Viewing the Ethical Factors of Design from Ancient Design Thought (Part 2)

The ethical requirements of the design achieved a redesign of the design, and the development of the design towards a new trend. The design was endowed with a deeper humanistic and emotional connotation. The design started from the design itself, and the design and the environment moved towards the design. In the communication stage, the development of three levels of design emotion communication, cultural identification and humanistic care has been achieved, with the deepening of the deeper design of the “human” oriented design. Focus on the design itself, focus on the design, focus on the design of the function, decoration, materials and so on. Starting from the design, we construct the single-level connotation of the design; focus on the design phase of the design and environmental factors, realize the construction of a broader level of design connotation, focus on the environment, integrate with the environment, and form a communicative atmosphere . Design and environment, both design and natural environment (climate, terrain, etc.) influence each other; design and social environment (culture, religion, ethnic habits, etc.) influence and interaction. Design and environment are not only the role of the entire regional environment, but also focus on the role of the small regional environment and national regional environment to achieve the design goal of "human" design. Although China's current design theory still remains at this level, it touches on the third stage of design in some aspects. From the big surface, we can observe the realization of the design of communication. It can be said that the design is designed for the purpose of “human”. Better and deeper. The design of communication requires the design to pay more attention to the "people", pay more attention to the exchanges and communication between people and people, and between people and nature, and pay more attention to their emotions.

In October 1995, the World Interior Design Conference was held in Nagoya, Japan. This is the annual meeting of the International Association of Interior Designers (IFI). At the meeting, Japanese interior designer Uchida was expressing his views on the issue of the turn of the century and the replacement of the era. He believes that the materialistic view of the times born in the 20th century will shift to a flexible and creative era in which things and things are connected. This is a change from “thing” to “thing” and is a development of “heart and relationship”, that is to say, from the era of “material” to the era of “relationship (heart)”. At the same time, he pointed out that the characteristics of the relationship era are: the revival of the regional society, the synergy with nature, the respect of individuality, the recognition of family and community, the chain of diversification and relations, the emphasis on interpretation and understanding, and the re-emergence of stories and legends. The basis of the proposed theory is: information theory, life theory, natural theory, relationship and creation. At the same time, he believes that the future design will pay more attention to invisible things, pay attention to the rediscovery of relationships, the recollection of methods and the repercussions of the heart, will tend to comprehensive design methods. From the theory of Uchida, we can see more clearly the relationship between designing more “human” designs, designing the emphasis on the exchange of human emotions, the respect of individuality, and the comprehensive factors such as the basic material needs of the cultural identity memory. Collaboration and communication to achieve consistency and make design more human and social.
The ancient Chinese design thought has no shortage of diathesis of the design ethic, its quintessence essence still has the form significance to the modern design. The ethical manifestation of design appears to be political class consciousness, which is the most expressed in ancient design thoughts and has become a tool for safeguarding national stability and the authority of the emperor. The most obvious manifestation of the political class consciousness in the design is the Confucian thought and the Neo-Confucian thought on the further development of Confucianism. The Confucianism ideology of "propriety and filial piety" serves the ruling class. It is obvious that the design embodies its class character, taking "ritual" as the basis and "filial piety" as the root. How ancient design should embody the class nature of this status difference, and “filial piety” has become the ideological basis for consolidating “rituality”. Song Cheng’s “reason”, which was proposed by Zhu Lixue, is “heaven”, but their application of “rationalism” is Bring to the norms of feudal ethics. The principle of the so-called gentleman and Wenzi preaching this hierarchical order is not based on the will of human beings, and it is the heavenly principle that exists in Fang Gu. The political class consciousness of design can also be seen in many scattered design ideas. For example, the design idea of ​​“informing things through knowledge” embodies the nature of designing the class. “Gewu” is “Gexinwuwu” and “information” means “inducing conscience.” "Materials" and "Hearts and Objects" are the ethical and moral norms of feudalism. "Knowing" is "conscience" and "knowing goodness and knowing evil are consciences." Therefore, it can be seen that the performance of the design must be correct and the feudal ethical and moral ideological guidelines should be used to make people aware of good and evil so as to maintain the ethical and moral principles of feudalism. Regarding the performance of the equal exchanges between people in the design, from the perspective of Xunzi and Mozi, Mozi’s requirements for skills highlight a “俭” word, a “用” character, and in addition, other Without promotion, different rare, fun and useless things, rich room without carving. He demanded that both the rich and the poor be equal, that they should not accumulate support and selfish desires. They should not be condescending in entertainment. They should advocate political benefits, be energetic and adore of love, criticize the taxation of the public office, and lead to the dispersion of the people's hearts; the forced purchase of goods in the market forced the extinction of the merchants. Fun things flooded, exhausted civilian goods, and so on. Advocate a kind of equal position between people, reflect the design, reflect the equality of the design, that is designed to serve the general public. The design embodying class nature tends to be equal, and the exchanges between personnel and people are equally and smoothly. The thought of Xunzi affected Qi Jinggong at the same time. Qi Jinggong once ordered that “the play is not complete, the public economy is not hesitant, and the palace does not equip ... to stop the light tax, the upper and the lower, and the folks.” Mozi opposes the “fate” and “love” of Confucianism. The "differences" said that "executiveness and life" are "great harm in the world," and that they should "love each other and pay for each other." There should be no distinction between the noble and the deserving. They think that "the officials are invariably expensive and the people have no end." From Mozi's thoughts, it is more obvious to reflect the idea of ​​equality and love between people, to eliminate the class thinking that affects people-to-person exchanges, and to achieve equal human-to-human exchanges. The exchange between man and nature is reflected in harmony. From the point of view of Li Yu's "Everything Like It" and "Kao Gong Ji", we design harmonious and equal communication between people and nature. Li Yu described the author's views on the interior decoration of Chinese traditional residences in the “Housekeeping Department” of “Casual Love”. Many of these ideas reflected the harmony between man and nature. The plains need to have a high tendency” and advocate the “measures according to local conditions: the higher ones are building houses, the lower ones are building buildings, and the other is a method; the lower ones are stacked mountains and the higher ones are water pools, and the second method is”. The most obvious manifestation in architecture is that “opening a window is a magic scene for borrowing scenery” to make “one hundred million Jiashan Jiashui appear in one day”, making people feel natural and cheerful.