Learning from 意匠 (Yì Jiàng). A Non Western Approach to Design Education
The word design is often used as a noun and a verb. The OED defines design as
“A plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made”
and to design is to
“Do or plan (something) with a specific purpose or intention in mind.”
(Retrieved from http://www.oxforddictionaries.com/us/definition/american_english/design)
A designer is therefore someone who does or plans “(something) with a specific purpose or intention in mind.” From a non-Western perspective, designer can also be called a 意匠 (Yì Jiàng) The character 意, for example, carries multiple meanings- as consciousness, meaning, intention, significance, idea, sense, desire, thought and longing. As 意匠, a designer is a craftsman who shapes our consciousness and produces meaning. Through the designer’s work, our sense of the world is heightened, and the quotidian elevated to a level of significance. A designer also shapes our desires and longings. Our yearnings for homeland, justice, freedom or luxury are given material form.
意 is also made up of several ideograms- {sound (音 Ying)}, {heart (心 Xing)}, {stand, establish or set (立 Li)}, and {day, daily or sun (日 Re)}. On the other hand, 匠 or craftsman consists of 2 ideograms- 匚 (Fang), which means a box, and 斤 (Jin), which is an axe. The combinatory meanings of 意匠, from the elemental to the extended meanings offer a much more expanded role that a designer can take in contemporary society.
First and foremost, a designer needs to be attentive to sound (音 Ying) in the design process. It refutes the primacy of the visual, especially when the design process is much more screen-based now. From (心 Xing), we know passion, generosity, emotion and empathy are as important as skills and techniques, while (立 Li) suggests that design is a setting in place, whether the outcome is a piece of furniture, a book or a neighborhood. (日 Re) reminds us that as a designer, we need daily devotion and a dedication to the continuing refinement and learning of our craft. Our tools, 斤 (Jin) are housed in a box that affords mobility. It echoes how the mobility of ideas, people, and finances in the 21st century has given rise to a globally situated design practice.
The word design is often used as a noun and a verb. The OED defines design as
“A plan or drawing produced to show the look and function or workings of a building, garment, or other object before it is built or made”
and to design is to
“Do or plan (something) with a specific purpose or intention in mind.”
(Retrieved from http://www.oxforddictionaries.com/us/definition/american_english/design)
A designer is therefore someone who does or plans “(something) with a specific purpose or intention in mind.” From a non-Western perspective, designer can also be called a 意匠 (Yì Jiàng) The character 意, for example, carries multiple meanings- as consciousness, meaning, intention, significance, idea, sense, desire, thought and longing. As 意匠, a designer is a craftsman who shapes our consciousness and produces meaning. Through the designer’s work, our sense of the world is heightened, and the quotidian elevated to a level of significance. A designer also shapes our desires and longings. Our yearnings for homeland, justice, freedom or luxury are given material form.
意 is also made up of several ideograms- {sound (音 Ying)}, {heart (心 Xing)}, {stand, establish or set (立 Li)}, and {day, daily or sun (日 Re)}. On the other hand, 匠 or craftsman consists of 2 ideograms- 匚 (Fang), which means a box, and 斤 (Jin), which is an axe. The combinatory meanings of 意匠, from the elemental to the extended meanings offer a much more expanded role that a designer can take in contemporary society.
First and foremost, a designer needs to be attentive to sound (音 Ying) in the design process. It refutes the primacy of the visual, especially when the design process is much more screen-based now. From (心 Xing), we know passion, generosity, emotion and empathy are as important as skills and techniques, while (立 Li) suggests that design is a setting in place, whether the outcome is a piece of furniture, a book or a neighborhood. (日 Re) reminds us that as a designer, we need daily devotion and a dedication to the continuing refinement and learning of our craft. Our tools, 斤 (Jin) are housed in a box that affords mobility. It echoes how the mobility of ideas, people, and finances in the 21st century has given rise to a globally situated design practice.
