回顾丨第四届日常生活与设计史研究论坛丨2021环同济设计周

2021年11月27日，第四届日常生活与设计史研究论坛在我院暗房报告厅举行。本次活动由同济大学设计创意学院主办，设计教育教学研究中心承办，来自中国美术学院、美国德克萨斯大学奥斯汀分校、芬兰阿尔托大学、英国维多利亚与阿尔伯特博物馆、清华大学、复旦大学、广州美术学院、汕头大学、广东工业大学、东华大学和同济大学的十余名专家学者围绕日常生活设计史学基础理论、研究方法和个案发表了最新研究成果。在线观看直播的观众达7000多人。论坛由设计教育教学研究中心主任张磊主持。

On November 27, 2021, The 4th Daily Life and Design History Forum, hosted by the College of Design and Innovation of Tongji University and organized by the Research Center for Design Education and Pedagogy, was held in the Darkroom lecture hall of the D&I. The forum was presided over by Zhang Lei, the director of the Research Center for Design Education and Pedagogy. More than a dozen experts and scholars from China Academy of Art, the University of Texas at Austin, Aalto University, Victoria and Albert Museum, Tsinghua University, Fudan University, Guangzhou Academy of Fine Arts, Shantou University, Guangdong University of Technology, Donghua University and Tongji University, published the latest research results around the topic of design history in daily life from the perspectives of fundamental theories, research methods, and cases studies. There are over 7,000 audiences who watched the live stream online.

+ 论坛现场/Forum Scene

同济大学副校长、设计创意学院院长娄永琪教授致欢迎辞。他首先对杭间教授和各位参会嘉宾表示感谢，并表示本次论坛作为今年环同济设计周的开幕活动具有十分重要的意义，一流的史论研究在任何一个设计学院里都是不可或缺的。其次，日常生活这一主题契合学院的使命和主张，设计史研究需要回应当下关切，不完全是钻到故纸堆里。法国年鉴学派可为此提供启示，也展现出跨学科研究的重要性。最后，他希望参与和关心这个论坛的社群能够不断加强互动，形成一个真正的学术共同体。Professor Lou Yongqi, Vice President of Tongji University and Dean of College of Design and Innovation, delivered a welcome speech for the forum. At the outset, he expressed his most profound appreciation for Professor Hang Jian and other experts and scholars. He said the forum is of great significance as the opening event of 2021 Pan-Tongji Design Week, and top-ranking history and theory research is indispensable and essential in any design school. Secondly, the topic of daily life corresponded with the mission and vision of the D&I, and the study of design history needs to respond to current concerns instead of entirely and thoroughly delving into a pile of past historical materials and documentation. The French Annales School could offer inspiration for the study of design history and demonstrate the importance of interdisciplinary research. Finally, he hopes that special interest group that attends and regards this forum will continue interacting and forming a genuine academic community. 

艺术史学者、中国美术学院学术委员会副主任杭间教授应邀担任本届论坛主席。他首先借用《日常生活的苦难与希望》（户晓辉，2017）这一书名概括发言主旨，从实践民俗学和现象学等角度阐述了日常生活研究的深层意涵和可能的方法论途径。接着，他从身体和关系两种维度讨论了日常生活对于设计史的重要性，并着重指出设计史的使命之一是反省物质文明的过度发展以及技术世界对人的遮蔽和异化。最后，杭间认为与日常生活的结合，让设计史的辐射力和关照度产生了全社会层面上的超越性意义，这一议题的前沿性在国内外设计史学界都是毋庸置疑的。

Professor Hang Jian, an art historian and deputy director of the Academic Committee of the China Academy of Art, was invited to serve as the chairman of this forum. He firstly borrowed the title Suffering and Hope in Daily Life (Hu Xiaohui, 2017) to summarize his keynote speech and expounded the deep meaning and implying of daily life research from practical folklore and phenomenology perspectives, as well as possible methodological approaches. He then discusses the significance of daily life for the history of design from the dimensions of body and relationality. He also advocated that one of the missions of design history is to reflect on the excessive development of material civilization and the shadowing and alienation of technocracy on people. Finally, Hang Jian believes that design history, in combination with daily life, has a transcendent significance in terms of coverage and concern at the level of the whole society, and the frontier of this topic is beyond doubt in the field of design history at home and around the world.

