On the Concept of "No Design" in Exhibition Art
In my spare time, I read China traditional newspapers, which I didn't have time to read in the past. On August 26th, 2005, I saw an article written by Comrade Liu Jianmin, No Design-Showing the Best Realm of Art Design. The best state to display art design is "no design"? This seems to be contradictory. The task itself is design. How can it be called "no design"? After reading it, I suddenly realized that it was so.
"No design" doesn't mean no work, no thinking. On the contrary, this "no design" state requires designers to pay more labor and rack their brains to design. Just like "no writing", "no decoration" and "no management", "no writing" is like the natural expression of the soul; "No decoration" is like natural carving; "No management" is a realm and concept, such as doing nothing. As Comrade Liu Jianmin said, "The so-called" nothing "means that exhibition art and design does not exist independently, but is ubiquitous and does not exist. It has been fully integrated into the overall exhibition theme and content. "
The concept of "no design" first emphasizes appropriateness and appropriateness. To achieve the state of "no design", we must first go straight to the subject. All designs should obey the needs of the theme and content, starting from the needs of the theme and content, so that the display will not feel far-fetched, will be appropriate, and will be "no design." Designers need to grasp the theme, orientation, connotation and structure of the exhibition, and make clear what the exhibition will say through appropriate language. Just as cut clothes must fit first, cut clothes will make people feel comfortable and suitable; Another example is the milk packaging in packaging design, with white as the main color and other auxiliary colors; On the contrary, if it is a black package, I'm afraid no one will buy it. In other words, the exhibition space, environment, atmosphere, color, modeling, lighting, signs and other design means should serve the theme of the exhibition and must not deviate. This is the positioning problem of exhibition art design, and it is also the most basic work, and other work is carried out on this basis. "The foundation is not firm, the ground shakes", without which other work can only be castles in the air. Therefore, we can't do too much basic work. We should fully and thoroughly study the theme, collection, content, audience, museum, ergonomics, local customs and characteristics and new technical materials. On this basis, starting with the creative sketches and models, we can find out the orientation of the exhibition art design. After the positioning is determined, it is necessary to take care of the positioning in the whole process, and it is necessary to inspect and grasp whether it conforms to the initial positioning at all stages until the exhibition work is all over. Exhibition work is the most taboo
The concept of "no design" is followed by harmony and wholeness. Exhibitions with the realm of "no design" often present a strong sense of wholeness and are permeated with the beauty of harmony everywhere. Harmony and wholeness require the consistency of the artistic language of the exhibition, which should also be consistent in the same exhibition. In a unified environment, there should be local changes, only local and detailed, and the overall style and style should be maintained. For example, the display cabinets in the bronze hall of Shanghai Museum are made of dark gray natural wood, and even the flower pots and trash cans in the exhibition hall are made of this material, which gives people an overall shock, and the designer's good intentions can be seen. Emphasizing the whole exhibition, it is inevitable to give up some trivial details and factors that affect the whole, even if the details are wonderful, we must give up reluctantly. In the football match, every player's skills should conform to the overall style of play, and winning is the ultimate goal. Otherwise, some players are highly skilled, but only highlight the individual, unable to integrate into the whole and unable to give full play to the overall advantages of the team. Such players don't have to worry. Only when the details are integrated into the overall environment can the beauty be revealed, otherwise it will have negative effects. Subtraction should also be used properly in exhibition design, otherwise it will inevitably give people a chaotic impression.
The concept of "no design" requires nature and kindness. How to make the exhibition design look "no design" and "smooth and silent" requires that the expression of the exhibition design should be natural and friendly, and there should be no sense of ownership. In interpersonal communication, some people will feel artificial and unnatural, indicating that these people have not forgotten their true feelings when they speak or do things, and some still hold them. By the same token, the museum display can only impress the audience by telling the truth naturally, otherwise, how can we impress the audience without entering the state and being moved? The exhibition in the realm of "no design" should be such a situation: when the audience enters the exhibition hall of the museum, in a specific atmosphere, they are moved by the profound theme and heavy culture of the exhibition and slowly absorbed by the exhibition, and all this is because of the natural and cordial narration of the exhibition. Simple things may be more likely to impress the audience and make people feel intimate and natural. Museum display design does not necessarily pursue luxury, and boutique display is not the same as luxury display. For example, some exhibitions blindly pursue high-tech and new materials, thinking that they can show the modernization of the exhibition, but in fact they just alienate the audience and give people a flashy feeling. Natural display does not pursue superficial glitz. Natural wood, Gu Zhuo stone and plain linen have always been popular in museums, which may be more in line with the characteristics of museums than industrialized materials. What kind of wood, stone and hemp, how to deal with it, how to use it and how to combine it can evolve into a multi-purpose usage and provide enough rich design materials for the exhibition.
The realm and concept of "no design" is to let the audience naturally understand the connotation of the exhibition. What the audience wants to see is the cultural relics, the humanistic spirit reflected by the cultural relics, not the exhibition design. The purpose of exhibition design is not to show how superb the designer's design ability is, nor should the designer impose a sense of design and traces on the audience, which just reflects the skill and accomplishment of the exhibition designer. The realm of "no design" is not only the best realm to show artistic design, but also the highest realm. This puts forward higher requirements for display designers. Only by integrating this concept into the designer's thinking and becoming a kind of consciousness, through a lot of work and practice, can we complete the quantitative change to qualitative change, realize the sublimation of exhibition art and achieve "nothing"
The realm of "meter".