刍议后现代主义思潮与后现代招贴设计

My Own Remarks on the Thoughts of Post M odernism and Post-modern Placard Designing

后现代主义的出现有其自身发展的历史逻辑和社会文化背景;20世纪60年代以来,由于科技、经济的迅速发展,传媒、资讯的高度发达、商业文化的极度繁荣,西方社会步入了后工业时代,其文化形态也从理性主义进入文化多元的后现代主义时期。以文丘里、詹克斯等为代表的后现代主义建筑理论家,对现代主义、“国际主义”设计的“一元话语”,发起了全面的挑战和批判。在后现代主义建筑的催化、影响下,后现代主义的招贴设计同样表现出对现代主义理性精神的质疑,招贴设计师将古典、历史、精英、大众、通俗、边缘等多种文化元素“混杂”与整合,使设计呈现出前所未有的人文性、多样性与丰富性。后现代主义在对体制化的主流文化进行消解、颠覆的过程中,力求实现多元文化的互补共存,丰富了世界设计面貌的同时,亦将对世界设计产生持久、深远的影响。

The emergence of post - modernism had its own historical logic and social - cultural back-ground. Because of the rapid development of science and technology, economy, media and communication, and the flourishing commerce and culture since 1960s, the Western society has come into post - industrial era. Its cultural form has also come from rationalism into the times of multi - cultural post modernism. The post -modern architectural theoreticians as Robert Ventun and Charles Jencks initiated all - sided challenges and criticisms on the designing unitary discourse of internationalism and modernism. Influenced and catalyzed by the post - modernism architecture, the post - modernistic placard designing oppugns the rationalistic spirits of post - modernism. Placard designers integrated cultural elements as the classic, history, exquisiteness, popu-lace and frontier into a coherent whole and caused designing to be unprecedentedly humanistic, diversiform and abundant. In the process of the digestion and subversion of the institutionalized mainstream culture, post modernists did their best to realize the complement and coexistence of multi - culture. And when the world designing is enriched, long and far-reaching influence will surely emerge.