On the Relationship between the Localization Style of Industrial Design and Culture

On the Relationship between the Localization Style of Industrial Design and Culture

Paper Keywords: traditional cultural industrial design localization

This paper mainly analyzes the relationship between China's traditional cultural thought and aesthetics, the relationship between industrial design development and culture, the integration of traditional culture and industrial design, discusses the relationship between industrial design localization and culture, and explains the influence and important role of cultural factors in industrial design localization, as well as the significance of using cultural factors to form the design style of industrial design localization.

Industrial Design Development and Culture

Industrial design was "introduced" from abroad with the vigorous development of China's economy. Because of its "exotic" characteristics, it has a development history of more than 20 years since the 1990s. Although some achievements have been made, China's industrial design has always been unable to get rid of the traces of imitation, products lack creativity, and designers lack innovative consciousness, which has become an obstacle on the road of China's industrial design. Over the years, many industrial product designs have relied on "one imitation, two changes and three innovations" to design "new products". In these products, there are often traces of European, American or Japanese designs, but there are no traces of their own national culture. The pallor of this design makes our industrial design look weak in the market competition.

However, with the continuous development of design, "China characteristics" has become a hot topic in the design field in recent years, so that many people regard it as the first standard to measure the quality of design, and therefore a large number of traditional cultures have been excavated. This intention is good, in order to carry forward the excellent local culture. However, if too much emphasis is placed on embodying the characteristics of China in the design, instead of excavating the connotation of traditional culture, the design will be far-fetched. How to make China's design more national and local cultural features, and how to make China's industrial products bear the imprint of China culture, are the propositions that China industrial designers have been thinking about.

In the process of industrial design development, cultural factors are always accompanied by it. Different countries embody cultural factors in design and form different countries' design styles. For example, German design is famous for its calmness and preciseness, Italian design is famous for its passion, Japanese design is famous for its elegance and exquisiteness, and the United States, which is extremely rich in commercial culture, has more commercial connotations, while Scandinavian design, which is good at handicrafts, successfully integrates German functionalism and finally forms a unique Scandinavian style. It is precisely because of the in-depth study of the combination of design and culture that Germany, Italy, the United States, Japan and other countries have become world-class design powers, and the formed design culture has swept the world.

In the integration and development of industrial design and culture, some western developed countries have entered a higher stage of development, and embodied cultural connotations in their designs, forming design styles with different ethnic and regional characteristics. The application of culture in industrial design has surpassed the application of some elements of culture in design, but embodied the essence and spirit of culture in design, and formed today's industrial design culture with the development of modern industrialization, and influenced and spread its culture all over the world with the mass sales of its products around the world.

In recent years, there have been some studies on design and culture in China, which have initially formed different research directions, but most of them are about the cultural connotation of design, how to consider cultural factors in design, traditional culture and modern design, and the emotional expression of culture in design. From this, we can also see the close relationship between design and culture, but they also lack comprehensive and in-depth research and effective practical application.

China's industrial design should be developed to the same level as the world. On the one hand, we should pay attention to the innovation and application of advanced technology; On the other hand, we should embody our own characteristics, form a design style with local cultural characteristics, and integrate culture into the design. Therefore, we should make full preparations on the basic theory, deeply study the relationship between industrial design and culture, and guide the design practice with theory, so that the products we design have both innovation and Chinese cultural style, form strong design competitiveness, and become a design powerhouse, and no longer become product processing factories of some large foreign enterprise groups.

Second, China's traditional cultural ideas and aesthetics

The so-called "culture" refers to the sum total of * * * the same social psychology, * * the same value system, way of thinking, aesthetic way and so on formed on the basis of * * * the same language, * * the same region and * * the same economic and political life in the historical process of the formation and development of a nation. Real culture is rooted in the development of history and is passed down by history. It is a relatively stable thing in the relationship between man and nature and society, and it is discovered by human consciousness and applied to life.

