广州设计三年展2024 | 主题发布：有温度的存在
如果说人类的出现是地球发展进程中的重要转折点，那么人类通过改变外界环境的意愿和能力又反作用于这个世界，在工具、文化、文明的创造中留下自己的发展脉络，设计史也随之展开。无论史前时期的巫术还是艺术，人类开始自觉地观察周遭、设想并作出改变的动作，已经离后来人们的“设计”意识不远了。从某种意义上讲，随着原始人制作的第一件工具问世，独属于人类的设计史也迎来了自己的开篇。1563年，被尊称为西方艺术史之父的意大利艺术家和作家乔治·瓦萨里（Giorgio Vasari,1511-1574）以“Disegno”之名，带领一批画家、雕塑家和建筑师离开了原来的行会，在佛罗伦萨成立了西方第一所设计学院（Accademia del Disegno），试图确立设计学科的正统地位。
The emergence of human beings can be viewed as an important turning point in the development of the earth. Human beings can influence the world by their will and capability to change the external environment, leaving their development matrix in the creation of tools, cultures, and civilizations, which gave rise to the history of design. Once human beings started to consciously observe their surroundings, envision and make changes, being witchcraft or art in the prehistoric period, they were not far from the later awareness of design. In a sense, with the introduction of the first tool made by primitive humans, the history of design that belongs to humans alone also ushered in its own opening. In 1563, Giorgio Vasari (1511-1574), the Italian artist and writer, honored as the father of Western art history, led a group of painters, sculptors and architects to leave their original guilds in the name of “disegno” (design) and founded the Accademia del Disegno, the first Western design academy in Florence, in an attempt to establish the orthodoxy of the design discipline.
其实早在十多年前瓦萨里提出“设计的艺术”（Arti del Disegno）这一术语，就已对Disegno和几门艺术之间的关系做过分析和梳理。在他看来，设计不仅存在于人和动物之中，还存在于植物、建筑、雕塑、绘画中，既体现了整体与局部之间的关系，又经由人将心里所想制作出来，表现为一种崭新的视觉形式。中国古人关于“设计”的意义内涵起初与南朝谢赫（479-502）“六法”中的“经营”最为接近，其在后世文论、书论、画论的衍义中不断强化“布局”“结体”“构图”的互指关系，兼顾了技术和观念的转变以及风格意识的自觉。可见无论东西方，在不同的历史、社会、文化语境下“设计”概念的演变与发展并非单线进行，而在艺术史、设计理论、学院教育、学科专业，乃至与设计相关更广泛的社会、经济、科技、人类学、文化学研究等学科领域共生并行，不断生成“设计”现代、后现代直至当下新的社会角色和存在价值。
In fact, prior to the founding of the academy, the Italian had proposed the term “Arti del Disegno” (art of design) as early as ten years ago, when he had already analyzed and sorted out the relationships between “disegno” and several arts. In his opinion, design not only exists in human beings and animals, but also in plants, architectures, sculptures and paintings, reflecting the relationship between the whole and the part while showing what people think in their mind in a new visual form. The initial connotation of design in ancient China was closest to “management” of the “Six Methods”, the principles for aesthetic assessment proposed by artist Xie He (479-502) in the Southern dynasty. His idea continued to strengthen the co-reference relationship between “layout”, “structure”, and “composition” in the derivation of later literature, calligraphy, and painting theories, combining the transformation of techniques and concepts with the realization of stylistic consciousness. It can be seen that whether it is in the East or the West, the evolution and development of the concept of design in different historical, social and cultural contexts is not uni-linear. Instead, it is symbiotic and parallel with art history, design theory, academic education, academic disciplines, and even wider relevant disciplines such as social studies, economy, science and technology, anthropology, and cultural studies, unceasingly generating the social role and existence value of design in modern, post-modern, and present days.
在我们身边，设计无处不在。设计不仅仅作为一种冷静的、理性的技术活动展开，更是一种富有情感和人文关怀的创造性艺术。设计师的创意和灵感来源于人类的情感和文化，设计作品也反映了设计师对人类生活的关注和关怀。他们通过对使用者需求、社会环境、文化背景等多方面的理解和洞察，创造出既具有实用性，又兼具艺术性的产品和服务，也可以通过对色彩、材料、形式、空间等元素的选择和运用来传达设计的理念和价值，这些产品和服务不仅仅是为了满足人们的功能需求，更是为了让人们的生活更加美好，更加舒适，更加有意义。因此，设计作品能够超越一种物质的属性，成为富有情感和生命力的存在。
Design is ubiquitous. It is not only a calm and rational technical activity, but also a pursuit of creative art rich in emotions and humanistic care. The creativity and inspiration of designers originate in human emotions and cultures, while the design works reflect their concern and care for human life. Through their understanding and insight of the needs of users, social environment, cultural background and other aspects, they create products and services that are both practical and artistic. Besides, they can convey the concept and value of their design via the selection and use of color, material, form, space and other elements. Their products and services are not to solely meet people’s functional needs, but to make people’s lives better, more comfortable and more meaningful. Therefore, design works can transcend their material property and become existence abundant in emotions and vitality.
