Projects
Writing
Information
- Introduction
- The Capacity of Form
- Designed Form as Furniture
- The Relational Field of Form
- The Reconciliation of Form and Function
- Complex Form in Harmonization
- Restraint and Richness
Complex Form in Harmonization: Continued - Discerning Proportion
- Reflection on Contemporary Design
2023-2025
- What is Design?
- Problematic Design of Contemporary Era
- The Timeless Good Design
- Reflection on the Role of Design in our Historic Moment
-2023
Design is the process of human thought and reflection on various existent entities, and it usually carries intentionality. In other words, ideas leads to design. Since design is guided by human thoughts, it is inherently subjective. Individuals with different level of subjectivity will receive and respond to different subjective designs, generating connections. The diversity of designs showcased in the world constantly reflects people’s subjective ideas about their surroundings, stemming from various aspects such as race, religion, politics, society, and culture.
It is essential to note that the concepts of objectivity and subjectivity can be easily confused. Objectivity is a product of subjective thinking; even the most “objective” thoughts are ultimately influenced by personal or collective subjectivity. Taking design as an example, contemporary Japan is renowned for its objective design, while Italy is known for its subjective design. The distinction in their designs can be complexly traced back to the origins of their respective nations, but it can also be simply summarized as the difference in subjective tendencies among their people. A significant reason for the abundance of diverse designs in today’s society is the subjectivity present in various designs. Famous designs exhibit varying levels of subjectivity.
Considering Japan and Italy as examples, Japanese designs in the constructed environment, such as architecture and products, often embody neutral color tones, simplicity, tranquility, and a connection with nature. The material usage and style behind the works of Japanese architect Tadao Ando complement the sensory experience of buildings like the Church of the Light. Japanese industrial designer Naoto Fukasawa’s philosophy of unconscious design and his personal design style have given birth to classic designs for Japanese company Muji and around the world. These examples represent Japan’s design subjectivity to a certain extent, a subjective degree within objectivity (No Design - Design), which means relative objectivity in design subjectivity. On the other side of the scale lies Italy, showcasing a different design subjectivity. The Italian design style, in terms of color, form, materials, and more, seems to communicate Italians’ feelings towards the world. The bold use of saturated, vivid colors, the strong subjectivity in shaping, and the daring experimentation and application of materials have made “Italian design” a significant presence worldwide. The design philosophy of the Italian product design company Alessi, exemplified by Philippe Starck’s Alessi Juicy Salif Citrus Squeezer, and the countless applications of glass by the Italian company Glas Italia, reflect their strong subjective design subjectivity. As expressed in this chapter, Italian design represents its design subjectivity within its domain through its strong individualistic attitude, showcasing a pronounced level of subjective design subjectivity.
Of course, there are countless designs in the world. In this exploration and understanding of design subjectivity, the different designs arising from different subjectivities are what I aim to comprehend. As a designer, I need the insight to discern various subjectivities and create designs with different subjective perspectives.
Discussion of Associative Ways in Design
Ideology, Technology, Appearance, and Function are four equally important elements that should be considered in the design process.
Ideology