摘要
汽车造型作为技术进步和时代风格的产物已有百年历史。汽车造型设计不仅仅是体现技术的物理存在，更应该是品牌价值和人文价值的表达。同样，品牌是汽车造型的存在方式，赋予了汽车造型“正确”的美。在这个意义上来说，所有的汽车造型设计和设计研究都应该不仅属于“科学”，而且也应该属于“文化”。
本论文研究的题目是《辨物居方，明分使群——汽车造型品牌基因表征、遗传和变异》。首先，设计研究是一个自然科学和人文科学交叉的独特研究领域，需要运用科学的态度和文化的思想研究汽车造型设计。“辨物居方，明分使群”源于中国传统的思想哲理，是本文研究的核心指导思想；“汽车造型”是汽车设计的专门领域，既是一门学科也是一门技术，“汽车造型”定义了本文的研究领域属性，即主要的研究概念、术语和理论都是属于汽车设计领域的。其次，“品牌基因”是本文的主要研究对象，是通过“品牌基因”的研究来实现品牌的形象认知和概念认知；“表征、遗传和变异”是品牌基因研究的关键“科学”问题，是“品牌基因”的认识基础，也是品牌进化设计的方法论基础。
本研究是以“案例分析”与“文献研究”为基本研究方法的设计研究，以实地调研文献（包括照片、历史图片）和论文论著作为理论基础，获得领域相关理论的结构性支撑，运用特征线提取、形式化表达和特征关联关系比较研究等具体方法，形成案例分析的“可视化”图表。最后，本研究是从“自然机制”的角度，通过汽车品牌来研究汽车造型设计。从研究本质上来说，属于设计的认识以及设计方法论的研究，强调案例事实观察的可靠性和案例分析方法的可重复性。本文的案例对象有两类：经典品牌案例和自主品牌设计案例。
研究首先以德国宝马博物馆和奥迪博物馆实地调研（包括照片、历史图片）的经典品牌案例和文献为基础，提出汽车品牌是具有独立存在意义的“生命体”，有着自己独特的发展痕迹和存在方式，可以成为设计研究的“实在”对象。通过品牌内涵、外延和概念范畴以及“品牌故事”的讨论，提出了采用“造型代码”和“语义代码”进行汽车品牌基因表征的概念。造型代码是品牌基因特征属性的几何描述；语义代码是品牌基因特征属性的语义描述。在此基础上提出了汽车品牌基因定义：在汽车品牌历史中具有“生存”和“进化”能力的品牌特征，由造型代码和语义代码两部分组成，具有造型代码链和语义代码链的表征形式。然后，研究构建了汽车品牌基因代码映射关系框架，并认为汽车品牌就是品牌基因的造型代码和语义代码的不断循环，形成“上下文”关系的品牌造型代码链和语义代码链的过程。造型代码是一种由特征线表征的“视觉模式”；语义代码是一种由词语表征的“造型概念”，即品牌的形象认知和概念认知，两者实现了品牌认知的“视觉相似性”和“辅助定位信息”。
在品牌基因表征研究的基础上，本文采用宝马品牌遗传案例和奥迪品牌变异案例的分析方法，结合中国重汽轻卡研发项目和中气自主研发项目的设计案例类比分析，探讨了品牌基因的遗传和变异现象，提出了品牌基因的遗传是品牌形成家族性和延续性的理论观点。遗传具有两种进化模式，同平台车型的“直系亲属”遗传进化模式；跨平台车型的“近亲”遗传进化模式。同时，提出了汽车品牌基因的变异是品牌的跨越性和品牌生命活力的表现。研究表明，通过语义概念和语义概念联想实现造型设计的创意和跨越是汽车造型设计的重要途径，造型特征与语义特征的映射是特征生成和变异的重要方法。研究提出技术进步与艺术思潮是驱动品牌基因变异的直接原因，品牌基因的跨越性变异是推动品牌不断向前演化的根本原因，其中基因变异的表现是动态性，变异的动因是适应性。品牌基因的动态性反映了人对品牌的认知不是一个在某时间内对品牌符号表征的计算，而更多的是一个动态的认知系统。品牌基因的适应性反映了语义代码和造型代码会对“艺术生态”和“技术生态”变化的刺激产生设计的反馈，具有刺激捕捉和自主反映两个特点。品牌基因变异形成了品牌车型平台深度的差异和广度的多样，是品牌的进化发展的源动力。
在汽车品牌基因表征、遗传和变异研究的基础上，本文提出品牌历史是品牌基因呈螺旋式循环进化，逐渐由低级到高级的发展过程。构建了品牌螺旋式进化过程模型，并在汽车品牌螺旋式进化过程模型基础上定义和描述了品牌的回归设计和品牌的跨越设计两种进化设计现象。研究认为：设计与品牌对话是汽车造型设计的方法论，继承遗传和隔代遗传的回归设计是汽车造型设计的创新设计方法；设计与时代的对话同样是汽车造型设计的方法论，变异和突变的跨越设计也是汽车造型设计的创新设计方法。在汽车品牌进化过程模型的基础上，结合设计案例的研究，本文归纳总结了四种主要的品牌延续性设计策略：队列型进化设计策略、堆栈型进化设计策略、语义线索设计策略和特征聚合设计策略。探讨了四种品牌跨越性设计策略：动态性设计策略、适应性设计策略、设计进化的发散策略和设计进化的收敛策略。
在此基础上，本研究最后提出了汽车品牌进化策略模型，提出品牌进化方法论，即汽车造型设计的目标是“品牌”，品牌基因进化是途径。
The history of the car styling is nearly a hundred years which is the developmentof the advanced technology combined with up-to-date style. Today, car is more thanjust physical technology artifact. It should be the presentation of value and the historyof the car brand and in turn the brand makes the car styling design meaningful. Basedon this point of view, all car styling design activities should be the scientificconstrained creation works full of culture heritages.
The title of this Ph.D thesis is a car styling-based study: the design methodologybased on brand DNA. Firstly, this research belongs to the design research which is aunique interdisciplinary study between the branch of nature science and humanities.So the core research though on this thesis is not only from a theoretical interpretationbut also from the Chinese traditional thinking on the distinction and categories of theartifacts.
Secondly, the core research questions are what brand DNA is, how to representand how to build a car brand using it. So we turn to the history of the car brand anddecomposed these questions into several small research parts such as in which waythe brand DNA turns into the brand image and develops a brand concept, etc.
Thirdly, the basic research methods in this thesis are case study and literaturereview. We use surveys, feature lines comparisons, features’ relationship, andformalized presentation which are shown in the visualization figures. All the dataused in this thesis is from field study including photos, books and correspondingpapers.
At last, this thesis is an attempt that talking about the ways of car styling designfrom brand at the point of the natural mechanism which is the evolutional thoughtsmade up by brand DNA’s hereditary and mutation.
