感性的未来

感性的未来

New Territories, Designer：Kiran Naia Del Castiollo (Spain)《新界》 作者：耐尔·卡斯蒂诺（西班牙）

Perhaps now it's time for us to concern more about the spirits in design—the sentimental values of an object.

What if a chair has the human sense?The British designing studio Freshwest creates the Lazy Chair. When the strings are pulled tight, the cylinders and borad, which were laid flat before,could be combined to be a standing chair. When the strings are loosened, the chair would sit down weak suddenly like a human being.The abrupt astonishment could be regarded as a kind of warning for the users : not all of the technologies are reliable and friendly, even not all of them are useful.（Designed by Marcus Beck/Simon Macro,UK）如果椅子有了人性会怎样？创意作品《懒椅》表达了这样的想象——当几根绳子拉紧时，原本平放在一起的圆柱和木板，就组合成一把椅子，当绳子放松，椅子就会突然如人瘫倒了一般。这种瞬间的错愕，可以被视作一种对人类的提醒：并非所有的技术都是可靠的，友好的，甚至不一定是有用的。(作 者：Marcus Beck/ Simon Macro,UK)

Since the appearance of Bauhaus, the dominant grammar of designing for industrialised and more life-related commodities is simplicity and utility.

Nowadays, faced with dramatic consumerism and more furious industrialisation, it's probably more straightforward for us to sense the emotional merits of an object through regression to the humanistic care and even to the handicraft art.

Even the new technology applied in designing embraces this trend. The curator Ben Hughes in charge of the section Future(S) by Design in Shanghai Expose of Art and Design 2016, thinks technology of design could be based on the human emotion. For example, The Other Designs Projects not only takes a balance between avantgarde designing and our daily life, but also thinks a lot for special human groups.

Sentimentality triggers our needs, and positive using experience of products can also initiate new empathy. Future design should be of the kind that can keep our affection for objects through the latest techs, but not that would impair our emotional relying on products. “Future” does not just imply a fetish for science and tech, or even the unlimited simplif i cation and unif i cation. With the inf l uence of LOHAS, we are delighted to return to our original nature via scientif i c methods and to explore the new “Zen” lifestyles. But how about our“sentimental sustainability”? Too much vapidity in the industrialised designing just gives more prominence to our solitude in future life.

Eastern tradition regards Tea Tao, landscape and meditation as a whole. The sense of rituality is the essence of everyday life. The Designer Ben Yan creates the concrete tea table, which mingles eastern Zen culture with western industrial design. Contracted lines highlight Tea culture in our life. Without sophisticated decors, it just keeps the basic parts, and what's left there is our mind and body.（Designed by Bill Yen，China）东方传统把茶、景观和修行视作一体，日常生活贵在内心的仪式感。设计师颜呈勋的水泥茶几将东方禅宗精神融于工业派设计中，简约线条凸显了茶文化在人们生活中的地位。除去繁复的修饰，只留下基本需要。其他的，就交给身心去体悟。（作者:颜呈勋,中国）

The Other Designs Projects emphasises the existing articles of daily life and uses the modern technology to optimise their usage and functions. The designs are directly produced in microcosmically equipped labours. The most admirable point is that these products care much for the independent control for the personal lives of disabled people.（Designed by OPENDOT, Italy）The Other Designs Project以现代科技的手段优化生活用品的使用和功能，直接在微观装配实验室里生产物件，最为可贵的是，这些产品关切了残障人士对于自主生活的可控性。（作者：OPENDOT ，意大利）

The value of“ Silk Roads” not only lies in the transportation of silk, but also the communication and fusion of science, aesthetics and ideas. STUDIO SWINE associates this concept with the fact that China is the biggest export country of hair and tropic hardwood. In the art works Hair Highway,Hair and resin are combined with the renewability science to make household articles of peculiar veins and texture, which at the same time reduces the consuming of wood.(Designed by STUDIO SWINE, UK)设计师认为“ 丝绸之路” 的价值不仅在于丝绸传输，还有东西方之间的科技、美学和理念的交汇。STUDIO SWINE由此联想到中国是最大的头发出口国，也是最大的热带硬木出口国。在作品Hair Highway里，利用可再生技术将头发和树脂结合，打造特殊纹理质感的家用品，同时又减少了木料消耗。(作者：STUDIO SWINE，UK)

或许是时候，我们应该更多地关注到设计的灵魂——物体所饱含的人类情感价值。

从包豪斯开始，工业化、生活化的设计以简约实用为设计语法，当消费更加迅猛、工业更加主导的今天，回归人文关怀，甚至不时地回到手工艺或许更容易让使用者感受到物体所传达的设计师想要展现的情感价值。

2016上海艺术设计展“未来场”的策展人胡本立认为，科技设计可以建立在人类的情感基础之上，比如其中的The Other Designs Project，不仅在前卫设计和基本日常生活之间取得平衡，也考虑到对于特殊群体的情感关照。

情感产生需求，而良好的产品使用体验又产生新的移情效果，未来的设计应该是运用新的手段去保留我们对于物体的情感，而并非让人们在产品使用的过程中削弱情感依赖。

未来并不应是一味对于技术的拜物式的崇拜，或无限制地对于我们生产生活的简化和归一。在精神当道的现代，我们不断利用科技的途径返璞归真，去探索新的生活态度，而也是时候，我们该去关注设计中的“情感可持续”了，太过乏味寡淡的高级工业化设计只会让未来生活的孤独感更加明显而已。

FUTURE DESlGN OF SENTlMENTALlTY

Text&Transltions by Bian Jiajin Photos from:2016 Shanghai Art &Design