段胜峰：当橡皮头遇上铅笔

◇|文本刊记者 胡 婷|图 游 宇受访者提供

段胜峰

Duan Shengfeng

1993年毕业于四川美术学院，现任四川美术学院设计艺术学院院长，教授，兼任重庆工业设计协会常务理事。曾获第十一届全国美展（首届中国美术奖）金奖、第十届全国美展优秀奖、第十二届全国美展提名奖等。

Duan Shengfeng,graduated from Sichuan Fine Arts Institute in 1993,is currently a professor and the dean of School of Design and Art,as well as the managing director of the Industrial Design Association of Chongqing. In addition to these honors,he is also the recipient of the 11th National Artworks Exhibition’s Gold Award,the 10th National Artworks Exhibition’s Good Design Award and a nominee of the 2nd National Artworks Exhibition.

“一只橡皮，一支笔，它们是独立分开的，有一天，当橡皮直接放在了笔上，就有了带橡皮的铅笔，这就是工业设计的思维。”1992年，当时还是江南大学工业设计专业教授的吴翔来到四川美术学院，他的话，让当时尚在读大三的段胜峰印象深刻。

橡皮与铅笔的组合，深深打动了段胜峰。从那时起，段胜峰开始对工业设计产生兴趣。

随着时代的发展，工业设计的内涵也逐步完善丰富，从原来的外观设计到内在逻辑思维，再到城市建设等领域的运用，工业设计有了更广阔的发展空间。

段胜峰目睹并深度介入了工业设计的发展，乐在其中。他相信，未来，工业设计会有更多的可能。

Duan Shengfeng’s story with industrial design started here. Wu Xiang,a professor of Jiangnan University’s Industrial Design Major,visited Sichuan Fine Arts Institute in 1992.“Eraser and pencil are two different and independent things,but there will be a new product after combining them together.That is called thinking of industrial design.”

Professor Wu’s words deeply impressed this junior,Duan Shengfeng. From that time,he was interested in industrial design and his dream began to take root.

With gradually improved connotation,industrial design was able to expect a broader space of development in exterior design,internal logic thinking,urban construction and other fields.

Duan Shengfeng witnessed and greatly promoted the development of industrial design. As a participant,he found pleasure and sense of pride in this process. He believed that in the future,industrial design would enjoy a brighter and broader prospect.

工业设计进入快车道Gradual Development of Industrial Design

段胜峰是四川泸州市古蔺县人，标准的“70”后。小学二年级开始，在课间玩武将，将小人书剪下来。但那时候并没有那么多小人书，为了继续玩这个游戏，他就开始学着自己用铅笔画武将。

“为了赢得比赛，我将自己武甲的枪画得最长，锤子画得最大。”段胜峰回忆。也就从那时起，段胜峰开始对画画产生兴趣，最大的愿望是考上宜宾师专，因为那里有绘画专业。

他没能考上宜宾师专。1989年，段胜峰以优异的成绩考入了四川美术学院工业设计学院。

在这之前，他对工业设计一无所知。

段胜峰所学专业叫“工业设计艺术”，当时中国关于工业设计的概念是从西方翻译过来的，对工业设计的定义还停留在外观造型的范畴。

“工业设计在当时并没有太多的发展空间，就是简单地设计榨汁机，或者门把手，而且没有知识产权的保护。”毕业后，全班同学除了他因为留校当老师继续从事工业设计，其他人都进了广告和装修领域。

随着经济社会的发展，各高校关于工业设计的学术定位开始发生变化，工业设计迎来了春天，重回大众的视野。当时，川美和宗申成立了宗申川美工业设计研究所，段胜峰任所长。

段胜峰重回工业设计领域后的2004年，他的作品《风影》系列摩托车设计获第十届全国美展优秀奖。

Duan Shengfeng,born in 1970,was a native of Gulin County,Luzhou City,Sichuan Province. From the second grade of elementary school,he cut paper characters from comic books and played a game called martial armor with these characters. But he couldn’t collect enough characters from comic books. To continue this game,he began to draw martial armor with pencil by himself.

In Duan Shengfeng’s memory,to let his own characters win the game,he painted the longest lance and the biggest hammer for them. Since then,out of interest in painting,Yibin Teachers College became his dream,for he could learn professional painting skills here.