As this thesis is about the designerly ways of knowing, we cares more about thecase’s reliability and reusability. There are two kinds of cases in this thesis that isclassic foreign brand cases and domestic brand cases. The former ar e the brandhistory cases and the later are the brand design cases.
The classic foreign brand cases are the surveys of BMW museum in Munich andAudi museum in Ingolstadt where the precious history photos and documents got from.They show that the procedure how a car brand build have its owned unique life circle and brings the idea that the brand is a growing life creature which has brand DNA topresent its characters. So we proposed two operators, the “feature code” and“semantic code”, which are the characters could self-produce and the brand wouldevolve from, for the sub-structure of brand DNA. The feature code stands for thegeometry attribute of the brand DNA by the feature lines indicating the brand patterncognition while the semantic code for the semantic concept attribute by the adjectivesindicating the brand value cognition. Besides we assume that the codes are in the formof string as the brand history is a lasting development. Based on this hypothesis, thebranding process is the feature code and the semantic code move in endless cycles tobuild the brand context called “the brand story” and the brand cognition is more like astorytelling process.
The domestic brand cases are the surveys about the design process of Zhongqi CarDesign Program and Zhongqi Commercial Vehicle Design Program. In these twoprograms, we studied how the brand DNA affect the design proposal where we foundthat the product family and the brand stability could be explained trough the heredityof brand DNA while the brand’s innovation and the brand vitality could be the resultof the mutation of brand DNA. Analogy with the BMW brand case, we find there aretwo ways to build the product family which are the same platform features’ inheritingcalled “the immediate family” and the cross platform features’ inheriting called“closely related”. Meanwhile, analogy with the Audi brand case, we conclude thereasons for the brand’s innovation are the technology creations and art improvements.Then we find that the connection founding between the semantic codes wouldstimulate the creative design and the mapping between the semantic codes and featurecodes would make the design more meaningful and more acceptable. The researchresult shows that the expression of the brand DNA mutation is a dynamic state whichmeans the brand cognition is a dynamic recognition system instead of a sum of thesymbol during a time period and the consequence of brand DNA mutation is theadaptive state which implies that the brand feature code and semantic code w ouldsense the change of the technology and art environment and adapt it. Thanks to themutation, the brand platform is more advanced and more diversify.
Based on the research on the car brand DNA’s presentation,heredity and mutation,we propose a spiral brand development model due to the brand DNA’s reinforcementfrom the lower state to the higher state which is like a spiral evolution process. Fromthe model, we define two kinds of brand design phenomenon which are described asthe creative flyback design phenomenon and the creative leap design phenomenon. The first one is like a direct or an inter-generation conversation between the designand the brand history which we called it the inheriting design strategy. The latter oneis like design talking with the current time called as the leap design strategy.Furthermore, this thesis summarizes four types of methods in the inheriting designstrategy which are the in-line type inheriting method, the stack type inheriting method,the semantic clue building method, the feature aggregation method and four types ofmethods in the leap design strategy which are the dynamic design method, theadaptive design method, the divergence design method, the convergence designmethod. In the end, this thesis proposed a car brand evolutional strategy structure andcorresponding methodology that the right or the purpose of car styling design is thebranding and the way to achieve it is the brand DNA evolution.
引文
①赵江洪.设计研究和设计方法论研究四十年.设计史研究：设计与中国设计史研究年会专辑.上海：上海书画出版社，2007,21-28.
②Alexander C. The state of the art in design methods. DMG Newsletter,1971, Vol.5, No3:3-7.
③Rittel H. The state of the art in design methods. Design Research and Methods,1973, Vol.7, No2:143-147.
④Oxman R. Theory and design in the first digital age. Design Studies, Vol.27No.3May2006:230.
⑤[美]赫伯特·Ａ·西蒙.杨砾译.关于人为事物的科学.北京：解放军出版社.1988,41.
⑥[美]诺曼.设计心理学.北京：中信出版社,2010,88-95.
①Fitch WM. Distinguishing homologous from analogous proteins. Syst Zool,1970(19):99-113.
②冯培恩等.基于产品基因的概念设计.机械工程学报，2002年，第38卷，第10期:1-6.
③Frazer J H. Creative Design and the Generative Evolutionary Paradigm. In: P.J. Bentley and D.W Corne.Creative Evolutionary Systems. UK: Morgan Kaufmann press,253-274.
④[美]特瑞·波素马特尔,陈禹等译.沙地上的图案——计算机、复杂和生命.江西：江西出版，1999，20.
⑤蒋劲松,王巍.科技哲学的反思.北京：清华大学出版社，2004，254-259.
①Owen C. Design Thinking. What It Is. Why It Is Different. Where It Has New Value.[Speech] theInternational Conference on Design Research and Education for the Future,18October-1November,2005.
②王先谦.荀子集解.北京：中华书局出版社，1988，253.
③马洪林.康有为大传.辽宁：辽宁人民出版社,1988，669.
④何九盈.《尔雅》的年代和性质.中国语文研究,1984(2):11-15.
①王龙.中国汽车产业国际竞争力研究.[武汉理工大学博士学位论文].武汉：武汉理工大学，2006，23-25.
②赵江洪.设计艺术的含义.湖南：湖南大学出版社.2005，55.
③[美]赫伯特·Ａ·西蒙.杨砾译.关于人为事物的科学.北京：解放军出版社.1988,23.
④Jones J C, Thornley D G. Conference on Design Methods: papers. London: Pergamon press,182.
⑤Sch n. The reflective practitioner, How Professionals think in action. USA: Basic Books press,1983,76.
⑥Acher. A view of the nature of design research. In: Jacques, R and Powell, J. Design: Science: Method. UK:Westbury House press,1981,30.
⑦赵江洪.设计研究和设计方法论研究四十年.设计史研究：设计与中国设计史研究年会专辑.上海：上海书画出版社，2007,21-28..
①Owen C. Design Thinking: Notes on its Nature and Use. Design Research Quarterly, January,2007, Vol.2(1):16-27
②McCormack, JP. Cagan, J. and Vogel, CM. Speaking the Buick Language: Capturing, Understand ing, andExploring Brand Identity with-Shape Grammars. Design Studies,2004, Vol.25(1):1–29.
③Clement J. Observed methods for generating analogies in scientific problem solving. Cognitive Science,Volume12, Issue4, October–December1988:563–586.
④Cross, Dorst. Co-evolution of problem and solution spaces in creative design: observations from an empiricalstudy. In Gero and M L Maher. Computational models of creative design IV, University of Sydney, NSW,Australia,1998.
⑤Gick M L, Holyoak K. J. Schema induction and analogical transfer. Cognitive Psychology,1983(15):1-28.
⑥Utterback J, Vedin B A, et al. Design-inspired innovation. Singapore: World Scientific Publishing,2006.
⑦Louridas P, Loucopoulos P. A generic model for reflective design. ACM Transactions on SoftwareMethodology,2000,9(2):199–237.
