For a long time, people have lived in a monotonous product world created by ourselves, living in almost the same house, riding almost the same car, and entering almost the same office. Sitting on the same desk or chair. Then return to work and return to the home of almost the same furnishings... monotonous stylized objects surround us. Stifling us makes us almost like them. Gradually lost her feeling. For this situation. Biologist E. O. Wilson once said. “Now we have been at the end of the day. The voice of the heart whispered: You have gone too far. Disturbed the world. The way of controlling nature is too much.†Today, the era has abandoned the theory of “modernismâ€. People who are increasingly disgusted with "mechanical style," "simplification," and "standardization" recognize that products are too focused on "functionality" and "materiality." Sacrificing "naturalness" and "non-materiality" to humanity has caused tremendous disasters. As humans, we should not only use those items for our lives. Moreover, we should begin to use them as projections of our hearts and feelings. Pleasure us and express us. Let them attract and indulge our feelings. Support and help our behavior. This may be the true purpose of the design. It is the biggest difference between modernism and postmodernism. It is the significance of the transformation from the creation of traditional self-referenced, rational, single objects to the creation of the humanistic content, perceptual, and complex material.
As a result, the design has greater flexibility, it combines the rational design intent, the inner association and the perceived value. Into a wider field of communication with people who have all the possibilities: Such products emphasize respect for human emotions on the basis of emphasizing functional and economic principles, and emphasize the organic structure and emotional quality of design. In exchange for people's intimacy and trust in the product. What we seek to express because of emotional quality is something similar to human experience. Such as light, sound, temperature and humidity, taste, touch, body feeling, balance and beauty, elegance, loneliness, pride and other abstract heart feeling experience, there are changes between them, mixed ambiguous state. There can even be imaginative ingredients. Such as the imaginary flavor, the solar odor, the opening of the flowers heard, the whispers of grass and so on. It always surrounds people's various feelings and psychology. As a result, the design of a product increases from the meaning of a simple object to the range of a person's activity. How to make the product with perceptual quality. It is becoming a research direction for present and future design without hesitation. Although, how to quantify or compare the sensory experience of human beings with various sensory experiences or how to concretize the abstract mentality and imagination of human beings is still a matter of exploration. But one thing is certain, that is the product must develop the "feeling" meaning. And give the product a "feeling" capacity. In other words, we must change the ideal of production and turn to the ideal of nature.
We exist in nature. All our needs depend on nature. In the past, modernists were in trouble because of deserting nature. Now we should find our place in nature and keep up with the changes in nature. And learn how to use the experience of nature as the basis of design. Gombrich once said: "The history of art can be said to be the creation of master keys and the unlocking of our mysterious senses. And that key was originally held by nature itself." Art is such, design is The key to open the locks of our senses should be taken from nature. In the form of nature and human beings, there is an incomparably exquisite and subtle yet vigorous vitality. The biggest difference from mechanical artifacts is its organic character. Organic characteristics are the most capable of generating empathy. It is consistent with the natural tendency of man as an organism. In the natural form, there are at least three aspects that can inspire the product's emotional quality:
First, the sense of life Because the living organism maintains itself. Resisting mutations. When subjected to strong external interference. Struggling to preserve its own structure. It is bound to form an external form with internal tension; people can feel a self-conscious life and activity in such an organic form full of mystery. This kind of self activity is in a wonderfully harmonious atmosphere. In the middle, it evokes our sense of life, which is a direct and agile response to human survival; therefore, in this organic beauty, people and the world are no longer opposed. People feel satisfied. feel satisfied. Finding and creating organic forms is not the pursuit of the vividness of that image. Instead, it pursues the perfect rhythm of the lines and forms. The kind of vibrancy that implies life, growth and transformation. Use them for the design appearance effect. Undoubtedly, it will make product design more “feelingâ€. This is a form that is different from the mechanical age. Mechanical era product design. Overly advocating geometry. Repel organic shapes. Therefore lack of passion and lack of feelings. Resistance to life increases the alienation and separation between people and products. The use of organic forms will further improve this situation.
