彭一刚 / Peng Yigang

彭一刚 / Peng Yigang

在这个世界经济处于动荡与变革的时代，创 意设计作为一种新生的产业力量正在全球 范围迅速崛起，被公认为推动未来经济发 展的重要引擎。欧美日等发达国家纷纷提 出“设计立国”概念，制定“设计在内，制造 在外”的国家产业发展战略，从而把握未来 发展的主动权。 在我国，产业结构升级与转型的过程中，创 意设计作为连接第二、第三产业的纽带已 成为现代服务业中发展最快的版块之一。 在联合国教科文组织建立了“创意城市网 络”中，深圳、上海、北京和武汉先后被授 予“设计之都”称号，对塑造城市品牌形 象、促进相关产业发展、提升居民生活品质 等起到了重要作用。 天津作为中国北方经济中心和生态城市,具 有雄厚的经济实力和强大的人才、资金、信 息凝聚力。为巩固现有成绩、开辟新的经济 增长点，我们需要通过创新与设计提升产 业附加值、增加GDP含金量，为这座传统工 业城市注入新的活力，使创新设计成为天 津经济与社会可持续发展的不竭动力。在 此背景下，打造国际“设计之都”对天津有 着非凡的历史意义。 藉此天津国际设计周开幕之际，我们郑重 倡议:通过申请加入联合国教科文组织“创 意城市网络”、打造“设计之都”的活动，加 强我市创新生态建设、打造创意城市品牌、 推动设计产业发展，最终实现城市整体实 力的提升与经济社会的可持续发展。让我 们执设计之剑、创不朽盛世!

—

In this era of the global economy is in turmoil and reform, creative design as a kind of new-born industrial strength is rising rapidly in global scope, and it is recognized as the important engine of promoting economic development in the future. The developed countries such as European countries, the United States and Japan once have put forward the concept of “designing founds the country”, formulating the national industrial development strategy of “designing at home and manufacturing abroad”, so as to seize the initiative of development in future.
In China, in the process of upgrading and transforming of industrial structure, creative design has become one of the fastest-growing sectors in modern service industries as the link between the second and third industries. In the “Network of Creative Cities” established by the United Nations Educational, Scientific and Cultural Organization (UNESCO), Shenzhen, Shanghai, Beijing and Wuhan have been awarded the title of “City of Design” successively, which plays an important role in shaping the city’s brand image, promoting the development of relevant industries and upgrading the quality of life of residents.
As the economic center and ecological city in Northern China, Tianjin has strong economic strength and cohesion of talents, funds and information. For consolidating the existing achievements and opening up new economic growth points, we need to increase the added value of the industry and increase the value of GDP through innovation and design, injecting new vitality to the traditional industrial city, and making innovative design become the inexhaustible driving force of the sustainable development of economy and society for Tianjin. In this context, the creation of international“City of Design” has a remarkable historical significance for Tianjin.
Hence, taking this opportunity of the opening of the Tianjin International Design Week, we formally initiative: we shall strengthen the innovative ecological construction of Tianjin, create the brand of creative city, promote the development of design industry, finally realizing the improvement of the overall strength of Tianjin and the economic and social sustainable development by applying to join in the UNESCO “Network of Creative Cities” and implementing the “City of Design” activities. Let us hold the sword of design and create the immortal flourishing world!