⑧Moran T P, Carroll J M. Design Rationale: Concepts, Techniques, and Use. Lawrence Erlbaum Associates,Mahwah, NJ1996,.
⑨Purcell A T, and Gero J. Design and other types of fixation, Design Studies,1996,17(4):363-383.
①赵江洪,谭浩,谭征宇.汽车造型设计：理论、研究与应用.北京：北京理工大学出版社,2010,1.
②Gartman D. Three Ages of the Automobile. Theory, Culture&Society,2004, Vol.21, No.4-5:169-195.
③陇菲.文经三章文脉.甘肃日报,1994-8-13.
④Aaker D. A Brand leadership. The Free Press, New York, NY,2000，33.
⑤Akrich. The Description of technical objects. In Wiebe E B, John L. Shaping Technology/Building Society:studies in Sociotechnical Change, MA: MIT press,1992,205-224.
⑥李心峰.艺术类型学.北京：文化艺术出版社，1998，211.
⑦Traugott E C, Pratt, M L. Linguistics for Students of Literature. USA: Harcourt College Pub press,1980，235.
⑧刘玉麟.风格是常规的变异（上）-介绍文艺文体学的一个理论兼析弥尔顿和意识流小说的语言.外国语（上海外国语学院学报）.1983(3):6-12.
①[梁]刘勰，祖保泉解说.文心雕龙解说.安徽:安徽教育出版社,1993，555.
②Asokan A, Cagan J. Defining cultural identities using grammars: an exploration of "cultural languages" tocreate meaningful experiences. In: DUX’05Proceedings of the2005conference on Designing for UserExperirnce Article No.35. USA,2-11.
③McCormack, Cagan J, Vogel C M. Speaking the Buick Language: Capturing, Understanding, and ExploringBrand Identity with-Shape Grammars. Design Studies,2004, Vol.25(1):1–29.
④王中.基于产品族群特性的商用车产品识别设计.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计制造国家重点实验室，2012，17.
⑤王巍,赵江洪.基于情境的汽车造型语义分析.装饰,2007(2)，107-108
⑥A special edition of Science about complex systems. Science.1999, Vol.284,5411,1-222.
⑦[美]特瑞·波素马特尔,陈禹等译.沙地上的图案——计算机、复杂和生命.江西：江西出版，1999，20.
⑧周昌乐.关于人工意识研究途径的哲学反思.见：科学技术中的哲学问题学术讨论会论文集.北京：清华大学，2002，210-217.
①G ker M H. The effects of experience during design problem solving, Design Studies,1997,18(4):405-426,.
②Stiny G. Introduction to shape and shape grammars. Environment and Planning B: Planning and Design,1980,7(3):343-351,.
③Cheutet V, et al. Preserving car stylists’ design intent through an ontology. International Journal onInteractive. Design and Manufacturing,2008,2(1):9-16.
④Orsborn S D, Cagan J, Pawlick R, Smith R. Creating cross-over vehicles: defining and combining vehicleclasses using shape grammars. Artificial Intelligenc e for Engineering Design, Analysis and Manufacturing,,August2006, Vol.20, Issue03:217-246.
⑤赵丹华.汽车造型特征的知识获取与表征.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计制造国家重点实验室，2007，24.
⑥Janlert L E. The character of things. Design Studies,1997, Vol.18, Issue (3):297-314.
⑦Firth J R. Papers in Linguistics. New York: Oxford University Press,1966,190.
①Schank R C. Conceptual dependency: A theory of natural language processing. Cognitive Psychology,1972,1(3):52-63.
②Langacke, Ronald W. Foundation of cognitive grammar: th eoretical prerequisites. Vol.1. USA: StanfordUniversity press,328.
③Croft W. Some contributions of typology to cognitive linguistics. In Jassen T, Redeker G. Cognitivelinguistics: Foundation, Scope and Methodology. Berlin: Mouton de Gruyter press,61-94.
④Kay, P. Fillmore, C. Grammatical constructions and linguistic generalizations: The What’s X Doing Y?construction. Language,1999,75:1-33.
⑤[美]默里·盖尔曼,[译]杨建邺,李湘莲.夸克与美洲豹——简单性和复杂性的奇遇.湖南：湖南科学技术出版社,364.
①赵江洪,谭浩,谭征宇.汽车造型设计：理论、研究与应用.北京：北京理工大学出版社,2010,23-176.
②Oxman R. Theory and design in the first digital age. Design Studies, May2006, Vol.27, No.3:230.
①[美]托马斯·库恩,[译]金吾伦,胡新和.科学革命的结构.北京：北京大学出版社,2003,32-47.
②Richards I A. The Philosophy of Rhetoric. London: Oxford press,1936,10-110.
③刘劲杨.还原论的两种形相及其思维实质.自然辩证法通讯,2007, Vol.29(6):25-31.
④Sunny. Y. Auyang. Foundations of Complex-system Theories. Cambridge University press,1998,53.
①David w. Norton, Jeffrey VanDeVelde. Producing customer happiness: the job to do for brand innova tion.DMI,2010(21), No.3:6-15.
②张文泉，赵江洪.奥迪品牌造型基因研究.包装工程,2007(04):84-86.
③Neumeier M. The Brand Gap: How to Bridge the Distance Between Business Strategy and Design. AIGApress,2005,15-18.
①Florian Triebel. BMW Group Mobile Tradition: Corporate Affairs. Mobile Tradition live.2005(1)：38-41.
①Audi&Design [J]. Auto&Design178, September/October2009Special Edition, Italy,4-10.
②Gartman D. Three Ages of the Automobile. Theory, Culture&Society.2004(21), No.4-5：169-195.
①张文泉,赵江洪,谭浩.奥迪品牌发展与汽车造型特征研究.装饰,2011,(7)：75-78.
②Walter de’ Silva.[Speech] Car and transportation design. Milan: Politecnico di Millano. CT49, via Durando8, Italy,2009.6.29.
①Chris Bangle. The ultimate creativity machine: How BMW turns art into profit. Harvard business review2001, January:5-11.
①Mats U. Core value-based corporate brand building. European Journal of Marketing,2003(37) No.7/8,:1017-1040.
②Lawson J. Mime: The Theory and Practice of Expressive Gesture: with a description of its historicaldevelopment. London: Dance Horizons press,1957,3-15.
③Lasseter J. Principles of traditional animation applied to3rd computer animation. Computer Gr aphics(Proceedings of SIGGRAPH87),21(4):35–44,1987. Held in Anaheim, California.
①颜其锋.20世纪设计风格与时尚之演变规律研究.[湖南大学硕士学位论文].湖南：湖南大学设计艺术学院，2002，102-105.
②David W.N, Jeffrey F. D, Jeffrey VanDeVelde. Producing customer happiness: The job to do for brandinnovation. DMI, Design Management Review,2010(21), Issue3, September:7-15.
