Traditional culture promotes the development of innovative design

1 Introduction

Under the background of cultural globalization， various cultures collide and fuse with each other， so “cross-culture” is a powerful driving force for global cultural innovation. In the face of increasingly fierce market competition， in order to successfully transform and enhance the core competitiveness of the market， manufacturing companies must adapt to the changing market demand. This change in demand has prompted enterprises to continuously enhance their core competitiveness and deepen the product reproduction of cultural genes. Gradually improve the cultural connotation of the product and design added value. In this regard， this paper will analyze and discuss the four parts of innovative design， cultural inheritance， cultural innovation design method and cultural inheritance design examples.

2 Innovative design

2.1 Definition of innovative design

“Innovation” is the most popular vocabulary nowadays， and “innovative design” also plays an increasingly important role. For the innovative design， Academician Lu Yong xiang gave such a definition， innovative design： It is oriented to the era of knowledge network， with industry as the main service object， integrating green low-carbon， network intelligence， and sharing creation as the characteristics of the times. It integrates science and technology， culture and art， and service model innovation， and covers engineering design， industrial design and service. Design and other types of design fields are the key links in the transformation of scientific and technological achievements into real productivity， and are supporting and leading a new round of industrial revolution.

Innovative design is a system integration innovation that selects， combines and optimizes according to factors such as technology， art， humanism and business innovation. It is an inevitable outcome of designing and adapting to the social development of the knowledge network era. For innovative design， it contains five components， namely culture， art， technology， people and business. Among them， culture includes product characteristics and brands. Art is a product form， product beauty. People ia a kind of requirement including the functions of products， the coordination of people， machines and environment.

In the early days of technology generation， productization was slow. Once combined with innovative design to create a “technical insight”， designing breakthrough products will lead to disruptive innovation. Focus on disruptive technologies such as mobile internet， knowledge work automation， internet of things， cloud， 3D printing， advanced materials， and more. Designers at this time focused on exploring how to combine disruptive technology with innovative design to create breakthrough products.

2.2 Innovative design art and aesthetics

Maybe not everyone can be an artist， but everyone has a beautiful eye. Product design is a “people-oriented” innovation practice， which means that it always looks at every product under the design from the publics point of view， while at the same time making it aesthetic.At the same time let it have an aesthetic. The times are changing， people are changing， and beauty is changing. Innovative design encompasses the expression of beauty and value and emotion. In the process of realizing the realization of the design， with the development of the product life cycle （Lead-in period、Growth period、Maturity、Recession）. Taking the change of iphone as an example， it not only represents the beauty of design in each period， but also leads the design style of generation after generation.

3 Cultural heritage

Culture is a component of innovative design. By subtly integrating cultural elements into products to achieve innovation， it has become the mainstream idea of innovative design. At present， some world-renowned products or brands will let the public associate their products with the cultural characteristics of their origin. But now it has a problem， burgers and buns？ How would you choose？ How will the public choose？

In the context of economic globalization， a large number of foreign design ideas have poured into China. When we “abandon” our national culture and seek for advances in science and technology and know where to place traditional culture， foreign countries have quietly set off Chinese culture. As a worker in the field of industrial design， I deeply understand how to show the charm of traditional culture with innovative design methods is a problem to be studied in the field of industrial design.

Over the years， the import and export trade of Chinese books， film and television and cultural and creative products is about 10：1 deficit. Japanese anime is the best playmate for children. The younger generation of Ou Ba， Ou Ni， and Smecta are endless. The films that China exports to foreign countries are rare， and foreign films made with Chinese cultural elements have achieved great success in the Chinese market and the international market. “Mulan” and “Kung Fu Panda” are the best examples. This shows that Chinese culture can be fully integrated into the works， recognized by domestic and foreign markets， and has a good communication effect， but domestic creative subjects and enterprises lack the ability to re-process traditional culture， namely： weak integration of culture and innovative design. However， there are always a number of pioneers who are influenced by Chinese traditional cultural ethics. They feel the sense of crisis that traditional culture cannot spread better. Different from the publics perspective， many experts and scholars are committed to the spread of Chinese traditional culture. This proves， it is particularly important to build an innovative design culture system. In Japan and Singapore， for example， urban planning in Japan and Singapore incorporates their culture， and they provide the world with a cultural image of efficiency， integrity， and interest.

Culture is not a ritual， not just a concept. What is more important is an action and a code of conduct. It is a concrete behavior that is implemented in real life. This is a practice of unity of understanding and action.

