Culture-Based Knowledge Towards New Design Thinking and Practice—A Dialogue

Leong, Benny Ding; Clark, Hazel

doi:10.1162/074793603768290838

Cited by 123 publications

(83 citation statements)

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“…Leong and Clark [5] once made a point to study the simple framework of cultural product design, which could be divided into three levels: morphological, behavioral and psychological cultural space. Taiwan scholars Rungtai Lin [8] proposed a spatial framework for studying cultural objects.…”

Section: A Cultural Product Designmentioning

confidence: 99%

Design of Cultural Products Based on Artistic Conception of Poetry

Zhu¹,

Yu²

2015

Proceedings of the 2015 International Conference on Arts, Design and Contemporary Education

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Abstract-In the era of the experience economy, the core of designing shall be the emphasis on consumers' self-experience during usage. A good product design, therefore, shall not only express specific physical functions, but also contain a cultural connotation, reflecting the social spirit and personality ideal, Chinese poetry has a history of thousands of years. Applying the artistic conception of poetry into product design to embellish the product is an inheritance originating in the importance easterners attach to inner spirits. This study is conducted in two stages to analyze how to apply the artistic conception into product design. A mechanism for translating poetry's artistic conception to a product's artistic conception has been developed in this article, with reference to studies on cultural product design in combination with the "Image-Gestalt" in Gestalt psychology and the "transference of artistic conception" in translatology. The second stage is the creation of the design based on this translation mechanism and to discuss the feasibility of applying poetry's artistic conception into cultural product design. Finally, some suggestions have been presented for further studies.

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Section: A Cultural Product Designmentioning

confidence: 99%

Design of Cultural Products Based on Artistic Conception of Poetry

Zhu¹,

Yu²

2015

Proceedings of the 2015 International Conference on Arts, Design and Contemporary Education

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“…So, academic circles are focused mainly on visual design, which is aimed at human visual senses. Thus, both visual and philosophical information are considered as the cultural access point [3].…”

Section: B Information Visualization 1) Information Design and Visuamentioning

confidence: 99%

The significance of information visualisation based on the symbolic semantics of Peking Opera painted faces (POPF)

Wang

Kang

Qin

2014

2014 20th International Conference on Automation and Computing

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Abstract-Peking Opera as a branch of Chinese traditional cultures and arts has a very distinct colourful facial makeup for all actors in the stage performance. Such make-up is stylised in typical cultural elements which all combined together to form the painted faces to describe and symbolise the background and characteristic of specific roles. The Peking Opera Painted Faces (POPF) was taken as an example to study the information visualisation and transmission, to see how information and meanings can be effectively expressed through the colourful visual elements. In order to identify the state-of-the-art in the related Culture Inspired Design as one of the design principles, the literature resources including illustrations of POPF were investigated, and also the semantic features and elements of other similar forms of modern design which has close connection with multiple aspects of social life. The study has proved that the visual elements of POPF played the most effective role in the information transmittion. Future application of this culture resource may include product design, interaction design, system design and service design around the world.

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“…Using the "Eternity" as an example, the design features of "Linnak" has been identified with three levels of cultural features: (1) reflective design (inner-level) focuses on the cultural meaning of "making friendship", "working together", and "sharing with each other. "; (2) behavioral design (mid-level) focuses on the consumer behavior and the scenario in which people will use the "Linnak" on various occasions; and (3) visceral design (outer-level) focuses on the "Linnak" form factors which are associated with material, colors, texture, and pattern [9,10,11,15].…”

Section: Framework For Human -Culture Interactionmentioning

confidence: 99%

Cultural Aspect of Interaction Design beyond Human-Computer Interaction

Lin

Shiao

et al. 2009

Lecture Notes in Computer Science

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Abstract. Over the past several decades, we have made many efforts to understand Human-Computer Interaction (HCI). But beyond HCI, we need a better understanding of Human-Culture Interaction not just for taking part in the cultural context, but also for developing the interactive experience of users. Therefore we propose a general framework for cultural product experience that applies to the mental models of designer and user and which can be experienced in Human-Culture Interaction. Then, based on the interactive experience of users with an aboriginal cultural object, the Linnak (a twin drinking cup), a modern Linnak was proposed to demonstrate how to design a successful cultural product using the human-culture interaction framework. The intended purpose of this paper is to provide a framework for examining the way designers interact across cultures and the interactive experience of users in the design process.

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Culture-Based Knowledge Towards New Design Thinking and Practice—A Dialogue

Cited by 123 publications

References 0 publications

Design of Cultural Products Based on Artistic Conception of Poetry

Design of Cultural Products Based on Artistic Conception of Poetry

The significance of information visualisation based on the symbolic semantics of Peking Opera painted faces (POPF)

Cultural Aspect of Interaction Design beyond Human-Computer Interaction

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