115中英文雙語(yǔ)環(huán)境藝術(shù)設(shè)計(jì)專(zhuān)業(yè)畢業(yè)設(shè)計(jì)外文文獻(xiàn)翻譯成品新北歐和斯堪的納維亞復(fù)古_(tái)重新評(píng)估當(dāng)代北歐設(shè)計(jì)的價(jià)值和美學(xué)

1、<p>　　此文檔是畢業(yè)設(shè)計(jì)外文翻譯成品（ 含英文原文+中文翻譯），無(wú)需調(diào)整復(fù)雜的格式！下載之后直接可用，方便快捷！本文價(jià)格不貴,也就幾十塊錢(qián)！</p><p>　　外文標(biāo)題：New Nordic and Scandinavian Retro: reassessment of values and aesthetics in contemporary Nordic design</p>&

2、lt;p>　　外文作者：Niels Peter Skou & Anders V. Munch</p><p>　　文獻(xiàn)出處:Niels Peter Skou & Anders V. Munch.New Nordic and Scandinavian Retro: reassessment of values and aesthetics in contemporary Nordic desi

3、gn[J].Journal of Aesthetics & Culture.2016.8(1):1-13</p><p>　　英文2903單詞，15890字符，中文4850漢字。</p><p>　　New Nordic and Scandinavian Retro: reassessment of values and aesthetics in contemporary Nor

4、dic design</p><p>　　Niels Peter Skou & Anders V. Munch</p><p>　　Abstract:The ‘‘New Nordic’’ label has spread in the design world since 2005, but it is quite difficult to distinguish from the

5、 image of ‘‘Scandinavian Design’’ and the heritage of values and aesthetics from the 1950s. Many designer statements and promotional texts are eager to mention both designations. T his survey sketches the background and

6、asks, ‘‘What is ‘New’?’’ and ‘‘What is ‘Nordic’?’’ with a focus on the Danish firm Muuto, which has been a central actor in establishing the term ‘‘New No</p><p>　　SCANDINAVIAN MODERN REIMAGINED</p>&

7、lt;p>　　The new wave of Nordic Design is clearly part of an international trend, neo-modernism, and both products and communication are addressing an international market. Most names of firms or products are English (w

8、ith Finnish names as the notable exception!) To some extent you could even argue that the Nordic identity of New Nordic Design has its script from international lifestyle media. Scandinavian Modern was similarly carried

9、forward by the international trend of organic modernism in the post-wa</p><p>　　Our Scandinavian ancestors travelled north. They discovered a landscape of forests and sandy beaches, with bright and mild summ

10、ers but harsh winters. They learnt modesty, to save valuable resources and to always rely on their common sense. The Scandinavian design tradition was born out of necessity, a way of thinking handed down over generations

11、. And it is a tradition that will always be in fashion, because we are all modern-day nomads the world is our home. And in this mix of cultures, we find </p><p>　　Here, we have landscapes and ancestors, chal

12、lenging climate and modesty, handing down a tradition*that luckily fits international fashion! The name ‘‘Norrmade’’ is derived from ‘‘Norrøn’’ (i.e. Old Norse) and ‘‘Made,’’ but here interpreted as ‘‘nomade’’ to br

13、ing it to the world. Throughout the 20th century, the division of ‘‘place’’ and ‘‘space’’ has been connected with political conflicts between conservative regionalism and internationalist humanism, a division that has be

14、en made current by th</p><p>　　What is new in this image of New Nordic? The co-branding of product and nation, even with regard to tourism, was already a part of the strategies in the 1950s,52 and shops like

15、 Illum’s, Den Permanente, Svenskt Tenn, and Tannum have received generations of tourists to the Scandinavian capitals. Perhaps our contemporary examples of New Nordic designer products perform an advanced aesthetic commu

16、nication and highly demanding experiences, sometimes close to minimalist object art, suggesting that New</p><p>　　A way of reading ‘‘New Nordic’’ could thus be to reassure an international audience that this

17、 is still Nordic Design. These new products still represent the old values of the Nordic countries and ‘‘the best of Scandinavian Design today.’’ All the statements we have consulted have insisted on there being a contin

18、uity in the values and qualities of Scandinavian Design, with beautiful everyday objects made accessible and practical to all users. And perhaps this process of being reassured is much ne</p><p>　　What strik

19、e us as a significant change from Scandinavian Modern to New Nordic is that there is a quite different, professional ‘‘network’’ marketing the design and communicating the values. The institutionalised part of the design

20、 culture, design schools, museums, and professional journals, doesn’t play the same role in assuring the high cultural value of New Nordic. The main actors are, as mentioned, design firms acting as ‘‘editors,’’ picking d

21、esigners with a good name or a good story, and the</p><p>　　New Nordic Design contains nostalgia for the good old, modern days, where the shape and materiality of the singular objects of use were believed to

