ETA 10 (3) pp. 317–329 Intellect Limited 2014
International Journal of Education through Art Volume 10 Number 3 © 2014 Intellect Ltd Article. English language. doi: 10.1386/eta.10.3.317_1
Hsiu Ching Laura Hsieh National Yunlin University of Science and Technology, Taiwan
Integrating Taiwanese culture into design pedagogy Abstract
Keywords
Many Taiwanese students enthusiastically accept the consumption cultures of Japan and the United States, but neglect the value of their own culture. Thus, as a design educator, it is necessary to guide the students reflecting on and identifying with their own culture. This pedagogical study adopted qualitative methods and collected and analysed data from interviews, observation on the creation process and related documents. The purposes of this research were: to explore the related research and theories and integrate them as a model of Incorporating Culture into Design Creation; to explore the advantages and challenges of applying the new model to pedagogical practice; and to reflect on the application of the new model to teaching. According to the findings, it is feasible to apply this model to the design pedagogy. The contribution of this study was to encourage the students to recognize the characteristics of their own culture and facilitate their capabilities of incorporating culture into the design creation.
culture design creation design pedagogy local culture of Taiwan
中文提要 身為設計教育者有責任去啟發學生回頭認識自己的在地文化，並引導他們去 應用台灣文化之豐富元素以創造獨特之設計。本研究採質性研究方法，在學 生之設計創作過程中，透過訪談、觀察、及文件資料之填寫等方法以搜集研 究資料，並進而分析資料。本研究之重點在於，透過文獻及理論探討後去統 整並建構一個整合文化元素於設計創作之創意模式。進而，探討此創意模式 應用於設計教育實務創作之過程經驗與成效。最後，去檢視及反思此創意模 式應用於設計教育實務創作之過程所遭遇之問題並提出因應之道。研究結果
關鍵字： 文化 台灣文化 設計創作 設計教育
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顯示，所建構之創意設計模式，能鼓勵學生去認識台灣文化內涵與美感，同 時透過此創意模式應用於設計實務創作之演練與認識，能增進學生整合文化 於設計之實務創作能力。
Research background and motives Under the context of globalization, different countries have homogeneous cultures (Liu 2000). In the globalization of visual culture, many Taiwanese students who study in Design School enthusiastically accept and identify with popular cultures from Japan, Korea, Europe and the United States, but neglect the value of their own culture. Globalization of visual culture stimulates people’s reflection on local culture, which encourage many designers to develop identifiable design with specifically local cultural characteristics (Van Raaij 2005; Lin 2007). The elements of local culture can inspire creative ideas for design. Designers can acquire cultural elements and properly transform them into design artefacts to convey the cultural value. It will help facilitate the originality and uniqueness of design in the global market (Moalosi et al. 2010). Wei (2011) also suggested that learning how to apply cultural elements of Taiwan into product design could not only preserve the traditional culture of Taiwan and demonstrate the creativity of local culture but also enhance the Taiwanese’s identification and sense of belonging. Based on the above, educators must guide the students to reflect on Taiwanese culture. However, it is also a new challenge for design educators applying cultural elements to designing and integrating them into a design model to help the students in practical design creation, and evoke their cultural identification and reconstruction by experiencing the spirit and the meaning of local culture, enhance their design abilities and contribute towards cultural and creative design industry. However, at present, it lacks the related studies. Thus, it forms the basis of this study.
Research purposes 1. This study aimed to determine how to apply locally cultural elements to the design creation and integrate a model of Incorporating Culture into Design Creation for the design pedagogy based on the related theories. 2. This study probed into the advantages, difficulties and challenges of applying the new model to the process of pedagogical practice. 3. This study proposed the reflection and suggestion on the application of the new model of Incorporating Culture into Design Creation to pedagogy.
Literature review A literature review was performed based on the following three aspects to develop a new model of Incorporating Culture into Design Creation: culture and Taiwanese culture, semiotics and design studies related to applying culture into design.
