“雕琢的趣味”

 幸运的是，无论世界如何激荡喧嚣，我们的心灵永远可以在艺术中寻得一方宁静之所，从一件具体的作品构成之中，从一石一木的细微诗意之中，离却俗世，见微知著。

道法自然——从器、形、道的变奏探究法蓝瓷的设计理念
黄金凤
摘要：“形而上者谓之道，形而下者谓之器。”器、形与道之间是一种互动的关系，也可以说是一种造物与设计的变奏。“器必有形”，器是以形而存在。工匠使用材料和技术，通过手段和实践，把“形”一种设想、理念制造成器。法蓝瓷传承了景德镇传统陶瓷工艺，进行了现代化改革，融合東西方审美时尚，创出新的中国陶瓷风格。这正是形与器的变奏。“形由道生”， 形的产生出自于道，规律即“道”。“道”是无形，借助了“形”和“器”而体现其存在。从道到形的变奏，法蓝瓷以“仁”为品牌的理念，传承中国儒家文化，以大自然为创作题材,人从自然美顿悟生命哲学。本论文主要是从中国古代造物与设计的观念来论述法蓝瓷的设计理念。
关键字：法蓝瓷、设计、器、形、道
“What is prior to physical form pertains to the Dao, and what is subsequent to physical form pertains to concrete objects.” Vessel, Form, The Way have an interdependent relationship or it could say this is the changes of creation and design. Vessel is the representation of the physical form. Form is a creative concept, but through craftsmen’s practice and manufacture to become a Vessel. Franz has inherited the traditional ceramic skills of Jingdezhen and further modernized the local craftsmanship. It created a new style of China Ceramics by fashioning with the East and West aesthetics. This is the transformation between Form and Vessel. The Way is the spiritual cause of the Form and governs all things to transform. The Way is invisible but after the transformation and through the physical realm of Vessel that makes it possible for people to be acquainted. From the Way to Form, Franz’s brand philosophy is to inherit the culture of Confucianism and promote the concept of the Benevolence. Nature as the subject matter, people can experience the beauty of nature through their works of art and consequently lead to the enlightenment of life. This paper is to apply the creation and design concepts of ancient China to discuss the design philosophy of Franz.
Keywords: Franz, design, the Way, Form, Vessel
 

Interest of Polish

郝凝辉

摘要：
实物操作界面概念的提出，试图打破传统GUI的局限，通过赋予实际物体数字信息，把日常生活中的物品转变为人与数字世界交流的看得见摸得着的界面，充分利用人的生活经验，将原子与比特这两个迥然不同的世界完美无缝的接合起来，给予计算机人机交互设计新一层的含义。
行为可以被看作是特殊的用户在特殊情况下表现其需求的方式，现在存在的在虚拟世界和现实环境之中的人类的行为方式可以用在实体用户界面中来。实体用户界面存在着自身的众多限制因素，之前“以数据为核心”的设计观点不再适用于现在的设计，而来自于工业产品设计中的“以行为表达为中心”的思想，和来自于艺术和建筑中“以空间为核心”的思想逐渐被移植到实体用户界面的设计中来。
TUI系统是基于多通道界面交互的系统，它使用物理载体代表虚拟的电子信息，通过开启人们的触觉、听觉等通道，配合视觉信息的传达。
它所具有的最主要的特征是：系统的设计是以设计目标驱动的。通过这不同的设计目的，我们可以将TUI划分为三种类型：直接操作的模型，动作行为的规范，交流的通道。如果设计TUI的目的是一个直接可操控的模型，行为的效果是具有时效性和地域性的；如果目的是设计一个新的行为方式，这种操作的效果会随时间而形成，可能在未来的时间段里有所体验；如果目的是作为一个交流的通道被使用，这样的行为更有可能被及时地在不同的地理位置内体验到。这些都可以被看作是设计中潜在的隐喻，随着交互产品的不断出现，实体交互的隐喻将逐渐与图形桌面的隐喻相结合，形成新的隐喻组合。
本文列举了四个TUI的应用实例，以启发读者对其未来应用的展望：
1. inTouch
2. Music Bottle 音乐瓶
3.“Urp”（Urban Planning System）城市规划系统
4.“I/O Brush”输入/输出画笔
TUI符合人类深层次需求即人的自然属性——用肢体、体力操作界面， 并能平衡在科学技术高速发展的时代人的脑力与肢体劳动的割裂的矛盾，同时在操作工程中TUI也比其它交互方式给用户带来更多的趣味性、参与性，提高用户体验的层次。

关键词：实体交互界面 人机交互 产品设计
Interest of Polish---Development and Prospect of interface of tangible man-machine interaction

