第八章 后现代主义设计运动（第33/34页）

除了格雷夫斯以外，美国还有一些设计师投入了后现代主义风格的产品设计，其中大部分是建筑师，如罗伯特·文丘里、佛兰克·盖利、斯坦利·泰格曼、查尔斯·詹克斯等。

要对后现代主义设计下一个确切的定义并不容易，与其说这是一种风格，不如说是一种对现代主义设计单一、刻板的反思和叛逆。年轻设计师挣脱现代主义几十年的统治，力图在色彩上做到丰富多彩，在设计形式上多元化、个人化。但是应该如何设计，则各人有不同的看法和态度，有些人确实是比较肤浅地玩弄形式、色彩，但也有人具有更深层次的内涵，很难一言以蔽之。

查尔斯·詹克斯设计的『灯塔』台灯（Light-House, 1984）。

罗伯特·文丘里设计的后现代主义风格陶瓷茶具。

格雷夫斯设计的陶瓷茶具。

格雷夫斯设计的各种小家具。

斯坦利·泰格曼设计的双人连体躺椅（Tête-à-Tête chairs, 1983—1984）。

格雷夫斯设计的套装水具和咖啡具。

注释

*1 　原文为：To me, designing doesn't mean to give shape to a more or less stupid product for a more or less indifferent industry. For me, design is a way to discuss life, social relationships, politics, food, and even design itself.

*2 　阿基米亚宣言全文：

The Alchimia Manifesto

——by Alessandro Mendini, 1985

For the Alchimia group the act itself of "drawing" is what counts today. To draw, meaning the act of making signs, is not to"design", nor to "project": it is instead a free and continuous expression of thought, made visual. A "motivated" movement.

As a group which produces drawings Alchimia interprets its task to be that of furnishing others with a proof of "sentimental thought". The motivation of the work lies not in its practical efficiency, the "beauty" of the object is in the love and magic with which it is suggested in its soul. Alchimia believes that today both man and woman live in a turbulent and unbalanced state, their lives characterised by "detail": organisational, human, industrial, political, cultural fragments...A transitional period in which they are gripped by an undefined fear resulting from the loss of many values once considered absolute. To find oneself again is essential, and Alchimia works on those values which are considered negative: on weakness, on emptiness, absence of being and depth, which today take a back seat to that which is on the surface, full, and violent, as things to be removed. If the transitory nature of these times does not allow for certainty, if even philosophy seems to have shut its doors on the future, if it is impossible to visualise general and rational transformation, then the Alchimia group concentrates on itself, seeking out details of thought, intent only in signalling its poetical vocation.

Its act of introversion, its minimal creative will, is accomplished beyond the reach of judgement.

This is Alchimia's "new morality".

Alchimia is not interested in disciplines when these are considered according to their own rules. It is more important to explore those great empty spaces between them.

For Alchimia one must not set out to do sculpture, architecture, painting, applied arts, theatre, or what else. The project works ambiguously outside of itself, in a state of waste, of disciplinary, dimensional, and conceptual indifference: the project is only an exercise for drawing.

Alchimia believes that memory and tradition are important.But the new drawing is free from rhetorical ghosts, frozen and decanted by Alchimia in a formal and kaleidoscopic style.

Alchimia believes in despecialisation: "confused" methods of creation and production can live side by side; crafts, industry, informatics, new and obsolete techniques and materials.

Alchimia believes in the concept of "variation". Given the insufficiency of drawing when facing the world, the drawing itself becomes a continuuum, without beginning, nor end, without gratification. Linguistic and behavioural games interwind, combine and repeat themselves infinitely in the two dimensional and three dimensional image of the object drawn, in a system of ordered disorder, valid only "within itself". The visual aspect overcomes its cultural heritage and goes beyond its motivation, the valued image is purified, frozen, and "removed" from the artist's anthropological and ritual weight. Fantasy's aimless wandering constructs a representational mechanism in man's eternal compulsion to incessantly redraw the image of this world and its ornamental origins, which Alchimia takes possession of.