1、 The traditional and newAbstractIts usefulness and beauty - creation of form and beauty - traditional beauty - beauty beyond the accumulation generationIts usefulness and functional beauty and its propertiesFunction of beauty is useful in certain conditions and transformed into, including: improving
2、 the transformation of beauty - full effectiveness is reasonable and perfect, such as the validity of the reasonable structure and material and engineering, although not to the laws of the United States as a constraint, but probably because of the laws of the United States into“ rationality“. From t
3、he function of beauty in light of the phenomenon that the essence of it, so that we can more deeply understand the beauty. First of all, it is the natural beauty of a similar nature beauty.Secondly, the practical purpose of functional beauty by great traction. Function to achieve the purpose, functi
4、on of beauty can be achieved. Complete with artistic beauty standards to measure product design, it is often difficult to draw the conclusion that. Similarly, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Third, United States also has a social
5、function. Products containing the function beauty can not affected by social productivity development and aesthetic psychology historical limitations. Function of beauty is a social concept, it is not possible to beyond the limitations of history, these belong to non traditional artistic beauty. Fun
6、ction of beauty is not useful to both beauty“Function of beauty is not useful to both beauty“The function of beauty as beauty of technology full, objective denied that the aesthetic value of the relative independence, the exclusion of form beauty. The specific meaning of“ transformation“ is what? Fi
7、rst of all, this conversion depends on the main body to take aesthetic attitude, aesthetic attitude is selective, aesthetics, aesthetic value is not purely objective, not subjective, but the unity of objective and subjective. Generally speaking, passive aesthetic feelings does not require specialize
8、d training, but any person in the utilitarian purpose and social conditions, the aesthetic objects always have a choice. Secondly, the need to transform, it illustrates the use of value and aesthetic value are not completely the same, they are the unity of opposites. Use value bring survival conditi
9、ons, and can bring the enjoyment of the material. Aesthetic enjoyment is“ care in enjoyment“, this word is mostly used in the visual arts, and appreciation, appreciation of different. The exhibition will have enough space, monument to the broad field of vision, is to have a sufficient distance to ca
10、re, the whole body visible object. At the same time, simple use and certain human material needs, supplies is beautiful generally does not affect the use. Use value and aesthetic value can not be substituted for each other. The modern design idea is the extreme importance of their unity, is not func
11、tional, not aestheticism. 4-2-3creation form and beauty of form and content is a relative concept, content organization form, is the content of each part of the combination mode. Everything has a form, aesthetic form, refers to the aesthetic object of the whole feeling is, is also considered, audito
12、ry or tactile perception of the entity, is the content of the being of beauty. Function : the being of beauty, is the technology of beautiful form, the beauty of form. A is any thing all has the form, one is content beauty relative beauty of form. Creation of content, usually understood as“ usefulne
