو ﮐﮫ ﺑﺮ اﺳﺎس‬
‫ اﯾﻦ ﺑﺨﺶ ﺣﺮﮐﺎت اﻧﻘﻼب‬.‫ﺗﻮاﻧﺎﯾﯽ ﻧﺸﺎن دادن ﻓﺮم ھﺎ و ﺑﯿﺎن ھﺎی ﻣﺨﺘﻠﻒ ﺻﻮرت ﮔﺮﻓﺘﮫ اﺳﺖ را ﮐﺸﻒ ﻧﻤﺎﯾﺪ‬
.‫ آﯾﻨﺪه ﺧﻮدروھﺎ از ﻟﺤﺎظ رﻓﻊ ﻧﯿﺎزھﺎی اﺣﺴﺎﺳﯽ ﮐﺎرﺑﺮ زﯾﺒﺎ ﻣﯽ ﺑﺎﺷﺪ‬.‫ ﻣﺮﺣﻠﮫ ﺗﻘﺴﯿﻢ ﻧﻤﻮده اﺳﺖ‬٧ ‫ﺧﻮدرو را در‬
‫اﯾﻦ ﻧﯿﺰ ﺟﺎﻟﺐ اﺳﺖ ﮐﮫ ﺑﺴﯿﺎری از طﺮاﺣﺎن ﻣﺸﺘﺎق ھﺴﺘﻨﺪ ﺗﺎ در ﻣﻮرد اﺳﺎس و ﻣﺴﯿﺮھﺎی ﺟﺪﯾﺪ طﺮاﺣﯽ ﺧﻮدرو‬
‫ ﺗﻌﺪاد زﯾﺎدی از اﯾﺪه ھﺎی ﻣﺨﺘﻠﻒ وﺟﻮد دارﻧﺪ ﮐﮫ ﻧﺸﺎن دھﻨﺪ ﺧﻮدروھﺎی ﺷﺨﺼﯽ در آﯾﻨﺪه‬.‫ﻣﺮﺑﻮط ﺑﮫ آﯾﻨﺪه ﺑﺪاﻧﻨﺪ‬
.‫ﺑﮫ اﺣﺘﻤﺎل زﯾﺎد دارای ﭼﮫ ﻓﺮﻣﯽ ﻣﯽ ﺑﺎﺷﻨﺪ ﮐﮫ اﻟﺒﺘﮫ اﯾﻦ ﺧﻮد وظﯿﻔﮫ طﺮاﺣﺎن اﺳﺖ‬
他们发现消费者之间的社会文化差异的程度意味着，远距离得到的评估不能够为
产品政策和设计提供充足的帮助。欧洲企业，特别是汽车行业，选择在国外开设
办事处，以便更紧密地跟随当时生活方式的潮流趋势，并将国外研究的成果更迅
速地融入到国内的产品开发中。奥迪 TT 诞生于加州一家机构的绘图板上，但在
美国和欧洲也享誉盛名。（Burdek, 2005）
21 世纪：消费者正在寻找一款拥有完美汽车造型，乘坐装置和性能的汽车。
在提出建议之前，我们可以先对汽车的革命作一个简要的回顾；这项研究再次回
顾了历史，基于汽车展示不同形态和表达的能力，考察了车身设计的有效革命。
本部分分七步介绍汽车的革命。在解决用户的情感需求方面，汽车的未来将是美
好的。这点也很有趣，因为许多设计师都渴望了解汽车设计的基础以及未来汽车
设计的新方向。除了设计师自己独特的观点，未来的个人汽车可能还会反映其他
多种多样的想法。
They found the degree of the socio-cultural differences between consumers means that
assessments conducted from afar cannot produce adequate conclusions for product policy and
design. European corporations too, particularly in the automobile industries, opened offices
abroad in order to follow current lifestyle trends more closely and to integrate the results of
foreign studies more quickly into product development at home. The Audi TT was born on the
drawing boards of a Californian agency and enjoyed equally spectacular success in the US and
Europe. (Burdek, 2005)
THE 2000s: Consumers were looking for a perfect car form styling, passenger accommodation
and performance (DK, 2011).
We could first take a brief look at the revolution of car before offering recommendations; this
research reviews once more to check effective revolutions on designs of car body based on the
ability to show different forms and expressions. This part presents revolution of car in 7 steps.
The future of cars is going to be pretty in terms of resolving the user’s emotional needs. It is
also interesting as many designers are eager to know about the base as well as the new
direction of car designing in future. There are lots of different ideas based on which the
personal automobile of the future could possibly reflect along with the designer’s very own
ideas.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ١٨٩٨ ‫ ﺑﺪﻧﮫ ﺧﻮدرو ﺳﺎل‬:‫اﻧﻘﻼب اول‬

车
设
第一次革命：车身，1898 年
计 First revolution: body of car, 1898
的
演 ،‫ ھﻤﺎن طﻮر ﮐﮫ ھﻤﮫ ﻣﺎ ﻣﯽ داﻧﯿﻢ دوره دوم‬.‫در ﺑﺨﺶ ﮔﺬﺷﺘﮫ ﻣﺎ ﺗﮑﺎﻣﻞ ﺧﻮدرو را ﺑﮫ ھﻔﺖ دوره ﺗﻘﺴﯿﻢ ﻧﻤﻮدﯾﻢ‬
进 ‫ ﻗﺒﻞ از اﯾﻦ‬.‫ ﺧﻠﻖ ﻧﻤﻮدﻧﺪ‬١٨٩٨ ‫دوره ﻧﻮآوری اﺳﺖ و طﺮاﺣﺎن اول ﺑﺪﻧﮫ ﺑﺎ ﻓﺮم ﺛﺎﺑﺖ را ﺑﺮای ﺧﻮدرو در ﺳﺎل‬
简
‫ طﺮاﺣﺎن اﯾﻦ ﻧﻮع از ﺑﺪﻧﮫ‬١٨٩٨ ‫ اﻣﺎ ﭘﺲ از‬.‫دوره ﺧﻮدروھﺎ ھﯿﭽﮕﻮﻧﮫ ﺷﺒﺎھﺘﯽ ﺑﺎ ﺧﻮدروھﺎی اﻣﺮوزی ﻧﺪاﺷﺘﻨﺪ‬
介
.‫را ﺗﺎ ﺑﮫ اﻣﺮوز ﺣﻔﻆ ﮐﺮده اﻧﺪ‬

在最后几节中，我们把汽车的发展分为七个时期。我们都知道，第二个时期是革
新期。1898 年，设计师们为汽车创造了第一个固定形状的车身。在这个时期之前，
汽车与现在的汽车毫无相似之处。但是在 1898 年以后，设计师们保留了这种躯体，
现在这种躯体已经成为一种永恒的特征。

In the last sections we have divided the

evolution of car into seven eras. The second era
as we all know is the innovation era. Designers
created the first body with fixed form for cars in
1898. Before this era cars did not bear any
similarities with the present day’s car. But after
1898 designers retained this kind of body which
has now become a permanent feature.
Figure 35: Innovation era, 1908 ford model T.
Figure: Benz productions.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ١٩٧٨ ‫ﺳﺎل‬ ‫ ﺑﺪﻧﮫ ﺗﻌﻮﯾﺾ ﭘﺬﯾﺮ‬:‫اﻧﻘﻼب دوم‬

车
设
第二次革命：可变车身，1978 年
计 Second revolution: Changeable body, 1978
的
演 ‫ درﺳﺖ ﻣﺎﻧﻨﺪ اﻧﺴﺎﻧﯽ ﮐﮫ ﺑﺎ‬.‫ﺑﺪﻧﮫ ﺧﻮدرو ﻣﯽ ﺗﻮاﻧﺪ اﻧﺘﺨﺎﺑﯽ ﺑﺎﺷﺪ ﺗﺎ ﺑﯿﺎن ﻣﻌﺎﻧﯽ ﻣﺨﺘﻠﻒ را ﺑﺎ ﺗﻐﯿﯿﺮ ﭘﻮﺳﺘﮫ ﺗﻐﯿﯿﺮ دھﺪ‬
进 ‫ ﺧﻮدرو ﻧﯿﺰ ﻣﯽ ﺗﻮاﻧﺪ ﻓﺮم و ﺑﯿﺎن ﺑﺼﺮی ﺧﻮد‬،‫ طﺮاﺣﯽ و ﻓﺮم را ﺗﻐﯿﯿﺮ ﻣﯽ دھﺪ‬،‫ﭘﻮﺷﯿﺪن ﻟﺒﺎﺳﮭﺎی ﻣﺨﺘﻠﻒ ﺷﮑﻞ‬
简
‫ اﻟﺒﺘﮫ اﯾﻦ طﺮح ﺑﺮای رﻓﻊ ﻧﯿﺎز دﯾﮕﺮی‬،‫ ﺳﺎﺧﺘﮫ ﺷﺪ‬١٩٧٨ ‫ اوﻟﯿﻦ ﺧﻮدرو ﺑﺎ ﺑﺪﻧﮫ ﻣﺘﻐﯿﺮ در ﺳﺎل‬.‫را ﺗﻐﯿﯿﺮ دھﺪ‬
介
‫ اﻣﺎ ﭘﺲ از ﻣﺪﺗﯽ ﻣﺮدم اﯾﺪه ﺗﻐﯿﯿﺮ ﭘﻮﺳﺘﮫ را در ﻣﺤﺼﻮﻻت‬.‫طﺮاﺣﯽ ﺷﺪه ﺑﻮد و ﻧﮫ ﺑﺮای ﺗﻐﯿﯿﺮ ﺑﯿﺎن ﺑﺼﺮی‬
.‫ﻣﺨﺘﻠﻒ ﻣﺎﻧﻨﺪ ﺗﻠﻔﻦ ھﻤﺮاه و ﯾﺎ ﺧﻮدرو اﺳﺘﻔﺎده ﻧﻤﻮدﻧﺪ‬

汽车的车身可以随着外壳的不同表达出不同的象征含义。就像人们穿不同形状、
设计和形式的衣服一样，汽车也可以改变它们的形态。1978 年，汽车的第一个
可变车身是其他因素的结果，并不是为改变表达而设计的。但过了一段时间，
人们习惯了改变不同产品外壳的想法，不管是移动电话还是汽车。

The body of an
automobile can be
subjected to change for
representing different
meanings with each
cover. Just like humans
who wear clothing of
different shape, design
and form, cars can
change their forms too.
The first changeable
body of car in 1978 was
the outcome of other
factors and was not
designed for changing
expressions. But after
sometime, people got
used to the idea of
changing the cover of
different products be it
mobiles or cars.

Figure 36: Changeable

body, SLD (1978).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ١٩٩٧ ‫ﺳﺎل‬ ‫ ﻗﻄﻌﺎت ﻣﺘﺤﺮک‬:‫اﻧﻘﻼب ﺳﻮم‬

车
设
第三次革命：可移动部件，1997 年
计 Third revolution: Movable parts, 1997
的 ‫ ﺷﺮوع ﺑﮫ طﺮاﺣﯽ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﺑﺎ ﻗﻄﻌﺎت ﻣﺘﺤﺮک ﮐﺮدﻧﺪ ﮐﮫ‬،‫ﺧﻮدروﺳﺎزان ﺑﺎ ﮔﺮاﯾﺶ ﺑﮫ ﺳﻤﺖ ﺣﺮﮐﺎت اﻧﻘﻼﺑﯽ‬
演 ‫ اﯾﻦ ﺗﻐﯿﯿﺮ ﻓﺮم ﻧﯿﺰ ﺑﺮای ﺣﻔﻆ ﺗﻌﺎدل و اﯾﻤﻨﯽ ﮐﺎرﺑﺮ‬.‫ﻓﺮﻣﺸﺎن واﺑﺴﺘﮫ ﺑﮫ ﺳﺮﻋﺖ و ﻣﻮﻗﻌﯿﺖ ﺧﻮدرو در ﺟﺎده ﺑﻮد‬
进 ‫ در واﻗﻊ اﯾﻦ روش ﺑﺮای ھﺪف اﯾﻤﻨﯽ ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﮔﺮﻓﺖ و ﻧﮫ‬.‫در ﺣﺎل راﻧﻨﺪﮔﯽ وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﻣﻮﺛﺮ ﺑﻮد‬
简
‫ ﻣﺴﻠﻤﺎ ﺣﺎﻟﺘﮭﺎی ﻣﺨﺘﻠﻔﯽ ﮐﮫ اﯾﻦ ﺧﻮدرو ﻣﯽ ﺗﻮاﻧﺪ ﺑﺨﻮد ﺑﮕﯿﺮد ﺗﻔﺴﯿﺮھﺎ و ﻣﻌﺎﻧﯽ‬.‫ﺑﺮای ﺑﺮﻗﺮاری ارﺗﺒﺎط ﺑﺼﺮی‬
介
،‫ ﺑﮫ ﻋﻨﻮان ﻣﺜﺎل ﻓﺮم ﺑﺪن ﻓﺮدی ﮐﮫ آرام راه ﻣﯽ رود و ﯾﺎ در ﺣﺎل دوﯾﺪن اﺳﺖ‬.‫ﻣﺘﻔﺎوﺗﯽ را ﺑﮭﻤﺮاه ﺧﻮاھﺪ داﺷﺖ‬
.‫ ﺣﺘﯽ در ﻋﮑﺲ‬،‫ﺑﯿﺎن ھﺎی ﺑﺼﺮی ﻣﺨﺘﻠﻔﯽ را ﺻﺮﻓﺎ ﺑﮫ دﻟﯿﻞ ﻓﺮم ﺑﺪن دارا ﻣﯽ ﺑﺎﺷﺪ‬
.‫ اﻧﺠﺎم داده اﺳﺘﻨﺎد ﮐﻨﯿﻢ‬٢٠٠٨ ‫ﺑﺮای ﻣﺜﺎل ﻣﯽ ﺗﻮاﻧﯿﻢ ﺑﮫ ﮐﺎﻧﺴﭙﺖ اﺳﮑﺎر ﺟﻮھﺎﻧﺴﻮن ﮐﮫ ﺑﺮای ﺷﺮﮐﺖ ﭘﮋو در ﺳﺎل‬
‫ اﯾﻦ ﺧﻮدرو ﺗﻤﺎم اﻟﮑﺘﺮﯾﮏ‬.‫اﯾﻦ ﮐﺎﻧﺴﭙﺖ ﺑﮫ ﻋﻨﻮان ﯾﮏ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ ﺷﺨﺼﯽ ﺑﺮای ﮐﻼﻧﺸﮭﺮ آﯾﻨﺪه ﺗﺼﻮر ﺷﺪه اﺳﺖ‬
،‫ ﺑﺮای ﮐﻮﺗﺎه ﮐﺮدن ﻓﺎﺻﻠﮫ ﺑﯿﻦ ﻣﺤﻮر ﺟﻠﻮ و ﻣﺤﻮر ﻋﻘﺐ‬،‫دو ﺳﺮﻧﺸﯿﻨﮫ ﮐﮫ ﺑﺮای راﻧﻨﺪﮔﯽ در ﺷﮭﺮ طﺮاﺣﯽ ﺷﺪه‬
‫ اﯾﻦ اﯾﺪه ارﺗﻔﺎع راﻧﻨﺪه در ﮐﺎﺑﯿﻨﺶ را ﺑﺮای‬.‫ﺗﻮﺳﻂ ﯾﮏ ﺳﯿﺴﺘﻢ ھﻮﺷﻤﻨﺪاﻧﮫ ﺗﺎﺷﻮﻧﺪه ھﯿﺪروﻟﯿﮏ ﺧﻮد را ﺗﺎ ﻣﯽ ﮐﻨﺪ‬
‫ ﺧﻤﯿﺪه در ﻣﯽ آورد ﺗﺎ اﻓﺰاﯾﺶ ﻗﺪرت ﻣﺎﻧﻮر در ﻣﮑﺎن ھﺎی ﺗﻨﮓ‬U ‫ﻣﺸﺎھﺪه ﺑﮭﺘﺮ اﻓﺰاﯾﺶ ﻣﯽ دھﺪ و ﻣﺎﺷﯿﻦ را ﺑﮫ‬
‫ ﮐﮫ ھﻤﭽﻨﯿﻦ ﺑﯿﺎﻧﮭﺎی‬،‫و ﺑﺎرﯾﮏ را اﻓﺰاﯾﺶ دھﺪ و ﺣﺘﯽ ﻣﻨﺎﺳﺐ ﺑﺮای ﭘﺎرک در ﻓﻀﺎھﺎی ﭘﺎرﮐﯿﻨﮓ ﮐﻮﭼﮑﺘﺮ ﺑﺎﺷﺪ‬
‫ ﻓﯿﻨﺎﻟﯿﺴﺖ در ﭘﻨﺠﻤﯿﻦ دو ﺳﺎﻻﻧﮫ‬٢٣ ‫ ﮐﮫ ﻧﺎم اﯾﻦ ﺧﻮدرو ﻣﯽ ﺑﺎﺷﺪ ﯾﮑﯽ از‬٨٨٨ .‫ﺑﺼﺮی ﻣﺨﺘﻠﻔﯽ را اﻧﺘﻘﺎل ﻣﯽ دھﺪ‬
.‫ﻣﺴﺎﺑﻘﮫ طﺮاﺣﯽ ﭘﮋو ﻣﯽ ﺑﺎﺷﺪ‬

具备变革趋势的时候，汽车公司开始根据车辆在道路上的速度和位置来设计带有
可移动部件的车辆。调整的同时考虑到了驾驶车辆的安全性。实际上，这项技术
用于安全目的，而不是用于交流表达。最肯定的是，不同形态的车辆可以有不同
的演绎。例如，即使是在一张弄脏的照片中，一个人或走或跑，也会因为身体的
形态而表现出不同的表情。
我们可以通过引用 2008 年奥斯卡·约翰逊（Oskar.Johansen）的“标致”（Peugeot）
概念车来阐述这个例子。这种概念车被认为是未来大都市的个人交通工具。这款
全电动双座汽车的设计目的是通过巧妙的液压倾斜系统来缩短城市驾驶时的轴距。
这提高了驾驶舱中驾驶员的位置，改善其视野，也增加了狭窄地方的机动性，并
使汽车能够急转弯，甚至能适应较小的停车位，这也反映了不同的表达。这种概
念车名为 888，是第五届标致设计双年度大赛的 23 名决赛选手之一。

Inclined towards revolution, companies began designing vehicles with movable parts
depending on the speed and position of the vehicles on the road. The change was also done
keeping in mind the safety involved while driving vehicles. In actuality this technique was used
for safety purpose and not for communicating expressions. Most certainly the different forms
of the vehicle can be interpreted differently. For instance an individual while walking or
running has a different expression solely due to the body form even in a soiled picture.
We can elaborate on this example by citing the example of the concept of Oskar Johansen’s
Peugeot in 2008. The Concept was conceived as a personal vehicle for the future Metropolis.
The all-electric two-seater was designed to shorten its wheelbase for city driving by an
ingenious hydraulic tilting system. This raises the driver in the cockpit for a better view,
increases maneuverability in narrow places and enables the car to take sharp u-turns and even
fit into smaller parking spaces, which also reflects different expressions. 888 as the concept is
called is one of the 23 finalists in the Fifth bi-annual Peugeot Design Competition.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 37:: Moveable parts, The Peugeot 888 car Concept (2008).
(2008)

Figure 38: Moveable parts, Toyota i-Real

Real Concept (2007).
(2007)

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
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Figure 39: Moveable parts, Mercedes-Benz
Benz F 300 Concept (1997).
(1997)

Figure 40:: Moveable parts, Nissan Land Glider Concept (2009).

