Design originates from the development of civilization and exists in the progress of civilization. A pen, a book, a piece of clothing, a house ...... with the integration of design, these objects in life gradually become the mark of human civilization, leading us from ancient to modern, from barbarism to civilization. Shenzhen is not only the world's most famous "design capital", but also a modern city with the reputation of civilization. Design and civilization intermingle and coexist here.

Following the footsteps of the city's civilization, a large number of Shenzhen designers and design institutions have taken up the social responsibility of design with the heart of reaching out to others, leading the society to live and walk towards beauty and goodness. This issue will take this as a clue, select a number of representative cases, focus on social welfare, rural revitalization, child-friendly, international aid and other topics, interpret the meaning of the construction and development of urban civilization in Shenzhen from the perspective of design, discuss the endogenous relationship between design and civilization to promote each other, mutual symbiosis, and provide design thinking to help Shenzhen build a model civilized city.

Shaping the social value of infectious power

"Civilization is the language of culture, design is the language of technology. Designers who walk under civilization should make design as close to civilization as possible, advocate aesthetics, and actively advance in the direction of civilization with humanistic and good philosophy, shaping social value infection." Liu Yongqing, the founder of Huashi Design, said so. This civilization concept can be seen from his poster design in the "Shenzhen 6th National Civilized City" propaganda. Civilization is not a simple slogan, but consists of every citizen's words and deeds. Based on the design guideline of "observe, summarize, and refine", he captured the connotation of urban civilization construction from the perspective of people, and highlighted it through different themes in a more universal visual language, choosing citizens riding sports, construction workers with dreams, students saluting the national flag, businessmen with manners, and The posters are made of people, scenes and things with Shenzhen characteristics, such as the civic center and landmarks that symbolize the spreading of the wings of the roc.

On this idea, the use of color tone of the poster has further innovation, abandoning the traditional bright red and green colors, the choice of fresh and elegant low-saturated colors, so as to integrate into every corner of the city. "These posters themselves should be civilized, it is necessary to live in harmony with the urban environment. Therefore, whether it is the choice of color tone or the use of fonts, we hope to fit in with the modern city of Shenzhen, just right and pleasing to the eye. We aspire to achieve the purpose is that no matter what people, as long as they see these posters, they will consciously speak civilization." Liu Yongqing said. What is different is that in the LOGO design of Longgang and Nanshan New Age Civilization Practice Center, he chose to convey the different characteristics of each urban area with a more lively and colorful visual language. "Science and technology, civilized Nanshan" is like a colorful piano key, showing the high-tech rhythm of Nanshan, the implied lines of which resemble the mountain and sea landscape of the city; "City of Wolong, civilized Longgang" is composed of "Longgang The "L" of "Longgang" and the "N" of "New Era" are combined into one, resembling a civilized ribbon or a soaring dragon, and also resembling the landmark of Longgang --Shenzhen Universiade Center.

The design of civilization should also be international. Recently, Liu Yongqing to Chinese characters as a blueprint, designed both the spirit of Chinese culture and internationalization of the bright science city LOGO. bright science city's target positioning is "world-class". "In the early stage, we sorted out three directions: super symbols, value graphics, and synchronization with the world." Liu Yongqing explained, "Chinese characters are our cultural mother nature, but also the most dripping spirit of Chinese culture symbols.

And the essence of design is to solve the problem of communication, i.e. to solve the problem of identity and value identification. We must be culturally confident in our design, as in the case of 'Light', which uses the pictographic characteristics of Chinese characters to show their unique intrinsic value. At the same time, it is easy for foreigners to understand at first glance, reaching the purpose of internationalization." Drawing inspiration from the circular ramp, he conceptualized a derivative based on the Chinese character "light" - "Science from light to light": the character shape resembles a fast track of development under the light The lower half of the character resembles the shape of a human being, highlighting the pioneering spirit of Shenzhen people who are down-to-earth and pragmatic; not only that, the upper half of "light" resembles the sun, the lower half resembles the curvature of the earth. The star shape on the right side of the dotted eye, together interpreting "three talents, heaven and earth, people; three lights, the sun, moon and stars"; the different shades of blue represent the bright vision of "pursuing the starry sea" of Bright Science City.