13、ss“. So, in order to achieve useful form is the premise of the structure form. Structural forms are often influenced by the functional purpose of strict restrictions, each part as far as possible, efficient economy was integrated into a working whole.Form for the content that relative independenceTh
14、e so-called relative independence, refers to the form can become independent of the design elements, but in the end it is difficult from the content. He believes that a function has a variety of forms of point of view, but he is against“ function determines form“. Consumer products of different shap
15、e change request. We use the“ degree of freedom“ and“ definition“ two concepts to summarize, objective time Oh deeper form of descriptions of relative independence. 1forms of the degrees of freedom on the form of“ degrees of freedom“, the form of freedom, refers to the product structure and appearan
16、ce for the designer to control the extent of. The 2form of definition is followed by a form of “ definition“, form clear high, the appearance of the product quality requirements are high.4-2-2creation form characteristics of 1forms and content sharing a carrier such as; a Book2forms with distinctive
17、 visual description of a creation of perception, often directly to its form, that precede the content to see its shape, color. While the content is sometimes cryptic, implication, so is the perception. 3form must have quality form material form is the physical form, is that people can perceive form
18、the basic conditions.From form to form beautyThe beauty of form beauty in form of the quality connotation is very rich: (1) the function beauty beauty - the direct expression of the form, and the function of the com., is to the thing itself some characteristics of external a kind of beauty.The tradi
19、tional aesthetic meaning is actually refers to the traditional beauty contained in the spirit, is said by Li Zehou reason and passion “human nature“, the aesthetic form of the accumulation of social content. 1be handed down from age to age“ style “ and “ style“ here refers to those containing the tr
20、aditional culture art form, and because the program and be handed down from age to age and universality. For example, Chinese ancient etiquette building. 2“ reproduction “ of the original ecological pattern. The traditional beauty of form1and form2 and the aesthetic function of the corresponding thi
21、ngs related to form from Le Corbusier absorption and development of gold segmentation examples can be seen clearly, the traditional form of beauty is what is real in design. Although we are not each day to see such a phenomenon, but it is impossible to ignore. 4-3modern beauty beyond design revoluti
22、on triggered by the“ anti traditional“Design revolution triggered by the“ traditional“ trend of thought1“1“ decoration decorative worship“ worship“ the so-called“ loaded worship“ refers to the decoration can be detached from the function of free expansion, fancy coat become the aesthetic main object
23、, even the decoration as the main design, no decoration design is not design. The development of modern industry and full of decorative and interesting design: first, the contradiction between the manual era that carved the should be large quantities of production machines, only exclusive decoration
