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装饰是罪恶吗?包豪斯成熟时期强调机器大生产下简单的几何形状和基本颜色,然而“装饰”在本世纪的现代设计中一直是重要的因素,而且长期以来是人们热烈辩论的焦点。19世纪至本世纪初,“自然”的确在欧洲设计中占主导地位。20世纪的设计也一直以自然主义和传统的花形图案为中心。花形装饰的主要变化就是以几何图形搭配为本的装饰体系。本世纪初,维也纳、格拉斯哥和芝加哥的革新者们发展了一种崭新的现代装饰风格,即以直线、圆圈为主,甚至直线也能产生特殊效果的图案。现代主义的另外一些精英们一直对源自方形和矩形的无穷变幻非常着迷。许多设计师运用不同的几何图形创造出复杂的综合图案。立体主义对新式的动感图案装饰的发展也功不可没。另一方面,许多战后设计师仍保留着战前现代主义的硬边几何造形。显而易见,现代主义的修辞还不足以将装饰从20世纪设计师们的节目单中完全删除。希格弗来德·基顿(Siegfried Giedion)1948年深刻的语句:“装饰的欲望是人类的本性,就像饥饿或爱,是不可根除的。”
Is decoration a sin? Bauhaus matures emphasize the simple geometry and basic colors of machine production, yet “decoration” has been an important factor in the modern design of this century and has long been the subject of intense debate. From the 19th century to the beginning of this century, “nature” did indeed dominate European design. Twentieth-century designs have also been centered on naturalistic and traditional floral patterns. The main change is the flower-shaped decoration with geometry-based decorative system. In the beginning of this century, innovators in Vienna, Glasgow and Chicago developed a brand new and modern decorative style, that is, a pattern with special effects, such as straight lines and circles, and even straight lines. Other elites of modernism have been fascinated by the infinity of squares and rectangles. Many designers create complex, complex patterns using different geometries. Cubism has contributed to the development of new dynamic patterns. On the other hand, many post-war designers still retain the pre-war modernist hard-edged geometric shapes. Obviously, the rhetoric of modernism is not enough to completely remove the decoration from the twentieth-century designers’ lists. Siegfried Giedion’s profound 1948 statement states: “The desire for decoration is human nature, just as hunger or love is irretrievable.”