Spatial factors in product design

- Author and legend drawing: Tan Shumin

In the early seventies of this century, the designers of the Swedish company Fabrice at the annual meeting of the International Design Research Society as a direct participant in the design of the actual combatants questioned certain design theories at that time. “We do not think that the products will be The combination of form and function will bring more inspiration to the whole design process. We often feel that the two are chaotic in the initial picture of the concept. That is to say, our mind does not distinguish between the two. Which one of them takes precedence, and experience tells us that it is often detours to emphasize the function of the product or to focus first on shaping the unique appearance.”

In response, Ritz Powell, the host of the annual meeting at the time, thought that the best of both worlds in terms of function and form depends heavily on the designers' “artistic intuition” and on production technology. understand situation. In spite of this, he still thinks that there is a certain rule to follow. "If there is something that is not yet realized that works, I believe that is the unique feeling of designers in the spatial configuration."

Here, we can further extend Powell's remarks: The process of product design is, in a sense, the process of dividing and reorganizing the virtual space.

The object of product design must be a certain form of entity, and as an entity must occupy a certain space. The “forms” in the three major elements are aimed at the shaping of this entity. The “three-dimensional composition” that is particularly emphasized in product design education is also to discuss the shaping of entities, that is, how to use a certain form of entity to fill a certain space. . So, in addition to the space occupied by this entity, there is no need to consider the existence of spatial factors in other senses in product design.

This is not the case.

There are a few words in Laozi: "If you think it is a device, when it is not, there is a device for you; if you have a house, you will think of a room. When it is not, there is room for it."

What does that mean? ----We use clay to form vessels, but it is not the entity of that clay that really does the function of the vessels, but the space that this entity constructs is nothingness; we use the walls to build houses, but really play the houses It is not the wall entity that functions, but the space that this entity constructs is nothingness.

This principle is not difficult to understand. The entity is a concrete object, but it is the abstract space that really works. There is no abstract space for an entity without concrete imagery. However, the existence of an entity also means that it constructs a space with practical functions.

From this perspective, our design objects will undoubtedly be more in depth.

The first thing we think of is the various containers. The design of the container is to use a certain material entity to build a space with storage function. If buildings are also regarded as a special type of container in a certain degree, then it is not difficult to understand such topics as the construction of the interior space that the construction industry is so keen on and the extension of the external space.

However, in terms of the diversity of industrial product forms and functions, exploring the existence of this “virtual space” and defining it functionally is a relatively complex issue.

Such as chairs. Chair, leaning too. In other words, the chair is to provide people with a material support to maintain a sitting position. If you are sitting in a chair at this time, you can clearly feel the existence of the chair entity. You may be surprised: where is the virtual space in which the chair entity is constructed?

I ask you: Where are you? In other words, are you sitting in a chair or sitting outside a chair?

Obviously, in terms of the space occupied by the chair itself, you are sitting outside the chair; in terms of the space provided by the chair that allows you to remain seated, you are sitting in a chair.

Rather than the basic function of the chair is to provide people with a material support to maintain a sitting position, it is better to say that its existence is to provide people with a space to accommodate their sitting position.

Figure 1. The sofa designed by Swedish designer Jan Ekselius tries to create a virtual space that fits tightly into the human body with a single block structure.

Figure 2 is also a space for shaping the sitting posture. The profiles used are different, and the feelings brought to people are quite different.

These two kinds of space—the space occupied by entities and the so-called virtual space it constructs—are contradictory and unified with each other. They are interdependent, and they are both virtual and real.

Let's take a look at the classic works of Brick, the polystyrene pitcher produced at the end of the 1960s (Figure 3). This is a well-recognized work that incorporates the functionality of a product into an artistic form. Its overall form is very simple, but it gives an unforgettable impression. Perhaps because of its simplicity, the regularity it reveals may be more pronounced.

Here, it is clear that the outer wall of the entire polystyrene texture of the water tank can be seen as a "real space." The virtual space constructed by this real space is quite particular: it includes “water-filling space”, “outlet space”, “convergence space between water injection outlets and outlets,” “water-filled space,” and “Notes. The space between the outlet and the body of water is particularly noteworthy. It also creates a space for the user's hand to hold the entire water tank. If we say that the first few virtual spaces were added one by one in a "positive increase" way, then the latter seems to be deliberately set aside by a "negative reduction." The existence of this virtual space not only facilitates the user and enhances the overall function of the water tank, but is also an effective transition from virtual space to a virtual space. This is the key to the dynamic and human touch of this design.

So, what is the ultimate basis for dividing virtual reality space?

In the example of a water tank, the virtual space associated with water injection, water, and water supply is well understood in the part constructed by the physical outer wall of the water tank, and the part that can be grasped is the external form of the water tank. The recesses remind people of their function. After all, it is still formed by the shrinking of real space. Therefore, we refer to the figurative form as "real", and the part of the part constructed by the concrete entity is not "fictional".

From the design point of view, water, water injection, water supply, as well as for people to grasp, etc. are exactly the function of the water tank, and the overall design of the water tank is the real space of the equipment image to build a series of virtual space with substantial functions. .

The external shaping of the jug is a natural result of satisfying the various functions.

It seems that the form is still following the function?

The explanations of the designers of the Fabrique company are still somewhat unexpected: “After we have completed the basic functions, we have only discovered how to make the jug look more concise, and suddenly realized that a convenient space for gripping has already existed. No need to install any handles."

Please note that the term used here is "space" rather than "part", which underpins Powell's view that spatial sensibility exists almost beyond form and function in the design process. Only, unfortunately, was not clearly recognized by people.

Whether intentionally or unintentionally, the involvement of spatial factors will make designers more active in their thinking. Examining the causes of certain design works from the perspective of the division of virtual reality space seems to be more powerful than the conclusion drawn from the relationship between form and function, and it can be more inferred.


Figure 4 is two kinds of daily necessities, kitchen knives and clams. The most obvious difference from conventional designs is their grip. Obviously, its designers are aware of the essence of the problem: the role of the handle is nothing more than to give the user's hand the necessary space and to make a strong angle between the hand and the receiver. The process of creating virtual space from this basic point is relatively easy to go deeper. If you understand this, you can even revamp it in form.

The product's virtual space is not fixed. The introduction of variable parameters in the process of constructing the virtual space will make the product form and function