(2009)

Figure 41:: Changeable form, BMW GINA Light Visionary Model Concept (2008).
(2008)

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ١٩٩٨ ‫ﺳﺎل‬ ‫ ﻗﻄﻌﺎت ﺗﻌﻮﯾﺾ ﭘﺬﯾﺮ‬:‫اﻧﻘﻼب ﭼﮭﺎرم‬

车
设
第四次革命：可变部件，1998 年
计 Fourth revolution: Changeable parts, 1998
的
演 ‫ ﺑﺮای اوﻟﯿﻦ ﺑﺎر اﯾﻦ اﺗﻮﻣﺒﯿﻞ را ﺑﺎ‬١٩٩٨ ‫ ﻣﯽﺷﻮد ﮐﮫ در ﺳﺎل‬Smart Fortwo ‫اﯾﻦ ﺧﻮدرو ﻣﺮﺑﻮط ﺑﮫ ﺷﺮﮐﺖ‬
进 ،‫ در اﯾﻨﺠﺎ طﺮاﺣﺎن ﻣﯽﺧﻮاﺳﺘﻨﺪ ﭼﻨﺪﯾﻦ اﻧﺘﺨﺎب را ﭘﯿﺶ روی ﻣﺼﺮف ﮐﻨﻨﺪه ﮔﺬاﺷﺘﮫ‬.‫ﻗﻄﻌﺎت ﺗﻐﯿﯿﺮﭘﺬﯾﺮ ﺗﻮﻟﯿﺪ ﮐﺮد‬
简 ‫ﺑﮫ او ﻓﺮﺻﺖ اﻧﺘﺨﺎب داده ﺗﺎ وی ﺑﺘﻮاﻧﺪ از ﻣﯿﺎن ﭼﻨﺪ ﻋﻨﺼﺮ طﺮاﺣﯽ ﻣﺎﻧﻨﺪ رﻧﮓ ﯾﺎ طﺮح ﮔﺰﯾﻨﮫ اﻧﺘﺨﺎﺑﯽ داﺷﺘﮫ‬
介 ‫ ﮐﺎرﺑﺮ ﭼﻨﺪﯾﻦ ﻗﻄﻌﮫ ﻣﺘﻔﺎوت را ﺟﻤﻊ آوری ﻣﯽﮐﺮد ﺗﺎ ﺑﺘﻮاﻧﺪ طﺮاﺣﯽ ﺧﻮدرو را ﺑﺮ اﺳﺎس‬،‫ ﺑﺎ اﯾﻦ ﺗﮑﻨﯿﮏ‬.‫ﺑﺎﺷﺪ‬
.‫ﺗﻤﺎﯾﻼت ﺧﻮدش ﺗﻐﯿﯿﺮ دھﺪ‬
‫»ﻣﯿﮑﺮو ﻣﺎﺷﯿﻦ ﮐﺎﻣﭙﮑﺖ« ھﻮﺷﻤﻨﺪ ﺑﺮای ﻣﺼﺮفﮐﻨﻨﺪﮔﺎﻧﯽ طﺮاﺣﯽ ﺷﺪ ﮐﮫ ﻣﯽﺧﻮاﺳﺘﻨﺪ ﻋﻤﻞ ﺳﻔﺎرﺷﯽ ﺳﺎزی را‬
‫ ﺑﺨﺶ ﺑﯿﺮوﻧﯽ آن‬،‫ اﯾﻦ ﻣﻌﺮف ﺷﮑﻞ اوﻟﯿﮫ ﻣﺎﺷﯿﻦ اﺳﺖ ﮐﮫ در آن ﭘﻨﻞھﺎی ﺑﺪﻧﮫ ﭘﻼﺳﺘﯿﮑﯽ ﻗﺎﺑﻞ ﺗﻌﻮﯾﺾ‬.‫اﻧﺠﺎم دھﻨﺪ‬
.‫ اﯾﻦ ﻣﺎﺷﯿﻦھﺎ ھﻤﭽﻨﯿﻦ ﻣﯽﺗﻮاﻧﻨﺪ ﭘﻨﻞھﺎی ﺳﻘﻒ ﮐﮫ ﻗﺎﺑﻠﯿﺖ ﺟﺎﺑﺠﺎﯾﯽ دارﻧﺪ داﺷﺘﮫ ﺑﺎﺷﻨﺪ‬.‫را ﺗﮑﻤﯿﻞ ﻣﯽﮐﻨﻨﺪ‬

1998 年，奔驰旗下微型城市汽车 Smart 成为第一个可以自由更换汽车组件的品

牌。在选购 Fortwo 两座款汽车时，设计师会给客户提供多种选择
设计师会给客户提供多种选择，让客户自己
选择汽车的颜色、款式等组件，为客户打造最理想的座驾
为客户打造最理想的座驾。自此，客户可以根
据自己的想法，改变汽车的原有组建，打造属于自己的汽车
打造属于自己的汽车。
奔驰旗下的子公司 MCC 同样为客户提供私人化订制汽车的服务。在固定了基本
同样为客户提供私人化订制汽车的服务
车型以后，客户可以把汽车外车身更换成塑料材质
客户可以把汽车外车身更换成塑料材质，车身顶盖也可以根据客户
需求进行更换。

This case is ‘Smart Fortwo’, which exemplified the first changeable car parts in 1998.
Here designers wanted to put forward several choices in front of the consumer, to
allow for making a composition of some design elements such as color or pattern all
by themselves. With this technique, user collect different parts for changing the
design of their own car the way they desire.
The Smart "Micro compact car" was
designed for consumers who want
customization. It defines the basic
shape of the car which interchangeable
plastic body panels complete the
exterior. It is also available with
target-style removable roof panels.

Figure 42: Changeable parts, Smart fortwo (1998).

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汽 ٢٠٠٨ ‫ﺳﺎل‬ ‫ ﻓﺮم ھﺎی ﺗﻐﯿﯿﺮ ﭘﺬﯾﺮ‬:‫اﻧﻘﻼب ﭘﻨﺠﻢ‬

车
设
第五次革命：可变形态，2008 年
计 Fifth revolution: changeable forms, 2008
的
演
‫ ﺟﺎی دارد ﮐﮫ ﻗﺎدر ﺑﮫ ﺗﻐﯿﯿﺮ ﻓﺮم اﺳﺖ ﺗﺎ ﻣﻌﺎﻧﯽ اﺣﺴﺎﺳﯽ‬BMW ‫ ﺷﺎھﮑﺎر‬،‫در ﻣﺮﺣﻠﮫ ﭘﻨﺠﻢ از اﻧﻘﻼب ﺧﻮدروھﺎ‬
进 ‫ طﺮاﺣﺎن اﯾﻦ اﯾﺪه را از ﭘﻮﺳﺖ اﻧﻌﻄﺎف ﭘﺬﯾﺮ اﻧﺴﺎن اﺳﺘﺨﺮاج ﻧﻤﻮده اﻧﺪ ﺗﺎ ﺑﯿﺎن ھﺎی‬.‫ﺑﺼﺮی ﻣﺨﺘﻠﻒ را ﻧﺸﺎن دھﺪ‬
简 ‫ اﺑﺘﮑﺎر و ﻧﻮآوری ﭘﻮﺳﺖ ﺑﯿﺮوﻧﯽ ﻗﺎﺑﻞ اﻧﻌﻄﺎف‬،‫ در اﯾﻨﺠﺎ‬.‫ﺑﺼﺮی ﻣﺨﺘﻠﻒ را از طﺮﯾﻖ ﭘﻮﺳﺖ ﺑﮫ ﻧﻤﺎﯾﺶ ﺑﮕﺬارﻧﺪ‬
介 ‫ ﺗﻮﻟﯿﺪ و‬،‫ راه طﺮاﺣﯽ‬،‫ اﯾﻦ اﯾﺪه اﻧﻘﻼﺑﯽ‬.‫اﯾﻦ ﺧﻮدرو زﻣﯿﻨﮫ و ﻣﯿﺪان ﺟﺪﯾﺪی را در طﺮاﺣﯽ آن ﺑﻮﺟﻮد ﻣﯽ آورد‬
‫ از آن اﺳﺖ ﮐﮫ ﺗﺄﺛﯿﺮ ﻋﻤﺪه ای در ﺗﻌﺎﻣﻞ ﺑﯿﻦ راﻧﻨﺪه و ﺧﻮدرو ﺑﻮﺟﻮد ﻣﯽ آﯾﺪ‬.‫ﺳﺎﯾﺮ ﻗﺎﺑﻠﯿﺖ ھﺎی ﺑﺎﻟﻘﻮه را ﺑﺎز ﻧﻤﻮد‬
‫ ﺑﺮﺧﯽ از اﺟﺰای زﯾﺮﺳﺎز‬.‫ ﻓﺮم ھﺎی ﻣﺘﻔﺎوت ﺑﮫ طﻮر ﮐﺎﻣﻞ اﻓﺰاﯾﺶ ﻣﯽ ﯾﺎﺑﺪ‬،‫و ﺑﺎ اراﺋﮫ اﻧﻮاع ﮔﺰﯾﻨﮫ ھﺎی ﺟﺪﯾﺪ‬
‫ راﻧﻨﺪه ﻣﯽ ﺗﻮاﻧﺪ آﻧﮭﺎ را ﺑﺎ اﺳﺘﻔﺎده از ﮐﻨﺘﺮل ھﺎی اﻟﮑﺘﺮوھﯿﺪروﻟﯿﮏ و اﻟﮑﺘﺮوﻧﯿﮏ‬.‫ﺧﻮدرو ﻗﺎﺑﻠﯿﺖ ﺟﺎﺑﺠﺎﯾﯽ دارﻧﺪ‬
‫ ﺷﺮاﯾﻂ راﻧﻨﺪه و‬،‫ﺣﺮﮐﺖ دھﺪ واﯾﻦ ﭘﻮﺳﺖ ﺑﯿﺮوﻧﯽ ﺧﻮدرو را ﻗﺎدر ﻣﯽ ﺳﺎزد ﺗﺎ ﺑﺎ ﺗﻮﺟﮫ ﺑﮫ وﺿﻌﯿﺖ ﮐﻨﻮﻧﯿﺶ‬
(۴١ ‫ )ﺗﺼﻮﯾﺮ‬.‫ ﻓﺮم را ﺗﻐﯿﯿﺮ دھﺪ‬،‫ھﻤﭽﻨﯿﻦ وﺿﻌﯿﺖ ﻋﻤﻠﮑﺮدی ﺧﻮدرو‬
‫ ﯾﻌﻨﯽ زﻣﺎﻧﯽ‬،‫ وﻗﺘﯽ ﮐﮫ ﭼﺮاغ ھﺎ روﺷﻦ ﻧﯿﺴﺘﻨﺪ‬،‫ در ﺣﺎﻟﺖ ﻋﺎدی‬.‫ﻗﺎﺑﻞ ﺗﻮﺟﮫ ﺗﺮﯾﻦ ﺑﺨﺶ طﺮاﺣﯽ ﭼﺮاغ ﺟﻠﻮ اﺳﺖ‬
‫ ﺑﮫ‬.‫ ﺗﺤﺖ ﭘﻮﺷﺶ ﭘﺎرﭼﮫ ﺧﺎص ﭘﻨﮭﺎن ﻣﯽ ﺑﺎﺷﻨﺪ‬،‫ﮐﮫ ھﯿﭻ ﺿﺮورﺗﯽ ﺑﺮای روﺷﻦ ﮐﺮدن ﺟﺎده ھﺎ وﺟﻮد ﻧﺪارد‬
‫ اﯾﻦ‬.‫ ﭘﻮﺷﺶ ﭘﺎرﭼﮫ ای ﮐﮫ ﻗﺒﻼ ﺑﺴﺘﮫ ﺑﻮد ﭼﺮاﻏﮭﺎ را ﺑﺎز ﻣﯽ ﮐﻨﺪ‬،‫ﻣﺤﺾ اﯾﻦ ﮐﮫ راﻧﻨﺪه ﭼﺮاﻏﮭﺎ را روﺷﻦ ﻧﻤﺎﯾﺪ‬
.‫ﻧﻮع از ﺑﺎز ﺷﺪن ﭼﺮاﻏﮭﺎ ﺗﺎﺛﯿﺮ اﺣﺴﺎﺳﯽ ﺑﮫ ﺧﺼﻮص و ﻗﺎﺑﻞ ﺗﻮﺟﮭﯽ دارد‬
在汽车革命的第五步，宝马的杰作脱颖而出，它可以改变形态以显示不同的表达
它可以改变形态以显示不同的表达
方式。设计师从人类的皮肤中提炼出一种灵活的理念
设计师从人类的皮肤中提炼出一种灵活的理念，使人们能够通过皮肤表现
出不同的情感。在这里，一个灵活的外部皮肤的创新突破了汽车设计的新领域
一个灵活的外部皮肤的创新突破了汽车设计的新领域。
这一革命性的解决方案开拓了新的设计、生产和功能潜力
生产和功能潜力。它对驾驶员和汽车之
间的互动有重大影响，并通过提供各种全新的选择来增强这种互动
并通过提供各种全新的选择来增强这种互动。底座的某些
部件是可移动的。驾驶员可以通过电动和电动液压控制来移动它们
驾驶员可以通过电动和电动液压控制来移动它们。这也可以改
变外部皮肤的形状，从而适应当前的情况和驾驶员的要求
从而适应当前的情况和驾驶员的要求，并扩大汽车的功能范
围。最引人注目的部分是前照灯的设计。在正常位置
在正常位置，当前照灯未激活时，即当
不需要照亮道路时，它们隐藏在特殊织物盖下。一旦驾驶员打开灯
一旦驾驶员打开灯，先前关闭的
织物盖就会打开前照灯。这种开灯方式有着特别显著的情感影响
这种开灯方式有着特别显著的情感影响。
In the fifth step of revolution of cars the masterwork of BMW which can change forms to
show different expressions has been highlighted. The designers here derived theth idea from
the human skin which is flexible, enabling the people to show different expression through
the skin. Here, the innovation of a flexible outer skin breaks new ground in automotive
design. This revolutionary solution opens up new designs, production
product and functionality
potential. It has a major impact on the interaction between the driver and car and enhances
it by offering a variety of entirely new options. Some elements of the substructure are
moveable. The driver can move them by means of electro and electro-hydraulic controls.
This also enables the change of shape of the outer skin, which can thus be adapted to suit
the current situation, the driver's requirements and also enhance the car's functional range.
The most striking part is the design off the headlight. In a normal
position, when the headlights are not active, i.e. when there is no
necessity to illuminate the road, they are hidden under the special
fabric cover. As soon as the driver turns on the lights, the previously
closed fabric cover opens head-lights. This sort of opening the lights
has a particularly striking emotional impact. (Fig. 41)

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汽 ٢٠٠٨ ‫ﺳﺎل‬ ‫ ﻗﺎﺑﻠﯿﺖ ادﻏﺎم‬:‫اﻧﻘﻼب ﺷﺸﻢ‬

车
设
第六次革命：可合并，2008 年
计 Sixth revolution: Merge able, 2008
的
演 ‫ ﺗﺼﻮر ﮐﻨﯿﺪ ﮐﮫ ﯾﮏ ﻣﺎﺷﯿﻦ ﺑﺎ ﻣﻮﺗﻮر ﺑﻨﺰﯾﻨﯽ ﺑﺮای ﭼﮭﺎر ﻧﻔﺮ‬.‫اﯾﻦ ﺑﺨﺶ ﺑﮫ اﯾﺪه ﻗﺎﺑﻠﯿﺖ ادﻏﺎم ﭘﺬﯾﺮی ﻣﯽ ﭘﺮدازد‬
进 ‫طﺮاﺣﯽ ﺷﺪه اﺳﺖ ﮐﮫ اﯾﻨﺠﺎ طﺮاح ﺑﺎ ﻗﺮاردادن ﻗﺎﺑﻠﯿﺖ ﺧﺎﺻﯽ روی ﺻﻨﺪﻟﯽ راﻧﻨﺪه و ﺑﺮﺧﯽ از ﻗﻄﻌﺎت ﺳﺒﺐ ﻣﯽ‬
简
‫ اﯾﻦ‬.‫ﮔﺮدد ﮐﮫ ﺻﻨﺪﻟﯽ راﻧﻨﺪه از ﺧﻮدرو ﺟﺪا ﺷﺪه و ﺑﮫ ﺧﻮدرو دﯾﮕﺮی ﮐﮫ ﻣﻮﺗﻮر ھﯿﺒﺮﯾﺪی دارد ﺗﺒﺪﯾﻞ ﺷﻮد‬
介
‫ آﻟﻮدﮔﯽ ﻧﺪارد و ﺑﮫ راﺣﺘﯽ ﻣﯽ ﺗﻮاﻧﺪ از ﺑﺨﺶ ھﺎی ﺑﺴﯿﺎر ﺷﻠﻮغ و ﺑﺎ ﺗﺮاﻓﯿﮏ ﺳﻨﮕﯿﻦ‬،‫ﺧﻮدرو ﺑﺴﯿﺎر ﮐﻮﭼﮏ اﺳﺖ‬
Christian Susana ‫ ﺑﺮای روﺷﻦ ﺷﺪن ﺑﯿﺸﺘﺮ ﺑﮫ ﻣﺜﺎل دﯾﮕﺮی ﺗﻮﺟﮫ ﻧﻤﺎﯾﯿﺪ ﮐﮫ اﯾﻦ وﺳﯿﻠﮫ ﻧﻘﻠﯿﮫ ﺗﻮﺳﻂ‬.‫ﻋﺒﻮر ﮐﻨﺪ‬
.‫ ﻧﺎم دارد‬Colim ‫ اﯾﻦ ﺧﻮدرو ﯾﮏ ﺗﺮﮐﯿﺐ ﺧﻮﺑﯽ را از ﻣﺎﺷﯿﻦ و ﮐﺎروان ﺳﺎﺧﺘﮫ اﺳﺖ ﮐﮫ‬،‫طﺮاﺣﯽ ﺷﺪه اﺳﺖ‬
‫ ﻗﺴﻤﺖ ﺟﻠﻮ ﺟﺪا ﻋﻤﻞ‬،‫ اﯾﻦ ﻣﺰﯾﺖ را ﻓﺮاھﻢ ﻣﯽ ﮐﻨﺪ ﮐﮫ در ﺻﻮرت ﻋﺪم ﻧﯿﺎز ﺑﮫ ﺑﺨﺶ ﺧﺎﻧﮫ ﺑﺎ ﺟﺪا ﺷﺪن‬Colim
‫ ﮐﮫ آن ھﻢ ﯾﮏ ﺗﻐﯿﯿﺮ ﺧﻮﺷﺎﯾﻨﺪ از‬،‫ آن را ﺷﺒﯿﮫ ﯾﮏ ﺷﮑﻞ ھﻨﺪﺳﯽ ﯾﮏ ﭘﺎرﭼﮫ ﮐﺮده اﺳﺖ‬،‫ طﺮاﺣﯽ ھﻮﺷﻤﻨﺪاﻧﮫ‬.‫ﻧﻤﺎﯾﺪ‬
‫ طﺮاح واﻗﻌﺎ ﮐﺎوﺷﯽ در اﺳﺘﻔﺎده از ﻓﺮم ھﺎی ﻣﺨﺘﻠﻒ را داﺷﺘﮫ ﮐﮫ ﻣﻤﮑﻦ اﺳﺖ راه را ﺑﺮای‬.‫طﺮح ھﺎی ﻣﻨﻈﻢ اﺳﺖ‬
.‫ ﺗﺎ ﺑﯿﺎن وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ﻣﺘﻔﺎوت ﮔﺮدد‬،‫ﺧﻮدروھﺎی ﺑﮭﺘﺮ ھﻤﻮار ﺳﺎزد‬

本部分论述了可合并的思想。想象一下，一辆汽车由汽油发动机驱动，专为四人
设计。在这里，设计师将一种特殊的能力赋予座椅和汽车部件，使驾驶员座椅能
够拥有另一个混合动力发动机，该发动机可以从汽车中分离出来并自行继续运转。
这种车小巧，不污染环境，很容易通过拥挤场所，甚至城市中交通堵塞的地方。
为了更清晰地理解，我们介绍由克里斯蒂安·苏珊娜（Christian.Susana）设计的汽
车的例子。这辆车是汽车和大篷车的完美结合，克里斯蒂安称之为“克林姆”
（Colim）。克林姆具备可分离前部的优势，以防不会使用主体部分的风险。设
计上很巧妙，它类似于一个几何形状，打破常规设计，这也是一个受欢迎的变化。
设计师确实探索了所有的可能性，尝试不同的形状，这可能为形态更佳的汽车铺
平道路，创造了改变汽车表达方式的方法。

This part deals with the idea of merge able. Imagine that a car is run by gasoline
engine and is designed for four people. Here the designer puts a special ability on the
seat and parts of the car which enables the driver seat to have another hybrid engine
that can split from the car and go on by itself. The vehicle is very small, does not
pollute and can easily pass through very crowded parts or even traffic in the city.
To have a clear idea on this we have another example of a vehicle designed by
Christian Susana. The vehicle is a nice combination of car and a caravan camper.
Christian called it Colim. Colim provides the advantage of detaching the front part, in
case one does not have a usage for the home part. Design wise it resembles a
geometric shape, which is also a welcome change from the regular designs. The
designer has really explored all possibilities using different shapes which may pave
way for better shaped cars, creates way for changing expression of vehicles.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure 43: Top, Merge able, BMW, Colim-caravan

caravan-concept (2008).
Down, Cda Colégio de Arquitetos.
Arquitetos

118
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 :‫ طﺮاﺣﯽ ﺗﻌﺎﻣﻠﮕﺮا‬:‫اﻧﻘﻼب ھﻔﺘﻢ‬