24、 will have a large number of cheap products to market. Function of“ worship“ function“ worship“ the so-called functional worship“, refers to the product design according to functional needs rather than decorative needs, in order to meet the students can repel any decoration production machine. Truly
25、 realize the design must emphasize function and machines for the production of this principle the key figures. The design has two common characteristics: the consciousness to machine production or batch production; two prominent adaptation function thus made succinct. They make the name spread throu
26、ghout the United States and europe. The modernistic design position to accommodate the large industrial production as the premise, emphasize high-volume production, product function is good, cheap, in the final analysis is amenable to function, namely “ form follows function“ or“ form and function o
27、f the high degree of unity“, the attendantSimple and unadorned geometric style is very natural, with “ Decor worship “ for the characteristics of the traditional design has also been completely subvert.Forms of worship“The form of worship“ the worship of modernism design can be understood as“ functi
28、onalism“ design, modern design and good at coordination function and design of coordinating the relationship between function and form, making them reach a“ harmonious“. Therefore, it is not a pure function, and also not the pure form type. “ From its structure and aesthetic characteristics, the int
29、ernational style building was eventually replacing it with the Renaissance tradition is the opposite.“ 1pop art mass culture is a kind of popular democracy, and machine are combined as one of the culture. 2radical eclecticism“ postmodernism “ is a construction led, spread all areas of design, the ma
30、instream style. Postmodernism and modernism of the fundamental difference in where? In modern simplistic form complex, and therefore does not hesitate to use once abandoned decoration, symbolism, but the decoration is modernism on the basis of additional fee, formation of classical, incongruous cont
31、rast effects and seems rather than the exterior or interior space, resulting in the modern cold coagulation soil box talent showing itself in the. 3“ ugly beauty“3“ ugly beauty“ ugly is the nature and common phenomenon in human society, it is a violation of the aesthetic standard, hinder the aesthet
32、ic consideration, classical beauty ugliness as beauty all the negative state, and humanity“ evil “ contact. Classical art basically does not accept ugly, ugly modern art becomes a kind of aesthetic factors, modernist art of ugliness becomes non-negligible role. We can summarize the evolution law of
33、beauty are: first, the ugly can be transformed into a beautiful. Secondly, the beauty and the ugly boundaries are not fixed. To sum up : the proof of design art in the“ beauty“ of modernism design challenge, or say to“ function determines form“ beyond. Modern beauty modern beauty beyond the beyond i
34、s refers to the traditional aesthetic transcendence. Modern aesthetic concepts, although the traditional view for maternal-fetal. Design revolution triggered by the“ anti traditional“Design revolution triggered by the“ traditional“ trend of thoughtSince twentieth Century the modern aesthetic concept
35、s, essentially everything “and the traditional “ are linked, but“ unconventional “ idea from where Erlai? It is not only a margin of natural philosophy, is also from the edge of aesthetics. Mechanical revolution is actually the design revolution, in twentieth Century, artistic conception is the corn
