On the Influence of China Traditional Culture on Industrial Design

Modern Industrial Design and China Traditional Culture

Modern Industrial Design and China Traditional Culture

Cui (Art Department of Southeast University, 2 10096)

Abstract: Modern industrial design has become a kind of cultural consciousness, and the design of various countries has formed an integrated cultural trend. China's rich and long-standing cultural tradition can inspire and inspire China's industrial design to have more national characteristics.

[Keywords:]: modern industrial design culture, China traditional culture

The concept of modern industrial design can be said to be accompanied by the changes of technology and art in modern society; It is developed with the continuous understanding of human beings and the environment and the continuous requirements for industrial products; It is the product of the development of commodity production to a certain stage.

The transformation from "labor and land-intensive" agricultural era (the first wave) to "machine and factory" industrial era (the second wave, 1760- 1950) has brought about great changes in the living and working environment, such as mass production, environmental pollution, the emergence of trade unions, urbanization and banking system. What impact will the "third wave" have? Many experts have pointed out that the Internet revolution (from the birth of 1994 Internet browser) forced us to change our thinking mode. The challenge of new economic activities is no longer just manufacturing, but thinking about how to improve the "intangible value" of products through service, information, personalized service and sensibility to meet the expectations and ideals of consumers. In the digital age, because of fuzziness (fuzziness of desire and fuzziness of resources), new products gradually blur into a coherent work from the beginning of demand, to the process of design and development, and then to the completion of listing!

In modern society, industrial design is not only influenced by cultural waves and trends, but also by new trends in electronics and technology. Designers must predict the future trends of culture and market in order to keep up with the future trends and fashions. In addition, the application of bioengineering, material science, genetics and computer in design is becoming more and more mature. In order to make the design function more accurate, all the factors that control the design accuracy will be calculated and studied in advance, so that the design is based on scientific analysis. It is in this case that the concept of industrial design becomes more and more complicated, and designers consider more and more factors, so that the concept of industrial design can be deepened.

The digital lifestyle in the information age has brought mankind into an unprecedented state of existence, and the rapid development of science and technology makes people feel out of control. Therefore, people are more eager to re-regulate the order, morality and ethics of human society through knowledge and civilization. Belief in industrialization and modernism proves that technology cannot create a better society, and the continuation of culture is the most valuable thing in human society. As the creator of lifestyle, design embodies people's dual requirements for material and spirit, and assumes the role of the continuation of human civilization. In the post-industrial era, design has become a bridge between science and technology and human culture, and lyrical features and poetic expression have become the characteristics of excellent design works. People hope that design can provide better functions and express more human emotions and personalities, but they also expect that design can contain more humanistic values, which is the embodiment of design differences between one country and another, and also the difference between one nation and another.

From the definition of industrial design by the International Industrial Design Association, we can see that industrial design is a kind of re-creation. So is there a certain principle for this kind of re-creation, that is, is there a design rule? This is a controversial issue in the design field. Some people think that design has a core, which is influenced by many external factors, such as production conditions, cultural factors, social forms and environmental factors. Every product should have a suitable form, which must serve the functions of the product, including material function, spiritual function, social function and environmental function. The other part thinks that design is only a hypothesis, a step and an instant, and there is no certainty in design, only possibility; There is no authenticity, only experience; There is no "what's that", only "what happened". Design is a kind of arbitrariness and a kind of creation that is not bound by culture, tradition and individualism.

In fact, it is quite difficult to give an accepted definition to the very complex design world. We must make it clear that industrial design itself can never be an inherent conclusion, regardless of whether the design is regular or not. Because industrial designers design products, they are designing people's lifestyles and human civilization. If we make a speculative, logical and unique rational conclusion about design, we will cast a solidified life pattern for people and create a dead civilization for mankind. Design should always be ahead of social development and constantly guide the lifestyle of modern society. This can be considered as a relatively constant design principle. If we regard design as an end rather than a means to understand it, design will really come into life. In other words, designers design a function, not for the sake of function. Broadly speaking, it is the designer who designs the lifestyle. This is the connotation of industrial design-creating a new way of life. The "new" here does not necessarily refer to the future design, but the return of creativity is a kind of "new".

The process of industrial product design is a cross process of beautification technology and materialization art. In industrial product design, it is very important to correctly study the relationship between people and products, people's demand for products, and even the living environment of human beings and the whole objective world group. The quality of a designer should not only have professional knowledge of product structure, performance, materials and technology, but also have a higher level of IQ to change people's psychological structure and aesthetic consciousness, social structure and environment. Therefore, it is design that guides the future of mankind.

Rhine in America? Ryan Singer's exposition on the relationship between products and culture is not only applicable to today's people observing the man-made objects unearthed from ancient sites, but also applicable to people of their own nation (or region or country) observing the man-made objects of another nation (or region or country) at the same time. He believes that industrial designers are the spokesmen of culture. "Therefore, good design has a new meaning: it not only means completely satisfying the use function, but also means convenient and comfortable use. It is a rich carrier of knowledge, a perfect embodiment of spiritual function, and full of a nation's unique culture and style connotation. " Considering cultural factors in industrial design does not mean that we are only satisfied with the replacement of concepts. The definition of culture puts forward deeper and newer requirements for the connotation of design. It should not be the designer's arbitrary imagination and action, but the expression of "cultural consciousness" in life behavior. There is no abstract connection between industrial design and culture; On the contrary, if we only understand some basic formal rules of industrial design as all its principles and starting points, and hope to achieve perfect design without studying the specific environment, even a design style that transcends regions and nationalities and has the same requirements and preferences for form, color, structure and function until the world is unified, it will really lose its vitality as a culture active in human life.

