LOOKİNG从文化的角度看“设计与设计师”

Ahmet Şadi Ardatürk
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引用次数: 1

摘要

设计是一种涵盖文化、技术、艺术、社会学等多个领域的现象。该设计因其所处的位置而构成了一种缓冲地带,与生活的喧嚣有着直接或间接的关系。在多学科结构中,组织来自不同领域的输入是设计的核心要素之一。另一方面,设计对象是文化和技术结合的实体,为现有需求提供美学和人体工程学解决方案,并具有塑造生活方式和习惯的潜力。当仅仅基于传统数据和已有知识创建时,设计中使用的范式就脱离了时代精神。随着时间的推移而变化的需求和文化也构成了文化的本质。这种形态,实际上是一种生活方式的描绘。再一次,被塑造的环境涉及到地点或元的运动;它的发展和变化具有动态的性质。设计也是一种现象,在最基本的意义上分享这种活力,并在自己的时间框架内形成。在消极或积极的方向上使用这种动态特性的能力是在设计师的责任下存在的。与设计相关的核心是由文化创造的,再一次达到了它创造文化的程度。本研究的目的是通过讨论从工业生产到我们今天的设计过程中元的定义以及其社会核心和内容所赋予的意义,来解释当代设计对象在我们现实中的作用。在这方面,本研究讨论了设计与文化、消费和元概念的相关性和关系。此外,基于21世纪现代世界的形成,这种解释过程提供了对设计和设计师所站和应该站的地方的洞察。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
LOOKİNG AT “DESIGN and DESIGNER” FROM a CULTURAL POINT of VIEW
Design is a phenomenon encompassing multiple fields such as culture, technique, art, and sociology. The design, which constitutes a kind of buffer zone due to its position, exists in direct and indirect relations with the ipseity of life. In a multidisciplinary structure, the organization of inputs from each different field is one of the core elements at the heart of design. The designed object, on the other hand, is an entity emerging from the combination of culture and technique in terms of providing an aesthetic and ergonomic solution to the existing need and having the potency to shape the way of living and habit. The paradigms used in design fall outside the zeitgeist when created solely based on conventional data and pre-existing knowledge. The needs and culture that move alongside time also form the essence of culture. This formation, in fact, is a depiction of the way of life. The shaped environment, again, involves movement whether with places or metas; it evolves and changes with a dynamic nature. The design is also a phenomenon that shares this dynamism in the most basic sense and takes form within its own timeframe. The ability to use this dynamic nature either in a negative or positive direction finds existence under the responsibility of the designer. The design-related core that is created by the culture, once again, reaches a point where it creates the culture. The purpose of this study is to interpret the role of the contemporary design object in our reality by discussing sections from the definitions of metas as well as from the meanings attributed to their social cores and contents within the design process from industrial production to our present day. In this regard, the study discusses the relevance and relation of the design to the concepts of culture, consumption, and meta. Moreover, based on the formation of the 21st-century modern world, this interpretation process provides an insight into the place where the design and designer stand and should stand.
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