The designers Jasper Morrison and Naoto Fukasawa have compiled 204 everyday objects in search of "super normal design": alongside examples of anonymous design like the Swiss Rex vegetable peeler or a simple plastic bag, there are design classics like Marcel Breuer’s tubular steel side table, Dieter Ram’s 606 shelving system, or Joe Colombo’s Optic alarm clock of 1970. With prod...
The designers Jasper Morrison and Naoto Fukasawa have compiled 204 everyday objects in search of "super normal design": alongside examples of anonymous design like the Swiss Rex vegetable peeler or a simple plastic bag, there are design classics like Marcel Breuer’s tubular steel side table, Dieter Ram’s 606 shelving system, or Joe Colombo’s Optic alarm clock of 1970. With products by Newson, Grcic, the Azumis, and the Bouroullec brothers, it also represents the generation to which Morrison and Fukasawa belong. The phenomenon of the super normal is located, as it were, beyond space and time; the past and present of product design both point to a future that has long since begun. The super normal is already lying exposed before us; it exists in the here and now; it is real and available: we need only open our eyes; Fukasawa and Morrison make it visible for us.
Jasper Morrison was born in 1959. He studied at the Kingston Polytechnic Design School and the Royal College of Art in London, and since 1986 has run his Office for Design in London, with a branch in Paris. He has worked for, among others, Alessi, Canon, Rosenthal, Rowenta, Sony, Vitra International, Samsung Electronics, Muji, and Olivetti.
You feel like you can smell the meat grilling just by looking at the shape. The"sizzle effect" is something that whets the appetite and tempts the taste buds. It is similar to the sound of beer being poured into a glass, of juice being squeezed, of meat cooking, or the sight of steam coming off hot food. The effect of shape along with taste and feel mans that it is so standardized as to have become a normal that surpasses normal. Friday night - you can just smell the wonderful aromas emanating from the small balcony this grill makes its home on. (查看原文)
Designers generally do no think to design the "ordinary". If anything, they live in fear of people saying their designs are "nothing special." Of course, undeniably, people do have an unconscious everyday sense of "normal," but rather than try to blend in, the tendency for designers is to try to create "statement" or "stimulation." So "normal" has come to mean "unstimulating" or "boring" design.
It's not just designers; people who buy design and clients who commission designers do not see "normal" as a design concept or even entertain the idea of creating a "new normal." To dare, then, to design something "normal" within this prevailing scheme of design common sense raises the stakes; it makes for a consciously designed normal above-and-beyond normal that what we might call "Super Normal.... (查看原文)
0 有用 ---- 2019-01-05 08:10:05
这本书本身的质感就很super normal
0 有用 1968小金 2022-02-07 14:51:27
太好了，简单见真。
0 有用 SailorPorridge 2022-08-19 10:42:55
a bit vague
0 有用 二五 2010-07-25 16:22:45
意外购得 不甚喜欢
2 有用 爱大愚 2012-05-25 05:22:31
100多页，介绍一个展览的书，小半天就能看完。设计类的书很多都是看图识字，可以节省不少时间，但one silent object胜过thousand words。。。文字部分集中在前面两篇和后面的访谈， 主要介绍了super normal这个理念。在强调了物品要更普通、更平常、更简单的同时，fukasawa强调产品的内在美，一种客观的存在；morrison则强调产品“融入日常生活的重要性”，在使用... 100多页，介绍一个展览的书，小半天就能看完。设计类的书很多都是看图识字，可以节省不少时间，但one silent object胜过thousand words。。。文字部分集中在前面两篇和后面的访谈， 主要介绍了super normal这个理念。在强调了物品要更普通、更平常、更简单的同时，fukasawa强调产品的内在美，一种客观的存在；morrison则强调产品“融入日常生活的重要性”，在使用中发现美，创造美。。。所列举的物品，几乎都是20世纪生产的“老东西”们，作者认为解决当前设计领域中商业化、消费文化、设计泛滥的问题，需要我们回头看、低头看、向周围看。我认为当前设计领域最主要的问题是，怎样在用现代技术（手段）+传统思维（思想）去完善、改进现有物品。往回看只是其中一种，过犹不及。 (展开)
0 有用 Stranger 2024-01-02 15:08:38 加拿大
展览应该蛮有趣的 可惜集结为一本书就太单薄了 物品的介绍十分有限 而且仅包括展示物品的1/4 完全没达到预期
0 有用 本雅明天会更好 2023-09-04 02:23:20 江苏
阅读日常，阅读恒久，理解造物。
0 有用 SailorPorridge 2022-08-19 10:42:55
a bit vague
0 有用 こん 2022-08-14 00:42:32
喜歡
0 有用 1968小金 2022-02-07 14:51:27
太好了，简单见真。