編者按：這些年因諸多日本設(shè)計(jì)品牌成功的市場(chǎng)化運(yùn)作讓我們感受到了不少日本設(shè)計(jì)大師的成果與設(shè)計(jì)思考，這回也讓我們來聽一下北歐工業(yè)設(shè)計(jì)大師的見解。從大師口中不難發(fā)現(xiàn)幾點(diǎn)：創(chuàng)意的重要性、品質(zhì)追求與把控、設(shè)計(jì)是為解決問題而生、自信與信任。這些都讓人換位想到我們廣告營(yíng)銷領(lǐng)域，也是如此。只不過，我們大多都在這個(gè)過程中，遺失了這些最基礎(chǔ)最原始也是最珍貴的要素。

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

當(dāng)今世界最負(fù)盛名和最成功的工業(yè)設(shè)計(jì)師之一，他繼承了父親 (Jacob Jensen) 的事業(yè)，成就了今天的“丹麥設(shè)計(jì)王朝”；其設(shè)計(jì)工作室創(chuàng)造出了無(wú)數(shù)具有革命性、純粹性并被當(dāng)代社會(huì)視為經(jīng)典的“斯堪的納維亞風(fēng)格(Scandinavia Style)”的設(shè)計(jì)產(chǎn)品，同時(shí)也打造了現(xiàn)在通用電氣，Bang & Olufsen等諸多國(guó)際知名品牌以及包括音樂系統(tǒng)、擴(kuò)音器、錄音機(jī)、CD 播放器、揚(yáng)聲器和有關(guān)環(huán)境設(shè)計(jì)、建筑設(shè)計(jì)、汽車設(shè)計(jì)、交流手冊(cè)設(shè)計(jì)等在內(nèi)的諸多設(shè)計(jì)產(chǎn)品，從而獲得IF 產(chǎn)品設(shè)計(jì)獎(jiǎng)、紅點(diǎn)獎(jiǎng)等多項(xiàng)國(guó)際知名大獎(jiǎng)，其獲獎(jiǎng)產(chǎn)品還被陳列在全球知名的紐約現(xiàn)代藝術(shù)博物館中，被丹麥裝飾藝術(shù)博物館、德國(guó)慕尼黑藏博物館等永久珍藏。其極具創(chuàng)新意義的設(shè)計(jì)造就了Jacob Jensen 設(shè)計(jì)集團(tuán)今天國(guó)際設(shè)計(jì)界的崇高地位；并從根本上改變了我們對(duì)設(shè)計(jì)的看法，以突破性的設(shè)計(jì)重新定義了現(xiàn)代消費(fèi)美學(xué)觀念。

Visual China: 從一些采訪中了解到，您是一個(gè)自然，天性的維護(hù)者，但由于生活方式、家庭背景的不同，很多中國(guó)的設(shè)計(jì)師沒辦法做到像您那么灑脫，有些設(shè)計(jì)師不得不“為了設(shè)計(jì)而設(shè)計(jì)”，對(duì)此您有什么見解？

Jensen: 在古代，中國(guó)的設(shè)計(jì)師其實(shí)是很善于制作高品質(zhì)物件的，但在今天很多設(shè)計(jì)師似乎已經(jīng)忘記了這種本性，所以從長(zhǎng)遠(yuǎn)角度講，我們應(yīng)該要去做正確或者更對(duì)的事情，把骨子里的設(shè)計(jì)靈感喚醒，突出設(shè)計(jì)的本身，從而完整地體現(xiàn)設(shè)計(jì)的真正意義。

Visual China: 您在設(shè)計(jì)作品的時(shí)候是如何一步一步表現(xiàn)您的設(shè)計(jì)思維，設(shè)計(jì)環(huán)節(jié)都有哪些？