22、 change the scope of life. This longing might also explain why New Nordic as neo- modernism is often so close to Scandinavian Retro, which stages the same images, the same values. A significant feature of both, howeve

23、r, is the absence of a larger cultural project for the objects to be part of. Where modernism ideologically addressed the whole of so</p><p>　　MINIMALISM</p><p>　　If we turn our attention from t

24、he rhetoric to the actual design of products marketed under the frame of New Nordic, it might similarly be that they are not for everyone, but address a segment that finds subtle differentiation more ethical than the con

25、spicuous consumption of demonstrative luxury. The minimalist style of Scandinavian Modern was thought by its designers to be accessible and democratically inclusive, because forms and constructions were easy to compreh

26、end and items were light to h</p><p>　　The simple hand drawing is a complicated case for the weavers, due to the uneven lines created by the pressure on the pencil. The result is a light, quiet and downplaye

27、d design, where the quality of the weaving nevertheless stands out.</p><p>　　The very reduction opens a possibility for new dimensions of complexity to appear, here the differing pressure of the hand transla

28、ted into unequal lines. The American minimalist Agnes Martin made whole canvases with closely drawn pencil stripes in the 1960s, where you had to get really close to experience their texture.43 This aesthetic might be ac

29、cessible at some level, but the question is whether you get the point and share the intended experience.</p><p>　　The very reduction opens a possibility for new dimensions of complexity to appear, here the d

30、iffering pressure of the hand translated into unequal lines. The American minimalist Agnes Martin made whole canvases with closely drawn pencil stripes in the 1960s, where you had to get really close to experience their

31、texture.43 This aesthetic might be accessible at some level, but the question is whether you get the point and share the intended experience.</p><p>　　The minimalist logic behind this reduction of the overa

32、ll shape in order to make the perception of other aspects possible, that is, another complexity, was developed in modernistic design through the 20th century. Johnsen explains it in the case of Norway Says:</p>&l

33、t;p>　　The foremost characteristics of Norway Says have been their capacity to always give their products a form that is simple and complex at the same time. Like the best examples of neo-minimalist furniture from a f

34、ew years back, it is a question of reducing form with- out subtracting too much from function and comfort, but at the same time adding some- thing advanced.</p><p>　　‘‘Less’’ turns out to be ‘‘more,’’ and he

35、 explains further: ‘‘Capturing the pure and simple form is regarded as a precondition for luring any viewer or consumer to consider other aspects of the pro- duct.’’46 In this sense, the simple shape is to be understood

36、as an invitation to further experiences of the product. But it is a demanding kind of aesthetic communication, and if it is thought to be democratically inclusive, it could only be as an intention to educate the consumer

37、 to higher aestheti</p><p>　　The reductive forms of neo-minimalist design lead the eye and body to experience innovative details of construction and material qualities such as textures and tactility, but the

38、 products often also feature more conceptual aspects, such as story- telling or a riddle-like name. Johnsen points to the British designer, Jasper Morrison, as the international pioneer of neo-minimalism. ‘‘Morrison’s fu

39、rniture represented a bold simplicity with clear references to Scandinavian Design and a capability fo</p><p>　　An inspiration could once again be Droog Design that started up with pieces like You Can’t Lay

40、Down Your Memories, a chest of drawers by Remy Tejo, 1989. The pretentious titles are very wide- spread in New Nordic Design, from Hay’s About a Chair, designed by Hee Welling, to Muuto’s Everyday Holy, a mug by Ilkka Su

41、ppanen, and Same Same But Different series of glasses,by Norway Says .</p><p>　　The last name is an English idiom and refers to the three differently shaped water glasses in the set. They can be stacked diff

42、erently, and the user can enjoy small variations in the everyday routines of table setting and dish washing. It is a little piece of minimalist object art in an everyday setting, and either you judge it as trivialised ar

43、twork or as tweaked functionalism. To some customers, such puns and riddles might be inviting and provide catchy nicknames and keys to extra dimensions f</p><p><b>　　Notes</b></p><p>

44、;　　1.Widar Hale´n and Kjerstin Wickman, eds.,Scandinavian Design Beyond the Myth (Stockholm: Arvinius Fo¨rlag, 2003).</p><p>　　2.Ingeborg Glambek, Det nordiskei arkitektur og design sett utenfra (C

45、openhagen: Arkitektens Forlag, 1997); and Jørn Guldberg, ‘‘Scandinavian Design as Dis- course: T he Exhibition Design in Scandinavia,1954 57,’’ Design Issues 27, (2011): 41 58.</p><p>　　3.David R. McFad

46、den, ed., Scandinavian Modern Design 1880 1980 (New York: Cooper-Hewitt Museum & Harry N. Abrams, 1982).</p><p>　　4.Sarah Elsie Baker, RetroStyle(London: Bloomsbury,2013).</p><p>　　5.See the

