纹身图案,石汉瑞:…介于建筑师与成衣之间。HS: . . . between an architect and a tailor.,渲染

身为一名规划师,咱们要为自己的工作感到自豪。规划师之间,要多沟通,彼此协助;唯有如此,咱们才干一起提高规划师的位置,让咱们遭到应有的尊重。

As a designer, we should be proud of our profession. We should share more, help each other. Together, we can then earn the respect we deserve.

——石汉瑞(Henry Steiner)

「香港规划之父」石汉瑞在中国内地的初次个展、也是他迄今为止最大规划的展览——「启蒙者石汉瑞」,正在海上国际文明艺术中心二层联合国教科文组织展馆举办。开幕当日,石汉瑞先生在展览现场心生慨叹:“我的终身,全部在此。”应先生惠允,规划互联特此发布先生亲笔拟写的开幕讲稿,与你共勉。

The largest-ever solo象山气候预报 exhibition of Henry Steiner - Henry S居酒屋时刻停下来teiner: Graphi黄石公园c Communicator is on in Shenzhen UCCN Gallery, L2 Sea World Culture and Arts Center until 20 June, 2019. On the opening day, Steiner spoke gently: "My life is here. All the works I'm personally responsible for. It's纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托 a bit hard to believe, but it's true." Courtesy to Steiner, Design Society publishes his opening spee日元对人民币汇率今天ch. As if you were at the opening. (For English version, please scroll down.)

“…介于建筑师与裁缝之间。

石汉瑞

在考大学选专业的时分,我曾在绘画与文学专业之间犹疑,后来我选了绘画,由于我以为画一幅画比写一篇一千字的文章更轻松。

在亨特学院肄业期间,咱们的几位教师是笼统表现主义纽约画派的魂灵人物。但除了版画,我总觉得绘画很别扭,其时自己也不知道为什么会这样。快结业的时分,我的版画教师授命找我说话,咱们评论了结业后我要从事的方向。在做不了画家这件事上,我俩达成了一致。所以他问我读书期间喜爱做什么。

我通知他我喜爱课外活动,比方修改校刊、杂志和年鉴,规划海报之类。我的导师说:“那正好,我还在耶鲁大学艺术学院的新科系教版画。你为什么不来学平面规划?”

我回答说:“能够啊,平面规划是啥︖”其时,我仅有能想到的一个自动档车正确起步办法关于平面规划的词是“商业艺术”(Commercial Art,即广告或橱窗等)。

保罗兰德课堂作业《游船公司推行项目》习作 1950年

从罗马图拉真柱的铭文到德国活版印刷发明人古腾堡,这种从前的工艺,到了19世纪50年代,逐步改变成一种工作。可是,平面规划,真的能成其为一种工作吗?我想与诸位一起讨论这个问题。

对我来说,一项真实的工作有必要要有证书或其他正式认证,由于专业失误的结果或许会很严重。俗话说,医师犯的错下葬了,没人知道;律师犯的错上绞刑架,世人围观。不合格的平面规划会进碎纸机,会让你在一座生疏的城市走失,会让你走错厕所。但至少不会有死伤。

顺带提一句,有人搞不清楚规划究竟是艺术仍是工艺,我在耶鲁大学的同学、英国闻名平面规划师Alan Fletcher是这么界定两者差异的:“规划师企图处理客户的问题。艺术家企图处理自己的问题。咱们是规划师,不是艺术家。像大多数规划师相同,我更喜爱接纳使命而非惹是生非。这也解说了我肄业期间为什么会觉得绘画别扭,由于我自己没什么想对这国际说的,我更喜爱帮别人说得悦耳纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托。

香港希尔顿酒店/视觉形象/1962年

我还想着重一点。把艺术视作崇高的创微信定位造活动,以为艺术是由极具天分的个人跟随其热情而设想发明的这种观念,才刚刚存在了150年左右。在此之前,艺术家也都是为订单服务。他们受雇画肖像、景色、岩画和宗教著作。比如计程车,不打表就不发起。

Paul Rand曾说,他找的不是客户,而是赞助人。言下之意,他与上世纪三四十年代的许多规划师相同,具有明显而共同的个人规划风格。

1992年,石汉瑞和Paul Rand配偶、龟昌雄策、福田繁雄及友人在东京

巨大的改变发作在上世纪50年代,规划师们不再标榜画家式的一以贯之的“风格”,转而以隐去个人颜色、绝不自我重复为傲。他们的满足感万春芳来自剖析客利维坦户的详细传达需求,针对性地提出不同于他们以往任何事例的全新处理方案。

你能幻想一个医师回绝望闻问切,只管让一切患者每天服用两片阿司匹林吗?同理,规划师为每位客户做的规划都应该测验不同的风格。

对我来说,规划的趣味就在于它充满了新的挑战和惊喜。抱负的规划方案反映的是客户的特性,而不是我的特性。咱们的客户并不会为图形和颜色而动心。咱们有必要以讲故事的方法,向他们解说规划方案背面的概念和逻辑。服装店姓名

香港置地/视觉形象规划/1968年

有时分,在做完规划之后,咱们才为它假造一个故事。你们可得帮我保密,这并不是诈骗。许多构思工作者往往是在完结创造后,才发现他们真实的创造意图。我信任,你们也有过相似的领会,在你片面没能意识到的时分,是你的潜意识给了你种种提示。叙述规划背面的故事,还有另一项长处,它给了客户通俗易懂的谈资,他们能够转述给董事会或自己的爱人听。

我还有一个小秘密。大多数绝佳的构思纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托点子往往来自客户自己。这项醒悟不该使咱们感到惭愧或有负罪感。比如处理咨询师或精力剖析师,咱们需求深化发掘客户的主意,倾听客户的声响。只要敏锐地潜入咱们客户的故事,咱们才有或许发现连他短笑话们自己都没意识到的共同、乖僻或别致的主意。

所以,作为一种工作,规划是朴素的;它很务实,但却算不上显贵。它介于建筑师和裁缝之间。

IDEA杂志/封面/1980年

“. . . between an architect and a tailor.”