自20世纪以来，西方设计在包豪斯艺术观念的影响下崇尚简洁与几何造型的同时，兼顾机械生产、实用性和审美性等多元要素，此时设计美学下的产品代表着机器时代的理性标准，对20世纪以来的设计产生了深远的影响。现代主义设计的理念和方法也深刻地影响着中国设计界，激发了一批优秀的设计师和设计理论家的创作和研究，然而，现代主义设计也带来了一些问题和挑战，例如对文化传统的取舍、对人文关怀与情感的弱化等。在这种背景下，设计界开始重新审视设计的本质问题，重新强调设计与多元文化、人性之间的关系，探索设计的情感和人性化表达。
Since 20th century, western designers have advocated simplicity and geometric design under the influence of Bauhaus artistic concepts. In the meantime, their design took diverse elements such as mechanical production, practicality, and aesthetics into account. Hence, the products under the then design aesthetics represented the rational standards of the Machine Age and made a profound impact on the design since the 20th century. The concepts and methods of modernist design tremendously influenced the Chinese design professionals as well, stimulating the creation and research of a number of outstanding designers and design theorists. However, modernist design also brought about some problems and challenges, such as the trade-off of cultural traditions and the weakening of humanistic care and emotions. Against this background, the design professionals began to re-examine the essential problems of design, re-emphasize the relationship between design, cultural diversity and human nature, and explore the emotional and humanistic expressions of design.
在当代语境下，设计作品中的“温度”扮演着越来越重要的角色。随着人们对于社交媒体、虚拟现实、人工智能等数字科技的日益使用和依赖，人们对于真实、温暖、人性的需求也变得更加强烈。“温暖的设计”希望赋予作品更深层次的文化内涵和人文价值，为人们带来更多的精神慰藉与情感共鸣，增加人们对于设计作品的认同感。同时，“温度”也与可持续发展和环保等问题密切相关，在可持续发展诉求愈加强烈的当下，人们不仅关注环境保护和资源利用，也注重所有生命体的福祉和情感体验，设计作为一种解决问题的方式和策略，当人类社会面临着各种的挑战和困境，设计通过创造性的思维和方法，寻找人与自然的和谐之道，提供更加健康而可持续的生态环境，于内于外，都成为了一种温暖的存在，仿佛与千万年前的历史重叠，再次迸发出“设计”与生俱来的创造活力。
When it comes to the contemporary context, the “warmth” of design works plays a more and more significant role. With the increasing use of and reliance on digital technologies such as social media, virtual reality, and artificial intelligence, people’s need for authenticity, warmth, and humanity has become stronger. With “warm design”, designers hope to endow their works with deeper cultural connotations and humanistic values so as to bring people more spiritual pursuit and emotional resonance and to enhance people’s affinity and recognition for their works. At the same time, “warmth” is intertwined with issues like sustainable development and environmental protection. As the demand for sustainable development grows stronger, people are not only concerned about environmental protection and resource utilization but also emphasize the well-being and emotional experience of all living things. As a way and strategy of solution, design is to find a way to harmonize human beings and nature and to provide a healthier and more sustainable ecological environment through creative thinking and methods when human society is faced with a variety of challenges and dilemmas. Its intrinsic feature and extrinsic function enable itself as a warm existence, so that it can burst out the inherent creation vitality once again when overlapping with the history thousands of years ago.