Jensen: 其實(shí)很簡(jiǎn)單，就好比您是一個(gè)編輯，您懂得如何撰寫文章；那如果您是一個(gè)音樂家，一個(gè)廚師，一個(gè)運(yùn)動(dòng)員，您就知道怎么去做音樂，怎么去烹飪食物，怎么去踢足球，因?yàn)槲覀兪菍I(yè)的，因?yàn)槲沂莻€(gè)設(shè)計(jì)師，所以我就懂得如何做好一個(gè)設(shè)計(jì)。舉個(gè)例子，當(dāng)我們的客戶要求我們?cè)O(shè)計(jì)一個(gè)電動(dòng)水壺，我們會(huì)先為他提供三個(gè)概念，對(duì)此我們需要做的就是思考然后畫草圖，接著也許我會(huì)在市場(chǎng)上做一些調(diào)研，比如：這個(gè)水壺應(yīng)該是什么樣子的；它大概需要有多高、有多重；市場(chǎng)上什么樣的趨勢(shì)是最流行的等等。就如我剛才跟你提到專業(yè)一樣，我們是以一個(gè)設(shè)計(jì)的角度去做前期的準(zhǔn)備，這樣就可以積累到一定的經(jīng)驗(yàn)和有價(jià)值的信息。我們可以邊想邊做邊看，再進(jìn)行不斷的改進(jìn)。接著客戶可能會(huì)說：我比較喜歡三個(gè)方案中圓的那個(gè)，然后我們會(huì)用紙做出模型，最后我們達(dá)成一致后會(huì)送到工廠去生產(chǎn)。

Visual China: 您的工作室完成了“斯基沃市的十一顆星”的城市雕塑設(shè)計(jì)作品之后，是否考慮過涉足其他類別的大型概念作品？

Jensen: 如果有機(jī)會(huì)的話,我當(dāng)然很想去做。對(duì)于下一個(gè)涉足的概念產(chǎn)品,我更傾向于做一些環(huán)保的、有利于人們生活的、對(duì)環(huán)境沒有危害的自然和諧的項(xiàng)目，那將是一個(gè)非常有趣的項(xiàng)目。我認(rèn)為房子是一個(gè)供人生活的機(jī)器，每一個(gè)部分都為人提供了一定的功能,所以對(duì)我來講，如果給一個(gè)城鎮(zhèn)或一個(gè)城市進(jìn)行規(guī)劃，包括學(xué)校，工廠等，將它們的每一個(gè)部分進(jìn)行細(xì)心的規(guī)劃和利用，我覺得很令人興奮。我認(rèn)為每一個(gè)人都有權(quán)利去享受生活,但在我們的生活中卻有一些人生活在經(jīng)濟(jì)蕭條、非常不安定的環(huán)境中，所以，對(duì)于人類來說，生活在安全健康、愉悅的環(huán)境中才是美好的。所以我覺得每個(gè)人都應(yīng)該努力工作，這不光是為了我們自己，更是為了大家有一個(gè)更好的生活。

Visual China: 您是如何定義奢侈品的？在設(shè)計(jì)產(chǎn)品時(shí)，創(chuàng)意、質(zhì)感、造型和材料，您更注重哪個(gè)？

Jensen: 對(duì)于我來說奢侈就是質(zhì)量，比如說一個(gè)非常動(dòng)人的音樂，它打動(dòng)了我的內(nèi)心；一個(gè)好的食物，它是有機(jī)的、是健康的,這對(duì)于我來講,就是奢侈品。在我的國(guó)家，我們是不太談?wù)撋莩奁返模覀兺⒅氐氖钱a(chǎn)品的質(zhì)感和品質(zhì)。其次，對(duì)于你提出的創(chuàng)意、質(zhì)感、造型和材料哪一個(gè)比較重要的問題，我個(gè)人認(rèn)為這幾個(gè)是相互聯(lián)系的，如果一定要分出高下的話，我覺得是創(chuàng)意最重要。在我的理解中，材料、造型和一些其他的元素都是為了配合創(chuàng)意，所以我覺得創(chuàng)意是最重要的。

Visual China: 您對(duì)采用新興的科技手段來探索或呈現(xiàn)設(shè)計(jì)作品有何體會(huì)？

Jensen: 我認(rèn)為這是非常棒的，因?yàn)橛辛诉@些新興的技術(shù)，我們才有更大的空間去利用我們的創(chuàng)意和材料，從而做出更多更新穎的設(shè)計(jì)。以十年前來說的話,如果沒有科技，那么現(xiàn)在的這一切也不可能呈現(xiàn)出來。

Visual China: 我個(gè)人也是設(shè)計(jì)愛好者，但很多人說女士做產(chǎn)品設(shè)計(jì)或者想要成為優(yōu)秀設(shè)計(jì)師的幾率不是很大，您對(duì)此有什么看法？

