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1、后工业社会(Post Industrial Society)是以各种各样的市场同时并存为特征的。这些市场反映了不同的文化群体的要求,每个群体都有其特定的行为、语言、时尚和传统,都有各自不同的消费需求。工业设计必须以多样化的战略来应付这种局面,并向产品注入新的、强烈的文化因素。这就是说,产品必须主动地选择它的使用者,使自己跻身于特定的社会群体中。工业生产中的自动化程度大大增加了生产的灵活性,能够做到小批量多样化。这些因素都促进了设计多元化的繁荣。值得一提的是,一种企图从根本上否定现代主义设计原则的所谓后现代主义(Post Modernism)从20世纪60年代末兴起,理论上非常活跃,它对以信息化
2、为特色的后工业社会的工业设计产生了较大的影响。,第十一章 走向多元化,在设计的多元化潮流中，以设计科学为基础的理性主义占着主导地位。它强调设计是一项集体的活动，强调对设计过程的理性分析，而不追求任何表面的个人风格，因而体现出一种“无名性”的设计特征。这种设计观念实际上是现代主义的延续和发展。但它与早期现代主义不同，并不着意于艺术与技术的结合上，而是试图为设计确定一种科学的、系统的理论，即所谓用设计科学来指导设计，从而减少设计中的主观意识。“无名性”设计改变了许多电器产品的形式。,索尼公司的电视机,安德瑞生设计的F78型电话机,日本富士施乐公司生产的数字彩色复印机,第一节 理性主义与“无名性”设
3、计,“新现代主义”的兴起与经济发展密切相关，20世纪60年代商业机构和办公室剧增，对工业设计产品需求量很大，如家具、室内装饰和办公用品等。对这些场合来说，有必要体现出商业界的秩序与效率，因此设计应有冷漠、正规、中性的外观特征。20世纪50年代，当代主义在居家环境中体现出来的非正规化、人情味和轻巧、灵活等特点已不适宜于商业办公的要求，从而促成了新现代主义的兴盛。,OMK设计的圆桌和可叠放椅,第二节 新现代主义与高技派风格,与新现代主义平行发展的另一种工业设计风格是所谓的“高技术风格（High-Tech）”。这两种风格后来实际上走到一起来了。高技术风格不仅在设计中采用高新技术，而且在美学上鼓吹表现
4、新技术。,罗维设计的哈里克拉福特收音机,第二节 新现代主义与高技派风格,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 and the Ge
5、rman 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 between paint
6、ing and sculpture.The work of his art turned into an environment that was no longer something only to be looked at.,第三节 波普风格,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 bring out the yiel
7、ds 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 bound by hard edges.
8、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 enough to reality and at th
9、e same time it was clear that they were no ready-mades but artificial re-creations of real things.,第三节 波普风格,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 between high and low art.It c
10、onfronted 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 exhibition becomes a turning point for Po
11、p 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.,第三节 波普风格,British Pop was the product of the Independent Group(IG),formed in 1952 whose memb
12、ers 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.British Pop artists had optimistic point of
13、 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.,第三节 波普风格,波普风格（Pop）又称流行风格，它代表着20世纪60年代工业设计追求形式上的异化及娱乐化的表现主义倾向。“波普”是一场广泛的艺术运动，反映了第二次世界大战后成长起来的青年一代的社会与文
14、化价值观，力图表现自我，追求标新立异的心理。因此，波普风格主要体现于与年轻人有关的生活用品或活动方面，如古怪的家具、迷你裙、流行音乐会等。从设计上来说，波普风格并不是一种单纯的、一致性的风格，而是多种风格的混杂。它追求大众化的、通俗的趣味，反对现代主义自命不凡的清高。在设计中强调新奇与独特，并大胆采用艳俗的色彩。波普设计在20世纪60年代的设计界引起强烈震动，并对后来的后现代主义产生了重要影响。,穆多什设计的儿童椅,第三节 波普风格,In the 1970s,post-industrial design took the Modernist aesthetic to its limit,wit
15、h the starkly functional look typified by the Pompidou Center in Paris,designed by Renzo Piano and Richard Rogers.,第四节 后现代主义,Meanwhile a reaction had begun,with its roots in many parts of the history we have examined.This trend came to be known as Post Modernism.The change,which really began in the
16、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 again admired,and other styles were drawn upon freely.,第四节
17、 后现代主义,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 group of designers,almost all but himself under 30 years of a
18、ge.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 cardboard.You have to put mustard on it,or take little pieces of car
19、dboard and eat them with tomatoes and salad.Its a lot better if you dont eat cardboard at all.,第四节 后现代主义,后现代主义是旨在反抗现代主义纯而又纯的方法论的一场运动，它广泛地体现于文学、哲学、批评理论、建筑及设计领域中。所谓“后现代”并不是指时间上处于“现代”之后，而是针对艺术风格的发展演变而言的。,第四节 后现代主义,20世纪80年代，随着后现代主义的浪潮走向式微，一种重视个体、部件本身，反对总体统一的所谓解构主义（Deconstruction）哲学开始被一些理论家和设计师所认识和接受，在世纪
20、末的设计界产生了较大的影响。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.Derridas ideas are hard to summarize,and his prose style is exceptionally
21、dense.But its possible to summarize some of the basic ideas of deconstruction.,第五节 解构主义,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 depe
22、ndent 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 in play,always in motion,and resistant to closure.解构主义是从构成主义的字眼中演化出来的，解构主义和构成主义在视觉元素上也有些相似之处，两者都试图强调设计的结构要素。不过构成主义强调的是结构完整性、统一性，个体的构件是为总体的结构服务的;而解构主义则认为个体构件本身就是重要的，
23、因而对单独个体的研究比对于整体结构的研究更重要。,屈米设计的巴黎维莱特公园的一组解构主义的红色构架,第五节 解构主义,如果说19世纪末的设计师们是以对传统风格的扬弃和对新世纪的渴望与激情，用充满生命活力的新艺术风格来迎接20世纪。那么20世纪末的设计师们则更多地以冷静、理性的思维来反省一个世纪以来工业设计的历史进程，展望新世纪的发展方向，而不只是追求形式上的创新。实际上，进入20世纪90年代，风格上的花样翻新似乎已经走到了尽头，后现代已成昨日黄花，解构主义依旧是曲高和寡，工业设计需要理论上的突破。于是不少设计师转向从深层次上探索工业设计与人类可持续发展的关系，力图通过设计活动，在人-社会-环境之间建立起一种协调发展的机制，这标志着工业设计发展的一次重大转变。绿色设计的概念应运而生，并成为当今工业设计发展的主要趋势之一。,第六节 绿色设计,绿色设计并不注重美学表现或狭义的设计语言，但绿色设计强调尽量减少无谓的材料消耗，重视再生材料使用的原则在产品的外观上也有所体现。在绿色设计中，“小就是美”、“少就是多”具有了新的含义。从20世纪80年代开始，一种追求极端简单的设计流派兴起，将产品的造型化简到极致，这就是所谓的“减约主义（Minimalism）”。,斯塔克设计的路易20椅及圆桌,第六节 绿色设计,
