Author: Pan Chunhua
"Designers generally have high vision, bad mouth, and are difficult to get along with!" - It seems an accurate label given by the material supplier. Especially, after the Guangzhou Design Week in 2018, many material manufacturers absolutely recognized this label.
What did you experience at Guangzhou Design Week in 2018? Let’s review the comments from all walks of life:“It has become a materials exhibition”, “The large number of ceramic tile exhibition halls are like another Ceramics Expo!”, “The quality of the entire design week has been lowered by this group of building materials manufacturers. and taste"...Similar remarks have been circulating in the industry for almost the whole year since the 2018 Design Week, especially the designers' ruthless words, which are really unpleasant. A little bit - no wonder the material dealers put so many unfriendly labels on the designers. It turns out they are mutual.
In fact, according to the author’s observation: in recent years, the popularity of Guangzhou Design Week in the ceramic tile field has continued to rise, and the participation and enthusiasm of ceramic tile companies have also continued to rise. In particular, the intervention of a batch of so-called traditional brand armies has injected proper pottery building power into it.
There is a well-known opinion that the author quite agrees with, which roughly means: "You have to find valuable parts from the criticism of others and even the criticism of enemies, and use them for my own use, in order to grow quickly." Indeed, at the design week booths in 2018, the displays of many ceramic construction companies were indeed too traditional and old-fashioned. Their ideas still followed the display method of the Ceramics Expo, which undoubtedly seemed conservative and lacked creativity. In the eyes of designers, it is too low.
In fact, what the author wants to say is: since designers think traditional brands are too low, doesn’t that mean you have room to play? If material manufacturers are so trendy and powerful, why do we need designers?
As for the love-hate relationship between material dealers and designers, the author does not intend to sensationalize it. What I want to say this time is that compared with 2018, during the 2019 design week, many ceramic tile companies actually ushered in their on displayThe leaps and bounds of improvement and growth are indeed worth mentioning.
“If there were not many ceramic tile brand displays that designers will remember at Design Week in 2018. The most impressive one was the Nobel Prize, then in 2019 there were several other Nobel Prize winners. Not bad. ” On the afternoon of the second day of Design Week, the author randomly visited a designer’s awards ceremony and had a brief chat with several designers and obtained the above valuable information.
Why do you say precious?
First of all, the above statement shows that the display of architectural ceramics brands has improved this year compared to last year; secondly, designers are indeed paying attention to the exhibitions of architectural ceramics brands and have some knowledge and impressions of ceramic tile brands.
——Isn’t this the designer recognition and attention that a large number of our participating brands hope to gain?
In fact, what the author wants to find out more is: Why has Nobel represented the ceramic tile brand in Design Week for two consecutive years, and what does it have that our ceramic tile brands should learn and absorb? place? The author would like to talk briefly.
As an East China brand, Nobel seems to be a little far away from the industry media. However, this has not stopped its brand from being known throughout the industry.
The author's impression is similar to that of the above-mentioned designers. Whether it was last year or this year, Nobel's booth at Design Week was indeed more outstanding than other ceramic building material exhibiting brands throughout the design week.
Last year it showed an in-depth study of textile culture, using the concept of deconstruction to reconstruct the texture of traditional Chinese fabrics, and ultimately presented a variety of textures and details on the surface of the ceramic tiles. It can be said that it endows modern building ceramics technology with profound cultural heritage, and the display form is simple but outstanding. The pure white color cleanses everyone's impetuous mind.
This year, Nobel Prize is a continuous extension of last year in terms of display form, color and connotation. It is still a light and pure white tone, and it is still a simple but not simple display method, but the texture of its display jumps from fabric elements to the paper realm.
Someone said: some ""Trick" if you play it once, people will find it refreshing, but if you play it again, the effect will be greatly reduced, right?
However, Nobel’s display format, which seems to be similar to last year, has once again gained considerable recognition and continues to attract designer fans for its brand at design weeks. Why?
The author also talked about this issue with many people inside and outside the industry I met at the exhibition, and based on the general opinions, the main reasons are as follows.
First, they are on the same frequency as designers and design.