47、 magazine Scandinavian Retro, http://www.scandinavianretro.com (accessed June 10, 2016).</p><p>　　6.Kjetil Fallan, ed., Scandinavian Design. Alternative Histories (London: Berg, 2012), 3.</p><p>

48、;　　7.See the chapter by Finn Arne Jørgensen in Fallan,op.cit.</p><p>　　8.Bernd Henningsen, ‘‘T he Nordic Way to Moder-</p><p>　　nity. T he Political History of the Nordic Model,’’ in Nortop

49、ia. Nordic Modern Architecture and Postwar Germany, ed. C. Høgsbro and A. Wischmann (Berlin: jovis Verlag, 2009), 47 61.</p><p>　　9.Peter Aronsson and Lizette Grade´n, ed., ‘‘Introduc- tion,’’ in P

50、erforming Nordic Heritage (Farnham: Ashgate, 2013), 1.</p><p>　　10.Hans Lauritsen, ‘‘T imelessness,’’ in Spring (Kolding: Trapholt Museum of Art, 1995).</p><p>　　11.Espen Johnsen, ‘‘Form Follows

51、 Emotion? Northern Minimalism and Neomodernism,’’ in Scandinavian Design Beyond the Myth, op.cit.</p><p>　　12.Espen Johnsen, ‘‘Simple and Complex Form,’’ in Norway Says 10, ed. Widar Hale´n (Oslo: Nasjo

52、nal Museet 2007), 46 82.</p><p>　　13.Susan Howe, ‘‘Untangling the Scandinavian Blonde. Modernity and the IKEA PS Range Cata- logue 1995,’’ Scandinavian Journal of Design History 9 (1995): 102.</p><

53、;p>　　14.Sara Kristoffersen, Design by IKEA. A Cultural History (London: Bloomsbury, 2014).</p><p>　　15.Hans-Christian Jensen and Mads Nygaard Folkmann. ‘‘Pa camping i designkulturen,’’ in Design- kulturan

54、alyser, ed. Anders V. Munch, Niels Peter Skou and Toke Riis Ebbesen (Odense: Syddansk Universitetsforlag, 2015), 67 84.</p><p>　　16.Johnsen, ‘‘Form Follows Emotion,’’; and Johnsen,‘‘Simple and Complex Form.’

55、’</p><p>　　17.Dorothea Gundtoft, New Nordic Design (London:T hames & Hudson, 2015), 161.</p><p>　　18.Ingrid Sommar, Skandinavisk Design. Klassisk og moderne skandinavisk livsstil og dens bet

56、ydning (København: Nyt Nordisk Forlag Arnold Busck, 2004).</p><p>　　19.Magnus Englund, Skandinavisk Stil (København:</p><p>　　Aschehoug, 2003). Symptomatic for the orientation towards

57、the English speaking markets the book is originally written in English and translated ‘‘back’’ into Danish.</p><p>　　20.Kjeld Kjeldsen, et al., eds., New Nordic* Architecture</p><p>　　& Iden

58、tity (Humlebæk: Louisiana Museum of Modern Art, 2012).</p><p>　　21.See for instance Marianne Ibler, A New Golden</p><p>　　Age* Nordic Architectureand Design (Aarhus: Archi- press M, 2014);

59、Erlend G. Høyersteen, ARoS Focus//New Nordic (Aarhus: ARoS, 2015); and Gundtoft, New Nordic Design.</p><p>　　22.‘‘Manifesto for the new Nordic Kitchen,’’ http://www.newnordicfood.org/ (accessed June 10,

60、 2016).</p><p>　　23.‘‘About us,’’ http://www.muuto.com/about-us/about-us (accessed June 10, 2016).</p><p>　　24.For another example of this tension see Paul Betts,TheAuthority of Everyday Objects

61、. A Cultural History of West German Industrial Design (Berkeley: Univer- sity of California Press, 2007).</p><p><b>　　譯文：</b></p><p>　　新北歐和斯堪的納維亞復(fù)古：重新評(píng)估當(dāng)代北歐設(shè)計(jì)中的價(jià)值和美學(xué)</p><p

62、>　　尼爾斯·皮特·思科和安德?tīng)査?#183;衛(wèi)·幕齊</p><p>　　摘要：自2005年以來(lái)，“新北歐”標(biāo)簽在設(shè)計(jì)界傳播開(kāi)來(lái)，但很難區(qū)分“斯堪的納維亞設(shè)計(jì)”的形象和20世紀(jì)50年代所傳承的價(jià)值觀和美學(xué)。許多設(shè)計(jì)師在設(shè)計(jì)和傳播設(shè)計(jì)文化時(shí)都渴望提及這兩個(gè)概念。他的調(diào)查概述了背景，并問(wèn)道，''什么是'新'？''和''