车
设
‫از طﺮﯾﻖ ﺷﺮﮐﺖ ﮐﺮدن اﺳﺘﻔﺎده ﮐﻨﻨﺪه در ﭘﺮوﺳﮫ طﺮاﺣﯽ‬
计 第七次革命：互动设计：
的
演
用户参与设计过程
进 Seventh revolution: Interaction Design:
简 Through participation of user in designprosses
介

‫ ھﻤﭽﻨﯿﻦ ﯾﺎﻓﺘﻦ ﺷﯿﻮهھﺎی ﺟﺪﯾﺪ‬،‫ ﻣﻮﻧﺘﺎژ و ﺧﺪﻣﺎت‬،‫اﻣﺮوزه ﺷﺮﮐﺖھﺎی ﺻﻨﻌﺘﯽ ﺑﯿﺸﺘﺮ ﺗﺠﺎرﺗﺸﺎن را روی ﻣﮭﻨﺪﺳﯽ‬
‫ﺑﮫ ﻣﻨﻈﻮر اﻓﺰاﯾﺶ ارزش ﻣﺤﺼﻮل ﺑﺎ ﺗﻮﺟﮫ ﺑﮫ ﮔﺮاﯾﺶ ﻣﺼﺮفﮐﻨﻨﺪه و اراﺋﮫ ﺧﺪﻣﺎت ﻣﺎدام اﻟﻌﻤﺮ در راﺑﻄﮫ ﺑﺎ‬
‫ ﻣﯿﺰان ﺗﻮﻟﯿﺪ ﺧﻮد را در راﺑﻄﮫ ﺑﺎ ﻓﻨﺎوریھﺎی اﺻﻠﯽ و‬،‫ ﺻﻨﺎﯾﻊ ﺧﻮدروﺳﺎزی‬.‫ﻣﺤﺼﻮﻻﺗﺸﺎن ﻣﺘﻤﺮﮐﺰ ﺳﺎﺧﺘﮫاﻧﺪ‬
‫ آنھﺎ ﺗﻮﻟﯿﺪ ﻗﻄﻌﺎت و اﺟﺰای ﺳﺎزﻧﺪه را ﺑﮫ ﺗﺎﻣﯿﻦﮐﻨﻨﺪﮔﺎن اﺻﻠﯽ ﯾﺎ ﺷﺮﮐﺖھﺎی‬.‫ﻣﻮﻧﺘﺎژ ﻧﮭﺎﯾﯽ ﮐﺎھﺶ دادهاﻧﺪ‬
‫ ﻣﻮﻧﺘﺎژ ﻧﮭﺎﯾﯽ و ﺧﺪﻣﺎت ﻓﮑﺮ‬،‫ ﻣﮭﻨﺪﺳﯽ‬،‫ ﺧﻮدروﺳﺎزان ﺑﮫ طﻮر ﻓﺰاﯾﻨﺪه ﺑﮫ طﺮاﺣﯽ‬.‫ﺗﺨﺼﺼﯽ واﮔﺬار ﮐﺮدهاﻧﺪ‬
‫ اﻣﺎ ﺑﺮای ﭘﯿﺶﺑﯿﻨﯽ طﺮاﺣﯽ ﻧﯿﺎز اﺳﺖ ﺧﻮاﺳﺘﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن را‬.(٢٠٠٩، ‫ھﻤﮑﺎران‬Niemann) ‫ﻣﯽﮐﻨﻨﺪ‬
‫ اﻟﮕﻮﺑﺮداری از ﺳﮭﻢ ﺑﺎزار ﻧﯿﺰ ﺷﯿﻮه‬.‫ ﭘﯿﺶ ﺑﯿﻨﯽ اﯾﻨﮑﮫ ﭼﮫ ﺗﺠﺮﺑﮫای ﺑﺎﯾﺪ ﺑﮫ ﮐﺎر ﮔﺮﻓﺘﮫ ﺷﻮد ﺳﺨﺖ اﺳﺖ‬.‫داﻧﺴﺖ‬
‫ ﻣﻨﺎﺑﻊ را ﺑﮫ‬،‫ روشھﺎی ﻣﺒﺘﻨﯽ ﺑﺮ آﻣﺎر ﻧﯿﺰ ﺑﮫ ﺑﮭﺎی ﮐﺸﻒ ﻧﻮآوریھﺎ و اﯾﻨﮑﮫ ﺳﻮد در ﮐﺠﺎ ھﺴﺖ‬.‫ﻣﻮﺛﺮﺗﺮی ﻧﯿﺴﺖ‬
.(٢٠١١،Sawhney‫و‬Prahalad) ‫ﺳﻤﺖ درآﻣﺪزاﯾﯽھﺎی ﺷﻨﺎﺧﺘﮫ ﺷﺪه ﻣﻨﺤﺮف ﻣﯽﮐﻨﻨﺪ‬

目前，工业公司集中在工程、装配和服务上做业务。企业通过以消费者为中心，
在处理产品上提供终身服务，这些新方式来增加自身价值。汽车公司减少了在
主要的核心技术和最终装配上业务。他们让供应商或专业的公司生产零部件。
汽车制造商越来越关注设计、工程、最终装配和服务(Niemann et al. , 2009)。 但
作为设计中的预测者，他们是否需要对消费者的需求进行幻想？因为一个人很
难预测别人的消费经历。制定市场占有率不再有效。以统计数值为基础的方法
也会把资源分配给已知的收入来源，而不是用在发现突破性的创新和未来利润
可能存在的地方 (Prahalad & Sawhney, 2011)。

Nowadays, industrial companies are concentrating their businesses on engineering,

assembly and services, and following new ways in order to add value through
consumer orientation, and services during the lifetime along with the disposal of their
products. The automobile industries have reduced their own capacities to the main or
core technologies and final assembling. They have left production of parts and
components for suppliers or specialized companies. Carmakers increasingly think
about design, engineering, final assembly and service (Niemann et al., 2009). But
being a fortune-teller in design one needs to visionary about consumers wants’? It is
hard enough to predict what ’experience’ must be. Mapping market share is no more
effective. Statistics-based approaches also skew resources towards known revenue-
generators at the expense of discovering where breakthrough innovations and future
profits may reside (Prahalad & Sawhney, 2011).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﯾﻦ ﻣﺮاﺣﻞ ﭘﯿﺶ ﺑﯿﻨﯽ ﺻﻼﺣﯿﺖھﺎی اﺻﻠﯽ ﺷﺮﮐﺖھﺎﯾﯽ ھﺴﺘﻨﺪ ﮐﮫ ﻣﺤﺼﻮﻻﺗﯽ در راﺳﺘﺎی ﮔﺮاﯾﺶ ﻣﺸﺘﺮی ﺗﻮﻟﯿﺪ‬
车 ‫ ﻣﺸﺘﺮﯾﺎن ﺑﮫ طﻮر ﮐﻠﯽ‬.‫ﻣﯽﮐﻨﻨﺪ و ارزش ﻣﺤﺼﻮل را ھﻤﺰﻣﺎن و ﺑﻌﺪ از ﭼﺮﺧﮫ ﻋﻤﺮ ﻣﺤﺼﻮل اﻓﺰاﯾﺶ ﻣﯽدھﻨﺪ‬
设 ‫ اﯾﻦ اﻣﺮ ﻣﺴﺘﻠﺰم ﺳﯿﺴﺘﻢ ھﺎی ﺗﻮﻟﯿﺪ اﻧﻌﻄﺎف ﭘﺬﯾﺮی اﺳﺖ‬.‫ﻋﻼﻗﻤﻨﺪ ھﺴﺘﻨﺪ ﺑﮫ ﻣﺤﺼﻮﻟﯽ ﺑﺎ ﺑﮭﺮهوری ﺑﺎﻻ دﺳﺖ ﯾﺎﺑﻨﺪ‬
计 ‫ﮐﮫ ﺑﺎ ﻣﮭﺎرتھﺎی ﻣﺤﺪود ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﮐﺎراﯾﯽ داﺷﺘﮫ و ﻧﯿﺎز ﺑﮫ ﺣﺪاﻗﻞ ﺗﻨﻈﯿﻤﺎت دارد‬
的 ‫ اﻣﺮوزه اﯾﻦ ﻣﺼﺮف ﮐﻨﻨﺪه اﺟﺎزه ﻧﻤﯽ دھﺪ ﮐﮫ ﺣﺎﮐﻤﺎن ﯾﺎ ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪه ﺑﺮاﯾﺶ‬.(٢٠٠٩،‫ھﻤﮑﺎران‬Niemann)
演 ‫ ﺧﻮاﺳﺘﮫھﺎی او را ﮐﮫ در ﻣﯿﺎن ﻣﺮدم‬،‫ﺗﺼﻤﯿﻢﮔﯿﺮی ﻧﻤﺎﯾﻨﺪ و اﺟﺎزه ﺑﺪھﺪ طﺮاح ﺑﺎ ﯾﮏ ﺗﺤﻘﯿﻖ آﻣﺎری در ﻓﺮھﻨﮓ‬
进 ‫ در آﯾﻨﺪه ﺗﻼشھﺎﯾﯽ ﮐﮫ ﻧﺘﻮاﻧﻨﺪ رﺿﺎﯾﺖ ﻓﺮد ﻓﺮد ﺟﺎﻣﻌﮫ را ﺟﻠﺐ ﮐﻨﻨﺪ رد‬.‫در ﯾﮏ ﺟﺎﻣﻌﮫ ﻣﺸﺘﺮک ھﺴﺘﻨﺪ ﭘﯿﺪا ﮐﻨﺪ‬
简
.‫ ﺑﻨﺎﺑﺮاﯾﻦ ﻣﺎ ﺑﮫ ﯾﮏ ﻋﺼﺮ ﺟﺪﯾﺪ ﮔﺬار ﻣﺼﺮف ﮐﻨﻨﺪه رﺳﯿﺪهاﯾﻢ‬.‫ﺧﻮاھﻨﺪ ﺷﺪ‬
介
‫ﻓﻦ آوریھﺎی ﺟﺪﯾﺪ ﻣﯽﺗﻮاﻧﻨﺪ اﺛﺮ ﻣﮭﻤﯽ ﺑﺮ روی زﻧﺪﮔﯽ و ﺳﺒﮏ زﯾﺴﺘﻦ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن داﺷﺘﮫ ﺑﺎﺷﻨﺪ و ھﻤﭽﻨﯿﻦ‬
‫ اﻣﺎ ﻧﮑﺘﮫ اﯾﻨﺠﺎﺳﺖ ﮐﮫ ﭼﮕﻮﻧﮫ اﯾﺪهای‬،‫ﻣﯽﺗﻮاﻧﻨﺪ در ﺗﻮﻟﯿﺪ اﯾﺪه ھﺎی ﺟﺪﯾﺪ ﺑﺮای ﻣﺤﺼﻮﻻت ﺟﺪﯾﺪ ﮐﻤﮏ ﮐﻨﻨﺪه ﺑﺎﺷﻨﺪ‬
‫را ﺗﻮﻟﯿﺪ ﮐﻨﯿﻢ ﮐﮫ ﭘﺎﺳﺨﮕﻮی ﺗﻤﺎﻣﯽ ﺧﻮاﺳﺘﮫھﺎی ﻣﺼﺮفﮐﻨﻨﺪه در ھﺮ ﻓﺮھﻨﮕﯽ ﺑﺎﺷﺪ؟ ﺑﻨﺎﺑﺮاﯾﻦ در راﺑﻄﮫ ﺑﺎ‬
‫ ھﺪف ﻣﺤﻘﻖ ﺑﺎﯾﺪ ﭘﯿﺶ ﺑﯿﻨﯽ ﺗﻐﯿﯿﺮات در ﻓﻨﺎوری و ﺗﺎﺛﯿﺮ آن روی ﺳﺒﮏ زﻧﺪﮔﯽ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن‬،‫ﻣﺼﺮف ﮐﻨﻨﺪه‬
.(٢٠٠٨،Mowen) ‫ﺑﺎﺷﺪ‬

预测阶段表现了公司的核心竞争力——那些以客户为导向生产产品的公司， 会
在产品的生命周期之中和之后增加价值。客户普遍对实现高的产品利用率感兴趣。
这需要灵活的制造系统，它能提供有限的消费者技能，并且需要最少的设置时间
(Niemann et al. , 2009)。
如今的消费者已不再受限于统治者、政府或制造商的专制，也不再局限于设计师
对文化进行统计研究，找到他们在社会中普遍存在的需求。在未来，无法满足社
会个人需求的设计将会被淘汰。因此，我们已经进入到一个新时代，消费者的地
位已经改变。新技术可以对消费者的生活和生活方式产生重要影响，也有助于为
新产品产生新想法，但有一问题——那就是如何得到这一新想法，可以满足各种
文化影响下的消费者的需求。因此，对于消费者来说，研究者的目标必须是预测
技术的变化及其对消费者生活方式的影响 (Mowen, 2008)。

