-- Chen Hongjun
The emergence of humanized design tends to be the result of a combination of various factors, including social and individual reasons, as well as the design itself. In summary, the following three aspects may be the main reason.
1. The inevitable result of social and economic development, with regard to the vast majority of the living standards of society, is gradually increasing with the development of the overall productivity of society. When social and economic development is at a relatively low level, people's requirements for design are simple and practical, and there is no extra demand. When the level of social economy reaches a certain level, consumers will have higher requirements for design - including more psychological and spiritual cultural needs in addition to practicality. At the beginning of the industrial revolution in Europe at the beginning of the 18th century, most people cheered when the rumbling machine roar brought a large number of mechanical products to the market at an unexpected speed and quantity, even though those products were rigged and ugly. Under the condition of low level of productivity at that time, there was "what is better than nothing". The 40th and 50th years after World War II were the recovery period of the world economy. The economy was backward and the material was scarce. Industrial design followed the principle of simplicity, practicality, and durability. It was less fancy and frustrating. After the rapid and sustained economic development of the 1960s and 1970s, the material wealth of the society increased drastically, and many countries entered a period of abundant societies. Therefore, the psychological and spiritual appetite for long-term pressure in people’s hearts was “just around the corner†and they were pressed again. I can't help it. People's requirements for design become more demanding and harsh, not only to meet the physical needs of people, but also to meet the needs of human psychology. Design should not only be practical, but also applicable. Not only should it be applied, but it must also give more aesthetic, emotional, cultural, and spiritual meaning to the design. Therefore, the emergence of the humanized trend in the 1980s and 1990s and the gradual development of climate became a matter of course. As American designer Pross said, “People always think that there are three dimensions of design: aesthetics, technology, and economy, but what’s more important is the fourth dimension: humanity.â€
2. Mankind Needs Ladder to Increase Internal Requirements
The purpose of the design is to satisfy people's own physiological and psychological needs and need to be the driving force behind human design. It is necessary to continuously produce and satisfy the content and methods that continuously push the design forward and influence and restrict the design. The theory of the level of needs proposed by Maslow, the behavioral scientist in the United States, has prompted the design of human nature. Maslow divides human needs from low to high into five levels: physical needs, security needs, social needs (attribution and love), respect needs, and self-realization needs. Maslow believes that the above five levels of needs are gradually increased. When the needs of the lower levels are relatively satisfied, the upper level needs to be generated and the requirements are satisfied. The humanistic design of human design from simple and practical to containing a variety of spiritual and cultural factors in addition to practicality is precisely a reflection of this increasing level of needs. The ancient Chinese famous thinker Mozi said that “the clothes must be warm, and then seek grace, and they must be always good, and then seek pleasure.†That is to say how much this level of relationship that humans need to meet. Although the fulfillment of the spiritual needs of the advanced mankind may not necessarily be achieved through the design of objects, it is the main carrier of the mode of production of mankind. Its role in satisfying the spiritual needs of the advanced mankind, coordinating and balancing emotions is unquestionable. of. Therefore, the infusion of humanized factors in the design is by no means the designer's "spiritual impulse", but the inherent requirements of human needs for design. When the socio-economic level reaches a certain level, it is not surprising that people are critical of designer products.
3. Backwash for design rationalization
The modernist design style initiated and advocated by the German Bauhaus Institute became mature in the 40s and 50s of the 20th century and became an internationalist style that swept the world and dominated the world. In the 1970s, it reached the peak. So much so that American writer Tom Wolfe angered in his famous work "From Bauhaus to Our House": "Miss Van Droe's little The principle of reductionism, which is more, has changed the two-thirds of the skyline of the world's metropolis. Although it is architectural design, the same situation also occurs in the field of industrial design. Modernist design conquers the world with its highly unified, rationalized features and indifferent faces. While creating a huge social wealth, it is also criticized, criticized and provoked by a new generation of consumers whose self-consciousness has been continuously enhanced. In 1972, the destruction of the U.S. "Pruti Aigo" residential area was proved. This residential area, designed by the Japanese designer Yamazaki and built for low-income families in 1954, adopts typical modernist construction methods. It is made of concrete, steel, and glass. It emphasizes only the function but lacks decoration. The design is neat. There is a sense of indifference and no emotion. Like a prison, even low-income poor people do not want to move into such a cold and human-inhabited residential area after completion. From the 50s to 70s, the occupancy rate was less than one-third. The municipal government had to blow up all of them in 1972 to free up local reconstruction of new buildings. This incident gave the modernist architects who pursue apathy and rational style to take the lead. As a counterbalancing to over-rationalized design, postmodernism and other series of designs emphasizing decoration and humanity emerge as the times require, constantly stirring up consumer appetites and being welcomed by consumers. The famous German designer Lambs is the leader of German modernism design. He was famous in the world for designing a series of highly rational, functional, high-quality and indifferent classic German products in the 50s-60s. However, Rams began to suffer in the 1980s. The "New German Design" school, consisting of designers from West Berlin, Germany, has openly opposed the orthodox German design represented by Rams, emphasizing the vivid and humanized nature of the design. Its spiritual leader, Christian Borngraber, publicly declared: “I am not against Rams, but the stereotyped dogma that says that German design must be like that of Ramsâ€. It is boring and indifferent. The rational German design launched a strong attack, reflecting the aversion to extreme rationalist design. On the one hand, consumers with increasing self-awareness and changing consumer tastes are overly stereotyped, cold, and rational stereotyped design faces. The result must be selection change and breakthrough—from rationalization to perceptualization and from non-mention The humanistic trend towards humanity will be counterproductive and overkill. This backlash against rationalization in the 1980s and 1990s is also a reasonable matter.