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两个设计大师2009-03-24 00:25现代的工业设计，在很大程度上受到了有着截然不同思考方式的两个设计大师的长远影响。
一个是美国的 Raymond Loewy (左)，他的特点是有强烈的个人风格，他的最知名的设计就是可口可乐的商标和风靡六十年代的流线型产品造型。
另一个是德国的 Dieter Rams (右)，他则比较讲究设计的条理性，他的优秀设计十原则影响了几代人。
现在国际知名的几个设计师如Philippe Starck, Jonathan Ive, Jasper Morrison, Karim Rashid，都在一定程度上受到了他们的影响，具体谁学谁，你们来说说：
设计十原则（请英语好手翻译下，我相信这里的读者一定是卧虎藏龙）：
1. Good Design is innovative
It does not copy existing product forms, nor does it produce any kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities in this respect are by no means exhausted. Technological development keeps offering new chances for innovative solutions.
2. Good Design makes a product useful
A product is bought in order to be used. It must serve a defined purpose – in both primary and additional functions. The most important task of design is to optimise the utility of a product.
3. Good Design is aesthetic
The aesthetic quality of a product – and the fascination it inspires – is an integral part of the its utility. Without doubt, it is uncomfortable and tiring to have to put up with products that are confusing, that get on your nerves, that you are unable to relate to. However, it has always been a hard task to argue about aesthetic quality, for two reasons.
Firstly, it is difficult to talk about anything visual, since words have a different meaning for different people.
Secondly, aesthetic quality deals with details, subtle shades, harmony and the equilibrium of a whole variety of visual elements. A good eye is required, schooled by years and years of experience, in order to be able to draw the right conclusion.
4. Good Design helps a product be understood
It clarifies the structure of the product. Better still, it can make the product talk. At best, it is self-explanatory and saves you the long, tedious perusal of the operating manual.
5. Good Design is unobtrusive
Products that satisfy this criterion are tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained leaving room for the user’s self-expression.
6. Good Design is honest
An honestly-designed product must not claim features it does not have – being more innovative, more efficient, of higher value. It must not influence or manipulate buyers and users.
7. Good Design is durable
It is nothing trendy that might be out-of-date tomorrow. This is one of the major differences between well-designed products and trivial objects for a waste-producing society. Waste must no longer be tolerated.
8. Good Design is thorough to the last detail
Thoroughness and accuracy of design are synonymous with the product and its functions, as seen through the eyes of the user
9. Good Design is concerned with environment
Design must contribute towards a stable environment and a sensible use of raw materials. This means considering not only actual pollution, but also the visual pollution and destruction of our environment.
10. Good Design is as little design as possible
Back to purity, back to simplicity. |
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陈楠
清华大学美术学院
个人简介
光华龙腾奖-中国设计业十大杰出青年
清华大学美术学院副教授
清华大学美术学院-平面设计系统开发研究所所长
2008北京奥运会吉祥物主创设计师
2006年获中国设计业十大杰出青年获提名奖
2004年“日本TDC国际设计大赛”优异奖
2004年招贴作品两幅入选中国“第十届全国美展”并获优秀奖
2002年获“IDN十年大奖”国际设计比赛优异奖
经验业绩
2008年,获“中国设计业十大杰出青年”奖
2008年,获中国创新设计红星奖奥运设计特别奖
2005年3月受北京奥组委邀请，加入第29届奥林匹克运吉祥物修改、创作小组，成为奥运吉祥物“福娃”的设计者之一。
2006年，获“中国设计业十大杰出青年”提名奖。
2004年，获“日本TDC国际设计大赛”优异奖
2002年，获“IDN十年大奖”国际设计比赛优异奖
2004年，作品入选中国“第十届全国美展”并获优秀奖
书籍设计《视觉东游记》、《艺术与科学》、《科学与艺术》，插图作品《能不忆蜀葵》获“第6届全国书籍装帧艺术展览”优秀奖（四项）
标志设计《第4届国际大专辩论会》《中国福利彩票》《天津电建公司》获“第2届华人平面设计大赛”入围奖
标志设计《全国公安派出所标志》获全国公安派出所标志征集入围奖平面设计《中国青年卡》获中国青年卡卡面及标识征集大赛（共青团）卡面优秀奖
标志设计《中国公路零公里》获中国公路零公里标志征集入围奖。
书籍设计《科学与艺术》上海市优秀书籍装帧设计作品评选优秀整体设计奖。
“爱与友情的东巴文” 招贴获清华大学美术学院2004“教师学生作品展”铜奖
2002年参加2008奥运会徽设计大赛入选前十名（合作设计）
2000年荣获两项 “2000中国.北京国际平面设计展览”中国优秀企业品牌形象设计奖”
《远古的科技回响》系列设计作品获2001年中国美术家协会主办的“中国国际电脑艺术大赛”三等奖
2002年，获“中国之星”商业类最佳标志设计奖、优秀设计奖
2002年，招贴画《艺术与科学——木》获“第一届科学与艺术国际作品展”优秀作品奖，并于同年入选美国费城中国当代招贴设计展
1999年，《中国2000年——星座》入选“中国第九届全国美展“
企业形象标志设计获多项“1999中国之星”标志设计优秀奖
1995年，合作设计“纪念世界反法西斯50周年”邮票，获全国最佳邮票评比优秀设计奖（合作设计）
个人作品
