Unlimited Design - Penetration and Common Design

-- Zhu Zhongyan (Associate Professor, Department of Art and Design, School of Architecture and Urban Planning, Tongji University, Shanghai)


Abstract: The design of products must have individuality and cultural characteristics, and be influenced and influenced by the design of other fields. Therefore, the design must be considered in all aspects. The commonality, universality and permeability of the design require the designer to have comprehensive knowledge. The structure requires the comprehensiveness of design and the foundation of self-cultivation. There is a comprehensive, complete and systematic design concept for design education.

Keywords: design personality culture characteristics commonality permeability all-round system

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Infinite of Design - Infiltration and Community of Design

SUM
again to have a characteristic and a becoming sentence characteristic, and a design must consider it in all directions with. Of a design together, common property universal, osmosis faces a designer and all all-out knowledge is needing. Against a design education, it is all direction, all ready a systematic design idea is needing.
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The concept of design, or the reference to design, is very young compared to other disciplines. In fact, design elements have existed since humans and humans created tools. However, people did not pay attention in the past and did not attach importance to research and development. It was only in modern times for more than a century that it attracted the attention of the world. And the concept of design and design was created, and subdivided into many specific design areas according to the design. But for a long period of time, there has been a lack of proper connection between the various design fields and irrelevance, and even ridiculous and incredible behaviors and practices that are based on this design field and exclude other design fields. Of course, each design field has its own characteristics, content and form, but the essence of design and the cultural connotation of design are the same and consistent. Especially in the era of modern access to globalization, with the development of the times, society, the environment, energy, science and technology, and the economy, many new issues have been proposed for humanity, and these new issues that need to be solved are single. Relying on the strength of a certain area is not enough. New topics in the new century and the new era require the full knowledge and wisdom of mankind to solve it. Therefore, coordination, infiltration, and cooperation in all areas are needed. To this end, two years ago, the International Industrial Design Group Association, the International Graphic Design Association, and the International Interior Design Association jointly initiated the establishment of the “World Design Group” organization in Barcelona, ​​Spain (WD, the first president of Japan’s Rongjiu Kenji). The purpose of this design organization is to unite international design fields and apply knowledge in various fields to solve various problems and confusions of the human and living environment in the new century.

In modern design, in order to solve a design issue, whether it is a product or a design system, all aspects of the design are related to all aspects. A design object, taking a product as an example, in addition to the fundamental purpose of the product itself, its basic material functions, form and human-machine relationship, and the personality of the product to meet people's spiritual needs, and to do this One point, to a large extent, is inseparable from the basic principles and elements of graphic design. That is, the elements that make up the psychological sensation, such as form, color, space, and composition, require the designer’s rational analysis and more The knowledge structure of the discipline. In addition, from the moment it was born, a product was placed in an environment, that is, its use environment, not the external environment, or the internal environment, that is, to consider its impact on the ecological environment, and whether it would produce harmful substances. It will pollute the environment (Ecology Design). In the internal environment, consider the coordination and unity of the product with the indoor environment, consider the relationship with the fabric decoration design, consider the visual and psychological elements of the display, and so on. In the external environment, consider the coordination and unity of the product with architecture and landscape. In relation to regional relations, regional culture and ethnic traditions must also be considered.

In the current context of globalization, special attention should be paid to the prevention of pure integration without personality and characteristics. For example, it is often heard that friends say that they are flying to a certain area and see a similar group of buildings that can be seen everywhere in the world. They cannot see their own geographical features, if they do not know in advance where they are going, I don't know where it is because the same urban scenery is too much. Let's say we often go to other provinces and cities and towns. Sometimes we go by car. When we arrive at the destination, we look at it with a blink of an eye. We don't look at the street signs of the stores, and we think that it was a town in the county of Shanghai. In the first half of the last century, the founders of the Bauhaus School in Europe made concrete, steel, and glass a new era of modern architecture in the new construction movement. However, the same materials in the United States have formed typical American-style skyscrapers in emerging capitalism. And it is also a skyscraper. The Jinmao Tower in Pudong, Shanghai, where the economy grew rapidly at the end of the 20th century, embodies both the American style and Chinese traditional culture, with the Chinese tower and bamboo shoots as the theme image. The mushrooming of "colorful spring" and "high festival" symbolizes the flourishing development of the cause. For Chinese traditional culture, symbolic metaphorical euphoria is a very important cultural phenomenon. As a palace complex of palaces that once belonged to ancient emperors, there are altogether 9,99 palaces, and nine are the largest numbers in the figures, symbolizing the immortal meaning of the emperor's longevity. In the plane, the architectural complexes are arranged along the central axis and are symmetrical. The momentum is majestic, symbolizing the majesty and power of the imperial power.

