Design360° 2020 Limited Boxed Package


NO.85 設計夜場 Design Nightlife
Where there is music, there is visual. Music as an important field of youth culture, its related visual design is where imagination and creativity grow most wildly. This issue focuses on club music and design. We invited 7 Design-clubbers to form the Line-up. Music and design being indispensable to their lives, all of them are club lovers and some are even club owners themselves. Similar to club music, graphic design in the club is usually disctintive from the mainstream and looks carefree — which is rare — that they only concern whether it feels right. Such design is often personal: the spiritual communication of the designer and musician outweighs the function of design. It is this freedom and wilfulness that have given birth to various visual experiments, which keeps surprising us even in the era of image explosion.

有音樂的地方,視覺幾乎不會缺席。音樂作為青年文化的重要陣地,其相關的視覺設計可以說是想象力與創造力最野蠻生長的地方。本期聚焦俱樂部音樂和設計,邀請了7位Design-clubbers組成Line-up,他們本身都是熱愛音樂(或者喜愛夜蒲)的人,當中也有人擁有自己的俱樂部。無論是音樂還是設計,都是他們生活裡不可或缺的東西。和俱樂部音樂類似,俱樂部的平面設計一般異於主流,同時有一種難得的放鬆姿態——感覺對了就對了。這樣的設計通常很私人化,有時甚至像是設計師和音樂人的一場精神交流,至於功能反而不是那麼重要。也正是這種自由和任性讓這個領域誕生了很多視覺實驗,在圖像爆炸的環境中還能給眼球帶來驚喜。


NO.86 個體引力 Individual Gravity
Since the emergence of design, design organizations have had various forms. With the development so far, a lot of individual design studios are thriving with numerous outstanding skills from design, curating, installation to coding as well as fewer human resources. Under the influence of the Internet and globalization, the stability of occupations has been significantly weakened, and new demands bring about new working methods. “Studios” thus have developed different forms. Among them, “collective” has become a high-frequency word in the creative field, which refers to a spontaneously formed micro collaborative network with a high degree of division of labor. This network gathers designs from all over the world and seeks the most suitable creative person for each project. Compared with large design firms, independent studios often have a different scene: a freer state, a more flexible partnership, a larger creative space, and a more equal work structure.

自設計興起以來,設計工作的組織形式各式各樣。發展至今,不少個體設計工作室,雖然人力甚少,卻有著從設計、策展、裝置到編程等百般武藝,通過越來越發達的遠程技術與媒體網絡,迸發著遠超規模的創意能量。在互聯網和全球化的影響下,職業的穩定性明顯削弱,不斷產生的新需求催生了新型工作方法,而“工作室”也衍生出了不同的形態。其中,“集合體”成為了創意領域的一個高頻詞彙,它指代一種自發形成高度分工的微型協同網絡,用按需組隊的方式聚集各地創意,找到最適合每個項目的創作人員。相比起大型設計公司,獨立工作室往往有著另一番景象:更自由的狀態、更靈活的合作關係、更大的創作空間、更平等的工作架構等。


NO.87 地方創生設計 Place-making Design
“Cultural innovation” is becoming a buzzword in various industries these days. People start making cultural creation products from their local traditional culture, and since regional development is getting more attention, the demand for active products and brands from local cultures is also gradually increasing. However, in many cases, such creative products easily fall into a superficial understanding of traditional culture or a shallow appropriation of traditional images. So when we discuss about how to capture the core of local culture and represent it with design and creativity, the vast but vague concept of “culture innovation” might have become insufficient to describe the essence of the matter. A new concept called “Place-making design”, on the other hand, may offer designers a more delicate and substantial direction guidance in their exploration.In this issue, we invited designers from various regions who use design and creativity to explore the characteristics of a certain place so as to vitalize its charm. In their eyes, local culture and traditions are not disengaged objects or images. 

近年來,“文創”是出現在各行各業的熱門辭彙。然而,這些產品很多時候容易流於對傳統文化的表面認識或者是對傳統意象的簡單挪用。如何捕捉地方文化的內核並用設計與創意進行恰當再現,文創這個相對模糊宏大的概念或者已不足以準確描繪個中本質,而地方創生設計的提出或許可以給設計師一個更細膩實質的探索方向。本期邀請的來自不同地區的設計師及團體,正是用設計與創意探尋土地個性,創造出與地方深度交融的設計作品。他們並沒有將當地的文化及傳統視為抽離地方的物與象,而是在接觸的過程中琢磨其歷史社會背景,順應本土特質,將當地獨特的土地個性提煉成型。


NO.88 今日韓國設計 Today’s Korean Design
In recent years, many people may have a vague feeling: in an unguarded moment, South Korea has become Asia’s “suddenly arising” and important design force. It is extremely difficult to completely describe a country’s design ecology in an issue of the magazine column. We found that even the selected segments are quite difficult to be linked together. The attempt to divide the domain or topics for discussion of Korean design turns out to be in vain — because the interviewers we’re looking for have such unique personalities that are hard to classify and define. Such a “fun-having” attitude in graphic design has given the younger Korean designers a vibrate, vivid image, which we consider the most prominent trait of the current Korean design scene. Therefore we had made it the focus of this issue, and of all our interviews with 13 designers.

