《名人传记》之乔布斯亿万富豪嬉皮士

the force of nature behind Apple.

他是苹果公司的灵魂

He distorted reality. It's a mixture of charisma, chutzpah,

他颠覆了人们的认知 他魅力四射 胆识过人

bullshit, self-belief, self-delusion,

能说会道 满怀自信 充满了近乎盲目的乐观

and insane ambition.

和超乎寻常的野心

Apple's hi-tech products have inspired fervour.

苹果的高科技产品让人们趋之若鹜

Oh, it's beautiful. It's very sexy.

它真漂亮 很性感

Defining cool consumerism for a worldwide tribe.

它为全世界人民定义了一种特立独行的消费主义

Hyped by the man who personified the brand.

乔布斯巧舌如簧 给这个品牌赋予了灵性

It works like magic.

它像魔法一样神奇

They look so good, you want to lick 'em.

它们看上去这么可爱 简直让人忍不住想舔一口

It's unbelievable.

这真难以置信

No-one had quite that mixture of arrogance,

从没有人能如此地集傲慢与谦逊

humility, talent and presence, which Steve Jobs had.

才华和风度于一身 而乔布斯却做到了

He's changed music, he's changed movies, he's changed computers a couple of times.

他改变了音乐 改变了电影 数次改革了计算机

He's created industries that we didn't think we needed.

他创造了一些全新的行业

Jobs was a perfectionist.

乔布斯是个完美主义者

To Steve, everything was about taste.

他认为 品味是最重要的东西

Just like someone writing a great piece of music.

他有着音乐家般近乎苛刻的审美

And a tyrant.

同时也是个暴君

Steve Jobs yelling at you with his full force is kind of

因为乔布斯声嘶力竭地对着你大吼时 实在是...

a pretty frightening thing for most people.

对大多数人来说 这实在是很吓人的

How did a drug-taking college dropout

一个大学辍学的瘾君子

create one of the most successful corporations in the world?

是如何创建了世界上屈指可数的商业帝国之一？

His hippy background made him a better billionaire.

他的嬉皮士背景对他在商业上的成功有不可忽视的影响

This is the inside story

让我们一起来倾听这个幕后的故事

of how Steve Jobs took Apple

看看史蒂夫·乔布斯是怎样把苹果公司

from a suburban garage to global supremacy.

从一个家用车库变成了全球行业霸主

《乔布斯传》第十二章 设计 大道致简65

CHAPTER TWELVE

第十二章

THE DESIGN

设计

Real Artists Simplify

大道至简

A Bauhaus Aesthetic

包豪斯式的美学标准

Unlike most kids who grew up in Eichler homes, Jobs knew what they were and why they were so wonderful. He liked the notion of simple and clean modernism produced for the masses. He also loved listening to his father describe the styling intricacies of various cars. So from the beginning at Apple, he believed that great industrial design—a colorfully simple logo, a sleek case for the Apple II—would set the company apart and make its products distinctive.

和大多数在埃奇勒建造的房子中长大的孩子不同，乔布了解这些房子，也知道它们好在哪里。他喜欢“面向大众的简洁现代主义设计”这个概念。他还喜欢听父亲讲述不同的汽车上纷繁的设计细节。所以，从苹果公司建立之初，他就相信杰出的工业设计——多彩简单的标志以及AppleII使用的雅致时髦的箱子——可以突出自己的公司，也让公司的产品显得与众不同。

The company’s first office, after it moved out of his family garage, was in a small building it shared with a Sony sales office. Sony was famous for its signature style and memorable product designs, so Jobs would drop by to study the marketing material. “He would come in looking scruffy and fondle the product brochures and point out design features,” said Dan’l Lewin, who worked there. “Every now and then, he would ask, ‘Can I take this brochure?’” By 1980, he had hired Lewin.

在公司搬出乔布斯的车库后，第一个办公场所在一栋小建筑里，这里还有索尼公司的一处销售办事处。索尼以其独特的风格和令人难的产品设计而闻名，所以乔布斯经常到他们的办公室去研究宣传材料。“他走进来，邋里邋遢的，抚弄着产品宣传册，指出一些产品设计上的特点。”在那儿工作的丹·卢因（Dan-lLewin）说，“时不时地，他还会问我：‘我能把这个册子拿走吗？’”到1980年，乔布斯把卢因聘请到了苹果公司。

His fondness for the dark, industrial look of Sony receded around June 1981, when he began attending the annual International Design Conference in Aspen. The meeting that year focused on Italian style, and it featured the architect-designer Mario Bellini, the filmmaker Bernardo Bertolucci, the car maker Sergio Pininfarina, and the Fiat heiress and politician Susanna Agnelli. “I had come to revere the Italian designers, just like the kid in Breaking Away reveres the Italian bikers,” recalled Jobs, “so it was an amazing inspiration.”