The Nobel Show is particularly well positioned as an exhibition during Design Week, with clear goals and clear positioning. It focuses on the presentation of design ideas or concepts rather than on physical products. This threshold alone may be able to block many brands from the door. We can see that Nobel's display format is very bold, without any trace of the conservative display of traditional ceramic tile material dealers. Compared with some traditional display methods, efforts are made to create physical space displays without any room for imagination - bathrooms, kitchens, living rooms, etc., but very simple displays that distinguish several different theme areas, and the display directly reflects the connotation and heritage of its design. .
What Nobel shows is the creative source of its texture and product design, its understanding and interpretation of subject matter elements, and even its pure creativity and inspiration. They present the soul of their products in a language (presentation method) that designers can read and see. In other words: for designers, they speak human language.
The author also visited and interviewed Nobel’s booth at the Bologna Exhibition in Italy in September this year. At that time, its display did not have the creativity and ethereal spirit that it displayed at Design Week. This shows the accuracy of its positioning. Bononia Exhibition is a materials exhibition, while Design Week is a design exhibition. Although the same brand is participating in the exhibition, the display methods and styles are very different.
Second, the brand tone and inherent elements have continuity.
Let’s just sayAs both an exhibition during Design Week, the Nobel brand’s display in 2019 is an extension and continuation of the 2018 display in terms of style and tone, form and connotation. Its style is unified and internalThe memory points created are clear and continuous. If you met Nobel at the design week last year, and if you meet again this year, you will find that you will recognize him quickly: he is still him, still elegant and fresh, still refined. Appropriate, his speech, behavior, demeanor and temperament remain the same, but his thoughts are more profound.
Third, the connotation is getting longer and deeper, similar but iteratively upgraded.
Psychology says: "The human brain is most attracted to the strangeness embodied in familiar things."It is not difficult to understand. If it is completely unfamiliar, the human brain will have no cognitive experience. It is naturally difficult to arouse excitement and concepts; but if it is completely familiar, the human brain will reject it due to over-familiarity, and it is difficult to arouse excitement; only when familiar things have a sense of strangeness, will they be noticed and remembered the fastest Live, be attracted.
For example, if a friend you are familiar with whom you haven't seen for a while suddenly becomes thoughtful and thoughtful, you may immediately feel your eyes light up.
Looking back at Nobel's presentation, the same is true. The display format, which has almost the same style in consecutive design weeks, first arouses a sense of familiarity among exhibitors and designers. However, the content of the display is different from the textile texture in your memory< /strong>, what is displayed this time is the research on the texture of rice paper, and the explanation of this research form has been upgraded, which naturally brings a new sense of experience.
Fourth, straighten out the relationship between: "enterprise, nation/country, and world"
Another particularly attractive feature of the Nobel Exhibition Hall is the very good synergy and unification of the three cultural concepts of "corporate - national/national - world".
If an enterprise and culture only have an "enterprise" without "country and nation", it will not be able to grow big or reach the "world" level; there will only be a "world, nation and country perspective" without the implementation of the enterprise. It is always too vague and falls short of reality. Only by fully understanding and clarifying the relationship between these two things can it be more attractive and go further.
“Re-view and explore the connotation of Chinese traditional culture with the eyes of the world”, “Use the world’s cutting-edge technology and craftsmanship to restart China’s traditional cultural elements”, “Use China’s traditional cultural elements to The most cutting-edge technology and the latest design are condensed into products and brought to the world.”......This is the scene of the Nobel booth on December 6. Design experts gave their interpretation of the Nobel Prize's "Texture and Color" research project on site.
When talking about design, Zhou Guoyue, the person in charge of the Nobel brand, also said: Nobel hopes to borrow the vision and power of designers to re-examine the beauty of traditional Chinese culture and adopt advanced production technology. , presenting this extremely rich cultural connotation on ceramic tile products, and then passing it on to all parts of the worldthrough ceramic tile products.
Because of the cultural heritage of the nation and the country, the products of the company are substantial and the company has its own ownership. Only then can it stand in the world without losing its roots. And because of the company and products as the carrier, the nation and the country The culture can be passed down immortally and put into practice to travel around the world without being empty.
Designers are people who play with culture, concepts and tastes. Their understanding of culture is naturally superior to others. Therefore, The essence of brand culture is how far it can go, how high it can fly, and how many possibilities it can continue in the future. A brand that can be culturally strong, profound in heritage, and can be implemented in products , is naturally very attractive, isn’t it?
