Design Application of Chinese Auspicious Pattern With a CIS System-Take the Taipei Grand Hotel for Example

碩士 === 華梵大學 === 工業設計學系碩士班 === 99 === The mentality of traditional luck and happiness seeking and bad preventing keeps going. This profound convention exists in present society and culture and implants people’s mind by a specific form. Furthermore, Chinese not only looks for this pattern but apply...

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Bibliographic Details
Main Authors: Ruei-Yuan Wu, 吳睿遠
Other Authors: Hsueh- Shu Liao
Format: Others
Language:zh-TW
Published: 2011
Online Access:http://ndltd.ncl.edu.tw/handle/51854795134074333448
Description
Summary:碩士 === 華梵大學 === 工業設計學系碩士班 === 99 === The mentality of traditional luck and happiness seeking and bad preventing keeps going. This profound convention exists in present society and culture and implants people’s mind by a specific form. Furthermore, Chinese not only looks for this pattern but apply it to daily life extensively, and it can be seen everywhere no matter wedding ceremony, celebration, or funeral. However, due to the influence of western culture, Taiwanese gets weaker and weaker in knowing and learning this pattern. We should treat how to understand the meaning of Auspicious Pattern from a deeper level seriously to enhance the inherent auspicious culture. This study takes Taipei Grand Hotel as an example to re-design its Corporate Identity System (CIS). The creation with Chinese Traditional Auspicious Culture on its furniture will be divided into five main series: dining utensils, lighting, bedding, chair, and mounting after observing its internal facility and space layout. In addition, the products will designed based on five most representative dynasty: Shang-Zhou,Qin-Han, Sui-Tang,Yuan-Ming, late Qing and early Ming. The basic elements of the sign are analyzed based on its Signifier and Signified, and according to the binary symbol theory of Ferdinand de Saussurethe, the ration, characteristics and composition of the works created are stimulated by computer software to explain the meaning which the works render. And then they are combined into meaningful Auspicious Pattern. After that, the three levels of the works are explained via Erwin Panofsky’s iconography: the natural meaning of the image, the meaning of artistic image, and the internal meaning and content of the works. Finally, the most appropriate product is chosen to verify the experiment. The theme can be ensured through analysis. Moreover, the auspicious signs not only are combined themselves together but are linked up with the serial products to break the barrier of traditional Auspicious Pattern as well as provide each work with a new meaning and application. This combination can make much more people understand the interior meaning of traditional culture. And the products can also be created through the method of this study to closely link up the traditional auspicious culture and our lives.