These phases of prediction are the core competencies of companies which produce
customer orientated products and add value during and after a product’s life cycle.
Customers are generally interested in achieving high product utilization. This requires
flexible manufacturing systems which provides performance with limited skills of
consumer and requires minimal set-up times (Niemann et al., 2009).
Today’s consumer is not the one, who lets ruler, government or manufacturer decide
for him or lets the designer with a statistical research in the culture find his desires,
which are common between people in the society. In the future, efforts which can not
cover individual desires in the society will be rejected. Therefore we have entered into
a new age of transition of consumers.
New technologies can have important effect on the consumers’ life and the lifestyle
and also can help in generating new ideas for new products, but there is a point as to
how to generate the idea that can support all consumers’ desires in every culture,
therefore for consumer, the researcher’s aim must be predicting changes happening in
technology and its effect on consumers’ lifestyle (Mowen, 2008).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 .‫ ﺑﻨﺎﺑﺮاﯾﻦ اﮐﻨﻮن زﻣﺎن اﻧﺘﻘﺎل و ﮔﺬار )از ﺟﺎﻣﻌﮫ ﻣﺪرن( اﺳﺖ‬،‫ھﻤﺎﻧﻄﻮر ﮐﮫ اﻣﺮوز ﻓﻦ آوری ﻣﺎ را ﻣﺠﮭﺰ ﮐﺮده‬
车 ‫ﮔﺬاری ﮐﮫ اﺟﺎزه ﻣﯽدھﺪ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن در ﻓﺮآﯾﻨﺪ طﺮاﺣﯽ ﻣﺸﺎرﮐﺖ داﺷﺘﮫ و ﯾﮏ طﺮاح )در ﺟﺎﻣﻌﮫ ﭘﺴﺖ‬
设 ١٠ ‫ اﮔﺮ ﺷﻤﺎ ﺑﺨﻮاھﯿﺪ‬.‫ طﺮاﺣﯽ ﺑﺮای آﯾﻨﺪه ﻧﯿﺎز ﺑﮫ ﯾﮏ روش طﺮاﺣﯽ دارد‬،‫ﻣﺪرن( ﺑﺎﺷﻨﺪ ﮐﮫ در اﯾﻦ ﻣﻮرد ﺧﺎص‬
计 ‫ ﺑﮫ ﭼﮫ ﭼﯿﺰھﺎﯾﯽ ﻧﯿﺎز ﺧﻮاھﯿﺪ داﺷﺖ؟ در ھﻨﺪ ﺑﯿﺸﺘﺮ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن‬،‫ﻣﺎه در ﺳﺎل را در ﺟﺎده ﺳﭙﺮی ﮐﻨﯿﺪ‬
的 ‫ از ﻧﻈﺮ آنھﺎ‬.‫ آنھﺎ ﮐﺎﺑﯿﻦھﺎ را طﺮاﺣﯽ ﮐﺮده و آن را ﺑﺎ ﮐﻤﮏ ﻧﺠﺎر ﻣﯽﺳﺎزﻧﺪ‬.‫ﮐﺎﻣﯿﻮنھﺎی ﺑﺪون ﮐﺎﺑﯿﻦ ﻣﯽﺧﺮﻧﺪ‬
演 ‫ ﺑﮫ اﯾﻦ ﻋﻠﺖ ﮐﮫ آنھﺎ ﻣﯽﺧﻮاھﻨﺪ زﻣﺎن زﯾﺎدی را در اﯾﻦ‬،‫ﮐﺎﺑﯿﻦھﺎی طﺮاﺣﯽ ﺷﺪه ﺗﻮﺳﻂ ﺷﺮﮐﺖھﺎ ﭘﺬﯾﺮﻓﺘﮫ ﻧﯿﺴﺘﻨﺪ‬
进 ‫ﮐﺎﺑﯿﻦھﺎ ﺳﭙﺮی ﮐﺮده و ﺣﺘﯽ ﺳﺎزﻧﺪﮔﺎن ﮐﺎﻣﯿﻮن ﻧﯿﺰ ﻧﻤﯽﺗﻮاﻧﻨﺪ ﮐﺎﻣﯿﻮنھﺎﯾﯽ ﺑﺎ طﺮاﺣﯽھﺎی ﻣﺨﺘﻠﻒ ﺗﻮﻟﯿﺪ ﮐﻨﻨﺪ ﮐﮫ‬
简
.‫راﺿﯽ ﮐﻨﻨﺪه ﻧﯿﺎز ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن آﻧﺎن ﺑﺎﺷﺪ‬
介
،‫ ﺗﺎﯾﭙﻮﮔﺮاﻓﯽھﺎ‬،‫ ﻧﻘﻮش‬،‫ رﻧﮓ آﻣﯿﺰیھﺎی روﺷﻦ‬،‫ ﺷﻌﺎرھﺎ‬،‫ ﻓﺮھﻨﮕﯽ از رﻧﮓھﺎ‬،‫اﯾﻦ راﻧﻨﺪﮔﺎن ﮐﺎﻣﯿﻮن در ھﻨﺪ‬
‫ اﯾﻦ ﮐﺎﻣﯿﻮن ﺑﺮای آنھﺎ ﺗﻨﮭﺎ وﺳﯿﻠﮫ رﻓﺖ و‬.‫ﺑﺮﺧﯽ اﺑﯿﺎت ﻣﻨﺤﺼﺮ ﺑﮫ ﻓﺮد و ﻧﻤﺎدھﺎی ﻧﻘﺎﺷﯽ ﺷﺪه ﭘﯿﭽﯿﺪه ﻣﯽﺧﻮاھﻨﺪ‬
‫آﻣﺪ ﻧﯿﺴﺖ ﺑﻠﮑﮫ ﯾﮏ ﻓﺎﻧﻮس درﯾﺎﯾﯽ درﺧﺸﺎن ﺑﺮای ﻣﺸﺘﺮﯾﺎن ﺟﺪﯾﺪ اﺳﺖ ﮐﮫ ﺟﻮﯾﺎی ﯾﮏ ﺳﻨﺖ ھﻨﺮﻣﻨﺪاﻧﮫ ﺟﺬاب و‬
‫دﯾﺪﻧﯽ ﮐﺎﻣﯿﻮن در ھﻨﺪ و ﯾﮏ ﻧﻮع ھﻨﺮ ﻗﻮﻣﯽ ﻗﺪﯾﻤﯽ در اﯾﻦ ﮐﺸﻮر ھﺴﺘﻨﺪ ﮐﮫ ﺑﺎﻋﺚ ﻣﯽﺷﻮد ﻣﺴﺎﻓﺮت از طﺮﯾﻖ‬
‫ اﯾﻦ ﮐﺎﻣﯿﻮنداران ھﻨﺪی ﺷﻤﺎ را‬.‫ از ﺟﻨﺒﮫھﺎی ﻣﺨﺘﻠﻔﯽ ﺑﺎورﻧﮑﺮدﻧﯽ ﮔﺮدد‬،‫ﺑﺰرﮔﺮاهھﺎی ﭘﺮﮔﺮد و ﺧﺎک ھﻨﺪوﺳﺘﺎن‬
.‫ﺑﮫ ﯾﮏ ﺳﻔﺮ ﻧﺴﺒﺘﺎ رﻧﮕﺎرﻧﮓ ﺑﮫ ﻣﯿﺎن ﻓﺮھﻨﮓھﺎی ﻣﺨﺘﻠﻒ ﻣﯽﺑﺮﻧﺪ‬
随着科技的发展，如今的社会正处于过渡期， 从现代社会过渡而来， 消费者可
以作为设计者参加到设计过程中去。在这种情况下，“为未来设计”需要一种新
的设计方式。如果你一年当中有 10 个月都需要在路上赶路，你最想要什么？在
印度，很多卡车司机都会买一辆没有车厢的卡车，然后他们会找木匠自己设计
车厢。印度人的理想型卡车，往往得不到卡车设计公司的认可，即使是卡车生
产商也无法设计出让印度消费者满意的卡车。印度的卡车司机们对他们的卡车
有千变万化的设计，从颜色、标语、亮漆、装饰、字体、独特的题词、以及错
综复杂的彩绘符号等，方方面面都要重新设计。对于司机来说，卡车不仅仅是
一个代步工具，而是一辆代表着司机性格的行走着的艺术品，通过这些可以看
到印度壮观的卡车艺术传统。正是这种历史悠久的民间艺术形式，让印度尘土
飞扬的高速公路旅程变得丰富多彩。这些印度卡车带你感受的是一段极具个性
化的、极富印度文化气息的彩色旅程。
As technology has equipped ourselves today therefore it is the day of transition (from
modern society), a transition which lets consumers engage in the process of design and
be a designer (in post-modern society), in this case, ‘design for future’ needs a design
method. If you want to spend 10 months of the year on the road, what do you want? In
India most of the consumers buy truck without cabin, and they design the cabin and
make it with help of carpenter, because for them design of company is not acceptable
for their truck which they want to spend their time on it, even the manufacturer cannot
produce trucks with many design to satisfy their consumers. These truckers in India,
means a kaleidoscope of colors, slogans, bright paints, motifs, typography, some
unique couplets, and intricately painted symbols. This truck is not just a way to get
around. It's a moving work of art reflecting the character of its driver -- and a brilliant
beacon for new customers, which explores India's spectacular truck art tradition and
an age-old folk art form of India that makes journeys through the dusty highways of
India, incredible in more ways than one. These Indian trucks take you on a rather
colorful journey of diverse customized cultures.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫طﺮحھﺎی ﻧﻘﺎﺷﯽ ﺷﺪه روی ﮐﺎﻣﯿﻮنھﺎ ﺻﺮﻓﺎ ﺑﺮای ﻣﻘﺎﺻﺪ زﯾﺒﺎﺷﻨﺎﺳﯽ ﻧﯿﺴﺘﻨﺪ ﺑﻠﮑﮫ ھﺪف آنھﺎ ﺑﮫ ﺗﺼﻮﯾﺮ ﮐﺸﯿﺪن‬
车 ‫ ﮐﺎﻣﯿﻮنھﺎی ھﻨﺪی‬.‫ ﻋﺎطﻔﯽ و اﺣﺴﺎﺳﯽ راﻧﻨﺪه ھﺴﺘﻨﺪ ﮐﮫ ﺑﮫ طﻮر روزﻣﺮه ﺑﺎ آنھﺎ ﺗﻌﺎﻣﻞ دارد‬،‫دﯾﺪﮔﺎهھﺎی ﻣﺬھﺒﯽ‬
设 .‫ ﮐﻮھﺴﺘﺎنھﺎ و ﻓﺮھﻨﮓ آن ھﺴﺘﻨﺪ‬،‫ ﺟﺎدهھﺎی آن‬،‫ﮐﺎرﺑﺮدی ﻧﯿﺴﺘﻨﺪ ﺑﻠﮑﮫ آنھﺎ ﻣﻨﺎﺳﺐ ﺧﻮاﺳﺘﮫھﺎی ﻣﺸﺘﺮﯾﺎن ھﻨﺪی‬
计 ‫اﯾﻦ ﻣﺴﺌﻠﮫ ﺗﺎ ﺣﺪ زﯾﺎدی ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﮐﺎﻣﯿﻮﻧﯽ ﮐﮫ ﺑﮫ ﺻﻮرت »ﺳﻔﺎرﺷﯽ ﺳﺎﺧﺘﮫ ﻧﺸﺪه« و دارای ﯾﮏ طﺮاﺣﯽ‬
的 ‫ ﻧﻤﯽﺗﻮاﻧﺪ ﭘﺎﺳﺦ ﮔﻮی ﺧﻮاﺳﺘﮫھﺎی ﺗﻐﯿﯿﺮﭘﺬﯾﺮ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺑﺎﺷﺪ و ھﻤﭽﻨﯿﻦ ﻓﻮق اﻟﻌﺎده ﺑﺮای‬،‫ﺛﺎﺑﺖ ﻣﯽﺑﺎﺷﺪ‬
演 ‫ اﻣﺎ ﻓﻮق اﻟﻌﺎده ﮐﺴﻞ ﮐﻨﻨﺪه‬،‫راﻧﻨﺪﮔﺎن ﮐﺴﻞ ﮐﻨﻨﺪه ﻣﯽﺑﺎﺷﺪ ﺗﺎ ﺟﺎﯾﯽ ﮐﮫ ﻓﮑﺮ داﺷﺘﻦ ﯾﮏ ﮐﺎﺑﯿﻦ ﺑﺎ طﺮاﺣﯽ ﺑﺴﯿﺎر ﻋﺎﻟﯽ‬
进 ‫ ﻣﻤﮑﻦ اﺳﺖ راﻧﻨﺪه را ﺑﮫ ﺳﻮی دﯾﻮاﻧﮕﯽ ﺳﻮق‬،‫و اﯾﻨﮑﮫ ﻓﺮد ﻣﺠﺒﻮر ﺑﺎﺷﺪ در آﻏﺎز ھﻔﺘﮫ ﺑﺎر دﯾﮕﺮ ﺳﻮار آن ﺷﻮد‬
简
.‫دھﺪ‬
介
喷绘在卡车表面的图案不仅仅是为了美观，通过卡车上的图案，看到的是一个个
栩栩如生的、拥有信仰的、情感丰富的灵魂，卡车司机把自己的内在性格和内心
观点通过喷绘在卡车上的图案设计表达给路人。印度的卡车不仅仅是运输工具，
这些卡车完美地融入进卡车司机的灵魂、印度的道路、印度的山川乃至印度这个
国家的文化中了。印度的卡车文化，其本质上说明单一的卡车设计无法满足卡车
司机的丰富需求。卡车司机满怀欣喜地爬上卡车以求看到新鲜的精致，没想到看
到的却是千篇一律的车厢设计，无趣的就像“周一早上”一样。有的司机伸直不堪
忍受旅途的无聊而选择了结生命。
The designs painted on the trucks do not merely stand for aesthetic purposes, but they
attempt to depict religious, sentimental, and emotional viewpoints of the driver, who
interact with it on a daily basis. Indian trucks are not functional, but they fit into
owner’s desires, its roads, its mountains and its culture. Largely, it investigates that
uncustomizable truck with a fixed design cannot answer changeable desires of
consumers and also is incredibly boring to the point where every driver becomes
suicidal, just at the sheer thought of having to climb into the extremely well designed,
but incredibly dull cabin, again on Monday morning. Figure: Indian trucks.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺑﺎ ﯾﮏ ﻣﺮور ﮐﻮﺗﺎه از‬.‫ھﻤﯿﺸﮫ ﻧﮕﺎه ﮐﺮدن ﺑﮫ ﮔﺬﺷﺘﮫ ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﮐﮫ درک ﺑﮭﺘﺮی ﻧﺴﺒﺖ ﺑﮫ آﯾﻨﺪه داﺷﺘﮫ ﺑﺎﺷﯿﻢ‬
车 ‫ ﺻﻨﻌﺖ‬.‫ﺗﺎرﯾﺨﭽﮫ ﺗﻮﺳﻌﮫ ﭼﺎﭘﮕﺮ آﻏﺎز ﻣﯽﮐﻨﯿﻢ ﮐﮫ ﻣﯽﺗﻮاﻧﺪ ﻣﻮﻗﻌﯿﺖ ﻣﺼﺮف ﮐﻨﻨﺪه را ﺑﮭﺘﺮ ﺑﺮای ﻣﺎ روﺷﻦ ﺳﺎزد‬
设 ‫ ھﺰار‬٣ ‫ ﻣﺼﺮی و ھﻨﺪی اﺳﺖ ﮐﮫ دارای ﺳﺎﺑﻘﮫ طﻮﻻﻧﯽ ﺑﻮده و ﻗﺪﻣﺘﯽ ﺑﯿﺶ از‬،‫ اﯾﺮاﻧﯽ‬،‫ﭼﺎپ ﯾﮏ اﺧﺘﺮاع ﭼﯿﻨﯽ‬
计 ‫ ﺻﻨﻌﺖ‬.‫ در ﻧﻈﺮ ﮔﺮﻓﺘﮫ ﺷﺪه اﺳﺖ‬Yuelu ‫ﺳﺎل دارد ﮐﮫ در ﭘﺎﺳﺦ ﺑﮫ ﻧﯿﺎز ﺗﻮﻟﯿﺪ اﻧﺒﻮه در ﻣﺪارﺳﯽ از ﺟﻤﻠﮫ آﮐﺎدﻣﯽ‬
的 ‫ ﺳﭙﺲ ﻓﻠﺰ و ﻣﻮم و‬،‫ ﺣﮑﺎﮐﯽ روی ﭼﻮب و ﺳﻨﮓ‬،‫ در ﺣﺎﻟﯽ ﮐﮫ از آﻏﺎز‬،‫ ﺗﻐﯿﯿﺮات زﯾﺎدی اﯾﺠﺎد ﮐﺮده‬،‫ﭼﺎپ‬
演 ‫ ﻧﺨﺴﺘﯿﻦ ﭼﺎﭘﮕﺮ ﮐﺎﻣﭙﯿﻮﺗﺮی ﺗﻮﺳﻂ‬١٩ ‫ ﺗﺎ ﻗﺮن‬.‫اﺑﺮﯾﺸﻢ و دﯾﮕﺮ ﺗﮑﻨﯿﮏھﺎ ﻣﺎ را در اﻧﺠﺎم اﯾﻦ ﮐﺎر ﮐﻤﮏ ﻣﯽﮐﺮدﻧﺪ‬
进 .(٢٠٠٠،BBC) ‫ﭼﺎرﻟﺰ ﺑﺎﺑﯿﺞ اﺧﺘﺮاع ﺷﺪ‬
简
‫ﺑﻌﺪھﺎ ﻧﯿﺰ ﭼﺎﭘﮕﺮھﺎی ﺷﺨﺼﯽ ﺑﮫ طﻮر اوﻟﯿﮫ ﺑﺮای اﺳﺘﻔﺎده ﮐﺎرﺑﺮان ﺷﺨﺼﯽ طﺮاﺣﯽ ﺷﺪﻧﺪ و ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ ﺗﻨﮭﺎ ﺑﮫ‬
介
‫ اﯾﻦ ﭼﺎﭘﮕﺮھﺎی ﺗﺠﺎری ﻣﻌﻤﻮﻻ ﺑﮫ ﻣﻨﻈﻮر اﺳﺘﻔﺎده در دﻓﺎﺗﺮ ﺑﺮای ﺗﻮﻟﯿﺪ ﻧﺴﺨﮫھﺎی‬.‫ﯾﮏ ﮐﺎﻣﭙﯿﻮﺗﺮ ﻣﺘﺼﻞ ﺷﻮﻧﺪ‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل آنھﺎ ﻣﻌﻤﻮﻻ ﺑﺮای اﺳﺘﻔﺎده در زﻧﺪﮔﯽ روزﻣﺮه‬.‫ﭼﺎﭘﯽ از روی اﺳﻨﺎد ﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﻣﯽﮔﺮﻓﺘﻨﺪ‬
‫ ﺑﻌﺪی وارد ﺑﺎزار ﺷﺪ؛ اﯾﻦ دﺳﺘﮕﺎه ﺑﺮای ﭼﺎپ ﯾﮏ ﺷﮑﻞ ﺳﮫ‬٣ ‫ در ﻧﮭﺎﯾﺖ ﭼﺎﭘﮕﺮ‬.‫ﺧﺎﻧﮕﯽ طﺮاﺣﯽ ﻧﺸﺪه ﺑﻮدﻧﺪ‬
‫ ﺳﯿﻤﺎن و ﻣﻮاد‬،‫ ﻣﻮاد ﻏﺬاﯾﯽ‬،‫ ﭘﻼﺳﺘﯿﮏ‬،‫ﺑﻌﺪی از ﻣﻨﺒﻊ داده اﻟﮑﺘﺮﯾﮑﯽ از طﺮﯾﻖ ﭼﺎپ ﻻﯾﮫھﺎی ﻣﻮاد )ﻣﺎﻧﻨﺪ ﻓﻠﺰات‬
.‫دﯾﮕﺮ( ﺗﺤﺖ ﮐﻨﺘﺮل ﮐﺎﻣﭙﯿﻮﺗﺮﻣﻮرد اﺳﺘﻔﺎده ﻗﺮار ﻣﯽﮔﯿﺮد‬
古人云：温故而知新。在强调消费者的地位之前，不妨来简单回顾一下打印机
的发展史。印刷术是中国人、波斯人、埃及人和印度人发明，最早可以追溯到
三千多年前。普遍认为，印刷术是在学校需要大规模生产教科书的情况下应运
而生的，比如中国湖南的岳麓书院。多年来，印刷术也有了很大的改变。最初，
人们需要把字刻在木头或者石头上，后来刻在金属、蜡块、或者丝绸上，再后
来也会用到各种其他技术来完成印刷。直到 19 世纪，查尔斯·巴贝奇才发明出
了第一台电脑打印机（BBC，2000）。
后来，为了满足个人需要，很多私人打印机也相继生产出来，但是当时的打印
机只能连接到一台计算机上。这些商业售卖的打印机大多被办公室职员买去以
打印或影印办公室文件。那时打印机生产商们还没有设计出日常家用型打印机。
最后，3D 打印机问世了。在计算机的控制下，通过材料打印层把平面电子数据
源打印成立体 3D 实物。打印材料有很多选择，比如金属、塑料、食物、水泥等
其他材料。
Always looking to the past helps to have better understanding about the future.
Starting with a short review of printer development can highlight the issue of
consumer position better. Printing is invention of Chinese, Persian, Egyptian and
Indian, which has a long history more than 3,000 years, which has been regarded to
answering the need of mass production in schools such as Yuelu Academy. It has
change a lot, at the beginning with engraving on wood and stone later metal and wax
and silk and other techniques could help us to do it. Until 19th-century the first
computer printer was invented by Charles Babbage (BBC, 2000).
Also later personal printers are primarily designed to support individual users, and
may be connected to only a single computer. These commercial printers generally
used for purpose of offices to produce a hard copy of a document. However, they are
generally did not design for daily life related home. At the end 3D printer has come; it
is a device for printing a three-dimensional form from electronic data source through
printing layers of material (such as metals, plastics, food, cement and other materials)
under computer control.

123
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫روﯾﺎی ھﻤﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن اﯾﻦ اﺳﺖ ﮐﮫ ﺑﺘﻮاﻧﻨﺪ ﻧﻘﻄﮫ ﻧﻈﺮاﺗﺸﺎن را ﺑﺪون دردﺳﺮ ﺑﮫ اﺷﯿﺎء واﻗﻌﯽ ﺳﮫ ﺑﻌﺪی ﺑﺎ‬
车 ‫ ﻣﺸﺎھﺪه ﮐﺮد و در زﻣﯿﻨﮫھﺎی‬،‫ اﺷﯿﺎﺋﯽ ﮐﮫ ﺑﺘﻮان آنھﺎ را در دﺳﺖ ﮔﺮﻓﺘﮫ‬.‫ﭘﯿﭽﯿﺪﮔﯽھﺎی دﻟﺨﻮاه ﺷﺎن ﺗﺒﺪﯾﻞ ﺳﺎزﻧﺪ‬
设 .‫ ﺑﻨﺎﺑﺮاﯾﻦ ھﺪف در اﯾﻨﺠﺎ ﺳﺎﺧﺘﻦ ﻻﯾﮫ ﺑﮫ ﻻﯾﮫ ﻣﺤﺼﻮل از ﭘﺎﯾﯿﻦ ﺑﮫ ﺑﺎﻻ اﺳﺖ‬.‫ﻣﻮرد اﺳﺘﻔﺎده آنھﺎ را ﺑﮫ ﮐﺎر ﮔﺮﻓﺖ‬
计 ‫ از طﺮاﺣﯽ ﺧﻮدرو‬CAD ‫ اﯾﻦ روش ﻧﯿﺎز ﺑﮫ ﯾﮏ ﻓﺎﯾﻞ‬.‫در اﯾﻦ روش ﺑﺪﻧﮫ اﺗﻮﻣﺒﯿﻞ از ﭘﻼﺳﺘﯿﮏ ﺳﺎﺧﺘﮫ ﻣﯽﺷﻮد‬
的 ‫ ﺟﺖ در ﯾﮏ‬٩٦ ‫ ﭘﺮﯾﻨﺖ ﻣﻮاد ﺗﺮﻣﻮﭘﻼﺳﺘﯿﮏ )ﮔﺮﻣﺎﻧﺮم( از ﯾﮏ ھﺪ ﭘﺮﯾﻨﺖ ﺗﺎ‬،‫ در ﭼﺎپ ﺳﮫ ﺑﻌﺪی واﻗﻌﯽ‬.‫دارد‬
演 dpi ٣٠٠ ‫ دﻗﺖ اﯾﻦ ﭼﺎﭘﮕﺮ در ﺣﺪود‬.‫آراﯾﮫ ﺧﻄﯽ اﻧﺠﺎم ﻣﯽﺷﻮد ﮐﮫ ﺷﺒﯿﮫ ﺑﮫ ﭼﺎﭘﮕﺮ ﺟﻮھﺮاﻓﺸﺎن ﻋﻤﻞ ﻣﯽﮐﻨﺪ‬
进 .(٢٠١٠،Johnson‫و‬Ashby) ‫)ﻧﻘﻄﮫ در اﯾﻨﭻ( اﺳﺖ‬
简
介
几乎所有人都梦想着把他们脑中幻想的事物变成现实中的立体实物。虽然实现这
个愿望比较复杂，但这并不是一件无法企及的事情。通过观察、操作和试用，就
可以把脑中构想的物体一点一滴的建造出来。使用这种方法，仅需要一个汽车的
CAD 文件，就可以把车身换成塑料材质了。在真实的 3D 打印技术中，打印机的
刷头一排就有 96 个喷气口，就像喷墨打印机一样，把热塑性材料打印出来。3D
打印机的分辨率大概是 300dpi（阿什比和约翰逊，2010）。
All consumers dream of effortlessly transforming their visions into real three-
dimensional objects, of arbitrary complexity, that can be handled, viewed and tried out
in the context in which they are to be used. The object is thus built layer-by-layer from
the bottom up. In this way the body of car is built up out of plastic. It needs a CAD file
of designed car. In true three-dimensional printing the thermoplastic is jetted from a
print head with up to 96 jets in a linear array, like an ink jet printer. The resolution is
like that of the printer – about 300 dpi (Ashby and Johnson, 2010).

