把骨子里的设计灵感唤醒——专访设计大师 Timothy Jacob Jensen

转载2013-08-15举报810

把骨子里的设计灵感唤醒——专访设计大师 Timothy Jacob Jensen

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Timothy Jacob Jensen

编者按:这些年因诸多日本设计品牌成功的市场化运作让我们感受到了不少日本设计大师的成果与设计思考,这回也让我们来听一下北欧工业设计大师的见解。从大师口中不难发现几点:创意的重要性、品质追求与把控、设计是为解决问题而生、自信与信任。这些都让人换位想到我们广告营销领域,也是如此。只不过,我们大多都在这个过程中,遗失了这些最基础最原始也是最珍贵的要素。

Publish Time: Aug. 16, 2013
Source:
Visual China

Jacob Jensen

当今世界最负盛名和最成功的工业设计师之一,他继承了父亲 (Jacob Jensen) 的事业,成就了今天的“丹麦设计王朝”;其设计工作室创造出了无数具有革命性、纯粹性并被当代社会视为经典的“斯堪的纳维亚风格(Scandinavia Style)”的设计产品,同时也打造了现在通用电气,Bang & Olufsen等诸多国际知名品牌以及包括音乐系统、扩音器、录音机、CD 播放器、扬声器和有关环境设计、建筑设计、汽车设计、交流手册设计等在内的诸多设计产品,从而获得IF 产品设计奖、红点奖等多项国际知名大奖,其获奖产品还被陈列在全球知名的纽约现代艺术博物馆中,被丹麦装饰艺术博物馆、德国慕尼黑藏博物馆等永久珍藏。其极具创新意义的设计造就了Jacob Jensen 设计集团今天国际设计界的崇高地位;并从根本上改变了我们对设计的看法,以突破性的设计重新定义了现代消费美学观念。

Visual China: 从一些采访中了解到,您是一个自然,天性的维护者,但由于生活方式、家庭背景的不同,很多中国的设计师没办法做到像您那么洒脱,有些设计师不得不“为了设计而设计”,对此您有什么见解?

Jensen: 在古代,中国的设计师其实是很善于制作高品质物件的,但在今天很多设计师似乎已经忘记了这种本性,所以从长远角度讲,我们应该要去做正确或者更对的事情,把骨子里的设计灵感唤醒,突出设计的本身,从而完整地体现设计的真正意义。

Visual China: 您在设计作品的时候是如何一步一步表现您的设计思维,设计环节都有哪些?

Jensen: 其实很简单,就好比您是一个编辑,您懂得如何撰写文章;那如果您是一个音乐家,一个厨师,一个运动员,您就知道怎么去做音乐,怎么去烹饪食物,怎么去踢足球,因为我们是专业的,因为我是个设计师,所以我就懂得如何做好一个设计。举个例子,当我们的客户要求我们设计一个电动水壶,我们会先为他提供三个概念,对此我们需要做的就是思考然后画草图,接着也许我会在市场上做一些调研,比如:这个水壶应该是什么样子的;它大概需要有多高、有多重;市场上什么样的趋势是最流行的等等。就如我刚才跟你提到专业一样,我们是以一个设计的角度去做前期的准备,这样就可以积累到一定的经验和有价值的信息。我们可以边想边做边看,再进行不断的改进。接着客户可能会说:我比较喜欢三个方案中圆的那个,然后我们会用纸做出模型,最后我们达成一致后会送到工厂去生产。

Visual China: 您的工作室完成了“斯基沃市的十一颗星”的城市雕塑设计作品之后,是否考虑过涉足其他类别的大型概念作品?

Jensen: 如果有机会的话,我当然很想去做。对于下一个涉足的概念产品,我更倾向于做一些环保的、有利于人们生活的、对环境没有危害的自然和谐的项目,那将是一个非常有趣的项目。我认为房子是一个供人生活的机器,每一个部分都为人提供了一定的功能,所以对我来讲,如果给一个城镇或一个城市进行规划,包括学校,工厂等,将它们的每一个部分进行细心的规划和利用,我觉得很令人兴奋。我认为每一个人都有权利去享受生活,但在我们的生活中却有一些人生活在经济萧条、非常不安定的环境中,所以,对于人类来说,生活在安全健康、愉悦的环境中才是美好的。所以我觉得每个人都应该努力工作,这不光是为了我们自己,更是为了大家有一个更好的生活。

Visual China: 您是如何定义奢侈品的?在设计产品时,创意、质感、造型和材料,您更注重哪个?

Jensen: 对于我来说奢侈就是质量,比如说一个非常动人的音乐,它打动了我的内心;一个好的食物,它是有机的、是健康的,这对于我来讲,就是奢侈品。在我的国家,我们是不太谈论奢侈品的,我们往往注重的是产品的质感和品质。其次,对于你提出的创意、质感、造型和材料哪一个比较重要的问题,我个人认为这几个是相互联系的,如果一定要分出高下的话,我觉得是创意最重要。在我的理解中,材料、造型和一些其他的元素都是为了配合创意,所以我觉得创意是最重要的。

Visual China: 您对采用新兴的科技手段来探索或呈现设计作品有何体会?

