Talking about design aesthetics

Talking about design aesthetics
What is the beauty of design?
Design is an independent art discipline. Its research content and service objects are different from traditional art categories. Therefore, design aesthetics is also different from traditional painting and decoration. The research content can not completely copy the traditional aesthetics. theory.
As we all know, design is a very comprehensive discipline, which involves social, cultural, economic, market, scientific and other factors, and its aesthetic standards change with these many factors.
Let's first take a look at the concept of design:
Design is innovation. If there is a lack of invention, the design loses value; if there is no creation, the product loses its life. - Liu Dongli (Hong Kong)
Design is the pursuit of new possibilities. - Musashino (Japan)
Design is economic benefit - Lin Yantang (Deputy Director, Department of Design, Hong Kong Polytechnic University)
Industrial design is an imaginative development activity that meets 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 Pross (former chairman of ICSID)
Design is the process of communicating a method of planning, planning, envisioning, and solving problems through visual language.
It can be seen that the core of design is a creative behavior, a process of solving problems. One of the main characteristics different from the brothers' art category is originality, so we can think like this:
The first priority of the beauty of design is "new."
Design requirements are new, different, change, and different, otherwise the design will not be called design. And this "new" has different levels, it can be improved or creative. But in any case, only the novel design will shine in the big waves and take the first step towards success.
The second element of the beauty of design is "reasonable."
A design is called "design" because it solves the problem. Design cannot exist independently of society and market, and conforming to the law of value is the direct cause of design existence. If the designer can't bring more surplus value to the company, I believe that there will be no design industry in the world.
The third essence of the beauty of design is "humanity."
In the final analysis, design is designed for people, and serving the needs of people's lives is the ultimate goal of design. Naturally, the beauty of design also follows the basic aesthetic appeal of human beings. Symmetry, rhythm, balance, rhythm, form, color, material, craft... Any aesthetic law we can think of seems to be able to find the corresponding application in the design.
These three rules make designers different from pure artists and pure engineers. Their destiny is to dance with shackles.
The beauty of design
I think that designing this unique aesthetic rule is not groundless, and it has objective basis and needs behind it. It can be said that the beauty of design is based on the law of the market. It is the cruel market competition and the rule of survival of the fittest that creates this aesthetic taste.
In the era of the great industrial era, the traditional craft aesthetics was washed away in the rumble of the machine overnight. The industrial era requires new products that are large-volume, procedural, and cost-effective.
For a time, functionalism seems to be the unchanging aesthetic law of the ages. Its simple and scientific design principles have swept the entire civilized continent, creating a historical miracle in 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 production conditions at that time, functionalism can satisfy the batching requirements of the machine to the utmost extent, while at the same time taking care of the basic aesthetic principles, and the masses have also obtained great satisfaction from the use of bulk cheap products. Not fun?

