琼斯夫妇

欧文·琼斯（Owen Jones）英国人（1809–1874)

现代设计理论的先驱

欧文·琼斯是一位建筑家兼设计师，19世纪五十年代曾任教于伦敦的南步辛顿设计学院，同时也是1851年世界工业博览会的建筑师之一。1852年他受命担任新水晶宫的设计总监，水晶宫位于伦敦南方的悉丹翰。《世界装饰经典图鉴》一书是他留给世人的宝贵遗产，并成为一部不朽的古典作品。欧文·琼斯逝于1874年。

'Form without colour is like a body without a soul'

Owen Jones was a versatile architect and designer, and one of the most influential design theorists of the 19th century. Through his work at the 1851 Great Exhibition, he was also a key figure in the foundation of the V&A.

Two hundred years after his birth, Jones's theories on flat patterning and ornament continue to resonate. In his search for a modern style, unique to the 19th century, he looked to the Islamic world for inspiration. The courageous new principles that he devised became the teaching frameworks for the Government School of Design.

These bold theories on the use of colour, geometry and abstraction formed the basis for Jones's seminal publication, 'The Grammar of Ornament', a design sourcebook that is still in print 150 years later.

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Early Travel, 1832-4

Owen Jones grew up in a world dominated by the austere 'whiteness' of Neo-classical architecture. However, recent discoveries had suggested that ancient Greek buildings were originally coloured. The prospect of studying these examples of architectural 'polychromy' would have been irresistible to a young, ambitious architect such as Jones. He embarked on his Grand Tour at the age of 23, visiting Italy, Greece, Egypt and Turkey before arriving in Spain to carry out the studies of the Alhambra Palace that were to cement his reputation.

The Alhambra Palace

Jones and Goury continued their travels in Spain, hitching a ride from Istanbul on French military ships. Entranced by the beauty of Spanish Islamic design, they spent six months meticulous studying the Alhambra, producing hundreds of drawings and plaster casts. But tragically, Goury then died of cholera. Jones brought his body back home to France and returned to London determined to publish their work. The resulting book became one of the most influential publications on Islamic architecture of all time.

Designs for Tiles & Mosaics

The publication of Jones's Alhambra studies firmly established architectural polychromy as an issue for debate and discussion. Inspired by the tilework at the Alhambra, Jones became interested in contemporary developments in mosaics and tessellated pavements. His designs for tiles attracted the attention of key figures associated with Victorian design reform, including Prince Albert, and led to his involvement in the Great Exhibition of 1851.

The Great Exhibition & The Crystal Palaces

Jones finally introduced his colour theories to the wider public when he was asked to decorate the interior of the 1851 Great Exhibition building. His simple yet radical paint scheme utilised only the primary colours: blue, red and yellow. The design generated much criticism and debate, yet Jones never lost confidence in his vision. The building eventually opened to much great acclaim. Six million people - three times the population of London at that time - visited the colossal iron and glass palace.

The Government School of Design

The first School of Design was founded in 1837, with the aim of raising the standard of British manufactures by improving design. The same spirit of reform underpinned the 1851 Great Exhibition, which included what were seen as some of the world's finest manufactures. Owen Jones helped select objects from the Great Exhibition to be included in the School of Design's teaching collections. He then used these 'best examples' to develop key principles for the School's teaching programme.

The South Kensington Museum

The School of Design collections, collectively known as the Museum of Ornamental Art, were eventually moved to a site in South Kensington that had been bought through profits from the Great Exhibition. This museum later became the V&A. Henry Cole, another key figure in design reform, had helped Jones publish 'The Grammar of Ornament'. Cole was also the first director of the South Kensington Museum, and he asked Jones to design a series of galleries known as the 'Oriental Courts'. The Oriental Courts comprised of two galleries: an Indian Court and a Chinese & Japanese Court. These galleries showcased the museum's growing collection of objects from India, China and Japan. Christopher Dresser, one of Jones's most famous protégés, was an assistant on the project.

The Oriental Courts had closed to the public by the end of the 19th century and unfortunately Jones's designs were later painted over. The rooms were used as the kitchens for the V&A restaurant for many years. However, conservation work carried out in the 1980s has shown that much of the original decoration still remains intact beneath the whitewash.

Decorative Design

19th-century Britain was dominated by historical revivals such as Neo-classicism and the Gothic Revival. These design movements were riddled with religious and social connotations. Instead, Owen Jones sought a modern style with none of this cultural baggage. Setting out to identify the common principles behind the best examples of historical ornament, he formulated a design language that was suitable for the modern world. He applied this equally to wallpapers, textiles, furniture, metalwork and interiors.

首次出版于1856年的《世界装饰经典图鉴》一书，对于今天的我们而言算是古典设计作品了。这本书的创作灵感来自当时的先锋建筑家与设计师欧文·琼斯。他曾在欧洲以及近东地区广泛游历，有机会观察揣摩各地的装饰艺术，同时把这种观察所得运用到设计实践中，从而改革了西方艺术作品设计质量令人堪忧的状况。在维多利亚时代英国艺术家往往不加鉴别，胡乱地将各种风格的艺术元素杂糅在一起，这种不良设计习惯体现在各个方面，包括建筑设计、平面设计以有度业产品设计。欧文·琼斯决心要改变设计界的这一状况。
　　 接着欧文·琼斯便对大量不同风格的装饰艺术作品展开了全面细致的研究，他的研究范围涵盖古埃及古希腊、中国直至意大利文艺复兴的作品。丰富的插图、对各个文化深刻全面的考察以及独到的37条艺术基本原理，是本书的三大特征，它为设计师们指明了一条正确的方向。在这个最新的版本中，彩图的旁边我们还收录了艾因·萨克扎克精彩独特的评论。
　　 《世界装饰经典图鉴》一书自首次出版以来，变产生了巨大而深渊的影响，像威廉姆·莫里斯、弗兰克·劳埃德·赖特等艺术大师都曾从此书中摄取艺术营养。对于当代设计师而演，欧文·琼斯的叙述更带一种古雅的魅力，他们一定会惊奇地发现，书中所蟾酥的艺术原理跨越了时空，适用于任何优秀的设计作品。　

Architectural Projects

Such were the impact and influence of 'The Grammar of Ornament' that is easy to forget that Jones was, first and foremost, an architect. Sadly, many of his built projects have long since been demolished. They included St James's Hall, London's principle concert venue for almost fifty years, and two shopping emporiums: the Crystal Palace Bazaar and a showroom for Osler's, the glassware manufacturer. Their sumptuous interiors were breathtaking monuments to leisure and consumption.

作为功能主义者欧文·琼斯坚持认为适合于目的的形式都是美的，勉强的形式既不合适也不美。

“摆托一切学来的东西和一切人造的东西，回到自然本能的状态，并对自然本能加以发展”

“美的实质是一种平静的感觉，当视觉、理智和感情的各种欲望都得到满足时，心灵就能感受到这种宁静”