保罗 柯兰多尼 / Paolo Colantuoni

保罗 柯兰多尼 / Paolo Colantuoni

东方和西方，西方和东方:在没有任何芥 蒂，没有任何偏见的环境下去聆听。 通过了解我和他人之间的需求，在欲望的 边界上去寻找一种新的和谐，是那种我们 所看不到的想象力。 让我们去分享一种内心空灵的新风格-创造 出一种宁静安逸的时空，远离那些杂乱无 章的信息和图像骚扰-成功创造出一片新的 沃土。 这是一种变革般的氛围，是基于现 在来引导如何结合过去和未来的一种独一 无二的创意。 最终在各部分之间进行整合时会出现变移 性的创新思维，创新思维会完美无缺的结 合对立而成的新形式和新想象力。 不遗余力地或随心所欲地把握新的想象 力。 让身边的每一个人都成为创意者主观想象 力的载体。利用想象力，创造出世界上适合 他们自己的，具有他们自己的固有的，独特 的风格。 这样，我们就可以建立起一个独一无二且 又与其他世界不重复而又一致的生活:一个 具有创造性的，能够完全实现的世界。 最后，在这里，现在，活出你的时间。 天津设计周一直以来都是远视卓见的，并 致力于实现促成和整合这次会展。相信让 有能力的不同的设计领域的设计者相互对 洽，会创造出恰当的交汇点和参与点。

—


Eastern and Western, Western and Eastern: Listen in an environment without any grudge or prejudice. By understanding the needs between me and others, looking for a new kind of harmony at the border of desire is the kind of imagination that we cannot see.

Let us share a new style of inner peace- to create a peaceful and comfortable time and space, away from the messy information and image harassment - to successfully create a new fertile soil. This is a kind of changing atmosphere, based on a unique idea of how to combine the past and the future now.

Ultimately, there will be a shifting creative thinking when integrating parts, and the innovative thinking will be perfectly combined with the new forms and new imagination.
Spare no effort to grasp the new imagination.
Let everyone around them become the carrier of creative imagination. Use imagination to create the unique style that fits them in the world with their own. In this way, we can build a life that is unique and consistent with other worlds: a creative and virtual world.
Finally, here and now, live your time.
Tianjin Design Week has always been farsighted and committed to achieving and integrating this exhibition. It is believed that bringing together designers from different design fields with competence will create appropriate points of convergence and participation points.

宋琨 / Song Kun

vision_3.png

就建筑而言，无论东西方哪种文化背景，对 艺术性的要求在前现代主义建筑中都占有 绝对重要的地位，而建筑艺术表征都是以 达成视觉审美情趣的装饰来体现的，屋顶、 檐口、门窗、墙身等都是装饰元素集中表现 的重点。标榜“形式追随功能”的现代主义 建筑从社会伦理角度出发反对装饰，但不 排斥建筑的艺术特征。现代建筑在审美追 求上则又是遵从与艺术息息相关的形式主 义美学原则，现代建筑的艺术效果通过屋 顶、檐口、门窗、墙身等形式元素的组合关 系及其所达成的视觉审美感受来实现。

In terms of architecture, no matter what kind of cultural background in oriental or western world, the requirement on artistry has an absolutely important position in pre-modernism architecture, and architectural art symptom is embodied by means of adornment elements reflecting visual aesthetic taste, while the roof, eaves, doors and windows and wall body serve as the key points of the focusing representation of adornment elements. Modernism architecture advocating “form follows function” opposes adornment from the angle of social ethics, but does not reject the artistic features of architecture. However, the aesthetic pursuit of modern architecture follows formalism aesthetic principle which is closely linked with the art. Artistic effect of modern architecture is realized through the syntagmatic relation between formal elements such as the roof, eaves, doors and windows, wall body and the visual aesthetic feeling achieved.

宋涛 / Song Tao

vision_4.png

未来·简生活

物不在多，适度为好。让我们脱离对物品的 执着，精简生活，物尽其用，当身处于自在 而舒适的空间，被所喜爱的物品所包围着， 你也会开始喜欢自己。舒适的生活不在于 越多越好，而是“够了”就好。如果有一天 你觉得累了，试着舍弃掉那些可有可无的东 西，让居住空间变得宽裕而自在;以物尽其 用的观点，寻找心爱家具的美好，这样我们 的心情和周遭环境，都会变得清爽。 此次展览聚集了周宸宸，袁媛和薛文静三 位新锐设计师的作品。作为产业独立设计 师的代表，周宸宸的作品涉及家具产品、限 量设计艺术品等。在宏观设计思维体系下， 他的每一件作品都与产业、制造业、商业及 市场相融合，表达着对当下社会形态的思 考、对设计自由的追求，为中国设计现代化 进程助力。袁媛的作品尽显典雅、自然、轻 松，富于美学品味，给人提供一种全新的优 雅细腻又不失文化沉淀的生活视角和使用 体验。薛文静通过对榫卯的结构的构造形 式来源以及文化背景的了解，作品传达出 一种新的更为现代化设计理念，在设计中 加入曲线型，多变的，休闲性，开放式，人 性化等元素。使用者将获得一种全新视觉 和使用上的体验,设计的概念从榫卯结构出 发，同时将结构作为家具的外在装饰。