Figure: Printed Car.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﯾﮏ ﻣﺴﺌﻠﮫ ﻣﮭﻢ دﯾﮕﺮ اﺳﺖ ﮐﮫ ﻣﯽﺗﻮاﻧﺪ از طﺮﯾﻖ اﻧﺒﻮهزداﯾﯽ و اﯾﺪه ﺗﻮﺻﺮﻓﮑﻨﻨﺪه‬،‫ﻣﺎ ﻣﯽداﻧﯿﻢ ﮐﮫ ﻣﺸﮑﻞ ﭘﺎﯾﺎﯾﯽ‬
车 .‫ﺑﺮطﺮف ﺷﻮد ﮐﮫ در آن از ﮐﺎرﺑﺮان ﺧﻮاﺳﺘﮫ ﻣﯽﺷﻮد در روﻧﺪ ﺳﻔﺎرﺷﯽﺳﺎزی ﻣﺤﺘﻮای »طﺮاﺣﯽ« ھﻤﮑﺎری ﮐﻨﻨﺪ‬
设 ‫اﯾﻦ ﮐﺎر در ﻣﺪت زﻣﺎن ﺑﻘﺎی ﻣﺤﺼﻮل اﺛﺮ ﮔﺬاﺷﺘﮫ و ﺳﺒﺐ ﻣﯽﺷﻮد ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺑﯿﺸﺘﺮ از ﻣﺤﺼﻮﻻﺗﺸﺎن‬
计 .‫ ﺑﻨﺎﺑﺮاﯾﻦ در آﯾﻨﺪه »ﻓﺮآﯾﻨﺪ ﺗﻮﻟﯿﺪ ﻣﺤﺼﻮل« ﺑﺎ ﺗﻐﯿﯿﺮات زﯾﺎدی ﻣﻮاﺟﮫ ﺧﻮاھﺪ ﺑﻮد‬.‫ﻣﺮاﻗﺒﺖ ﮐﻨﻨﺪ‬
的 ‫ ﭼﺮا ﮐﮫ او از روش »آزﻣﻮن و ﺧﻄﺎ« ﺑﺮای اﯾﺠﺎد‬،‫ﭼﺎﭘﮕﺮ ﺳﮫ ﺑﻌﺪی ﻧﻤﯽﺗﻮاﻧﺪ در اﯾﺪه ﺗﻮﺻﺮﻓﮑﻨﻨﺪه ﭘﺎﯾﺎ ﺑﺎﺷﺪ‬
演 ‫ اﯾﻦ‬.‫ﺷﮑﻞ ﺟﺪﯾﺪ اﺳﺘﻔﺎده ﻣﯽﮐﻨﺪ )ﭼﻨﺪﯾﻦ ﻣﺮﺗﺒﮫ ﺗﺠﺪﯾﺪ ﭼﺎپ ﯾﮏ ﻓﺮم( ﮐﮫ اﯾﻦ روش ﻣﻮاد زﯾﺎدی را ﺑﮫ ھﺪر ﻣﯽدھﺪ‬
进 ‫روش ﺗﻼﺷﯽ ﺗﮑﺮار ﺷﺪه اﺳﺖ ﮐﮫ اداﻣﮫ آن ﺑﺴﺘﮕﯽ ﺑﮫ زﻣﺎن رﺳﯿﺪن ﺑﮫ ﻣﻮﻓﻘﯿﺖ ﻧﺪارد ﺑﻠﮑﮫ ﺑﺮای ﭘﯿﺸﺮﻓﺖ و ﮐﻤﺎل‬
简
‫ اﯾﻦ روﯾﮑﺮد ﻣﯽ ﺗﻮاﻧﺪ‬.‫ اﯾﻦ ﯾﮏ رﻓﺘﺎر ﺣﯿﻮاﻧﯽ ﺑﺎ ﺳﺎدهﺗﺮﯾﻦ روش ﻣﻤﮑﻦ ﺧﻠﻖ ﮐﺮدن اﺳﺖ‬.‫ﺑﮭﺘﺮ اداﻣﮫ ﭘﯿﺪا ﻣﯽﮐﻨﺪ‬
介
‫ﺑﮫ ﻋﻨﻮان ﯾﮏ روﯾﮑﺮد اﺳﺎﺳﯽ دﯾﺪه ﺷﻮد ﮐﮫ در آن ﻣﺎ ﺑﺮای ﺑﮭﺒﻮد روﻧﺪ ﺗﻮﻟﯿﺪ ﭼﻨﺪﯾﻦ ﺑﺎر ﻋﻤﻞ ﺳﺎﺧﺖ را ﺗﮑﺮار‬
‫ ﺑﺎ اﯾﻦ ﺣﺎل اﯾﻦ روﺷﯽ اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان از آن در زﻧﺪﮔﯽ ﺑﮫ طﻮر روزﻣﺮه و ﺑﺮای ﺑﮭﺒﻮد ﮐﯿﻔﯿﺖ‬.‫ﻣﯽﮐﻨﯿﻢ‬
‫ ﺧﻮاﺳﺘﮫھﺎﯾﯽ ﮐﮫ ﺛﺎﺑﺖ ﻧﺒﻮده و ھﺮ روزه ﺗﻐﯿﯿﺮ‬،‫ﻣﺤﺼﻮﻻﺗﺸﺎن ﺑﺮ اﺳﺎس ﺧﻮاﺳﺘﮫھﺎی روزﻣﺮه اﺳﺘﻔﺎده ﻣﯽﮐﻨﻨﺪ‬
‫ ﺳﺎﺧﺘﻦ ﻓﺮﻣﮭﺎی ﺛﺎﺑﺖ از طﺮﯾﻖ ﭼﺎﭘﮕﺮ ﺳﮫ ﺑﻌﺪی در ﺟﺎﻣﻌﮫ ﭘﺴﺖ ﻣﺪرن‬،‫ ﺑﮫ دﻟﯿﻞ اﯾﻦ ﺧﻮاﺳﺘﮫھﺎی ﻣﺘﻐﯿﺮ‬.‫ﻣﯽﮐﻨﻨﺪ‬
.‫رد ﺷﺪه اﺳﺖ‬

面对产品的持续化问题，有两种方法可以解决：一为分众化生产，二为按照产消
者的意愿个性化设计产品。通过这种方法来延长产品的寿命，比让客户自己爱惜
产品要有效多了。如此看来，未来“产品发展过程”将会有很大的改变。
在产消者心中，3D 打印机并非一个持续性强的产品，因为产消者采用的方法为
“试错法”，即同一个物体需要反复打印才能成型，而这种方法势必会浪费大量的
材料。目前 3D 打印技术为反复多次打印，直到打印出更完善的物品位置。实际
上，这事一种原始的动物行为，其中的“创造性”成分很低。实际上，3D 打印技
术是一种很简单行为，只要通过多次重复，任何事情都可以取得成功。然而，消
费者的日常愿望不断改变，所以 3D 打印技术就成了消费者根据自己的日常诉求
来改善手中产品的途径。由于用户每天对产品的愿望都不尽相同，但是 3D 打印
技术就可以把他们独特的想法变成现实。可惜的是，在后现代时期，这种技术简
直是天方夜谭。

We know the problem of sustainability will be another important issue which can be
solved by demassification and prosumer idea through asking the users to customize
the content of ‘design’. This effect on the life time of product as consumers will take
care of their product more. Therefore, the future ‘Product Development Process’ has a
big change.
3D printer cannot be sustainable in idea of prosumer as he uses the method of form
creation through ‘Trial and Error’ (reprinting a form several time) which wastes a lot
of material. It is a repeated attempt which is continued not until success but for
developments and better perfection. It is an animal behavior with simplest possible
way of creation. This approach can be seen as a basic approach which we use to
develop everything by doing it several time. However, this is the method which users
use it in everyday life to improve their products based on everyday desires; the desires
which are not fixed and everyday change. Because of these unfixed desires having
fixed forms through 3D printer are rejected by idea of presumption in Post-modern
society.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ،‫از آﻧﺠﺎ ﮐﮫ ﮐﺎرﺑﺮان ھﻤﯿﺸﮫ ﻣﯽﺧﻮاھﻨﺪ ﺑﺮ اﺳﺎس ﺧﻮاﺳﺘﮫھﺎی روزﻣﺮه ﻣﺤﺼﻮل را ﺗﻮﺳﻌﮫ و ﺗﻐﯿﯿﺮ دھﺪ‬
车 ‫ ﺑﻨﺎﺑﺮاﯾﻦ اﯾﻦ ﮐﺎرﺑﺮان ﺑﮫ ﺳﺎدﮔﯽ ﻣﺤﺼﻮل ﻗﺒﻠﯽ‬،‫ ﺑﻌﺪی را ﺗﻐﯿﯿﺮ دھﻨﺪ‬٣ ‫ﻧﻤﯽﺗﻮاﻧﻨﺪ اﺷﮑﺎل ﭼﺎپ ﺷﺪه ﺗﻮﺳﻂ ﭼﺎﭘﮕﺮ‬
设 ‫را دور اﻧﺪاﺧﺘﮫ و ﯾﮏ ﻓﺮم ﺟﺪﯾﺪ را ﭼﺎپ ﻣﯽﮐﻨﻨﺪ ﮐﮫ اﯾﻦ ﺷﯿﻮه ﻣﻨﺠﺮ ﺑﮫ اﺳﺮاف در ﻣﻮاد و ھﻤﭽﻨﯿﻦ آﻟﻮدﮔﯽ ﻣﺤﯿﻂ‬
计 ‫ ﭼﺮا ﮐﮫ ﻣﺎ ﻧﻤﯽﺗﻮاﻧﯿﻢ ﮐﺎرﺑﺮان را در ﭼﺎپ ﯾﮏ ﻓﺮم ﺟﺪﯾﺪ ﮐﻨﺘﺮل ﮐﺮده ﯾﺎ آنھﺎ را از اﯾﻦ ﮐﺎر ﻣﻨﻊ‬،‫زﯾﺴﺖ ﻣﯽﺷﻮد‬
的 .‫ﺳﺎزﯾﻢ‬
演 ‫ طﺮاﺣﺎن ﺧﻮدروھﺎ را طﺮاﺣﯽ‬.‫رھﮕﯿﺮی ﺗﺠﺮﺑﯿﺎت ﮐﺎرﺑﺮان ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﺗﻮﺻﯿﮫھﺎﯾﯽ ﺑﺮای آﯾﻨﺪه داﺷﺘﮫ ﺑﺎﺷﯿﻢ‬
进 (‫ﻣﯽﮐﻨﻨﺪ اﻣﺎ ﮐﺎرﺑﺮان ﺳﻌﯽ ﻣﯽﮐﻨﻨﺪ ﺑﺎ ﭼﺴﺒﺎﻧﺪن ﺑﺮﭼﺴﺐ و ﻓﺮم ھﺎی دﯾﮕﺮ روی ﺑﺪﻧﮫ اﺗﻮﻣﺒﯿﻞ )ﺧﻄﻮط ﺗﻤﺎﯾﻞ‬
简
‫ ﮐﺎرﺑﺮان اﺟﺎزه ﻧﺨﻮاھﻨﺪ داد ﮐﮫ طﺮاﺣﺎن ﺧﻮدرو در ﮐﺎرﺧﺎﻧﮫ ﺑﺮای آﻧﮭﺎ ﺗﺼﻤﯿﻢ‬.‫طﺮاﺣﯽ آن را اﺻﻼح ﮐﻨﻨﺪ‬
介
،Baxter) ‫ ﻏﯿﺮﻣﻤﮑﻦ اﺳﺖ‬،‫ ﮐﮫ ﺗﻼش ﻣﯽﮐﻨﻨﺪ طﺮاﺣﯽ را ﺳﻔﺎرﺷﯽ ﮐﻨﻨﺪ‬،‫ راﺿﯽﮐﺮدن ھﻤﮫ ﮐﺎرﺑﺮان‬.‫ﺑﮕﯿﺮﻧﺪ‬
،‫ ﮐﮫ از ﻣﻨﻄﻖ ﻓﺎزی ﭘﯿﺮوی ﻣﯽﮐﻨﻨﺪ‬،‫( و ﺳﺎزﻧﺪﮔﺎن ﺑﮫ دﻟﯿﻞ ﭼﻨﺪﮔﺎﻧﮕﯽ ﺳﻠﯿﻘﮫھﺎی ﮐﺎرﺑﺮان ﻣﺨﺘﻠﻒ‬١٩٩۵
.‫ﻧﻤﯽﺗﻮاﻧﻨﺪ اﯾﻦ ﮐﺎر را اﻧﺠﺎم دھﻨﺪ‬
،‫ ﺣﺘﯽ ﻓﺮاﺗﺮ از آﻧﭽﮫ ﻣﯽﺧﻮاھﺪ‬،‫در ﻣﻮرد ﺳﻔﺎرﺷﯽﺳﺎزی ﺑﺮای ﺑﮭﺒﻮد رﺿﺎﯾﺖ و ﺗﺄﻣﯿﻦ اﻧﺘﻈﺎرات ﻣﺸﺘﺮی‬
‫ﺳﺎزﻧﺪﮔﺎن ﺧﻮدرو ﺑﺎﯾﺪ روی ﻓﺮمھﺎی ﺗﻐﯿﯿﺮﭘﺬﯾﺮ ﺑﺮای ﺳﻠﯿﻘﮫھﺎ و ﺗﻤﺎﯾﻼﺗﯽ ﮐﮫ ھﻤﻮاره ﺗﻐﯿﯿﺮ ﻣﯽﮐﻨﻨﺪ ﺗﻤﺮﮐﺰ داﺷﺘﮫ‬
.(٢٠٠٣ ،‫ و ھﻤﮑﺎران‬Desmet ‫؛‬١٩٩٨ ،Baker ‫ و‬Wakefield) ‫ﺑﺎﺷﻨﺪ‬

用户每天都有新想法，所以每天都想要改善手中的产品，如果他们通过 3D 打印
机无法实现自己的愿望，他们可能就会直接扔掉旧物，用 3D 打印机再制造一个
新的出来，这无疑会造成资源的浪费和环境污染，因为没人可以控制用户，他们
会不停地打印新产品。
跟踪用户的体验有助于为将来提供建议。设计师设计汽车，但用户试图通过在车
身上粘贴贴纸来修改汽车设计（愿望路线）；他们不让设计师在工厂为他们决定
汽车设计。因为满足每一个用户是不可能的（Baxter，1995），用户试图定制设
计。
为了让定制化提高客户满意度和超越客户期望，汽车制造商必须关注可改变的汽
车形态，以满足不断变化的口味和愿望（Wakefield 和 Baker，1998；Desmet 等
人，2003）。

Since users always want to change and develop based on everyday desires, and since
they cannot change forms printed by 3D printer then just they throw it away and then
print a new form which is a waste of material and making pollution, as we cannot
control users and stop them printing a new form.
Tracking users’ experiences helps to have recommendation for future. Designers
design cars but users try to change the design with sticking stickers on body of car to
modify the car design (desire lines); they do not let designer decides car design for
them in the factory. Since satisfying every user is impossible (Baxter, 1995), and users
try to customize the design.
In case of customization to improve customer satisfaction and surpass customer
expectation, car manufacturers must focus on the changeable car forms for the taste
and desires which always change (Wakefield and Baker, 1998; Desmet et al., 2003).

126
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫اﺧﻄﺎر‬
车 注意
设 Notice
计
的 ‫ ﺑﻨﺎﺑﺮاﯾﻦ در‬.‫ اﯾﺪه ﻣﺎﺷﯿﻦ آﯾﻨﺪه ﮐﮫ ﺷﻤﺎ اﯾﻨﺠﺎ ﻣﯽﺧﻮاﻧﯿﺪ ﺑﮫ ﻋﻨﻮان ﯾﮏ اﺧﺘﺮاع ﺑﮫ ﺛﺒﺖ رﺳﯿﺪه اﺳﺖ‬.‫ﻣﺎ ﺑﮫ ﺷﻤﺎ اطﻼع ﻣﯽدھﯿﻢ‬
演 ‫ﺻﻮرﺗﯽ ﮐﮫ ﺷﻤﺎ ﻋﻼﻗﮫ ﻣﻨﺪ ﺑﮫ اﺳﺘﻔﺎده از اﯾﻦ اﯾﺪه ھﺴﺘﯿﺪ ﻣﯽﺗﻮاﻧﯿﺪ ﺑﺎ ﻣﺨﺘﺮع آن )ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ( از طﺮﯾﻖ اﯾﻤﯿﻞ‬
进 ‫ ﯾﻮان ﭼﯿﻦ‬RMB ٣٠٠٠٠٠٠‫( ﺗﻤﺎس ﺑﺮﻗﺮار ﮐﺮده و ﺑﺎ ﭘﺮداﺧﺖ ھﺰﯾﻨﮫ اﺧﺘﺮاع ﺑﺮاﺑﺮ‬designmo85@yahoo.com)
简 ‫ اﺧﺘﺮاع ﺧﻮدش را ﻓﻘﻂ ﯾﮏ ﺑﺎر و ﺗﻨﮭﺎ ﺑﮫ ﯾﮏ ﺧﺮﯾﺪار‬،‫ ﺑﮫ اﯾﻦ ﺗﺮﺗﯿﺐ ﻣﺨﺘﺮع‬.‫اﺟﺎزه اﺳﺘﻔﺎده از آن را درﯾﺎﻓﺖ ﻧﻤﺎﯾﻨﺪ‬
介 .‫ﻣﯽﻓﺮوﺷﺪ‬
‫اﯾﻦ اﺧﻄﺎرﺷﺮاﯾﻂ ﺗﻮاﻓﻖ اﻓﺸﺎی اطﻼﻋﺎت را ﺗﻮﺳﻂ ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه )ﻣﺤﺴﻦ ﺟﻌﻔﺮﻧﯿﺎ( در ارﺗﺒﺎط ﺑﺎ اﻓﺸﺎی ﺑﺮﺧﯽ »اطﻼﻋﺎت‬
،‫ اﺳﺮار ﺗﺠﺎری و ﻣﺎﻟﮑﯿﺖ ﻣﻌﻨﻮی‬،‫ دادهھﺎ‬،‫ ﻧﻘﺸﮫھﺎ‬،‫ﻣﺤﺮﻣﺎﻧﮫ« ﺑﮫ اطﻼع ﻣﯽرﺳﺎﻧﺪ ﮐﮫ اﯾﻦ اطﻼﻋﺎت ﺷﺎﻣﻞ ﻧﻤﻮﻧﮫھﺎی اوﻟﯿﮫ‬
.‫ﻗﺎﻧﻮﻧﯽ و دادهھﺎی ﺑﯿﺸﺘﺮی ﻣﺘﻌﻠﻖ ﺑﮫ اﻓﺸﺎء ﮐﻨﻨﺪه ﻣﯽﺑﺎﺷﺪ‬
‫ ﻓﺮوش و ﯾﺎ ھﺮ ﻗﺮارداد دﯾﮕﺮی در راﺑﻄﮫ ﺑﺎ ﻣﺤﺼﻮل ﺑﮫ طﻮر ﻣﺴﺘﻘﯿﻢ ﯾﺎ‬،‫ ﺗﻮﻟﯿﺪ‬،‫ ﺳﺎﺧﺖ‬،‫از ھﺮﮔﻮﻧﮫ ﺳﻮدآوری ﯾﺎ طﺮاﺣﯽ‬
.‫ﻏﯿﺮﻣﺴﺘﻘﯿﻢ اﺟﺘﻨﺎب ﺑﻮرزﯾﺪ‬
:‫ اﻓﺸﺎﮐﻨﻨﺪه ﺧﻮاﺳﺘﺎر اﻓﺸﺎی ﻣﻄﺎﻟﺐ ﺑﮫ ﺷﺮح زﯾﺮ اﺳﺖ‬،‫ﺑﺎ ﺗﻮﺟﮫ ﺑﮫ اﯾﻦ اطﻼﻋﺎت ﻣﺤﺮﻣﺎﻧﮫ‬
.‫ از اﯾﻦ اطﻼﻋﺎت ﺟﺰ ﺑﮫ ﻣﻨﻈﻮر ارزﯾﺎﺑﯽ ﻋﻼﻗﮫﺗﺎن ﺑﺮای اﯾﺠﺎد ﯾﮏ راﺑﻄﮫ ﺗﺠﺎری ﺑﺎ ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه اﺳﺘﻔﺎده ﻧﮑﻨﯿﺪ‬-١
.‫ ﺑﮫ ﺟﺰ در ﻣﻮاردی ﮐﮫ ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه ﺑﮫ ﺻﺮاﺣﺖ ﺑﺎ آن ﺑﮫ طﻮر ﻧﻮﺷﺘﮫ ﺷﺪه ﻣﻮاﻓﻘﺖ ﮐﺮده ﺑﺎﺷﺪ‬،‫ ﺑﺮ اﺳﺎس اطﻼﻋﺎت‬-٢
下文中提到的未来派汽车设计构想已经注册了专利。如果您对这种汽车设计概念有兴趣，
请联系开发者，并支付相应的发明费以取得使用权，开发者会将其设计品唯一授权给买
方。
费用：三百万人民币
联系人：莫森·加法尼亚（Mohsen Jaafarnia） 邮箱：designmo85@yahoo.com
上述通知由发明者本人莫森·加法尼亚（Mohsen Jaafarnia）发布， 旨在防止有关专利品
的“机密信息”泄露。有关该专利品的原型、图纸、数据、商业机密和知识产权等均属于
发明者本人，并受法律保护。
任何直接或间接侵犯专利权的产品或物品都不予接受（侵权行为包括：未经许可制造发
明专利品、设计改良新型专利品、盗用专利品外观设计、私自出售专利品等）
经发布人要求，就机密信息相关内容特此公布：
1-若无意与产品发明者建立业务关系，请勿私自评估专利品的市场价值并将专利信息泄
露到市场中。
2-只有发明者书面签字同意，才可使用相关的产品信息。
We inform you. The idea of futuristic car you read here has registered as an invention patent.
Therefore, in case you are interested to use this idea. We ask you to contact the inventor
(Mohsen Jaafarnia) (designmo85@yahoo.com) and through paying the fee of this invention
which is equal 3,000,000 RMB Chinese Yuan receive the permission of use. In this way
inventor sell this just one time and just to one buyer.
This notice informs the conditions of this disclosure by the discloser (Mohsen Jaafarnia) to the
disclose of certain "Confidential Information" - including but not limited to prototypes,
drawings, data, trade secrets and intellectual property legally belonging to discloser.
Not to directly or indirectly acquire any interest in, or design, create, manufacture, sell or
otherwise deal with any item or product.
With regard to the Confidential Information, discloser request disclose as follows:
1- Not to use the information except for evaluating its interest in entering a business
relationship with discloser.
2- based upon the information, except as may be expressly agreed to in writing by discloser.

