Cultural Implications of Product Design in the Age of Knowledge Competition

Third, manufacturers not only sell products, but also sell culture dolcn.com

Today's consumers are not only buying products for their own use, but also value their aesthetic interests. In particular, young consumers are more demanding about their products. Therefore, in the culture-creating efforts, the company will consciously meet consumer appeals, symbolize people’s unique aesthetic emotions, embody the values ​​of modern people, and adapt to the cultural connotation of most consumers’ consumption-oriented culture to integrate into their products. The product can be used as a carrier to invest in the culture of the brand. At the same time as satisfying the psychological appeal of the consumers, they can obtain the value of their product culture and realize the cultural identification of the products they attach to. Products in line with such cultural needs, can be emotionally impressed with its unique human content of consumers, so that they will actively purchase your products due to the needs of the mood, to achieve high-value sales of emotional marketing.

The ultimate goal of producing a product is to sell it. The cultural connotation of today's product in the buyer's market also determines the market prospect of the product. A senior economist said that "half of the product is culture" and "culture is also a commodity." When we are accustomed to listening to the “authentic beef balls” and “authentic fried meatballs” in the streets, in some economically developed countries and regions, it is people who are selling product culture to make money. Mr. C. Reblon, president of Revlon, a famous cosmetics manufacturer in the United States, is known for his success in the business principle of “lipstick is not a cosmetic, we let the American pop”.

V. Packard, known for his study of shopping psychology, writes in his book "Hidden Persuaders": Perhaps "Businessmen you never thought, if you don't sell oil, but hope, if not What is the freshness of oranges? What will happen?” Many business operators still follow the old method of “selling melons and selling themselves” in the process of product marketing, focusing on the promotion of the product itself, Inadequate publicity in services has caused a serious situation in product pressure. We need to strengthen the promotion of product culture. Especially in the formulation of marketing advertising strategies, it is adept at refining the core values ​​of corporate products and giving them unique cultural connotations. It should be noted that many shoppers today have increasingly sophisticated consumer psychology. Apart from the quality of Chinese products, they value corporate image and after-sales service. The genius of "selling 啥 吆 吆 , , , , , , 在于 , , , 在于 , 在于 , 在于 , 在于 在于 在于 在于 在于 , , , , , , , 。 。 。 。 。 。 。 。 。 。 。 。 。 。 。 。. China's red bean costumes, Wahaha foods and other enterprises pay attention to the product's cultural propaganda and achieved gratifying results.

Fourth, the design is based on culture

The core of design is people. All the designs are actually based on people's needs. The design bears the heavy responsibilities for human spirit and spiritual comfort: young consumers buy goods to promote individuality and vibrant youthful vitality; the young and strong consumers buy goods to fill the lost and mature and self-achievement of youth. Feelings; old consumers are full of nostalgia and a sense of tranquility that they have purchased. Therefore, the product is the sum of various cultural elements that reflect the function of the material and the spiritual pursuit, and is the unity of product value, use value, and cultural added value. With the advent of the era of knowledge economy, the interaction between culture and enterprise, culture and economy has become increasingly close, and the power of culture has become increasingly prominent. This cultural color is first embodied in the products of enterprises. That is to say, the products produced by a company are not just a certain use value, not only to satisfy people's certain material life needs, but also to consider people’s spiritual life needs more and more, and to do everything possible to provide people with practical, Emotional, psychological, and other aspects of enjoyment, more and more emphasis on the development of value-added products, efforts to integrate the use value, cultural value and aesthetic value, highlighting the human content of the product.

