感性的未來(lái)

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(huì)怎樣？創(chuàng)意作品《懶椅》表達(dá)了這樣的想象——當(dāng)幾根繩子拉緊時(shí)，原本平放在一起的圓柱和木板，就組合成一把椅子，當(dāng)繩子放松，椅子就會(huì)突然如人癱倒了一般。這種瞬間的錯(cuò)愕，可以被視作一種對(duì)人類的提醒：并非所有的技術(shù)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(tǒng)把茶、景觀和修行視作一體，日常生活貴在內(nèi)心的儀式感。設(shè)計(jì)師顏呈勛的水泥茶幾將東方禪宗精神融于工業(yè)派設(shè)計(jì)中，簡(jiǎn)約線條凸顯了茶文化在人們生活中的地位。除去繁復(fù)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(guó)）

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(xiàn)代科技的手段優(yōu)化生活用品的使用和功能，直接在微觀裝配實(shí)驗(yàn)室里生產(chǎn)物件，最為可貴的是，這些產(chǎn)品關(guān)切了殘障人士對(duì)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(shè)計(jì)師認(rèn)為“ 絲綢之路” 的價(jià)值不僅在于絲綢傳輸，還有東西方之間的科技、美學(xué)和理念的交匯。STUDIO SWINE由此聯(lián)想到中國(guó)是最大的頭發(fā)出口國(guó)，也是最大的熱帶硬木出口國(guó)。在作品Hair Highway里，利用可再生技術(shù)將頭發(fā)和樹脂結(jié)合，打造特殊紋理質(zhì)感的家用品，同時(shí)又減少了木料消耗。(作者：STUDIO SWINE，UK)

或許是時(shí)候，我們應(yīng)該更多地關(guān)注到設(shè)計(jì)的靈魂——物體所飽含的人類情感價(jià)值。

從包豪斯開始，工業(yè)化、生活化的設(shè)計(jì)以簡(jiǎn)約實(shí)用為設(shè)計(jì)語(yǔ)法，當(dāng)消費(fèi)更加迅猛、工業(yè)更加主導(dǎo)的今天，回歸人文關(guān)懷，甚至不時(shí)地回到手工藝或許更容易讓使用者感受到物體所傳達(dá)的設(shè)計(jì)師想要展現(xiàn)的情感價(jià)值。

2016上海藝術(shù)設(shè)計(jì)展“未來(lái)場(chǎng)”的策展人胡本立認(rèn)為，科技設(shè)計(jì)可以建立在人類的情感基礎(chǔ)之上，比如其中的The Other Designs Project，不僅在前衛(wèi)設(shè)計(jì)和基本日常生活之間取得平衡，也考慮到對(duì)于特殊群體的情感關(guān)照。

情感產(chǎn)生需求，而良好的產(chǎn)品使用體驗(yàn)又產(chǎn)生新的移情效果，未來(lái)的設(shè)計(jì)應(yīng)該是運(yùn)用新的手段去保留我們對(duì)于物體的情感，而并非讓人們?cè)诋a(chǎn)品使用的過程中削弱情感依賴。

未來(lái)并不應(yīng)是一味對(duì)于技術(shù)的拜物式的崇拜，或無(wú)限制地對(duì)于我們生產(chǎn)生活的簡(jiǎn)化和歸一。在精神當(dāng)?shù)赖默F(xiàn)代，我們不斷利用科技的途徑返璞歸真，去探索新的生活態(tài)度，而也是時(shí)候，我們?cè)撊リP(guān)注設(shè)計(jì)中的“情感可持續(xù)”了，太過乏味寡淡的高級(jí)工業(yè)化設(shè)計(jì)只會(huì)讓未來(lái)生活的孤獨(dú)感更加明顯而已。

FUTURE DESlGN OF SENTlMENTALlTY

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