杰弗里·梅克尔

Jeffrey L. Meikle

美国德克萨斯大学奥斯汀分校

University of Texas at Austin, America

＋演讲题目/Lecture topic：

我是如何成为一名设计史学家的：对一个新兴领域的思考

How I Became a Design Historian: Reflections on an Emerging Field

＋观点摘要/Highlights：

当设计史家把注意力集中在人工制品本身时，很容易将其从现实世界中抽离出来，仅为了美学质量而赞美设计。这是一种常见的艺术史谬误，而将设计置于日常生活的历史背景中有助于纠正这一点。为了从历史和文化的角度来看待设计物品，我们必须将它们与另外两种人工制品联系起来：第一，那些与设计过程有关的；第二，那些与消费和使用有关的。

It is easy to pull it out of the world of reality and celebrate design only for its aesthetic quality when design historians pay all attention to the artifact itself, which is a commonart-historical fallacy. Whereas putting the design in the discourse of thedaily life history contribute to putting matters right. We must associate design objects with the other two artifacts to consider them via the perspectives of history and culture: first, those related to the design process, and second,those related to consumption and use.

盖伊·朱利耶

Guy Julier

芬兰阿尔托大学设计学院

Aalto University, Finland

＋演讲题目/Lecture topic：

设计文化是为了什么？

Design Culture: What is it for?

＋观点摘要/Highlights：

设计文化既是一个跨学科的研究领域，也是一种让世界变得更美好的实践。这一研究视角主要聚焦于当代的物质世界是如何运作的。它质疑了将人为事物视为个性化物品或者孤立存在的看法。物品总是相互联系的，也依赖于人类的活动、知识、技能以及理解和情感。设计历史的训练对于理解这一变化过程的发生非常重要。

The design culture is an interdisciplinary field of study and a practice that makes the world a betterplace. The lens of research focuses primarily on the operation of the contemporary material world. It challenges the notion regarding human-madeobjects as personalized items and isolated beings. Objects, which exist depend on human activity, knowledge, skills, understanding, and emotion, are continuously interconnected. Training of design history is essential to understand how this change process occurs.

彭圣芳

Peng Shengfang

广州美术学院工业设计学院

School of Innovation Design, Guangzhou Academy of Fine Arts

＋演讲题目/Lecture topic：

日常与非常：抗战前后的手工艺运动

The Ordinary and the Extraordinary: Handicraft Movement before and after the Counter-Japanese War

＋观点摘要/Highlights：

在民族危亡时期，“中国国际救济委员会”手工艺组发起了一场手工艺运动。史料表明，该运动联合各方力量对手工艺及其产业进行改进，是一场经济、技术和文化的综合实践。在重整手工艺的活动中，实施者通过探索手工艺产品的设计和组织管理，逐渐明晰了对“设计”的认识，较早地实践了具有现代意义的、服务于日常生活的手工艺产品设计活动。The handicraft group of the China International Relief Committee initiated a handicraft movement during nationalperil. Historical records show that the movement unites the forces of all parties to improve the handicraft and its industry, which is a comprehensive economic, technological and cultural practice. The practitioners gradually clarified their epistemology of design by exploring the design and organization management of handicraft products in reorganizing handicrafts activities. The exercises of handicraft product design that they practiced both serve dailylife and possess modernity meaning.

