編者按：這些年因諸多日本設計品牌成功的市場化運作讓我們感受到了不少日本設計大師的成果與設計思考，這回也讓我們來聽一下北歐工業設計大師的見解。從大師口中不難發現幾點：創意的重要性、品質追求與把控、設計是為解決問題而生、自信與信任。這些都讓人換位想到我們廣告營銷領域，也是如此。只不過，我們大多都在這個過程中，遺失了這些最基礎最原始也是最珍貴的要素。

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

當今世界最負盛名和最成功的工業設計師之一，他繼承了父親 (Jacob Jensen) 的事業，成就了今天的“丹麥設計王朝”；其設計工作室創造出了無數具有革命性、純粹性并被當代社會視為經典的“斯堪的納維亞風格(Scandinavia Style)”的設計產品，同時也打造了現在通用電氣，Bang & Olufsen等諸多國際知名品牌以及包括音樂系統、擴音器、錄音機、CD 播放器、揚聲器和有關環境設計、建筑設計、汽車設計、交流手冊設計等在內的諸多設計產品，從而獲得IF 產品設計獎、紅點獎等多項國際知名大獎，其獲獎產品還被陳列在全球知名的紐約現代藝術博物館中，被丹麥裝飾藝術博物館、德國慕尼黑藏博物館等永久珍藏。其極具創新意義的設計造就了Jacob Jensen 設計集團今天國際設計界的崇高地位；并從根本上改變了我們對設計的看法，以突破性的設計重新定義了現代消費美學觀念。

Visual China: 從一些采訪中了解到，您是一個自然，天性的維護者，但由于生活方式、家庭背景的不同，很多中國的設計師沒辦法做到像您那么灑脫，有些設計師不得不“為了設計而設計”，對此您有什么見解？

Jensen: 在古代，中國的設計師其實是很善于制作高品質物件的，但在今天很多設計師似乎已經忘記了這種本性，所以從長遠角度講，我們應該要去做正確或者更對的事情，把骨子里的設計靈感喚醒，突出設計的本身，從而完整地體現設計的真正意義。

Visual China: 您在設計作品的時候是如何一步一步表現您的設計思維，設計環節都有哪些？

Jensen: 其實很簡單，就好比您是一個編輯，您懂得如何撰寫文章；那如果您是一個音樂家，一個廚師，一個運動員，您就知道怎么去做音樂，怎么去烹飪食物，怎么去踢足球，因為我們是專業的，因為我是個設計師，所以我就懂得如何做好一個設計。舉個例子，當我們的客戶要求我們設計一個電動水壺，我們會先為他提供三個概念，對此我們需要做的就是思考然后畫草圖，接著也許我會在市場上做一些調研，比如：這個水壺應該是什么樣子的；它大概需要有多高、有多重；市場上什么樣的趨勢是最流行的等等。就如我剛才跟你提到專業一樣，我們是以一個設計的角度去做前期的準備，這樣就可以積累到一定的經驗和有價值的信息。我們可以邊想邊做邊看，再進行不斷的改進。接著客戶可能會說：我比較喜歡三個方案中圓的那個，然后我們會用紙做出模型，最后我們達成一致后會送到工廠去生產。

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

Jensen: 如果有機會的話,我當然很想去做。對于下一個涉足的概念產品,我更傾向于做一些環保的、有利于人們生活的、對環境沒有危害的自然和諧的項目，那將是一個非常有趣的項目。我認為房子是一個供人生活的機器，每一個部分都為人提供了一定的功能,所以對我來講，如果給一個城鎮或一個城市進行規劃，包括學校，工廠等，將它們的每一個部分進行細心的規劃和利用，我覺得很令人興奮。我認為每一個人都有權利去享受生活,但在我們的生活中卻有一些人生活在經濟蕭條、非常不安定的環境中，所以，對于人類來說，生活在安全健康、愉悅的環境中才是美好的。所以我覺得每個人都應該努力工作，這不光是為了我們自己，更是為了大家有一個更好的生活。

Visual China: 您是如何定義奢侈品的？在設計產品時，創意、質感、造型和材料，您更注重哪個？

Jensen: 對于我來說奢侈就是質量，比如說一個非常動人的音樂，它打動了我的內心；一個好的食物，它是有機的、是健康的,這對于我來講,就是奢侈品。在我的國家，我們是不太談論奢侈品的，我們往往注重的是產品的質感和品質。其次，對于你提出的創意、質感、造型和材料哪一個比較重要的問題，我個人認為這幾個是相互聯系的，如果一定要分出高下的話，我覺得是創意最重要。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意，所以我覺得創意是最重要的。

Visual China: 您對采用新興的科技手段來探索或呈現設計作品有何體會？

Jensen: 我認為這是非常棒的，因為有了這些新興的技術，我們才有更大的空間去利用我們的創意和材料，從而做出更多更新穎的設計。以十年前來說的話,如果沒有科技，那么現在的這一切也不可能呈現出來。

Visual China: 我個人也是設計愛好者，但很多人說女士做產品設計或者想要成為優秀設計師的幾率不是很大，您對此有什么看法？

Jensen: 回顧歷史，其實女人是最早的設計師。當男人出去打獵的時候，女人就會在家里做小碗、做布料等。當然其實這也跟個人愛好有關,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域有關系。就像我所知道的TWINGO、雷諾這些汽車品牌，這些公司在最近20年以內都是女性設計師居多，當你看到她們設計的作品時，你會由衷地喜歡和贊嘆。

Bang & Olufsen BEOGRAM 4000 record player

Visual China: 您說過，中國有悠久的文化，而設計，就是要將這些文化展現出來，您覺得中國很多的設計學者缺乏自信，您有什么鼓勵的話對大家說么？

Jensen: 我來自丹麥，它在世界上算是比較小的國家，只有500萬的人口，而中國是一個非常大的國家，如果以人為單位的話，那么有1個單位的我，起碼就有20個單位的你。昨天我去一個酒店吃飯，在一個大廳里，我是唯一的外國人，而里面有200多個中國人，可見中國的人口之巨大。但為什么在設計上，丹麥有如此高的成就，而中國卻沒有預想的那么多的突出設計呢？

因為中國的一些設計者缺乏自信，他們不相信自己有這方面的能力，所以有的時候他們會有一些抄襲。雖然我對中國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的一些家庭、工作、社會環境中，都有一個固定的三角模式，就好比：你不會對你的老師向你說的東西進行反駁；你只是按照老板的意思做事而不是從自己的角度出發。當然你的上司或者你的老師也有一定的原因，但這樣以來，他們就會抹殺掉一些有想法和有創意的人。這時你再讓他做一件事，他已經形成了一種思維模式，已經失去了他的創造力了。

在我的工作室中，我有三個原則：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果拿給我看就可以了。你的過程是怎么樣的，我都不管。我會給你一個非常信任的空間。應該怎么去做，這是員工自己去想的一個問題，在這期間，你可以通過你的頭腦、你的思維去做這件事。

我在中國聽過一句很奇怪的話，而且這是一個中國人說的話，他說：不要去相信中國人。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，同時又失去創造力，那你就不可能設計出比較好的作品了。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，我們是個非常小的國家，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意來進行創作。其實你看看窗外，外面變化得挺快的，總會有很多的新的事物產生。“復旦視覺”和“德稻”他們就意識到了這一點，他們引進了非常多的大師 (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，讓他們把更好的創意和想法展現出來，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.