Henry Steiner

Before saying anything about our profession, I sincerely thank, first, our host Design Society and its industrious a纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托nd patient team. Thank Shenzhen Design Week to include our exhibition in it纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托s satelite pro平江气候gram. Also our sponsor the Macau Shenzhen Economic and Cultural Promotion Association. And especially my respected colleague and good friend, He Jianping, for his conception and masterful execution of this exhibition. It’s his project and I’m deeply grateful to him for this honor. Hsie hsie.

In college I was initially undecided between majoring in Painting or Literature and decided that郑洛云 it was much easier to draw one picture than to write a thousand words.

At Hunter College in those days 气候预报视频some of the cream of the New York School of Abstract Expressionist painters were our teachers. But except for one class in printmaking and for reasons not understood at the time, I felt uncomfortable with painting. In my senior year, the printmaking teacher was zoneassigned to discuss post graduation directions with me. We agreed that I had no future as a painter so he asked me what I had enjoyed doing at college.

I told him it was the extra-mural activities, like art editing the college newspaper, magazine and yearbook, creating posters, etc.

My mentor said: “You know, I also teach printmaking at Yale in a new department of the Art School. Why don’t you come up and study Graphic Design?”

I replied: “Sure, what’s Graphic Design?” You see, at that time the only term I recognized was commercial art.

邃古糖/包装/20世纪60年代

淘化大同公司花生油/包装/1979年

What had been a craft, albeit one that traced its lineage back to Gutenberg and even further back to inions on Trajan’s column in the Roman Forum was, by the 1950s, morphing into a sort of profession. But, is graphic design really a profession? I’d like to explore this question with you.

To me, a real profession is one where you have to have a license or other formal recognition because malpractice could have serious consequences. It is said that while a doctor’s mistakes are buried, those of a lawyer are left hanging from the gallows for all to see.

Incompetent graphic design may keep the shredding machine busy, might get you lost in a strange city, or send you to the wrong gender toilet. But nobody suffers physical damage.

Incidentally, there is some confusion about the distinction between design as art or craft which was defined by Alan Fletcher (a classmate at Yale) as follows: “A designer tries to solve his client’s problems. An artist tries to solve his own problems.” We’re designers, not artists. Like most of us, I prefer to receive assignments, not to make them up. This explains my discomfort with painting, mentioned earlier. I have no message to offer the world. But I love to solve communication problems for others.

渣打银行1979年 ( 500圆/1000圆 )

I should point out that this idea of Art as something higher, and dreamed up by inspired individuals following their passion, has only been around for the last 150 years or so. Before that artists worked to order. They were hired to do portraits, landscapes, murals and religious works. Like a taxi, they didn’t start moving until the meter was on.

One of the few criticisms made of Paul Rand was that he didn’t look for clients but rather for patrons. The implication was that like many of the designers in the 30’s and 40’s he had his own personal design style.

汇丰银行/视觉形象规划/1983年

The b纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托ig shift in 50’s design was away from a consistent painterly ‘style’. Designers formed in that period prided themselves on not being recognizable, not纹身图画,石汉瑞:…介于建筑师与裁缝之间。HS: . . . between an architect and a tailor.,烘托 repeating themselves. Their satisfaction came from analyzing a client’s specific communication problem and coming up with a solution not resembling anything they’d created previously.

Can you picture a doctor who prescribes two aspirins a day to every patient he sees no matter what the complaint? You get the analogy of a designer who pushes some variant of his style on every client.

The jo四年级下册英语y of design, for me, is in new challenges, and surprises. Ideally a design solution reflects the client’s personality, not mine.

Our clients tend not to be thrilled by shapes and colors. We must express to them the reasoning behind a design solution in the form of a story, which explains t年货清单he concept underlying our design proposal.

《喜福会》话剧巡演/76.5cm51cm /海报/1993年

Sometimes, and this should be our little secret - we might even make up the story after having created the design. Now, this is not actually dishonest. Many creative workers find out their true purpose after the fact. I’m sure you’ve had hints of how your subconscious can be working away even when you’re not.

Another virtue of telling a story behind the design is that it gives the client something simple to explain to their board, or wife.

There is another little secret. Most of our best ideas … come from the client. There should be no shame or亵 guilt attached to this revelation.

Like a management consultenterant or a psychoanalyst, we most probe deeply and listen attentively to our clients. It is from delving sensitively into our client’s story that we might uncover the idiosyncratic, the quirky, the fresh ideas they themselves didn’t appreciate they already had.

So, as a pr大型手机游戏ofession, design is a modest one; useful but not terribly prestigious. Somewhere between that of architect and a tailor.

香港印制大奖/2000年

策展人:何见平

展览总参谋:王序

展期:4月20日-6月20日

辅导单位:中共南山区委宣传部

主办:深圳规划周暨举世规划大奖组委会&规划互联

地址:海上国际文明艺术中心2层联合国教科文组织展馆

购票:50元 规划互联会员免费 (点击处理)

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