36、erstone of the“ innovation“, the most common words in the“ avant-garde “ and “modern“. The thought is the core of“ anti traditional“. On the other hand, is the new concept of art“ the feed“ design, making it a departure from the traditional design concept and has the“ avant-garde“ and“ modern“ featu
37、res.Author: Zhuge KaiPublished:“ ten stresses“ in art design美的传统与新生摘要人造物的有用性与功能美人造物的形式与形式美传统美的积淀现 代美的超越人造物的有用性与功能美和它的性质功能美是有用性在一定条件下转化而成的，包括： 完善转化的美充分的有效性就是合理和完善， 如有有效性相应的合理结构和材料加 工，虽然不以美的规律为约束，但可能因为符合美的规律而转化为“合理性” 。 从功能美的现象来看它的本质，可以使我们更深刻认识这种美。 首先，功能美是自然美性质相近的美。其次，功能美受实用目的的极大牵引。 功能目的实现以后，功能美才能实现。完全
38、用艺术美的标准去衡量设计产品，往往很难得出 结论。同样，单纯的使用价值与人的某种物质需求相关，用品是否美观一般不影响使用。 第三，功能美还具有社会性。 产品内含的功能美不能不受社会生产力发展和审美心理历史内容的局限。 功能美是一个 社会性的概念，它不可能超越历史的局限，这些已属于非传统的艺术美。 功能美不是“有用既美” 功能美不是“有用既美”把功能美作为技术美的全部，客观否认了审美价值的相对独立性，排斥了形式美。 “转化”的具体含意是什么呢？ 首先，这一转化取决于主体采取审美态度，而审美态度是有选择性的，美学中，审美价值不 是纯客观，也不是纯主观的，而是主客观的统一。 一般来说， 被动的审美感
39、受不需要专门的训练， 但任何人在功利目的和社会条件制约下， 对审美对象总有所选择。 其次，即需要转化，就说明使用价值和审美价值不是完全同一的，它们是对立的统一体。使用价值给人带来生存的条件，进而可以带来物质享受。 审美享受是“关照里的享受” ，这一词大多用于视觉艺术，而且与鉴赏、欣赏不同。画展 要有足够的空间，纪念碑更需要广阔的视野，就是使关照者有足够的距离，看得见对象的整 体。 同时，单纯的使用价值与人的某种物质需求相关，用品是否美观一般不影响使用。 使用价值和审美价值不能互相取代。 现代设计观念却极端重视它们的统一，既不是功能主义 的，也不是唯美主义的。 4-2-3 人造物的形式与形式美
40、形式是与内容相对的概念，是内容的组织形式，是内容各部分的组合方式。任何事物都 有形式，美学中的形式，是指审美对象的整个感觉实在，也就是视、听或触觉感知的实体， 是内容美的存在方式。 功能美的存在方式，就是技术美的形式，即形式美。一个是任何事物都有形式，一个是 内容美相对的形式美。 人造物的内容，一般都理解为“有用性” 。那么，形式就是以实现有用性为前提的结构 形式。结构形式往往受功能目的严格限制，各部分尽可能经济、高效地结合为一个可以运转 的整体。形式对于内容否认相对独立性 所谓相对独立，就是指形式可以成为独立的设计要素，但最终难以脱离的内容。 他认为一种功能有多种形式的观点，但他反对“功能决
41、定形式” 。消费者对不同产品形 式变化的要求不一样。 我们用 “自由度”和“清晰度”两个概念来加以概括，目的时间哦更深入地说明形式的 相对独立性。 1. 形式的自由度 关于形式的“自由度 ” ，形式的自由度，指产品结构和外观可供设计者支配的程度。 2. 形式的清晰度 其次是形式的“清晰度” ，形式的清晰高，对产品外观品质的要求也高。4-2-2 人造物形式的特征 1.形式必须与内容共享一个载体 比如；一本书籍 2.形式具有鲜明的直观性 观照者对一件人造物的感知，往往先直观到它的形式，即先于内容看到它的形状、色彩。 而内容有时是隐蔽的、意蕴的，所以是后感知的。 3. 形式必需有质量的形体 物质的形
42、式就是物质的形式，是人能感知形式的基本条件。从形式到形式美形式美的品质 形式美的内涵十分丰富： （1）本之美功能美的直接表露形式，与功能的发挥融为一体，是以事物本身的某种 性质表现外部的一种美。传统美的内在意涵 实际上就是指传统美所内含的精神，就是李泽厚所说的理智而激情的“人性” 、审美形式所 积淀的社会内容。 1. 代代相传的“样式” “样式” 在这里专指那些蕴含传统文化的艺术形式， 并因为程序化和代代相传而普遍性。 比如中国的古代礼制建筑。 2.“再现”原生态的样式。传统美的外在形式 1.与功能相应事物形制 2.与审美相关的形式 从勒 柯布西耶吸收和发展黄金分割的事例可以清楚地看到， 传统
43、美的形式的确参透在现 实设计中。虽然我们不会每日每时都看到这样的现象，但它存在却是无法忽视的。4-3 现代美的超越 设计革命引发的“反传统”设计革命引发的“反传统”思潮1.“装饰崇拜” 1.“装饰崇拜” 所谓“装崇拜”就是指装饰可以脱离功能自由膨胀，花哨的外衣成为审美主要对象， 甚至把装饰看成设计的主体，没有装饰的设计就不是设计。 现代工业的发展和充满装饰趣味的设计之间矛盾：首先，手工时代那种精雕细刻难以适 应大批量的机器生产，只有排斥装饰才会有大批廉价产品推向市场。 功能崇拜 崇拜” “功能崇拜” 所谓“ 功能崇拜” ，是指产品设计按照实用功能的需要而不是装饰的需要，为适应机器生 产可以排斥
44、任何装饰。 真正实现设计必须强调功能和机器生产这一原则的关键人物。 这些设计都有两个共同特点：意识便于机器生产或批量生产；二是突出适应功能因而造 型简洁。它们使包豪斯之名传遍欧美。 现代主义的设计立场以适应大工业生产为前提，强调大批量生产、产品功能良好、廉价， 归根到底是服从功能，也就是“ 形式服从功能 ”或“形式与功能的高度统一” ，随之而产生简洁而无装饰的几何风格就很自然，以“装饰崇拜 ”为特征的传统设计也被彻底颠覆。 形式崇拜”“形式崇拜”的崇拜 现代主义设计可以理解为 “功能主义”设计，现代主义的设计善于协调功能与设计善于 协调功能与形式的关系，使它们达到一种“和谐” 。因此，它即不是
45、纯功能的，也不是纯形 式的。 “从它的结构上与审美上的特点来看，国际风格的建筑同最终被它替代的文艺复兴时期 的传统是对立的。” 1. 波普风 大众文化是一种流行、民主和机器结合为一体的文化。 2. 激进的折衷 “后现代主义 ”则是一种以建筑为首，波及各个设计领域、反主流的风格。后现代主义与现代主义的根本差异在哪里？就在于现代主义简单化的形式复杂化，因而 不惜使用曾经被放弃的装饰、象征手法，但这种装饰是现代主义基础上附加，形成费费 古典的、不协调的对比效果和是似而非的外观或内部空间，从而在现代主义冷漠的混凝 土方块中脱颖而出。 3.“丑的美” 3.“丑的美” 丑是自然界和人类社会中普遍存在的现象
46、，它违反审美规范、妨碍审美关照，古典美 学把丑作为美的否定状态，并与人性的“ 恶”相联系。 古典艺术基本上不接受丑， 近代艺术中丑成为一种美学因素， 现代派艺术中丑成为不 可忽视的主角。从中我们也可以归纳出美丑间互相演变的规律： 首先，丑可以转化为美。 其次，美与丑的界限不是固定不变的。 综上所述：证明设计艺术中“丑与美”是对现代主义设计的挑战，或者说是对“功能 决定形式”的超越。现代美的超越 现代美的超越是指对传统美的超越。现代审美观念虽然以传统观为母胎。 设计革命引发的“ 反传统” 设计革命引发的“反传统”思潮 二十世纪以来的产生的现代审美观念，从本质来看一切都与“反传统” 有联系，但“反 传统”的观念又从何而来？它既是非缘自然哲学，也是非缘自美学。 机械革命实际上就是设计革命，在二十世纪，艺术观念的基石是“革新” ，最常见的词 汇是“ 前卫”和“现代” 。这些思想的核心就是“反传统” 。另一方面，则是新的艺术观念“ 反 哺”设计，使它背离传统的设计观念而具有“前卫” 和“现代”的特点。作者：诸葛锴发表：设计艺术学十讲