127
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 .‫اﺳﺘﻔﺎده از اﯾﻦ اﺧﺘﺮاع ﺑﺪون اﺟﺎزه ﺑﺎ ﺟﺮﯾﻤﮫ و ﻣﺠﺎزات روﺑﺮو ﺧﻮاھﺪ ﺷﺪ‬
车 ‫ ﺑﺎﯾﺴﺘﯽ از ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه‬،‫ ﺑﺮای اﺳﺘﻔﺎده از آن ﺣﺘﯽ ﺑﺎ اﻧﺠﺎم ھﺮ ﮔﻮﻧﮫ ﺗﻐﯿﯿﺮ ﯾﺎ اﺻﻼح‬،‫ھﺮ ﮐﺲ ﮐﮫ ﻋﻼﻗﮫ ﻣﻨﺪ ﺑﮫ اﺳﺘﻔﺎده از اﯾﻦ اﯾﺪه ﺑﺎﺷﺪ‬
设 ‫)ﻣﺨﺘﺮع( اﺟﺎزه ﮐﺴﺐ ﮐﻨﺪ؛ ھﺮ اﯾﺪهای در راﺑﻄﮫ ﺑﺎ طﺮاﺣﯽ ﭼﮭﺮه ﺧﻮدرو ﮐﮫ ﺑﺎ ﮔﻮﺷﯽ ﺗﻠﻔﻦ ﮐﻨﺘﺮل ﻣﯽﺷﻮد و ﺑﮫ ﮔﻮﻧﮫای ﺑﮫ اﯾﻦ اﺧﺘﺮاع‬
‫ از آﻧﺠﺎﯾﯽ ﮐﮫ ﺟﺮﯾﻤﮫ اﺳﺘﻔﺎده ﺑﺪون ﻣﺠﻮز در ﺳﻄﺢ ﻣﻠﯽ و‬.‫ ﺑﺪون ﮐﺴﺐ اﺟﺎزه از اﻓﺸﺎء ﮐﻨﻨﺪه ﺑﺎ ﺟﺮﯾﻤﮫ روﺑﺮو ﺧﻮاھﺪ ﺷﺪ‬،‫ﻣﺮﺑﻮط ﻣﯽﮔﺮدد‬
计
‫ ﺑﺎ ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه ﺗﻤﺎس ﺑﺮﻗﺮار ﮐﺮده و‬،‫ ﻟﻄﻔﺎ ﺑﮫ ﺟﺎی اﺳﺘﻔﺎده از آن ﺑﮫ طﻮر ﻏﯿﺮﻗﺎﻧﻮﻧﯽ‬،‫ ﻣﯽﺑﺎﺷﺪ‬RMB ٩٠٠٠٠٠٠ ‫ﺑﯿﻦاﻟﻤﻠﻠﯽ ﻣﺒﻠﻎ‬
的 .‫ﮐﺴﺐ اﺟﺎزه ﮐﻨﯿﺪ‬
演 ،‫ ھﺮ ﮔﻮﻧﮫ ﺳﺎﺧﺖ‬،‫ ﺣﻘﻮق ﺛﺒﺖ اﺧﺘﺮاع‬.‫اﯾﻦ »ﺛﺒﺖ اﺧﺘﺮاع« ﯾﮏ ﺣﻖ ﻣﺎﻟﮑﯿﺖ ﻓﮑﺮی اﺳﺖ ﮐﮫ ﺗﻮﺳﻂ دوﻟﺖ ﮐﺸﻮری اﻋﻄﺎء ﺷﺪه اﺳﺖ‬
进 ‫ ﺑﺮای ھﺮ ﻓﺮدی ﺑﮫ ﺟﺰ ﻓﺮد‬،‫ واردات ﯾﺎ ﻓﺮوش اﺧﺘﺮاع را در داﺧﻞ ﯾﺎ ﺧﺎرج از ﮐﺸﻮر ﺑﮫ ﻣﻨﻈﻮر ﺣﻔﺎظﺖ از اﺧﺘﺮاع ﻣﺨﺘﺮع‬،‫اﺳﺘﻔﺎده‬
简 ‫ اﺧﺘﺮاﻋﺎت ﺛﺒﺖ‬.‫ اﯾﻦ ﺣﻘﻮق اﻓﺸﺎء ﮐﻨﻨﺪه )ﻣﺨﺘﺮع( را ﻗﺎدر ﻣﯽﺳﺎزد ﺗﺎ از اﺧﺘﺮاع ﺧﻮد ﺳﻮد ﺑﺒﺮد‬.‫اﻓﺸﺎء ﮐﻨﻨﺪه )ﻣﺨﺘﺮع( ﻏﯿﺮﻗﺎﻧﻮﻧﯽ ﻣﯽﺳﺎزد‬
介 ‫ﺷﺪه ﺑﮫ طﻮر ﮐﻠﯽ اﯾﺪه »ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی« او و اﯾﺪه طﺮاﺣﯽ ﭼﮭﺮه ﺧﻮدرو ﻗﺎﺑﻞ ﺗﻐﯿﯿﺮ ﺑﺎ اﺳﺘﻔﺎده از ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی را ﮐﮫ ﺷﺎﻣﻞ‬
.‫ﺟﻨﺒﮫھﺎی ﮐﺎرﺑﺮدی و ﯾﺎ ﻓﻨﯽ »ﺟﺪﯾﺪ« ﻣﯽﺑﺎﺷﺪ را ﭘﻮﺷﺶ ﻣﯽدھﺪ‬
‫ ﻣﺎ ﻣﺤﻖ ﺑﮫ ﭘﯿﮕﺮد ﻗﺎﻧﻮﻧﯽ ﺑﺮای ﭘﺎﯾﺎن دادن ﺑﮫ ھﺮ‬،‫ از اﯾﻦ اﺧﺘﺮاع اﺳﺘﻔﺎده ﮐﺮده ﯾﺎ آن را ﺗﻐﯿﯿﺮ دھﺪ‬،‫اﮔﺮ ﮐﺴﯽ ﺑﺪون اﺟﺎزه ﻓﺮد اﻓﺸﺎءﮐﻨﻨﺪه‬
‫ ﻋﻼوه ﺑﺮ اﯾﻦ ﻣﺎ ﻣﺤﻖ ﺑﮫ درﯾﺎﻓﺖ ﺧﺴﺎرت ﺑﺮای ھﺮ ﮔﻮﻧﮫ اﺳﺘﻔﺎده ﺑﺪون ﻣﺠﻮز از اﯾﻦ‬.‫ﮔﻮﻧﮫ اداﻣﮫ ﺳﻮء اﺳﺘﻔﺎده از اﯾﻦ اﺧﺘﺮاع ھﺴﺘﯿﻢ‬
‫ ﺧﺴﺎرت ﺑﮫ طﻮر ﮐﻠﯽ ﺑﺮ اﺳﺎس ﺳﻮدی ﻣﺤﺎﺳﺒﮫ ﻣﯽﺷﻮد ﮐﮫ ﻓﺮد اﻓﺸﺎء ﮐﻨﻨﺪه در ﻧﺘﯿﺠﮫ ﻧﻘﺾ ﻗﻮاﻧﯿﻦ ﺗﻮﺳﻂ ﻓﺮد ﻣﺘﺨﻠﻒ از‬.‫اﺧﺘﺮاع ﻣﯽﺑﺎﺷﯿﻢ‬
‫ ﺧﺴﺎرت ﺑﮫ دﻟﯿﻞ ﻏﻨﯽ ﺳﺎزی ﻧﺎﻋﺎدﻻﻧﮫ از ﻓﺮد ﻣﺘﺨﻠﻔﯽ ﮐﮫ ﺑﺎ اﺳﺘﻔﺎده‬،‫ اﮔﺮ ﻣﺎ ﻋﻤﻼ اﯾﻦ اﯾﺪه را ﺑﮫ ﻣﺮﺣﻠﮫ ﺗﻮﻟﯿﺪ ﻧﺮﺳﺎﻧﺪهاﯾﻢ‬.‫دﺳﺖ داده اﺳﺖ‬
‫ اﮔﺮ ﻓﺮد ﻣﺘﺨﻠﻒ از اﯾﻦ اﯾﺪه و ﻓﻦ آوری‬.‫ درﯾﺎﻓﺖ ﺧﻮاھﺪ ﺷﺪ‬،‫ﻏﯿﺮ ﻣﺠﺎز از اﯾﻦ اﺧﺘﺮاع ﺛﺒﺖ ﺷﺪه ﺣﻘﻮق ﻣﺨﺘﺮع را ﻧﻘﺾ ﮐﺮده اﺳﺖ‬
‫( ﺑﮫ ﻋﻼوه‬RMB ٩٠٠٠٠٠٠ ‫ ﻣﺎ ﻣﺤﻖ ﺑﮫ درﯾﺎﻓﺖ ﺟﺮﯾﻤﮫای ﺗﺎ ﺳﻘﻒ ﺳﮫ ﺑﺮاﺑﺮ ﺧﺴﺎرت وارده )ﯾﻌﻨﯽ‬،‫آﮔﺎھﺎﻧﮫ و ﺗﻌﻤﺪا اﺳﺘﻔﺎده ﮐﻨﺪ‬
.‫ھﺰﯾﻨﮫھﺎی دادﮔﺎه و ﺣﻖ اﻟﺰﺣﻤﮫ وﮐﯿﻞ ھﺴﺘﯿﻢ‬

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只有得到发明者本人许可，才可以使用该专利品的相关信息；
只有得到发明者本人许可，才可对该专利品进行改动，才可使用修改过的相关产品；所有有关“手
机控制可变汽车表面设计”的构想都与本专利有关， 未经发明者本人许可，请勿擅自使用，否则会
处以罚款；
未经发明者许可擅自使用专利品，按照中国和国际相关的法律规定，会处以九百万人民币的罚款。
所以，使用该专利品之前，请联系发明者本人以取得许可。
该专利品受到国家知识产权的保护。专利权旨在防止除发明者本人以外的任何人非法制造、使用、
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受专利权保护的内容有：相关程序的理念，手机控制可变汽车表面设计的理念，以及附带的新功能
和技术方面的信息。
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济损失。2. 如果我方还未生产出相关成品，侵权人未经许可生产成品进行谋利的利润也将会计算在
内。如果侵权人在已知自己行为不当的前提下，故意使用受专利保护的专利品以及其相关概念和技
术，我们有权收取实际损失（九百万元人民币）的三倍，侵权方还要承担诉讼费和律师费。
Fine and penalty to use this invention without permission:
Whoever is interested to use this idea must have permission from discloser (inventor), even with any
change and modification in invention; whatever idea has changeable car face design that is controlled by
phone is related to this invention and using without discloser permission tends to fine. Since the fine of
using without permission is 9,000,000 RMB in the level of national and international, please contact
discloser and request for permission instead of using it illegally.
This is a patent which is an intellectual property right, granted by country’s government. Patent rights
make it illegal for anyone except discloser (inventor) to make, use, import or sell the invention in/out the
country to protect the inventor’s invention. This let discloser (inventor) profit from his invention. Patents
generally cover his App idea and idea of changeable car face design using App that contains ‘new’
functional or technical aspects. If someone modifies or uses this invention without discloser’s
permission, we entitle to stop their use of the invention by seeking a legal injunction in court. In addition,
we entitle to collect damages for any unlicensed use of this invention. Damages generally calculate based
on lost profits that discloser suffers as a result of the infringement, or if we are not actually producing this
idea, to the unjust enrichment the infringer received through the unauthorized use of this patent. If the
infringer uses this idea and technology knowingly and willfully, we entitle to receive up to three times the
actual damages suffered (9,000,000 RMB), plus court costs and attorneys’ fees.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮐﻠﯿﺪ ﺗﻮﺳﻌﮫ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ‬.‫ ﭘﺎﯾﮫ رﻗﺎﺑﺘﯽ ﺑﺎﯾﺪ در راﺑﻄﮫ ﺑﺎ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن درک ﺷﻮد‬،‫ﺑﺮای ﺗﻨﻈﯿﻢ ﺟﮭﺘﯽ ﺑﺮای آﯾﻨﺪه‬
车 ‫آﯾﻨﺪه ﺣﻘﯿﻘﺘﺎ ﻣﯽﺗﻮاﻧﺪ در درک ﺗﺠﺮﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪه و روشھﺎی ﻣﻌﻨﯽدار ﻧﻮآوراﻧﮫ اﻧﺘﻘﺎل آن ﯾﺎﻓﺖ ﺷﻮد‬
设 ‫ ﯾﮏ ﺗﺠﺮﺑﮫ ﻣﺜﺒﺖ ﺑﺴﺘﮕﯽ ﺑﮫ درﺟﮫای دارد ﮐﮫ در آن ﻣﺼﺮف ﮐﻨﻨﺪه ﻣﯽﺗﻮاﻧﺪ‬.(٢٠١١،Sawhney‫و‬Prahalad)
计 ‫ در‬.(٢٠١١،Sawhney‫و‬Prahalad) ‫ﺗﻌﺎﻣﻼت ﺧﻮد را ﮐﻨﺘﺮل ﮐﺮده و ﺑﺎزﺧﻮردی را ﮐﮫ ﻣﯽﺧﻮاھﺪ درﯾﺎﻓﺖ ﮐﻨﺪ‬
的 ‫راﺑﻄﮫ ﺑﺎ ﺳﻔﺎرﺷﯽ ﺳﺎزی ﺑﺮای ﺑﮭﺒﻮد رﺿﺎﯾﺖ ﻣﺸﺘﺮی و ﭘﯿﺶ اﻓﺘﺎدن از اﻧﺘﻈﺎرات ﻣﺸﺘﺮی در ﺑﺎزار ﺗﻮﻟﯿﺪ‬
演 ‫ ﯾﮏ ﺷﮑﻞ ﻏﯿﺮﺛﺎﺑﺖ )ﻗﺎﺑﻞ ﺗﻐﯿﯿﺮ( ﺧﻮدرو ﻣﯽﺗﻮاﻧﺪ ﺗﻮﺳﻂ ﻣﺼﺮف ﮐﻨﻨﺪه ﮐﻨﺘﺮل ﺷﺪه و ﺑﮫ ﺟﺎی ﺑﺪﻧﮫ ﻓﻠﺰی‬،‫ﺧﻮدرو‬
进 ‫ ھﻤﺎﻧﻄﻮر ﮐﮫ ﻣﯽﺑﯿﻨﯿﻢ طﺮاﺣﺎن اﺗﻮﻣﺒﯿﻞھﺎ را طﺮاﺣﯽ‬.‫ اﻧﻮاع ﮔﺴﺘﺮدهای از طﺮحھﺎ را ﺧﻠﻖ ﮐﻨﺪ‬،‫ﭼﻮن ﻓﻮﻻد‬
简
‫ آﻧﮭﺎ ﺳﻌﯽ ﻣﯽﮐﻨﻨﺪ طﺮاﺣﯽ‬.‫ طﺮاﺣﯽ را ﺗﻐﯿﯿﺮدھﻨﺪ‬،‫ﻣﯽﮐﻨﻨﺪ اﻣﺎ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺳﻌﯽ دارﻧﺪ ﺑﺎ ﺗﯿﻮﻧﯿﻨﮓ ﺧﻮدرو‬
介
‫را ﺑﺮای ﺧﻮدﺷﺎن ﺳﻔﺎرﺷﯽ ﮐﻨﻨﺪ زﯾﺮا ﺳﺎزﻧﺪﮔﺎن اﺗﻮﻣﺒﯿﻞ ﺑﮫ دﻟﯿﻞ ﻣﺎھﯿﺖ ﻓﺎزی ﺧﻮاﺳﺘﮫھﺎی ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﻗﺎدر‬
.‫ﺑﮫ اﻧﺠﺎم اﯾﻦ ﮐﺎر ﻧﯿﺴﺘﻨﺪ‬
‫ ﯾﮏ اﻗﺪام ﻣﮭﻢ دﯾﮕﺮ ﻣﺼﺮف ﮐﻨﻨﺪه ﺑﺎﻗﯽ ﻣﯽﻣﺎﻧﺪ ﮐﮫ آن ﻧﺸﺎن دادن ﻣﺤﺼﻮل‬،‫ﭘﺲ از ﺳﻔﺎرﺷﯽ ﺳﺎﺧﺘﻦ طﺮاﺣﯽ‬
.‫ﺳﻔﺎرﺷﯽ ﺧﻮد ﺑﮫ دﯾﮕﺮان در ﺷﺒﮑﮫھﺎی اﺟﺘﻤﺎﻋﯽ ﻣﺎﻧﻨﺪ »وﯾﭽﺖ« اﺳﺖ‬
客户需求逐渐成为产品设计的主导因素，在未来市场中掌握竞争优势的重要条件
就是从消费者角度设计产品。因此，未来发展的关键是理解消费者的经历，然后
根据消费者的过往经历进行有意义的创新与改造，以谋求共鸣（普拉哈拉德和索
尼，2011）。消费者是否可以控制他们与产品之间的互动，并得到他们想要的反
馈，这决定了消费者是否会得到一次满意的体验（普拉哈拉德和索尼，2011）。
客户的个性化定制可以提高客户对汽车的满意度，甚至打造出超越客户预期理想
的汽车。客户可以根据自己的想法改变汽车外形，创造出各种各样的设计。设计
师设计汽车，但是消费者又希望自己改装，由于生产商无法制造出他们的理想车
型，所以他们就会选择自主设计。也就是说，设计师和制造商永远也无法满足消
费者，因为消费者的想法和需求是无穷无尽的。
除了个性化定制汽车，人们还有新的方式宣扬自己的个性，最典型的就是在“微
信”这样的社交网络上展示个性。

To set up a direction for future, the competitive base must be understood in the context
of consumers. Therefore, the key to future developing truly can be found in
understanding the consumer experience and innovating meaningful ways of
transforming it (Prahalad & Sawhney, 2011). A positive experience depends on the
degree to which consumer can control their interactions and get feedback that they
want (Prahalad & Sawhney, 2011). In case of customization to improve customer
satisfaction and surpass customer expectation in car, unfixed (changeable) form can be
controlled by consumer to create wide varieties of designs, instead of solid metallic
body like steel. As we see designers design cars but consumers try to change the
design with car tuning, they try to customize the design since manufacturer cannot do
that because of the nature of consumers’ desires which is Fuzziness.
After customizing the design, there will be another important action of consumer
which is the publicity of their customized product on social networks such as
‘WeChat’.