Unfortunately,Duan Shengfeng was not admitted to Yibin Teachers College. In 1989,he became a student of Sichuan Fine Arts Institute’s School of Industrial Design with excellent scores.

Before entering Sichuan Fine Arts Institute,he knew nothing about industrial design.

Duan Shengfeng majored in Industrial Design and Art. Concepts related to industrial design in China were translated from western concepts. In China,understanding and definition of industrial design were still limited to exterior design.

Duan Shengfeng said,“When I was a college student,there was not much room for industrial design. We just did some simple designs,like juicer and door handle. Our designs even didn’t have intellectual property protection.” After graduation,he became a teacher of Sichuan Fine Arts Institute and continued to devote himself to industrial design. But his other classmates gave up industrial design and worked in fields of advertising and decoration.

With the development of economy and society,academic orientation of industrial design in various universities and colleges changed. Industrial design ushered in spring and returned to the public's vision.Then,Sichuan Fine Arts Institute and Zongshen Industrial Group jointly established a Research Institute of Industrial Design,with Duan Shengfeng to be its director.

In 2004,Duan Shengfeng won the 10th National Artworks Exhibition’s Good Design Award for “Wind and Shadow” series design of motorcycles. The title director of the institute and this award symbolized his return to industrial design field.

设计贯通城市动脉Reflection of Design Thinking on Urban Transportation

在设计领域，设计师只需要三分之一的美术功底，其他的都是关于工程、机械等方面的知识储备。

“设计是一个系统问题，需要统筹考虑，就像空间设计，它包括了家具摆放的合理性，人在其中走动的考量，色彩的搭配，人的习惯，心理上的暗示等等。”段胜峰解释。

当设计融入城市建设，在重庆就又了“现实版”。比如，各大轻轨站的图画、雕塑，同样也是设计的成果。

2010年，重庆轨道交通集团找到段胜峰，说准备在重庆轻轨所有站点进行文化建设，请他设计。

于是，以轨道二号线较场口站“开篇”，以山城历史为主题，重点打造“记忆中的老重庆”系列设计。

段胜峰印象最深的，是五里店轻轨站，“一首诗对应一幅画，总共100首，从汉代到唐宋。”为确保准确性，段胜峰专门找重庆文史方面的专家学习、核对。

每个站点都要根据综合因素来考量。每个站的设计工程，都有10～20个备选方案。从设计到最后出成果，都要大半年时间。

在重庆机场T2航站楼，有重庆市民的100张笑脸，包括田亮、李云迪等等，代表着“重庆欢迎你”；磁器口是外来者了解重庆的一个窗口，在磁器口轻轨站台墙壁上满了重庆言子儿：“莽子”“灯儿晃”“逮猫儿”……包罗万象，幽默风趣。

Designers need to have some drawing and color matching skills,but knowledge related to engineering,machinery and other fields are more important to them.

As Duan Shengfeng explained,design needed to be considered systematically and coordinately.For instance,a coordinate space design should take various aspects into consideration,such as reasonable arrangement of furniture,appropriate space for daily activities,matching of colors,people's habits and psychological hints.

Chongqing successfully integrated design with urban construction. Drawings and statues in Chongqing’s light railway stations embodied thinking of design.

In 2010,Chongqing Rail Transit (Group)Co.,Ltd. entrusted Duan Shengfeng to design for cultural construction of all light railway stations in Chongqing.

Jiaochangkou,a station on line 2,was designed on the basis of Chongqing’s history,focusing on a series of designs of “Old Chongqing in Memory”.

Wulidian Station’s design left Duan Shaofeng the most memorable impression. At this station,100 poems from Han Dynasty to Tang Dynasty and Song Dynasty painted on the walls were matched with corresponding drawings. To ensure corresponding matches of each poem and drawing,he even invited some Chongqing experts in literature and history to teach him relevant knowledge and to check accuracy of these drawing and poems.

The design of each station must consider comprehensive factors. There were 10 to 20 alternatives for the design of each station. From design to completion,it took about half a year.

At T2 passenger terminal of Chongqing Airport,there were 100 smiling faces of Chongqing citizens,including Tian Liang (a gold medal winner of several Olympics) and Li Yundi (a famous pianist). These smiling faces represented Chongqing citizens’warm welcome. Ciqikou ancient town was a window for foreigners to know about Chongqing. Walls of Ciqikou Station were covered with Chongqing dialects,humorous and interesting.

