专访丨法国新锐设计师马桑罗森 Q&A Maxence Loisson-投币机

01

Wu: Bonjour, Mr. Maxence, straight to the point. What do you think of the current status of design business industry in China?

Maxence: It is fragmented but changing at a fast pace. On one side, there are some companies trying their own things, and crafting the made in China with the risks that it implements, and on the other side, entities that rely on foreign culture to market themselves, by a lack of confidence.

吴:马桑先生你好,开门见山,请问你觉得中国目前商业界的设计现状怎么样?

马桑:中国设计行业是零碎化的,但又瞬息多变的。一方面,有些公司尝试研发自己的产品,并创造和落地稍带风险标签的“中国制造”的产品;另一方面,这些公司又存在缺乏自信的行为—依靠外国文化推销自己的产品。

Beach Carpet

沙滩折叠毯

02

Wu: Do you think there is good design work from Chinese companies? In addition, who or whose design work do you highly respect and recommend among Western hi-tech companies?

Maxence: I think that there is always people trying to make it right but that does not mean that they would be famous or successful. Good design and success are not always tied together. For foreign designers, I am quite sensitive to the work of Erik Spiekermann (type designer) and Paul Rand, the overall philosophy, the dignity behind their approach. Dignity is a strong topic if you don’t want to be eaten alive by your client.

Paul Rand work

Paul Rand设计作品

吴:有没有你觉得中国企业比较好的设计作品?相对西方科技公司,你较认可并愿意推荐谁的设计作品呢?

马桑:我认为总是有人尝试做到好的设计,但这并不意味着他们会出名或成功。好的设计和成功并不总是绑在一起。在西方,我对Erik Spiekermann(德国字体设计大师)和Paul Rand的作品非常敏感,欣赏他们整体的设计理念以及他们态度背后的尊严。如果您不想被客户压榨干,尊严是一个很重要的议题。

Erik Spiekermann

Erik Spiekermann work

Erik Spiekermann作品

03

Wu: As you have experienced Europe and China, what do you think the difference between the two design styles? Is there anything that can be combined or good mixed?

Maxence: I do not like to talk about style, as it would mean following a certain aesthetic approach in a field. An important part of the process during the design development is by doing research, field research on a particular topic. The main difference between working in Europe and China is that in China deadlines for projects are much shorter, so this faster pace brings faster proposals. Sometimes fast can be good, but it can also damage the quality of the design. On the other hand Chinese clients can be more opened to try something new, which can be a positive side.

吴:从欧洲来到中国,你觉得两地的设计风格有什么不同?有没有什么可以结合之处?

马桑:我不喜欢谈论设计风格,因为这意味着被某种领域的美学方法所限定。在设计发展过程中,重要组成部分是针对特定主题进行研发和相应领域研究。在欧洲和中国之间工作的主要区别在于:在中国,项目的截止日期往往要短得多,这就意味着加快了提案的步伐。有的时候快速可能会有很好的效果,但同时也会影响设计的质量。相反的积极乐观地看,中国客户会更开放地尝试新事物。

Pierre Paulin Declive

皮埃尔·保兰Declive

04

Wu: What are your inspiration for the aesthetics of traditional Chinese design? Recently, do you think that it is on the way of recovering, as the fact of Cultural Revolution had indeed destroyed the arts development for long time?

Maxence: I believe using traditional culture as an inspiration is a difficult exercise as you need to project things from the past into a contemporary scenario, means going through reinterpretation otherwise you take the risk to end up in nostalgia. The revolution was for sure a trauma, but going to villages, smaller town brings you things which you thought were long gone. You will still find crafts, old technics. As long as shopping mall stay far away from these villages the craft should have a chance to survive.

吴:中国传统设计美学你如何评价,文革以及之后是否受到了很大破坏与营销,是否认为目前正在恢复之中?

马桑:我认为,以传统文化为灵感是一项很艰难的任务,因为您需要将过去的事情投射到当代的场景中,这意味着要重新诠释,否则您就存有怀旧之情的冒险。这场“文化大革命”肯定是一场创伤,但是在中国乡村或小城镇还会存在一些您以为早已不复存在的老物件。您仍然会发现手工艺品与旧工艺技术。只要商业化的购物中心远离这些村庄,手工艺品就应该有生存的机会。

Maxence‘s Work

马桑设计作品

05

Wu: Talk about two famous designers/your colleagues, Pierre Paulin and Philippe Starck. What do you think of their design works? Do you think whether Xiaomi considers Starck design as a tool of marketing?