63、;什么是'北歐'？。本文專(zhuān)注于丹麥公司Muuto，該公司一直是建立這個(gè)術(shù)語(yǔ)的核心參與者，也就是“新北歐設(shè)計(jì)。”我們專(zhuān)注于圍繞產(chǎn)品和設(shè)計(jì)師在網(wǎng)頁(yè)、營(yíng)銷(xiāo)、大眾文學(xué)等方面的講故事和實(shí)際設(shè)計(jì)對(duì)象之間的相互作用。 20世紀(jì)50年代闡述的復(fù)古主題是它與自然、福利和平等的社會(huì)模式以及純粹的極簡(jiǎn)主義形式的關(guān)系。然而，他們更多地出現(xiàn)在國(guó)際觀眾和促銷(xiāo)活動(dòng)的高期望中，而不是產(chǎn)品設(shè)計(jì)本身。北歐設(shè)計(jì)的新產(chǎn)品以數(shù)字化設(shè)計(jì)和工業(yè)化生產(chǎn)的產(chǎn)品形式去接近

64、當(dāng)前的國(guó)際新現(xiàn)代主義。通常發(fā)人深思的極簡(jiǎn)主義形式，主要是針對(duì)精英群體和國(guó)際觀眾，這些具有苛刻美學(xué)和北歐文化的理想圖片是一個(gè)不錯(cuò)的設(shè)計(jì)，這些地方也是不錯(cuò)的美食目的地。新北歐設(shè)計(jì)展示了斯堪的納維亞現(xiàn)代的形象和理想的安靜生活，作為斯堪的納維亞復(fù)古的另一個(gè)版本，本文對(duì)斯堪的納維亞現(xiàn)代的生活方式和價(jià)值觀進(jìn)行了重新構(gòu)建。</p><p>　　斯堪的納維亞現(xiàn)代風(fēng)格再構(gòu)造</p><p>　　很顯然，北歐

65、設(shè)計(jì)風(fēng)格的新浪潮是國(guó)際潮流和新現(xiàn)代主義的一部分，其產(chǎn)品和傳播力都在走向國(guó)際市場(chǎng)。大多數(shù)公司或產(chǎn)品的名稱(chēng)都是英文的（芬蘭名稱(chēng)是一個(gè)值得注意的例外！）。在某種程度上，你甚至可以說(shuō)新北歐設(shè)計(jì)風(fēng)格的北歐標(biāo)識(shí)來(lái)自國(guó)際生活方式媒介。在第二次世界大戰(zhàn)后的歲月里，斯堪的納維亞現(xiàn)代主義同樣受到有機(jī)現(xiàn)代主義國(guó)際潮流的推動(dòng)。前面提到過(guò)的斯堪的納維亞半島巡回設(shè)計(jì)展（1954-1957）取得了巨大的成功，但似乎它并非是基于斯堪的納維亞的價(jià)值觀、社會(huì)和景觀的基本圖

66、景，這些圖景是由美國(guó)記者和活躍于規(guī)劃中的策展人制定的。這是斯堪的納維亞半島的夢(mèng)幻畫(huà)面，斯堪的納維亞官員、作家和設(shè)計(jì)師都被風(fēng)景照片和工藝意象所折服，因?yàn)檫@些畫(huà)面不像大多數(shù)的其他物品一樣，它們不是工業(yè)批量生產(chǎn)出來(lái)的。這種自我提升變成了斯堪的納維亞設(shè)計(jì)中的一種“自我異化”，至少在丹麥，它與設(shè)計(jì)師的自我理解密切相關(guān)，他們?cè)O(shè)法保留了一種不可思議的價(jià)值觀，它具有獨(dú)特的本地設(shè)計(jì)文化，也就是藝術(shù)精致和手工藝技巧。現(xiàn)在我們?nèi)匀荒茉诒睔W設(shè)計(jì)師和公司中遇到這

67、種自我異化。這是來(lái)自丹麥設(shè)計(jì)公司--諾曼德公司對(duì)它的理解：</p><p>　　我們的斯堪的納維亞祖先向一路向北。他們發(fā)現(xiàn)了森林和沙灘的景觀，夏季明亮溫和，冬季寒冷嚴(yán)酷。 他們學(xué)會(huì)了質(zhì)樸，節(jié)省了寶貴的資源，并始終依賴他們的常識(shí)。 斯堪的納維亞的設(shè)計(jì)傳統(tǒng)有一定的必然性，它是一種代代相傳的設(shè)計(jì)思維方式。這是一種永遠(yuǎn)流行的傳統(tǒng)，因?yàn)槲覀兌际乾F(xiàn)代游牧民族，世界就是我們的家。 在這種文化的混合中，我們?cè)诠δ苄院陀鋹傮w驗(yàn)之間