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汽 ،‫ ﻟﺒﺎس‬،‫در اﯾﻨﺠﺎ ﮐﺎﻻی ﻣﻮرد ﻧﻈﺮ ﻣﯽﺗﻮاﻧﺪ ﯾﮏ ﮔﻮﺷﯽ ﺳﻔﺎرﺷﯽ ﯾﺎ ﺣﺘﯽ ﺗﺮﮐﯿﺒﯽ از ﮐﺎﻻھﺎی ﻣﺨﺘﻠﻒ ﻣﺎﻧﻨﺪ ﮐﻔﺶ‬
车 ‫ﮐﻼه و وﺳﺎﯾﻞ آراﯾﺶ ﺑﺎﺷﺪ ﮐﮫ ﻣﺼﺮف ﮐﻨﻨﺪه از طﺮﯾﻖ ﮔﺮﻓﺘﻦ ﯾﮏ ﻋﮑﺲ ﺳﻠﻔﯽ )ﮐﮫ ﺧﻮدش ﯾﮏ طﺮاﺣﯽ ﺧﻮد‬
设 ‫ ﻣﺎ ﺣﺘﯽ اﻣﺮوز ﻣﯽﺑﯿﻨﯿﻢ ﭼﯿﻨﯽھﺎ ﺧﻮدﺷﺎن ﻏﺬای‬.‫ﺳﻔﺎرﺷﯽ ﺷﺪه اﺳﺖ( طﺮح ﺧﻮد را ﺑﮫ دﯾﮕﺮان ﻧﺸﺎن ﻣﯽ دھﺪ‬
计 ‫ﺧﻮدﺷﺎن را در ﯾﮏ رﺳﺘﻮران طﺒﺦ ﻣﯽﮐﻨﻨﺪ و ﺳﭙﺲ ﻋﮑﺲ آن را ﮔﺮﻓﺘﮫ و ﻏﺬای ﺧﻮد ﺳﺎﺧﺘﮫ ﺧﻮدﺷﺎن را در‬
的 .‫ﺷﺒﮑﮫھﺎی اﺟﺘﻤﺎﻋﯽ ﻣﻨﺘﺸﺮ ﻣﯽﮐﻨﻨﺪ‬
演
进 现在还可以个性化定制手机，甚至还可以通过自拍定制鞋子
甚至还可以通过自拍定制鞋子、裙子、帽子或者化
简 妆品（而自拍本身就是一种设计，即“自我定制”）。
）。我们甚至还可以见到，有些
介 中国人在餐厅自己做饭，然后给这些“定制食物”拍照
拍照，再发到社交网络上。
It can be a customized phone
ne or even their composition of different items such as
shoes, dress, hat and makeup through Selfie-Photo
Photo (which itself is a design, Self-
Self
Customization). Even we see today Chinese in the restaurant cook their food by
themselves and then take pictures to publish
blish their Food-Customization
Food on social
networks.

Figure: Customized food.

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﺑﺮای ﮐﻨﺘﺮل و ﺗﻮﻗﻒ ﻣﺴﺌﻠﮫ طﺮاﺣﯽ دﯾﮑﺘﮫ ﺷﺪه ﺑﮫ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺗﻨﮭﺎ ﯾﮏ راه وﺟﻮد دارد و آن اﯾﻨﮑﮫ از‬
车 .‫ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن ﺧﻮاﺳﺘﮫ ﺷﻮد در ﻓﺮآﯾﻨﺪ طﺮاﺣﯽ و ﺳﻔﺎرﺷﯽ ﮐﺮدن طﺮاﺣﯽ ﻣﺎﺷﯿﻦ ﻣﺸﺎرﮐﺖ داﺷﺘﮫ ﺑﺎﺷﻨﺪ‬
设 ‫ﺑﺮای ﺷﺮﮐﺖھﺎی ﺧﻮدرو ﮐﮫ ﺧﻮاھﺎن ﺣﻔﻆ ﻣﻮﻗﻌﯿﺖ ﭘﯿﺸﺮو در ﺑﺎزار ھﺴﺘﻨﺪ اﻧﺠﺎم ﮐﺎرھﺎی ﮐﺎﻣﭙﯿﻮﺗﺮی ﻣﮭﻨﺪﺳﯽ‬
计 ‫ اﯾﻦ ﺷﺮﮐﺖھﺎ ھﻤﭽﻨﯿﻦ ﺑﺎﯾﺪ اﯾﺪهھﺎﯾﯽ ﺑﺮای ﻧﻮآوری و اﻧﻮاع ﻣﺤﺼﻮل‬.‫ﻣﺒﺘﻨﯽ ﺑﺮ ﺧﻮدروھﺎی ﻣﻮﺟﻮد ﮐﻔﺎﯾﺖ ﻧﻤﯽﮐﻨﺪ‬
的 .‫ﺟﺪﯾﺪ ﺑﮫ ﻣﻨﻈﻮر ﺟﻠﺐ رﺿﺎﯾﺖ ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن داﺷﺘﮫ ﺑﺎﺷﻨﺪ‬
演 ‫ زﯾﺮا ﻣﺤﺎﺳﺒﮫ ﺑﮭﺮهوری‬،‫ﺧﻠﻖ و اﯾﺠﺎد اوﻟﯿﮫ راه ﺣﻞھﺎی ﻧﻮآوراﻧﮫ ﺟﺪﯾﺪ در ﺗﺤﻘﯿﻘﺎت ﻋﻠﻤﯽ زﯾﺎد ﺗﻮﺻﯿﻒ ﻧﺸﺪهاﻧﺪ‬
进 ‫ ﺑﺎ ﺑﺮرﺳﯽ ﻣﻮﻓﻘﯿﺖھﺎ‬.(٢٠١١،Ottosson) ‫ ﮐﺎر دﺷﻮاری اﺳﺖ‬،‫ﻋﯿﻨﯽ ﻣﯿﺎن ﺷﯿﻮهھﺎی ﻣﺨﺘﻠﻒ ﺗﻮﺳﻌﮫ ﻣﺤﺼﻮل‬
简
‫ ﻣﺎ ﺗﻮﺟﮫ ﺧﻮد را ﺑﮫ درک اﺣﺴﺎﺳﺎت اﻧﺴﺎﻧﯽ ﭘﯿﭽﯿﺪه ﻣﺮﺗﺒﻂ ﺑﺎ ﺗﺠﺮﺑﮫ ﺧﺮﯾﺪ ﻣﻌﻄﻮف‬،‫و ﺷﮑﺴﺖھﺎی ﻗﺎﺑﻞ ﺗﻮﺟﮫ‬
介
‫ اﻣﺎ ﻣﺎ ﻧﻤﯽﺗﻮاﻧﯿﻢ ﺑﺪون اﯾﻨﮑﮫ درﮐﯽ از ﺗﺠﺮﺑﯿﺎت ﻣﺼﺮفﮐﻨﻨﺪﮔﺎن داﺷﺘﮫ ﺑﺎﺷﯿﻢ درﺑﺎره اﺣﺴﺎﺳﺎت ﺻﺤﺒﺖ‬.‫ﮐﺮدهاﯾﻢ‬
‫ ھﺪف ﻣﺎ ﺗﻮﺳﻌﮫ ﯾﮏ »روش ﺷﻨﺎﺳﯽ« اﺳﺖ ﮐﮫ ﺑﮫ ﻣﺎ ﺑﺮای اﯾﺠﺎد ﻓﺮآﯾﻨﺪی ﻗﺎﺑﻞ ﭘﯿﺶ ﺑﯿﻨﯽ ﺑﺮای ﺷﻨﺎﺳﺎﯾﯽ‬.‫ﮐﻨﯿﻢ‬
‫ ﺗﺎ از طﺮﯾﻖ آن ﺑﺘﻮاﻧﯿﻢ ﺗﺠﺎرب ﻣﺼﺮف ﮐﻨﻨﺪه را ﻓﮭﻤﯿﺪه و زﻣﯿﻨﮫ ﺑﺎزار را در‬،‫ﻓﺮﺻﺖھﺎی اﺳﺘﺮاﺗﮋﯾﮏ ﮐﻤﮏ ﮐﻨﺪ‬
.(٢٠١١،Sawhney‫و‬Prahalad) ‫راﺑﻄﮫ ﺑﺎ اﺣﺴﺎﺳﺎت و ﺗﺠﺮﺑﯿﺎت ﻣﺼﺮفﮐﻨﻨﺪه ﺗﺠﺴﻢ ﮐﻨﯿﻢ‬
为了控制阻止设计决定消费者的这一问题，我们只能通过要求消费者参与到设计
过程中的方式来按客户具体要求做汽车设计。
对于那些想要维持市场领先地位的汽车公司来说，对现有的汽车进行基于计算机
的重新设计是不够的。公司还必须追求创新，设计新产品，以满足消费者的需求。
创新的新解决方案的创建和早期的发展并没有在科学研究中过多描述，因为很难
对产品开发不同方式的效率进行客观地衡量(Ottosson, 2011)。
随着对成功和失败的商品的检验，我们将注意力转向理解与购买体验相关的复杂
的人类情感。但是在谈论情感之前，我们应该应先对消费者的购物过程中的共同
点有所了解。我们的目的是得到一个方法论，帮助我们对消费过程进行预测，识
别出对全局起决定性的机会点，创造突破性的消费体验，在考虑到消费者情绪和
经历的情况下设想市场 (Prahalad & Sawhney, 2011)。
To control and stop the issue of design dictating consumers, there is only one way
through which we can ask consumers to participate in design process to customize the
car design.
For the car companies that want to maintain market leading positions, it is not enough
to perform computer-based re-engineering of existing cars. The companies must also
seek ideas for innovations and new product variants for consumers’ desires.
The creation and early development of innovative new solutions is not much described
in scientific research, since it is difficult to objectively measure efficiency between
different ways of performing product development (Ottosson, 2011). With the
examination of remarkable successes and failures, we turned our attention to
understanding the complex human emotions attached to the purchase experiences. But
we could not talk about emotion without developing a common understanding among
our consumers’ experiences. Our goal was to develop a methodology that could help
us create a predictable process for identifying strategic opportunities to create
breakthrough consumer experiences, to visualize the marketplace in the context of
consumer emotions and experience (Prahalad &Sawhney, 2011).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﺗﺤﻘﯿﻘﺎت و ﺗﺠﺮﺑﮫ ﮐﺎری ﻣﺎ روی ﺗﻔﺎوتھﺎی ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن در‬،‫ﺑﺮای ﯾﺎﻓﺘﻦ راھﯽ ﺑﺮای ﻏﻠﺒﮫ ﺑﺮ اﯾﻦ ﻣﺸﮑﻞ‬
车 ‫ ﻧﯿﺎزﻣﻨﺪ اﻧﺒﻮهزداﯾﯽ اﺳﺖ ﮐﮫ ﻧﺸﺎن ﻣﯽدھﺪ ﺷﺮﮐﺖھﺎ در آﯾﻨﺪه ﺑﺎﯾﺪ ﺗﻮﺟﮫ‬،‫درک طﺮاﺣﯽ ﺧﻮدرو و طﺒﯿﻌﺖ ﻓﺎزی‬
设 ٢٠١١،DK) ‫ﺑﯿﺸﺘﺮی ﺑﮫ ﺟﻠﺐ رﺿﺎﯾﺖ ﻣﺸﺘﺮﯾﺎن داﺷﺘﮫ ﺑﺎﺷﻨﺪ و وﺿﻌﯿﺖ آﯾﻨﺪه ﺑﺎ ﮔﺬﺷﺘﮫ ﻣﺘﻔﺎوت ﺧﻮاھﺪ ﺑﻮد‬
计 .(٢٠١٣،Jaafarnia‫؛‬
的
演 为找到克服这个问题的方法，我们从消费者对汽车设计的不同理解和“模糊特性
进
简
的本质需要多元化”两个方面结合实证性工作进行研究。研究表明和未来企业必
介 须对消费者的需求付出更多关注。未来的情况将与过去截然不同 (DK, 2011;
Jaafarnia, 2013)。

To find ways to overcome this problem, our research and empirical work on
consumers’ differences in understanding car designs and ‘Fuzziness nature requires
demassification’ shows that companies must pay more attention on consumers’ desires
in future. The future will be different than that of the past situation (DK, 2011;
Jaafarnia, 2013).

Figure: Consumer can design the front face and back face of car by himself using an
App of phone.

132
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Consumer can design the front face and back face of car by himself using an
App of phone.

133
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Consumer can design the front face and back face of car by himself using an
App of phone.
134
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Consumer can design the front face and back face of car by himself using an
App of phone

135
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽
车
设
计
的
演
进
简
介

Figure: Consumer can design the front face and back face of car by himself using an
App of phone.
‫ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺗﻨﮭﺎ ﻣﯽﺗﻮاﻧﻨﺪ ﺑﺎ در دﺳﺖ داﺷﺘﻦ ﮔﻮﺷﯽ ھﻤﺮاه ﺧﻮد ﺟﻠﻮی ﭼﮭﺮه اﺗﻮﻣﺒﯿﻞ‬،‫در ﺗﮑﻨﯿﮏ دوم‬
‫ ﭼﮭﺮه ﺧﻮدرو را ﺑﺎ ﺗﻐﯿﯿﺮدادن‬،‫اﯾﺴﺘﺎده و ﺑﺎ اﺳﺘﻔﺎده از اﯾﻦ ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی ﻧﺼﺐ ﺷﺪه ﺑﺮ روی ﮔﻮﺷﯽ ھﻤﺮاه‬
‫ در اﯾﻨﺠﺎ ﻣﯿﺰان ﺗﻐﯿﯿﺮات ﺗﻮﺳﻂ‬.‫ ھﻮاﮐﺶ ﺟﻠﻮ و ﯾﺎ ﺳﭙﺮ ﻋﻮض ﮐﻨﻨﺪ‬،‫ﺗﮏ ﺗﮏ ﺟﺰﺋﯿﺎت آن از ﺟﻤﻠﮫ ﭼﺮاغھﺎ‬
‫ اﯾﻦ اﻣﺮ ﻣﺴﺘﻠﺰم اﯾﻦ اﺳﺖ ﮐﮫ ﮐﺎرﺑﺮان‬.‫ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن و ﺑﺮ اﺳﺎس ﺗﻤﺎﯾﻼت ﻓﺮدی آنھﺎ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﮫ ﻣﯽﺷﻮﻧﺪ‬
‫ از طﺮﯾﻖ دﺳﺘﮑﺎری ﻣﺴﺘﻘﯿﻢ ﺑﺮای ﺗﻐﯿﯿﺮ ﺗﮏ ﺗﮏ اﺟﺰای ﻓﺮم ﮐﻨﺘﺮل داﺷﺘﮫ‬،‫ﺑﺮ روی اﺟﺰای ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی‬
.‫ﺑﺎﺷﻨﺪ‬
第二项技术，消费者可以拿着手机直接站在汽车前面，然后通过这个手机程序，
消费者可以改变汽车外表的每一个细节，如车灯、网格或保险杠（客户根据个人
需求自行决定改变程度）。在手机程序中，消费者
可以控制组件，与设计品之间形成互动。
In the second technique, consumers can just stand in
front of car face with his mobile and through its App,
consumers can shape the face of car by changing every
form of details in car face such as lights , grill or
bumper (here the amount of change is decided by
consumers based on his individual desire). This
requires having controls of software components in
App users interact with, through direct manipulation to
change each detail form by ‘track bar’ in application,

136
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻣﺼﺮف ﮐﻨﻨﺪه ﺑﺎ اﺳﺘﻔﺎده از ﯾﮏ »ﻧﻮار ﻣﺴﯿﺮ« ﺑﺎ ﺣﺮﮐﺖ دادن ﺷﺎﺧﺺ ﺑﮫ ﺳﻤﺖ راﺳﺖ ﯾﺎ ﭼﭗ ﺑﺮ روی ﻧﻮار‬
车 ‫ ﺳﭙﺲ‬.‫ ﻣﯿﺰان ﺗﻐﯿﯿﺮات را ﺗﻨﻈﯿﻢ ﮐﺮده و ﺟﺰﺋﯿﺎت طﺮاﺣﯽ را ﺗﻐﯿﯿﺮ ﻣﯽ دھﺪ‬،‫ﻟﻐﺰﻧﺪه ﺗﻨﮭﺎ ﺑﺎ ﺣﺮﮐﺖ اﻧﮕﺸﺖ‬
设 ‫ ﺷﮑﻞ‬،‫ﺗﻐﯿﯿﺮات ﭼﮭﺮه اﺗﻮﻣﺒﯿﻞ ﻧﺸﺎن داده ﻣﯽﺷﻮﻧﺪ ﺗﺎ ﮐﺎرﺑﺮ ﺑﺘﻮاﻧﺪ ﭘﯿﺶ از اﺟﺮای طﺮح ﺑﺮ روی اﺗﻮﻣﺒﯿﻞ‬
计 ‫ ھﺮ ﯾﮏ از اﯾﻦ دو روش اراﺋﮫ‬.‫ﺳﻔﺎرﺷﯽ ﺷﺪه را از طﺮﯾﻖ ﺑﺎرﮔﺬاری ﭘﯿﺶ ﻧﻤﺎﯾﺶ در ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی ﺑﺒﯿﻨﺪ‬
的 ‫ ﺑﺎرﮔﺬاری‬.‫ﺷﺪه اھﺪاف ﻣﺨﺘﻠﻔﯽ را دﻧﺒﺎل ﮐﺮده و در ﻣﺮاﺣﻞ ﻣﺨﺘﻠﻔﯽ رﺿﺎﯾﺖ ﻣﺼﺮف ﮐﻨﻨﺪه را ﺟﻠﺐ ﻣﯽﮐﻨﻨﺪ‬
演 ‫ در ﺣﺎﻟﯽ ﮐﮫ ﺷﮑﻞ اﺟﺮا ﺷﺪه ﺑﺮ روی ﻣﺎﺷﯿﻦ ﺑﯿﺸﺘﺮ روی ﻣﺮﺣﻠﮫ‬،‫)رﻧﺪر( ﺑﺮ ﻣﺮاﺣﻞ اوﻟﯿﮫ اﯾﺪهﭘﺮدازی ﺗﺎﮐﯿﺪ دارد‬
进 ‫ ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی دادهھﺎ‬،‫ در ﭘﺎﯾﺎن ﺑﺎ ﺗﺎﯾﯿﺪ ﻓﺮم ﻧﮭﺎﯾﯽ‬.(٢٠٠٧،Buxton) ‫ﻧﮭﺎﯾﯽ ﺳﻔﺎرﺷﯽﺳﺎزی ﺗﻤﺮﮐﺰ دارد‬
简
‫را ﺑﺮای اﻋﻤﺎل ﺗﻐﯿﯿﺮات ﺑﮫ ﻣﺎﺷﯿﻦ ﻣﯽﻓﺮﺳﺘﺪ و ﮐﻨﺘﺮلھﺎی اﻟﮑﺘﺮوﻣﮑﺎﻧﯿﮏ اطﻼﻋﺎت را از ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی‬
介
‫ ھﻤﺰﻣﺎن ﻧﯿﺰ‬.‫ﮔﻮﺷﯽ ھﻤﺮاه درﯾﺎﻓﺖ ﮐﺮده و ﻓﺮم ﭼﮭﺮه اﺗﻮﻣﺒﯿﻞ را ﺑﺮ اﺳﺎس طﺮاﺣﯽ ﻣﺼﺮف ﮐﻨﻨﺪه ﺗﻐﯿﯿﺮ ﻣﯽدھﻨﺪ‬
‫طﺮح را از طﺮﯾﻖ ﯾﮑﯽ از ﺷﺒﮑﮫھﺎی اﺟﺘﻤﺎﻋﯽ )ﮐﮫ ﭘﯿﺸﺘﺮ ﺗﻮﺳﻂ ﻣﺼﺮف ﮐﻨﻨﺪه اﻧﺘﺨﺎب ﺷﺪه و ﻧﺎم ﮐﺎرﺑﺮی و‬
‫ اﯾﻦ اﯾﺪه ﻧﯿﺎز ﺑﮫ اﯾﺠﺎد ﺑﺮﺧﯽ آﻣﺎده ﺳﺎزیھﺎ‬.‫رﻣﺰ ﻋﺒﻮر آن ﺑﮫ ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی داده ﺷﺪه اﺳﺖ( ﻣﻨﺘﺸﺮ ﻣﯽ ﮐﻨﻨﺪ‬
‫ ﻣﺎﻧﻨﺪ آﻣﺎده ﺳﺎزی دﯾﮓ داغ ﭼﯿﻨﯽ در رﺳﺘﻮان ﭼﯿﻨﯽھﺎ ﮐﮫ ﺻﺎﺣﺐ رﺳﺘﻮران ﻣﻮاد و ﺳﺒﺰﯾﺠﺎت ﭘﺎک ﺷﺪه و‬،‫دارد‬
.‫آﻣﺎده را ﺑﺮای طﺒﺦ ﺗﻮﺳﻂ ﻣﺸﺘﺮﯾﺎن ﻓﺮاھﻢ ﻣﯽﮐﻨﺪ‬
通过程序内的“跟踪栏”可以看到用户在自定义设计中所作出的每一个改变的历
史纪录。与此同时，消费者通过左右移动来控制设计细节，在这个过程中消费者
心里也会对汽车有一个估算值。程序上的预览功能可以让消费者提前看到经过自
己改造后的汽车的样子，客户可以根据预览图进行微调，直至满意后再递交修改
申请。这两种技术功能不同、目的也不同，他们分别针对客服满意度的不同阶段。
第一项技术主要针对客户的构思阶段，而第二项技术侧重在后期的个性化设计的
实际操作阶段（巴克斯顿，2007）。最后，客户确认了定制图以后，手机程序才
会吧会把数据发送给汽车生产商修改。机电控制系统从这个手机程序上接受信息，
然后根据客户的设计对汽车表面图案进行修改。与此同时，会通过社交网络软件
进行发布（客户可以自由选择常用的社交软件，并在该软件注册账户以供该手机
程序登陆）。要想实现对汽车进行设计改装，需要做一些准备，就像在吃火锅以
前需要提前把食材洗干净准备好。
and consumers may set a value by moving an indicator to right or left just by moving
finger on the slider to design for a detail. Then it shows changes of car faces to make
him able to see customized form before applying on his car through render preview on
the App and applied form on car. These two methods serve different purposes,
therefore are concentrated at different stages of the consumer satisfaction. Render
dominate the early ideation stages whereas applied form on car is more concentrated
at the last stage of customizing (Buxton, 2007). At the end by confirming the final
form the App will send data to car for changing; and electro-mechanic controls receive
the information from mobile App and change the form of face based on consumer’s
design; in the same time do the publicity through one of the social network (which
have selected already by consumer and has given the Username and Password to App
for entering). This idea needs creating some preparation like Chinese hot pot where
restaurants provides the ready material and cleaned vegetables.