作品中倾注人文关怀Pure Humanistic Care into Designs

段胜峰不愿把自己当作一个艺术家，更愿意把自己当作一个设计师，“艺术家的作品可以引起大众的共鸣，就是好作品。而设计师是为他人提供服务，在不浪费多余材料的前提下，为大众提供更简便和更高质量的生活。”对段胜峰来说，设计更是一种兼具社会性的工作。

2008年“5·12”地震发生后， 段胜峰就在想，如果能设计一种适合多山地区、集通过与救护功能为一体的工程车，就可以解决救援机具和物质进入灾区的难题。

随后的6月，段胜峰就带领孙元明、许冲两个学生进入灾区，对灾区道路、海拔、地形、建筑、运输、工程作业、救援救护等情况进行调研。2009年7月，设计出了《全地形突击救援车》。

它最大的特点在于整合了不同功能。在全地形车平台基础上，整合工程救援与医疗救护功能模块，实现工程作业、耐候越障、紧急医护等灾后应急救援需求，是集越障通过、工程救援与医疗救护于一体的专业救援车辆。

段胜峰翻出《全地形突击救援车》效果图，车体采用橙红金属专用色彩，多功能清障系统具有铲挖、破钻等功能。他指着车体两侧说：“这里可扩展成6个充气帐篷，可作为80～100人的临时医院模块，对伤者进行有效救护。独立持续工作可达120小时，用以展开震后救护和防疫工作。”

“真正的经典设计，是直面突发而来的现实，用智慧和勇气解决复杂问题，用情感和温度倾注人文关怀，用专业素养和职业精神锤炼出的好设计。”著名设计教育家陈汗青，曾这样评价段胜峰设计的《全地形突击救援车》。

《全地形突击救援车》获得第十一届全国美术作品展暨首届中国美术奖金奖，同时也是全国美术展览历史上第一个工业设计金奖作品，为重庆直辖以来获得的首个美术类最高奖。

Compared with artist,Duan Shengfeng was more willing to treat himself as a designer. In his mind,artists created works that resonated with the public,while designers provided a simpler and higher quality life for people without wasting excess materials. Design was a work combined with social needs.

After the 5.12 earthquake in 2008,Duan Shengfeng was thinking that if he could design an engineering vehicle with functions of entering into mountainous areas,crossing road obstacles and rescuing,then rescue equipment and materials were able to be transported to disaster areas.

In June 2008,Duan Shengfeng went to disaster area with two students,Sun Yuanming and Xu Chong to investigate roads,elevations,terrains,constructions,transportation,engineering works,rescue conditions. With unremitting efforts,in July 2009,the design “All-Terrain Rescue Vehicles”came out.

“All-Terrain Rescue Vehicles” are characterized by the integration of various functions.In addition to developing a flat ground for medical personnel,“All-Terrain Rescue Vehicles”also have such functions as obstacles crossing,engineering rescue and medical rescue. With these useful functions,these professional rescue vehicles meet demands of emergency rescue after disaster.

According to rendering of “All-terrain Rescue Vehicles”,vehicles’ bodies were painted with tangerine. “All-Terrain Rescue Vehicles” were equipped with multifunctional obstacle-removing systems with such functions as shoveling,digging and drilling. He pointed to the two sides of vehicles on the rendering and said,“Six inflatable tents can be opened on both sides of vehicles’ bodies as a temporary hospital for 80 to 100 people,which effectively protects the injured. These tents can continuously work for 120 hours to carry out rescue and epidemic prevention work after earthquake.”

Chen Hanqing,a famous designer and educator,highly praised Duan Shengfeng’s “All-Terrain Rescue Vehicles”,“A truly classic design is aimed at solving complex problems with designers’wisdom and courage when facing sudden situations.A truly classic design contains humanistic care with emotion. A truly classic design is created with designers’ professional qualities and dedication.”

The design “All-Terrain Rescue Vehicles”,as the first industrial design won gold award in the history of the National Art Exhibition,acquired honors of Gold Awards of the 11th National Art Exhibition and the First China Art Award. It was the first and the highest award Chongqing citizen obtained in art field since Chongqing became a municipality.