The application of ceramics in Chinese elements

In recent years, in the ceramic industry, especially in tile companies, Chinese-style ceramic tile design and display design have emerged quietly. Concepts such as "Fashion China", "China Impression", "National Soul" and so on are frequently appearing in the company's product showrooms and flagship stores. This kind of Chinese consciousness and national feelings can be relieved by enterprises. It is indeed worthy of recognition and praise. I paid attention to the Chinese-style products and display designs advocated by these companies and found that apart from merely introducing concepts, they are either the traditional Chinese elements directly applied to tiles or flower patches or waistlines. Moreover, these elements are basically "acquisitionism" and there is no reprocessing of traditional elements.

I remember that in 2006, a friend showed me the photos taken at the Italian Ceramics Fair. Among them, foreign ceramic companies used Chinese calligraphy and bamboo and other elements to make ceramic tiles. I saw that the design was very naive. Chinese characters (calligraphy) twisted and twisted, like Chinese children's bodies, bamboo paintings like Chinese peasant paintings. The friend specifically introduced me to these designs, as if he had noticed the breath of a certain design trend. Sure enough, soon, Chinese ceramic companies, especially Foshan production areas, began to sway "Chinese style." I admire the keen insights of domestic companies, and I am also pleased by their "awakening." After all, "Chinese design" began. Speaking of Chinese design, I think we must talk about the design of the new museum of Suzhou Museum.

The New Suzhou Museum was designed by world-renowned architectural design master Mr. Pei-ming. Those who have seen the New Suzhou Museum will feel the new hall, both traditional Chinese taste and Suzhou regional characteristics, but also reflect the form and style of China in the new era. It is both traditional and modern. This is exactly the embodiment of the design concept of "China and New, Su and New" set by Mr. Bei for the New Suzhou Museum.

In the architectural form of the New Suzhou Museum, Mr. Pei continues his consistent architectural philosophy—architecture that enables dialogue with the environment. The New Suzhou Museum continues his modernist architectural style and has spared no effort to discover the roots of history and culture, focusing on local style and local flavor. It does not only satisfy the performance of modern technology. To make the new Suzhou Museum "not high or low," and "hidden" in the city of Suzhou. The new Suzhou Museum is built at the intersection of Qimen Road and North East Street in the northeast corner of the ancient city, beside the Old Suzhou Museum (Loyal Palace). Close to Humble Administrator's Garden and Lion Park. A bird's eye view of the new Suzhou Museum reveals that it is integrated with the surrounding environment, and borrows views of Humble Administrator's Garden and Lion Park. Mr. Pei's definition of the overall style of the new Suzhou Museum --- "Fenghuawawa", continues the traditional architectural style of Suzhou residential buildings. He said: "We must have the characteristics of Suzhou." "The characteristics of Suzhou's architecturally-decorated walls and tiles should not be given up. However, there must be innovations that require both traditional features and the reproduction of traditional Suzhou gardens."

"Fenghuawa" is a traditional architectural feature of Suzhou's traditional residences, but the New Suzhou Museum's "Falcon Wall" is a modern style. Looking at the new building, the entire building is mixed with the Suzhou residential area. From the basic structure of the building, the display of colors, and the architectural space pattern are the feelings of Jiangnan dwellings. However, careful observation and taste will reveal that the new hall is very different from the Suzhou residential area. The basic structure of the structure has undergone subtle adjustments, the color of the reflected light is slightly different, and the material and texture are completely different. In the new museum, the white wall elements are basically retained, and the blue tiles are replaced by a dark gray stone. This kind of “Chinese black” granite stone has a gray tone, is wet with rain and is black, and the sun shines. The color becomes dark gray. The new building replaced the wooden materials in traditional buildings of Suzhou residential buildings with modern steel structures. The top of the slope composed of geometric shapes not only inherits the sloped roof structure of the ancient buildings in Suzhou, but also breaks the shackles of the “big roof” of Chinese traditional architecture in lighting, fully embodying the concept of “making light to do design”. .

Mr. Bei’s new Suzhou Museum design seems to be a “imitation” of the traditional architecture of Suzhou residential buildings. It is actually the “infiltration” of the artistic conception and flavor of Suzhou folks. It is the “inheritance” of the cultural connotation of Suzhou and is a continuation of the Chinese people’s blood history. ".