《走向多元化》PPT課件.ppt

1、后工業(yè)社會(huì)(Post Industrial Society)是以各種各樣的市場同時(shí)并存為特征的。這些市場反映了不同的文化群體的要求,每個(gè)群體都有其特定的行為、語言、時(shí)尚和傳統(tǒng),都有各自不同的消費(fèi)需求。工業(yè)設(shè)計(jì)必須以多樣化的戰(zhàn)略來應(yīng)付這種局面,并向產(chǎn)品注入新的、強(qiáng)烈的文化因素。這就是說,產(chǎn)品必須主動(dòng)地選擇它的使用者,使自己躋身于特定的社會(huì)群體中。 工業(yè)生產(chǎn)中的自動(dòng)化程度大大增加了生產(chǎn)的靈活性,能夠做到小批量多樣化。這些因素都促進(jìn)了設(shè)計(jì)多元化的繁榮。值得一提的是,一種企圖從根本上否定現(xiàn)代主義設(shè)計(jì)原則的所謂后現(xiàn)代主義(Post Modernism)從20世紀(jì)60年代末興起,理論上非常活躍,它對以信息

2、化為特色的后工業(yè)社會(huì)的工業(yè)設(shè)計(jì)產(chǎn)生了較大的影響。,第十一章 走向多元化,在設(shè)計(jì)的多元化潮流中，以設(shè)計(jì)科學(xué)為基礎(chǔ)的理性主義占著主導(dǎo)地位。它強(qiáng)調(diào)設(shè)計(jì)是一項(xiàng)集體的活動(dòng)，強(qiáng)調(diào)對設(shè)計(jì)過程的理性分析，而不追求任何表面的個(gè)人風(fēng)格，因而體現(xiàn)出一種“無名性”的設(shè)計(jì)特征。這種設(shè)計(jì)觀念實(shí)際上是現(xiàn)代主義的延續(xù)和發(fā)展。但它與早期現(xiàn)代主義不同，并不著意于藝術(shù)與技術(shù)的結(jié)合上，而是試圖為設(shè)計(jì)確定一種科學(xué)的、系統(tǒng)的理論，即所謂用設(shè)計(jì)科學(xué)來指導(dǎo)設(shè)計(jì)，從而減少設(shè)計(jì)中的主觀意識(shí)?！盁o名性”設(shè)計(jì)改變了許多電器產(chǎn)品的形式。,索尼公司的電視機(jī),安德瑞生設(shè)計(jì)的F78型電話機(jī),日本富士施樂公司生產(chǎn)的數(shù)字 彩色復(fù)印機(jī),第一節(jié) 理性主義與“無名性

3、”設(shè)計(jì),“新現(xiàn)代主義”的興起與經(jīng)濟(jì)發(fā)展密切相關(guān)，20世紀(jì)60年代商業(yè)機(jī)構(gòu)和辦公室劇增，對工業(yè)設(shè)計(jì)產(chǎn)品需求量很大，如家具、室內(nèi)裝飾和辦公用品等。對這些場合來說，有必要體現(xiàn)出商業(yè)界的秩序與效率，因此設(shè)計(jì)應(yīng)有冷漠、正規(guī)、中性的外觀特征。20世紀(jì)50年代，當(dāng)代主義在居家環(huán)境中體現(xiàn)出來的非正規(guī)化、人情味和輕巧、靈活等特點(diǎn)已不適宜于商業(yè)辦公的要求，從而促成了新現(xiàn)代主義的興盛。,OMK設(shè)計(jì)的圓桌和可疊放椅,第二節(jié) 新現(xiàn)代主義與高技派風(fēng)格,與新現(xiàn)代主義平行發(fā)展的另一種工業(yè)設(shè)計(jì)風(fēng)格是所謂的“高技術(shù)風(fēng)格（High-Tech）”。這兩種風(fēng)格后來實(shí)際上走到一起來了。高技術(shù)風(fēng)格不僅在設(shè)計(jì)中采用高新技術(shù)，而且在美學(xué)上鼓吹

4、表現(xiàn)新技術(shù)。,羅維設(shè)計(jì)的哈里克拉福特收音機(jī),第二節(jié) 新現(xiàn)代主義與高技派風(fēng)格,Pop Art (Beginning in 1956 in England, early 1960s USA) Pop Art has started in England in late 50s and grown in United States in early 60s. Among the Pop Art forerunners are two unique models - prototypes of the modern artists: the French artist Marcel Duchamp a

5、nd the German Kurt Schwitters. Duchamps work and his thoughts have altered the definition of the art and our way of understanding it. He was famous with his ready-mades, objects torn from their usual contexts and exhibited as art. Kurt Schwitters produced collages and assemblages that lay somewhere

6、between painting and sculpture. The work of his art turned into an environment that was no longer something only to be looked at.,第三節(jié) 波普風(fēng)格,English art critic Lawrence Alloway used the term Pop first to describe the art that made use of the objects, materials and technologies from mass culture to bri

7、ng out the yields of the industrial society. It is often borrowed from advertising, photography, comic strips and other mass media sources. Everyday life is endless resource for the pop art?today is the core of pop art. Pop stresses frontal presentation and flatness of unmodulated and unmixed color

8、bound by hard edges. They suggest the depersonalized processes of mass production. Pop Art investigates in areas of popular taste and kitsch previously considered outside the limits of fine art. It was rejecting the attributes associated with art as an expression of personality. Works were close eno

