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无论是禅宗美学所说的空,所追求的空灵与清淡闲远的意境,还是极简主义奉行的无即是有,少既是多的设计原则,“简”都是其首要因素。从有到无,从无到有,这是我们这一代在消费爆炸、名牌泛滥当中出生入死挣扎升华的集体私家体会。定一定神,我们才知道其实真正简单的干净是何等的美好。当今社会在消费主义的大环境下,许多商品以新奇的素材或夸张的造型来强调自身的独特性,必然会导致人们的炫富心态及社会的浮躁风气。好的设计,即使看似简单甚至虚无,能够帮助完善人格、提升生活,甚至改变社会。本文论述中西方对于“简洁”这一设计手法的异曲同工之处,运用于产品设计外形、功能与意境的三个方面。试图解析“简洁”这一设计手法的力量。
Whether it is the aesthetics of Buddhism, the pursuit of ethereal and indifferent artistic conception, or the minimalism pursued, that is, there is no more than less design principles, “Jane ” is the primary factor. From nothing to nothing, from scratch, this is the collective private experience of our generation struggling to sublimate in the midst of a consumer explosion and brand name proliferation. Given a certain God, we did not know how beautiful really simple and clean. In today’s society, in the context of consumerism, many commodities emphasize their uniqueness with novelty materials or exaggerated shapes, which inevitably lead to the people’s dazzle-rich mentality and the impetuous social atmosphere. Good design, even seemingly simple or even nothing, can help perfect personality, improve life, and even change society. This article discusses the similarities and differences between China and the West regarding the design of “simple”, which is applied to the three aspects of product design shape, function and artistic conception. Trying to resolve the power of this “simple” design technique.