Lefteris Tsampikakis是来自希腊罗德岛的工业设计师，2013年毕业于爱琴海大学产品与系统设计工程系。现在他是一名独立设计师，与国内外许多公司合作。他认为，设计是实验与理解的过程，目的是为了满足人们的需求。好设计必须是简单，真诚而有用的。

Lefteris Tsampikakis

Narkii：

当您开始一个新的项目，您典型的设计流程是怎样的呢？

When you start a new project, what is your typical design process?

Lefteris：

每个项目都不同，所以每次我都需要调整自己的流程，但是，我会遵循一些非常基础的通用步骤。一开始都会做方方面面相关的研究，关于客户，终端用户，使用情景，市场调查等。这是最基本的一步，是整个设计流程的基础。当我收集到了需要的所有信息后，就开始发想点子。也就是进行通过草图进行头脑风暴和探索，直到我想出足够的点子数量。接着，挑出最佳的点子，形成概念。这个阶段我通常会做许多3D模型样品，用这些样品来评估想法。然后，挑出最满足要求/设计导则的概念，做出最后的设计，这里通常是与客户/同伴合作。最后就是做出原型，测试和评估。

Every project is different so each time I have to adjust my process but, there some very basic generic steps which I always follow. Every project starts with a lot of research about everything related to it thus, the client, the end users, the context of use, market research etc. That’s the most basic step because it’s the foundation of the design process. When I feel that I have all the information I need, I continue to the ideation phase. That means, brainstorming and exploration through sketching until I have a sufficient number of ideas. Then, I pick the most promising of my ideas and develop them into concepts. In that stage I usually make a large number of simple 3d models in order to evaluate my ideas. Then, I choose the concept that better fulfils the requirements/design guidelines and develop it in the final design, always in collaboration with my clients/associates. The design is not over until a final prototype is made, tested and evaluated.

Narkii：

您的多数作品都是家具设计。这个领域最吸引您的是什么呢？ 

Most of your works are related to furniture design. What attracts you most in this area?

Lefteris：

家具是我们日常生活中重要的一部分，在家时我们与它们一起生活，出门时我们也使用它们，工作中也需要它们。设计家具时需要考虑许多的因素，比如功能、使用、人体工程学，美学等。而且，要创造出一件区别于现有家具的独特家具非常难。这非常具有挑战性同时也很有趣，这也正是我对家具设计感兴趣的原因。

Furniture are an important part of our everyday life, we live with them at home, we use them when we go out and they also support our work activities. There are so many parameters that you have to consider when designing a furniture such as functionality, usage, ergonomics, aesthetics etc. and it’s very difficult to create a piece of furniture that is different from what already exists and, unique. It’s very challenging and intriguing and that’s why I’m so interested in furniture design.  

Wine Bar Stoll酒吧椅

Narkii：

您认为好设计必须是简单，真诚且有用的。“简单”和“有用”很好理解，您能解释一下“真诚”吗？

You believe that good design has to be simple, honest and useful. It is easy to understand “simple” and “useful”, but can you explain “honest”?

Lefteris：

我说的“真诚”指的是，一个产品必须就是它的样子本身，不应该更少也不应该更多。不需要隐藏任何部分，也不要过度设计或装饰。比如，使用，功能，制作方法，或材料的真实性质。

With “honest” I mean that, a product has to be exactly what it looks like, nothing less and nothing more. Not to hide anything and not to overdesign or decorate. For example, to be obvious the usage, the function, the way something was made, or, the true nature of the materials.

Narkii：

客户的想法在您的设计中扮演什么角色呢？

What kind of role does the opinion of your clients play in your design?

Lefteris：

当我接到任务来设计一件产品，就意味着我不是只为自己做设计，而是为客户，以及更重要的，为终端用户。许多情况下，客户在他们的领域也非常专业，所以我会很仔细地听他们的意见。设计师与客户之间良好的沟通与合作是创造出成功产品的关键因素。 

When I’m commissioned to design a product means that I don’t design just for me but, for my client and, most important, for the end user. In many cases, clients are also a kind of experts in their field so, I listen to them very carefully. Good communication and collaboration between the designer and his client is the key element for the creation of a successful product.

Magnetosphere Desk Lamp磁层台灯

磁层台灯的灵感来自于我们星球和宇宙的两个基本力量 - 电磁和重力。这种台灯体现了这样的概念：一切事物都由于重力附着在地球表面上且能自由移动。磁层台灯具备功能性，符合人体工程学，使用方便，非常简单，同时带有趣味性。灯的底座是金属空心球，灯臂包含一个木球，管子和一个包围光源的木盘。木球底部带有磁铁，使得灯臂能够在金属球体表面上自由旋转移动。木球则是作为一个符合人体工程学的把手，使用者能够握住它来将台灯调整到想要的样子。

Narkii：

工作之余您的灵感来自哪呢？

What inspires you outside of work?

Lefteris：

工作之余有许多事物会给我灵感，不过我要说，我最感兴趣的是艺术和科学。我热衷好的音乐和诗歌，但也喜欢了解科学与技术的发展。

There are many things that inspire me outside of work but, I can say I’m mostly interested in art and science. I like good music and poetry but I also enjoy to be aware of scientific and technological developments.

Narkii： 

希腊设计业为设计师们提供了怎样的环境？

What kind of environment for designers does design industry provide in Greece?

Lefteris：

遗憾的是，希腊的设计业不像其他欧洲国家发展得那样好，因为制造能力有限。而且，由于去年的金融危机，许多公司都倒闭或缩小规模，所以很多设计师挣扎着找工作，而有工作的也收入过低，面临许多困难。因此有许多年轻的设计师为了找工作而离开希腊，争取机会打拼设计事业。尽管如此，希腊也有许多有天赋的设计师，他们获得国际大奖，在世界各地展示作品，与大公司合作。

Unfortunately, design industry in Greece is not as evolved as in other European countries, and that is, because there are limited manufacturing capabilities. Furthermore, due to the financial crisis of the last years, many companies have been closed or shrink so, designers straggle to find work and those who have, are underpaid and face many difficulties. That’s why many young designers leave from Greece in order to find work and have a chance to build a career in design. Despite that, there are many talented designers in Greece whose work has been awarded and exhibited worldwide, and collaborate with large foreign companies.

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Narkii：

您认为在如今全球化的环境中，设计师如何在国际化的同时保持自己文化的特色？

In the global environment, how does a designer go international while maintaining the feature based on his or her own culture in your opinion?

Lefteris：

我觉得作为设计师，自身的文化正是走向国际化的最强优势。如果设计师能够将这些特点以有趣的方式整合到自己的作品中，那么他就有机会做出与众不同的东西，并且被国际注意到。所以，关键不是如何保持，而是如何利用。

I think that for a designer, the features of his own culture are the strongest advantage that he has in order to go international. If he manages to incorporate these features in his work in an interesting way then he has a chance to make the difference and be noticed in an international level. So, the point is not how to maintain them but how to make use of them.

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