My new life

我回来了。从这个BLOG的角度来说，事隔两年多之后的自己，成长了很多，学会保护自己，坚定自己的理想，进入了新的有益的学习和生活环境，结束了痛苦的错误的感情生活。走出了一层层的云雾，让自己清醒。不给那些自以为是的人机会。

在这里，我要感谢在这段时间内伤害过我的人。尤其是我的前男友。这种史无前例的伤害让我可以更平静地接纳更多的东西。同时我走到哪里都会感谢刘老师给我的教导，与刘老师的结识对于我人生的意义，相当于我再一次出生。我的第三次生命从2007年6月15日开始。CAFA。我的第四次生命从2008年9月2日开始。TAIK。纪念我的成长。

这里还继续用，当作新家的库房。

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为什么策划无印良品的中国站 策展人-朱锷

“无印”情结
无印良品的概念是田中一光先生在1980年以“最适合的形态展现产品本质”为指导思想提出来的，它追求带给消费者“这样最好”的满足感，并将使“这样最好”的满足感尽量提升到最高端为目标。
一九九五到一九九八这三年间，我在田中一光设计事务所工作，无印良品图录是日常工作之一。
把无印良品的真正意义以展览的形式做到中国来，是我多年的愿望。

“无印”价值
目前，围绕在我们生活周边的商品已经两极化，一种以产量的稀少性、注重提高品牌自身价值为方向；另一种竭尽所能推行低价策略。
无印良品则在生活的“基本”与“普遍”间寻得新的价值观，在造型的“朴素”与“简约”中塑造出了新的审美形式。
可以想像一下，如果无印良品这一概念是在德国诞生，会是怎样的商品？在意大利诞生又会如何？更重要的是，再想像一下，若是在生活意识逐渐成熟的中国里，无印良品会展现怎样的景象呢？我觉得：这种看似平常的想像在今日非常重要。
无印良品，无疑是为我们提供了高度的标杆和可供反省的镜子。

我的愿望
文化，是指在自己出生的土地上如何发挥自身的独创性。在独一无二的本土文化环境下创造出来的东西，再将其放在国际平台上，这样才会令人耳目一新。所以本来就不存在所谓“国际性文化”，也许以后会慢慢出现，但是目前我们只能看到互相比较近似的文化。反之，如果多种文化混合的太厉害，做出来的东西就会变得中性。
我认为，所谓国际交流，就是要把在自己国土上培养的文化，在恰当的时候十分果断决绝地放到世界平台上去。
我想通过展览的刺激，来激发中国的产业人，设计师们更多发现中国自身“原点和原型”潜在的可能性。
我更希望这个展览，能让中国的产业人，设计师意识到只有把自己定位于一个在中国这样独特的文化环境里工作的，以这样的个性去关注中国的“原点和原型”，才会有突破。
对我来说，策划“无印良品2008中国展”，所要追求的就是希望中国的产业人和设计师，能受到无印良品这个标杆和镜子的启示，回头来清理埋在自己脚下的“自身价值”。

展览主题

当下中国的富有在于充满变化，中国的天空是容纳无印良品智慧和想象的巨大容器。“无印良品2008中国展”的意义在于：激发中国的产业人，设计师们更多发现中国自身“原点和原型”潜在的可能性。通过对无印良品性质特征的剖析，希望能让中国的产业人，设计师意识到只有把自己定位在中国这样独特的文化环境里工作的，以这样的个性去关注中国的“原点和原型”，才会有突破。对我来说，策划“无印良品2008中国展”，所要追求的就是提醒中国的产业人和设计师，希望能受到无印良品这个标杆和镜子的启示，回头来清理埋在自己脚下的“自身价值”。

“社会性”
时代在不断变化，但设计的价值不应该有所改变。在过往的几十年中，我们创造了一些但又扔掉了很多东西，只要能推动经济发展，就可以张扬自己的个性。但现在，我们应该意识到必须考虑资源、环境、相互间的理解以及其他出现的问题。 设计师一个人是创造不出任何产品的。只有当设计师发现了这个社会所需要的东西之时，他们才可以设计些东西来满足这些人的需要。设计的特点是由社会需求决定的，设计作品的时候我们必须考虑到社会环境。

