International Modern Design Popular Rules

For the understanding of modern design, we must start with the modernist design movement. The modernist design movement refers to a group of architects, designers, and theorists who began to explore the new aesthetic concept of the 20th century. For most practitioners who hold this aesthetic view, it is not only a style but a belief. The main features of modernism are rationalism and the objective spirit that suddenly emerged from the 19th century. In addition to the other key meaning of modernism is: 'form obey function'. This slogan reflects the rational, orderly modern design of this movement.

Designers who carry out modern sports want to come out of large-scale production and eventually come up with pure geometric forms that oppose the decorative style. The most distinctive representative is Bauhaus Design School. They are committed to the latest concepts and state-of-the-art designs. They emphasize the design of a single modern movement that uses modern materials and industrial production techniques to form pure geometric forms based on the primary colors of red, blue, yellow, and round and square. In later developments, modern design was also called international style. This is because of the great influence of this new direction.

Some people in the modern design movement obey the rules of modern design. At the same time, there are still some people who do not want to completely obey this current, more popular rule.

The prominent representatives of the rules of obedience are the Dutch style school, the Russian school, the design of Aldo and Aspenpland in Scandinavia, and the sleek design of the United States. Although these designs and productions show complexity and variability, they always have a common connection. For example, the style school in Dutch art and design movements advocates strict aesthetics, and uses primary colors in their creations. The plane and three-dimensional shapes are strictly in accordance with the geometric patterns. In this campaign, France and Italy also have outstanding representatives. The Italian futuristic associates itself with the left-wing fascist ideology and uses industrial culture to build a completely new modern country. Le Corbusier's architectural design art is also an outstanding representative of the pure modernist spirit.

The design of other countries did not fully comply with this rule. For example, Sweden and the United States have created a popular modern style accepted by the general public. Scandinavia and the United Kingdom are less inclined to take the extremes. In the selection of materials, they generally prefer to use natural materials rather than overly geometric shapes. Due to the Great Depression in the late 1920s, a small group of industrial design pioneers emerged in the United States to apply the design of the mechanical era to products such as trains, refrigerators, vacuum cleaners, and automobiles.

Although the concept of decoration is strongly opposed by the modern design movement, decoration still plays an important role during this period. Popular designs often use architectural geometric formal languages, creating a highly successful style. (Chrysler Building, New York, for example) Since 1925 Paris was named after the “Decorative Art Exhibition”, this style was named Art Deco. Although critics have different opinions on the times, this does not affect the popularity of decorative arts in the 1930s. However, even so, the modernist has left it out and gave it another name: Moderne. Moderne refers to a style between the art deco style and modernism.

During this period, the idea of ​​modern design has become a mode of thinking for designers. This kind of thinking is reflected in all production and life. But as time goes on, when a thing or a kind of thought is not suitable for the time background or economic environment at that time. Then it will be abandoned by the times. Therefore, after the war, the modernism that was taken for granted and its value were severely challenged. The methods used by modernism are too limited to design, and its worship of machinery suppresses the inventiveness of human thought. At the same time, it ignores the emotional and complex meaning given to individuals, and believes that only one design method is correct and appropriate. This concept is undoubtedly wrong.

Due to the post-war economic stagnation and changes in people's needs, Britain appeared pragmatic under the pressure of war. Pragmatic design means giving everyone the same choice and spending on a strictly controlled quantitative plan. The rest of Europe was influenced by the classical style advocated by the Nazis and Italian fascists. The Nazis linked the modern movement with the symbols of Jews and Communism, so modern movements are unacceptable at this time. At the same time, in order to restore the economy, all countries have formulated corresponding plans. In these economic recovery plans, the key strategy is design, which is its role in increasing exports, promoting trade and production.

The design of the 1950s was affected by the war. People were still in the state of material shortage and quantitative allocation. But at this time, the design concept had undergone a completely new change. People call the changed design “contemporary style”. It is not only a new design style, but also represents the future landscape. The war has left people with common goals and careers for rebuilding the future, so this 'contemporary style' is not a fashionable design style, but a design that really serves people. At the same time, this design is also referred to as 'organic design' because its form draws on the development of fine arts. This form of design presents a new look, becomes flexible, decorated with curves, and has a meaningful expression.

Another important change in the design of the 1950s was the re-emergence of bright colors and rough composition. This is a natural reflection of the material shortages, quantitative supply, and restrictions imposed by the war. In addition, the role of science and the application of post-war new aesthetics and new technologies also play an important role. Designers were impressed by the new vision of the future brought about by the advancement of science and technology. This new attitude toward technology has prompted the adoption of new materials and technologies, and has inspired design to absorb nutrition from science. At this time, in the early 20th century countries that dominated the international design scene, such as France and Germany, were gradually replaced by Italy, the United States, and Scandinavia. The development of Scandinavia and Italy has made rapid progress and has achieved great achievements, but in contrast, the United States has achieved even more outstanding achievements. In the late 1950s, a strange cultural power in the United States began to breed. Pop culture will overthrow the value of the 50's design. (text/name)