三米工作室

PNG團(tuán)隊(duì)（翻譯）2018年9月18日

? ? ? ?設(shè)計(jì)師需要時(shí)間和空間來創(chuàng)造，但現(xiàn)代工作往往無法滿足這些基本需求比肄。我們的工作日可以通過在9-5中允許更多的時(shí)間忿磅，空間和孤獨(dú)來創(chuàng)造新想法。坦率地說盏袄，現(xiàn)代作品對設(shè)計(jì)師不起作用忿峻。

Designers need time and space to create but modern work often fails to meet these basic needs. Our working day has the possibility to be much more generative to the creation of new ideas simply by allowing for more time, space and solitude within our 9–5. Put bluntly, modern work does not work for designers.

時(shí)間就是經(jīng)驗(yàn)，而我們?nèi)狈烧?/h1>

Time is experience, we’re lacking?both

? ? ? 設(shè)計(jì)師的工作是將事物連接在一起辕羽。那些“事物”本質(zhì)上就是經(jīng)驗(yàn)逛尚。簡而言之，新想法是經(jīng)驗(yàn)的聯(lián)系刁愿。

? ? ? 設(shè)計(jì)師面臨的問題是绰寞，在我們的工作日里很少有時(shí)間體驗(yàn)新體驗(yàn)。現(xiàn)代工作的社會規(guī)范要求我們在一天中待在辦公室铣口，大部分時(shí)間都在我們的辦公桌上滤钱，只留下來參加會議，并確保一旦完成就趕緊回來脑题。在這個(gè)例程中哪里有時(shí)間進(jìn)行新的件缸，創(chuàng)意生成體驗(yàn)？

? ? ? 設(shè)計(jì)師雖然缺乏經(jīng)驗(yàn)叔遂，但仍必須尋求靈感 - 下一個(gè)想法的基石他炊。因此，我們發(fā)現(xiàn)它可以符合現(xiàn)代工作所強(qiáng)加的文化規(guī)范已艰∪基本上，我們辭職與其他人一樣訪問相同的網(wǎng)站哩掺。這種性質(zhì)的靈感舌胶，或二手經(jīng)驗(yàn)，是通過另一個(gè)人的眼睛看世界疮丛，而不是我們自己幔嫂。

? ? ? 因此辆它，設(shè)計(jì)師將他們的空閑時(shí)間用于追求經(jīng)驗(yàn)。一個(gè)年輕的設(shè)計(jì)師幾乎沒有責(zé)任履恩，并認(rèn)為工作是他們身份的重要組成部分锰茉，因此沒有任何問題。然而切心，當(dāng)設(shè)計(jì)師在他們的9到5之外獲得更多的責(zé)任時(shí)飒筑，他們就更難找到這種想法生成經(jīng)驗(yàn)的時(shí)間。

The job of a designer is to connect things together. Those ‘things’ are essentially experience. Put simply, new ideas are new connections of experience.

The problem for designers is that there is rarely time for new experiences in our working day. The social norms of modern work dictate that we stay in the office for the duration of the day, spend the majority of that time at our desks, leave only for meetings and be sure to rush back as soon as they’re finished. Where in this routine is there time for new, idea generative experience?

Designers, starved of experience as they are, must still seek out inspiration?—?the building blocks of the next idea. So we find it however we can within the cultural norms imposed by modern work. Essentially, we resign to visiting the same websites as everyone else. Inspiration of this nature, or secondhand experience, is to see the world through another’s eye and not our own.

Designers therefore commit their free time in pursuit of experience. A young designer who has few responsibilities and also considers the job an important part of their identity will see no problem with this. However, when designers gain more responsibilities outside of their 9 to 5, it becomes harder for them to find the time for such idea generative experience.

? ? ? ?“創(chuàng)意人想要成為一個(gè)全知的人绽昏。他們想知道各種各樣的事物：古代歷史协屡，十九世紀(jì)的數(shù)學(xué)，當(dāng)前的制造技術(shù)全谤，插花和生豬未來肤晓。因?yàn)樗麄冇肋h(yuǎn)不知道這些想法什么時(shí)候可以結(jié)合在一起形成一個(gè)新的想法，它可能發(fā)生在六分鐘后或六個(gè)月认然，或六年后补憾。但他們相信它會發(fā)生【碓保“

“The creative person wants to be a know-it-all. They want to know about all kinds of things: ancient history, nineteenth century mathematics, current manufacturing techniques, flower arranging, and hog futures. Because they never know when these ideas might come together to form a new idea. It may happen six minutes later or six months, or six years down the road. But they have faith that it will happen.”