68、找到了平衡。</p><p>　　在這里，我們擁有風(fēng)景和祖先，挑戰(zhàn)著氣候和質(zhì)樸，傳承著一種傳統(tǒng)，幸運(yùn)的是這個(gè)傳統(tǒng)都符合國(guó)際時(shí)尚！ “Norrmade”這個(gè)名字源自“Norrøn”（即古挪威語(yǔ)）和“Made”，但在這里被解釋為“nomade”，在這里要把它帶到世界各地。在整個(gè)20世紀(jì)，“地方”和“空間”的劃分與保守的地區(qū)主義和國(guó)際主義的人文精神之間的政治沖突有關(guān)，這種分裂已經(jīng)在當(dāng)前的移民危機(jī)中成為了現(xiàn)實(shí)。

69、然而，在這一描述中它優(yōu)雅地將強(qiáng)大的根源性和人文主義價(jià)值觀結(jié)合了起來(lái)。它的表述如下：''我們有一個(gè)根深蒂固的歷史。但作為游牧民族，從這個(gè)意義上說(shuō)，我們所有人都是移民。''其他北歐公司的身份可能看起來(lái)不那么隨意，但在圖片設(shè)置、描述、造型和名稱(chēng)中，自我異化的成分突然出現(xiàn)。設(shè)計(jì)是一種文化現(xiàn)象，它似乎可以讓我們從營(yíng)銷(xiāo)方式以及自我呈現(xiàn)和流行文學(xué)中合理地推測(cè)出該地區(qū)的特點(diǎn)。</p><p>　　

70、這個(gè)新北歐形象的新變化是什么？ 是產(chǎn)品和國(guó)家的聯(lián)合品牌，甚至在旅游方面，已經(jīng)成為20世紀(jì)50年代戰(zhàn)略的一部分，并且像伊爾拉姆、登帕爾曼特、薩文斯科特 特納和塔納姆等商店已經(jīng)接待了幾代斯堪的納維亞首都的游客。 也許我們當(dāng)代的新北歐設(shè)計(jì)師產(chǎn)品的例子表現(xiàn)出超前的審美傳播力和高要求的體驗(yàn)，有時(shí)它很接近極簡(jiǎn)主義的對(duì)象藝術(shù)，這表明新北歐風(fēng)格對(duì)更精準(zhǔn)、更精英化的國(guó)際消費(fèi)者群體表示了興趣，是一種可以“負(fù)擔(dān)得起” 的奢華。''</p

71、><p>　　因此，對(duì)“新北歐”的解讀可能是在向國(guó)際觀眾保證這里仍然有北歐設(shè)計(jì)的存在。 這些新產(chǎn)品仍然代表了北歐國(guó)家的舊價(jià)值觀還表明今天這里有“最好的斯堪的納維亞設(shè)計(jì)”。我們所有的陳述都表明了堅(jiān)持斯堪的納維亞設(shè)計(jì)的價(jià)值和品質(zhì)的連續(xù)性，所有精致的日常物品可以使所有用戶都觸手可及并且還可以體驗(yàn)到它的實(shí)用性。也許這個(gè)讓人放心的體驗(yàn)過(guò)程非常有必要存在，因?yàn)閲?guó)際消費(fèi)者無(wú)法將這些新的“精致美物”視為其國(guó)內(nèi)的商品。而且，由于這些工

72、業(yè)化大規(guī)模生產(chǎn)的物品顯示出了數(shù)字繪圖和技術(shù)精確度的痕跡，而不是出自漁民或工匠的粗獷之手，北歐文化的根性思想必須通過(guò)其他方式得到展現(xiàn)和陳述。</p><p>　　從斯堪的納維亞現(xiàn)代風(fēng)格到新北歐風(fēng)格的重大轉(zhuǎn)變讓我們感到震驚的是它有一個(gè)完全不同的專(zhuān)業(yè)的“網(wǎng)絡(luò)”營(yíng)銷(xiāo)設(shè)計(jì)和傳播價(jià)值觀。設(shè)計(jì)文化院、設(shè)計(jì)學(xué)院、博物館和專(zhuān)業(yè)期刊在確保新北歐的高文化價(jià)值方面起著同樣的作用。如上所述，它的主要參與者是設(shè)計(jì)公司充當(dāng)了“編輯”角色，它們

73、從設(shè)計(jì)師那里挑選出了的好名字或好故事，他們與生活方式媒體和博客作者密切合作。像木圖這樣的公司從不使用傳統(tǒng)廣告，但在媒體中具有高地位并且對(duì)比較前衛(wèi)的信息給予關(guān)注。</p><p>　　新北歐設(shè)計(jì)風(fēng)格包含了古老而現(xiàn)代的懷舊情懷，其中單一使用對(duì)象的形狀和物質(zhì)性被認(rèn)為是改變了現(xiàn)實(shí)生活的范圍。這種渴望也可以解釋為什么新北歐作為新現(xiàn)代主義往往與斯堪的納維亞復(fù)古如此接近，因?yàn)楹笳哒宫F(xiàn)出了相同的圖像、相同的價(jià)值觀。然而，這個(gè)兩者

