论装饰的意向性与审美表现

发布时间：2018-04-04 13:35

本文选题：装饰　切入点：意向性　出处：《武汉纺织大学》2017年硕士论文

【摘要】：在设计活动中,探讨装饰的意向性问题,主要是为了解决当下设计的技术化倾向,让设计语言成为一种简明深刻的言说方式,进而生成一种独特的设计美感,并给予观赏者潜移默化的审美教育。在这个过程中与传统的归纳演绎法相区分的是,主要采取了艺术现象学的研究方法,并以装饰的意向性作为研究的切入点,在描述装饰的生成过程中,不借助任何前提来分析现象,进而探讨装饰与语境的关联,回到根本性存在的人,最终在祛蔽中才得以将装饰隐蔽的一面揭露出来。意向性的表征问题体现为装饰的剥夺与放弃,根源处的问题在于设计活动的技术化倾向,剥夺、放弃与泛技术化三者则构成了装饰的意向性问题。为了解决技术化的根源问题,进而探讨装饰元素的意向性构成,其中材质层次体现为设计与消费行为中对材质潜移默化的意识活动,在应用层次则提及了装饰意向化的提取,在提取、编码与解码的过程中生成了意向装饰,具有一种独特的设计美感。在语言层次,装饰的意指构成了能指与所指的中介点,这样才构成意向装饰的完整。意向装饰作为可感要素,则表现为有与无的装饰游戏。有感要素包含着材质、线条与色彩,为直观的视觉感受。无感要素体现为对白的感觉,这种被遮蔽的感觉包含了留白、飞白与空白,这种被经验的感受才构成了意向装饰的完整。游戏的最终是回归到装饰的无,无即为一种若有若无的审美感受,体现为陌生化。装饰意向化离不开具体的文本与语境。文本作为一种思想的建筑,必须是以元素的契合、意向的对应作为前提,文本与元素的契合即为兼顾,缓和了文本间的冲突,文本与意向的对应则是处于内部的认同。设计理念作为思想,基于文本的建筑正是处于审美经验之中。在语境中就涉及到了场域性、阶层性与民族间性,生活世界由此成为一种设计场,成为了人、设计物与设计理念的三元合一。意向装饰的审美特质为自然无为、恰如其分与大道至简。这种设计美感的生成之所以具备一种张力,是由于装饰在边缘之上。在祛装饰的过程中,生成了实与虚的装饰与设计的动与静,由此让装饰回到了装饰,设计成为了设计。设计的审美超越体现为时间与空间的超越,归于人生境界的超越。设计美感的生成终究关涉社会文化,呈现出传统文化的当下感,在日常设计中体现了人文关怀以及潜在的审美教育。而设计作为一种艺术,也只有在思想的凝聚中,才得以通达大道。
[Abstract]:In the design activities, the main purpose of discussing the intentionality of decoration is to solve the technical tendency of the design, to make the design language a concise and profound way of speaking, and then to create a unique aesthetic sense of design.And give the viewer subtle aesthetic education.In this process, which is distinguished from the traditional inductive deductive method, it mainly adopts the research method of artistic phenomenology, and takes the intentionality of decoration as the starting point of the research, in the process of describing the generation of decoration,Without any premise to analyze the phenomenon, and then to explore the relationship between decoration and context, to return to the fundamental existence of people, in the end in the uncovering of the hidden side of decoration can be exposed.The representation of intentionality is embodied in the deprivation and abandonment of decoration. The root problem lies in the technicalization tendency of design activities, deprivation, abandonment and pan-technicalization, which constitute the intentionality of decoration.In order to solve the root problem of technicalization, and then discuss the intentionality of decorative elements, the material level is reflected in the conscious activity of material imperceptibility in the design and consumption behavior, and the extraction of decorative intention is mentioned in the application level.In the process of extraction, coding and decoding, intention decoration is generated, which has a unique design aesthetic.At the linguistic level, the meaning of decoration constitutes the intermediary point between signifier and signified, thus forming the integrity of intention decoration.Intention decoration, as a sensational element, is shown as a decorative game with and without.Sensory elements include material, lines and colors, visual feelings for intuitive.The senseless element is the feeling of dialogue, which includes white, white and blank, and the feeling of experience forms the integrity of intention decoration.The game is the ultimate return to the decoration of nothing, nothing is a kind of if there is no aesthetic feeling, embodied in strangeness.The intention of decoration can not be separated from the specific text and context.Text as an ideological building must be based on the correspondence of the elements and the correspondence of the intention. The correspondence between the text and the element should be taken into account, which alleviates the conflict between the text and the intention, and the correspondence between the text and the intention is the identity within the text.Design concept as an idea, text-based architecture is in the aesthetic experience.In the context of the field, stratification and inter-ethnic nature, the life world has become a design field, has become a person, design object and design concept of the ternary unity.The aesthetic characteristic of intention decoration is natural inaction, just as the main road to simple.The creation of this aesthetic sense of design has a tension because of the decoration on the edge.In the process of removing decoration, real and virtual decoration and design of the dynamic and static, so that the decoration back to decoration, design became the design.The aesthetic transcendence of design is the transcendence of time and space, and the transcendence of the realm of life.The formation of aesthetic sense of design is concerned with social culture and presents the present sense of traditional culture. It embodies humanistic care and potential aesthetic education in daily design.Design as an art, only in the condensation of ideas, can access the main road.
【学位授予单位】：武汉纺织大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J501

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