China's "closed" cultural characteristics have a "self-contained" personality and a top-down inheritance law, but at the same time, China's traditional culture is actually a pluralistic and compound culture. Confucian culture, which is in an important position, absorbed the advantages of Taoism, Buddhism and Legalism in its formation process, and gradually formed a conscious overall thinking mode and a symbolic thinking mode of looking at things. The core of Confucianism is to combine the opposing poles, communicate with each other, connect the upper and lower levels, and make the upper and lower levels moderate at the same time. As a complete concept, the Confucian concept of "cosmic harmony" includes at least four levels: the harmony between nature, man and nature, man and man, and man and himself. In this sense, it is more in line with the essence of China culture to coordinate the industrial design of man-machine environment system, science, art, economy and society.

China's traditional aesthetics originated from Laozi's aesthetics and developed from Confucius' and Confucian's aesthetics, which laid the foundation for China's traditional aesthetics and the ideological expression of "harmony is beauty". Ancient artists in China pursued "the unity of man and nature" and "the unity of form and spirit". Under the guidance of the idea of "taking the whole as beauty", they expressed their aesthetic orientation in a restrained and implicit way and created Chinese-style works of art. ..

Third, the cultural characteristics of design.

Since the 20th century, with the progress of science and technology and the development of communication, the gap between ethnic groups has been reduced, and the inherent culture in various regions of the world has gradually lost. In addition, modern design flaunts the principle of standardization and simplification, which makes products with international style flourish for a while because there is no cultural barrier. With the development of high technology, the appearance of products tends to be thin and short. Under mass production, all products look the same and become meaningless shapes. Under the background of global economy, when western civilization prevailed, the differences of different cultural characteristics were ignored, and design gradually lost its rich essence. People are getting tired of simple design. Postmodernism, product semantics and deconstruction came into being. These designs try to draw nutrients from local culture, national culture or traditional culture, thus giving products more symbolic meaning, making designs more diversified and personalized, and repairing the broken relationship between products and culture. Although China started late in industrial design, it has a deep foundation in culture. Combining the new methods and technologies of modern design with excellent culture will inevitably form the future diversified design and the design style with China cultural characteristics.

Under the background of globalization, design with distinctive cultural characteristics is often a powerful means to participate in market competition. Both northern Europe and Italy attach great importance to local culture, which makes their designs have distinct cultural identity and makes their products widely circulated in the global market. China's design has been following the western design road, lacking its own distinctive features. The fact is that China's culture is not only different from other ethnic groups, but also has a profound historical precipitation. Paying attention to local culture and digging deeply is the key to develop national design. Therefore, it is particularly important for design development to pay attention to the differences between different cultures and dig deep into the cultural characteristics of the nation.

Modern design increasingly recognizes localization, which is different from racial prejudice and local protectionism, and is an open localism style of dialogue with the rest of the world. Localization design can use the national graphics and symbols, but in essence, it gives the design a "root" of national culture. This "root" is like a sign and has become an eye-catching and attractive feature. Under the guidance of the localization design idea, the designed products will be closer to life and more distinctive, and at the same time, it will also let us feel the past historical and cultural details of the land where we live.

At the present stage of development in China, it is absolutely necessary to localize product design, that is, to study local culture, so that domestic industrial products can occupy the China market and go global, and guide the consumption trend in China. Therefore, when designing a new product, we should fully consider the spirit of the product on the basis of satisfying the most basic functionality such as product performance and structure, so that the new product can meet the emotional needs of different roles; The spirituality of products is the emotional concern for users, the accumulation of designers' life and culture, the product of special consumption concepts under a specific cultural background, the unrepeatable cultural product, and the most remarkable feature that distinguishes a product from other products.

The integrated design of traditional culture and industrial design is an organic part of culture, which is inseparable from the nourishment of traditional culture and the most effective carrier for spreading culture. The strong and rapid economic development of western civilization has made them occupy a dominant position in the world economic stage, politics, military affairs, religion and ethics. Because with the circulation of their products (bearing design) around the world, the design style conveyed by these products, that is, the information reflecting western civilization, has penetrated into every corner of the world with an irresistible trend. People of different races and cultural backgrounds are influenced by this western culture and gradually accepted, and their traditional culture has gradually faded with the passage of time, and even appeared the crisis of extinction.