原研哉设计的小米新LOGO惹争议，这8本书帮你读懂大师的品牌美学

平面设计在海报和商标领域取得的成功，使其获得了好评，同时也给人们留下一个印象，以为这就是设计的全部职能。社会对设计的要求渐渐集中在海报和商标领域。当这两种表现形式不适合新时代的需求时，平面设计也随之褪去了光环。所以，当务之急就是对设计领域重新配置，为设计找到新的用武之地。

当然，问题并不只是存在于海报和商标领域。在商品设计和网络设计方 面也有这样的问题。功能单一的捆包式服 务就像是常见的“头痛药"或是“止泻药”，对那些小病症固然能够起到作用，但如果病情严重，就会束手无策。在传媒领域，设计师担任着类似医生的角色，他们要做的是通过信息传达解决问题。即便患者感到头痛跑来要头痛药，做医生的也不能听之任之。如果做一番认真的检查，很可能发现更为严重的疾病。这时候，患者需要的可能是开刀治疗。如果设计师们成了一心只想出卖“头痛药”的庸医，那些便宜的“头痛药”就会在市面上大肆流通，搅乱市场。

用黑色的话，就要考虑为什么用黑色，如何运用黑色的黑度。如果是用白纸的话，就要考虑到各种白纸的质感。

制作图书时，正文的纸要选择手感柔软、有-定厚度、黑色的铅字能像被浸湿后嵌在纸里面的那种白纸。为了使人产生“似乎什么要开始了”一样的期待感，扉页要用硬一些、华丽一些的纸。衬纸具有连接封面和正文的硬度，要有能衬托出漂亮的扉页的质感。封面的硬度也很重要，如果和衬纸使用一样的纸，可以显出连续性，所以可以用同一种纸而改变其厚度。护封也要用白色，但要贴上光亮的纸，既不容易弄脏又有硬度。如果像这样，每个细节都精心考虑和选择的话，即使是一本白色的书，也能有非常突出的个性。比如说护封，是用光亮的纸，还是用乳白色的、像鸡蛋清那样手感的纸?抑或是用日本纸，也就是扔起来能在空中飘浮三秒钟的那种薄薄的纸?哪怕是 一本白色的书， 在充分考虑其质感的过程中，也能形成独特的风格。但如果只是大致地想想， 感觉这样很漂亮就决定的话，是绝对做不出效果的。

为了延续传统工艺品，人们进行着各种各样的尝试，比如现在生活中已有的设计导引、新的使用方法方案等等。我也曾参加过类似活动，在那里，我切身感受到:不论是漆器还是陶瓷，问题的本质不是如何创造出魅力，而是如何复原可以感受这些器物魅力的生活。漆器不畅销，不是因为人们不喜欢漆器。即使现在，人们看到美丽的漆器也还是会感动。我们正在逐渐失去的是欣赏、享受生活空白的感知力和契机。

不仅是传统工艺品，现代产品亦然。重要的不是豪华和拥有的数量，而是使用的深度。如果没有更好使用它的途径，物品就不能实现自身价值，隐含于物品中的生活质感也不会释放。因此，我们必须要面向未来，改变住房的形状。凡成长之物的形状均会发生改变，“家”也不例外。

学会舍弃只是首要一一步。从正面引导“浪费”的概念，从而加深人们对“舍弃”的理解。我们必须甩掉拥有世界上最多家当的形象，脱胎换骨，恢复到细腻的富有敏感性的国家本质，以素简为前提，让物之美在平凡的生活中处处开花。

与其拥有，不如抛却，重建生活形态的线索就在于此。在空荡荡的餐桌上摆上筷枕，筷子在上面整齐地放定，这不就是 一种生 活的富足吗?

柳宗理的茶壹

柳宗理所設計的日常用品「正安靜地受到矚目」。比方说茶壼，它是沒有任何特出之處、極普通的茶壺，但實際上卻是堂堂正正充滿了「提到茶壺就必定想到我」的說服力。 

茶壶的用途非常單純——從水龍頭將水注入後 ，再放到加熱器上加熱。而加熱器，無論是瓦斯爐或是電磁爐都做同一件事——將水煮沸，水蒸氣從壼口裊裊上升，這時再將水注入其它茶壺或保温瓶之中。柳宗理的茶壼，做為將此日常行為極其自然表現出來的道具，實在是完成度非常地高。無論是握把的觸感，或是壺嘴的飽滿造型，都具有一種樸拙的趣味，且能夠給予使用者安心之感。沉穩且具重量感的壺身，以及壺蓋適中渾圓的弧度，都流露出設計者貫徹實用美學的誠意。就在不久之前，義大利裂造了符合幾何學原理具備突出造型的水瓶，非常吸引大聚注意，甚至讓人感覺到它突破了時代潮流的頂端，彷佛就要飛冲天 。但是最近看來，似乎這種曾經的前衡才是跟不上時代。

