摘要
目的对第一件现代家具红蓝椅的现代身份内涵进行研究,以此探索20世纪设计的现代性与现代主义的内在关系。方法以设计史学、设计艺术学、设计本体论以及语言学为基础,分析了红蓝椅原型时期由13根平等的木条和4块平等的木板组成,体现了设计本体在形式上由强调主次的传统性向强调平等的现代性内涵转变。风格派时期里特维尔德受结构主义的影响,去掉了原型时期的两块旁板,并使用了三原色对结构进行强化表现,体现了设计本体在结构上由强调遮挡的传统性向强调暴露的现代性内涵转变。结论得出红蓝椅的现代家具身份内涵,表现为设计本体由传统的形式统摄结构和功能的设计理念,开始转变为在形式、结构和功能上的平等与并重的设计的现代性内涵,而非现代主义的所指与能指。
of studying contemporary connotation of the first modem furniture designed by red-blue chairs was to ex- plore the internal relations between the 20th century modem design and modernism, is to based on design historiography, ar- tistic design, design ontology and linguistics.It analyzed the prototype period of red-blue chairs that their furniture was com- prised by 13 wooden battens in equal size and four wooden planks in equal size, indicating that formally the design for proto- type emphasized the transformation from traditionally primary ＆ secondary style to contemporarily even style. During the De Stijl Period, influenced by structuralism Rietveld removed two flank planks of the prototype and paint three primary col- ors, reflecting that structurally the transformation from traditionally hiding style to contemporarily exposed style. Thereof, is that the connotation of contemporarily furniture of red-blue chairs are in the transformation from traditionally general struc- ture in form and design to formally, structurally and functionally identical importance rather than modem designation and signify.
出处
《包装工程》
CAS
CSCD
北大核心
2015年第22期141-144,共4页
Packaging Engineering
关键词
红蓝椅
现代身份
现代性
现代主义
red-blue chairs
modern identity
modernity
modernism
