感性的未來

感性的未來

New Territories, Designer：Kiran Naia Del Castiollo (Spain)《新界》 作者：耐爾·卡斯蒂諾（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）如果椅子有了人性會怎樣？創意作品《懶椅》表達了這樣的想象——當幾根繩子拉緊時，原本平放在一起的圓柱和木板，就組合成一把椅子，當繩子放松，椅子就會突然如人癱倒了一般。這種瞬間的錯愕，可以被視作一種對人類的提醒：并非所有的技術都是可靠的，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）東方傳統把茶、景觀和修行視作一體，日常生活貴在內心的儀式感。設計師顏呈勛的水泥茶幾將東方禪宗精神融于工業派設計中，簡約線條凸顯了茶文化在人們生活中的地位。除去繁復的修飾，只留下基本需要。其他的，就交給身心去體悟。（作者:顏呈勛,中國）

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以現代科技的手段優化生活用品的使用和功能，直接在微觀裝配實驗室里生產物件，最為可貴的是，這些產品關切了殘障人士對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)設計師認為“ 絲綢之路” 的價值不僅在于絲綢傳輸，還有東西方之間的科技、美學和理念的交匯。STUDIO SWINE由此聯想到中國是最大的頭發出口國，也是最大的熱帶硬木出口國。在作品Hair Highway里，利用可再生技術將頭發和樹脂結合，打造特殊紋理質感的家用品，同時又減少了木料消耗。(作者：STUDIO SWINE，UK)

或許是時候，我們應該更多地關注到設計的靈魂——物體所飽含的人類情感價值。

從包豪斯開始，工業化、生活化的設計以簡約實用為設計語法，當消費更加迅猛、工業更加主導的今天，回歸人文關懷，甚至不時地回到手工藝或許更容易讓使用者感受到物體所傳達的設計師想要展現的情感價值。

2016上海藝術設計展“未來場”的策展人胡本立認為，科技設計可以建立在人類的情感基礎之上，比如其中的The Other Designs Project，不僅在前衛設計和基本日常生活之間取得平衡，也考慮到對于特殊群體的情感關照。

情感產生需求，而良好的產品使用體驗又產生新的移情效果，未來的設計應該是運用新的手段去保留我們對于物體的情感，而并非讓人們在產品使用的過程中削弱情感依賴。

未來并不應是一味對于技術的拜物式的崇拜，或無限制地對于我們生產生活的簡化和歸一。在精神當道的現代，我們不斷利用科技的途徑返璞歸真，去探索新的生活態度，而也是時候，我們該去關注設計中的“情感可持續”了，太過乏味寡淡的高級工業化設計只會讓未來生活的孤獨感更加明顯而已。

FUTURE DESlGN OF SENTlMENTALlTY

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