手工艺设计阶段产品设计活动之游戏精神

The game spirit of product design during the handicraft design period

产品设计史上,游戏精神曾完整地彰显于手工艺设计时期。通过手工审美创造与审美心胸相结合而感知和体认到的游戏精神使游戏者真切地确证自身存在。当游戏者的脑心手及身体内部的深沉原欲同产品设计制造过程相契合时,游戏、游戏精神便倾向与审美发生共通,游戏者在产品设计创造过程中得以确认不同层次的自身存在。当游戏者被限制或禁止创造装饰的形式时,游戏与游戏精神便退隐到其出发地——游戏者的身体,进而使游戏者陷入压抑与孤独。除却游戏与装饰、审美的关联外,产品设计领域的"游戏"还有其独立于装饰与审美的特殊性,表现在它具有"植入性"、"互动性"与"文化性"上。就其"植入性"而言,产品设计活动在手工艺设计阶段的"主要"表现为"完整显现"的特点。

In the product design history, the game spirit has been fully demonstrated during the handicraft design period. With the combination of manual aesthetic creations and aesthetic mentality, the perception and awareness of the game spirit vividly make the gamers ensure their self-existence. When the gamers’ ＂heart-brain-hands＂ and the primal desires embedded in their bodies fit the product’s design and manufacture, they’re able to ensure their self-existence in different levels. When the gamers are restricted or forbidden to create ornament forms, the game spirit will withdraw and move back to its origin, the gamers’ own bodies, leading a long-term depression and solitude. Besides the relevance of the game, ornament and aesthetics, the game in product design field has its own particular nature, which can be shown in its implant ability, interactivity and cultural features. As for the implant ability, the product design mainly shows its complete appearance in the handicraft design phase.