【作者】 黄厚石；

【导师】 许平；

【作者基本信息】 中央美术学院 ， 设计艺术学， 2007， 博士

【摘要】 19世纪末、20世纪初，受到工业化大生产的影响，设计艺术的价值观与价值构成发生了重大变化。与手工艺生产时代相比，现代设计受到更多的限制。设计艺术与纯粹的艺术创作之间逐渐形成了各自独立的价值主体。因此，在装饰的艺术表现性被削弱的同时，抽象艺术取代了装饰的部分功能。阿道夫·卢斯的装饰批判一方面是对传统装饰批判的延续，另一方面，他敏锐地发现了生产方式变化下现代设计的价值转型。但是，卢斯的设计价值分析不仅割裂了设计与艺术之间的关联性，也割裂了事实与价值之间的关系。对设计中经济价值的过分强调，体现了卢斯建立在二元思维方式之下的价值一元论。本文无意替装饰翻案，装饰的功过事非将随时代的变更而任人评说。本文试图从价值多元论的视角来重新审视卢斯的装饰批判，在肯定其对现代设计的敏锐认识的同时，指出该装饰批判的局限性，从而进一步指出价值一元论的局限性。价值多元论中的价值不可排序以及两种类型自由等观点都将为全面而客观地建立设计的价值体系奠定基础。更多还原

【Abstract】 From the influence of industrialization, the values and the constitution of value of design had greatly changed in the late of 19th century and the initial of 20th century. Compared with the age of handicraft, the modern design was more confined. The Artistic Design and Fine Art both had the subject of value of itself. So, with the progress of which the artistic expressivity of ornament was weakened, the abstract art had replaced some function of ornament. Adolf Loos’s criticism of ornament continued the conventional ornamental criticism, at the same time, he acutely found the transform of value under the change of mode of production.But the design value analyse of Loos broke up the relationship not only between the design and fine art, but also the fact and value. With the overemphasis to economical value of design, Loos’s value singularism was embodied which based in the binary oppositions. Reversing a correct verdict for ornament is not the aim of my article, because the merits and demerits of ornament will be commented from head to feet with the change of age. In the visual angle of value pluralism, my article try to observe the Loos’s criticism of ornament once again. With confirming Loos’s acute cognition of modern design, I will point out the limitations of this criticism, and the limitations of value singularism. There are some view of unorderable in value and two kinds of liberty which came from value pluralism will establish the base of a overall and objective value system.更多还原