Future·Simple Life

Things should not too much, moderate is better. Let us break away from our dedication to objects, streamline our lives, and make the best use of all things. When we live in a comfortable space and we are surrounded by favorite things, you will start to like yourself. Comfortable life does not lie in the fact that as much as possible, but “enough” is enough. If one day you feel tired, try to abandon those things that are not necessary to make the living space comfortable.Try to make the best use of all things,and find the beauty of your favorite furniture, so that our mood and the surrounding environment will become refreshing.
The exhibition gather the works of three designers,they are Frank Chou, Yuan Yuan and Xue Wenjing. As a representative and independent designer, Frank Chou‘s works are related to furniture design, product design, and limited art design, etc. Design and needs of macro-design thinking in order to achieve a balance among the business, manufacturing, marketing and aesthetic considerations. Yuan Yuan created her brand ROOY, representing our design philosophy of using art to change and enrich life. The designer Xue Wenjing conveyed a new and more modern design concept through the understanding of the original of the structure and cultural background of the skeleton.She added many elements in her works, such as curvilinear, changeable, casual, open, and humanized design. The furniture users will obtain a new experience in using and a kind of fully new visual. The concept of design will start from the skeleton structure, and at the same time, the structure will be used as the external decoration of the furniture.

黑川雅之 / Masayuki Kurokawa

vision_5.png

诞生于古希腊的“知识文化”在基督教中 孕育而生，创造了哲学，遇见了科学，建立 了“现代思想”。如今，世界被诞生于西方 的现代思想所主宰。同时，喜马拉雅山脉和 青藏高原、塔克拉玛干沙漠和戈壁沙漠形 成一个巨大的屏障，阻碍基督教和伊斯兰 教入侵东方的一神教国家——中国、朝鲜半 岛、日本等。因此，即使在业已现代化的当 下，在东方人的内心深处依然栖息着原始的 自然思想。 正如东方思想的代表——庄子和禅宗佛 教也孕育着厌忌“知识”的思想。对大自然 的敬畏之念占据着主宰地位，只有“混沌” 才有生命力。混沌的思想东渡日本，创造 了先进的“美”学思想。东西方文化截然不 同，互为表里。 这种思想差异即使对空间和时间的概念 也有截然不同的诠释。在创作方式上也存 在云泥之差，而我想谈一谈这种差异。

The “knowledge culture” born in ancient Greece was conceived in Christianity, which created philosophy, met with science and established the “modern thought”. Today, the world is dominated by modern thought born in the West. At the same time, a huge barrier of the Himalayas, the Qinghai- Tibet Plateau, the Taklamakan Desert and Gobi Desert prevents the invasion of Christianity and Islam into the Eastern countries with their own religions -- China, the Korean Peninsula, Japan, etc. Therefore, even in the modern times, the primitive natural thoughts still inhabit in the inner heart of the Eastern people.

Just as the representative of the Eastern thought -- Chuang Tzu and Zen Buddhism, they also breed the idea of “knowledge” aversion. The fear of nature occupies the dominant position, and only “chaos” has vitality. The thought of chaos spreads to Japan and creates the advanced “aesthetics” thought. The Eastern and Western cultures are very different from each other, but indispensable to each other as well.
The ideological difference gives a distinct different interpretation even on the concept of space and time. It also exists in the way of creation, and I want to talk about the difference.