Presentation of Asian Design 101 by Qie Yin https://padlet.com/254997_2/et4dczj2fpx3yff4 充满了信心之作 en-us 2021-01-17 11:18:17 UTC 2026-01-09 14:47:42 UTC hello@padlet.com Asian Design 101: Conceptual and Methodological Frameworks in Historicising Asian Design, by Dr Christine Guth 246157 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095244538 Your report should include:
  • a summary of the key argument
  • your critical assessment of the argument
  • points that might relate particularly to a material culture approach

]]> 2021-01-17 11:28:07 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095244538 Summary of the Key Argument(s) 246157 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095245192
  • design as a western idea, encouraging categorisation; about identity politics
    • understanding what exactly is meant by ‘Asian design’ and how design in Asian countries, design across various Asian cultures have been presented in both European and American cultures, museums and academia, and also presented in Asian countries themselves; how design was presented and how it can/could/should in the present and near future
    • asian design had been described by the west or Eurocentric cultures, usually encouraging categorisation and also generalisation
  • what does 'Asian' mean, takes in so many different cultures and used from a Eurocentric point of view; again the problem with East/West, modernity/non modernity
    • author looks at the language that has been used to describe design that developed in Asian countries: points how terms such as ‘Asian’, ‘Asia’ and ‘Asian design’ are very general, exemplify how in the past and still today many various Asian cultures, ethnicities, and traditions are regrouped under the category of Asia, which ultimately overlooks Asia’s multiculturalism, complex and multi-layered history and identity too, it forces this one identity on objects and individuals who have much more  multi-layered backgrounds. Author notes this is also coming from a Eurocentric view and seeing anything else as ‘other’
  • books that talk about/are on the subject of Asian design; author considers these as 'empty multi-culturalism’, lack of specificity on the area or culture of focus, overlooks the fact that there are multiple cultures within Asia
  • maps are socially constructed, we have to think about who made them and in what context/for whom? ex: the division made in the past between Orient and Occident
  • how museums are structured, divided into galleries, and collections presented
    • paying attention to how museums are structured, how their galleries are divided, and how collections are presented; this can reveal information about the institution, its priorities, perspectives, and values, and the relationship it held towards objects from Asia, Guth provides the example of the V&A
  • looking at the language, decolonize it, based on the 'other', looking also from a post colonial lens
  • "deterritorialisation"
    • ]]>     2021-01-17 11:28:33 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095245192     The Identity Politics of Asia Design 254997_2 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095265926 The difference of Contemporary ceramic design between"the East and the West"
    (Here we take China and Britain as the example)

    Craft mind or design mind?

    Example 1: Central Saint Martins(UK) BA ceramics VS. Jingdezhen ceramic institute. 

    Example 2: British contemporary ceramic design VS. Chinese contemporary ceramic design

    Graduation show of Central Saint Martins(UK)]]>     2021-01-17 11:40:57 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095265926     Material Culture Approach - (East vs. West) 2498441 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095274492
  • Process of design through the cultural lense (Cher)
    • Technique to design 
    • design to technique 
  • global immigration and technology of Asia
  • romanticism of Japanese style  
  • ancestry and heritage of cultural identity in the global market
  • the narratives and interpretations of examples for museums and gallery
  • questioning maps, how maps were constructed and what these can say
  • the gaps in or generalisations of Asian (design) history in books
  • balancing or navigating both a 'center-periphery model' vs. 'disjunctive global flows'; thinking about whether we look a Asian design via the global hot spots of Asian design (only a few scattered) therefore in accordance with globalisation and Asian design as part of the large globalisation effect in design (could seem general) or if in research we focus more on local and regional areas within different Asian countries and cultures (more specific and in depth however overlooks the complexity of identity, style, product etc.)

    • ]]>     2021-01-17 11:46:08 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095274492     Critical Assessment 2498441 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095348596
  • Guth ends by suggesting balancing or navigating the study of Asian design in thinking of a 'center-periphery model' and 'disjunctive global flows'; thinking about whether we look at Asian design via the global hot spots of Asian design (scattered) therefore in accordance with globalisation and Asian design as part of the larger globalisation trend in design (could seem general) or if in research we focus more on local and regional areas within different Asian countries and cultures (more specific and in depth however overlooks the complexity of identity, style, product etc.)

    • ]]>     2021-01-17 12:30:59 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1095348596     Graduation show of Jingdezhen Ceramic institute(China) 254997_2 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098602719 2021-01-18 17:12:35 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098602719 Chinese contemporary ceramics design 254997_2 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098619537 2021-01-18 17:18:56 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098619537 British contemporary ceramics design 254997_2 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098641222 2021-01-18 17:27:37 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1098641222 Cher on East and West contemporary art design in the process of learning ceramic design 246157 https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1106539410
  • I would like to share what I feel about the differences between the East and Western contemporary art design in the process of learning ceramic design. Here I take the example of China and the UK.
  • Craft based VS. Creative based 
  • Craftsmanship in East Asia
    • Since ancient times, the Chinese handicraft/art industry has mostly followed a principle of "technology inheritance",which we can also call the spirit of craftsmanship. Although this situation is less and less common in contemporary China, its influence on contemporary art and design is still profound. Now in Asia, especially in East Asia, among the countries I know, Japan and South Korea still pay great attention to "craftsmanship inheritance and craftsmanship spirit", especially Japan. The inheritance of some traditional handicraft skills in Japan is similar to that in ancient China, which is mainly inherited by families. Generally, the first son or daughter inherits the skills of their ancestors, such as tea ceremony and flower ceremony.
    • In terms of its influence, the inheritance system is very demanding for students' technical mastery. The principle is that the more similar your work is to the teacher's work, the better. The more skilled your work is, the better. Once you have mastered the skills of your master (which maybe takes more than 10 years), then you are free to find your own style, and you could design your works freely.

    • In order to figure out the differences between the styles of British and Chinese ceramic design students in their graduation exhibitions, I went to interview student Ning from Jingdezhen Ceramic Institute
    • The first project:
      • In CSM’s ceramic design , the first project was called ‘thinking through making’, by the name, we could tell it is an experimental project, let you do anything you like with the material ‘ceramic’, and the same time, you may think about what is it, and why you doing this, as well as why you like it. The process gave me a strong sense that ceramic is only a material to express my ideas, my imaginations, my designs. 
      • And Ning said, the first year  in Jingdezhen Ceramic institute, was a whole year of skill training, like throwing, drawing, painting, glaze making, ect. In her opinion, ceramic design is more like a potter’s work, than a designer. 
    • Here, we can see the difference between Chinese and western education in ceramic design. CSM is more about the cultivation of open thinking, creative thinking and design thinking, while Jingdezhen College pays more attention to the inheritance of ceramic technology and the production itself.
    • From the phenomenon of education, we can understand why there is an obvious difference between Chinese contemporary ceramic design and British contemporary ceramic design, as well as the design difference .

    ]]>     2021-01-20 16:33:33 UTC https://padlet.com/254997_2/et4dczj2fpx3yff4/wish/1106539410