CULTURAL IDENTITY AND IT'S ROLE IN PRODUCT DESIGN

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NEDAEI FARD A.

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Journal: HONAR-HA-YE-ZIBA Year:2007 | Volume:- | Issue:30 Page(s): 91-97

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Title

CULTURAL IDENTITY AND IT'S ROLE IN PRODUCT DESIGN

Author(s)

NEDAEI FARD A. | Issue Writer Certificate

Keywords

IDENTITYQ2

CULTURAL IDENTITYQ3

PRODUCT DESIGNQ2

ESTHETICSQ2

TECHNOLOGYQ3

Abstract

Unlike various other fields, design is occasionally quite difficult to define the goals, it's Purpose, and the methods entailed in due theoretical and scientific terms. When thoughts designers in particular if they concern themselves not just with designing, but also, with theoretical issues, then there is always a wrangle over finding that common definition as to what "design" means in the first place. This is more surprising if we bear in mind that at since the end of the 1970s there has been a wide-ranging consensus at what is specific to design, can be designated as concept of "product language". Now known as, other concepts are used instead (e.g. design semiotics, product semantics, semantic surplus value, etc.). However, the methods are more or less identical. Still the question is, what are the objectives, for precisely this seems to have become somewhat neglected. Reason enough to ask what the current state of things is in the domain of "product language" and what new perspectives are possibly emerging there. In the discussion of objectives, the focus is always on lending greater precision to scientific insights, differentiating and perfecting them, something which is reflected in the specialist literature. There are substantial shortcomings in this regard in the field of design; indeed, in Fact one might be forgiven for thinking that actually we are witnessing retrogression. In this context, we should ask what becomes of the "product language" if, as always claimed, its objects disappear – which they naturally do not - or only change, for example: Hardware increasingly becomes software, In addition the design of products, the development of concepts and strategies becomes more important, the image of the company and communication becomes more important than the products themselves, the services are considered to be more important than the production of goods itself. Today, that the briefing for designers is changing. four areas are defined in which the design is active: Product and process design (this includes classical industrial design), Product and process planning (this includes compiling design concepts, images, product lines, corporate design), Design management (This includes, among other things, tying design into the innovation processes), Design research (Including the application of the new procedures and media, implementing insights from other disciplines). This is clearly understood that developments require a differentiated, in-depth and expanded understanding of language which are emerging rapidly; and it is visible in areas that have to date hardly been affected by such matters. Thus, product language of course no longer revolves solely on a discussion of the individual products and if s design details. The tools of practical work today have little bearing as objects of research.

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بررسی هویت معنوی مبتنی بر صفات در طراحی محصول

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APA: Copy

NEDAEI FARD, A.. (2007). CULTURAL IDENTITY AND IT'S ROLE IN PRODUCT DESIGN. HONAR-HA-YE-ZIBA, -(30), 91-97. SID. https://sid.ir/paper/404777/en

Vancouver: Copy

NEDAEI FARD A.. CULTURAL IDENTITY AND IT'S ROLE IN PRODUCT DESIGN. HONAR-HA-YE-ZIBA[Internet]. 2007;-(30):91-97. Available from: https://sid.ir/paper/404777/en

IEEE: Copy

A. NEDAEI FARD, “CULTURAL IDENTITY AND IT'S ROLE IN PRODUCT DESIGN,” HONAR-HA-YE-ZIBA, vol. -, no. 30, pp. 91–97, 2007, [Online]. Available: https://sid.ir/paper/404777/en

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