With human-centered extensions, what kind of needs will result in what kind of design? The original design of human beings was aimed at the most common and basic needs of people. For thousands of years, different nationalities and different geographical environments have precipitated different cultures. Different nationalities and different eras of consumer goods contain different aesthetic tastes, aesthetic ideals, and aesthetic pursuits, showing different national characters, national psychology, and people's different pursuits of self-realization.
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Design needs to be created. If it is not created, the world will be a picture, but there is a foundation for creation. Different regions have different geographical environments, climatic conditions, economic conditions, humanistic ideas, and ethnic customs. In terms of design, each nation has its own characteristics. For example, the French nation is located in a temperate maritime climate, and a good living environment has created the French people's pursuit of beautiful and romantic living habits. Fashion has become the standard of living that this charming country pursues. Fashion, perfume and other expressions of romance and fashion have become synonymous with this nation. The prolongation of the Rococo style and the rendering of the Art Deco movement have created a gorgeous, classic French romantic style; the German people are different, and the climate is dry and numerous. The natural environment of the mountains created a rigorous German. Therefore, the German design embodies the rigorous, functional quality, even more inclined to artistic graphic design is not free here. Bauhaus is its representative. The design proposed by Ulm School of Design is science and technology, which forms a heavy function, technology, and a German style lacking a sense of art. On the contrary, the American nation is a fusion of peoples and a desire for freedom. The sense of humor and arbitrariness of the design. The short history and free human nature have made the design of the United States more relaxed and optimistic; the Chinese nation has a long history, vast land, abundant resources, and people and people, and people and things pay attention to harmony and coexistence. Therefore, the Chinese people are deeply subtle in their self-realization requirements. Strongly highlighted, it reflects a deep level of cultural content. In short, each nation has its own desire and pursuit of self-fulfilment. Both are expressing themselves in their own ways (including product design), using tangible entities to express their recognition requirements and seek national identity.

With the continuous improvement of social civilization, more and more people of insight are aware of the cultural connotation of design. Design must be integrated into the local culture to gain sustainable development. This is especially true in China. In the country that is at the core of East Asian culture, it is even more urgent to solve the problem. The cultural connotation of design is not a superficial understanding of traditional Chinese culture, namely the simple application and copying of “form”, but the integration of “the god” into the essence of traditional Chinese culture. The reluctance of Hong Kong's famous designers is because he knows how to incorporate the essence of Chinese culture that has been immersed in 5,000 years into the design of Chinese ink and wash culture and Confucian culture. The Confucian aesthetic standards are summed up in one word, which is "harmony." "Harmony" embodies inclusiveness and inclusiveness necessarily derives diversity. Diversification is also the diversity of style and decoration under the overall effect. Applying the concept of “harmony” to the creation process is reflected in the harmony of form and function, and the diversity of shapes. Harmony in ancient craft products, stress control, overemphasis on a certain aspect of the design, will inevitably lead to loss of "and." This is why the aesthetic tastes of ancient Chinese artists rarely point to things like “five colors,” “five sounds,” and “five tastes,” and the root causes of more “naive” and “dull” objects. . The specific expression in artistic creation and appreciation is the aesthetic pursuit of "being clear". In this sense, the ancient Chinese aesthetic requires “introversion”, which is the conscious demand for the unity of good and good. “He” is also embodied in “Unity of Heaven and Man”. In the design of creations, it is a design concept that embodies “formal expression of emotions.” For consumers, it is not only the use of products, they need to be pleasing to the eye. The form of purchase includes the humanistic values, spiritual care and self-awareness. From the perspective of the history of the development of human civilization, Ming-style furniture is actually a manifestation of the cultural materialization of traditional Chinese literati clan culture. It more prominently reflects the characteristics and connotation of the culture of traditional Chinese literati clan culture. Therefore, Ming-style furniture reflects the unique pursuit of traditional literati culture in terms of styling, materials, decoration, and craftsmanship: natural and ethereal, elegant and euphemistic, super-elegant and subtle charm, transmitting a strong sense of transmission Bookishness. China promotes courteous manners and honest and dignified code of conduct. In terms of style, Ming style furniture is meticulously practised, smooth lines, moderate proportions, and stable and generous. In a sense, resting in an armchair may not be the best way, but it is more ceremonial, social, and ethical than the function of rest. The chair seems to be more concerned with the user. Cultural comfort.

Design is a work of giving people's thoughts a form. Design is to give all artificial objects beautiful purposes and realize them. Good design is a reflection of true, good, and beautiful. Design from the past to the satisfaction of the function has risen to the spiritual care of the people. This is the root of integrating the culture into the design and increasing the cultural value of the product. This is also the responsibility of the designer. (to be continued)