Culture and Taiwanese culture Evers (2002), a researcher of cross-cultural design, suggested that culture meant the way people acted, viewed the world, expressed themselves and
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thought that were influenced by historic experiences, values, tradition and environments. This suggested that the world was understood by people based on the context of culture. The way people behaved, comprehended, expressed and interacted was accumulated by culture. Trompenaars and Hampden-Turner (1997), well-known anthropologists, suggested three levels of cultural essence. The surface was the presentation of daily artistic crafts and life instruments (explicit products). The middle level was norms and values. The core level was the efforts for survival. The external level of culture included all things used by people in daily lives, including architecture, handicrafts, instruments, fashion and language. The common sense of what was right and wrong within a group of people was classed as norms, which could be conducted to the formal level as the law, or developed as the social control. The notion of good and bad was influenced by values and shared by a group of people. When people wanted to know what impacted the basic differences in value, it was essential for them to turn back to the most basic value, survival, which was what people strived for. Hofstede (2005) defined culture as the patterns of feeling, thinking and acting established in people’s childhoods. Hofstede (2005) stated that culture could be defined as the accumulation of symbols, rituals, behaviours, customs, norms and values distinguishing a society. Symbols, heroes, rituals and values were four key terms of culture and values were the core of culture; such terms could be applied by designers to formulating an approach for web communication. Being surrounded by oceans, Taiwan comprises diverse cultures. From the earliest indigenous culture, Chinese culture to cultural influences of Holland, Spain and Japan, the integration of different cultures results in the diverse and dimensional culture in Taiwan (Liu 1999). Taiwanese culture includes the characteristics of sixteen counties and cities that are different in terms of people, culture, land, scenery and production. Based on the above, this study defined Taiwanese culture as the combination among symbols, crafts, products, tradition, behaviour, norms and values that can demonstrate the characteristics of a group (or a county and city). This study analysed local cultural contexts in different cities and counties in Taiwan by the cultural theory of Hofstede (2005) and extracted the useful cultural elements.
Semiotics and design creation Fiske (1990) defined that the study of signs and the way they worked were named semiotics. Marcus (1993) defined semiotics as all communication keeping on going through the exchange of symbols. The study on signs was called semiotics, which discussed things standing for something. When signs could be used appropriately, the audience could communicate with the visual interface design efficiently. By understanding semiotics, artefact developers and designers could develop design acutely. Fiske (1990) explained that the basic concepts of signs shared a generally similar pattern, involving three components of (1) the sign, (2) reference of such sign and (3) users of them. A sign had to be apprehensible, physical and related to something else, while it also needed to be realized by the users. In linguistics, Saussure (1959) suggested that there were two layers of symbols, namely, signifer and signified. Signifer was the physical and external form of symbols, which were visible images, tactile objects and sound being heard. People had to
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perceive them by senses. Signified was the audiences’ imagination about the subject referred by symbols. It was a kind of concept. As to the analysis of the meanings of messages, symbols not only had external meanings but also included in-depth meanings. Barthes (1972) supported the idea of symbols suggested by Saussure (1959) and further proposed the systematic model of meaning analyses. According to Barthes, there were two levels of the symbol expression of meanings. One was denotation, which directly presented the superficial meanings of things. It presented the direct relation between symbol images and symbol meanings, called denotative meaning. The other was connotation, which was the extended connotation when symbols interacted with symbol users’ feelings and cultural values. In 1931–1958, Pierce suggested that symbol consisted of sign, object and interpretant. According to the difference and relationship between symbols and objects or subjects, symbols were divided into icon, index and symbol. An icon had significant resemblance to a similar physical object, conveyed the meaning through the physical attributes similar to the object and was very easy to use and intuitive. For example, the printer icon represented in the Microsoft Office application meant a document being printed out when the user clicked on it. Fiske (1990) explained that a symbol did not look like an object. A symbol was defined by people because they concord what it stood for. A symbol did not have any resemblance to the object that represented and had no inherent implications. A symbol was realized on the basis of convention. Symbols did not have the physical attributes of objects, which were usually abstract or without any visual features. A good example to interpret a symbol was the letters and alphabets being the symbols and used for representing sound. In an index, there was a deep connection between symbols and objects. A symbol had a direct link with an object (Fiske 1990). For instance, when people saw smoke, it directed them to thinking of a fire. According to Product Semantics of Krippendorff (1989) and McCoy (1987), five common types of transformation principles in design, namely simile, metaphor, metonymy, analogy and allegory, are generalized. (1) Simile means that there are significant similarities of important characteristics between an artwork and the symbols. Thus, the symbols are used for interpreting the design creation. The relation between design creation and the symbols is direct and explicit. It is called simile. (2) Metaphor means that there are similarities (such as pattern, colour and attribute) of the minor characteristics between an artwork and the symbols. Thus, when the symbols are applied to interpreting a work, the relation between design creation and the symbols is implicit. It is called metaphor. (3) Metonymy in design creation means that some attributes of the symbols are applied to interpreting design creation. This kind of characteristic can strongly convey the meaning of works. (4) Analogy means that there is no direct correlation between a work and the symbols. However, certain characteristics can associate with the situation of use. Thus, the symbols are used for interpreting the work. (5) Allegory in design creation means that there is no direct correlation between a work and the symbols. However, for certain characteristics, it unexpectedly shows the meaning beyond design or conveys the meaning ironically.
