شناسایی الگوهای برساخت طراحی ملّی در مواجهه با طراحی جهانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
طراحی محصول علاوه بر انطباق با نیاز های جامعه کاربری، نمایشگر سبک زندگی ایشان و به گونه ای روایتگر فرهنگ زمانه ی خود است. با شروع قرن جدید طراحی صنعتی از طراحی محصول صرف به سمت گونه ای کنشگری در جامعه حرکت نموده است و ظهور و رشد گرایش هایی مانند مدیریت طراحی و رویکردهای فرهنگی-اجتماعی از نتایج همین روند کلان طراحی صنعتی جهان است. به همین ترتیب، در پی رشد مطالعات پسااستعماری در هنر و طراحی، پژوهش در طراحی ملل و کشورهای پیرامونی به تعبیر ویکتور پاپانک جایگاه ویژه ای در مطالعات دانشگاهی طراحی صنعتی یافته است. لذا با عنایت به مبانی نظری جهانی شدن، نوعی رابطه ی دیالکتیکی در قالب طراحی جهانی به مثابه ی امر عام و طراحی بومی، ملّی و محلی به عنوان امر خاص طراحی است. هدف پژوهش حاضر بررسی و شناسایی الگوها و رویکردهای هویت یابی کنشگران (طراحان، مورخین و نظریه پردازان طراحی صنعتی) کشورهای پیشرو و در حاشیه ی طراحی در مواجهه با الزامات عام و جهان شمول طراحی جهانی است. این پژوهش با رویکردی تفسیری و به روش تحلیل اسنادی و روش شناسی کیفی انجام شده و در تجزیه وتحلیل داده های اسنادی از روش کدگذاری موضوعی استفاده شده است. پژوهش حاضر، در چگونگی تعامل و تقابل نظریه پردازان و مورخین طراحی ملّی در قاره های مختلف، چهار الگوی کلی مواجهه همراهی کامل، خلاقانه، چندگانه و التقاطی با طراحی را شناسایی نموده که همگی در مجموعه تجربیات جهانی-محلی گرایی قرار گرفته و الگوی فرضی محلی گرایی محض از طریق رد کامل آموزه های طراحی جهانی دیده نمی شود. به نظر می رسد که دلیل آن، برتری فناورانه روش تولید و مواهب غیرقابل انکار آن در دنیای معاصر است. بخش عمده ی تمایزسازی طراحی ملّی نیز با توجه به شرایط فرهنگی-اجتماعی و از طریق بهره گیری از نمادهای بومی، فرم های کلاسیک تثبیت شده و ارزش های فرهنگی بومی و با اولویت در زیبایی شناسی طراحی محصول جلوه گر شده است.Recognizing Patterns in the Construction of National Design in the Face of Global Design
Today, according to alternative theories and approaches, industrial design not only meets the needs of users, but also reflects their lifestyles and narrates the culture of its time. During the last two decades, with the studies of young design historians, industrial design has changed from just product design to a form of activism in society, and the emergence and growth of trends such as design management and socio-cultural approaches are the result of this global trend of industrial design. In the same way, following the growth and expansion of post-colonial studies in art and design, research in the design of peripheral countries has found a special place in academic studies of design.
In addition, the phenomenon of globalization has provided suitable conditions for the penetration of different design ideas in all parts of the world. On the one hand, design with native products in the five continents has been seen on the basis of comprehensive international communication, and on the contrary, global design (international style) by emphasizing its universal principles has provided the possibility of more and easier penetration throughout the world; functionalist design models offered in the form of modern products of reputable international and multinational companies.
In this context, firstly, the long-standing gap between the historiography of product design between advanced countries (the central countries always present in the history of design) and the peripheral countries is reduced, and secondly, a kind of confrontation or interaction between the two tendencies of national (local) design and global design is possible.
Research goals: The main goal of this study is to investigate the theoretical frameworks and approaches of national design identification by design activists (professional designers, native historians and theoreticians) in the central and marginal countries of industrial design in the face of the main values of global design and the typology of macro trends in them.
Research Method: This qualitative study was conducted with the interpretative research method and by using the content analysis of the papers and articles published on the topics of "national design" and "national identity in design" of different nations. The studied research articles have been selected from among the studies published in the past 15 years in prestigious international journals including: "International Journal of Design History", "Design and Culture", "Design Issues" and finally "Design". Based on their purpose, which is to profile national design, the study samples are from three different continents of Europe, Asia and the Pacific and also include the design of central and peripheral countries in the history of global design.
For this purpose, first by studying the secondary resources (famous books on the history of industrial design and history of architecture), the fundamental principles and important guidelines of global design (international style) were extracted and divided into four categories: "functional", " strategy of design education", "aesthetics" and "marketing" criteria were classified. Then, the confrontation methods of the selected national design texts have been evaluated based on the above criteria.
Conclusion: Generally, Professional and design researchers in different countries of the world have shown different reactions to the acceptance of global design principles. These reactions depend on the social and political conditions, historical background, and also their distance from the central countries and dominant flow of world design. The current paper has identified four meta-trends in the way national activists deal with global design: "completely following ", "creative", "multiple" and "eclectic" approaches. All of them can be classified in the main paradigm of “global-localization”.
On the other hand, according to the literature of national design, the model of complete localism is not seen as a special matter and with the complete rejection of global design principles and relying on the specific achievements of local product design. One of its undeniable reasons is the technological superiority of the machine mass production method, which has become the basis for the development and widely release of modern design in the lives of the public. In most cases, a combination of traditional and industrial materials or local and mass-production methods has been used in establishing national design.
The highest degree of differentiation in national design is based on reference to the socio-cultural context of nations. This category has included the use of native-local symbols, (Classical) historically established forms and attention to the local cultural values in the design of national products. Obviously, these differences are prioritized in aesthetics. Finally, technological achievements in production methods in the new century, especially rapid prototyping and shifting of new design attitudes from mass-production to customized and personalized products, have created favorable conditions for the supply of products with local, national and regional design. Therefore, identity boundaries can be understood and evaluated at different levels of design. In addition, various types of hybridization of global design and local and regional design are being formed and expanded across the globe.
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