Let us analyze the ancient bronze ware.
Bronze sacrificial vessels are evolved from devices used in daily life and are given a special precious and sacred meaning according to the needs of slaves. For example, Ding is the most important ritual vessel in the bronze ritual vessel. It is mostly used to cook sacrifices and worship ancestors and become a kind of ritual device. The ancients believed that the soul did not die, so they were also used for funerals so that they could be enjoyed by the soul in the world of possession. . In addition, Ding is also a symbol of state power. ("Zuo Zhuan" and "Historical Records" all record historical facts about "dingding", "moving tripod", and "aspiration.") Historical stories illustrate tripod as an important symbol in the ritual and music system, which is endowed with sacred and precious colors. As a symbol of ruling power, the political value of Tongding is generally important to the ruling class. Whoever possesses it means jade power. Losing it means losing the power of the king. Syria's Jiuding was originally belonged to the Xia Dynasty, Jiuding symbolized the change of the Jiuzhou, Xia, Shang and Zhou dynasties regime, all succeeded generations seized the previous generation's Ding, as a symbol of the birth of the old dynasties and the birth of the new dynasty.

Because of the function of the bronze ritual, it must also be consistent with its specific functions in terms of its form and ornamentation. The decoration on the bronze ware is closely linked with the social production, life, ideology, and the concept of the times in each era of the bronze ware, and it is an integral part of the slave society and the superstructure of the early feudal society. The bronze ornaments of the Shang and Zhou dynasty reflect the religious superstition and theocracy of the slave class, the service of slavery to the country’s politics, and the ideological tool to rule the slaves. The creation of these ornaments has their origins, the bronze ornamentation from the patterns and carvings of the primitive society's artifacts, the unexplainable interpretation of phenomena in the natural world, the production of ceremonial natural phenomena, and the use of various natural phenomena as ornamental patterns. There are also a large number of animal images in the ornamentation and animal images that are illusions and legends in mythology. The most common are python patterns, also called animal face patterns. On the simmered or simmered meat utensils, there are such ornaments, illustrating the use of ornamentation and utensils on the utensils that are closely integrated. We are from those terrible moires, from the thundering cloud ripples, from the dragon dance to the dance. The bird-like patterns, etc., and the exaggerated treatment methods created a mysterious atmosphere and power for the bronzes. The slave owners placed all their majesty, will, honor, fantasies, and hopes in these horrible skeletons. . Regarding the use of the environment, since these bronze ritual vessels are mainly used during ceremony or festivals, it is an extremely serious environmental scene. Therefore, it is required that the bronze ornament be solemn and solemn and daunting, thereby enhancing the atmosphere of worship and also showing the slaves. The main aristocrats were "honored" and "dignified" with respect to their ancestors, the devotion of the Emperor of Heaven, and the aristocracy of the slave owners. In short, the bronze ornamentation reflects the concept of certain classes in a certain period of time. Its decorative arts, utensils, and use environment are unified and harmonized. Example: The animal face pattern of Shang and Zhou is used as the theme decoration, mainly decorated in the tripod, and the most obvious position of the abdomen is destroyed. The shape of the banana leaf pattern is slender and often decorated on a long body.

With the development of history, the change of concepts, and the bronze wares of the Western Zhou Dynasty and the Spring and Autumn Period, the trend towards lightness, simplicity, practicality, style, and ornamentation have all lost the Mystic qualities of Shang and Zhou Dynasties, some simple and sloppy, and examples of the Shanghai Museum. Western Zhou Dynasty's Great Keding, the Western King’s filial piety, and the early period of the Western Zhou Dynasty, due to the development of social civilization, and the preservation of a large number of primitive social institutional structures, the early slavery was transformed from Sheng, and therefore ancient voodoo from bronze wares and from Yin Zhou. The concept of religion is rapidly declining. Symbols and symbols that symbolize the brutal rule of the slave class have also lost the sacred and majestic, past, and horror-mysterious atmosphere of the past. Most of them have narrowed down to subordinate status. Instead, the simple shape, the extensive ornamentation, and the large dings are the retreats of the animal face lines and the highlights of the hoops. It is the example of the changing bronze ware style in this era that reflects the emancipation and transformation of Zhou dynasty concepts. This means that the field of Chinese ancient social ideology entered the first period of rationalism. The decoration is simple and replaced with a bronze inscription. A ceremonial disappointment, a change of old and new years, and a change in conception - the rise of self-recognition of "man", led to the coldness of God, and the decline of the bronze ware as the temple's weight.

The Chinese ancient bronze ware, from its functional design, was a perfect design that considered various design factors. Although people at that time had not yet realized this from the concept of design, it was indeed perfect to analyze from our current point of view. The great design (not only the artwork), in addition to considering its own value functions, it also fully considers the environment used and the coordination of the use environment. It can be seen from the bronze ritual device itself, the elements of the graphic design, The elements of product design, the elements of environmental design, and the elements that they consider also include: cultural connotations such as socio-economic, political, religious, and religious beliefs. The use of science and technology is also taken into account in the process of production. Our ancestors have left excellent design paradigms for our designers today. We should study, analyze and develop them.