9、ugh to reality and at the same time it was clear that they were no ready-mades but artificial re-creations of real things.,第三節(jié) 波普風(fēng)格,Pop Art definitely broke the hegemony of the Abstract Expressionism in Europe and United States that occupied center art stage in 1950s-1960. It excreted the edges betw

10、een high and low art. It confronted institutional art with everyday endless objects which gained, displayed as art, a new quality. After the large-scale pop art exhibition at the Sidney Janis Gallery in New York in 1962, Pop Art established itself as a serious, recognized form of art. This exhibitio

11、n becomes a turning point for Pop Art. According to a series of critics, Pop Art marked the end of modernism and the beginning of the postmodern era. Although Pop is rather treated as an entertainment, it had a profound impact on the art scene.,第三節(jié) 波普風(fēng)格,British Pop was the product of the Independent

12、 Group (IG), formed in 1952 whose members resisted the institutes commitment to modernist art, design, and architecture. They were particularly intrigued by American automobile design, with its emphasis on planned obsolescence, the intentional production of goods that would soon require replacement.

13、 British Pop artists had optimistic point of view. They preferably dealt with various forms of direct action - assemblages and happenings rather than comics or AD. In Britain popular culture and technology was just the subject of the popular art.,第三節(jié) 波普風(fēng)格,波普風(fēng)格（Pop）又稱流行風(fēng)格，它代表著20世紀(jì)60年代工業(yè)設(shè)計(jì)追求形式上的異化及娛樂化

14、的表現(xiàn)主義傾向?！安ㄆ铡笔且粓鰪V泛的藝術(shù)運(yùn)動(dòng)，反映了第二次世界大戰(zhàn)后成長起來的青年一代的社會(huì)與文化價(jià)值觀，力圖表現(xiàn)自我，追求標(biāo)新立異的心理。因此，波普風(fēng)格主要體現(xiàn)于與年輕人有關(guān)的生活用品或活動(dòng)方面，如古怪的家具、迷你裙、流行音樂會(huì)等。從設(shè)計(jì)上來說，波普風(fēng)格并不是一種單純的、一致性的風(fēng)格，而是多種風(fēng)格的混雜。它追求大眾化的、通俗的趣味，反對現(xiàn)代主義自命不凡的清高。在設(shè)計(jì)中強(qiáng)調(diào)新奇與獨(dú)特，并大膽采用艷俗的色彩。波普設(shè)計(jì)在20世紀(jì)60年代的設(shè)計(jì)界引起強(qiáng)烈震動(dòng)，并對后來的后現(xiàn)代主義產(chǎn)生了重要影響。,穆多什設(shè)計(jì)的兒童椅,第三節(jié) 波普風(fēng)格,In the 1970s, post-industrial des

15、ign took the Modernist aesthetic to its limit, with the starkly functional look typified by the Pompidou Center in Paris, designed by Renzo Piano and Richard Rogers.,第四節(jié) 后現(xiàn)代主義,Meanwhile a reaction had begun, with its roots in many parts of the history we have examined. This trend came to be known as

16、 Post Modernism. The change, which really began in the late 60s, came into its own in the early 1980s. It was influenced by the blurring of fine arts and mass culture previously seen in the Pop Art movement and by the nostalgic revival of a kind of Victorian eclecticism. Surface decoration was once

17、again admired, and other styles were drawn upon freely.,第四節(jié) 后現(xiàn)代主義,Ettore Sottsas was a successful Italian designer of modern forms from the 1940s to the 1960s. Then he became interested in both popular culture and Indian decorative arts. His work also took on Art Deco qualities. In 1981 he founded a

18、 group of designers, almost all but himself under 30 years of age. These designers became known as the Memphis group. The Memphis style has been called the ultimate fruit salad of style. Sottsas himself has said that Anything that is tamed by culture loses its flavor after a while, its like eating c

19、ardboard. You have to put mustard on it, or take little pieces of cardboard and eat them with tomatoes and salad. Its a lot better if you dont eat cardboard at all.,第四節(jié) 后現(xiàn)代主義,后現(xiàn)代主義是旨在反抗現(xiàn)代主義純而又純的方法論的一場運(yùn)動(dòng)，它廣泛地體現(xiàn)于文學(xué)、哲學(xué)、批評理論、建筑及設(shè)計(jì)領(lǐng)域中。所謂“后現(xiàn)代”并不是指時(shí)間上處于“現(xiàn)代”之后，而是針對藝術(shù)風(fēng)格的發(fā)展演變而言的。,第四節(jié) 后現(xiàn)代主義,20世紀(jì)80年代，隨著后現(xiàn)代主義的浪潮

20、走向式微，一種重視個(gè)體、部件本身，反對總體統(tǒng)一的所謂解構(gòu)主義（Deconstruction）哲學(xué)開始被一些理論家和設(shè)計(jì)師所認(rèn)識(shí)和接受，在世紀(jì)末的設(shè)計(jì)界產(chǎn)生了較大的影響。 Deconstruction Deconstruction, an approach to literature developed by the French philosopher and critic Jacques Derrida, is probably the most influential literary theory of the second half of the twentieth century.

21、Derridas ideas are hard to summarize, and his prose style is exceptionally dense. But its possible to summarize some of the basic ideas of deconstruction.,第五節(jié) 解構(gòu)主義,Deconstruction was a poststructuralist critique of some of the ideas underlying structuralism. According Derrida, if meaning arises only out of a words difference from other words in a system, and every word is dependent on every other word for its meaning, we can never pin it down: there is no fixed center to the structure. Meaning, then, is constantly