“原型性”
“无印良品”的设计带有典型日本美学气质。其设计的卓越在于追求精准。日用品设计很容易变成刻意成为某类事物的隐喻。但是，无印良品并未给人以此种印象，而仿佛只为记录生活时间而存在。

“无名性”
人们每天反复使用的东西促成了工具的产生。设计应当更具有目的性。被人们的爱用但没有名的的设计作品和设计师有目的性的设计作品从本质上讲是不同的。如果，设计从开始就以传播为目的话，设计师们在设计作品时思考最多的是能被大众所接受的东西，想着：“使用者一定会觉得这个设计很出色的！”他设计作品时只是希望能被大众所接受。相反，若是出于使用所需设计了一样东西，而另一个人非常喜爱，于是也模仿着原样做了个相似的东西。这样，同一个设计就像链条一样传播开来，这种设计可以称之为无名的设计。设计是一种有目的的创造性活动。

“日常性”
在这个充满非日常的生活环境里，无印良品提供的是日常。因为不断反复，我们已经感觉不出它的特殊的才可以叫作“日常”。新认识某种事情，或者第一次接触未知的东西，并非 “日常”。?刷牙、洗碗等等家常便饭得几乎让我们意识不到存在的东西叫“日常”，无印良品是通过提供观察日常生活的观点，提供极其日常的东西，让大家在使用过程中，重新审视日常用品的设计及重新审视日常生活。 无印良品尝试通过设计，使大家可以重新发现隐藏在日常生活里的智慧，并努力让人们理解设计在现实生活中的价值。

 “未来性 ”
设计在追求原型性的同时，应该要具有谦逊的品质，以使产品融入人们的日常生活。如果缺少了这种谦逊，设计将无法在不同的时代生存。
设计师应该至少有自己的一些见解，也就是说我们应该反映出我们自身的立场。这个展览便是通过有意地从不同角度审视设计从而考量这些设计中的潜力。我们应该采取长远而非短浅的目光，我们需要回顾过往，同时去预见将来文化会以何种形态出现。在我们的物质还不发达时，我们并没有“原型性”这种理念。当我们拥有大量的物质，并且不断有更多的产品以不同的外观问世之后。作为反作用力，作为产品使用者的我们，反而无法在泛滥的商品中找到自己所想要的。“什么样的设计才是真正为了生活的设计”这个问题到该讨论的时候了。

Why the MUJI 2008 China Exhibition
Project Conception: Zhu E

The MUJI Complex
The concept of “MUJI” was brought up by Mr. Ikko Tanaka in 1980, when he decided on “the most suitable form to display the nature of goods” as the commitment of the brand. It aims at providing “this is the best” satisfaction to consumers and maximizing such satisfaction.
During the three years from 1995 to 1998 when I was working in the Ikko Tanaka Design Studio, the MUJI catalogues were among the subjects of my daily work.

It‘s been a years cherished wish of mine to bring the real essence of MUJI to China in the way of exhibition.

The Value of MUJI
Nowadays the goods around us are already polarized: on one side there are those who emphasize on their rarity and lift up their own brand value; on the other side are those who try their best to bring down the price.

MUJI, however, seeks a new value in the fundamental and the universal of life. It has created a new aesthetic form through the image of simplicity.

Let’s just imagine: how would the goods look like if MUJI is a concept born in Germany? What if it comes from Italy? Or more importantly, let’s imagine: what a scene would MUJI create if it is introduced to the contemporary China, where the awareness of life matures gradually? I believe that these assumptions, nothing peculiar in themselves though, are very important at present.
Undoubtedly, MUJI is offering us a standard of height as well as a mirror for self-reflection.

My Wish
Culture refers to the creativity that one exercises on his/her native land. Only those which are created in the unique native cultural environment can bring pleasant surprise when displayed on the international platform. Hence there is never such an “international culture”; even though such culture may emerge some time later, for the time being we can only find relatively similar cultures. On the other hand, if different cultures mix too much together, the product thus created could be ordinary.