“有温度的存在”由人类发展史的人文内涵延伸而来，将“设计”赋予超越技术与观念层面的叙述，从史学研究和学科发展的角度载入一种创造力、生命力和人文精神的表达，也体现了人们对美好生活的向往和热爱。本届广州设计三年展致力于构建一个汇聚设计能量和实践的平台，并在此基础上，为粤港澳大湾区乃至全球范围内的设计创作者提供一个探讨当下及未来设计研究观念、设计发展以及社会价值的契机。我们期待通过本次展览，向观众展示不同文化背景下所传递的有“温度”的设计，通过冷静、合理、智慧且充满人文关怀的设计，不断促进设计史学研究、当代观念及文化创意在中国社会的长远发展，为推动社会进步及当下文化和经济的可持续发展注入强有力的新能量。
This exhibition is derived from the humanistic connotations of the human development history, giving design a narrative that transcends the technical and conceptual dimensions. It serves as an expression of creativity, vitality and humanity from the perspective of historical research and disciplinary development, as well as demonstrate people’s aspirations and passion for a better life. This year’s triennial is dedicated to building a platform to showcase the energy and achievements of design. Also, this platform is an opportunity for designers from the Guangdong-Hong Kong-Macao Greater Bay Area and even around the world to explore current and future design research concepts, design development and social values. We hope that this exhibition can impress the audience with “warmth” conveyed by the excellent design works with different cultural background. Moreover, through seeking more possibilities of calm, rational, intelligent and empathetic design, we aim to promote the long-term development of design history, contemporary concepts and creativity in China, which will inject new energy into the sustainable development of current culture and economy.
2002年，广东美术馆举办首届广州三年展，成为全国最早创办“三年展”展览机制的美术馆之一；2017年，调整设立“广州影像三年展”；2023年，启动首届“广州设计三年展”，成为同时兼有对现代设计研究、收藏和展览的国家重点美术馆。“广州三年展”由此形成当代艺术、影像艺术及设计艺术三个专题研究的新结构。“广州设计三年展”作为国内专注于综合性设计的研究型三年展，旨在为“设计”建构超越技术与观念层面的表现体系，从史学、社会学等人文学科的角度载入一种对创造力与生命力的表达，从而体现人们对审美、理性、创意及人文关怀的信仰和诉求。
As one of the earliest art museums in China to establish the triennial exhibition mechanism, Guangdong Museum of Art hosted the first Guangzhou Triennial Exhibition (2002) and “Guangzhou Image Triennial” (2017). In 2023, GDMoA launched the first “Guangzhou Design Triennial”, making it a national key art museum dedicated to research, collection and exhibition of modern design. “Guangzhou Triennial” has thus formed the structure of research on contemporary art, image art and design art. The “Guangzhou Design Triennial”, as a research-oriented design triennial focusing on comprehensive design in China, aims to construct a creative system that transcends the realms of technology and ideas. It is giving design a narrative of creativity and vitality from the perspectives of history, sociology, and other humanities disciplines, reflecting people’s pursuit for aesthetics, rationality, creativity and human care.
广东美术馆是首批国家重点美术馆之一，是一座不以营利为目的，重点关注中国近现代美术、特别是广东和沿海近现代美术、国际美术、当代艺术和当代设计，旨在为社会公众带来艺术学养的现代多功能艺术博物馆。自1997年11月28日落成开馆以来，历经二十余载，广东美术馆已完善收藏、研究、陈列展览、教育、交流、服务六大功能，在明确自身功能定位的同时找到了相应的社会角色和文化职责，在实践中不断升级和优化，探索出具有文化针对性的办馆模式和学术体系。作为首批国家重点美术馆之一，广东美术馆在学术上以开放的国际视野和严谨的美术史治学态度开展研究，在多元的学术氛围中确立起具有影响力的学术主张；在公共教育上，以陈列展览、公教活动及各种其他互动形式邀请公众参与，把艺术以亲民而不失专业性的方式传播给大众；与此同时，力求塑造轻松愉悦的休闲功能形象，把艺术项目融入优美的环境和轻松的气氛中，让公众在潜移默化中获得美育熏陶与艺术力量。
The Guangdong Museum of Art, among the first batch of national key art museums, is a non-profit modern art museum equipped with multiple functions. It focuses on modern art of China, especially of Guangdong and coastal areas, international art, contemporary art, and contemporary design, aiming to educate the public with art. Since its opening on November 28, 1997, during more than 20 years, the Museum has improved its six major functions of collection, research, exhibition, education, communication, and service. While clarifying its own functions, it has fit in its social roles and cultural responsibilities, constantly optimized them in practice, and explored management model and academic system with cultural purposes. As one of the first batch of national key art museums, the Museum conducts research with an open international horizon and a rigorous attitude towards art history, and establishes influential academic propositions in a diverse academic community. In public education, it invites the public with exhibitions, public education activities, and various other interactive forms, so as to spread art in a people-friendly and professional manner. At the same time, it strives to create a relaxed, enjoyable and leisurely image, and to carry out art projects in a beautiful and agreeable environment, subtly cultivating people with aesthetic education and the power of art.
来源：2024广州设计三年展组委会
审阅 / 涂晓庞
编辑 / 曾睿洁
字体支持 / 汉仪字库（汉仪旗黑）
视觉设计 / TEN BUTTONS
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