第十一章 各国设计简史(之二)(第33/34页)

宜家的设计很有特色,它的各种商品均以富有现代感、设计新颖而著称。大部分家具都设计成拼装式的,由消费者购买后利用宜家提供的工具自行安装。一方面,这样的 设计便于批量生产和平板式包装,在制造、包装、运送、储存方面大大降低了成本,从而可以让价格更加低廉、实惠;另一方面,这种自己动手的过程,也完全打破了家具行业的常规,更加密切了使用者和产品之间的关系。

由于销售地点遍及全球,所以宜家为产品设计的说明书很少用文字表述,而采用简单的卡通图画说明,消费者“按图索骥”便能方便地将宜家产品装配起来,避免了文字容易造成的隔阂和误解。

作为一家全球性的大型企业,宜家在卖场设计上非常注意突出企业形象,其卖场基本都是一个巨大的盒型建筑,外立面涂成鲜艳的蓝色,凸显出鲜黄色的IKEA字样。蓝黄两色既是瑞典国旗的颜色,也是宜家的企业色标,很有象征意义,而且非常醒目,老远就看得见,令人过目不忘。

在卖场的室内布置中,宜家非常重视居家环境的陈设,从“设计是一种生活方式”的理念出发,宜家的展室总是布置成一格一格的“样板间”。例如卧室家具的展示间,除了陈设床、床头柜、穿衣镜等常规卧室家具之外,还会配上窗帘、卧具、灯具、挂画、地毯等等,方便顾客参照设计自己的居室,挑选适合自己品位和条件的商品。无形中也对瑞典的生活方式、审美情趣等做了一番介绍。正如宜家的英国市场部主任安娜·科罗娜(Anna Crona)所言:宜家承诺要很好地理解我们的顾客在家里是如何生活的,无论他们的居室是怎样的或者他们有多少钱,总能提供令他们生活得更加幸福的途径。

宜家除了名列世界500强企业之外,还被《财富》杂志(Fortune )在2006年评为全球最适宜工作(Best Companies to work)的200家企业之一,被评为“加拿大最优秀的100个雇主”之一。

进入21世纪的瑞典设计,秉承着经济实惠、功能清晰、经久耐用的一贯传统,坚守着民主意识、社会责任的原则。设计师们相信,优良的设计是提高民众生活质量和审美水平的重要手段。正如维克多·帕帕纳克在庆祝“宜家”创业50周年纪念活动上指出的:“为了让我们设计和制造出来的产品能够帮助、而不是阻碍这个星球上人类生活的可持续性,我们的设计必须有益于环保,必须符合人体工学,必须适合人体尺寸,必须符合人性,必须富于社会责任感。”(*8 )

『A&E设计』在1980年代设计的方便提起放到任何平面上使用的台灯。

宜家的展示间不但陈列商品,也宣示着『设计是一种生活方式』。

注释

*1  原文为:"emphasized the need to tackle and solve the problems of the least privileged classes."

*2  原文为:"If the Memphis object is an affirmation of the transitory, the luxurious, the superficial, a costly and amoral object... the Zeus object is a modest, moral object with transcendental tendencies. As such, it reaffirms an absolute quality."

*3  原文为:"A chair is to have no backside. It should be beautiful from all angles."

*4  原文为:"There must be life, blood, and heart in things."

*5  原文为:"Only the simplest is best. Take away all that is unnecessary, develop the plasticity."

*6  原文为:"Every object is only the crystallization of perception, just like a poem."

*7  原文为:"The home must not be a mere effective machine. It must offer comfort, rest and cosiness. There are no puritan principles in good interior decoration."

*8  原文为:"The sustainability of life on this planet can be helped or hindered through the design and use of the objects we make. Ethical design must be environmentally and ecologically earth-friendly. It must be human-scale; it must be humane; it must be embedded in social responsibility."

参考书目

(一)意大利部分

[1] Sparke, Penny: Italian Design, Thames & Hudson Ltd, 1988, ISBN-10: 0500235317, ISBN-13: 978-0500235317.

[2] Lisa Licitra Ponti, editor: Gio Ponti: The Complete Work, 1923-1978, The MIT Press, 1990, ISBN-10: 0262161184, ISBN-13: 978-0262161183.

[3] Grace Lees-Maffei, Kjetil Fallan: Made in Italy: Rethingking a Century of Italian Design, Bloomsbury Academic, 2014, ISBN-13: 978-0857853899.

[4] Design.doc: Masterpieces of Italian Design, white Star Publishers, 2011, ISBN-13: 978-8854405844.

[5] Giampiero Bosoni, Paola Antonelli: Italian Design (MoMA Design), The Museum of Modern Art, New York, 2008, ISBN-13: 978-0870707384.

[6] Gunda Dworschak, Tom Sandberg, Massimiliano fuksas, Stefano Casciani: Design in Italia: The Making of an Industry, 5 Continents Editions, 2008, ISBN-13: 978-8874394418.

[7] Francesca Balena Arista: Stefano Gionannoni: Minimum Design, Ore Cultura Srl, 2012, ISBN-13: 978-8866480525.

[8] Ugo La Pietra(Editor): Gio Ponti, Rizzoli, New York, 2009, ISBN-13: 978-0847832705.

[9] Giampiero Bosoni: Italy: Contemporary Domestic Landscapes, 1945-2000, Skira, 2002, ISBN-13: 978-8881189588.

(二)日本部分

[1] Graham Mayeda: Time, space and ethics in the philosophy of Watsuji Tetsurō, Kuki Shūzō, and Martin Heidegger, New York, Routledge, 2006, ISBN 0415976731.

[2] Paul Kunkel: Digital Dreams: The Work of the Sony Design Center, Michigen University, Universe, 1999. ISBN-10: 0789302624; ISBN-13: 978-0789302625.

[3] Stefania Piotti, Rossella Mennegazzo: WA: The Essence of Japanese Design, Phaidon Press, 2014, ISBN-13: 978-0714866963.

[4] Penny Sparke, Paola Antonelli: Japanese Desgn (MoMA Design Series), the Museum of Modern art, New York, 2009, ISBN-13: 978-0870707391.

[5] Geeta Mehta, Kimie Tada, Noboru Murata: Japan Style: Architecture Interiors design, Tuttle Publishing, 2013, ISBN-13: 978-4805312599.

[6] Naomi Pollock and Reiko Sudo: Made in Japan: 100 New Products, Merrell Publishers, 2012, ASIN: B0076RN868.

[7] Shu Hagiwara: Origins: The Creative Spark Behind Japan's Best Product Designs, Kodansha USA, 2007, ISBN-13: 978-4770030405.

[8] JIDPO: Design Japan: 50 Creative Years with the Good Design Awards, Stone Bridge Press, 2007, ISBN-13: 978-1933330488.

[9] Japan Graphic Designers Association: Graphic Design in Japan, Azur Corporation, 2006, ISBN-13: 978-4897375311.

[10] Akiko Fukai, Barbara Vinken, Susannah frankel, Hirofumi Kurino: Future Beauty: 30 Year of Japanese Fashion, Merrell Publishers, 2010, ISBN-13: 978-1858945460.