Industrial design must depend on the specific cultural environment, and industrial design itself is also creating a culture and embodying a cultural consciousness. The job of industrial designers is to extract the potential cultural characteristics from the specific life behaviors and make them evolve into a lifestyle that modern people can understand and accept. As early as1early 1960s, Marx? Max Bense (1910-1990) predicts that in the near future, between graphic design and industrial design, a new talent-semiotic designer should be cultivated. He can understand their problems and solve the communication problems between industrial products and environmental modeling. The cultivation of such talents and the establishment of methodology are really urgent for black-box industrial products and man-machine interface (man-machine dialogue environment).

Culture is produced under the condition of adapting to the environment, and different nationalities and regions will form different cultures. Different countries produce different types of cultures, such as Greek culture, Egyptian culture, Indian culture and China culture. In the history of our country, different types of cultures have also formed in different regions, such as Qilu culture, Bashu culture, Chu culture, Wuyue culture, Guangdong and Guangxi culture and so on. Are the products of specific living environment and historical conditions. These cultural differences and uniqueness reflect the richness and diversity of human culture.

Although material products belong to the culture of implements, their design process contains various forms of cultural content. Because design forms the appearance of products with the conception of ideas, as the premise of material production, so that production activities can be carried out according to people's conscious purpose. It should be guided by certain values and based on certain lifestyles and modes of production. Therefore, design is essentially a process of cultural integration. Cultural integration refers to the process of mutual absorption, melting, harmony and integration between different cultures. Based on the needs of the society, various cultures are recombined into a new culture through the adjustment of content and form, function and value goal, that is, a life culture, a lifestyle that dominates things, space and time. Design creates the form of life culture, arouses people's potential needs and desires to change their way of life, stimulates life and gives people the goal of changing the direction of life.

It can be said that industrial design has become a cultural consciousness.

As a kind of cultural display, industrial design makes the design of all countries condense the cultural traditions belonging to their own nation, and at the same time runs through the cultural characteristics belonging to the times, forming an integrated cultural trend. We say that industrial design is culture, the consciousness of human beings after they know nature, the behavior of expressing their ideals with materials and technology after they know themselves, and the concentrated reflection of human scientific and cultural level. Design culture is not a renaissance movement, but a revolutionary consciousness of social philosophy in which human beings re-recognize themselves, nature and the relationship between man and nature.

Design has entered the era of global scale design, which is the result of "international culture (technical culture)" formed by high-tech development. "International culture" is a global cultural phenomenon, which is completely different from the isolated nationality and regionality in the past. It refers to the increasingly extensive and rapid interaction, influence and function between cultures of various ethnic groups and regions, thus forming global cultural contact and exchange, which is the product of mutual assistance and complementarity between cultures of various ethnic groups and regions. Therefore, this integrity has penetrated into the development process of culture and design of various nationalities and regions. With the phenomenon of internationalization becoming more and more obvious, people begin to feel and attach importance to the equal status of "local culture (traditional culture)" and "technical culture (international culture)" in high-tech society. John? Naisbitt said presciently, "About 125 years ago, when the steam engine and the railway appeared, a writer said at that time that we would become a world using single language English. It didn't happen then, and it won't happen now ... In daily life, with the development of the increasingly interdependent global economy, I think the revival of language and cultural characteristics is coming. In short, Swedes will be more Swedish, China will be more China, and the French will be more French. "

With the continuous improvement of social civilization, more and more people of insight realize the importance of local culture in design. Only by integrating local culture into the design can we achieve sustainable development, especially in China, a country with a long history of civilization and cultural origin, which has not yet embarked on the right track of design. We can't wait!

Our local culture is our long-standing traditional culture, and we must carefully analyze and study our long-standing traditional culture. British industrial designer Fraser? The first example of excellent design in ancient times in the Preface of Design Aesthetics written by Angel Wood is Yu Xia's Water Control in China. After that, the designer (the most important one) should be Lu Ban, who got inspiration from the cage of sorghum straw and created the architectural system of China Liang Citron structure. The biggest feature of this system is that the load-bearing part falls on the citron frame, so the load is reduced, and it can be achieved that "the wall falls down and the house does not collapse"; The Zhao Zhouqiao designed by Li Chun during the reign of Emperor Kai of Sui Dynasty not only reduced the weight, saved materials, but also facilitated flood drainage and increased the beauty. In the history of bridges in the world, its new design and technology are excellent examples of stone arch bridges, and its long span was also a pioneering work at that time, which reflected the wisdom and talent of the working people in ancient China. The lacquerware utensils unearthed from Mawangdui tomb are reasonable, concise and smooth in shape. The "Changxin Palace Lantern" unearthed from the tomb of Dou Wan, the wife of Liu Sheng, Zhongshan King in the Western Han Dynasty, is not only beautiful in appearance, but also has the functions of eliminating smoke and adjusting direction. It is an excellent design, which is practical, economical and beautiful, and so on. In addition, from the debates of pre-Qin philosophers, to the notes and writings of scholars in Song, Ming and Qing Dynasties, from Kao Gong Ji, Tiangong Wu Kai, Record of Joining the Masters, Chronicles of History, to the recipes of countless oral craftsmen, people in ancient China concentrated their understanding and thinking about creation, design and its spiritual connotation.

Our ancestors created a rich and long-standing cultural tradition for us and showed the characteristics of our Chinese nation. Our traditional culture, our painting, sculpture, calligraphy, poetry and other cultures, as well as the thoughts and opinions of ancient philosophers, can inspire us and make our industrial design have national characteristics.

Nationalization of design is not a superficial understanding of China traditional culture, but a simple application and reproduction of superficial forms. Is the essence of China traditional culture "verve" into the design. Use the expressive elements of modern design to reflect the implication of traditional culture.

Let's remember Mr. Lu Xun's words, "Use China's inheritance to integrate new machines and make future works unique!"