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? — Carl Ally

? ? ? 我自己當(dāng)然是一名設(shè)計(jì)師盈匾，我掙扎于現(xiàn)代工作的文化規(guī)范。為什么必須這樣毕骡？為什么我們不能給設(shè)計(jì)師更多的自由削饵，并相信他們會因此創(chuàng)造更好的工作？即使在現(xiàn)代工作中未巫，我們?nèi)匀桓又匾暫饬客度攵皇钱a(chǎn)出 - 人們在辦公桌上花費(fèi)的時(shí)間比他們工作的結(jié)果更重要窿撬。

? ? ? 有很多次我坐在我的辦公桌前，由于我不理解的原因橱赠，我有一種觀看經(jīng)典電影的沖動尤仍。

當(dāng)然箫津，花一兩個(gè)小時(shí)看我的電影就等于把一個(gè)同事拍在臉頰上 - 做任何一個(gè)都會導(dǎo)致紀(jì)律處分狭姨。但是，如果我有自由觀看苏遥，比如饼拍，搞笑的臉呢？喬治格什溫的聲音伴隨著弗雷德阿斯泰爾的優(yōu)美動作田炭，在我休息和娛樂的心靈中可能形成了什么奇妙的聯(lián)系师抄？我永遠(yuǎn)不會知道。

I am of course a designer myself and I struggle with the cultural norms of modern work. Why does it have to be this way? Why aren’t we able to give more freedom to designers and trust that they’ll create better work as a result? Even in modern work we continue to place more importance on measuring inputs rather than outputs?—?how much time people spend at their desks is more important than the outcome of their work

There have been many times that I’ve sat at my desk and, for reasons I don’t understand, I have felt an urge to watch a classic film. Of course, taking two hours out of my day to watch a film is tantamount to slapping a fellow co-worker across the cheek?—?doing either will result in disciplinary action. But what if I had had the freedom to watch, say, Funny Face? What wondrous connections might have formed in my resting and entertained mind by the sounds of George Gershwin accompanied by the graceful movements of Fred Astaire? I shall never know.

? ? ? 我聽說廣告創(chuàng)意獲得了免費(fèi)的博物館通行證和電影票教硫。當(dāng)他們在項(xiàng)目之間時(shí)叨吮，他們被告知去做那些事情辆布。他們的工作是將文化轉(zhuǎn)化為品牌可以用來說服人們購買更多東西的信息。他們將經(jīng)驗(yàn)與形象設(shè)計(jì)相結(jié)合茶鉴。但是锋玲，代理商在項(xiàng)目之間的停機(jī)時(shí)間對設(shè)計(jì)師做了什么？他們將他們系在書桌上涵叮，給他們做猴子的工作惭蹂，并殺死他們的靈感。

? ? ? 谷歌有這樣的想法割粮，即員工20％的時(shí)間應(yīng)該花在他們認(rèn)為最有利于公司的任何事情上盾碗。一些驚人的項(xiàng)目開始了他們生命中20％的時(shí)間。現(xiàn)在舀瓢，在他們推出它多年之后廷雅，據(jù)報(bào)道，谷歌的人很少以這種方式分配時(shí)間氢伟。也許他們有太多的工作要做或者不覺得他們得到了管理層的支持榜轿？

谷歌人事業(yè)務(wù)負(fù)責(zé)人Laszlo Bock和工作規(guī)則的作者！他解釋說朵锣，20％的想法“在某種程度上超出了正式的管理監(jiān)督范圍谬盐，而且總會如此，因?yàn)樽钣胁湃A和創(chuàng)造力的人不能被迫工作诚些》煽”

? ? ? 我可以證明這一點(diǎn)。在以前的機(jī)構(gòu)中诬烹，我們試圖復(fù)制20％的規(guī)則砸烦。由于客戶的承諾，我們必須提前計(jì)劃我們的“空閑時(shí)間”绞吁。但我們發(fā)現(xiàn)幢痘，當(dāng)那一天到來時(shí)，我們根本沒有受到啟發(fā)家破。創(chuàng)造力不能被包含和安排颜说，它發(fā)生在它想要發(fā)生的時(shí)候。

I heard that advertising creatives get free museum passes and cinema tickets. When they’re between projects they are told to go do those things. Their job is to translate culture into messages that brands can use to convince people to buy more stuff. They connect experiences to form ideas just like designers. But what do agencies do to designers in the down-time between projects? They tether them to their desks, give them monkey work, and kill their inspiration.