74、的一個(gè)重要特征是缺乏一個(gè)更大的文化項(xiàng)目，使關(guān)注對(duì)象成為其中的一部分?，F(xiàn)代主義風(fēng)格在其反映和塑造工業(yè)主義潛力的項(xiàng)目中以意識(shí)形態(tài)的角度來(lái)看待整個(gè)社會(huì)，新北歐風(fēng)格是在工業(yè)化產(chǎn)品的既定市場(chǎng)上進(jìn)行運(yùn)作，現(xiàn)代主義風(fēng)格具有既定的象征意義。</p><p><b>　　極簡(jiǎn)主義風(fēng)格</b></p><p>　　如果我們將注意力從修飾角度轉(zhuǎn)向在新北歐框架下銷(xiāo)售產(chǎn)品的實(shí)際設(shè)計(jì)，那么它們可

75、能不是適用于每個(gè)人，而是針對(duì)一個(gè)具有差異的細(xì)分市場(chǎng)，也不是炫耀性地去消費(fèi)奢侈品。斯堪的納維亞現(xiàn)代風(fēng)格的極簡(jiǎn)主義風(fēng)格被其設(shè)計(jì)師認(rèn)為是觸手可及的并且具有民主包容，因?yàn)樗男问胶徒Y(jié)構(gòu)易于理解，其產(chǎn)品隨處可見(jiàn);還可以進(jìn)行一個(gè)比較實(shí)際的討價(jià)還價(jià)！但是極簡(jiǎn)主義美學(xué)在抽象弱化中往往過(guò)于嚴(yán)謹(jǐn)和復(fù)雜，而且產(chǎn)品對(duì)大多數(shù)消費(fèi)者來(lái)說(shuō)過(guò)于苛刻和精致。它們必須作為一種新的、更容易的生活方式的一部分進(jìn)行呈現(xiàn)和調(diào)節(jié)以獲得市場(chǎng)的成功。 在2006年，當(dāng)?shù)溂揖咦兊帽容^現(xiàn)

76、代時(shí)，商業(yè)歷史學(xué)家帕哈.漢森調(diào)查了丹麥建筑師、設(shè)計(jì)教師、期刊編輯、展覽策展人、設(shè)計(jì)評(píng)論家、制造商、銷(xiāo)售人員和公共教育工作者，是他們推動(dòng)了現(xiàn)代設(shè)計(jì)風(fēng)格的傳播并且“教導(dǎo)”客戶去喜愛(ài)它。但是現(xiàn)在，“調(diào)整了的功能主義”，正如瑞典集團(tuán)Form Us With Love公司在木圖主頁(yè)上標(biāo)注新現(xiàn)代方法一樣，這會(huì)導(dǎo)致對(duì)極簡(jiǎn)主義概念的扭曲理解。挪威設(shè)計(jì)師安德烈亞斯·恩格斯維克為丹麥家紡制造商喬治.杰森.丹馬斯卡制作了一張方形單色桌布。就這么簡(jiǎn)單

77、嗎？好吧，讓我們聽(tīng)聽(tīng)他們?cè)趺凑f(shuō)：</p><p>　　由于鉛筆上的壓力產(chǎn)生的不均勻線條，簡(jiǎn)單的手繪對(duì)編織者來(lái)說(shuō)就變得復(fù)雜。結(jié)果它就變成了輕盈、靜謐和輕描淡寫(xiě)的設(shè)計(jì)，而其中編織的特點(diǎn)仍然突出。</p><p>　　這種簡(jiǎn)化為復(fù)雜的新維度設(shè)計(jì)風(fēng)格的出現(xiàn)提供了可能性，在這里手部的不同壓力轉(zhuǎn)化為了不等的線。在20世紀(jì)60年代，美國(guó)極簡(jiǎn)主義的艾格尼絲·馬?。ˋgnes Martin）制作了

78、帶有緊密繪制的鉛筆條紋的整個(gè)畫(huà)布，在那里你可以對(duì)它們的紋理有個(gè)近距離的體驗(yàn)。這種美學(xué)可能在某種程度上是可以獲得的，但問(wèn)題是你是否會(huì)體驗(yàn)到其中的精髓并是否有意去分享這一體驗(yàn)。</p><p>　　為了使其他方面達(dá)到那種可能性，也就是另一種復(fù)雜性，這種整體形狀簡(jiǎn)化背后的極簡(jiǎn)主義邏輯是在20世紀(jì)的現(xiàn)代設(shè)計(jì)中發(fā)展起來(lái)的。約翰森在挪威說(shuō)的那個(gè)案例中解釋道：</p><p>　　挪威說(shuō)中最重要的特征是