①Rockwell. The mathematics of brand satisfaction. Design Management Review.2008(19), Issue2:75–81.
②Gibbons G.“The social value of brands”, in R. Clifton&J. Simmons, Brand and Branding. London: JohnWiley&Sons press,2009,45-60.
③Free C. The internal brand. The Journal of Brand Management,1999(6):231-236.
④Gr nroos C. Service Management and Marketing: a customer relationship management approach. London:John Wiley&Sons press,2000,204-210.
①McCracken G.“The value of the brand: an anthropological perspective”, in Aaker, D.A. and Biel, A.L.(Eds),Brand Equity and Advertising: Advertising's Role in Building Strong Brands. London: Routledge press,1993,125-39.
②Rokeach M. The Nature of Human Values. New York: The Free Press,1973,17-21.
③Gad T.4-D Branding: Cracking the Corporate Code of the Network Economy. London: Financial Timespress,2001,63-75.
④Kunde J. Corporate Religion: Building a Strong Company T hrough Personality and Corporate Soul. London:Financial Times press,2000,210-220.
⑤Laban R, Ullmann L. The Mastery of Movement. UK: Dance Books press,1988,46-65.Alberts D. The Expressive Body: Physical Characterization for the Actor. UK: Heinemann p ress,1997,98-105.
①Shawn T. Every Little Movement: A Book about Francois Delsarte. New York: Eagle Print. and Bindingpress,1963,28-60.
②Rosch E. Principles of categorization. In Cognition and Categorization, ed. E. Rosch and B Lloyd, Hillsadle,N J: Erlbaum press,1978,5-10.
③Jensen R. The Dream Society. How the coming shift from information to imagination will transform yourbusiness. New York: McGraw-Hill press,1999,170-175.
④Lewin T. The complete book of BMW: every model since1950. US: Motorbo oks International press,2004,376-377.
①Norman D A. The Design of everyday things. New York: Basic Books press,2002,105-110.
①张文泉.汽车品牌“造型基因”研究.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2004，8-9.
②特瑞·波素马特尔,陈禹等译.沙地上的图案：计算机、复杂性和生命.江西：江西教育出版社,1999,23-40.
③周昌乐.关于人工意识研究途径的哲学反思.见：科学技术中的哲学问题学术讨论会论文集.北京：清华大学出版社,2002,210-217.
①王巍.汽车造型的领域知识描述与应用.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2007,87.
②朱上上.基于知识的产品造型设计技术研究.[浙江大学博士学位论文].杭州：浙江大学计算机科学与技术学院,2003,38-39.
③赵丹华,赵江洪.汽车造型特征与特征线.包装工程,2007(28):115-118.
①赵丹华.汽车造型特征的知识获取与表征.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2004,28-29.
①Kahneman D., Treisman A., and Gibbs B J. The reviewing of object files: Object-specific integration ofinformation. Cognitive Psychology (24),1992:175–219.
②Hommel B. Event files: Feature binding in and across perception and action. Trends in CognitiveScience(8),2004:494–500.
①Prats M. Transforming shape in design: observations from studies of sketching. Design Studies (30), Issue5,September2009:503–520.
②Pylyshyn Z W, Storm R W. Tracking multiple independent targets: Evidence for a parallel trackingmechanism. Spatial Vision (3),1988:179–197.
③Sch n D A. The Reflective Practitioner: How professionals think in action. New York: Basic Books press,1983,76-104.
④冯培恩等.基于产品基因的概念设计.机械工程学报,2002,38(10):1-6.
⑤Prats M, Earl C, Garner S and Jowers I. Shape exploration of designs in a style: towards generation ofproduct designs. In: AI EDAM2006, Special Issue on Understanding, Representing and Reasoning a bout StyleVol.20, No3:201-215.Prats M and Garner S. Observations on Ambiguity in Design Sketches, Tracey, an internet-based drawingresearch journal, Loughborough University, September2006.
⑥Carroll J, Briscoe E, Grover C. A Development environment for large natural language grammars. TechnicalReport, Computer Laboratory, Cambridge University,1991,26.
⑦黄曾阳. HNC（概念层次网络）理论:计算机理解自然语言的新思路.北京:清华大学出版社,1998,200-210.
①Audi&Design [J]. Auto&Design178, September/October2009Special Edition, Italy,4-10.
①Nathan C. Design as communication: exploring the validity and utility of relating intention to interpretation.Design Studies (29), Issue5, September2008：425–457.
②Tomes A, Oates C, Armstrong P. Talking design: negotiating the verbal–visual translation. DesignStudies(19), Issue2, April1998：127–142.
③Lawson B, Bassanino M, Phiri M, Worthington J. Intentions, practices and aspirations: Understandinglearning in design. Design Studies (24), Issue4, July2003：327–339.
④Abbing E R, Gesse C V. Brand-driven Innovation. Design Management Review (19), No.3:51-58.
①梁启雄.新编诸子集成续编：荀子简释.北京：中华书局,1983,178.
②（魏）王弼著楼宇烈（校释）校.王弼集校释.北京：中华书局,1980,60.
③朱汉民.玄学和理学的学术思想理路研究.台北：台湾大学出版中心，2011,178.
①Pallasmmaa J. The thinking hand. Existential and embodied wisdom in architecture. UK: Wiley press,2009,148-153.
②Goldschmitdt G. Creative architectural design: Reference versus precedence. Journal of Architectural andPlanning Research,15(3),1998:258-270.
③Leibe B, Ettlin A, Schiele B. Learning semantic object parts for object categorization. Image and visioncomputing26(2008):15-26.
④鲁晓波,严扬,刘志国,高华云.汽车造型设计概论.北京：清华大学出版社,2005,1-8.
①Weiss A. How to Establish a Unique Brand in the Consulting Profession: Powerful Techniques for theSuccessful Practitioner,2001, US: Pfeiffer press,33
②赵江洪.设计研究和设计方法论研究四十年.设计史研究：设计与中国设计史研究年会专辑.上海：上海书画出版社，2007,21-28.
①路风，封凯栋.发展我国自主知识产权汽车工业的政策选择.北京：北京大学出版社,2005,27.
①Koskinen I, Zimmerman J, Binder T, Redstrom J and Wensveen S. Design research throug h practice: fromthe lab, field and showroom. Morgan Kaufmann press,2011.
①苏莹，吴伟民.数据结构可视化类库的设计与实现.计算机技术与发展(16), No.5,2006:61-64.
①梁启雄.新编诸子集成续编：荀子简释.北京：中华书局,1983,178.
②（魏）王弼著楼宇烈（校释）校.王弼集校释..北京：中华书局,1980,60.
③任继愈.《中国哲学史》（四卷本）.北京：人民出版社,1979,80-93.
④谭浩.基于案例的产品造型设计情境知识模型构建与应用.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2006,5.
⑤王巍.汽车造型的领域知识描述与应用.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验,2008,2.
①崔俊杰.基于主题和造型特征的概念车设计研究.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2008,12.