In response to the call for the construction of a civilized city, the Shenzhen design community is actively promoting the development of social welfare with the power of design. For example, the Shenzhen Garment Industry Association launched the "daAI Answer Love" public welfare project, and in April this year set up a working committee on sustainable development of the fashion industry, and released China's first high-end women's clothing carbon footprint evaluation report, with a view to guiding the whole industry chain to complete the green synergy. Shenzhen Industrial Design Industry Association jointly organized a number of activities including "Design to Fight the Epidemic" and "Design for Transformation and Rural Revitalization", with a view to making design highlight the spirit of commitment under the epidemic, empowering product innovation and conveying power and hope with creativity. hope.

"Thanks for the reform and opening up, repay the people of the country." As a city built by people from all over the country, how to let the dividends of reform and opening up and the development of urban civilization give back to the whole country? Designers from Shenzhen are empowering rural revitalization with the power of design, actively promoting the transformation and upgrading of rural industries and realizing the beautiful metamorphosis in the new era.

In 2018, in order to inject more cultural vitality into rural poverty alleviation, Nanlian Agricultural Technology Company and Nanshan District Government jointly launched the brand of "Waking Lion Mountain". Designer Xia Jiangnan was invited to carry out a series of brand image designs to open new sales channels for local agricultural products such as passion fruit, hawthorn peaches, bean curd and peach gum.

"The project aims to help villagers sell their products and improve their income, while at the same time becoming a link between rural goodies and urban consumption, using design to change people's traditional perception of the image of agricultural products, so that consumers can feel the temperature behind the agricultural products." Xia Jiangnan said.

"How to speak the first words in the design, so that the products of poverty alleviation and urban citizens 'greeting', is a problem I repeatedly thought about in the early stage, but also the key to build the 'link'." Xia Jiangnan believes that "letters" are an important vehicle for communicating with the mind, exchanging emotions and delivering messages. Around this concept, he has used stamps, postmarks, postcards and other "correspondence" elements in his design. For example, the labels of the agricultural products are designed as old stamps and stuck in the center of the bags; on the stamps, the product information is clearly marked in a self-created font and accompanied by simple illustrations of the products; the product instructions containing the origin, cultivation process, nutritional composition, storage methods, cooking methods, etc. are written in the form of letters from the perspective of local farmers "written down, put in an envelope, like a letter from the villagers to consumers, sent to the city with the product.

"In fact, the 'Waking Lion Hill' project started with the renovation of the factory building and gradually transitioned to brand design. This factory building is the main place where villagers work, and we want it to be more like a home rather than a cold space." Xia Jiangnan further said. In the renovation, he first planned the layout between the factory building and the external lawn and stone road landscape to make the space overall regular and bright, and then added a connecting corridor with bamboo in the factory room to give it a simple and uncomplicated spatial aesthetic while ensuring that the feed transportation is not exposed to sun and rain. "Whether it is the brand image, product packaging or plant space, we hope to show the power, temperature and humanistic care through the 'Waking Lion Mountain', so that people in the city can feel the good products from the countryside, experience the simple and sincere feelings, help villagers to solve employment, open sales, and finally To achieve the goal of poverty alleviation, but also let everyone feel a different perspective of poverty alleviation in Shenzhen." Xia Jiangnan said so.