Maxence: These 2 designers have a very different design philosophy. Pierre Paulin was all about comfort, harmony, elegance, and not putting himself in front, to disappear behind the project. Starck on the other hand made himself as a brand, being often in front of his products, doing many interviews, doing controversial proposals. In the case of Xiaomi it was definitely a marketing move as Starck stands as a strong brand.

吴:谈谈你的两个老板/同事,皮埃尔·保兰与菲利普·斯达克,你怎么看待他们的设计?小米和斯达克是否更多是一种营销活动?

马桑:这两位设计师的设计理念截然不同。皮埃尔·保兰一味的在追求舒适、和谐、优雅、不是鼓吹自己,而是在项目幕后默默做事。斯达克设定自己成为一个品牌,经常出现在他的产品前,进行了许多专访,提出了有争议的话题。就小米而言,因为斯达克本身就是一个强大的品牌,这无疑是一项营销举措。

Packaging Design

包装设计

06

Wu: Depends on your own experience working in Europe and China, what is your present personal design philosophy?

Maxence: Having been to Shenzhen where you will find high-tech industries, and remote areas such as Guizhou were farmers still use animals to do the land, I try to imagine a process which involve the past and the future. Too often I see 2 camps. The people that are into crafts, the past, and people that are into technology and lake broader knowledge. Studying the past, the present and think about the future seems an important aspect for me.

吴:经历了欧洲与中国一段时间的工作,你目前个人的设计理念是什么?

马桑:到过深圳后,您会看到高科技产业,而贵州等偏远地区的居民仍在用动物打理自己的土地,我试图构造一个涉及过去和未来的过程的图画。在中国,我经常看到两个对立的画面。像在旧时候,热爱手工艺的人们;以及新世纪里,热爱高新技术和有着广泛知识的人们。对我来说,研究过去、现在和思考未来对设计来说是一个重要的手段。

LOGO Design

Logo设计

07

Wu: What kind of design ability do you think that Studio can offer to enterprises or organizations? What change and impact should a good or suitable design brings to inpiduals, corporations and even dailylife?

Maxence: To help them define their own identity, and be confident to be outsiders in their own field. I would say a good balance between aesthetic, function, quality, and still give some uniqueness to each proposal, but that does not mean to be different. Doing different for the sake of being different is a superficial approach often used by poor marketing (I am different therefore I am).

吴:你认为工作室能够为企业或组织带来什么样的设计服务?一个好的或者适合的设计,可以为人、企业乃至于生活,带来什么变化与影响?

马桑:帮助这些企业定义他们自己,并在他们的领域脱颖而出。我想说的是:平衡无处不在,设计能在美学,功能与质量三者间产生良好的平衡,并仍然存在独特性,但这独特性并不意味着差异化。为了与众不同而有所作为是比较肤浅的方法,经常被作为不良的营销手段采纳(我与众不同,所以我不一样)。

Tablet Design

平板电脑设计

Profile/Maxence Loisson (Referred to as Maxence):

Maxence Loisson de Guinamont was Born in1984 in Versailles. He graduated in interior design from the Beaux Arts schoolin Dijon and in product design through a master from the Ecal school ofLausanne. In 2012 ,he wasselected among the most promising young graduated designers for the VillaNoailles Parade.

Furthermore, Maxence has worked for PierrePaulin (designer of a social revolution) and Philippe Starck (designer ofXiaomi MIX), and later he went to China, working for the Guizhou CulturalHeritage Project, Lenovo, and Yi Technology (Mi Ecological Chain Company), andhas obtained Red Dot Award.

Maxence with some creative designers set upa design studio, to provide design consulting services among graphic (UI/VI,Logo), video, industry, interior design.

马桑先生1984年出生于法国凡尔赛,获得BeauxArts的学士学位与洛桑Ecal学院的硕士学位,2012年被选为“Villa Noailles Parade”最有前途的青年设计毕业生。

此后,马桑在皮埃尔·保兰(社会变革中的设计大师)与菲利普·斯达克(小米MIX设计者)工作室工作,后来到中国为贵州文化遗产项目、联想、小米生态链公司工作,获得红点奖等。

目前马桑与部分青年设计师组成视觉工作室,提供平面(UI/VI、Logo)、视频、工业、装潢等领域的设计咨询服务。

Profile/Colin Wu (Referred to as Wu)

Mr. Wu graduated from Beijing NormalUniversity and the Chinese University of Hong Kong. He has worked in Hi-techcompanies such as C-trip, Mi Ecological-chain Company, and Bitmain. He has beenengaged in the filed of marketing and branding.

吴先生毕业于北师大与香港中文大学,曾在携程、小米生态链、比特大陆等科技企业工作,从事并负责市场营销、品牌建设等领域的工作。

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