極簡主義之理念在現代設計中實踐之研究－以德、義、日為例

The Essence and Implementation of Minimalism in Modern Design －Taking the Cases in Germany、Italy and Japan as Examples

薛美禪(Meei-Charn SHIUE)

指導教授 ： 楊紹裘 教授

國立臺灣師範大學/科技學院/工業教育學系/碩士(2002年)

摘要

摘要
本研究旨在探討極簡主義（Minimalism）的理論脈絡和極簡主義在現代設計相關領域的呈現，並對於日本、德國、義大利在現代設計中極簡理念思維實踐的異同，進行具體研究目的之探討，其內容包括一、藉由探討極簡主義歷史發展的思維脈絡，以貫時性之發展脈絡為軸，進行有關極簡理念在現代設計中的源起、發展軌跡、定義，並橫跨不同之藝術相關領域作一探討。二、透過對極簡主義的思維脈絡及本質探索，延伸至現代設計中不同的領域，探討極簡理念的呈現。三、藉由德國、義大利、日本三個設計文化特徵明顯的國家探討現代設計相關領域中各方面的影響，並探究其實踐差異。
為達上述研究目的，以文獻分析、比較研究法等方式進行質性的探討。研究結果如下：
一、極簡概念超越時間、超越地域、超越所有不同的文化；既具有地域性亦具全球性，兩方的碰撞、交會、比較中共同強化全人類的意識，粹煉出藝術設計及人類的本性，共同創造所要呈現的「現代」。
二、極簡美學在現代設計上的呈現歸根究底於人文現象及科學現象，而人文現象難以邏輯的解剖細加分割，自然原始及現代困惑並非科學的清晰性可輕易釐清。
三、極簡主義藝術家大體上雖秉持著相同的創作理念，但創作路徑及著眼點卻多所不同，所創作雖不涉及個人情感卻非常個人化的，然而創造性思考及人文精神之極簡，最終的目的不是飄向無限，而是回到根本。
四、人類對於極簡美感因個別性及隨機性而有所差異，與其將德、義、日對於極簡的態度及呈現差異歸為某種地域性的本性，倒不如將之理解為人類精神的不同側面展現於不同方位。整體比照中所浮現出的某種側重，其本身帶有很大的模糊性及可變性，但無論如何此側重是存在的。
五、從文化中解讀德國、義大利、日本對極簡設計的理念之差異，發現德國受包浩斯影響較重機能性及實用性、義大利從文化哲學出發的強調富感性的極簡，而日本的極簡則帶禪學的簡樸思想，此理念之差異在現代設計中皆深刻地反映著人們的生活狀態。
六、德、義、日於極簡設計形體上的差異為：德國在設計上常呈現機械式冷漠的銳角、直線、硬線；義大利設計則常以富感性的曲線、弧線、鈍角呈現；日本則講求不對稱、直線格狀，簡約的禪風低調方式滲透出一種被靈巧伶俐的美學所排除的厚味。
七、極簡設計在德、義、日所體現的相同之處為：線條簡潔俐落、多呈幾何形態、型體單純化、強調材料質感的呈現、極少的色彩、極少的形象；抽絲剝繭粹離出最基本的物質，力求淨潔無暇的呈現，淨化抽濾後產生純粹視覺刺激和心理震盪是為其共同特徵。
本研究最後針對上述之研究結果加以討論，並綜合歸納研究結論，提出有關極簡主義的思想脈絡及其理念在現代設計相關領域中的呈現，並藉由對於德國、義大利、日本於現代設計中極簡理念思維的實踐異同分析提出影響的相關因素與後續研究的建議，以供參考。

關鍵字

極簡主義 ； 低限主義 ； 極限主義 ； 簡約 ； 現代設計

並列摘要

Abstract
The study aims to explore the thread of theory and the presentation of minimalism in the modern design related fields. It also explored concrete research objectives on the similarities and differences of implementing ideas and thoughts of minimalism in modern design in Japan, Germany and Italy. Its contents include: 1) By means of exploring the thread of thought of development of minimalism history and taking through-time thread of development as axis, it explored the source, tracks of development, definition of ideas of minimalism in modern design and in trans-related-fields of different arts. 2) Through the exploration of thread of thought and nature of minimalism, extend the exploration of presentation of ideas of minimalism to the different fields of modern design. 3) By means of Germany, Italy and Japan that have clear characteristics of design culture, it explored the impacts in various aspects of modern design related fields and their differences of implementation.
To achieve above-mentioned objectives of research, the research explored the properties of minimalism by methods of literature analysis, comparative researches. The results of research as follows:
The minimalist concept goes beyond time, regions and all different cultures. It is regional but it is also global. The collision, confluence and comparison of two natures strengthen the all human beings’ consciousness, refine out art design and nature of human beings and create together the “modernity” that they want to present.
The root of presentation of minimalist aesthetics is humanistic and scientific phenomenon. But it is difficult to logically analyze and divide humanistic phenomenon in details. The natural primitivity and modern puzzles cannot be easily cleared by scientific clarity.
By and large minimalist arts uphold similar creative ideas, but their routes and emphases of creation are different. Although their creations are not involved in personal emotions, they are very personalizing. However, the final purpose of minimalism of creative thought and humanistic spirits is not going to drift to indefiniteness but return to root.
Human beings’ sense of minimalist aesthetics will be different with the their individualities and randomness. It would rather understand German, Italian and Japanese attitudes toward minimalism and their differences of presentation as the different profiles of human spirits that are shown in different positions than attribute them to a certain nature of region. A particular emphasis itself emerged n the comparison as a whole carries much vagueness and variability. But anyway the emphasis exists.
After interpreting the differences of German, Italian and Japanese ideas about minimalist design in cultures, it was found that under Bauhaus’s influence, the Germans lay particular emphasis on function and practice while from the starting point of cultural philosophy, the Italians emphasize on sensible minimalism and Japanese minimalism carry thought of plainness of “Chan”. The differences of ideas reflect impressively people’s lifestyles in modern design.
The physical differences of minimalist design in Germany, Italy and Japan are: German designs often present mechanical and cold acute angles, straight lines and hard lines while Italian designs present sensible curves, arcs and obtuse angles and Japanese designs stress on non-symmetrical, straight gridiron in which the plain atmosphere of Chan and low-profile approach emit the strong taste that is excluded by dexterous and smart aesthetics.
The similarities of minimalist designs shown in Germany, Italy and Japan are: Lines are always concise and dexterous, most appear in the form of geometry, simplified physique, emphasize on the appearance of sense of materials, least colors, least images. Their common characteristics are making a painstaking investigation to extract the most basic substance, striving for clean and flawless appearance, generating sheer visual stimuli and psychological shocks after cleaning and filtering.
Finally, the research discussed above-mentioned results and summarized to induct conclusions, presented the appearance of thread of thought and ideas of minimalism in modern design related fields. Also by means of analyzing the similarities and differences of implementing ideas and thoughts of minimalism in modern design in Japan, Germany and Italy, presented related factors of influence and recommendations for follow-up researches’ reference.

並列關鍵字

minimalism ； simplism ； modern design