《论“工艺美术运动”的根本缺陷》(以下简称《缺》文 作者:杨斌)一文认为:莫中斯非但不应称作“现代设计之父”,反而是“现代设计发展道路上第一个站出来的反对者。”我认为,这一观点值得商榷。 第一,对于划分设计史的标准,《缺》文基于“设训”一词同工业文明的骨血联系和现代“意味”,认为“表征工艺美术向设计转变的工业设计革命有两个基本因素:一、对旧传统的抛弃……二、旨定机械生产……”先不论设训是否“抛弃”了旧传统,单就“肯定机械生产”来说,就是对设计片面的理解。 设计,作为一门独立学科,虽然直到1909年才由美国学者赫伯特·亚历山大·西蒙提出,然而作为一种思维模式,它是伴随着人类意识的出现而出现的,它最初表现为人类对丁具的使用,其后则表现为功能符号的物化。不难看出,设计是人与工具这一对矛盾辩证统一的的表现形式之一(其它形式来有技术、管理等)。工业革命后,工具发展为机器,人与工具的矛盾进而演变为人与机器的矛盾。顺应这一变化,现代设计、现代技术、现代管理应运而生。从表面上看,现代设计的产生是机器生产代替手工芝的发展,而本质上却是“人与工具的矛盾”向“人与机器的矛屑”转变的让程。在此过程 “On the” Arts and Crafts Movement “fundamental flaws” (hereinafter referred to as “missing” authors: Yang Bin) article that: Mo not only in Sri Lanka should not be referred to as the “Father of Modern Design”, but is the first “modern design development path Opponents out of the station. ”I think this view is questionable. First, for the criteria for dividing the history of design, the “lacking” text is based on the bone and blood ties with the industrial civilization and the modern “meanings” of the word “training” and holds that “there are two basic elements in the industrial design revolution that characterize the transformation of arts and crafts into design : First, the abandonment of the old tradition ... ... Second, the purpose of machinery production ... ... ”Regardless of whether training“ abandoned ”the old tradition, the single“ affirmative mechanical production ”is a one-sided understanding of the design. Design, as an independent discipline, was not presented by American scholar Herbert Alexander Simon until 1909, but as a pattern of thinking, it emerged with the emergence of human consciousness, first manifested as human beings The use of small tools, followed by the performance of the functional symbols of the materialized. It is easy to see that design is one of the manifestations of dialectical unity between man and the tool (other forms include technology, management, etc.). After the industrial revolution, the development of tools as a machine, the contradiction between human and tools and then evolved into a contradiction between man and machine. Conform to this change, modern design, modern technology, modern management came into being. On the surface, the emergence of modern design is the development of machinery instead of handcraft, but in essence it is a concession to “the contradiction between man and the tool” to the “people and the machine spear”. In this process