Jensen: 回顧歷史，其實(shí)女人是最早的設(shè)計(jì)師。當(dāng)男人出去打獵的時(shí)候，女人就會(huì)在家里做小碗、做布料等。當(dāng)然其實(shí)這也跟個(gè)人愛好有關(guān),像女士可能比較喜歡服飾、飾品,或紋樣色彩的研究,而男士更傾向于木頭、金屬、雕塑這一類，所以這跟自己喜歡的領(lǐng)域有關(guān)系。就像我所知道的TWINGO、雷諾這些汽車品牌，這些公司在最近20年以內(nèi)都是女性設(shè)計(jì)師居多，當(dāng)你看到她們?cè)O(shè)計(jì)的作品時(shí)，你會(huì)由衷地喜歡和贊嘆。

Bang & Olufsen BEOGRAM 4000 record player

Visual China: 您說過，中國(guó)有悠久的文化，而設(shè)計(jì)，就是要將這些文化展現(xiàn)出來，您覺得中國(guó)很多的設(shè)計(jì)學(xué)者缺乏自信，您有什么鼓勵(lì)的話對(duì)大家說么？

Jensen: 我來自丹麥，它在世界上算是比較小的國(guó)家，只有500萬(wàn)的人口，而中國(guó)是一個(gè)非常大的國(guó)家，如果以人為單位的話，那么有1個(gè)單位的我，起碼就有20個(gè)單位的你。昨天我去一個(gè)酒店吃飯，在一個(gè)大廳里，我是唯一的外國(guó)人，而里面有200多個(gè)中國(guó)人，可見中國(guó)的人口之巨大。但為什么在設(shè)計(jì)上，丹麥有如此高的成就，而中國(guó)卻沒有預(yù)想的那么多的突出設(shè)計(jì)呢？

因?yàn)橹袊?guó)的一些設(shè)計(jì)者缺乏自信，他們不相信自己有這方面的能力，所以有的時(shí)候他們會(huì)有一些抄襲。雖然我對(duì)中國(guó)或者說亞洲的文化都不是很了解，但我也逐漸了解到在中國(guó)的一些家庭、工作、社會(huì)環(huán)境中，都有一個(gè)固定的三角模式，就好比：你不會(huì)對(duì)你的老師向你說的東西進(jìn)行反駁；你只是按照老板的意思做事而不是從自己的角度出發(fā)。當(dāng)然你的上司或者你的老師也有一定的原因，但這樣以來，他們就會(huì)抹殺掉一些有想法和有創(chuàng)意的人。這時(shí)你再讓他做一件事，他已經(jīng)形成了一種思維模式，已經(jīng)失去了他的創(chuàng)造力了。

在我的工作室中，我有三個(gè)原則：第一，去完成；第二，把它列入到你的工作欄；最后，忘掉它，什么也別干。在我的理念里，信任是非常重要的，比如說我信任你，那么我只需要你把結(jié)果拿給我看就可以了。你的過程是怎么樣的，我都不管。我會(huì)給你一個(gè)非常信任的空間。應(yīng)該怎么去做，這是員工自己去想的一個(gè)問題，在這期間，你可以通過你的頭腦、你的思維去做這件事。

我在中國(guó)聽過一句很奇怪的話，而且這是一個(gè)中國(guó)人說的話，他說：不要去相信中國(guó)人。這世界上并沒有太多的人像這樣去說自己，所以，如果你缺乏自信、又不愿相信他人，同時(shí)又失去創(chuàng)造力，那你就不可能設(shè)計(jì)出比較好的作品了。所以，如果你想賺更多的錢，你就必須依靠你的智慧和雙手。就像丹麥，我們是個(gè)非常小的國(guó)家，沒有非常多的地域和資源，所以我們用大腦想出更多更好的創(chuàng)意來進(jìn)行創(chuàng)作。其實(shí)你看看窗外，外面變化得挺快的，總會(huì)有很多的新的事物產(chǎn)生。“復(fù)旦視覺”和“德稻”他們就意識(shí)到了這一點(diǎn)，他們引進(jìn)了非常多的大師 (連同他們的智慧)，他們希望能共同幫助新一代，給他們一些啟發(fā)，讓他們把更好的創(chuàng)意和想法展現(xiàn)出來，為了全世界更美好的生活而共同努力和奮斗。

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.