Abstract:
The proposal of the concept of the real-practice interface was an attempt to break the limitations of traditional GUI. By giving the actual objects digital information, the daily objects are transformed into a visible, tangible interface for the communication of people and the digital world . The two totally different worlds of atoms and bits are joined seamlessly together by making full use of people's life experience, endowing the man-machine interaction new meanings .
Behavior can be regarded as a way for special users to express their requirements in special situations. The existing ways of human behavior between in the virtual world and the real environment can be used in a tangible user interface. As there are lots of limited factors in the tangible user interface, the previous idea of "data-centered "design is no longer suitable for the current design. However, the “behavior-expression-centered” idea from the design of industrial products and the "space-centered" one from art and architecture are gradually transplanted into the design the tangible user interface.
The TUI system is a system based on the interaction of multi-channel interface. It uses the physical carrier to represent the virtual electronic information. By opening such channels as the sense of touch and sense of hearing, it assists in the communication of visual information.
Its major characteristics are as follows: The design of the system is driven by the design objectives. In terms of the different design objectives, we can divide TUI into three major types: the direct operating model, the behavior norms and the communication channel. If the TUI is designed as a direct control model, the effect of the behavior is timely and regional. If the objective is to design a new way of behavior, this effect of operation will be formed with the time and may be experienced in the future period. If the purpose is to be used as a communication channel, such behavior is more likely to be timely experienced in different geographical locations.
All of these can be seen as a potential metaphor in the design. With the generation of interactive products, the entity interaction metaphors will be gradually combined with the graphical desktop, forming a new combination of metaphors.
This paper lists four examples of TUI applications, so as to inspire readers to forecast their future application:
1 in Touch
2 Music Bottle
3.“Urp”（Urban Planning System）
4.“I/O Brush”
TUI accords with men’s deep requirements, namely, the natural attributes of our human beings – operating the interface with their body and physical strength. Besides, it can balance the contradiction of separating the mental power from the physical labor in the era with rapid development of science and technology .Meanwhile, in the operation of the works, TUI can bring the users more interest and participation than other interactive ways ,so as to improve their experience levels.

Keywords: tangible interface , man-computer interaction, product design
 

从中西方宫廷珠宝生产-消费模式差异
看现代奢侈品品牌诞生与发展
李詹璟萱

内容摘要：本文主要通过对中西方宫廷珠宝的生产和消费模式差异进行比较，通过对比研究中国本土奢侈品品牌缺乏的根源所在，进而探讨现代奢侈品品牌的诞生发展条件以及品牌发展过程中消费者的层级和消费模式，以及中国当代诞生珠宝奢侈品品牌的可能性。

关键词：宫廷珠宝 生产-消费模式 奢侈品品牌

The difference in production-consumption style of royal jewelry in Europe &China and the emergence and development of modern luxury brand
Abstract:This paper intends to analyze the production and consumption style of royal jewelry in Europe and China, through compare the difference to find out the source that why China lack of modern luxury brand.After analyze the emergence and development requirements of luxury brand,and the difference consumer classes to discuss about the possibility of luxury jewelry brand born in modern China.
Key words: Royal jewelry produciton-consmption style luxury brand

既雕既琢，复归于朴
——中国篆刻古朴之美
周建朋

摘要：本文通过对历代经典篆刻作品的美学分析，认为篆刻之美在古朴，古朴之美在苍老、古拙、浑厚。得古朴，而后能得自然美，从而得天趣。
关键词： 篆刻 古朴 美学
Abstract: After the aesthetical analysis of classical seal carving artworks of different time periods, the author concludes that the beauty of seal carving lies in its antique simplicity while the beauty of antique simplicity lies in its ancient, coarse, yet vigorous appearance. Once captured the beauty of antique simplicity, the artwork therefore attained the beauty of nature, thus divine.
Keywords: seal carving ； antique simplicity ；aesthetic

动画角色造型设计中装饰手法应用探讨
海 贝
摘 要： 本文通过历史比较和个案研究，分析装饰理念在动画角色造型设计之中的体现，初步探寻装饰手法在动画角色造型设计中的作用，尝试在中国动画动画角色造型设计的艺术困境之中摸索出行之有效的的实践方法。
关键词： 动画角色；动画角色设计；装饰理念

An Initial Research on Decoration Method to Cartoon Character Design
Hai Bei
Abstract: Through case studies and historical comparison, the author analyzed in the relationship of the decoration method and cartoon character design. According to the analysis, the author also tried to make an initial approach of developing a practical and solid method of the cartoon character design.
key words: cartoon character; cartoon character design; decoration method

展示的力量
——初探时装发布会在法国时尚产业发展进程中的作用
Power of demonstration
analyzes fashion shows’ effect in the French fashion industry's development process.
汪丽群
摘要：从20世纪30年代开始，时装发布会以其特有的形式逐渐发展成为当今国际时尚产业发展进程中最为重要的环节。而对于伫立在世界时尚巅峰的法国时尚产业来说，时装发布会
则蕴含着更为深刻的意义。本文通过梳理时装发布会在法国的发展脉络，揭示由个人客户、买手、媒体共同组成的发布会观众在推动法国时尚产业走向国际的进程中所发挥的作用，进而探讨时装发布会在法国时尚产业从“订制”唯我独尊的局面到与“成衣”协同前行的变革中体现的价值。

关键词：时装发布会；法国时尚产业
Abstract: From the 1930s , fashion shows with their unique form become the most important part of the international fashion industry process. As for the French fashion industry standing in the world of fashion pinnacle, fashion shows contain a more profound significance. In this paper, combing fashion shows’ development in France, revealing effect of the audiences composed of the individual customers, buyers, media in promoting the process of French fashion industry to international role, and then explore the values in the revolution of fashion shows at the French fashion industry from the "custom" conceit situation to the "clothing".

Keywords: French fashion industry；fashion shows