Related studies on incorporating culture into design Based on the previous studies on culture, the core term of culture is value, which is presented by rituals and norms, heroes and symbols. Cultural symbols
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have ‘meaning of indication’ and ‘meaning of implication’ that the significance and value of cultural contexts can be conveyed by the cultural elements in design creation. The application of cultural symbols varies based on cultural differences. The integration of culture into design creation relies on different design methods in order to appropriately transform cultural meanings into design creation. Differences among simile, metonymy, analogy, metaphor and allegory in transformation principles are the design techniques and the relation between subjects and objects. The transformation principles will enhance the creativity of design and comprehend the use and relation of cultural symbols in design creation (Tsai 2007). The design of cultural products is different from that of general products. Most products are designed based on the target users’ needs. However, the design of cultural products should pay attention to delivering the profound meaning of culture. Therefore, it should recognize the proper relation between cultural contexts and the representation of product design from the perspective of culture (Hsu 2004). In short, designers must thoroughly comprehend the external characteristics and internal implications of culture and collect and analyse cultural attributes such as symbols, rituals and norms, heroes and values. At the stage of developing design ideas, the designers properly apply various design approaches to conveying the cultural meaning in design creation. Through the interpretation of cultural meanings, designers can reflect their experiences and affection on the design works in order to obtain people’s responses, satisfy their emotional needs and enhance the identification with local culture (Hsu and Lin 2011).
Research methods and procedures Based on the previous literature review and analysis, it is realized that the design concepts of cultural products can be applied to this study. The purpose of designing cultural products is to transform the meanings of culture into design. However, cultural product design emphasizes on conveying the meaning of culture and transferring the meaning of culture into the design concept. This study focused on the selection of cultural symbols, deduction and analysis of corresponding objects and symbol transformation. This research integrated the previous cultural theories, semiology theory and symbol transformation rules into design. Then, ‘a model of Incorporating Culture into Design Creation’ (see Figure 1) was constructed. The procedure is shown below. Step 1: Select culture. Step 2: Study and analyse the target culture based on four key elements of culture symbols, heroes, rituals and norms, and values (Hofstede 2005). Step 3: Select cultural codes. Different cultures have profound contents and the representative symbols. However, not all codes can be applied to or transformed into design creation. Thus, it is necessary to carefully select proper and representative codes at this stage. Step 4: Think of the symbol transformation type for converting cultural codes into the design draft after selecting the symbols. Step 5: Apply transformation principles to transforming cultural codes into the correlated artefacts properly. Step 6: Visualize the design by computer software. This study adopted the qualitative method. The pedagogical implementation was probed by applying ‘a model of Incorporating Culture into Design Creation’ (see Figure 1) to design creation. The subjects for the pedagogical implementation were the sophomores in Department of Creative Design, National Yunlin University of Science and Technology. Three cases were studied. In order to fulfil
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the research purposes, the cases were selected by purposive sampling upon two conditions, including (1) students who studied Design Communication set up by the researcher for the sophomores with the characteristics of design creation and (2) students who intended participate in the interviews and fill in the form of ‘process analysis of transforming culture into design creation’. Data collection included interviews, observation and document content analyses. Research tools were teachers’ journals of pedagogical observation, process analyses of transforming culture into design creation, interviews and video records. In order to meet the aim, this study was carried out in five steps. Step 1: Literature review. Step 2: Integrated and generalized ‘a model of Incorporating Culture into Design Creation’ based on the literature review and analyses. Step 3: Applied ‘a model of Incorporating Culture into Design Creation’ to the pedagogical implementation of design and treat sophomores of Department of Creative Design in National Yunlin University of Science and Technology as the subjects for the experimental pedagogy of design creation course based on ‘local culture of Taiwan’ for eight weeks. Step 4: Developed the reflection on teaching by the pedagogical implementation, process analyses of Incorporating Culture into Design Creation, analyses of students’ creation cases, content analysis of semi-structural interviews with students and weekly teaching observation with journals.
