【作者】 张小开；

【导师】 张福昌；

【作者基本信息】 江南大学 ， 产品系统设计及理论， 2009， 博士

【摘要】 本课题的研究是以竹类产品系统为主体,通过对中国各种竹类产品的分析,得出其设计规律,主要从不同设计范式下竹类产品用与美的规律、设计特征来分析。另外,考察了中国现代设计的状况和特点,认为中国设计目前正处于一个设计混合体的状况,这个混合体里集成了手工艺阶段的设计模式、工业文明阶段的设计模式和后工业化阶段的设计模式。具有悠久民族根源的竹类产品系统在这一个混合体里要想得到发展,必须深刻理解这种中国设计的现状和几种不同设计模式的特征与要求。首先论文指出竹材供给中有自然性供给、不规则性供给、中空性供给、韧性及弹性供给、各向异性供给,这些供给是竹类产品系统在不断演变过程中的条件和约束。指出在产品设计中最本质的关系是“人——物”关系,这种“人——物”关系将是竹类产品系统演变的主要依据。在传统竹类产品系统的设计规律中,论文重点论述了竹类产品的各种物质功能和精神功能,指出传统竹类产品是以建立在生命价值观基础上的“用”为主体的,并详细分析了竹类产品的“围合”功能、“容纳”功能、“过滤”功能、“承载”功能、“流通”功能、“温控”功能等几种应用较广的功能,指出在竹类产品的功能中体现了竹类产品设计的空性设计、尺度拓展规律等重要规律。并最后重点用量化的方法对竹类产品的尺度规律和色彩规律进行了分析,得出这类产品中的造型尺度和造型特征的规律,竹类产品大部分集中在50厘米的尺度范围内,竹类产品的造型中主要有以横向切分的圆柱形为基准的造型、纵向切分的曲线为基准的造型以及横纵切分的综合造型为基准的造型。提出了竹类产品的色彩共分为红、黄、绿、青四大色系以及淡黄、棕二个亚色系。继而通过我们长期以来所思考的“传统造物的困惑”为基点,说明传统竹类产品的设计规律在现代中国的失效或者部分失效,并说明这种失效的深刻原因。由此根据人们生活形态和生活方式的变化,我们引入设计范式的概念,并指出设计范式的变更是传统竹类产品设计规律失效的根本原因。同时指出中国现代设计正处于一个多重设计范式并存的时代,在这三种不同的设计范式中,工业文明设计范式处于核心地位、农业文明设计范式处于基础地位、后工业文明设计范式处于指导地位。只有正确认识这种不同设计范式之间既独立又相互联系的关系,我们才能在新的时代下推动竹类产品更符合中国人实际的生活方式。在此基础上,我们继而深入地分析在不同设计范式下竹类产品的设计规律以及规律的变化。在工业文明设计范式下,论文指出设计的“共有基础”是机器生产、标准化、批量化、大众化等,这种“共有基础”导致了竹类产品设计必须是建立在这种工业设计范式之上,从而从根本上改变了竹类产品设计的思路。最后从这种“共有基础”对竹材料的限定的基础上论述了竹类产品在竹点材、竹线材、竹面材、竹体材等四个方面的设计规律。指出竹点材的利用方式最重要的应用就是平铺;在竹线材的利用中有高度可统一性、平铺可弯曲性和孔洞性三个竹线材利用中的重要变量,“孔洞”依然是竹线材利用较为核心的一个特征;竹面材最为明显的就是“面”的特征和“体”的特征;竹体材的利用相对较少,一是限于竹体材本身的尺度,另一种是限于竹体材的材料利用的奢侈。最后指出竹线材是竹材利用的最为核心的方式,而竹面材是竹线材利用最为重要的补充。竹点材和竹体材则为竹线材和竹面材的重要补充。论文进而指出了工业文明设计范式下的“共有基础”的危机,从“人——物”新的变化与需求、全球化与多样化、从物质消费到非物质消费等几个方面形成了后工业文明设计范式新的基础。从而再一次改变了竹类产品的设计规律。论文从竹类产品自身蕴含的文化和精神底蕴中论述了竹类产品在后工业设计范式下的价值基础,并从使用者的切身利益层、情感体验层和自我形象层三个方面来讨论了竹类产品新的应用价值。指出这种“精神意义”在新的设计范式下具有可复制的无限价值意义,而竹类产品自身蕴含的文化传统和人民智慧是竹类产品在后工业设计范式下的无限宝库。最后指出传统竹类产品制作工艺在新的设计范式下具有新的同现代科技、人文结合的“实用”价值和连接人——物情感纽带的价值意义。最后,论文提出在多重设计范式下竹类产品设计的“优势互补”原则、竹材供给是竹类产品演变的条件与约束、现代科技是竹类产品演变的基础、竹类产品文化是竹类产品演变的灵魂、人的需要是竹类产品演变的推动力等原则。更多还原