When style becomes popular, it will inevitably create aesthetic appeal and self-contained system. The most influential slogan of functionalism is the "Forms Follow Function". “Thinking the beauty and value of an item or building depends on its suitability for its purpose.”
This principle derives from its own set of aesthetic systems - minimalism, minimalism... produces a good design with many functional forms that are perfectly unified, and introduces daily necessities into industrial mass production...
However, the market's repetition is just like the stock market's ups and downs.
When there are more and more machines and the production capacity is getting stronger, the people are no longer satisfied with the simple requirements of “use”.
It is undeniable that functionalism has progressive meaning, considerable vitality and reasonable existence value. However, it is by no means a golden rule that has never changed. Once productivity is further improved and consumers finally have the ability to purchase luxury goods, people who are tired of the functional language's simple coordination and simple rhythm begin to favor new morphemes. The cold-smooth vocabulary ignited by modernism begins to suffer from the market. Cold.
Postmodern, this modernist opposition began to conspiring to change in the market.
In 1966, American architect Robert Venturi published "The Complexity and Contradiction of Architecture." The creed of functionalism is "less is more" and tits that "less is boring." Promote a messy, complex, vague, eclectic symbolism and historicism. This opened the curtain of postmodernist design.
It can be said that this is a pure rebellion - a visual subversion and aggression.
Modernism is restrained, postmodernism is arrogant, it tears the inner fanaticism and passion, and the market also acquiesces to its exaggerated performance. This era has become fascinating and eccentric.
But careful analysis, the style of postmodernism (in fact, postmodernism has no style, its style is to despise style and system) is nothing but also meet the market's Darwinism. As a radical revolution, postmodernism is in full compliance with the laws of the market.
We know that the market dominates - consumers are ultimately living men and women with feelings, they need emotional catharsis, need ideal sustenance, need to have an atmosphere of love. Modernism's purely functional products make life full of indifference. If it is not because it is easy to use, popular and cheap, people will not move the machine-like products home.
At a moment when productivity and price allow people to choose, the enthusiasm of post-modernism begins to sneak into the streets. Commercial design stimulates consumers' impulses of purchase with novelty and patterns. The core is the “planned abolition system”, sacrifice Function is no longer a sin, visual satisfaction and psychological fulfillment can be defined at this time as higher than the functional requirements of touch and feel.
It can be seen that it is the law of the market that has 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, and sometimes indulge the designer's simple personal performance, the progress of the times and some historical accidental factors create the unpredictability and interest of the 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.
So what should we do?
Awakened from the long dream of history, we regret to find that we are still one of the tricks in the design of a long river.
We are not geniuses, we can't wave our sleeves and the world should. Most of us are powerless to create an epoch-making design revolution – looking at the so-called design revolution, the 9:99 is a farce. In the future, we will shoulder the heavy responsibility of the rise of the motherland's industry and enter the international market. If we are small, we need to support our family and at least one person will not be hungry. Therefore, down-to-earth and confrontation with life is the top priority we should do.
Grasping the pulse of the market and keeping up with the trend of the times is the minimum requirement for an ordinary designer. Our goal is for the time being - to design a product with 60 points.
This passing score is actually difficult to achieve. At present, few large enterprises in China are now able to achieve 60 points in the international market.
These 60 points require designers to have keen insight and abstraction skills that are difficult to develop by theory. Only in the real market, doing more, doing more, and more failures can be honed.
A few graduate classmates joked - and when I was doing this third company, my ability would be raised one more step.
Announce their experience with the capitalist's blood and tears:
Summarize the current popular modeling elements can do more with less
Attention to detail
Familiar with the process, be sure that no link will go wrong
Know that your design is going to be outdated next year.
Believe in your ability, at least not timid
......
About form and function
I have also thought about the form and function many times. Designing the art as a creation, the two must be one and the same. A form design without function is a cumbersome ornament, and a functional design without a form is a sloppy thing.
But I thought that there is no difference between the two.
Why do you want to divide the primary and secondary? Even if it is divided into primary and secondary, what can happen with it?
If form and function are nothing more than a matter of method and method, and where to start from, we can boldly choose.
The form does not have to completely follow the function, and the function does not have to completely give way to the form. In different product designs, the specific problem is treated in a pragmatic manner.
So what should I do?
I thought that it was just that I didn't know what to do to really get close to the truth.
We don't have to know which of the two is important. The importance of forcibly defining one aspect will only lead to a ethical style, which is not conducive to design progress and learning change.
In the actual design case, we only need to know that both are important. Just as people have thousands of faces, they all have different characteristics; products also have different attributes and priorities.
Machinery, tools, etc. can be regarded as functional products, and the form can be relegated to the next;
Appliances, furniture, etc., which are counted as half of the functions and forms, are important in both respects;
Jewelry, display, etc. are a form of priority, and the function is very simple, without too much consideration.
......
There are many classifications, some of which are closely combined with functions and forms, which are difficult to split, such as industrial machinery; some products function in the core, and the form can be relatively free, such as IT products... In this way, form and function The competition is more chaotic and unnecessary. In the end, it has to be on the matter and step by step.
After all, design is to be inspirational. When there is an irreconcilable contradiction between form and function, the trade-off can be bold and hypothetical, and then carefully verified, all based on the principle of satisfaction.
This is the "satisfaction principle" that I appreciate more.
all in all
I don't think that design style has the difference between progress and backwardness. In the long history of history, functionalism and others are just a branch - now our streamlined style may not be more convincing than the secret curve of Sanxingdui.
Looking at the design of Italy 50 years ago, it is the same as it is now, but we must admire it - just as we admire the Four Sheep and the Terracotta Warriors. It was a testimony of the times and the essence of the time. I believe that after 10 years, our Apple computers will be more scum than them.
Designed in the arms of the market, only the turbulence and the new and tired are felt, and what our designers have to do is to be grateful and step by step. The timeliness of the design is the reason for our rice bowl.
Science can continue to accumulate and progress, while design only recognizes genius. If you are fortunate enough to learn about the pyramid or the founder of Sanxingdui, I will pay homage to him with ten times more tears than respecting Luo Wei.

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