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作为一个综合艺术,设计对创造力有着强烈的需求。它是对人的创造的一种挑战。伟大的设计师绝不仅仅是个手艺人,而且是艺术家、心理学家、人类学家乃至哲学家。他们除了需要掌握设计所必须的技艺外,还需要具有洞察社会潮流的慧眼和孕育未来时尚的心灵。斋腾诚就是这样一位大师。 从70年代中期起,后现代主义(post-modem-ism)成为在新一代设计师口头上经常出现的名词。设计师更侧重于观念和理论方面的探讨,设计的最终目标和终端结果,并不是产品,而是一种效果,有设计者和设计涉及的对象参与的一种活动和活动所形成的氛围效果。这是设计史上的一大转变。日本的设计界比之欧美似乎更重视对人的关
As an integrated art, design has a strong demand for creativity. It is a challenge to human creation. A great designer is more than just a craftsman, but an artist, psychologist, anthropologist, and even philosopher. In addition to the skills they need to master their designs, they also need to have a glimpse into the social trends and a mind that nurtures the future of fashion. Zhai Teng Cheng is such a master. From the mid-1970s, post-modem-ism became a verbal nounson to a new generation of designers. Designers are more focused on the concept and theory of the design, the ultimate goal of the design and the end result, not a product, but an effect, designers and designers involved in the design of an event and the atmosphere formed by the activities of the effect . This is a big change in design history. Japan’s design community seems to pay more attention to people than Europe and the United States