“极简”是当代设计话语中最常见的词语之一，却很少有人追问：这个耳熟能详的概念，究竟经历了怎样的含义流转？“少”真的就等于“好”吗？“极简”何以贯穿艺术、建筑、产品乃至数字界面等不同领域？本书尝试回答这些问题。 与既有研究多聚焦于单一领域不同，本书从观念史的视角出发，将“极简”视为跨越艺术、建筑、设计与生活的核心观念，追溯其百年演进轨迹。全书以“认知—感知—行为—伦理”为脉络，梳理了“极简”从现代主义初期的形式语法，到数字时代的界面哲学，再到可持续生活方式的伦理追问。 本书认为，极简的核心并非静止的美学教条，而是一则不断为人类心智“减负”的持续实践。书中考察了从风格派、包豪斯到博朗、苹果、谷歌等经典案例，并融入中国古典美学“淡”与西方极简的跨文化对话。 本书适合职业院校设计史研究者、艺术与设计专业师生，以及对现代设计文化感兴趣的读者。

丁朝虹，女，武汉大学文学学士、厦门大学文学硕士，南京艺术学院艺术学博士，浙江科技学院艺术学院基础理论教研室主任，硕士生导师。从事设计理论教学工作近20年，主持和参与省部级科研项目多项；有多部专著及教材出版。

引言 ·····························································································.1
第一章 极简之源 ···········································································.4
第一节 西方理性之路与“求简”冲动 ·························································.4
一、柏拉图的理念论之“简” ·······························································.4
二、奥卡姆剃刀之“简” ·····································································.7
三、启蒙理性主义之“简” ··································································.8
第二节 东方心性之路与“求简”冲动 ·······················································.11
一、道家之“简” ·············································································.12
二、禅宗之“简” ·············································································.15
三、儒家之“简” ·············································································.17
本章小结 ·······························································································.19
第二章 认知极简：“混乱”与“清晰” ·············································.22
第一节 形式之简 ···················································································.22
一、风格派的纯粹抽象·······································································.22
二、密斯的“少即是多” ···································································.27
第二节 功能之简 ···················································································.31
一、拉姆斯的“少，却更好” ·····························································.31
二、视觉的通用语法 ··········································································.39
第三节 界面之简 ···················································································.44
一、谷歌的“零用户界面” ································································.44
二、苹果 iOS 的扁平化 ······································································.48
本章小结 ·······························································································.52
第三章 感知极简：“疏离”与“沉浸” ·············································.53
第一节 直观之简 ···················································································.53
一、柯布西耶的“纯粹主义” ·····························································.53
二、包豪斯与材质的“真” ································································.58
第二节 在场之简 ···················································································.63
一、极简主义艺术 ·············································································.63
二、极简主义建筑 ·············································································.68
第三节 交融之简 ···················································································.75
一、沉浸式数字化艺术·······································································.75
二、侘寂美学 ···················································································.79
本章小结 ·······························································································.84
第四章 行为极简：“繁琐”与“流畅” ·············································.85
第一节 适配之简 ···················································································.85
一、效率主义 ···················································································.85
二、人性化适配 ················································································.90
第二节 映射之简 ···················································································.94
一、无意识设计 ················································································.94
二、直观化操作 ················································································.99
第三节 流程之简 ··················································································.102
一、触控直觉 ··················································································.103
二、“无交互”理想 ··········································································.107
本章小结 ······························································································.111
第五章 伦理极简：“浪费”与“节制” ···········································.112
第一节 物质之简 ··················································································.112
一、装饰之罪 ··················································································.112
二、最小化生存 ···············································································.116
第二节 关系之简 ··················································································.120
一、去符号化 ··················································································.120
二、长效设计 ··················································································.125
第三节 系统之简 ··················································································.131
本章小结 ······························································································.135
余论：极简的回声 ········································································.136
附录 ··························································································.140
参考文献 ····················································································.150
一、中文著作（按作者姓氏拼音排序） ················································.150
二、外文著作（按作者/编者姓氏拼音排序） ·········································.153
三、期刊文献及其他（按发表年份排序） ·············································.154