Abstract: The modernization of design patterns is how the design patterns are consistent with new social issues. Therefore, the study of the morphological problems in contemporary design is an important topic before everyone.
Abstract: The modernization of design form is how to further conform it to the new social issues, therefore, to research the question of form amid the modern design is a key project facing us.
Keywords: Design pattern
Key words: design and form
The development of Chinese design art in the 21st century has three important themes: one is the issue of design resources; the other is the issue of design ecology; and the third is the issue of design patterns. There are many problems faced in the design of the design itself. It is good to talk about design resources and to talk about design ecology. In the final analysis, it is necessary to implement it into the design form. The modernization of the design pattern is how the design pattern fits in with the new social issues. This includes not only how the design language is further updated, but also how it is combined with the market at the simple level. There should also be some strategic thinking. Therefore, the study of the morphological problems in contemporary design is an important topic before everyone.
Design is the external manifestation of human creativity. While designing living environment, space, or tool supplies for humans, designers also give it a certain appearance quality and appearance characteristics. Whether these design products are flat or three-dimensional, they are Because of the quality of the appearance and appearance, or the expression of certain information, expressions or emotions, it is acquired or perceived by people in the main visual way. At the same time, it causes the user’s corresponding emotions and reflections. In fact, these styling activities are The results are all in form. The form describes not only the shape itself, but it is more connotative and denotative than the shape. The shape is basically the objective record and reaction, materialized, real or rigid, and the “state†of the form is Spiritual, cultural, soft, viable and soulful. The essence of form is the synthesis of materiality and human spirituality, that is, the unity of subjectivity and objectiveness.
The basic theory of modern modeling system introduces the morphology and morphology of cognitive methods and expression methods, from analysis, perspective, illusion to macro and micro, from concrete, abstract, heart, three-dimensional, four-dimensional to multi-dimensional, from visual, sensory, tactile, auditory to The sense of smell, etc., reflects all aspects of the performance of the visual communication system. In the past, with regard to the creation of forms, the emphasis was mostly on inspiration, and the creation was mainly attributed to inspiration and wisdom. The basic theories of modern modeling provided more systematic epistemology and methodology. The first-in-class design method is a so-called pure form design without any reference materials. It cuts, decomposes, reverses, inserts, shifts, overlaps, and arranges known materials and forms. Refactoring and other techniques can create entirely new forms to give abstract forms to practical uses and functions. If you do a POP booth design, you can use the most common cuboid or cylinder for decomposition and reconstruction, and then reverse the disintegration of the resulting shape. This design method is different from the traditional design method. The traditional design method is to give a specific function proposition first, and to think from the function, that is, the so-called “function first†method is a creation method that brings freedom by restriction (functional). Indeed, restrictions can bring about creation, but “restrictions†can simultaneously limit creative imagination. This is the two sides of things. For example, if the proposition is designed as a lamp, we would like to think of a lamp or a floor lamp with a lampshade instead of a "lamp design" or "lighting design". The space is large. Therefore, the real design should be to create a new style for the unfinished products and establish a new standard. This space for Chinese designers to use their talents is not large, so this must have a relatively high strategic vision. Looking for the direction of new product development, this is related to the optimization of design patterns.
In the process of advancing towards the information society, people's value orientation and aesthetic interest should be guided by scientists and designers. The future society is pursuing high speed, environmental protection, diversity, mobility, flexibility, and multimedia. People should have a healthier lifestyle. The purpose of the “elegant Chinese†21st Century Living Cultural Design International Competition organized by UNESCO is to call on a new generation of designers from around the world to start at the turn of the century, starting from the point of view of the fashion trends that guide the consumer market in the 21st century. In order to rediscover and understand the value and significance of aesthetic consciousness and expression methods in the millennium traditions and national cultures of China, especially the traditional Chinese philosophy of “Heaven and Man†as its central idea. , the value and significance of the harmony of life aesthetics between man and nature, and as a source of inspiration and design, through the design of clothing, clothing, furniture and home accessories, to create a new aesthetic of life that represents the 21st century. Lifestyle and push it to the world. The only gold medal awarded to the audience was a “Goldfish Chairâ€. The form of the “Goldfish Chair†was worth mentioning. The back of the chair was a triangular body that was integrated with the seat and legs below. It was filled with water. Goldfish swim in them. The material is made of glass that can be recycled and reused. People sit on chairs, fish swim around, feed through the opening in the back of the chair or play with the fish. At this time, it is not only the atmosphere of leisure but also the coexistence of nature and nature. Fun with communication. The works imply China's present-day symbiosis between man and all things, and nature and technology co-exist.
The change in the digital revolution is by no means the way we humans relate to each other. Just as the endless numbers on the Internet push cultural metrics to other classical systems of value and value beyond the boundaries of introspection, information technology is also It is directly involved in the framework that regulates our real life. For example, the design of future living space abroad: simulating the space, touching the space... In the morning, wearing a pair of glasses to enter the street to run; with a hand to touch the wall, Miss Secretary appeared, and one day's work can be arranged; A fingerprint of a transfer cheque will be transferred automatically.... If the future is faced with such a complex era, how can we optimize the design to keep pace with the times? How are the forms combined with new materials?
Today's modern design is more toward space, toward time, and relatively less static, such as the design of the page. On the one hand, we should transform the knowledge from the traditional plane in the mind, and strengthen the concept of space, the concept of motion, such as How long does the page stay, how does the person's line of sight go along with the page...? and many more. The design of materialization also faces great challenges. As the materialized form of design, it also faces changes in diversity. In such a rapidly developing society, there are many problems that we should think deeply.