①王惠锋,金翔宇.基于语义的图象检索方法研究综述.计算机工程(8),2001:3-6.
①赵江洪.设计研究和设计方法论研究四十年.设计史研究：设计与中国设计史研究年会专辑.上海：上海书画出版社，2007,21-28.
②谭浩,赵江洪,王巍,张军.基于案例的工业设计情境模型及其应用.机械工程学报,2006,(12):151-157.
③赵江洪,陈宪涛,张军,王巍.知识辅助的数控机床ICAID系统设计与实现.计算机辅助设计与图形学学报.2005,(7):1630-1637.
①Collins, Allan M.; Loftus, Elizabeth F.,"A spreading-activation theory of semantic processing", sychologicalReview.1975Nov Vol82(6)407-42
①Fitch WM. Distinguishing homologous from analogous proteins. Syst Zool (19),1970:99-113.
①陈宪涛,赵丹华.类族辨物——汽车造型的视觉特征与语义特征分析.装饰（4）,2008：98-99.
①【清】李渔著,沈新林注评.闲情偶寄.南京：凤凰出版社,2009，44-48.
②Csikszentmihalyi M. Society, Culture, and Person: A system view of creativity. In R. J. Sternberg, ed., TheNature of Creativity. New York: Cambridge University Press,1988b,325-338.
③Sternberg R J, Lubart T I. The concept of creativity: prospects and paradigms. In Robert J. Sternberg (Ed.),Handbook of creativity. Cambridge: Cambridge University Press,1999,2-6.
④Archer L B. Systematic Method for Designers, The Design Council, Lon don, UK. Reprinted in N Cross (ed.)(1984), Developments in Design Methodology, UK: John Wiley and Sons Ltd press,1965,99-101.
⑤Cross, N. Designerly Ways of Knowing. London: Springer Press,2006,44-48.
②[梁]刘勰著，祖保泉解说.文心雕龙解说.安徽：安徽教育出版社，1993，6.
①张文泉,赵江洪,谭浩.奥迪品牌发展与汽车造型特征研究.装饰,2011(7):75-78.
①王敏.20世纪30年代美国流线型设计研究.清华大学博士学位论文.2012,24-40,58-64.
①刘玉麟.风格是常规的变异（上）-介绍文艺文体学的一个理论兼析弥尔顿和意识流小说的语言.外国语
（上海外国语学院学报）.1983(3):6-12.
②王受之.世界现代设计史.北京：中国青年出版社.2002，278-293.
③何人可.工业设计史.北京：北京理工大学出版社.2000，60-73.
①Walter de’ Silva.[Speech] Car and transportation design. Milan: Politecnico di Millano CT49, via Durando8, Italy,2009-6-29.
①(战国）墨翟著.墨子.江苏：广陵社出版,2009.
②戴吾三.考工记图说.济南：山东画报出版社，2002，17-80.
③葛荣晋著.中国哲学范畴通论.北京：首都师范大学出版社，2001，180-195，575-57.
④辛志凤，蒋玉斌等.墨子注释.哈尔滨：黑龙江人民出版社，2003,11-25,126-153,204-223,426.
⑤(春秋）孔丘著，吕平编.孝经.乌鲁木齐：新疆青少年出版社，1996，41.
⑥胡伟峰.引重致远，载道明理—商至秦独辀马车设计思想研究.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2009，104-107.
⑦崔俊杰.基于主题和造型特征的概念车设计研究.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2008，17
①Bimbo A. Visual information Retrieval. USA: Morgan Kauf mann press,1999,146-152.
①郭琦.基于定性定量转换模型的设计问题求解方法.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2007,46.
②Colombo C, Del Bimbo A, Pala P. Semantics in visual information retrieval. Multimedia, IEEE (6), Issue (3):38-53.
③罗钦林.汽车造型特征拆分重构与中气A级车造型设计.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2011,44.
①陈曦.汉语多义词的心理表征和加工机制的心理学研究.[华南师范大学博士学位论文].广州：华南师范大学，2004，46-51.
①Newell A, Simon H. Computer Science as Empirical Enquiry: Symbols and Search. Communications of theAssociation f or Computing Machinery (19),1976:113-126.
②李恒威,黄华新.表征与认知发展.中国社会科学,2006(2):35-45
①Fritz J B, Elhilali M, David S V, Shamma S A. Auditory attention-ocusing the searchlight on sound. CurrentOpinion in Neurobiology,2007,17(4):437-455.
②Bala ADS, Takahashi TT. Pupillary dilation response as an indicator of auditory discrimination in the barnowl. Journal of Comparative Physiology A: Sensory, Neural, and Behavioral Physiology,2000,186(5):425-434.
①谭戒甫.墨经分类译注.北京：中华书局，1981，8.
②《荀子新注》，北京大学《荀子》注释组，北京：中华书局，1979，10.
①《列宁全集》第55卷.北京：人民出版社,1990,311.
②熊彼特.熊彼特：经济发展理论.北京：商务印书馆,1997,73-74,98-98,83,103-104.
①Wenquan Zhang, Jianghong Zhao, Fangzhen Zou. Semantic analysis of Chinese adjectives: a new approachto mapping the form-based metaphors in automobile styling. In: Design/Rigor&Relevance. IASDR, Seoul,Korea,2009,59-60.
①吴奇.知识观的演变.[中国社会科学院博士学位论文].北京：中国社会科学院研究生院，2003，19-29.
①[著]荀况，王先谦.荀子解集.北京：中华书局,1995,13.
②庄子.庄子天地.上海：上海书店，1986,6.
[1]赵江洪.设计研究和设计方法论研究四十年.设计史研究.设计与中国设计史研究年会专辑.上海：上海书画出版社，2007,21-28.
[2] Alexander C. The state of the art in design methods. DMG Newsletter,1971, Vol.5, No3:3-7.
[3] Rittel H. The state of the art in design methods. Design Research and Methods,1973, Vol.7, No2:143-147.
[4] Oxman R. Theory and design in the first digital age. Design Studies, Vol.27No.3May2006:230.
[5][美]赫伯特Ａ西蒙.杨砾译.关于人为事物的科学.北京：解放军出版社.1988,23,41.
[6][美]诺曼.设计心理学.北京：中信出版社,2010,88-95.
[7] Fitch WM. Distinguishing homologous from analogous proteins. Syst Zool,1970(19):99-113.
[8]冯培恩等.基于产品基因的概念设计.机械工程学报，2002年，第38卷，第10期:1-6.
[9]蒋劲松,王巍.科技哲学的反思.北京：清华大学出版社，2004，254-259.
[10] Frazer J H. Creative Design and the Generative Evolutionary Paradigm. In: P.J.Bentley and D.W Corne. Creative Evolutionary Systems. UK: Morgan Kaufmannpress,253-274.