At Google there’s this idea that 20 per cent of an employee’s time should be spent working on whatever they think will most benefit the company. Some amazing projects started their life in that 20 per cent of someone’s time. Now, many years after they introduced it, it’s reported that very few people at Google actually split their time in this way. Perhaps they have too much work to do or don’t feel like they have the support of management? Head of Google’s people operations Laszlo Bock and author of?Work Rules!?explains that the 20 per cent idea “operates somewhat outside the lines of formal management oversight, and always will, because the most talented and creative people can’t be forced to work.”

I can attest to that. In a previous agency we tried to copy the 20 per cent rule. Due to client commitments we had to plan ahead of time when we’d spend our ‘free time’. But we found that when that day came around we simply weren’t inspired. Creativity cannot be contained and scheduled, it happens when it wants to happen.

現(xiàn)代工作是一種分心

Modern work is a distraction

? ? ? 感覺有足夠的時(shí)間是一個(gè)問題汰聋，但空間和孤獨(dú)也是關(guān)鍵门粪。在現(xiàn)代工作中，我們每天花費(fèi)的辦公桌拴在一個(gè)開放式辦公室里烹困。從我們的辦公桌上玄妈，我們可以看到40個(gè)甚至100個(gè)人，并且可以在任何時(shí)刻聽到一些對話。在21世紀(jì)的辦公室拟蜻，空間是一種奢侈品绎签，耳機(jī)是新的隱私。

? ? ? 在某一點(diǎn)上酝锅，我可以用辦公室的嗡嗡聲作為我的支持軌道辜御。我主要是因?yàn)槿狈陋?dú)而掙扎。

在現(xiàn)代辦公室里屈张，被觀察的感覺永遠(yuǎn)存在擒权。無論有多少次我被告知沒有人在看我的鐘，直到我和同事之間有四道堅(jiān)固的墻阁谆，我才會繼續(xù)感到某種程度的焦慮碳抄。如果我們的老板旁邊有一張桌子，我們可能已經(jīng)經(jīng)歷過這種工作場所的焦慮场绿。我真的可以坐在這里觀看這篇20分鐘的TED談?wù)撃X組織與心靈之間的聯(lián)系嗎剖效？誰能說它是否與項(xiàng)目相關(guān)？我們可能永遠(yuǎn)不會知道焰盗，直到我們花時(shí)間璧尸。

? ? ? 通過不斷的觀察，我們的工作就變得不再那么做我們認(rèn)為會帶來好工作的事情熬拒，更多的是保持高生產(chǎn)力的形象爷光。看來我并不孤單澎粟。Lila MacLellan寫道蛀序，“了解其他人正在關(guān)注我們，這限制了我們創(chuàng)造性地解決問題的程度活烙，從而提高了工作效率徐裸。”這種被稱為透明度悖論的現(xiàn)象由Ethan S. Bernstein秘密嵌入五名中國出生的哈佛大學(xué)本科生在中國的一家工廠工作啸盏，并讓他們報(bào)告他們的同事在管理層的注意和不注意的情況下表達(dá)了什么樣的行為重贺。

? ? ? 伯恩斯坦和他的中國“嵌入”觀察到“在這個(gè)特殊的環(huán)境中，也許還有許多其他人回懦，管理者所看到的并不是真實(shí)的气笙。這是一場為觀眾播放的節(jié)目。當(dāng)觀眾離開時(shí)粉怕，真正的節(jié)目繼續(xù)進(jìn)行健民，節(jié)目效率更高抒巢∑侗矗“

? ? ? 設(shè)計(jì)師遠(yuǎn)離工廠工人，但我所知道的是，當(dāng)我獨(dú)自一人時(shí)稚晚，我最不擔(dān)心崇堵。焦慮是創(chuàng)造力的敵人，它產(chǎn)生了非理性的恐懼客燕，分散了清晰的思想鸳劳。添加100名同事的嗡嗡聲和無數(shù)的設(shè)備通知，我們開始看到我們有什么機(jī)會產(chǎn)生真正偉大的想法也搓。