79、他們始終能夠?yàn)槠洚a(chǎn)品提供簡(jiǎn)單和復(fù)雜的形式。就像幾年前新極簡(jiǎn)主義家具的最佳例子一樣，這是一個(gè)簡(jiǎn)化形式而不會(huì)從功能和舒適度中進(jìn)行太多簡(jiǎn)化的問(wèn)題，但同時(shí)又增加了一些比較前衛(wèi)的元素。</p><p>　　“更少”就是“更多”，他進(jìn)一步解釋說(shuō)：“去捕捉純粹簡(jiǎn)化的形式被視為是吸引任何觀眾或消費(fèi)者考慮購(gòu)買(mǎi)其產(chǎn)品的先決條件。” '從這個(gè)意義上說(shuō)，簡(jiǎn)單的形狀應(yīng)被理解為是對(duì)產(chǎn)品進(jìn)一步體驗(yàn)的邀請(qǐng)。 但這是一種要求很高的審美傳播

80、，并且如果它被認(rèn)為是民主包容性的，那么它就有一種教育消費(fèi)者去擁有更高審美感受的意圖。</p><p>　　新極簡(jiǎn)主義設(shè)計(jì)的簡(jiǎn)化形式引領(lǐng)著人們?nèi)ビ醚劬蜕眢w去體驗(yàn)產(chǎn)品構(gòu)造中在材料質(zhì)量方面的創(chuàng)新細(xì)節(jié)、紋理和觸感等，但產(chǎn)品通常還具有更多的概念細(xì)節(jié)，如產(chǎn)品會(huì)講故事或有不一樣的名稱(chēng)。約翰森指出，英國(guó)設(shè)計(jì)師賈斯珀莫里森是新極簡(jiǎn)主義的國(guó)際先驅(qū)。 “莫里森的家具代表了大膽的簡(jiǎn)約，它清晰地引用了斯堪的納維亞設(shè)計(jì)風(fēng)格，并且能夠用詩(shī)歌

81、和故事講述他的產(chǎn)品。另一個(gè)靈感來(lái)自荷蘭語(yǔ)Droog設(shè)計(jì)，它以其極其簡(jiǎn)單的特點(diǎn)而著名，但通常都是一些非常具有諷刺意味而且不太可能存在的物品，這些物品游離在在日常使用和純粹的冥想物體之間的灰色地帶。新北歐設(shè)計(jì)風(fēng)格并沒(méi)有達(dá)到Droog在復(fù)古制造和具有挑戰(zhàn)性設(shè)計(jì)的目的。但它在概念層面的靈感是顯而易見(jiàn)的。像彩燈這樣的物品，在恩吉斯維克和挪威燈光設(shè)計(jì)師丹一德里巴肯看來(lái)就是一個(gè)簡(jiǎn)單的概念，三塊彩色玻璃板靠在墻上，用戶可以作為DIY藝術(shù)裝置進(jìn)行不同的安

82、排。雖然它不是很實(shí)用，但對(duì)用戶非常有吸引力！雖然其中一些設(shè)計(jì)很質(zhì)樸、中性，如彩燈，其他那些具有詩(shī)意或神秘名稱(chēng)的產(chǎn)品可以看作為對(duì)產(chǎn)品故事的暗示，或是作為準(zhǔn)藝術(shù)作品必備的關(guān)鍵元素。</p><p>　　Droog設(shè)計(jì)靈感的再現(xiàn)，就像起初你不能放下你的記憶。這些自命不凡的標(biāo)簽在新北歐設(shè)計(jì)中應(yīng)用非常廣泛，從來(lái)自Hay由希維爾林設(shè)計(jì)的椅子到由伊爾卡.薩普納設(shè)計(jì)的杯子以及來(lái)自挪威說(shuō)的看似相同其實(shí)不同的一系類(lèi)杯子設(shè)計(jì)。<

83、/p><p>　　這個(gè)產(chǎn)品名字中的后一個(gè)詞是一個(gè)英語(yǔ)習(xí)語(yǔ)，指的是三個(gè)不同形狀的水杯。它們可以以不同的方式去堆疊，并且用戶可以在擺設(shè)桌子和洗碗的日常行為過(guò)程中享受到變化的樂(lè)趣。無(wú)論是將它視為瑣碎的藝術(shù)作品還是作為實(shí)用的物品，它都是日常環(huán)境中的一小部分極簡(jiǎn)主義藝術(shù)品。對(duì)于一些客戶來(lái)說(shuō)，這樣的雙重功用可能會(huì)引人入勝，并且它為日常物品提供了額外的吸人眼球的昵稱(chēng)。他們會(huì)邀請(qǐng)企業(yè)主、禮品捐贈(zèng)者和店員去講解產(chǎn)品的故事。但是，對(duì)于那