我之所以會有這樣的感覺，完全不是因為某種懷古趣味的流行，或者是文藝復興的風潮。長久以來，我們都被消费的欲求所驅使， - -味地追求所謂的「新潮」;然而我們是否應該靜下心來，悠聞地環顧團繞在我們身旁的日常風景呢?柳宗理的茶壺並非是骨董，也非象微古老且美好時代之某種懷舊情懷的產物，它做為一種極其普通的工業裂品，優雅地貼近了我們的日常生活與行為。

設計並非僅僅是做造型。計畫且有意識地去裂作物品的外型的確是設計，但不過是部份而已。所謂設計，並非只是將物品創造生成的思想，而同時是藉由物品促使我們去思考生活環境的本質，乃是一種生活的思想。所以，與創作一樣，「去探尋並發現」也是設計的初衷。

在我們身邊的所有東西可說都經過了設計的過程;杯子、電燈、原子筆、行動電話、地板的組裝、蓮蓬頭之孔穴的排列、泡麵的伸缩軟硬程度等，都是照蓍計畫被創造。在此意義層面之上，我們可以結論:所有的物事都經過設計，人類活著就會成就環境。就在 此處編織網羅了巨量智慧的累積，而後在一件- 件使其覺醒的過程中，就會發現設計的醍醐之味。就在平常沒有意識到的環境中，只要發現到它的一絲線索 ，便能以新鮮之眼重新觀照世界。

无论怎样，当我专注于工作中的细微情感与审美差异，我即开始无意识地从人造色的洪流转向不太惹人注意的纯自然色的领地。相比于对鲜艳与明亮的强调，我发现自己更加震颤于旧书褪去之色、混入日本和纸的纸板上的灰色，以及锈蚀的雅致之色。从植物种子与沙子那时尚、自然的 色彩中，我发现了真实，甚至是一种血缘关系。在所有这些东西中，留下最伟大印记的是白色。

白纸有无数种。有些平滑如镜面，有些看起来则像鲨鱼皮一样粗糙;有些有着石膏般平整的表面，有些则有着蛋壳似的肌理;有些闪亮如覆上了滑石粉，有些则莹白如雪。我们找到的白纸可能摸上去如阴天般模糊不清，看上去如毛毯般又软又厚，或硬如木板，或轻如空气，或随和， 或强硬...这个单子可以这样一直列下去。因此，也许开始时看着容易，其实为一本书选纸总是一个漫长而艰难的过程，因为要把这许多不同的“白”整合到一起。我们必须在“红白”、“蓝白”与“黄白”之间找到一个平衡，选定适当的纤维长度和厚度。这样书的各部分就能各自扮演其恰当的角色:护封传达一种有力的沉默，内封则为初启之纯净，扉页乃新开始之肌理，正文则将文字与图像放在清洁的背景上，或对读者的指尖柔声细语:“触摸我!

002 Milk

Milk white. A particular color, aroma, and texture, thick and opaque, immediately comes to mind. You recall that richness running down your throat. People are brought up on milk. We are, after all, mam. mals-we belong to the class of animals that suckle their young. In Japanese, the word taracbine means "parent" lteralaly "hanging milk source." It suggests the pendulous breasts of a nursing mother, milk tikling from her nipples. This is our image of "milk white." We carry the impression with us, a common reference, or a makura kotoba, a poetic epithet or set form of words, that evokes a specific emotional response.

But why is milk the color it is? It is a question worth address- ing. Whereas black absorbs all light, white reflets it. All wavelengths pass through something transparent. Depending on the length of its waves, we perceive light as the various colors of the rainbow. A to- mato is red because it absorbs all other wavelengths and reflects only that wavelength people perceive as red. Milk appears white because its insoluble fats and protein particles diffuse all light's wavelengths. Of course, this is common scientific knowledge. Yet it doesn't provide an answer as to why milk is white or a tomato red.