Jensen: 我认为这是非常棒的,因为有了这些新兴的技术,我们才有更大的空间去利用我们的创意和材料,从而做出更多更新颖的设计。以十年前来说的话,如果没有科技,那么现在的这一切也不可能呈现出来。

Visual China: 我个人也是设计爱好者,但很多人说女士做产品设计或者想要成为优秀设计师的几率不是很大,您对此有什么看法?

Jensen: 回顾历史,其实女人是最早的设计师。当男人出去打猎的时候,女人就会在家里做小碗、做布料等。当然其实这也跟个人爱好有关,像女士可能比较喜欢服饰、饰品,或纹样色彩的研究,而男士更倾向于木头、金属、雕塑这一类,所以这跟自己喜欢的领域有关系。就像我所知道的TWINGO、雷诺这些汽车品牌,这些公司在最近20年以内都是女性设计师居多,当你看到她们设计的作品时,你会由衷地喜欢和赞叹。

Bang & Olufsen BEOGRAM 4000 record player

Bang & Olufsen BEOGRAM 4000 record player

Visual China: 您说过,中国有悠久的文化,而设计,就是要将这些文化展现出来,您觉得中国很多的设计学者缺乏自信,您有什么鼓励的话对大家说么?

Jensen: 我来自丹麦,它在世界上算是比较小的国家,只有500万的人口,而中国是一个非常大的国家,如果以人为单位的话,那么有1个单位的我,起码就有20个单位的你。昨天我去一个酒店吃饭,在一个大厅里,我是唯一的外国人,而里面有200多个中国人,可见中国的人口之巨大。但为什么在设计上,丹麦有如此高的成就,而中国却没有预想的那么多的突出设计呢?

因为中国的一些设计者缺乏自信,他们不相信自己有这方面的能力,所以有的时候他们会有一些抄袭。虽然我对中国或者说亚洲的文化都不是很了解,但我也逐渐了解到在中国的一些家庭、工作、社会环境中,都有一个固定的三角模式,就好比:你不会对你的老师向你说的东西进行反驳;你只是按照老板的意思做事而不是从自己的角度出发。当然你的上司或者你的老师也有一定的原因,但这样以来,他们就会抹杀掉一些有想法和有创意的人。这时你再让他做一件事,他已经形成了一种思维模式,已经失去了他的创造力了。

在我的工作室中,我有三个原则:第一,去完成;第二,把它列入到你的工作栏;最后,忘掉它,什么也别干。在我的理念里,信任是非常重要的,比如说我信任你,那么我只需要你把结果拿给我看就可以了。你的过程是怎么样的,我都不管。我会给你一个非常信任的空间。应该怎么去做,这是员工自己去想的一个问题,在这期间,你可以通过你的头脑、你的思维去做这件事。

我在中国听过一句很奇怪的话,而且这是一个中国人说的话,他说:不要去相信中国人。这世界上并没有太多的人像这样去说自己,所以,如果你缺乏自信、又不愿相信他人,同时又失去创造力,那你就不可能设计出比较好的作品了。所以,如果你想赚更多的钱,你就必须依靠你的智慧和双手。就像丹麦,我们是个非常小的国家,没有非常多的地域和资源,所以我们用大脑想出更多更好的创意来进行创作。其实你看看窗外,外面变化得挺快的,总会有很多的新的事物产生。“复旦视觉”和“德稻”他们就意识到了这一点,他们引进了非常多的大师 (连同他们的智慧),他们希望能共同帮助新一代,给他们一些启发,让他们把更好的创意和想法展现出来,为了全世界更美好的生活而共同努力和奋斗。


英文原稿

Design Inspiration from Within
Interview with DeTao Master of Industrial Design Timothy Jacob Jensen

Timothy Jacob Jense currently stands as one of the most renowned and successful industrial designers of the world. Continuing the legacy of his father, Timothy forged the Danish Design Dynasty into what it is today. His studio has produced numerous Scandinavian designs that are evolutionary, absolute, and regarded as classics by the contemporary world. His works include world renowned brands like GE and Bang Olufsen and he has helped contribute in the creation of music systems, microphones, tape-recorders, CD players, loudspeakers, environment design, architecture design, automobile design and brochure design, for which he has been granted the IF Product Design Award, Red Dot Award, as well as other international decorations.

Visual China: We learned from some other interviews that you adore Nature and rely on the natural instinct. However, distinctions in lifestyle and family background make it hard for Chinese designers to act as easily and naturally as you do. Some have to do design simply for the sake of design. What are your comments on this?

Professor Jensen: In ancient times, Chinese were good at designing articles of high quality, but nowadays, many designers are ignorant of this instinct. From the long-term perspective, we should do the right or relatively right thing, and derive inspiration from within. The nature of design should be highlighted, revealing the true and full meaning of design.

Visual China: How do you demonstrate your thinking in your design? What steps do you follow?

