First, what is the beauty of design
Design is an independent art discipline. Its research contents and service objects are different from traditional art categories. Therefore, design aesthetics is also different from traditional painting and decoration. Its research content naturally cannot completely reflect the traditional aesthetics. theory.
As we all know, design is a very comprehensive subject. It involves many factors such as society, culture, economy, market, science and technology. Its aesthetic standards also change with the changes of many factors.
Let's first take a look at the concept of design:
Design is innovation. If there is no invention, the design loses its value; if it lacks creativity, the product will lose its life. - Liu Dongli (Hong Kong)
Design is the pursuit of new possibilities. - Musashino (Japan)
Design is Economic Benefit - Linyan Lin (Deputy Director, Department of Design, Hong Kong Polytechnic University)
Industrial design is an imaginative development activity that satisfies human material needs and psychological desires. Design is not an individual performance. The designer's task is not to maintain the status quo but to try to change it. - Arthur Prosps (former chairman of ICSID)
Design is the process of conveying some kind of planning, planning, conception and problem solving through visual language.
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It can be seen that the core of design is a kind of creative behavior, a process of solving problems, and one of the main characteristics of the sibling art category is originality, so we can think so:
The first principle of the beauty of design is "new".
The design requirements are new, different, different, and different. Otherwise, the design will not be called design. And this "new" has different levels. It can be either improved or creative. But in any case, only a new design will shine in distinctive waves in the big waves and take the first step towards success.
The second essence of the beauty of design is "reasonableness."
A design is called "design" because it solves the problem. Design cannot exist independently of society and market, and compliance with the law of value is the direct cause of design existence. If the designer can not bring more surplus value to the company, I believe there will be no design industry in the world.
The third important point in the beauty of design is "human nature."
In the final analysis, design is designed for people. Serving people's needs in life is the ultimate goal of design. Naturally, the beauty of design also follows the basic human aesthetic interests. Symmetry, rhythm, balance, rhythm, body, color, texture, craftsmanship... All the aesthetic laws that we can think of seem to be able to find corresponding applications in design.
These three laws make designers different from pure artists and pure engineers. Their destiny is to dance with cymbals.
Second, the design of the United States rely on
I believe that designing this unique aesthetic rule is not groundless. It has objective basis and needs behind it. It can be said that the support of the beauty of design is the law of the market, and it is the law of brutal market competition and the survival of the fittest that has created this aesthetic interest.
In the era of industrialism, traditional craftsmanship aesthetics were washed away in the rumbling of the machine overnight. The industrial age requires large-volume, procedural, new products that meet cost-profit laws.
For a time, functionalism seems to be a constant aesthetic rule. Its concise and scientific design principles have swept the entire civilized land and created a historical miracle of the pre-industrial era. The market is full of functionalist products. The beauty of design in this period is dominated by modernist style.
why?
Market rules.
Under the conditions of production at that time, functionalism could meet the requirements of mass production of the machine to the utmost, and at the same time, it took care of the basic aesthetic principles, and the public also received great satisfaction from the use of batches of cheap products. Are you happy?
When style becomes popular, it will inevitably create an aesthetic taste and self-contained system. The most influential slogan of functionalism is "form follows Function." "Thinking the beauty and value of an item or building depends on its adaptability to its purpose."
This principle derives from its own aesthetic system—minimalism, minimalism, and so on. It has produced many excellent designs that are perfectly unified in their functional forms, and has brought everyday items into industrial mass production...
However, the market is like the stock market's ups and downs.
With more and more machines and more and more productive capacities, the majority of people are no longer satisfied with the simple requirements of "use."
It is undeniable that functionalism has progressive significance, considerable vitality, and reasonable existence value. However, it is by no means the golden rule. Once productivity has increased further and consumers have finally been able to purchase luxury goods, people who are tired of the simple coordination of functional language and pure rhythm are beginning to favor new shape morphemes. The icy vocabulary of modernist irrigation has begun to suffer from the market. Coldly.
Post-modernism, the opponent of this modernism began to conspire in the market to change.
In 1966, American architect Robert Venturi published the book "The Complexity and Contradiction of Architecture." The slogans of functionalism, "less is more," tit-for-tat diametrically suggested that "less is boring." To promote a messy, complex, vague, eclectic symbolism and historicism. Thus opened the prelude to postmodernism design.
It can be said that this is a pure rebellion - a visual subversion and aggression.
Modernism is introverted, postmodernism is publicity, it tears the enthusiasm and passion of the heart, and the market tolerates its exaggeration. This era has become colorful and bizarre.
But careful analysis of the post-modernist style (in fact, postmodernism is not style, its style is to despise style and system) is nothing less than also meet the Darwinism of the market. Postmodernism, as an over-revolutionary revolution, is in full compliance with the laws of the market.
We know that the dominance of the market - consumers are ultimately emotional men and women, they need emotional venting, need an ideal sustenance, need an atmosphere of emotional atmosphere. The purely functional products of modernism make life indifferent. If it is not because of its ease of use, popularity, and cheapness, people will not move machine-like products back home.
In the moment when productivity and price allow people to choose, the enthusiasm of post-modernism begins to slog through the streets. Commercial design stimulates the buying impulse of consumers with novelty and tricks. Its core is the “planned abolition systemâ€. Functionality is no longer a sin, visual satisfaction and psychological enrichment can be defined as functional requirements above touch and feel.
It can be seen that it is market rules that have created the ups and downs of the design style.
The story of modernism and postmodernism is only a short-lived history.
Market rules sometimes maintain strict scientific design principles, sometimes conniving at the designer's simple personal performance. The progress of the times and some historical accidental factors have created the unpredictability and interest of design style, full of challenges and confusion.
The style is changing rapidly, and the only thing that is old is the market and its laws. (to be continued)