On the doctrine and form in design

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Abstract: This paper discusses the relationship between concept and style, or form, in design through the evolution of the internationalist style in which modernist design can also purchase multiple sets of equipment at the same time. Through analysis, this paper expounds my views on the current design

key words: Modernism Design internationalism style idea form

doctrine and form

in order to discuss this topic, we might as well first push the historical lens to the Bauhaus era. At that time, the lack of material materials and the deterioration of class contradictions, coupled with the maturity of the development of Marxism, promoted the development of people's democratic thought and the expansion of socialist ideas. At the same time, some designers with advanced ideas also have new views on design. Among these advanced designers, the most noteworthy one is gropiuz in Germany. He believes that design should serve the democratic public, not the elite or dignitaries. This democratic concept of design played an important guiding role in his design and subsequent teaching, and the corresponding product design style also came into being: simplification, functionalization and rationalization. This is the modernist design we later realized

I believe that everyone admires Gropius not because he has brought many excellent design works and clear design styles to the design industry, but because he has put forward the design trend of thought such as democratic design. A design trend that benefits many civilians is the most valuable place for a designer. What I want to emphasize here is that doctrine is a kind of ideological concept and a pure spiritual thing. And style or form is the objective material reality, the material surface. So we can understand that doctrine is the soul and the form is the body. Soul and body are the unity of things and cannot be separated. Design without form will become a "ghost", while design without concept will become a "walking corpse"

back to our historical lens, because the modernist design masters were destroyed by the German Nazis at that time, they had to immigrate to the United States in the late 1830s. It is no exaggeration to say that the arrival of these masters has led to the rapid development of American design in the coming decades. American design still advocates modernism, but in the process of future development, American modernist design has slowly separated from the doctrine of modern design and simply adopted the form of modern design. From then on, American internationalist style has become popular. In terms of form, modernist design and internationalist style are the same, both of which emphasize the high functionality, high sequencing and product simplification of design. However, in terms of spirit and concept, the internationalist style abandoned the socialist color of modernist design and went to formalism without spiritual essence alone

internationalist style will be questioned in future design practice, because Adolf? Luce's "decoration is evil" and Mies? Van der Rohe's "less is more" can no longer support an increasingly powerful design system. People began to get tired of the world's unified architecture and tools with the same style. People can no longer get deep decoration from simple modeling. Aluminum profiles with high external demand must be turned up and down more, emotional sustenance and humanistic care. Design has moved towards world harmony, which is a reductionism. In order to achieve the characteristics of reductionism, designers are indifferent to the requirements of function and only maintain the form of modernism. The decline of internationalist style does not lie in his exaggeration of reductionism and indifferent product functions, but in the lack of design concept and design connotation of this style. In 1972, with Yamazaki Bin's "prudi egger" low and then use nuts to lock the zero contact screws, the explosion of the income housing house heralded the beginning of the demise of modernism

if the decline of internationalist style is just an accident in the history of design, let's take a look at postmodernism and pop art, which is considered to be the beginning of postmodernism. Perhaps these examples can better help us understand the necessity of ideas in form

from the perspective of design alone, postmodernism is a style movement that opposes modernism in spirit. This kind of reaction does not mean the complete break of modernist design, but a development in modernism, with a continuation. Generally speaking, it is a modernist design thought movement that emphasizes the decorative nature of design. Its center is against Mies? Van der Rohe's "less is more" advocates the use of decorative means to meet people's psychological needs. From this point of view, postmodern design seems to be based on breaking. But in terms of deep-seated ideas, it still hasn't gotten rid of the influence of the core ideas of modernism. Jenks believes that postmodernism is modernism plus something else. Because postmodernism did not come up with a more reasonable basis for decoration, which led to postmodernism only being a decorative style, not involving the deeper ideological reform

