解构主义语言在室内设计中的体现

The Embodiment of Deconstruction in Interior Design

从20世纪20年代起建筑师们与现代艺术同步创新尝试兴起了建筑界的构成主义思潮。然而建筑所需的资源投入远非纯艺术实践所能比拟,世界大战的惨重代价让西方社会的确无力为构成主义的先锋买单,三角板与丁字尺也实在不足以定位先锋建筑师肆意横空的想象力,意识形态的斗争更是让来历不明的构成主义总是令人生疑。半个世纪过去了,解构主义语言姗姗来迟,填补了现代语言给建筑界造成的真空。毕加索的亚威农少女和波拉克的行动绘画,终于在盖里的古根海姆博物馆和米拉莱斯的苏格兰会议中找到了知音。解构主义作为后现代主义最重要的设计语言之一,在成为建筑设计界令人瞩目的焦点的同时也为室内设计提供了新的设计语言,是一种新的方法与有益的尝试。

From the 1920s, architects and modern art innovate simultaneously and try to rise the constructivism trend of thought in construction industry. However, resources required for construction is much higher than that of artistic practice so that western society is indeed unable to pay for the development of constructivism as the pioneer. As we know, triangular and T-square can＇t represent all architects＇ endless imagination. Moreover, the struggle for ideology is to make the unidentified constructivism doubtful. Half a century later, the deconstruction comes belatedly to fill the construction industry＇s blank caused by modern language. Picasso＇s Avignon Girl and Pollock＇s action painting strike a chord with the Guggenheim Museum in Gary and Miralles＇ Scottish Conference. Deconstruction, as one of the most important design languages of postmodernism, it is a new method and a useful attempt to provide a new design language for interior design. Also, it has become a striking focus in architecture design.