设计的符号美学

A Semio-aesthetic Study of Designing

摘要:

人为取得某种效果而改变对象, 此种改变付诸实践前制定的计划即为设计。 有了设计, 实践中 注入了明确的人的意向性。 人类把自然物改造成人造物, 或 “再设计” 改变成进一步人造之物, 以取得更 多效果。 被设计改造过的自然, 成为 “人为物”, 甚至人本身也成为 “被设计的人”。 不同文化的设计, 尺 度可能差异极大。 而当一件设计物, 或一件设计物的一部分, 其意义超出物功用, 也超出实用的符号意义, 该物就越出庸常, 获得了艺术品格。 研究其中的机制, 是符号美学的重大任务。 在民族文化的形成过程中, 会出现该文化独特的设计标准、 意义解读、 美学风格, 此种关系全局的设计方案即为 “元设计”, 其基础是 该民族文化特有的神话哲理与民族性格。

Abstract:

Design is a preconceived plan to achieve a certain effect by intentionally changing an object. Through design，humans inject intentionality into natural objects，transforming them into artifacts and improving these artifacts into better objects that better serve human needs. Nature does not design; there is no design in the struggle for survival. Rather than saying that nature is suited for survival，it is more accurate to say that humans are striving to adapt to the natural world. Humans exist in a world that has been _“designed by humans，_” with social and cultural designs that enable _“artificial humans_” to live in an artificial world. To survive in the world，humans must find ways to _“design” nature. This is an extension of human subjectivity，which constantly seeks meaning in the world，including optimizing the environment to produce meaningful characteristics for the benefit of humanity. The practical activities of animals are determined by innate behavioral patterns passed down through genetics. In contrast，human design plans，as well as the tools or products produced from this design，reflect the social and cultural style of the community. The _“scale_”of design varies greatly and is entirely dependent on the intentions of the designer. Once nature is transformed according to the design plan，it takes on the meaning that humans have given it. Symbols are the perceptible means of interpreting meaning，which is most evident in design activities. Since the intention behind design is to change the meaning of an object，this design meaning will inevitably be expressed in a perceptible way. Without symbol activity，design would not be possible. Design may not always achieve its intended purpose，and there is always the possibility of miscalculation. In searching for the principles of design，we must begin with the special nature of design codes，since design itself is also _“designed_”. Before modern times，_“humanization_” evolved from the divine as the general principle of design，shaping the meaningful world that humans need. Today，it has been replaced by the universal realm of science. Overemphasizing the power of science to shape the world through scientific universalism may actually impoverish the human spiritual world. Artistry is the_“anti-effect” part of design，with _“artistic design_” as the design effect that emphasizes artistry rather than utility. An item designed in this way not only provides utility to the user but also conveys value and appreciation that transcends the mundane. This _“triple nature_” is based on a fundamental paradox of symbolic aesthetics: art relies on purposelessness，but most designed objects must strive for utility. The overall plan for design is called _“meta-design，_” or _“design for design. _” Each nation often insists on its own meta-design plan，which ultimately forms a comprehensive meta-design system that combines technology and aesthetics. All meta-designs ultimately seek a _“grand unifying spirit，_” and attempt to intuitively demonstrate the ultimate reason for all things. Design semiotics is not just a technical problem，nor is it simply based on the changes in the shape of physical objects. It is the evolution of the _“way_”of meta-design，and is a profound imprint of historical progress.