The same is true of pop art. At the beginning of its concept, the sponsors did not strictly put forward the purpose of design, which led to pop art blindly emphasizing the cultural and Burmese decoration of products in the later stage, and even using Victorian patterns that have been abandoned by history for many years to decorate products. The lack of product ideas leads to decadence in the field of design. Therefore, when talking about pop art, Mr. Wang Shouzhi believes that it is weak and unreliable to explore the development simply from the form. This is what I think the design style must be combined with the design concept or naturalism

to extend, a design idea can produce a variety of styles, and these formal styles serve the general idea and doctrine. For example, the Dutch "style school" and the Russian "constructivism" in modernist design are the styles and forms of modernist design, and they are designed for democratization and popularization. Once these styles break away from the container of modernist design, it will lose its charm. Therefore, we should not talk about style without thinking, which will make the works lose the ideological value of existence

put forward the design concept

we live in the social environment. The products designed by designers should be satisfied with the society, adapt to the society and better serve the society. Designers should not only see one point in the process of design, but should stand on the big side of a magnificent society and give full play to their creativity. In other words, at the beginning of design, we must have a certain understanding of the needs of the whole social development. After that, we will shape the form that the product should have according to the concept

according to Maslow's demand theory, we can know that when human material life can be satisfied, they will pursue higher-level spiritual needs, such as status, respect and so on. Of course, this spiritual demand is no longer only reflected in human society, but also in our daily life products

on this point, I agree with Donald very much? Norman's emotional theory of design. His theory is an overall understanding of today's society, which is a society with relatively abundant material materials, and people's understanding of design is constantly improving. In this case, Mr. Donald believes that the emotional elements contained in the design may be more important to the success of the product than the practical elements. I don't fully agree with his view, but his view that design should have emotional elements is my favorite. Just like Hartmut, the founder of German frog company? As eslinger said, "I believe that what customers buy is not only the goods themselves, but also the pleasant form, experience and self-identity.". This view is also reflected in their company's design philosophy: form follows passion. Most successful designers will pour their own design philosophy and ideas into their works. We can find in the book "100 product designers in 100 years" that many successful designers will give products an emotion, let this emotion permeate the form of products, and give products life. This kind of life may be the bionic characteristics of the product itself or the considerate personality conveyed by the product in the process of use. Sebastian? Bergney believes that well-designed products are those that will give a knowing smile when I see it and use it. His famous Mr mouse clothes hanger is a good example. This kind of clothes hanger looks ugly and hairy. But when we use it, we will find that its burr can jam the clothes well and should not fall off the hanger. When it brings greater convenience to our life, you will find that the clothes hanger is silly, like a hedgehog smiling at you

the MR mouse clothes hanger mentioned just now is a smile that people bring to people during use. The Philips computer camera brings you a humorous smile. From the outside, the camera looks like a man with a shy stomach, giving people association and humor

the form of emotional design

humanistic care of details:

will you feel overwhelmed when facing the various buttons and keys on a Japanese digital camera? When it comes to details, we all think of the cumbersome detail design in Japan. This kind of detail does not bring greater convenience to people, but makes people dazzling and at a loss. Details are not cumbersome. We refuse to design cumbersome details to improve the scientific and technological content of products. The reason why we like apple ipots is that they are clear at a glance, they are concise, they express their sincerity emotionally, and they are willing to let more people contact and understand them. So don't be too cumbersome in details, which will only lead to misunderstanding of products

the detailed design is not only to facilitate people's recognition and operation, but also to make every button and curve of the product jump with care for people. In many design countries, Mr. Wang Shouzhi has his own reason to praise the design of Scandinavia alone, because the products there are concise and full of human interest. Mr. Wang once said in "Northern Europe on a white night" that "the design of northern Europe is neither German absolute rationalism, nor American commercial gimmicks penetrating into the pores, nor Japan's overly cumbersome details, nor South Korea's low-level citizens who are gaudy, pure and exquisite". Although Mr. A has obvious prejudice in his comments, isn't it his voice that we should listen to? In the design industry, we have no objective justice, only subjective prejudice. Hans? Wagner's Chinese chair and Paul? Hanning Sen's pH lamp can fully illustrate their love and care for people in detail design

bionic form of humor:

Wittgenstein once said: humor is not a mood, but a way to observe the world. So humor comes from the expression of nature without modification and from the association of form in the head. Bionic shape can make me

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