Why does air appear transparent? The most satisfying answer is the theory that we, as living organisms, do not need to perceive it. Ifit were necesars for us to see air, a dffetr form of vision would surely have evolved., If an ability to distinguish between types of air were an ispensle codition of lfe, if we had to avoid breathing harmful dark purple air or seek out safe, nurious igh greee ir,we would have a corepedping form of pereption. Our senses provide  us with whar we need. For example, we don't need to idntify peril by scenr, and so we have suvived with a very limited sense of smell barely able to sniff out gases.

002 Milk

Milk white. A particular color, aroma, and texture, thick and opaque, immediately comes to mind. You recall that richness running down your throat. People are brought up on milk. We are, after all, mam. mals-we belong to the class of animals that suckle their young. In Japanese, the word taracbine means "parent" lteralaly "hanging milk source." It suggests the pendulous breasts of a nursing mother, milk tikling from her nipples. This is our image of "milk white." We carry the impression with us, a common reference, or a makura kotoba, a poetic epithet or set form of words, that evokes a specific emotional response.

But why is milk the color it is? It is a question worth address- ing. Whereas black absorbs all light, white reflets it. All wavelengths pass through something transparent. Depending on the length of its waves, we perceive light as the various colors of the rainbow. A to- mato is red because it absorbs all other wavelengths and reflects only that wavelength people perceive as red. Milk appears white because its insoluble fats and protein particles diffuse all light's wavelengths. Of course, this is common scientific knowledge. Yet it doesn't provide an answer as to why milk is white or a tomato red.

Why does air appear transparent? The most satisfying answer is the theory that we, as living organisms, do not need to perceive it. Ifit were necesars for us to see air, a dffetr form of vision would surely have evolved., If an ability to distinguish between types of air were an ispensle codition of lfe, if we had to avoid breathing harmful dark purple air or seek out safe, nurious igh greee ir,we would have a corepedping form of pereption. Our senses provide  us with whar we need. For example, we don't need to idntify peril by scenr, and so we have suvived with a very limited sense of smell barely able to sniff out gases.

Milk is a different matter. Without milk, babies would not sur- vive. It was therefore essential that its appearance be plain and evident to us. That milk is white that it diffusely reflects all wavelengths thanks to its fats and proteins -is thus a natural providence.

The smell of milk, too, is significant; it is associated with the warm security that emanates from a mother's body. Fresh milk smells good, but gradually turns sour as time passes, letting us know it has become dangerous to ingest. Milk's color, its smell, its viscosity, and its faintly sweet flavor are all signs of its value to us.

This brings to mind a scene from the novel The Temple of the Golden Pavilion by Mishima Yukio. In a reception room, a woman dressed in a beautiful kimono serves a cup of tea to a young army offi- cer. He refuses to drink it. Finally, she opens the collar of her kimono, takes out one of her breasts, and squeezes some milk into the officer's teacup. Watching the scene from some distance, the novel's protag- onist feels he can see the milk streaming from her breast as it foams in the green tea. The vivid whiteness of her powdered profile and her bare breast between the folds of her brilliant kimono... Milk trickling down to froth in a cup of green matcha... This is what we mean by milk white.

<前言> 寻找最美的书店

亚特兰蒂斯书店——爱琴海上的奇迹

巴特尔书店——书籍的始发站与终点站

科摩大道10号书店——最潮时尚资讯的发布者

<访谈> 藤本壮介：书与建筑——在无限与有限之间

旦特书店——加入世界之旅的邀约

薇拉书店——书本散发着热情的气息

钟摆咖啡书店——宛如我家的中庭

<专栏> 平松洋子：巴黎市政厅内的遐思

酷客美食书店——尽尝美食与好书

巴氏户外书店——太阳落山就关店

阿里昂展览书店——雪洞白墙，俨如宫殿

美国图书中心——自由是我们的主张

慢读书店——鼻尖嗅到革命的气息

<访谈> 奇普?基德：故事里隐秘的“声音”

<访谈> 特修斯?陈：数码世代的原点回归

蒲蒲兰绘本馆——孩子是这里的主角

好样本事书店——感受书本的暖意

莱罗书店——栖息着百年的光阴

<专栏> 港千寻：书店中的旅人

莎士比亚书店——代代相传，共述巴黎的故事

老教堂书店——老教堂变身书之圣殿

雅典人大书店——古剧院再生为书之剧场

<专栏> 原研哉：书店与图书馆，皆有美好前景

代官山茑屋书店——蕴育东京文化的书之森林

最后一家书店——诞生于网络的实体书店

老书虫书吧——映出都市的动感活力