? ? ? 我追求自由職業(yè)者的部分動機(jī)是收回一些失去的孤獨(dú)赏廓，并最終擁有自己的工作空間。我每天都被自己私人綠洲的遙遠(yuǎn)視野所驅(qū)使傍妒。一個(gè)白色的房間沐浴在自然光線下幔摸，每個(gè)墻壁都是一塊空白的畫布，用來展開我的思緒 - 一個(gè)沉浸式的思想颤练，想法和經(jīng)驗(yàn)的拼貼畫既忆。我希望可能需要幾年才能得到我的白色房間，但這個(gè)想法讓我繼續(xù)前行嗦玖。

Feeling like there is enough time is one problem, but space and solitude are also key. In modern work the desks that we spend each day tethered to reside in an open-plan office. From our desks we may be able to see 40 or even 100 people and hear a handful of conversations at any one moment. In the 21st century office, space is a luxury and headphones are the new privacy.

Up to a certain point I can work fine with the hum of the office as my backing track. I mostly struggle with the lack of solitude. In the modern office the feeling of being observed is ever-present. It doesn’t matter how many times I’m told that no-one is watching my clock, until there are four solid walls between me and my colleagues I will continue to feel some level of anxiety. We may have experienced this workplace anxiety if we’ve ever been assigned a desk next to our boss. Can I really sit here and watch this 20 minute?TED talk?about the connection between cerebral tissue and the mind? Who’s to say whether it’s relevant to the project? We may never know until we take the time.

With constant observation our job becomes less about doing whatever we feel will result in good work and more about maintaining an image of high productivity. It seems that I’m not alone in this.?Lila MacLellan writes, “Knowing that others are watching us limits the degree to which we might creatively solve a problem, and therefore be more productive.” This phenomenon, known as the?Transparency Paradox, was revealed by Ethan S. Bernstein as he secretly embedded five Chinese-born Harvard undergraduates in a factory based in China and had them report on what behaviours their colleagues expressed in times with and without the watchful eye of management.

Bernstein and his Chinese ‘embeds’ observed that “In this particular environment, and perhaps many others, what managers were seeing wasn’t real. It was a show being put on for an audience. When the audience was gone, the real show went on, and that show was more productive.”

Designers are far from factory workers but what I know to be true is that when I’m alone I’m least anxious. Anxiety is the enemy of creativity, it creates irrational fears that distract from clear thought. Add the hum of a 100 colleagues and a myriad of device notifications and we begin to see what little chance we have of generating truly great ideas.

Part of my motivation to go freelance was to reclaim some of this lost solitude and eventually have a place of my own to work from. Everyday I’m driven by a distant vision of my own private oasis. A white room bathed in natural light, each wall a blank canvas with which to unroll my mind onto?—?an immersive collage of thoughts, ideas, and experience. I expect it may be years until I get my white room but the thought keeps me going.

? ? ? 它真的需要這樣的極端措施患雇，比如自由職業(yè)者，在我們的工作日獲得一定程度的個(gè)人空間嗎宇挫？在我們辦公室的哪個(gè)地方苛吱，我們現(xiàn)在可以去逃避分心和焦慮？我走過走過走廊器瘪，樓梯間和火災(zāi)逃生的人又谋。我想火災(zāi)逃生與任何地方一樣好。

Should it really require such extreme measures, such as going freelance, to get even some level of personal space in our working day? Where in our offices can we go now to escape the distractions and anxiety? I walk past people taking personal calls in corridors, stairwells, and fire escapes. I guess the fire escape is as good a place as any.

步進(jìn)和注意停機(jī)時(shí)間

Stepping away and mindful?downtime

? ? ? James Webb Young的“制作創(chuàng)意技巧”的一個(gè)關(guān)鍵部分就是完全不考慮問題娱局。他建議彰亥，一旦對問題進(jìn)行了足夠的研究，讓潛意識在形成聯(lián)系方面的工作是很重要的衰齐。Young提出了許多方法來實(shí)現(xiàn)這一目標(biāo)任斋，包括做一些無關(guān)緊要的事情，激勵你并激勵你耻涛。睡眠和冥想也可以解決問題废酷。我曾經(jīng)去過一間有冥想室的辦公室。我想知道這是不是完成所有好工作的地方抹缕。

“這就是想法的方式：在你停止為他們緊張之后澈蟆，并經(jīng)歷了一段時(shí)間的休息和放松的搜索∽垦校”

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? — James Webb Young

? ? ? 現(xiàn)代工作失敗給我們恢復(fù)和所需注意時(shí)間這個(gè)創(chuàng)意的關(guān)鍵部分趴俘。同樣的,我們將在家做這部分睹簇。? ? ? ? ?

