虽然,“跨界”这个词出现在八九年之前,渐渐的从“时髦”“略有褒义的”向“恶俗”“不务正业的”发展,比如卖水果的去干了几天出租车司机被称为跨界经营,比如搞行为艺术的去盖了两间房子被称为跨界创作。

而我们今天说的,是八九年前的“跨界”,那时候,跨界还是以一个领域当中出色的经验和认知,延伸扩展到相近领域,并在合作模式下进行优化和再生,创造出的产物一般也挺有观念性和符号性,值得大家欣赏。比如:徐冰的地书,谭盾与昆曲。他们都凭借自身独立的美学认知,通过与其他领域的合作为表现途径,最终创造性的完成了1+1大于2的结果。 在我成立工作室之初,也就是8年前,我有意无意的与跨界设计这个词发生了一点关系。因为那时候,我的项目有一些室内设计的任务,有一些平面设计的任务,还有一些景观设计的任务,偶尔还会出现一些建筑立面的改造设计任务,更多的业余时间我会研究家具与灯具照明的一些设计。经过了那么一段时间,我渐渐有了一点对设计的认识,认为设计不该是独立领域存在的,比如:建筑存在于地面,他的形态与周边景观就应该相得益彰,而他存在的形态及立面形式,决定了室内设计的基础,而开窗方式及形式,规定了照明设计范围。更别提家具及装饰的摆件。而这一切,人在其中,倏然自得,由内而外,自然流淌,才是接了地气,接了人气的一件作品。

当然,每个设计领域表达的方式和途径都不同。尺度的控制与精度也差别很大,但美学认知是相同的。他们都是由一个原点繁衍发生的各个支点,又分别建立了庞大而专业的理论规则。比如模数这个概念,你可以应用在平面设计甚至LOGO设计中,也必须应用在景观设计的平面及施工图中,更加多的是在室内设计时,为了方便建造和节约成本,模数化是始终存在的。再比如:我在做第14届中国广告节的整体设计时,把室内设计的布展形态;平面设计的视觉感受;景观化的地面导视系统;灯光装置与尺度控制的变化统统融为一体,最终创造了一个整体的感官空间。搭建完成迎接中外广告人的那一刻,有几个日本广告业的专业观众让我印象挺深。他们进了大门先是集体鞠躬,然后整齐的按照我之前的地面引导系统前进,拐弯,留步,一步都没偏,让我想起了少先队员。我在旁边看,他们在感受着,都挺乐呵。

上面的这些观点和经历,使得我在了解了各个设计领域的规则特性之后,各取所长融合创新形成了可能。也使的我在一个特别的视点,去看待我现在所关注的室内设计,平面设计,家具设计。

About “Cheap Design”

The term "crossover" appeared eight or nine years ago and gradually developed from "fashionable" and "slightly compliment" to "vulgar" and “goofing around". For example, a fruit peddler who temporarily does to work as a taxi driver is regarded as a “crossover proprietor”; an performance artist who temporarily goes to build a house is regarded as conducting “crossover creation”.

However, what we are talking about today is the “crossover” of eight or nine years ago. At that time, “crossover” meant to extend excellent experience and cognition in a given field to a similar field, and optimize and renew them in a cooperative mode. The products made through the process, e.g. Xu Bing's land calligraphy and Tan Dun’s Kunqu opera, were generally quite conceptual and symbolic, so they were worth appreciation. The crossover artists creatively achieved the result of 1 +1> 2 by virtue of their own independent aesthetic awareness and through cooperation with masters of other fields.

Eight years ago when I first set up my studio, I intentionally or unintentionally came into contact with “crossover design”. Maybe this was because my project involved some interior design tasks, some graphic design tasks, some landscape design tasks, and occasionally some building facade renovation design tasks. Besides, I would spend much spare time studying furniture and lighting design. After some time, I gradually got a little understanding of design that it should not exist independent of the other fields. For example, buildings stand on the ground so their outside from should be complement with the surrounding landscape; their exterior pattern and facade form determine the interior design; the form and pattern of windows determines the range of lighting design, not to mention the design of furniture and decorative ornaments. All these designs are natural both from inside and outside, allowing people to enjoy themselves. They are the very creations that are fitting with nature and mankind.

Of course, the ways and means of expression of each design field differ a lot, so do the control and accuracy of scale, but the aesthetic perceptions are the same. They derive from the same origin and then produce their own enormous professional theoretic rules. Take the concept of analog-to-digital for example. You can apply it in graphic design or LOGO design, and also must apply it in the plane and construction drawings of landscape design. Still further, it is used in the interior design, in order to facilitate construction and save cost. Modulization constantly exists. Give you another example: when I was in charge of the overall design of the 14th China Advertising Festival, I integrated the exhibit arrangement of the interior design, the visual experience of graphic design, the landscape-style ground visual guiding system and the change of lighting device and scale control into one and ultimately created a whole sensory space. When the completed design was open to welcome both Chinese and foreign advertising men, several professional viewers of the Japanese advertising industry impressed me a lot. When they entered the door, they first bowed and then orderly went forward, turned around and stopped according to the ground guiding system I had designed, with no partial steps. They reminded me of the young pioneers. I sat and watched while they were sensing — both of us were joyful.

These views and experiences make it possible for me to make full use of the merits and creatively integrate them into one after understanding the rules and characteristics of each design fields. Moreover, they allow me to size up the interior design, the graphic design and the furniture design that I am concerned with from a special point of view.