84、些不屬于美學(xué)工作者和玩語(yǔ)言文字游戲的人來(lái)說(shuō)，他們的講解會(huì)顯得有點(diǎn)荒謬和疏遠(yuǎn)。其初衷是在瑣碎的日常生活中去體會(huì)小而離奇的經(jīng)歷，這種經(jīng)歷可能帶來(lái)對(duì)情境、形式、材料和物品的不同理解，這可以看作為對(duì)審美意識(shí)的入門(mén)。然而，它需要個(gè)人在精神上要高度參與來(lái)解釋這種體驗(yàn)。</p><p><b>　　參考文獻(xiàn)</b></p><p>　　1.Widar Hale´n and

85、 Kjerstin Wickman, eds.,Scandinavian Design Beyond the Myth (Stockholm: Arvinius Fo¨rlag, 2003).</p><p>　　2.Ingeborg Glambek, Det nordiskei arkitektur og design sett utenfra (Copenhagen: Arkitektens For

86、lag, 1997); and Jørn Guldberg, ‘‘Scandinavian Design as Dis- course: T he Exhibition Design in Scandinavia,1954 57,’’ Design Issues 27, (2011): 41 58.</p><p>　　3.David R. McFadden, ed., Scandinavian Mod

87、ern Design 1880 1980 (New York: Cooper-Hewitt Museum & Harry N. Abrams, 1982).</p><p>　　4.Sarah Elsie Baker, RetroStyle(London: Bloomsbury,2013).</p><p>　　5.See the magazine Scandinavian Ret

88、ro, http://www.scandinavianretro.com (accessed June 10, 2016).</p><p>　　6.Kjetil Fallan, ed., Scandinavian Design. Alternative Histories (London: Berg, 2012), 3.</p><p>　　7.See the chapter by Fi

89、nn Arne Jørgensen in Fallan,op.cit.</p><p>　　8.Bernd Henningsen, ‘‘T he Nordic Way to Moder-</p><p>　　nity. T he Political History of the Nordic Model,’’ in Nortopia. Nordic Modern Architec

90、ture and Postwar Germany, ed. C. Høgsbro and A. Wischmann (Berlin: jovis Verlag, 2009), 47 61.</p><p>　　9.Peter Aronsson and Lizette Grade´n, ed., ‘‘Introduc- tion,’’ in Performing Nordic Heritage

91、(Farnham: Ashgate, 2013), 1.</p><p>　　10.Hans Lauritsen, ‘‘T imelessness,’’ in Spring (Kolding: Trapholt Museum of Art, 1995).</p><p>　　11.Espen Johnsen, ‘‘Form Follows Emotion? Northern Minimal

92、ism and Neomodernism,’’ in Scandinavian Design Beyond the Myth, op.cit.</p><p>　　12.Espen Johnsen, ‘‘Simple and Complex Form,’’ in Norway Says 10, ed. Widar Hale´n (Oslo: Nasjonal Museet 2007), 46 82.&l

93、t;/p><p>　　13.Susan Howe, ‘‘Untangling the Scandinavian Blonde. Modernity and the IKEA PS Range Cata- logue 1995,’’ Scandinavian Journal of Design History 9 (1995): 102.</p><p>　　14.Sara Kristoffer

94、sen, Design by IKEA. A Cultural History (London: Bloomsbury, 2014).</p><p>　　15.Hans-Christian Jensen and Mads Nygaard Folkmann. ‘‘Pa camping i designkulturen,’’ in Design- kulturanalyser, ed. Anders V. Munc

95、h, Niels Peter Skou and Toke Riis Ebbesen (Odense: Syddansk Universitetsforlag, 2015), 67 84.</p><p>　　16.Johnsen, ‘‘Form Follows Emotion,’’; and Johnsen,‘‘Simple and Complex Form.’’</p><p>　　17

96、.Dorothea Gundtoft, New Nordic Design (London:T hames & Hudson, 2015), 161.</p><p>　　18.Ingrid Sommar, Skandinavisk Design. Klassisk og moderne skandinavisk livsstil og dens betydning (København: Ny

97、t Nordisk Forlag Arnold Busck, 2004).</p><p>　　19.Magnus Englund, Skandinavisk Stil (København:</p><p>　　Aschehoug, 2003). Symptomatic for the orientation towards the English speaking marke

98、ts the book is originally written in English and translated ‘‘back’’ into Danish.</p><p>　　20.Kjeld Kjeldsen, et al., eds., New Nordic* Architecture</p><p>　　& Identity (Humlebæk: Louis

99、iana Museum of Modern Art, 2012).</p><p>　　21.See for instance Marianne Ibler, A New Golden</p><p>　　Age* Nordic Architectureand Design (Aarhus: Archi- press M, 2014); Erlend G. Høyersteen,

100、 ARoS Focus//New Nordic (Aarhus: ARoS, 2015); and Gundtoft, New Nordic Design.</p><p>　　22.‘‘Manifesto for the new Nordic Kitchen,’’ http://www.newnordicfood.org/ (accessed June 10, 2016).</p><p&g