从1981年6月开始，乔布斯开始参加在阿斯彭举办的一年一度的国际设计大会（InternationalDesignConference），这一时期，他对暗色调、工业气息十足的索尼设计的喜爱逐渐减弱。那年会议的焦点是意大利风格，出席的有建筑师兼设计师马里奥、贝里尼（MarioBellini），电影制片人贝纳多·贝托鲁奇（BernardoBertolucci）,汽车制造商塞尔吉奥·平尼法瑞那（SergioPininfarina）和菲亚特汽车公司的女继承人、政治家苏珊娜·阿涅利（SusannaAgnelli）。“我就是去膜拜那些意大利设计师的，就好像电影《告别昨日》（BreakingAcoay）中的孩子膜拜意大利自行车手一样。”乔布斯回忆说，“那次会议真是一个奇妙的启示。”

In Aspen he was exposed to the spare and functional design philosophy of the Bauhaus movement, which was enshrined by Herbert Bayer in the buildings, living suites, sans serif font typography, and furniture on the Aspen Institute campus. Like his mentors Walter Gropius and Ludwig Mies van der Rohe, Bayer believed that there should be no distinction between fine art and applied industrial design. The modernist International Style championed by the Bauhaus taught that design should be simple, yet have an expressive spirit. It emphasized rationality and functionality by employing clean lines and forms. Among the maxims preached by Mies and Gropius were “God is in the details” and “Less is more.” As with Eichler homes, the artistic sensibility was combined with the capability for mass production.

在阿斯彭，乔布斯接触到了包豪斯运动干净、实用的设计理念，这一理念深受赫伯特·拜尔（HerbertBayer）的推崇，被他运用到了建筑、家居房屋、无衬线字体排印以及阿斯彭研究所的家具上。拜尔和他的导师沃尔特·格罗皮乌斯（WalterGropius）以及路德维希·密斯·凡德罗（LudwigMiesvanderRohe）—样，也认为艺术和应用工业设计之间不应该有区别。包豪斯拥护的现代主义国际风格告诉人们，设计应该追求简约，同时具有表现精神。它通过运用干净的线条和形式来强调合理性和功能性。密斯和格罗皮乌斯宣扬的准则中就有“上帝就在细节之中”和“少即是多”这样的话。正如埃奇勒的房屋一样，艺术敏感性和大规模生产的能力结合到了一起。

Jobs publicly discussed his embrace of the Bauhaus style in a talk he gave at the 1983 design conference, the theme of which was “The Future Isn’t What It Used to Be.” He predicted the passing of the Sony style in favor of Bauhaus simplicity. “The current wave of industrial design is Sony’s high-tech look, which is gunmetal gray, maybe paint it black, do weird stuff to it,” he said. “It’s easy to do that. But it’s not great.” He proposed an alternative, born of the Bauhaus, that was more true to the function and nature of the products. “What we’re going to do is make the products high-tech, and we’re going to package them cleanly so that you know they’re high-tech. We will fit them in a small package, and then we can make them beautiful and white, just like Braun does with its electronics.”

1983年的阿斯彭设计大会上，乔布斯发表了一篇以“未来绝对不会和过去相同”为主题的演讲，公开阐述他对包豪斯风格的热情拥护。演讲在一个巨大的音乐帐篷中举行，乔布斯称赞了包豪斯风格的简单朴素，也预言了索尼风格的消亡。“当下工业设计的潮流就是索尼的那种髙科技感，也就是金属灰色，要么就涂成黑色，加一些怪异的设计。”他说，“这么做很容易，但不够好。”他提出了一个源自包豪斯风格的替代方案，更加忠实于产品的功能和本性：“我们要做的，就是让产品科技感十足，然后用上简单干净的包装，让科技感一目了然。我们会把产品放在小包装盒里，让它们看上去纯白漂亮，就像博朗生产的电器一样。”