Objects "exist Dimension

Seeking Chinese indigenous design discourse relates to the problem of designing concept'transformation necessarily from the word goes. In the context of worldwide culture exchanging, Chinese modern design has not formed its own unattached discourse system. At present, the concept of modern design which we talk about has already based on the western ideology and the culture system. The West brand which hides in the concept of"china design"has internal deep ideology.Certain history and cultural context endow design activity with unique selectivity creation and response model. In the environment of"non-material society"named by the west, the fictitious environment of information and internet change the relationship between human beings and things. According to this, the design concept mades adjustment correspondingly. Therefore,"non-material design"emerges as the times requires. It stresses that the form and function of the substance break away from the lay of the substance gradually because of the information technique, and approach the thing of pure spirit. Therefore, in the non-material society, design should become the existence of art to seek"the goods that can cause the response of poetic art". Besides the effect of technique factor, it is the modern design depends on instrumental rationality excessively that causes the short of technique's"nature of things"and the strain and disassimilation of the relation between human beings and substance. Therefore, they use"non-material design"to relax the impact which caused by rationality towards human beings'sensibility. In this, what we see is still the logic replay of the western traditional rationality and sensibility. When the rationality run to top, it will be suppressed by sensibility."Non-material design"should not become this kind of game that rationality and sensibility catch with each other. Based on this, the two consciousness systems between china and the west embody their differences of deep structure. We can say that the philosophy and life consciousness which embodied by Chinese traditional culture are happen to have the same view with the way which the modern design explore to. Meanwhile, it also can provide historical chance to China to seek her own characteristic design. It is also the instructional direction that Chinese modern design introspects on indigenization. Complicated historical chance and culture atmosphere require the indigenization must transform into the oppositional form which based on the tradition. At present, in the works of each design domain, the appearance of a great deal of traditional element symbol is the representation of this kind of opposition. Meanwhile, we should see that in this surface application there are more concrete applied practices of traditional symbol, but lack of design about the deep meaning. And the concept consciousness is still superficial.Starting from this point, this thesis consists of three chapters:Chapter one: the thesis abstracts the major objective of designing activities,"things"as the starting point of analysis, and makes clear the evolvement of"things"from handicraft period when emphasis lay in the token of life shape to machinery period when emphasis lay in the predominancet of the worth appearance. Through this analysis, the thesis reveals the law of human-things relationship evolvement and its impact upon designing activities. By pointing out that"things"disturbs design concepts, this chapter put forth the disadvantages of modern design in China. Chapter two: based on the social context of"non-material", this chapter analyses the disassimilation of human-things relationship under new social surroundings and the conflict between"material"and"non-material"in designing activities. By such analysis, this chapter points out that western rational thinking pattern is the root of that conflict and the traditional thinking pattern of China is more appropriate to new designing concepts. Thus, this chapter turns the focus to the theory and trend of modern design in China.Chapter three: this thesis takes"Qi Wu"theory of Chuangcius as the breakthrough of modern design in China, for this theory contains penetrating narration about"things". Based on the theory of human-nature duality and making the existence of human as the analyzing target, Chuangcius deconstructs the restraint of nonego to human souls and constructs the freedom on spirit and soul. He conducts introspective criticism to the relationship between human and life(not simply accept or deny, but to go beyond it on the basis of identification) and offers an ideal aestheticism on human-object relationship. This thesis attempts to utilize this idea to explore the trend of modern design in China, and to expound the revelation of Chuangcius'theory to modern design in three aspects: function, monologue and symbol.There has been description of traditional culture and modern design theory, and many achievements have been made. The intention of this thesis is to summarize the author's reflection on this subject and to communicate with those who are concerned about this subject. This thesis takes the latest theories and phenomena as tools and targets, reviewing traditions through modernism, reflecting modernism through traditions, in order to grasp the main tendency of modern design. Making use of the"Qi Wu"theory of Chuangcius to put traditional culture into function in modern design activities, this thesis attempts to shed some light upon the Chinese native design.