The origin of cross-border is for human’s comfort

China’s urbanization has entered a stage of high-quality development. Among them, optimizing the spatial layout of the land and promoting coordinated regional development and new urbanization are important goals for future economic and social development.

The composition and perfection of every detail in a modern city cannot be separated from the designer. How does this group that represents cutting-edge and vitality integrate aesthetics and technology into innovation? How do they view the inheritance and innovation? To this end, CBN interviewed Liang Jing, a cross-border designer and deputy director of media and communication at the School of Design and Innovation, Tongji University.

When talking about cross-border innovation, Liang Jing said, “When we design, we often design a lifestyle instead of a skin”. Taking eating as an example, the whole process may include the lighting, environment, tableware and a series of service experiences during the meal. It is difficult for us to distinguish a certain design or only do part of it. At the very beginning of design, we are a cross-border and innovative thinking. Design itself is cross-border, if there is no cross-border thinking and cross-border design, it may be difficult to complete any design.

Regarding the generation of post-90s to post-00s, Liang Jing came to a conclusion based on his teaching experience that the post-waves did not become less and less hardworking because of the richer material. “On the contrary, these young children We really work hard.” Liang Jing said that seeing these late waves are very hard and hard, and their learning ability is also super fast, it is difficult to imagine what the design will be in five or ten years, because the technology will It becomes more complicated and more powerful.

China Business News: In contemporary society, people’s requirements for design and technology are becoming stronger and stronger, and aesthetics tend to show individuality. Do you agree with this? What is the difference between the modern middle class’s requirements for design and the past?

Liang Jing
Liang Jing: I think so. We will often see a question, what is the definition of a designer? Do I have to learn design to be a designer? From this point of view, I think it may not be the case. In foreign countries, there are actually very few so-called interior designers. With the improvement of many people’s aesthetic qualities and abilities, everyone can build their own home or their own space. I think the so-called personality should be from the inside out, that is, starting from oneself. I think that in the future, there will be more and more “non-designer” designers doing their design.

At present, people’s pursuit of life has gone from satisfying material life to pursuing a better life. The word “good” actually represents a new requirement for design. It takes two words apart, the first word is “beauty”. I think it is difficult for the middle class or us to choose such things if we talk about things with no value. Only after “beauty” is it considered “good”. I think that as the material becomes more and more abundant in future life, everyone’s demand for a product or an item will be reflected in increasingly demanding designs. This is an inevitable trend.

China Business News: How to understand the relationship between inheritance and innovation? How to resolve the contradiction between the two?

Liang Jing: Regarding the issue of inheritance and innovation, when I was studying, the teacher often asked us to draw some traditional symbols, or find some traditional patterns, to find inheritance from the tradition. We should think clearly about this, what should we inherit? Should we inherit a form, a pattern, or a craft? Or is it to pass on a spirit? Now it seems that we should inherit this spirit more. For us Chinese, what we want to inherit is the spirit of harmony between man and nature and symbiosis with nature. If our innovation is inherited from this spirit, Then our design will be great, and it must represent the future. In other words, if we just copy the original graphics, patterns and even furniture, this is just a metaphysical copy of this form. The previous furniture must not be suitable for the current market and the needs of people now. I think, in the final analysis, innovation is actually inheriting us. The rare spirit of the past.

There should be a proportional relationship between inheritance and innovation. For example, there should be more inheritance or more innovation. As far as design is concerned, due to genetic relationships, inheritance is already in our blood, and it cannot be lost. Now it is nothing more than a question of degree. From which direction should we explore it, is it a classic inheritance? Or is it the future that is unconstrained? I think this may be a different means and method of innovation.

China Business News: Artists are often lonely. How do you think that your advanced ideas or design ideas are opposed by others? How to balance in the market and persistence? How to resolve the contradictions in cross-border integration?

Liang Jing: I think that there is a connection between art and design, but there are some differences. The artist is lonely because he reflects a feeling in his heart, but the designer is different from the artist because he serves everyone and more people. For example, if you design a chair that only one or two people like, then it might be put on a shelf in a museum. But the truly successful design should refer to how many copies of it have been sold and how many people are using it. As far as I am concerned, so far, our design has been a bit advanced, but at the same time it will still be liked by everyone. Maybe there is one important point here. In the final design answer sheet, how many people like it, not what it has More alternative, more special or more avant-garde.

I think that self-persistence is actually part of this market, and the two are not contradictory, because what really gives the answer is the final result of this design. As a teacher, I often tell my students that designers have a social responsibility. This social responsibility has two parts, one part is whether it makes everyone’s life more convenient? In terms of sustainable development, have you contributed to the planet? At the same time, the other part is also very important. For example, when we do some commercial projects, have we helped this company succeed? We often say that the biggest charity is to do business, so whether a commercial project or a product ultimately succeeds in the market is also a responsibility of the designer.

In terms of design choices, we must take into account many professional issues. In fact, we have to consider all aspects when we cross-border, but no matter how we do any professional, we will have a certain focus. For example, a car may not only consider the feelings of the driver, but also the feelings of the passengers. Nowadays, many models are still considering the feelings of the family after the second child family, so they may have to return to the original source. The origin of crossover is for human comfort.

China Business News: Generally speaking, is there a design that will never go out of date? Are there any commonalities in classic designs?

Liang Jing: This design should be called a classic. The design we are talking about actually contains three elements, one is design, the other is technology, and the third is economy. These three are completely integrated. Limited by technology, it is difficult to have outdated designs, but there are outdated ideas. We often see that some good design drawings were many years ago, but now there are new ways to achieve it. Therefore, I think that technology has been advancing, and new technologies will bring new designs, but the past design will become a classic in that era, and it will also become a timeless work. It is a very rare work.

Classical design, whether it is graphic design, product design, or space design, all have the strongest sound in a period of time, which often brings a trend or trend. For example, the Nordic design in furniture is a classic; after the industrial revolution, architecture has been given more possibilities, because with cars and ships, we discovered that the original use of steel frames can make glass and walls merge One, this design brings new changes to the building. Therefore, I believe that the so-called classic and outdated design is to achieve innovation and leadership at the time.

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