? ? ? 我經(jīng)常聽到“我想洗澡…”。我的一些最有價(jià)值的思想我在淋浴寥闪。所以為什么我繼續(xù)在國內(nèi)淋浴?在工作中我應(yīng)該洗澡,三個(gè)小時(shí)太惠。

? ? ? 或者我們會聽到“我夢想這個(gè)瘋狂的想法!“但在我們辦公室小憩在哪里?有很多研究表明改善創(chuàng)造性問題解決后從快速眼動睡眠中醒來。現(xiàn)在我工作辦公室的床墊公司還有沒有睡覺疲憋。當(dāng)我得到我自己的工作室,我第一次購買會一天床上凿渊。多么美妙的一天床上的聲音。

Modern work fails to give us the restorative and mindful time needed for this critical part of idea generation. Again, we’re expected to do that part at home.

I often hear “I was thinking in the shower…”. Some of my most valuable thoughts have come to me in the shower. So why do I continue to shower at home? I should be showering at work, for three hours.

Or we’ll hear “I dreamt this crazy idea!” but?where is there to nap in our offices? There have been many studies that show improvements in creative problem solving right after waking from REM sleep. Right now I’m working from the office of a mattress company and there is still nowhere to sleep. When I get my own studio, my first purchase will be a day bed. How wonderful a day bed sounds.

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 只有Don Draper這樣的人才敢在上班時(shí)間小睡缚柳。版權(quán)所有AMC埃脏。

? ? ? ? ? Only someone like Don Draper would dare take a nap during work hours. Copyright AMC.

? ? ? 自然對創(chuàng)造力也很重要但我花了很長時(shí)間才意識到為什么。? ? 很容易感覺這一切的中心是正確的地方得到靈感秋忙。我發(fā)現(xiàn)正好相反剂癌。我們城市的噪音,它延伸。一個(gè)橡皮筋拉得太遠(yuǎn)太長時(shí)間失去其原始形式和斗爭為它的目的服務(wù)翰绊。在城里呆太久,這就是它的作用佩谷。自然幫助我們回到我們最初的形式。自然不拉或拉伸,它只是讓我們监嗜。當(dāng)我們從自然回來我們覺得可以實(shí)現(xiàn)我們的目的谐檀。在現(xiàn)代辦公室最近的我們自然是圖像的桌面墻紙。

Nature is important for creativity too but it took me a long time to realise why. It’s easy to feel like being at the centre of it all is the right place to get inspiration. I’ve found the opposite is true. The city is noise, it stretches us. An elastic band when pulled too far for too long loses its original form and struggles to serve its purpose thereafter. Stay too long in the city and that’s what it does to us. Nature helps us get back to our original form. Nature doesn’t pull or stretch, it simply lets us be. And when we return from nature we feel ready to fulfil our purpose. In the modern office the closest we get to nature is the image on our desktop wallpaper.

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 南海岸,夏天,日出前裁奇。重置桐猬。

? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? South Coast, summer, before sunrise.?Reset.

只有我們可以知道

Only we can?know

? ? ? 人民有能力改變我們的工作文化和重新定義文化規(guī)范的現(xiàn)代工作不知道設(shè)計(jì)師所需要的東西」舫Γ看起來,不做那些雇來的建筑師設(shè)計(jì)每天我們居住的空間溃肪。

? ? ? 我們不能離開別人承認(rèn)我們需要的手中。我們必須要求,或者為自己設(shè)計(jì),一個(gè)幫助我們做偉大的工作的環(huán)境音五。一個(gè)更有效和更好的環(huán)境對我們的創(chuàng)造性思維惫撰。

? ? ? 作為設(shè)計(jì)師,我們聘請了我們的創(chuàng)造力,我們被錄用的方式,因?yàn)槲覀冋J(rèn)為別人沒有,只有我們可以知道如何培養(yǎng)自己的一部分。

The people with the power to change our work cultures and redefine the cultural norms of modern work don’t know what designers need. Neither, it seems, do the architects who were hired to design the spaces that we inhabit each day.

We can’t leave it in the hands of others to recognise what we need. We must demand, or design for ourselves, an environment that helps us do great work. An environment that’s both more productive and better for our creative minds.

As designers we are hired for our creativity, we are hired because we think in ways that others don’t, only we can know how to nurture that part of ourselves.