137
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫در اﯾﻨﺠﺎ ﻧﯿﺰ طﺮاح در ﮐﺎرﺧﺎﻧﮫ ﺑﺎﯾﺪ زﻣﯿﻨﮫ ﻣﻨﺎﺳﺒﯽ را آﻣﺎده ﺳﺎﺧﺘﮫ و ﺑﻌﻀﯽ از ﻣﮭﺎرتھﺎﯾﺶ را ﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪه‬
车 ‫ ﺑﺮای ﭼﻨﯿﻦ ﮐﺎری ﻧﯿﺎز‬.‫ﻣﻨﺘﻘﻞ ﺳﺎزد ﺗﺎ ﻣﺼﺮف ﮐﻨﻨﺪه ﺑﺘﻮاﻧﺪ در اﻣﺮ طﺮاﺣﯽ ﻣﮭﺎرتھﺎی ﺧﻮدش را ﺑﮫ ﮐﺎر ﺑﮕﯿﺮد‬
设 ‫اﺳﺖ ﮐﮫ وی ﺑﺮ روی اﺟﺰای ﻧﺮم اﻓﺰاری در ﻧﺮم اﻓﺰار ﮐﺎرﺑﺮدی ﮐﮫ در ﺗﻌﺎﻣﻞ ﺑﺎ ﮐﺎرﺑﺮ ھﺴﺘﻨﺪ و از طﺮﯾﻖ آنھﺎ‬
计 ‫ در اﯾﻦ ﻣﺮﺣﻠﮫ ﺗﻮﻟﯿﺪﮐﻨﻨﺪﮔﺎن ﻣﺎﺷﯿﻦ در‬.‫ ﮐﻨﺘﺮل داﺷﺘﮫ ﺑﺎﺷﺪ‬،‫دﺳﺘﮑﺎری ﻣﺴﺘﻘﯿﻢ ﺑﺮای ﺗﻐﯿﯿﺮ ﻓﺮم اﻧﺠﺎم ﻣﯽﺷﻮد‬
的 ‫ اﯾﻦ ﺳﻄﺢ ﺑﺎﻻﯾﯽ از طﺮاﺣﯽ‬.‫ﻣﻌﺮض رﯾﺴﮏ ﻗﺮار ﻧﺪارﻧﺪ زﯾﺮا طﺮاﺣﯽ اﺗﻮﻣﺒﯿﻞ را ﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﺳﭙﺮدهاﻧﺪ‬
演 ‫ﻣﺤﻮر و طﺮاﺣﯽ ﻣﺸﺎرﮐﺘﯽ را ﻧﺸﺎن ﻣﯽدھﺪ ﮐﮫ ﯾﮏ روﯾﮑﺮد آﺷﮑﺎر ﺑﺮای از ﺑﯿﻦ ﺑﺮدن طﺮاﺣﯽ ﺗﺤﻤﯿﻠﯽ‬-‫ﮐﺎرﺑﺮ‬
进 ‫ ﻧﺘﯿﺠﮫ اﯾﻨﮑﮫ ﻧﻈﺮات اراﺋﮫ ﺷﺪه ﺗﻮﺳﻂ ﮐﺎرﺑﺮان ﻣﯽﺗﻮاﻧﻨﺪ در اواﯾﻞ ﮐﺎر داده ﺷﺪه و از ھﻤﺎن آﻏﺎز‬.‫ﺧﻮدرو ﻣﯽﺑﺎﺷﺪ‬
简
‫ طﺮاﺣﯽ ﻣﺸﺎرﮐﺘﯽ ﯾﮏ روﯾﮑﺮد آﺷﮑﺎر ﺑﺮای از ﺑﯿﻦ ﺑﺮدن‬.‫ﺑﺮ ﭼﮕﻮﻧﮕﯽ طﺮاﺣﯽ ﺧﻮدرو ﺗﺎﺛﯿﺮﮔﺬار ﺑﺎﺷﻨﺪ‬
介
‫طﺮاﺣﯽ ﺗﺤﻤﯿﻠﯽ ﺑﺮای ﺧﻮدرو در ﺟﺎﻣﻌﮫ ﻣﺪرن و ﻋﺒﻮر ﺑﮫ ﺳﻮی ﺟﺎﻣﻌﮫ ﭘﺴﺖ ﻣﺪرن اﺳﺖ ﮐﮫ آزادی ﻓﺮدی را ﺑﮫ‬
.‫ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﻣﺎ ﻣﯽدھﺪ‬
‫ اﻓﺮاد‬.‫ اﻓﺮاد ﺗﻔﺎوتھﺎی ﺑﺴﯿﺎری ﺑﺎ ھﻢ دارﻧﺪ‬.‫ﻣﺎ ﻣﯽداﻧﯿﻢ ﮐﮫ در ﻋﻠﻢ طﺮاﺣﯽ ﻣﺎﺷﯿﻦ ھﻤﮫ ﻣﺮدم ﯾﮑﺴﺎن ﻧﯿﺴﺘﻨﺪ‬
‫ﺑﺰرگ ﯾﺎ ﮐﻮﭼﮏ ﻣﻤﮑﻦ اﺳﺖ ﻧﯿﺎز ﺑﮫ اﯾﺪهھﺎی وﯾﮋهای داﺷﺘﮫ ﺑﺎﺷﻨﺪ زﯾﺮا ﯾﮏ اﻧﺪازه ھﻤﯿﺸﮫ ﺑﺮای ھﻤﮫ ﻣﻨﺎﺳﺐ‬
‫ ﻓﺎﮐﺘﻮرھﺎی اﻧﺴﺎﻧﯽ دﻻﯾﻞ ﻋﻤﺪه ﺣﻮادث ﺟﺎدهای ﺗﻮﺳﻂ‬،‫( در طﺮاﺣﯽ ﺧﻮدرو‬٢٠٠٢،Carroll‫و‬Rosson)‫ﻧﯿﺴﺖ‬
.‫وﺳﺎﯾﻞ ﻧﻘﻠﯿﮫ ھﺴﺘﻨﺪ‬
同样的道理，在给客户提供个性化设计车型的服务前，设计师需要做一系列准备，
比如教给消费者一些汽车设计的必要知识与技能。设计师与客户需要通过特定的
手机程序交流，从而帮助客户更好地操作软件进行汽车设计。汽车生产商把汽车
设计的工作交给了消费者，他们的风险也就因此大大降低了，不必再为客户不喜
欢成品汽车的样式而承担风险。现代汽车市场内，客户导向型设计和参与式设计
成为主流，传统的设计师垄断设计已经逐渐退出历史舞台。前文提到，参与式设
计成为主流，传统的设计师垄断设计已经逐渐退出历史舞台。到了后现代社会时
期，消费者有更多自由空间去自主独立设计理想型汽车。
人类工程学告诉我们，每个人都是独一无二的，人与人之间的差异体现在方方面
面。每个人的想法可能或多或少的不同，因此统一固定的标准并不一定适合所有
人（罗森和卡罗尔，2002）。
Here again the designer in a factory must prepare a good platform which transfers
some of his skills to the consumers to cover consumer’s design skill for the purpose of
making him design. This needs having control over software components in App
which users interact with, through direct manipulation to change the form in
application. At this point car manufacturers do not risk since they have left designing
cars to consumers. This shows the high level of user-centered design and participatory
design which is one obvious approach to destroy the dictating car design.
The consequence is that users input can begin early enough to influence the car
design. Participatory design is an obvious approach to destroy the dictating car design
in modern society and pass it to post-modern society which gives individual freedom
to our consumers.
In ergonomics we know, people are not all the same. Individuals vary in many ways.
Large or small people may need special ideas since one size does not always fit all
(Rosson & Carroll, 2002).

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ ﮐﻨﺘﺮلھﺎی ﻣﺘﻔﺎوﺗﯽ ﺑﺮای ﺻﻨﺪﻟﯽ وﺟﻮد دارد ﺗﺎ آن را ﺑﺮای ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن‬،‫در راﺑﻄﮫ ﺑﺎ ﺻﻨﺪﻟﯽ ﺧﻮدرو‬
车 ‫ )ﺗﺎ راﻧﻨﺪه اﺗﻮﻣﺒﯿﻞ ﺑﺘﻮاﻧﺪ وﺿﻌﯿﺖ ﺧﻮب و راﺣﺘﯽ ﺑﺎ ﻧﻘﻄﮫ دﯾﺪ ﻣﻨﺎﺳﺐ ﻧﺴﺒﺖ ﺑﮫ ﺷﯿﺸﮫ‬،‫ﻣﺨﺘﻠﻒ ﻗﺎﺑﻞ ﻗﺒﻮل ﺳﺎزد‬
设 ‫ﺟﻠﻮ داﺷﺘﮫ ﺑﺎﺷﺪ( ﻣﯽ ﺑﯿﻨﯿﻢ ﺷﺮﮐﺖھﺎ ﺑﺪون ﺗﺤﻤﯿﻞ ﯾﮏ ﺻﻨﺪﻟﯽ ﺑﺎ اﻧﺪازه ﺛﺎﺑﺖ ﺑﮫ ﻣﺼﺮف ﮐﻨﻨﺪه ﺑﺎ ﻧﺼﺐ‬
计 .(٢٠٠١،Karwowski) ‫ ﻗﺎﺑﻞ ﺗﻨﻈﯿﻢ ﻣﯽﮐﻨﻨﺪ‬،‫ ﺻﻨﺪﻟﯽ را ﺑﺮای ﻣﺼﺮف ﮐﻨﻨﺪﮔﺎن ﻣﺘﻔﺎوت‬،‫دﺳﺘﮕﺎهھﺎی ﮐﻨﺘﺮل‬
的 .‫ﺑﻨﺎﺑﺮاﯾﻦ آنھﺎ ﻣﯽﺗﻮاﻧﻨﺪ اﯾﻦ ﮐﺎر را ﺑﺮای ﻓﺮم طﺮاﺣﯽ ﺧﻮدرو ﻧﯿﺰ اﻧﺠﺎم دھﻨﺪ ﮐﮫ رﺿﺎﯾﺖ ھﻤﮕﺎن را ﺟﻠﺐ ﮐﻨﺪ‬
演
进
在汽车设计中，人为因素是引发车辆事故的最主要原因。比如，所有的客户都喜
简
介 欢可调控的座位（以便每个司机根据个人身高和喜好调节到最舒服的位置，从而
达到最好的视野范围）。消费者们选购汽车时，也会观察汽车上的座椅是固定的
还是可调节的（卡瓦斯基，2001）。汽车制造商既然可以满足客户对不同座椅的
需求，自然也可以满足客户对其他方面的特殊需求了。

In car design, human factors are the major cause of vehicle accidents. For seat,
alternative controls to be acceptable to any consumer (for providing a good position
with a comfortable view through windscreen), one sees companies without dictating
a fixed size seat, with implementation of controllers making it customizable for an
individual consumer (Karwowski, 2001). Therefore they can do the same for car
design form to cover everyone’s desire too.

‫ﺳﺨﻦ آﺧﺮ‬
结语
Final words
‫در آﯾﻨﺪه ﭼﮫ اﺗﻔﺎﻗﯽ ﺧﻮاھﺪ اﻓﺘﺪ؟ ﺑﺎ رﺟﻮع ﺑﮫ اﯾﻦ ھﻔﺖ اﻧﻘﻼب ﻣﺎ ﻗﺎدر ﺑﮫ ﭘﯿﺶ ﺑﯿﻨﯽ ﭼﯿﺰی ﮐﮫ در آﯾﻨﺪه ﻣﺤﺘﻤﻞ ﺑﮫ‬
‫ اﻣﺎ‬.‫ ﺗﻐﯿﯿﺮ ﺟﺪﯾﺪ ﻣﯽ ﺗﻮاﻧﺪ ﻣﻮردی ﺑﺎﺷﺪ ﮐﮫ ﺑﺎ ﺗﺮﮐﯿﺐ اﯾﻦ ھﻔﺖ اﻧﻘﻼب ﺣﺎﺻﻞ ﻣﯽ آﯾﺪ‬.‫اﺗﻔﺎق اﺳﺖ ﻣﯽ ﺷﻮﯾﻢ‬
‫ﻓﺮاﻣﻮش ﻧﮑﻨﯿﻢ ﮐﮫ اﯾﻦ ﺗﺤﻘﯿﻘﺎت در ﻣﻮرد ﭘﯿﺶ ﺑﯿﻨﯽ ﮐﮫ ﻓﻘﻂ ﻣﺮﺑﻮط ﺑﮫ ﺑﯿﺎن ﺑﺼﺮی از طﺮﯾﻖ ﻓﺮم ﺧﻮدرو‬
‫ طﺮاﺣﺎن ﻣﯽ ﺗﻮاﻧﻨﺪ ﺧﻮدروﯾﯽ را اراﺋﮫ دھﻨﺪ ﮐﮫ ﺑﺎ ﺗﻮاﻧﺎﯾﯽ‬،‫ ﺑﻨﺎﺑﺮاﯾﻦ در آﯾﻨﺪه‬.‫ﺻﻮرت ﻣﯽ ﮔﯿﺮد ﺳﺨﻦ ﻣﯽ ﮔﻮﯾﺪ‬
.‫ﺗﻐﯿﯿﺮ ﺗﻤﺎم ﻋﻨﺎﺻﺮ ﺑﺼﺮی ﻗﺎدر ﺑﮫ ﻧﺸﺎن دادن ﺑﯿﺎن ھﺎی ﺑﺼﺮی ﻣﺨﺘﻠﻒ ﺑﺎﺷﺪ‬

未来可能会发生什么？特别介绍这 7 次革命之后，我们能够预测未来最可能发生
的事情。新的变化可以通过这七个时期的结合来促成。但是我们应该记住，这项
研究是基于汽车形态的表达来提出这些预测的。因此，在未来，设计师可以创造
一种汽车，它的发展驱动力来自它能改变所有视觉元素来展示不同的表达。

What is likely to happen in the future? With special reference to these 7 revolutions
we are capable of predicting the most probable thing likely to happen in the future.
The new change could be bought about with combination of these seven eras. But one
should keep in mind that this research has built these predictions based on expression
of car forms. So in the future, designers can create a car driven by the ability to
change all visual elements for showcasing different expressions.

139
● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬

汽 ‫ﻣﻨﺎﺑﻊ‬
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Photographs and Copyright

Sincere thanks to all the photographers whose work has been included in this book. Your
pictures are admired and appreciated; I have also tried to follow all copyright requirements,
however kindly notify me if you have any concerns (through www.iraniandesign.com).I would
definitely correct it in the next edition of this book. Here all the pictures acquired were
available in the public domain. Therefore I have attributed the pictures and given the due credit
to everyone, as obtained on October 2012.

Credits and Contacts

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进 http://www.netcarshow.com/ http://www.carpictures.com/vehicles/vehicle_list.php?make=Jaguar
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http://www.autobelle.it/archivio_carrozzieri/zagato.php http://www.allcarcentral.com/ford_pix-1930-1935.html/
accessed in May 2010. P34, http://fetichic1.rssing.com/chan-2884032/all_p9.html
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accessed in May 2010. P37, http://www.allcarcentral.com/ford_pix-1930-1935.html
http://www.juvandesign.com/automotive/the-winner-moy-concept-car-is-design-of-contest-during-auto/
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P42, http://letstalkstamps.blogspot.in/2012/03/vintage-cars.html P45,
http://www.autowallpaper.de/Wallpaper/Mercedes/Benz_Patent_Motorwagen/bilder/Benz_Patent_Motorwagen__3.jpg
http://www.live-like-a-german.com/tg_details.php?travel_guide_id=294
http://www.earlyamericanautomobiles.com/amesburyautos.htm http://www.maxmatic.com/threes/rtw_index.htm/
accessed in July 2010. P46, http://www.powerful-cars.com/php/mercedes/1892-daimler-schroedter-wagen.php P47,
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P150, http://www.networlddirectory.com/blogs/archives/Auto-blog/July-23-2006.html P151 & 152,

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● Evolution of Automobile Design ‫ﻣﻘﺪﻣﮫ ای ﮐﻮﺗﺎه ﺑﺮ ﺳﯿﺮ ﺗﮑﺎﻣﻞ طﺮاﺣﯽ ﺧﻮدرو‬
http://www.netcarshow.com/bmw/2008-gina_light_visionary_model_concept/ accessed in May 2010. P153, A
汽
midway vehicle between the camper and trailer Concept developed by Austrian Christian Susana, Colima.
车 http://www.heycar.com/car-and-caravan-is-colim/colim-caravan-
设 concept5/http://www.cardesignnews.com/site/home/rss_display/item131189/accessed in May 2010. P154,
计 http://www.facebook.com Cda Colégio de Arquitetos P155 & 156, http://www.netcarshow.com/mitsubishi/2009-
i_miev_sport_air_concept/accessed in May 2010. https://www.carbodydesign.com/gallery/2016/08/vision-mercedes-
的 maybach-6-concept/14/accessed in May 2019
演
进
简 ‫ﮐﺘﺎﺑﮭﺎی ﻧﻮﺷﺘﮫ ﺷﺪه ﺗﻮﺳﻂ ﻧﻮﯾﺴﻨﺪه‬
介 Books written by the author

‫ھﻤﮫ ﮐﺘﺎب ھﺎ ﺑﮫ طﻮر آﻧﻼﯾﻦ در دﺳﺘﺮس ﻣﯽ ﺑﺎﺷﻨﺪ‬

All books are available online.

1- Mohsen Jaafarnia (2005). Thought Engineering. Publisher: Sima ye Danesh,

Tehran. Iran. ISBN: 964-5693-90-x
2- Mohsen Jaafarnia (2007). Form and Space in Industrial Design. Publisher:
Sima ye Danesh, Tehran. Iran. ISBN: 964-8972-28-1
3- Mohsen Jaafarnia (2012). Let’s save humans’ life with good design.
Publisher: Papyrus, Guwahati. India ISBN: 978-93-81287-17-0
4- Mohsen Jaafarnia (2013). Evolution of Automobile Design, A brief
Introduction. Publisher: Papyrus, Guwahati. India. ISBN: 978-93-81287-18-7
5- Mohsen Jaafarnia (2013). Design & Observation. Publisher in English:
Papyrus, Guwahati, India .ISBN: 978-93-81287-23-1
6- Mohsen Jaafarnia (2013). Design & Observation. Publisher in Persian: Azar,
Tehran, Iran. ISBN: 978-600-6862-01-9
7- Mohsen Jaafarnia (2015). Toy & Craft. Publisher: Azar, Tehran , Iran.
ISBN: 978-600-6862-06-4
8- Mohsen Jaafarnia & Sahar Boroomand (2016). Ya Zamen Ahoo. Publisher:
MJ , Ghochan, Iran. ISBN: 978-600-04-5341-1
9- Mohsen Jaafarnia (2017). Everyone is Designer. Publisher: MJ , Ghochan,
Iran. ISBN: 978-600-04-7870-4
10- Mohsen Jaafarnia (2019). Designers, get off the consumers’ back.
Ghochan, Iran: Yadegar Omr Publication. ISBN: 978-600-91409-6-1
11- Mohsen Jaafarnia (2019). Evolution of Automobile Design, A Brief
Introduction. Ghochan, Iran: Yadegar Omr Publication. ISBN: 978-600-91409-
8-5

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