陈彦青

Chen Yanqing

汕头大学长江艺术与设计学院

Cheung Kong School of Art and Design,Shantou University

＋演讲题目/Lecture topic：

日常生活与符号边界：设计史的意义生长

Daily Life and Symbolic Boundaries: the Growth of Meaning in Design History

＋观点摘要/Highlights：

对于“人”而言，“意义”才是“生活”的根本所在，整体上不存在没有符号化的“日常生活”。设计师是日常生活的介入者或意义制造者。设计在某种程度上就是“日常生活”的显现与证明。当它们表现为具体事物时，日常生活是可被真切把握的事物关系的“对象物”。设计史在追问、理解过去的同时，也隐藏着面向未来的生活想象。Overall, there is no daily life without symbolization because meaning is the root of life in terms of people. Designers are interveners or meaning makers of daily life. Design is, to some extent, the presentation and demonstration of daily life. When design presents itself as embodied things, daily life is the object that can hold and seize the relationship between things. While design history questioning and understanding the past, it also hides the imagination of future-orientedlife.

周慧琳

Zhou Huilin

同济大学设计创意学院

College of Design and Innovation, Tongji University

＋演讲题目/Lecture topic：

霓虹灯里的现代性——百货公司对于近代上海日常生活的建构

Modernity beneath the Neon:The Department Stores’ Contribution to the Process of Modern Life

＋观点摘要/Highlights：

近代上海市民去百货公司的消费活动经历了“望和旁观”、“身临其中、亲历”这两个过程。百货公司的方方面面，无论是建筑外观，内部装潢，货品陈列，光线布局，空间氛围；还是百货部门，屋顶花园，剧场影院，都对市民日常生活产生了影响。各种有形的设备、商品和无形的服务、宣传，都在展示、宣传和支持一种“更新、更现代”的生活。

The consumption activities of Shanghai citizens to department stores have experienced two processes in moderntimes: one is looking around and watching, the other is being in it and experiencing it. All aspects of department stores, whether it is the architectural appearance, the interior decoration, the Merchandise display, the layout of the light, the atmosphere of the space, or the department store, the roof garden,the theater and the cinema, all have an impact on the daily life of thecitizens. A newer and more modern life was shown, publicized, and supported by various tangible devices, goods, and intangible services and propaganda.

郭秋惠

Guo Qiuhui

清华大学美术学院

Academy of Fine Arts, Tsinghua University

＋演讲题目/Lecture topic:

民国时期中国设计与日常生活的研究维度

Research Approach to the Chinese Design and Daily Life during the Period of the Republic of China

＋观点摘要/Highlights：

在设计史领域探索日常生活这一主题时，首先要着重考虑全球化视野之下的地方性知识情境；其次要将日常生活嵌入到“设计—生产—销售—消费”的维度之中。20世纪30年代，受国货运动、新文化运动、实业救国、美育救国等思潮影响，中国的工艺和设计组织发生了从单一生产维度向“生产—设计—销售”综合维度的重要转型。We must first focus on the local knowledge situation under the perspective of globalization When exploring the theme of daily life in design history. And secondly, we must embed dailylife into the dimension of "design-production-sales-consumption." In the 1930s, under the influence of the domestic goods movement, the new cultural movement, trends of saving the country with industry and the aesthetic education, etc., China's craft and design organization underwent an essential transformation from a single production dimension to a comprehensive dimensionof "production-design-sales."

柯鹿鸣

Brendan Cormier

英国维多利亚与阿尔伯特博物馆

Victoria and Albert Museum, British Curator of The Value of Design

＋演讲题目/Lecture topic：

从流行病的角度看待日常生活：新冠肺炎大流行中的物品

Daily Life through the Lens of a Pandemic: On Pandemic Objects

＋观点摘要/Highlights：

“疫情之物”是英国维多利亚与阿尔伯特博物馆推出的一个在线项目。这个项目从六种观察视角（沟通、家的概念、物质流动、新旧技术、贫富差距、社会复原力）揭示了人们如何通过日常生活来理解疫情，疫情又是如何丰富了人们对日常物品的重要性和活力的理解。“疫情之物”及其方法论展示了把日常生活和物品作为一种研究模式的价值。

The Epidemic Objects is an online project launched by the Victoria and Albert Museum in the United Kingdom. The project reveals how people understand the epidemic through their daily life and how the epidemic enriched people's understanding of the importance and vitality of everyday things from six perspectives, e.g., communication,the concept of home, material flows, old and new technologies, the gap between wealth,and social resilience. The Epidemic Objects and its methodology demonstrate the value of daily life and objects as a research model.