【Abstract】 This paper pays emphasis on the bamboo products’system, analyzing the design and use of traditional bamboo products, working out its design regularity. The paper analyses the design regularity of bamboo products in two aspects which are the regularity of use and aesthetics, design character. On the other hand, thinking about the design characteristic of contemporary China, the paper considers that Chinese design is a mixed design existence, in this mixed existences, we can find the design model of art and crafts, industry and post-industry. In order to develop the bamboo products’system in such mixed design existence, we must comprehend the present situation and the different characteristics of different design models.The paper firstly has a study on the Chinese traditional bamboo products’system, considering that the bamboo material has the affordances such as natural character, un-regularity, hollow character, tenacity and elasticity, anisotropy, and these affordances are the conditions and constraints of bamboo products’system. The paper pointing out the most intrinsic relation of product design is the relationship of human-being with product, this relationship become the basis of bamboo products’evolvement. The paper discussing the practice function and mental function, pointing out that the principal function of traditional bamboo product is the usability which based on the life value. The paper analyses the enclosure function, container function, filter function, bearing function, flowing function, temperature-regulated function in detail, pointing out that the functions embody the regularities such as hollow design, improvement of the scale. Then the paper quantifies the scale and color of bamboo products, reaching that the most of bamboo products’scale is about 50 cm. Cylinder made by horizontal cutting, curve made by vertical cutting and syntherical form made by syntherical cutting are the basic from for bamboo product. Paper also points out that the color of bamboo products can be divided into four systems which are red, yellow, green and cyan, while there are have two subsystems which are light yellow and brown. Then based on the thinking of“the confusion of traditional design”, the paper discusses that the traditional bamboo design regularity has lose its efficacy or partly, explaining the deep reason of the losing. According to the change of lifestyle, we import the concept of design paradigm, pointing out that the change of design paradigm is the fundamental reason of the loss. Futhermore, the paper comes to the conclusion that contemporary Chinese design is in an era of multiple design paradigm. Among these three different design paradigm, industrial design paradigm has a hardcore position, art and crafts design paradigm has a basic position, while post-industrial design paradigm has guiding position. If we want to improve the new bamboo product design, we must understand the independent and connected relationship of the different design paradigms correctly. Basic on this, we can deeply analyze the different design regularities of bamboo products and their changes.Under the industrial design paradigm, the paper points out that the“common basic”of design paradigm are the machine production, standardization, mass-production and popularity. This“common basic”leads to that the design of bamboo must be build on this new design paradigm, thus it changes the design idea of bamboo fundamentally. The use of bamboo is limited by this“common basic”. Considering about this limitation, the paper discusses the design regularity of bamboo products in four aspects which are point material, line material, surface material and body material. The most important use way of bamboo point material is surface arrangement; there are three important use way of bamboo line material which are the unification of height, the bend ability and holey character. The holey character is still the key character of bamboo line material. The main characters of bamboo surface material are the surface and body character. The use of bamboo body material is relatively small. Firstly it is limited by its scale, and then is limited by its waste of material. At the end the paper come to conclusion that the use of line material is the key way of bamboo’use, and surface material is the most important supplement of line material. The point material and body material are the important supplements of the line material and surface material.Under the post-industrial design paradigm, the paper points out the crisis of industrial design paradigm’s“common basic”. The new change of relationship between human being and product, globalization and diversity, the change consumption from material to immaterial, all of these become the new basic of post-industrial design paradigm. Thus these change the design regularity of bamboo again. The paper points out the value basic of new design paradigm, discussing the new applied value of bamboo product for user in three aspects which are personal concern level, emotion experience level and self-image level. The paper also points out that the mental meaning has infinite value because it can be copied freely under the post-industrial design paradigm, while the traditional culture and people’wisdom which are contained in the bamboo products are the infinite resources for new design paradigm. At last, the paper reaches the conclusion that the traditional bamboo techniques have the practical value when they combine with the modern technology and humanity and emotion value which connect the human being with product.At last, the paper brings up that the three paradigms are complimentary paradigms. The bamboo’s affordances are the condition and constraint of bamboo products’evolvement, modern technology is the basic of bamboo products’evolvement, bamboo products’culture is the soul of its evolvement, the need of human being is the motive force of bamboo products’evolvement.更多还原