Also located in Heyuan City, Heping County, hot water town under the path of the village, with hundreds of years of beekeeping history, known as "Heyuan beekeeping first village". In August 2020, Sino-Finnish Design Park followed the Shenzhen Futian District's plan to "comprehensively promote the revitalization of the countryside", with the aim of In August 2020, following the Shenzhen Futian District's "Comprehensive Promotion of Rural Revitalization" plan, Sino-Finnish Design Park empowered the honey industry in Xiakeng Village with design power to help it go to a wider market. In the view of Lin Zegia, Senior Partner and Creative Director of Landor Design, a participant of the project, "beekeeper" is a hard but romantic and sweet role. In order to make good honey, they have to travel thousands of kilometers every year with their beehives to chase the flowering season, and they are truly "flower chasers". With this romantic journey as the origin, Landor created the brand slogan - "A sweetness from the depths of Jiu Lian", with the slogan "People who chase flowers" and "Share a sweetness". The slogan "A sweetness to share" and "A beekeeper with a sense of temperature" are used to reshape the brand image of local honey and convey a natural and warm lifestyle. The IP image of "Beekeeper" was created by combining the characteristics of beekeepers from "flower chasers": an old man with a beard, wearing a sting-proof cap, holding a honey board, squinting his eyes and smiling. A sweet journey about time, space, people and honey is framed here. In order to enhance the brand memory, the design team also transformed the font of "Beekeeper", recombined it with the IP image, word mark and seal of Xiadeng Village, embellished it with dancing bee ink dots, and added the design of "Fu Sweet" love targeted poverty alleviation logo.

"For beekeepers, a practical and well-implemented solution is far more important than a beautiful and complicated package." Lin Zegia said that in the past, beekeepers would sell honey in soda bottles or mineral water bottles, which was very elementary. After repeated comparisons, Longtu Design finally chose the lowest cost, safe and hygienic glass jar as the carrier, and the beekeepers put on the design and printed brand stickers to sell the jar, with the same color of the gift box, gift bags, simple and simple, not only to meet the government procurement standards, but also to sell online, so that more people have the opportunity to taste the "sweetness from the depths of the Jiu Lian ". This is where the temperature of the design.

Not only the agricultural products, in the vast countryside, there are many beautiful scenery and simple folklore little known. SUREdesign's creative director Zhang Shuo, who has been serving the countryside with design for several years, is good at creating new "design aesthetics" for the countryside through the transformation and integration of localized elements, the most common signage technology, the simplest production process, the most durable and cheapest materials, and the most convenient lighting.

Luyuan Yao Autonomous County, a part of Shaoguan City, Guangdong Province, is known as the "Colorful Yao Township" and the "Home of the World's Over-Shan Yao". In upgrading the overall design of Yuyuan County's VI image, Zhang Shuo led his team to find rich visual clues of ethnic culture in Yao embroidery, a national intangible cultural heritage: "Yao embroidery as a graphic symbol expresses various kinds of symbolic meanings, religion, animals, gods and monsters, and wind objects, and other graphics are also found in Yuyuan. They can be seen everywhere and have penetrated into the daily life of the people of Luyuan." Zhang Shuo said, "We redesigned the Yao embroidery to approximate the technique and density of the various symbols that contain different symbolic meanings, and reassembled them as 'words' to form 'phrases' and then further 'words'. In this way, the individual symbols become a visual metaphor for culture (words), entering the boundary of ordinary people's understanding of culture." In this way, it is also like a translation of the visual language of the "milk source" into the mimetic form of the text, giving it a layer of contemporary communication mode incarnation, allowing the reader to associate and speculate.

The same design concept was applied to the environmental graphics and guide design of the Party Service Center in Qinchang Village and Dawei Village. Both villages are part of Xiuwu County, Henan Province. Zhang Shuo said, "The function of the party group activity center is gradually becoming daily and folkloric, and if the previous design is still followed, it will not meet the current needs in terms of effect." For this reason, unlike the traditional solemn and serious style of party group service center construction, he tried to enlarge the visual design proportion in the interior space, using large murals, graphic design and environmental graphics as the abstract language basis for spreading the content of party group construction, and conveying positive energy in a lively and lively way to make the temperament of party group service center universal and daily. In particular, in the signage design of the second phase expansion project of the party group service center in Qinchang Village, he started from the morphological structure, responding to the "arch" style of the building, making the signage a small structure in dialogue with the building, responding to the narrative language of the site while providing the signage function.

Article Source:艺术与设计

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