张黎

Zhang Li

广东工业大学艺术与设计学院

School of Art and Design, GuangdongUniversity of Technology

＋演讲题目/Lecture topic：

野物与常史: 从生活世界到观念世界

Wild Things and Everyday History:from Lebenswelt to Ideal World

＋观点摘要/Highlights：

物是客体和对象，也是事物的存在和关系。设计史中的物更多指向人工制品。日常生活设计史的提出在方法论上受到物质文化转向的影响，也与社会物质实践、技术社会建构、新文化史等众多理论视角紧密关联。研究日常之物的设计是在生活世界和观念世界之间不断往返的过程，如何从碎片化的个体经验中发现历史的动能是这一范式所面临的挑战。Things are objects, as well as the being. Objects in the design history largely implicate artifacts. The design history of daily life's proposal is affected by the material cultural turn inmethodology. It is also closely related to theoretical perspectives such associal material practice, Socio-technical construction, and new cultural history. Studying the design of everyday things is a constant back-and-forth process between the living world and the ideal world. That how to discover the driving force of history from fragmented individual experiences is the challenge for this study paradigm.

廖延彦

Liao Yanyan

东华大学上海国际时尚创意学院

Shanghai International College of Fashion and Innovation, Donghua University

＋演讲题目/Lecture topic：

“物”的研究方法

Research Methods for"Artifacts."

＋观点摘要/Highlights:：

在东西方跨文化视角下，“物”（artifacts）的范畴、意义和审美标准存在差异。考古学、人类学、博物馆学的现有体系之中，关于“物”的研究也具有不同的分析方法、适用范围、使用难度与研究缺陷。创新性的“美学情感体验模型”包括七个维度：制作背景、设计与视觉、体验与使用、美学与审美、情感移情因素，位置与环境以及文化分析。There are differences in the category, meaning, and aesthetic standards of "artifacts" from an Eastern and Western cross-cultural perspective. In the current archaeology, anthropology, and museology system, the study of "artifacts" also has different analytical methods, the scope of application, difficulty of use, and research defects. The innovative "Aesthetic Emotional Experience Model" includes seven dimensions: production background, design andvisual, experience and use, aesthetics, emotional and empathy factors, location and environment, and cultural analysis.

陈国泰

Marvin Chan

玩具收藏家，《中国小玩意》作者

Toy collector, Author of Chinese Toys

＋演讲题目/Lecture topic：

《中国小玩意》之化学反应报告

A Story of My CHINESE TOYS Research

＋观点摘要/Highlights：

陈国泰有着长达三十年的玩具收藏经历。面对研究资料的匮乏，他流连和沉迷于工厂文献，产品目录，电影，书信，宣传画，明信片，手稿，发票之中，爬梳剔抉，并与口述史参互考订。通过组合碎片，还原真相，推翻了“民国没有玩具娃娃”“民国只有上海生产铁皮玩具”等历史陈见，并将玩具收藏和研究范围扩展到伪满洲国地区。

Marvin Chan has more than 30 years of toy collecting experience. He lingered and indulgedin factory literature, product catalogs, films, letters, posters, postcards,manuscripts, invoices due to a shortage of research materials. Under the collection and classification of historical material and cross-references with oral histories, he overturned the historical stereotypes, e.g., "there are no toy dolls in the Republic of China"and "only Shanghai in the Republic of China produces tin toys"through combining fragments and restoring the truth. Currently, Marvin Chan's toy collection and research scope have extended to the pseudo-Manchukuo region.