Professor Jensen: It is as easy as working as an editor. You know how to write an article and the process becomes natural. The same goes for many other professions; if you are a musician, you know how to compose. If you are a chef, you know how to cook. If you are an athlete, you know how to play soccer. You know it because you are a professional. As a designer, I know how to design. For instance, if our client needs a design of an electric kettle, we will come up with three proposals. We will then sketch our proposals and conduct surveys in the market to see how the kettle can be shaped, what its size and weight are and what the trendiest type is currently on the market. We make preparations from the perspective of design and collect as much information as possible. After making improvements, the client may come up with their favorite design, like the round-shaped one in Option 3. Upon agreement, we produce a paper model which is then delivered to the factory to be manufactured.

Visual China: Have you ever thought about engaging in other categories of large-scale concept design projects after your studio completed the city sculpture The 11 Stars of Skive?

Professor Jensen: I will, if possible. I would like my next concept product to be natural, harmonious, and environment-friendly that is conductive to peoples’ lives. That would be an interesting task. A house a tool for living; every part of it serves a useful purpose. In planning a town or a city, like schools and factories, it is exciting that every part of it is planned and scrutinized. Everyone is entitled to the pleasure of living, but some of our peers are caught in economic recession and uncertainty. Therefore, it is a blessing for people to live in security, health and pleasure. All of us should work hard, not only for ourselves, but also to obtain a better life for others.

Visual China: How do you define articles of luxury? What do you value in designing? Is it creativity, texture, shape or material?

Professor Jensen: To me, luxury means quality. Touching music and organic, healthy foods are all luxuries to me. Articles of luxury are not frequently talked about in my country. What we value most is the texture and the quality of products. Creativity, texture, shape and material are interconnected. However, creativity matters more to me, because in my understanding, material, shape and other factors are working to ensure creativity.

Visual China: What are your thoughts on the use of cutting-edge technology when studying and demonstrating designs?

Professor Jensen: These are great ideas, because these technologies allow us a greater freedom in utilizing our creativity and material for designs in larger numbers and with greater novelty. As people said ten years ago, nothing would have been possible without technology.

Visual China: I am an amateur designer, but it is said that there is little chance for females to do product design or become professional designers. What’s your opinion?

Professor Jensen: A historical retrospect tells us that the earliest designers were female. When men went hunting, women made small bowls and cloth at home. This was also attributed to personal preference. Women liked studying costumes, decoration, patterns and colors, while men liked toying with wood, metal and sculpture. This explains how hobbies play the role that they do today. As I know, designers of car brands like Twingo and Reynolds have been mostly female over the past 20 years and you will definitely appreciate their designs once exposed to them.

Visual China: Your designs are numerous and broad-based. As a member of the jury of China Liquor Creative Packaging Design Competition, what suggestions do you have? What entries are you expecting to see?

Professor Jensen: I’m not going to give an explicit answer. Anything I say, be it color, material, linearity, or creativity, might be of value for some participants. But those who don’t manage to read our interview are at a disadvantage.

Visual China: Perceptions of wine vary with culture. Do you like wine? Have you ever tried Chinese liquor? How do you like it?

Professor Jensen: I like wine. I used to cooperate with the Chinese wine industry 20 years ago. However, I didn’t drink much Chinese liquor, as I generally don’t like it. Though wine does vary with each brand and it’s true that perceptions of wine vary with nation. Some of the Chinese wine is liquor, of which I merely have a taste. I prefer those with more refreshing tastes, like champagne.

Visual China: As you’ve said, China boasts time-honored cultural traditions. It is with design that the culture is revealed. How would you encourage the Chinese designers that are not currently confident enough?

Professor Jensen: I come from Denmark, a relatively small country with a population of 5 million. China, of course is much larger. When I was in a resultant yesterday, I discovered that I was the only foreigner among the over 200 Chinese. This proves how large China’s population is. Why has Denmark made such a big difference in the design world, while China hasn’t produced as many successful designs as expected?

Chinese designers are not confident enough. They don’t believe in their competency, which explains some plagiarizing cases. I’m not an expert on Chinese or Asian culture, but I have learned about the fixed triangle pattern in family, work and social settings. You won’t challenge what your teacher tells you. You strictly follow the instructions of your boss rather than acting on your own accord. The arguments of teachers and bosses are reasonable, but they also discourage creativity. Thinking patterns are thus already implanted in your mind, void of resourcefulness.

My studio follows three guidelines. The first is to accomplish. The second is to include it in your to-do-list. And the third is to forget it and do nothing. Trust matters most to me. If I trust you, I only need the result you deliver. I don’t care how you do it; it’s up to you to decide how to get the job done with your independent thinking.

I once heard a weird saying in China by a Chinese person:– ‘Never believe in Chinese people’. Not many people in the world regard their own group in this way. It’s impossible for you to come up with excellent designs if you lack the confidence in others, especially your own people. Wealth is created with wisdom and sweat. Denmark is a small country with limited area and resources. So we produce designs with creativity and independent thinking. You will witness rapid changes and numerous emerging creatures when you look out of the window. Shanghai Institute of Visual Art and DeTao have come to realize it and are introducing a large number of Masters (together with their wisdom) in hope of inspiring the next generation with the Masters’ help. The younger generation is expected to demonstrate their better creativity and ideas and work together for the better life of the world.

把骨子里的设计灵感唤醒——专访设计大师 Timothy Jacob Jensen

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