Figure 1: A model of Incorporating Culture into Design Creation.
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Step 5: Compared the results, generalized the review and reflection on future pedagogy and proposed conclusions and suggestions according to the data collection and cross-analysis in the fourth step.
Formulating a model of Incorporating Culture into Design Creation In this section, ‘a model of Incorporating Culture into Design Creation’ is integrated and proposed based on the literature review and then applied to the eight-week experimental design pedagogy. Furthermore, this study introduced the strategy and pedagogical implementation of applying the model to the design creation teaching.
Pedagogical strategy of Incorporating Culture into Design Creation Analysis of questions: Culture is intangible and abstract. How to convey the meaning of culture in design? How is culture involved in design by communication of symbols? Design instructors must try to find how cultural symbols are selected, formed, converted and included in design creation. Thus, this course focuses on the transformation of cultural symbols into the practice of design creation. Pedagogical goals: During the course of the training, students will develop the creative ideas with rich contents of local culture, acquire cultural elements from local culture and properly transform them into symbols or characteristics in design creation to convey cultural value and identify with local culture. Pedagogical content: The key concept of this instruction was to apply local culture to design creation. Four steps were practiced in design creation, including selection of local culture and field investigation, analyses of local culture, selection of local cultural codes and transformation of cultural codes into design creation. Pedagogical subjects: The sophomores of Department of Creative Design, National Yunlin University of Science and Technology, have learned the basic design and received skill training on computer graphic software. Time of pedagogy: The course lasted for eight weeks. Three weeks before 16 September 2012 involved preparation during the summer vacation, when the students had to make observations, conduct interviews and experience the local culture in the counties or cities selected. From 16 September 2012 to 17 October 2012, five weeks after the term beginning, the students had a three-hour course every week.
Pedagogical implementation of Incorporating Culture into Design Creation The six steps of ‘a model of Incorporating Culture into Design Creation’ were deduced to construct the design teaching strategy so that the students can get assistance when learning how to develop their design creation. Weekly course planning and schedule were as shown below, (1) three weeks before the semester started, the first step of the new model was practiced: selection and investigation of one kind of local culture, (2) one to two weeks before the semester started, the second step of the new model was practiced: cultural analyses, (3) the first week of the semester, the third step of the new model was practiced:
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teaching theories related to semiotics and the application of cultural theory, (4) the second week of the semester: selection of locally cultural symbols, (5) the third week of the semester, the fourth step and the fifth step of the new model were practiced: transformation of local cultural symbols and application of transformation principles, (6) the fourth week of the semester, the sixth step of the new model was practiced: visualization of design concepts, and (7) the fifth week of the semester: Presentation and evaluation of design artefact.
Case study on applying the model of incorporating cultural codes into design creation Three cases were selected in this study, including Blacksmith’s Caster encoded P1, Harmony encoded P2 and Sun and Moon Pot encoded P3. The response to Process Analysis of Incorporating Culture into Design Creation was encoded A and the student interview was encoded I.