[11] Charles L. Owen Design Thinking. What It Is. Why It Is Different. Where It HasNew Value.[Speech] the International Conference on Design Research andEducation for the Future,18October-1November,2005.
[12]王先谦.荀子集解.北京：中华书局出版社，1988，253.
[13]马洪林.康有为大传.辽宁：辽宁人民出版社,1988，669.
[14]何九盈.《尔雅》的年代和性质.中国语文研究,1984(2):11-15.
[15]王龙.中国汽车产业国际竞争力研究.[武汉理工大学博士学位论文].武汉：武汉理工大学，2006，23-25.
[16]赵江洪.设计艺术的含义.湖南：湖南大学出版社.2005，55.
[17] Jones J C, Thornley D G. Conference on Design Methods: papers. London:Pergamon press,182.
[18] Sch n. The reflective practitioner, How Professionals think in action. USA:Basic Books press,1983,76-104.
[19] Acher. A view of the nature of design research. In: Jacques, R and Powell, J.Design: Science: Method. UK: Westbury House press,1981,30.
[20] Owen C. Design Thinking: Notes on its Nature and Use. Design ResearchQuarterly, January,2007, Vol.2(1):16-27
[21] McCormack, JP. Cagan, J. and Vogel, CM. Speaking the Buick Language:Capturing, Understanding, and Exploring Brand Identity with-Shape Grammars.Design Studies,2004, Vol.25(1):1–29.
[22] Clement J. Observed methods for generating analogies in scientific problemsolving. Cognitive Science, Volume12, Issue4, October–December1988:563–586.
[23] Cross, Dorst. Co-evolution of problem and solution spaces in creative design:observations from an empirical study. In Gero and M L Maher. Computationalmodels of creative design IV, University of Sydney, NSW, Australia,1998.
[24] Gick, M. L., Holyoak, K. J. Schema induction and analogical transfer. CognitivePsychology,1983(15):1-28.
[25] Utterback, J. Vedin,B.A et al. Design-inspired innovation. Singapore: WorldScientific Publishing,2006.
[26] Louridas P, Loucopoulos P. A generic model for reflective design. ACMTransactions on Software Methodology,2000,9(2):199–237.
[27] Moran T P, Carroll J M. Design Rationale: Concepts, Techniques, and Use.Lawrence Erlbaum Associates, Mahwah, NJ1996,.
[28] Purcell A T, and Gero J. Design and other types of fixation, Design Studies,1996,17(4):363-383.
[29]赵江洪,谭浩,谭征宇.汽车造型设计：理论、研究与应用.北京：北京理工大学出版社,2010,1,23-176.
[30] Gartman D. Three Ages of the Automobile。Theory, Culture&Society,2004, Vol.21, No.4-5:169-195.
[31]陇菲.文经三章文脉.甘肃日报,1994-8-13.
[32] Aaker D. A Brand leadership. The Free Press, New York, NY,2000，33.
[33] Akrich. The Description of technical objects. In Wiebe E B, John L. ShapingTechnology/Building Society: studies in Sociotechnical Change, MA: MIT press,1992,205-224.
[34]李心峰.艺术类型学.北京：文化艺术出版社，1998，211.
[35] Traugott E C, Pratt, M L. Linguistics for Students of Literature. USA: HarcourtCollege Pub press,1980，235.
[36]刘玉麟.风格是常规的变异（上）-介绍文艺文体学的一个理论兼析弥尔顿和意识流小说的语言.外国语（上海外国语学院学报）.1983(3):6-12.
[37][梁]刘勰，祖保泉解说.文心雕龙解说.安徽:安徽教育出版社,1993，6,555.
[38] Asokan A, Cagan J. Defining cultural identities using grammars: an explorationof "cultural languages" to create meaningful experiences. In: DUX’05Proceedings of the2005conference on Designing for User Experirnce Article No.35. USA,2-11.
[39]王中.基于产品族群特性的商用车产品识别设计.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计制造国家重点实验室，2012，17.
[40]王巍,赵江洪.基于情境的汽车造型语义分析.装饰,2007(2):107-108
[41] A special edition of Science about complex systems. Science.1999, Vol.284,1-222,5411.
[42][美]特瑞波素马特尔,陈禹等译.沙地上的图案——计算机、复杂和生命.江西：江西出版，1999，20,23-40.
[43]周昌乐.关于人工意识研究途径的哲学反思.见：科学技术中的哲学问题学术讨论会论文集.北京：清华大学，2002，210-217.
[44] G ker M H. The effects of experience during design problem solving, DesignStudies,1997,18(4):405-426.
[45] Stiny G. Introduction to shape and shape grammars. Environment and Planning B:Planning and Design,1980,7(3):343-351.
[46] Cheutet V, et al. Preserving car stylists’ design intent through an ontology.International Journal on Interactive. Design and Manufacturing,2008,2(1):9-16.
[47] Orsborn S D, Cagan J, Pawlick R, Smith R. Creating cross-over vehicles:defining and combining vehicle classes using shape grammars. ArtificialIntelligence for Engineering Design, Analysis and Manufacturing, August2006,Vol.20, Issue(3):217-246.
[48]赵丹华.汽车造型特征的知识获取与表征.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计制造国家重点实验室，2007，24,28-29.
[49] Janlert L E. The character of things. Design Studies,1997, Vol.18, Issue (3):297-314.
[50] Firth J R. Papers in Linguistics. New York: Oxford University Press,1966,190.
[51] Schank R C. Conceptual dependency: A theory of natural language processing.Cognitive Psychology,1972, Vol.1(3):52-63.
[52] Langacke, Ronald W. Foundation of cognitive grammar: theoretical prerequisites.Vol.1. USA: Stanford University press,328.
[53] Croft W. Some contributions of typology to cognitive linguistics. In Jassen T,Redeker G. Cognitive linguistics: Foundation, Scope and Methodology. Berlin:Mouton de Gruyter press,61-94.
[54] Kay, P. Fillmore, C. Grammatical constructions and linguistic generalizations:The What’s X Doing Y? construction. Language,1999,75:1-33.
[55][美]默里盖尔曼,[译]杨建邺,李湘莲.夸克与美洲豹——简单性和复杂性的奇遇.湖南：湖南科学技术出版社,364.
[56] Oxman R. Theory and design in the first digital age. Design Studies, May2006,Vol.27, No.3:230.
[57][美]托马斯库恩,[译]金吾伦,胡新和.科学革命的结构.北京：北京大学出版社,2003,32-47.
[58] Richards I A. The Philosophy of Rhetoric. London: Oxford,1936,10-110.
[59]刘劲杨.还原论的两种形相及其思维实质.自然辩证法通讯,2007, Vol.29(6):25-31.
[60] Sunny. Y. Auyang. Foundations of Complex-system Theories. CambridgeUniversity Press,1998,53.
[61] Davidw.Norton, Jeffrey VanDeVelde. Producing customer happiness: the job todo for brand innovation.DMI,2010(21),No.3:6-15.