顾铮

Gu Zheng

复旦大学新闻学院

School of Journalism, Fudan University

＋演讲题目/Lecture topic：

为侵略的视觉辩护—以原弘、木村伊兵卫的《上海》为例

A Visual Defence of Aggression - A Case of Shanghai by Hara Hiromu and Kimura Ihei

＋观点摘要/Highlights：

宣传战是思想战的重要一环，而报道摄影是宣传战的组成部分。原弘与木村伊兵卫的“上海”摄影特辑提出了不同于传统日本人的“魔都”想象的上海表征，通过突出激战后已恢复正常的上海街头日常生活为宣传策略，来建构日本作为秩序恢复者与保护者的形象，谋求更具宣传性和更具欺骗性的效果。

Propaganda warfare is an integralpart of ideological warfare, and reporting photography is an essential component of propaganda warfare. the Shanghai special photography album created by Hara Hiromu and Kimura Ihei presents a different shanghai representation from the traditional Japanese imagination of the "magic city." They attempted to construct Japan's identity as a restorer and protector of order by highlighting the daily life of block in Shanghai, which has returned to normal after the fierce war. They take it as a propaganda strategy to seek more spreading and deceptive effects.

张磊

Zhang Lei

同济大学设计创意学院

College of Design and Innovation, Tongji University

＋演讲题目/Lecture topic：

失踪与重现：杜劳执教杭州国立艺专事迹略考

Disappearance and Reappearance: a Brief Study of Domrachev's Teaching in the National Art College

＋观点摘要/Highlights：

俄国人杜劳是中国设计艺术史和杭州国立艺专校史上的一名“失踪者”。他曾长期执教国立艺专并担任图案系教授。作为这所学校的核心成员之一，杜劳深刻地影响了中国早期建筑装饰设计和舞台美术设计的教学和实践。俄罗斯馆藏档案首次向我们揭示了杜劳执教国立艺专的始末、原委以及教学思想和方法。Domrachev Makariy Fedorovich, a Russian, is a non-record person in Chinese design and art history and the Hangzhou National College of Art school history. He had taught in Hangzhou National College of Art for a long time and as a professor at the Department ofPatterns. Domrachev was one of the core members of the school, he profoundly influenced the teaching and practice of architectural decoration design and stage art design in early China. We first learned the whole story of Domrachev when he taught in NCA and knew the thing that happened from beginning to end from the archives and literature of the Russian collection, as well as his pedagogy ideas and teaching methods.

+ 总结致辞/Conclusion Oration

杭间 论坛主席

Hang Jian, Chairman of Forum

中国美术学院

China Academy of Art

杭间教授对每一位嘉宾的演讲都给予了高度肯定，并详细谈了自己的体会。他认为设计史是开放和包容的，其难度和广阔性在某种程度上超过了艺术史，而日常生活与设计史的关系又远比表面所见更为深邃和复杂。本次论坛的举办有助于推动设计史从书斋式研究转变为实践性写作。各位讲者的分享都非常具有特色，或视野宏阔，或看法独到，或全面系统，特别是体现出了中国年轻一代设计史学者的眼光。他们的视野、观点和研究方法正趋于成熟，走向一种多元的国际化。Professor Hang Jian praised each guest's keynote speech and discussed his reflections and feelings in detail. He believes that the design history is open and inclusive, and its difficulty and breadth exceed that of art history to some extent. The relationship between daily life and design history is more recondite and complex than what meets the eye. This forum's holding will promote the transformation of design history from documentary research in the classrooms to practical action research in writing.The sharing of the speakers are broad vision, unique view, and comprehensive and systematic, which are very distinctive.These lectures especially reflected the insight and vision of the young generation of Chinese design historians. Their horizon, standpoints, andresearch methods are maturing-forward and towards a pluralistic internationalization.

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