近年來,不少人會隱約有這樣的感覺:韓國彷彿在一不留神間,成為了亞洲“突如其來”又不容小覷的設計力量。想要在一期雜誌欄目裡完整描述一個國家的設計生態是極其困難的,當編者竭盡所能地尋找切入點,會發現就連串聯所找到的片段也是相當不易。我們曾企圖對韓國設計的領域或者議題進行劃分,譬如新媒介與技術的使用、女性主義的討論、西方設計語言所帶來的影響……但最終發現歸類是一種徒勞——因為我們所尋找的採訪者是如此個性迥異,無法被分類和定義 。韓國設計師“玩樂”平面設計的態度與韓國年輕一代所展現出的生猛、鮮活的姿態,是編者認為在當下韓國設計景象中尤為突出一面,也是本期雜誌的側重和13位受訪設計師的展示所在。


NO.89 字體實驗 Typeface Experiment
Text is a unique part of graphic design. It covers all visual related content like brand logos, product packaging, event posters, etc. However, designers’ desire to explore the possibilities of typefaces are not easily satisfied by merely catering to the needs of the clients. During work and daily life, more and more designers are collecting their “funny” ideas as inspiration, with which they will then find proper time to experiment, using open and various design thinking. In these typeface experiments and activities, typeface has surpassed its original definition. Stepping out of its job to accurately convey information, it has become a way for graphic designers to observe and think. While these type forms and discoveries may yet to be put into actual use, the results of these attempts may inspire the birth of other experiments, and thus further broaden the definition of graphic design. Meanwhile, when designers extract certain content from experiments and gradually form a systematic logic, they will become a direct and powerful “weapon” for self-enhancement. Experiments in this sense may also provide designers and readers with a new way to interpret things.

文字作為平面設計裡特殊的一環,涵蓋了品牌標識、產品包裝、活動海報等一切與視覺相關的內容。但僅迎合商業項目的需求並不能滿足設計師探索字體可能性的慾望,越來越多設計師將設計實踐或日常生活中冒出的“奇奇怪怪”的想法作為靈感收集起來,在適當的時機通過開放、多重的設計思維對它們進行實驗。在這些字體實驗和活動中,字體已經超越了它原本的定義,跳出了準確傳遞信息的本職工作,成為平面設計師對事物進行觀察和思考的一種方式。或許這些字體形式與發現並不能立刻被投入實際應用中,但這個過程的結果可能會激發其它實驗的誕生並進一步拓寬平面設計的定義。與此同時,當設計師從實驗中提煉出一定的內容,逐漸形成一個系統的邏輯,便會成為增進自我發展直接有力的“利器”。這種意義上的實驗或許也可為設計師和讀者提供另一種解讀問題的思維方式。


NO.90 Award360° Special Issue
The market environment is ever changing, and visual design is often the frontier test ground and reaction end. Award360°, making “annual” as its core concept, apart from being the collector of one-year best design works, also aims to inspire more thought on the background trends.  Designers have made their own exploration and gave their own answers in design language, form, concept, and materials, responding to which is the ever-changing macro-environment. As a judge described, the world is changing so fast and we never know how the design scene will respond to it. Between the reality of today and the exploration of the future, Award360° will find the balancing point together with the designers, and focusing on the most active change and frontier of design with a flexible posture.

市場環境在時刻變化,而視覺設計往往是其前沿的試驗地與反應端。以年度為核心概念的Award360°,除了期望成為年度最新設計作品的匯集地,也正想帶給大家更多背景趨勢的思考。設計師在設計語言、形式、概念、材料等維度持續作出各自的最新探索,與之對應的亦是日新月異的宏觀商業環境。正如評委所言,世界瞬息萬變,誰也沒法確定設計界會給出怎麼樣的回應。在當下的現實性與未來的探索性之間,Award360°將與參賽者一起尋找到一個平衡點,以靈活的姿態時刻關注與觸碰設計最活躍與最前線的變化。


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