Process analysis of Incorporating Cultural Codes into Design Creation The process analyses of incorporating cultural codes into design creation aimed to determine the communication of local cultural meanings by the application of cultural codes. In the case analyses, the students were requested to fill in Process Analysis of Incorporating Cultural Codes into Design Creation in order to understand the proper application of semiotics to creating artworks with the significance of cultural meaning. In the process analysis of design creation, four aspects of inspiration, types of symbol, correlated objects, transformation rules and creation principles, were designed for the students in response to their real creation experiences (see Tables 1–3). Pierce’s semiotics theory was applied to examine the content of the creation process analysis filled by the creators, in an attempt to determine how the authors convey the meaning of local culture by the selected symbols. In Case P1, the cultural symbol is the hammer-shaped caster, which refers to a blacksmith’s hammer. Audiences can recognize the internal meaning by the external form of ‘hammer’ and further explore the internal meaning of ‘the blacksmiths on Blacksmith Street in Nansin always keep working with hammers …’ (P1-A01). The sign ‘hammer’ is the tool used by hard-working blacksmiths. ‘Hammer’ is used as a symbol to indicate the hard work of the local people by metaphor and metonymy and to create high identification with the place from other regions to draw the tourists’ attention to Blacksmith Street and the cultural evolution and contents in Nansin. The design transformation from the sign to the real product is shown in Table 1. In Case P2, the cultural symbol is the coffee pot referring to Half-side Well. Half-side Well is the representative icon in Lukang. The users can comprehend the internal meaning by the external form of the coffee pot set, Half-side Well, which ‘presents the emotional connection among people in the past…neighbors or strangers outside the wall could drink the water from the well in the wall …’ (P2-A01). Using simile, Half-side Well is correlated to the real object of the coffee pot set. In daily lives, coffee pots are the containers of drink, which is connected to water acquisition in daily lives. However, the coffee pot with the shape of the Half-side Well does not simply refer to the container of drink, but implies interpersonal sharing and harmony. The design transformation from the sign to the real product is shown in Table 2.
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Selection of culture: Blacksmith culture in Nansing Inspiration: A blacksmith’s hammer
Visualization of design concept
Type of sign: Icon Correlated object: Caster Transformation rule: Metonymy Metaphor
Table 1: Analysis of incorporating the cultural code of Blacksmith’s Caster into design creation.
Selection of culture: Lukang culture Inspiration: Half-side Well
Visualization of design concept
Type of sign: Icon Correlated object: Coffee pot set Transformation rule: Simile Metaphor
Table 2: Analysis of incorporating the cultural code of Harmony into design creation.
Selection of culture: Sun Moon Lake culture in Nantou Inspiration: Sun Moon Lake
Visualization of design concept
Type of sign: Icon Index Correlated object: Tea set
Transformation rule: Simile Analogy Table 3: Analysis of incorporating the cultural code of Sun and Moon Pot into design creation.
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In Case P3, the cultural symbol is a tea set with the form of Sun Moon Lake and the local plant of bamboo, referring to Sun Moon Lake and the beauty of bamboo. Audiences can interpret the internal meanings by the form of tea set, which is converted from the words Sun and Moon ‘to experience the beauty of Sun Moon Lake and the beauty of bamboo crafts …’ (P3-A01). Sun Moon Lake correlates to ‘tea set’, with the shape of pot resembling the calligraphic style of the words Sun and Moon. Besides, Sun Moon Lake, literally meant the place of gathering water, appears arched in shape. The tea set, similarly, gathers water and is shaped like an arch. Thus, the function or the appearance is consistent.
Review and reflection on pedagogical effectiveness of design creation The overall pedagogical effectiveness of the model of Incorporating Culture into Design Creation was analysed by the dimensions of performance of design creation, cognition of knowledge theory and identification with cultural meaning.
Analysis of design creation Referring to design methods, ‘the model of Incorporating Culture into Design Creation’ can aid students’ design creation. The whole design creation pedagogical method is to teach the students to incorporate cultural elements into the design so that they can learn with procedures and steps, instead of randomly creating ideas. ‘The Model of Incorporating Culture into Design Creation’ helps the students’ design creation. The following interviews with students can respond to the above. ‘I have never learned the method before …the design creation model was useful …’ (P2-I 0101). ‘In the past, I created ideas randomly in design …, the model guides me’ (P3-I 0401). For the purposes of design, according to students’ responses to the ‘process of Incorporating Culture into Design Creation’, it is realized that the students comprehend semiology and learn how to convey the meaning of local culture by symbols. Most of them can fulfil the purpose of design-communication by applying cultural codes. The design process helps deal with future problems of design creation. Development of new design themes, even not cultural issues, can be practiced by the models of discovering and defying target issues, developing ideas, modifying design and implementing design. The interview with the following student supports the above description. ‘It is useful and the model can be applied to developing new design’ (P3-I 0305).
Analysis of knowledge cognition During the course, the students can comprehend different kinds of design theories. However, according to the researcher’s instructional journal in the first week, semiology, form association rule and cultural theory help students create symbols systematically and recognize useful design resources. Such theories are useful in other related design courses.
