Kot Ge media interview.

Generally speaking, the more vague the concept conveyed by a word, the more confident people use it, the more they pretend that its meaning is simple and clear, and it is not even worth discussing its true meaning. These words include beauty, art and culture.

Adhering to the belief in beauty and changing the world with originality is believed to be the mission and goal of most designers (at least mine), especially in China that day. I just read a short article about luxury and education in Liang Wendao, pointing out that "low-key luxury" is widely publicized. People equate gentlemen with taste, and then taste with the absurdity of luxury. The article mentions "education". When we discuss design works, we always mention the word "education", which is regarded as a necessary prerequisite for taste. At the same time, I often remind myself and my partners to take artistic value as an important indicator to measure the quality of our design, and pay attention to the construction of people's character, interest and life by design works.

This statement seems reasonable, but some people will definitely refute it. "How to define the value of art, is there a necessary connection between art and morality?" This issue has been debated in history for a hundred years, and it has not been unified so far. Here I will explain some seemingly well-known concepts such as "beauty", "art" and "design", at least these problems bother me. Our work tries to approach and even create beauty, but beauty has no formula and rules. We hope that the works can touch people's hearts as great works of art, but we don't know how to define art. Through design work in recent years, we have gradually formed a cognitive framework for these issues. It is the exploration of these issues that has formed the direction of our design progress.

"The scope of art can be extended to the humanities, so that people can leave the material property, get rid of the beast and transcend their desires. All the roads to glory are the so-called humanities (including history, philosophy and art), and the way to cultivate and bring up the humanities is art" (Zhu Qingsheng). During the Renaissance, people thought that only by studying classical art, literature and philosophy could a person become a complete person. Corresponding to the present society, this is the fundamental reason why I mentioned our design principles and goals above.

The discussion on "art" has been evolving and arguing, and the conclusion is that "art" originates from "art", which is driven by the need of beauty rather than desire, is used to express and establish emotional experience, and should be expressed by thoughts and emotions. Tolstoy didn't think so, that is to say, most people's arguments. When talking about art, he saw the contradiction of ancient great men on this issue and the illogical or one-sided philosopher, and proposed that only by separating "beauty" from "art" can we see the value and rules of art. "People don't define real art and judge whether it is art according to whether a work meets this definition, but accept a certain kind of work that can make a certain group of people feel happy for some reason as art, thus formulating an artistic definition that covers all works." It is pointed out that artistic activity is the most important activity, which is as important as language. People think that art is such an activity. "A person consciously conveys the emotions he has experienced to others through some external signs, so that others can be infected and realize this emotion." Saying that art is not what scholars say, but some kind of metaphysics. Beauty is not a game used by physiologists to release excess energy, nor is it a pleasant thing, let alone enjoyment. "It is a means of human communication, which connects human beings with the same feelings, which is indispensable in personal and human life and in the process of happiness." It is mentioned that people generally think that "beauty" is the goal of art or the standard to measure the quality of art, just because the upper class people have lost confidence in the church, which is in line with the development of China's traditional artistic concept.

China took "Tao" as the core of "art", which was meaningful for the art of "Tao" and attached importance to the educational function of art. In Shang and Zhou Dynasties, art served religion, and in the Spring and Autumn Period and the Warring States Period, the factor of "heart" was added. He believes that people understand the spirit of heaven and earth through "heart" and present the Tao between heaven and earth through artistic expression. This concept was perfected in the Tang Dynasty and then came into being.

What really affects the aesthetic or artistic view of modern China people is the pure literati interest since the Northern Song Dynasty, which pays attention to artistic qualities such as elegance, clumsiness, plainness and naivety. The Yuan Dynasty entered the folk, which was reflected in all aspects of poetry and songs, and then there were literati paintings, which built people's values in an all-round way, and of course it was also reflected in the form of living, such as poetic gardens.

However, this cultural identity has undergone a thorough criticism. The cultural fault period in the 1960s and 1970s and the subsequent blind follow-up resulted in nothing, which is gradually returning and colliding with other cultures, forming our contemporary aesthetic soil, naturally affecting our design and becoming one of the important bases for us to find answers from time to time in our work. In other words, we should adhere to the background and reason of "art returning to life" in design.

"Beauty" is an ambiguous topic. The more workers study and study, the less they dare to assert that their value judgment of beauty is closer to the truth or more noble. However, if we take the humanistic concept mentioned above as the premise, "beauty" has a direction for us in today's society. We always hope that our works can enlighten people, and to put it modestly, it is a demonstration or influence. We are surrounded by distorted values and corresponding forms. We regard novels as the whole of literary accomplishment. We can't understand Bach, climb sculptures and take pictures, or even think independently. We don't touch the truth, but live in a torrent.