[62]张文泉，赵江洪.奥迪品牌造型基因研究.包装工程,2007(04):84-86.
[63] Neumeier M. The Brand Gap: How to Bridge the Distance Between BusinessStrategy and Design. AIGA press:2005,15-18.
[64] Florian Triebel. BMW Group Mobile Tradition: Corporate Affairs. MobileTradition live.2005(01)：38-41.
[65] Audi&Design [J]. Auto&Design178, September/October2009Special Edit ion,Italy,4-10.
[66]张文泉,赵江洪,谭浩.奥迪品牌发展与汽车造型特征研究.装饰,2011,(7)：75-78.
[67] Walter de’ Silva.[Speech] Car and transportation design. Milan: Politecnico diMillano. CT49, via Durando8, Italy,2009-6-29.
[68] Chris Bangle. The ultimate creativity machine: How BMW turns art into profit.Harvard business review2001, January:5-11.
[69] Jean N K. The new strategic brand management: Creating and Sustaining BrandEquity Long Term. London: Kogan page press,2008,9-13.
[70] Mats U. Core value-based corporate brand building. European Journal ofMarketing,2003(37) No.7/8:1017-1040.
[71] Lawson J. Mime: The Theory and Practice of Expressive Gesture: with adescription of its historical development. London: Dance Horizons press,1957,3-15.
[72] Lasseter J. Principles of traditional animation applied to3rd computer animation.Computer Graphics (Proceedings of SIGGRAPH87),21(4):35–44,1987. Held inAnaheim, California.
[73]颜其锋.20世纪设计风格与时尚之演变规律研究.[湖南大学硕士学位论文].湖南：湖南大学设计艺术学院，2002，102-105.
[74] David W.N, Jeffrey F. D, Jeffrey VanDeVelde. Producing customer happiness:The job to do for brand innovation. DMI, Design Management Review,2010(21),Issue3, September:7-15.
[75] Rockwell. The mathematics of brand satisfaction. Design Management Review.2008(19), Issue2, Spring:75–81.
[76] Gibbons G. The social value of brands. In R. Clifton&J. Simmons, Brand andBranding. London: John Wiley&Sons press,2009,45-60.
[77] Free C. The internal brand. The Journal of Brand Management,1999(6):231-236.
[78] Gr nroos C. Service Management and Marketing: a customer relationshipmanagement approach. London: John Wiley&Sons press,2000,204-210.
[79] McCracken G. The value of the brand: an anthropological perspective. In Aaker,D.A. and Biel, A.L.(Eds), Brand Equity and Advertising: Advertising's Role inBuilding Strong Brands. London: Routledge press,1993,125-142.
[80] Rokeach M. The Nature of Human Values. New York: The Free Press,1973,17-21.
[81] Gad T.4-D Branding: Cracking the Corporate Code of the Network Economy.London: Financial Times press,2001,63-75.
[82] Kunde J. Corporate Religion: Building a Strong Company Through Personalityand Corporate Soul. London: Financial Times press,2000,210-220.
[83] Laban R, Ullmann L. The Mastery of Movement. UK: Dance Books press,1988,46-65.
[84] Alberts D. The Expressive Body: Physical Characterization for the Actor. UK:Heinemann press,1997,98-105.
[85] Shawn T. Every Little Movement: A Book about Francois Delsarte. New York:Eagle Print. and Binding press,1963,28-60.
[86] Rosch E. Principles of categorization. In Cognition and Categorization, ed. E.Rosch and B Lloyd, Hillsadle, N J: Erlbaum press,1978,5-10.
[87] Jensen R. The Dream Society. How the coming shift from information toimagination will transform your business. New York: McGraw-Hill press,1999,170-175.
[88] Lewin T. The complete book of BMW: every model since1950. US: MotorbooksInternational press,2004,376-377.
[89] Norman D A. The Design of everyday things. New York: Basic Books press,2002,105-110.
[90]张文泉.汽车品牌“造型基因”研究.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2004，8-9.
[91]周昌乐.关于人工意识研究途径的哲学反思.见：科学技术中的哲学问题学术讨论会论文集.北京：清华大学出版社,2002,210-217.
[92]王巍.汽车造型的领域知识描述与应用.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2007,2，87.
[93]朱上上.基于知识的产品造型设计技术研究.[浙江大学博士学位论文].杭州：浙江大学计算机科学与技术学院,2003,38-39.
[94]赵丹华,赵江洪.汽车造型特征与特征线.包装工程,2007(28):115-118.
[95] Kahneman D., Treisman A., and Gibbs B J. The reviewing of object files:Object-specific integration of information. Cognitive Psychology (24),1992:175–219.
[96] Hommel B. Event files: Feature binding in and across perception and action.Trends in Cognitive Science (8),2004:494–500.
[97] Prats M. Transforming shape in design: observations from studies of sketching.Design Studies (30), Issue5, September2009:503–520.
[98] Pylyshyn Z W, Storm R W. Tracking multiple independent targets: Evidence for aparallel tracking mechanism. Spatial Vision (3),1988:179–197.
[99] Prats M, Earl C, Garner S and Jowers I. Shape exploration of designs in a style:towards generation of product designs. In: AI EDAM2006, Special Issue onUnderstanding, Representing and Reasoning about Style Vol.20, No3:201-215.
[100] Prats M and Garner S. Observations on Ambiguity in Design Sketches, Tracey,an internet-based drawing research journal, Loughborough University,September2006.
[101] Carroll J, Briscoe E, Grover C. A Development environment for large naturallanguage grammars. Technical Report, Computer Laboratory, CambridgeUniversity,1991,26.
[102]黄曾阳. HNC（概念层次网络）理论:计算机理解自然语言的新思路.北京:清华大学出版社,1998,200-210.
[103] Nathan C. Design as communication: exploring the validity and utility ofrelating intention to interpretation. Design Studies（29）, Issue5, September2008：425–457.
[104] Tomes A, Oates C, Armstrong P. Talking design: negotiating the verbal–visualtranslation. Design Studies（19）, Issue2, April1998：127–142.
[105] Lawson B, Bassanino M, Phiri M, Worthington J. Intentions, practices andaspirations: Understanding learning in design. Design Studies（24）, Issue4,July2003：327–339.
[106] Abbing E R, Gesse C V. Brand-driven Innovation. Design Management Review(19), No.3:51-58.
[107]梁启雄.新编诸子集成续编：荀子简释.北京：中华书局,1983,178.
[108][魏]王弼著,楼宇烈校.王弼集校释.北京：中华书局,1980,60.
[109]朱汉民.玄学和理学的学术思想理路研究.台北：台湾大学出版中心，2011,178.
[110] Pallasmmaa J. The thinking hand. Existential and embodied wisdom inarchitecture. UK: Wiley press,2009,148-153.
[111] Goldschmitdt G. Creative architectural design: Reference versus precedence.Journal of Architectural and Planning Research,15(3),1998:258-270.