4 Cultural innovation design method

The rationale for Cross-cultural Studies is that individuals in different cultural contexts have different perceptions， emotions， attitudes， and values. The purpose is to generalize and generalize from specific communities or cases through specific research. Principles and principles to meet the needs of the people for cultural diversity. “Cross-cultural understanding–cross-cultural adaptation – cross-culture” to build a product innovation design system. The innovative design model can fully reflect the voice of ones own culture， maximize the mutual proximity to the cultural core， and break through the specific culture to design the program and scope， improve design flexibility.

5 Cultural heritage design examples

Cultural heritage is the inheritance of symbols. As far as the “cultural symbol” is concerned， culture is the object of study， and symbol is the tool is the method. Culture is a kind of symbolic construction. It is undoubtedly of great significance to understand cultural phenomena based on symbols and to interpret and understand the essence of culture. Semiotics is not only one of the many methods of studying culture， but the most fundamental methodology of cultural studies： the use of symbolic symbols in culture has created texts of texts. Since there is no symbol outside the culture， then any cultural phenomenon should begin with the symbol， starting with decoding. Designers should integrate Chinese traditional culture into product design， which has many concrete manifestations in Chinas automobile design.

5.1 Geely Panda Car

Panda as a national treasure， the Chinese are very familiar and passionate about promoting it. From the perspective of styling， The panda has a quiet and cute element， which meets the design appeal of the miniature Chinese element car. The entire front face shows a new abstraction of Chinese elements. Geely Panda， first of all， the sleek surface design of the front face creates a simple and full face， which is also the embodiment of the pandas rounded image.

The front face is designed with a smooth surface to create a simple and full face， which is also the embodiment of the panda fat pier. The rounded headlights with rounded corners， the outline of the lights abstract the eyes of the pandas， and the black-edged decoration on the outside makes the giant pandas dark circles appear vivid. The lamp is arranged inside the foot of the giant panda. It looks very cute. The area of the air inlet is designed to be large. In the shape， the pandas mouth is displayed， showing the application of Chinese elements in the design of the car. The tail design brings us back to the pandas mood， the whole tail shows a large volume， the white body version with the black outline rear window and the black plastic parts at the bottom of the rear bumper reflect the pandas primary color very accurately.

The two most important aspects of car design are creativity and styling. The first thing to focus on is creativity. If there is no good idea， it is difficult to have good design with characteristics. Geely Panda is one step ahead in creativity and launches the concept of national treasure giant panda， reflecting Chinese elements. In line with Geelys brand positioning， and fully explore the physical characteristics of giant pandas in shapeAfter abstraction， it is applied to the cars portrayal， which makes the Gili Panda show a vivid image of the panda.

5.2 Geely Bo Yue SUV

In the design of the Geely Bo Yue SUV， Geely has integrated a large number of traditional Chinese cultural elements， from the center console to the fog light decoration line， to the panels and headlights， to the interior panels and handrails， all of which reflect the traditional culture. . The lines above the center console are very similar to those of the famous bridge in Hangzhou West Lake. The design team has transformed and optimized the texture， and based on this texture， it incorporates the effect of metal wire drawing， and then it is transformed into a water ripple， which is matched with the main instrument panel line of the arch bridge， which makes the visual more comfortable and harmonious. The decorative strips connecting the left and right fog lights are very close to the Chinese wish. Such as the panel of the impression， the controller of the headlights， etc.， the car uses a lot of “back” pattern decoration， which is one of the manifestations of the Chinese elements， and the “back” word is consistent with the “G” word of “GEELY”. A large number of embossings also indicate that “continuous， happy and long-lasting” .The texture of the interior panels is also made of Chinese elements. After screening， finally， Chinese terrace elements were used in the design of it. The lines of the terraces are softer， but the overall feeling is slightly stronger and wild， which is consistent with the temperament of the SUV. The design of the door handle and the central handrail are from coarse to fine and then thick， using the concept of traditional Chinese art brush calligraphy.Hard and soft combination， even faintly feel some power through the paper.

6 Summary

Culture is the spiritual core of every country. Traditional culture， as a cultural organism accumulated over the centuries， has rich linguistic symbols and ways of thinking. Exploring cultural potential， precipitating cultural spiritual connotation， showing the characteristics of artistic symbols， highlighting the charm of linguistic value， is a profound understanding， interpretation and regular development of cultural organisms， in order to achieve deep integration of culture and design. Establishing a cultural development knowledge base in the context of big data， realizing culture to brand across cultures， and enhancing cultural values are inexhaustible motives for promoting innovative design.

References：

[1] Wang Youyuan， Zhou Shengling.Research on Product Innovation Design Knowledge Network Based on Ontology[J].Computer Technology and Development，2018（01）.

作者簡介：徐聰（1992—）女，山東人，齊魯工業(yè)大學(xué)（山東省科學(xué)院）碩士研究生，研究方向：人機(jī)工程與產(chǎn)品設(shè)計(jì)。