We explore and demonstrate what kind of environment can inhabit the hearts of modern people and illuminate the warmth of life.

We do interior design, especially focusing on furniture design. Our core business is housing, clubs and hotels. As the main carrier of social space, hotels have entered everyone's life from the mystery of the 1980s. Because of the huge gap, they have aroused people's yearning and become a guide for many people to build their own homes. Although China has changed rapidly, it still affects people's aesthetics and lifestyle together with other commercial spaces today. The concept of designing communication space and private space is similar, but the technology is quite different. Life is acceptable, and the demand of plain and extreme personality affects residential design. The extraordinary living experience and the absence of popular aesthetics as an absolute premise have created opportunities for innovation and artistic value in hotel design. The construction of beauty is more likely. The fine division of labor in industrial development leads to the appearance of decorative design or exhibition design, which is divorced from space design and system integration, and its core appeal is "experience" manufacturing.

Hotel furnishings design is first and foremost a work of art. When summarizing art, scholars mentioned that the scope of art does not lie in vision, including senses such as smell, hearing and touch. The work called display design or decoration design is also based on the five senses experience. The only difference between decorative arts and other arts is that decorative arts are suitable for a fixed place, subordinate to or dominate the expression of other works of art, and many of the greatest arts in the world serve in a certain place or for a certain purpose. The walls of Vatican rooms are painted with Raphael's works, and Michelangelo built the zenith of the church. So, first of all, the hotel furnishings are designed to meet the above-mentioned pursuit of art.

Secondly, the only difference between it and other arts is that it is suitable for a certain place or a certain purpose, which precisely forms the most important formal feature to judge its quality. The word "He" is the most important point for some aestheticians to study the law of beauty. William hogarth summed up the law of beauty as "adaptability, diversity, unity, simplicity, complexity and size". The size and proportion of objects involved in exhibition design depend on the purpose, and it is this law that determines the size and proportion of all items. Common tools, such as symmetry, unity and neatness, can only be liked if they can form a purposeful concept.

Third, a good display design must be innovative, and a design that can't make a new experience is worthless. Tolstoy said in Literature and Art that the first of the three conditions to become a work of art is that "the content of the work and its fresh ideas are important to mankind".

There are many imitations and followers in the market, which is an old topic. Needless to say, the reason for its formation is how to innovate. First of all, we must understand and approach the truth. Beauty is a dynamic existence and cannot be standardized. But some people are constantly summing up the principles of beauty, and art is more vague. It is impossible to deconstruct art with a scientific logical system, and there is no methodology. Even so, there is a cognitive system of appearance theory with emotion and character as the core and formal beauty as the reference. On the premise of these two points, there is a path at the method level. Style consistency is a method for theorists to study and summarize the development of art, and it is the style formed by style that forms an opportunity for us to break through and change style. Style is constantly evolving and even spreading in history. Observing history, we can naturally see the road to the future.

Talking about the quality or beauty of exhibition art, the last point mentioned here is that what has always been concerned about in aesthetic research is called "interest", and beauty is formed by the creator pleasing the object, so the interest of the audience becomes an important factor in the formation of beauty and ugliness, which is also a problem we encounter every day in our work. "Others can't know the beauty you know," Herbart said. Beauty itself doesn't exist, and it can't exist. Only our judgment exists. Faced with this problem, I believe that most designers will express helplessness, but we must find ways to perceive that the taste of "beauty" is changing, and the same person will change in different environments and at different times. What factors affect people's taste, including values. When it comes to beauty, it is the experience after the inner self is connected with the outer world.

In China, Dr. Ceng Jingshi's aesthetic standards have always influenced most people in China, that is, the aforementioned "literati taste". Our job is to awaken everyone's previous pursuits and concepts, dig out the beautiful beliefs in the tradition that conform to today's universal values, and use our skills to transform them into the present form.

This is the root of our common innovation method.

So in short, the only job of hotel furnishings design, like other designs, is to face the habits and beliefs that we have always believed in and inherited in the past and develop styles that meet the needs of the times.

All outstanding contemporary masters are like this. Jia Ya did this, and so did our role model Ya Bu Qi Yutang. Designers are the builders of the environment, creating happy feelings with the power of the environment, awakening people's yearning for beauty and returning to humanistic feelings.

When we have the ability to connect the past, we have the opportunity to adapt to the present and open the future.

The designer should be.