Therefore I believe that the so-called international exchange calls us to introduce the culture nurtured on our own land to the international platform at the right moment with courage and determination.
I hope the exhibition inspires the Chinese designers and the industrial staff to further explore the potential possibilities of the original point and the prototypes of China.

I hope that the exhibition make the Chinese designers and the industrial staff be aware that breakthrough can only take place when they situate themselves firmly in the unique cultural environment of China and focus on the original point and the prototypes of China.

As for me, the purpose of organizing the “MUJI 2008 China Exhibition” is to let the Chinese designers and the industrial staff be inspired by MUJI the standard and the mirror and thereby classify their own value berried under their own feet.

ENCOUNER WITH MUJI IN CHINA
Zhu E

The real prosperity of current China comes from its rich variety and this variety provides a valuable platform to showcase MUJI’s wisdoms and imaginations. The real significance of MUJI 2008 China Exhibition is that it will be an exhibition that gives inspirations to the Chinese designers and the industrial staff as well as enhancing their abilities to discover China’s potential originality. The analysis of MUJI’s character is supposed to shed a light on the Chinese designers and the industrial staff and show them that only when they position themselves into the unique Chinese culture of their own can they have real breakthroughs. For me, the whole purpose of organizing this event is to remind the Chinese designers and the industrial staff of their own culture and value and hope that they’ll be inspired by MUJI and rediscover their own values.

Accustomed to Social Needs
Times change, but the value of design should never. For the past few decades, we create and we discard for ourselves and for pure economic growth. But now it’s time to think about the resources, the environment, to think about different understandings and other issues. Designers alone don’t create goods. They discover needs and design for these needs to satisfy the society. The characteristics of a design are decided by social needs and the designers must take into consideration of the social environment when designing a product.

Being Simple
MUJI showcases a very typical Japanese aesthetic style. The excellence of its design lies in its pursuit of simplicity, openness and honesty. Daily designs could be easy victims of metaphorization of certain objects, but no in MUJI’s case. Its’ whole existence is like a simple record of life and time.

Being Nameless
Repeated use of an object makes it a tool. Similarly, designs should also have a strong purpose. Designs with a strong purpose and those popular but without a purpose are very different in nature. If one design takes promotion as the goal, the designer will only think about the elements that are popular with the public. All that in his mind will be how to attract and please the public. But if a design is to create something of real use, it will gain favor from others and usually copiers. The copiers will help spread the design through imitation. This kind of design is not famous, but very influential. In a word, design won’t have to be a blockbuster, but it has to be a creation of strong purpose.

Being Daily
In the current motley living environment, MUJI is serving us something ‘daily’ to our knowledge; something appears so frequent that we feel its existence so natural. ‘Daily’ is not something new or unknown. Brushing our teeth is something daily, washing the dishes also. In a word, it’s something we don’t necessarily notice its existence. Mujirushi Ryohin is providing extremely daily products, but its thoughts and designs gained through careful and exact observations of daily life makes people reconsider and rediscover the design of daily products and daily life itself as well. MUJI, through its daily designs, is helping people to rediscover the wisdoms hidden in common daily life and the value of design in real life.

Showing Perspectives
Designs, in the pursuit of originality, should also aspires to modesty and plainness and adapt to peoples’ daily lives. Without this modesty and plainness, designs will not survive the change of times. A designer should have perspectives of his own and reflect his own thoughts, positions, ideas in his works. The exhibition is by design to test and measure the potentials of the exhibited designs from different point of views. Designer should have a long term perspective, review the past and forecast the future form of culture. We have no idea of being simple when in a state of underdevelopment, but now facing a world of extreme material abundance, with growing products appearing in different designs, consumers are losing sight of and can’t find what they really need. As designers, it’s now time to reflect the question ‘what’s the best design for real life’.

I hope that the exhibition make the Chinese designers and the industrial staff be aware that breakthrough can only take place when they situate themselves firmly in the unique cultural environment of China and focus on the original point and the prototypes of China.