Analysis of cultural identification Field study in the pedagogical process aims to help students identify with local culture. Through field study before design creation, the students reconsider and approach the stories and advantages of their culture and develop an emotional
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connection with local culture. Generally, the students develop emotional association and re-identification with local culture through this design creation. It is supported by the following interviews with the students. ‘I found Half-side Well for the first time in Lukang, indicating that people enjoyed sharing water with strangers … It is a place with friendliness’ (P2-I0102). ‘On the scene, we experienced lively atmosphere. Blacksmiths worked hard … with the sound of iron forging. We found that local people were proud of being a blacksmith’ (P1-I0202).
Reflection on pedagogy Time of course required to be adjusted according to difficulty level The duration for some steps of the pedagogical process was considered too short. According to the pedagogical journal in the first week, the teaching duration for culture, semeiotics and communication theory is too short. The students could not completely understand the above knowledge and inspire ideas in the discussion; thus, the time for field study should be extended. The selection of cultural elements, symbol simplification and steps of transformation rules should be discussed and practiced to solve students’ individual obstacles.
Integrated cross-field design creation curriculum is necessary In the application of ‘the model of Incorporating Culture into Design Creation’ to the pedagogical implementation, the professional courses and scope are wide and the theories are profound and difficult; thus, the time and practice should be sufficient. Field study should also be instructed and practiced. The teachers can guide and train the students in the methodology course. In short, it is necessary to integrate the cross-field design course. The assistance of teachers from different fields is needed in order to ensure perfect and effective pedagogical implementation.
Most of the students apply similarity and simile method to design creation Most of the students develop their designs based on the application of simile of transportation. In fact, incorporation of culture into design should focus on the application of different culture values and behavioural patterns to the operation and function of design. Thus, culture-centred design enables the users to have better and more pleasant experiences of use. Design educators should introduce different methods to encourage the students to comprehend the values and behavioural patterns of the target culture, then transform them in the design structure and functions. Also the educators need to inspire the students to adopt other transformation rules.
Conclusion and suggestions ‘The model of Incorporating Culture into Design Creation’ developed in this study was applied to the design pedagogy. From the actual pedagogical implementation, interviews with students, analyses of creation process and cross-comparison of weekly pedagogical journals, it was realized that the design creation model is effective and feasible. For design education, this study can encourage the students to recognize their local culture and explore the meanings of local cultural codes in order to learn the values and beliefs of life and enhance
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students’ cultural identification. In terms of cultural and creative design industry, culture being transferred to and presented on design works will help develop creative ideas and visualization of design concepts. Learners can combine cultural elements with the design. In terms of research, this new design model was developed to serve as a reference for design researchers and designers. The suggestions are summarized as follows: design education or designers should continue observing culture. Culture is evolving. Culture formulates the ways in which people behave, think, express themselves and create culture. Culture is always the inspiration of creativity. As long as people learn to observe, creative ideas will be endless. Students not only accomplish the application of Taiwanese culture to design creation and learn creative and efficient methods but also continue learning about cultural evolution. In recent years, new inhabitants and the changes in the thoughts and behavioural patterns of new generations should be studied. In short, being educators, the researcher and designers must act locally and think globally. They should reflect on the development of local culture and changes in diverse cultures and attempt to contribute towards design education and design practice in order to continuously construct new cultural perspectives.
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Suggested citation Hsieh, H. C. L. (2014), ‘Integrating Taiwanese culture into design pedagogy’, International Journal of Education through Art 10: 3, pp. 317–329, doi: 10.1386/ eta.10.3.317_1
Contributor details Hsiu Ching Laura Hsieh is an Assistant Professor in the Department of Creative Design at the National Yunlin University of Science & Technology. Her research interests include design education, social and cultural aspects in Human-Computer Interaction and cross-cultural design research. She completed her Ph.D. in Human Centered Design at Brunel University, UK and M.A. in Visual Arts at Rochester Institute of Technology, USA. Contact: 123 Section3, University Rd, Douliou, Yunlin, Taiwan, 64002. E-mail:
[email protected] Hsiu Ching Laura Hsieh has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work in the format that was submitted to Intellect Ltd.
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