Second, complexity Nature. Every single object. Even nature's most rigorous creations, the crystals, are not absolutely geometrical and are slightly skewed. A straight-looking tree. It is often composed of ovals placed on the straight line of the trunk. If you lose this condition, you lose your life. In the same way, our people's faces look symmetric. There are actually many subtle changes. Not to mention the variety and complexity of other types of nature. Because of this, Paul Cézanne's citation of nature in everything can be summed up in the process of cylinders, spheres and cubes. Has paid great pain. This is enough to explain: "Geometry. When it is compared with the shape of nature. The scope of its performance is extremely narrow." (Nathan Kaberhold Hale, "Abstractness in Art and Nature") A structure rich in natural forms. Changing levels. Subtle local transition. And their growth movements, voice features, the wonder of balance, body language when transmitting information, and so on all show extraordinary richness and complexity. However, it is these that cannot be accurately calculated. Unclear and unclear complex aspects. There are many similarities with the sometimes ambiguous feelings expressed by human beings in certain languages. Thus they have a feeling that people feel more gentle, more compliant and more tender. This feeling is vivid. Stimulating the senses. If you find a formal principle in it. A form of composition, then combine it with the personality of the design object. Enabling effectively prevents the dominance of simple industrial thinking and brings new emotional life to the design.
III. Adaptability The evolution of biology in nature is always under constant environmental changes. Creatures gradually progress to reconcile and adapt to the living environment. There are no thoughtful plans or plans. However, with surprisingly logical results, it is always possible to show the fullest response to changes in the environment. The reason is that the structure of the organism itself shows a variety of connections. And in each section. This structure has the conditions for growth and decline. It can abandon old features at any time. Adapt to new features. This variability of organic organizations. Do not allow any kind of understanding to use it as a fixed form. It is far from the immutable, solidifying meaning. The variability is adaptability, development, which means flow, not fixation, so John Chris Jones said: "For the continuation of the design. Do not fix the function. Fixed function will suppress the presence of each person. , human reliance on designs with long-lasting vitality." The world is constantly changing. People's needs and feelings are influenced by time, space, climate, seasons, sounds, momentum, and social factors. They are also constantly changing. Therefore, design should vary from place to place, time to place, and person to person. Always understand the right needs. Like the type of natural development, it constantly adjusts the adaptation relationship between people and things, and does not force the design to fix and unify certain functions and forms. Instead of focusing on the final result of the product, it focuses on the design process and the use of the product. Future product designs may become this: According to each person's personality, preferences. The listening environment and his or her special needs are designed face-to-face, satisfying personality with maximum flexibility and adaptability.
There are many aspects in the search for natural products that add emotional quality to product design, but the revelation given to us in organic properties is undoubtedly important and practical. There are many organic features in the design. A successful case that included the perceptual quality of the product. These successful examples. It has continuously proved that a bridge can be built between our bodies and artifacts. Now even the electronic circuit arrangement is in an organic form. The relationship between some modern industrial products and users also has and is having "natural" characteristics. However, in many cases. We still cannot read or feel all the "language" in nature. Simultaneously. Certainly there are still undiscovered features and forms of exercise. With the development of advanced science and technology. New scientific and technological achievements will greatly promote post-modern design. Peter Fuller, a British cultural critic, told us in his Postmodern Aesthetics Study: "The Harvard mathematician Mandelbrot claims to conceive and develop a new geometry about nature. It can depict all the envelops. Our irregular and split forms... Mandelbrot insisted that scientists would be "surprised and happy to find that they had to call many forms grainy, multi-sourced, centered, pimples, and pockmarked. , Mesh, Algae, Tortuous, Strange, Disorganized, Twisted, Fuzzy, Wrinkled. Similar to this. From the future, it is possible to approach the precise and dynamic quantitative fashion. "The new geometry and form of this newly discovered nature are more complex and richer than the Euclid theory that plagues many designing experts. In terms of modern design, it is a very useful resource, which will greatly promote the development of postmodern design, and at the same time, it will give us more confidence to come close to nature.For the sake of designing the “sensibility†exploration, for our own sake.
(Li Wei, Teacher, Art Department, Anhui Normal University)