Summary of Articles: Design, Development, Culture and Cultural Legacies in Asia/Culture-Based Knowledge Towards New Design Thinking and Practice: A Dialogue

Cultural based knowledge towards new design thinking.

From the dialogue, it was apparent that Benny Ding’s idea of design was situated upon the concept that design was, and still is, more about the interconnectivity between cultures and the processes that go with it. He continually disregarded the east and west models as a whole, suggesting that, “products did not strike me as creative or meaningful”. However in saying this, he did indicate that both showed qualities that were relevant to a more refined and cognitive way of designing and thinking. From his research, he came to understand that design, especially within China and Asia, was more complex than what appeared, highlighting how “re-humanization” was a key requirement in order to establish a new way of thinking as well as designing. That is one where values are formulated and, “subjectivity”, “objectivity”, and the, “inevitable process of acculturation”, are all considered.

Furthermore, he explained how these could be applied to the contemporary situation, and underlined that it was matter of perception and appreciation. By designing from human and cultural perspective for totalities, it is easier to reflect and thus unify and free human beings from the contemporary adaptation to technology and encourage one to the liberated re-orientation of cultural design and influence.

Design, Development, Culture and Cultural Legacies in Asia.

Similarly, this article examines the effect that design has over the world.  Specifically, it focuses on the economic and political value of design and how it can ultimately be used to establish a better world, where reform and alleviation of the simplest of problems can make a substantial difference.

This was cultivated through the comparison of two definitions established on the basis of these principles. The first presumption was, “that there exists something called design as ontological equipment”, whereby, “design exists as a full-fledged discipline”. Whilst the second assumption explained how the, “aspirations and predictable patterns of lifestyle”, all, “exhibit at least a certain identifiable common cultural substance and provide the necessary tabula rasa on which modern design may be projected.”

It was highlighted how the west influenced the majority if Asian countries and continues to do so through design and the defiance that comes with adjusting and harmonising both the social and economic aspect of it.  Whilst it  may seem as though that Asia is behind the rest of the world, in truth it is just because they are “Late Comers” to this area.  We must remember that at some point, the ‘west’ was in a similar position, and if Asia is able to achieve an improved interconnected system, then they soon will be beside ‘us’.

In comparison:

Whilst both articles seem to focus on the future of Asia, and specifically design, varying patterns have emerged which differ the two. Although the dialogue focuses heavily on design and it’s origin with highlights on the integration of a an east meets west scheme, the second article explores the commercial and subsequent political take on design and how that can make a difference to design.  In saying that, both look to make improvements to design in the hope that it will establish a better way of thinking; and thus superior and improved designs that will aid the world as a whole.


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