중국의 사상과 디자인 정체성 = Chinese Philosophy and Design Identification - Contrasting Designing : to Relate and to Create
저자
Kuan, Cheng-Neng (대만 Shin-Chen 대학)
발행기관
학술지명
권호사항
발행연도
2000
작성언어
Korean
KDC
639.000
자료형태
학술저널
수록면
49-57(9쪽)
제공처
Moving from the Modernistic thinking in the beginning of this century to the Post-modern situation of today, and from Post-industrial society to Globalization economics, the meaning and value of product design has become an important issue. How can product design react to the trend? How, then, can the meaning of product design be expanded to a broader horizon? Such discussions usually involve factors of different levels: technology vs. humanity, society vs. economy, production vs. consumption, etc. The common mindset of these factors, however, would be how the richness of traditional resources can be used. If we take a close look at the progress of product design, we may ask ourselves a question. In contrast with the progresses of different cultures, does technology work to break the progresses? Or, it may be playing a positive role in connecting modern and traditional cultures?
In fact, it has long been recognized that the meaning and value of Chinese artifacts functioned within Chinese culture differ from that within the western cultures. Therefore, if we limit our search for creativity in product design merely within the parameters of western culture, we may lose the chance to establish a contrast between eastern and western cultures. The time has come for us to trace our cultural origins and to establish contrasts between the east and the west so that we may define a proper attitude for design in the new millennium. This is obviously a meaningful and challenging beginning for all of us.
This paper tries to apply the method of contrast in philosophical views through the study on the characteristics of traditional Chinese artifacts. Hopefully, it can stimulate our thoughts in design attitudes, design methods and design strategies. Though this paper provides only the outlines of the issue and suggestions of new directions, I hope it can further serve as a reference and an inspiration far the constructions and realizations of design to the next level.
The basic situation of our times could be characterized as the dynamic tensions between, on one hand, the universal and overwhelming influence of modern science and technology; and on the other hand, the awaking historical consciousness leading toward the respect far the uniqueness of each historical tradition and the concern far the meaning of human existence. Under this global situation, the observations of the development in product design in modern times tell us many things. One of them has been, since the inception of industrialization till the 1920's, the common reflections on how design should be defined. Concerns of the role about design came from how countries, geographic regions, groups and individuals choose from and react to the value conflicts between traditional value system and modem technological impact. Aiming at such phenomena, I have brought up my personal views in a paper entitled "Problems and Creativities of Contemporary Product Design." I provided in this discourse with ideas about the creativity, procedure and strategy of contrast. However, if we were to find new directions and methods for product design based on Chinese philosophy and culture, we would need to put in more efforts to go further. For the time being, in conclusion, the above mentioned arguments on the cultural design issues could be summarized in the following steps and propositions.
First, to review (Traditional tangibles and intangibles)
1-1. To collect and analyze the expressive elements, structural relationships and conceptual origins of traditional artifacts.
1-2. To compare the practical and social functions of similar artifacts from different dynasties. How and why are they different? What are the reasons behind? Can we adopt the characteristics of traditional artifacts to our lives?
1-3. Do characteristics of traditional tangible objects and Intangible conceptions deserve to be handed down and to be innovated?
Second, to relate (From inter-context to re-evaluating & re-identifying values)
2-1. To contrast between traditional artifacts and the social life of their time.
2-2. To contrast between modern and traditional lives-differences and similarities.
2-3. To contrast between the modern lives of other cultures and that of self-culture.
2-4. To combine the contrastive relationships mentioned above to device an appropriate strategy.
Third, to create (From contrastive interpretation to cultural design)
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