[112] Leibe B, Ettlin A, Schiele B. Learning semantic object parts for objectcategorization. Image and vision computing26(2008):15-26.
[113]鲁晓波,严扬,刘志国,高华云.汽车造型设计概论.北京：清华大学出版社,2005,1-8.
[114] Weiss A. How to Establish a Unique Brand in the Consulting Profession:Powerful Techniques for the Successful Practitioner,2001, US: Pfeiffer press,33
[115]路风，封凯栋.发展我国自主知识产权汽车工业的政策选择.北京：北京大学出版社,2005,27.
[116] Koskinen I, Zimmerman J, Binder T, Redstrom J and Wensveen S. Desi gnresearch through practice: from the lab, field and showroom. MorganKaufmann press,2011.
[117]苏莹，吴伟民.数据结构可视化类库的设计与实现.计算机技术与发展(16),No.5,2006:61-64.
[118]任继愈.中国哲学史（四卷本）.北京：人民出版社,1979,80-93.
[119]谭浩.基于案例的产品造型设计情境知识模型构建与应用.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2006,5.
[120]崔俊杰.基于主题和造型特征的概念车设计研究.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2008,12,17.
[121]王惠锋,金翔宇.基于语义的图象检索方法研究综述.计算机工程(8),2001:3-6.
[122]谭浩,赵江洪,王巍,张军.基于案例的工业设计情境模型及其应用.机械工程学报,2006,(12):151-157.
[123]赵江洪,陈宪涛,张军,王巍.知识辅助的数控机床ICAID系统设计与实现.计算机辅助设计与图形学学报.2005,(7):1630-1637.
[124] Collins, Allan M, Loftus, Elizabeth F. A spreading-activation theory of semanticprocessing. Psychological Review,1975, Nov, Vol.82(6):407-420
[125] Fitch WM. Distinguishing homologous from analogous proteins. Syst Zool (19),1970:99-113.
[126]陈宪涛,赵丹华.类族辨物——汽车造型的视觉特征与语义特征分析.装饰（4）,2008：98-99.
[127][清]李渔著,沈新林注评.闲情偶寄.南京：凤凰出版社,2009，44-48.
[128] Csikszentmihalyi M. Society, Culture, and Person: A system view of creativity.In R. J. Sternberg, ed., The Nature of Creativity. New York: CambridgeUniversity Press,1988b,325-338.
[129] Sternberg R J, Lubart T I. The concept of creativity: prospects and paradigms.In Robert J. Sternberg (Ed.), Handbook of creativity. Cambridge: Ca mbridgeUniversity Press,1999,2-6.
[130] Archer L B. Systematic Method for Designers, The Design Council, London,UK. Reprinted in N Cross (ed.)(1984), Developments in Design Methodology,UK: John Wiley and Sons Ltd press,1965,99-101.
[131] Cross, N. Designerly Ways of Knowing. London: Springer Press,2006,44-48.
[132] Walter de Silva.好的汽车设计起源于创意和历史的辩证关系.http//:auto.xitek.com/005006/article-1828067281057770908-1.htm,2012-02-28.
[133]张文泉,赵江洪,谭浩.奥迪品牌发展与汽车造型特征研究.装饰,2011(7):75-78.
[134]王敏.20世纪30年代美国流线型设计研究.[清华大学博士学位论文].北京：清华大学,2012,24-40,58-64.
[135]刘玉麟.风格是常规的变异（上）——介绍文艺文体学的一个理论兼析弥尔顿和意识流小说的语言.外国语（上海外国语学院学报）No.3,1983：6-12.
[136]王受之.世界现代设计史.北京：中国青年出版社.2002，278-293.
[137]何人可.工业设计史.北京：北京理工大学出版社.2000，60-73.
[138] Walter de’ Silva.[Speech] Car and transportation design. Milan: Politecnico diMillano CT49, via Durando8, Italy,2009-6-29.
[139][战国]墨翟著.墨子.江苏：广陵社出版,2009.
[140]戴吾三.考工记图说.济南：山东画报出版社，2002，17-80.
[141]葛荣晋著.中国哲学范畴通论.北京：首都师范大学出版社，2001，180-195，575-57.
[142]辛志凤，蒋玉斌等.墨子注释.哈尔滨：黑龙江人民出版社，2003,11-25,126-153,204-223,426.
[143][春秋]孔丘著，吕平编.孝经.乌鲁木齐：新疆青少年出版社，1996，41.
[144]胡伟峰.引重致远，载道明理—商至秦独辀马车设计思想研究.[湖南大学博士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2009，104-107.
[145] Bimbo A. Visual information Retrieval. USA: Morgan Kaufmann press,1999,146-152.
[146]郭琦.基于定性定量转换模型的设计问题求解方法.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室,2007,46.
[147] Colombo C, Del Bimbo A, Pala P. Semantics in visual information retrieval.Multimedia, IEEE (6), Issue(3):38-53.
[148]罗钦林.汽车造型特征拆分重构与中气A级车造型设计.[湖南大学硕士学位论文].湖南：湖南大学汽车车身先进设计与制造国家重点实验室，2011,44.
[149]陈曦.汉语多义词的心理表征和加工机制的心理学研究.[华南师范大学博士学位论文].广州：华南师范大学，2004，46-51.
[150] Newell A, Simon H. Computer Science as Empirical Enquiry: Symbols andSearch. Communications of the Association f or Computing Machinery (19),1976:113-126.
[151]李恒威,黄华新.表征与认知发展.中国社会科学,2006(2):35-45
[152] Fritz J B, Elhilali M, David S V, Shamma S A. Auditory attention-ocusing thesearchlight on sound. Current Opinion in Neurobiology,2007,17(4):437-455.
[153] Bala ADS, Takahashi TT. Pupillary dilation response as an indicator of auditorydiscrimination in the barn owl. Journal of Comparative Physiology A: Sensory,Neural, and Behavioral Physiology,2000,186(5):425-434.
[154]谭戒甫.墨经分类译注.北京：中华书局，1981，8.
[155]《荀子新注》，北京大学《荀子》注释组，北京：中华书局，1979，10.
[156]《列宁全集》第55卷.北京：人民出版社,1990,311.
[157]熊彼特.熊彼特：经济发展理论.北京：商务印书馆,1997,73-74,98-98,83,103-104.
[158] Wenquan Zhang, Jianghong Zhao, Fangzhen Zou. Semantic analysis of Chineseadjectives: a new approach to mapping the form-based metaphors in automobilestyling. In: Design/Rigor&Relevance. IASDR, Seoul, Korea,2009,59-60.
[159]吴奇.知识观的演变.[中国社会科学院博士学位论文].北京：中国社会科学院研究生院，2003，19-29.
[160][著]荀况，王先谦.荀子解集.北京：中华书局,1995,13.
[161]庄子.庄子天地.上海：上海书店，1986,6.