How to inherit traditional culture in environmental art design

First, environmental art design should be national and contemporary.

Today, with the development of diversified design, various ideas and styles emerge frequently. In order not to let designers blindly drown in it, the status of cultural connotation becomes more and more important.

Environmental art design should be national. Because of some factors, the design education in China started late, and it is still groping on the road of education mode. It has become a common phenomenon to copy western design or inherit western design concepts, but it is difficult to reflect the nationality of the Chinese nation with profound cultural heritage. On the other hand, with the rapid development of the times, under the background that the earth has become a "global village", cultures have merged, especially in China. Therefore, critics often say that the commercial centers in China, such as Beijing, Shanghai and Guangzhou, are similar and indistinguishable. Compared with nationality, the regionality of design is narrower in concept, which represents the historical evolution and folk characteristics of the region and has strong identifiability. For example, Su Zuo and Guang Zuo, which are very representative of Ming furniture, come from the same dynasty but are so easy to identify. It is precisely because of their distinctive regional characteristics: Guangzuo furniture is located in an open coastal port, and influenced by foreign culture, many decorative features of western rococo furniture have appeared; Suzhou is located in the inland, and it is consumed in Suzhou along the way, which is slightly short of logs. Skillful craftsmen cherish wood as gold, but they have made Su Zuo's wonderful furniture.

Environmental art design should also be contemporary. Pursuing innovation is a key point of environmental art design, but innovation does not mean to completely deny the old things. In fact, the design of environmental art is to seek a new way of life and discard the old things in the process of alternating the old and the new. While inheriting the tradition, we have an innovative interpretation of the tradition, which is like injecting soul into a flesh-and-blood body. With brand-new materials, more superb skills for new interpretation, rooted in the times, such design works can be fresh, can compete with time, and will not be forgotten by history.

A unique "paper-cut"-why should traditional culture be embodied in the design?

Environmental art design should reflect traditional culture, and the design works with national characteristics and culture can arouse the audience's emotions more. As a traditional folk art, paper-cutting is the cultural precipitation of China's 5,000-year history. Many designers get inspiration from paper-cutting art, extract unique language and symbols, and apply them to design, giving their works unique charm. At the 20 10 Shanghai World Expo, the design of the Polish Pavilion was impressive and caused a sensation. The shape of the exhibition hall is abstract and irregular, and the surface is covered with hollowed-out patterns, just like folk paper-cutting, which gives visitors an interesting visual experience: the light with changing colors passes through the paper-cut patterns, creating a patchwork effect in the museum. Paper-cutting is also a traditional folk art in Poland. In the past, Poles used paper-cut works as decorative works of art to decorate their homes, so young Polish designers used bold ideas and ingenious ideas to apply paper-cut elements to the appearance of buildings. Small paper-cuts connected the cultures of the two countries and the hearts of the two peoples.

Really good environmental art design works should be emotional. If this emotion can be combined with the aesthetic emotion of the local people, then this emotion will be sublimated into a national emotion, and at the same time convey a culture, and its design significance will be more profound.

(2) When coffee meets "Lao Zhuang"-let traditional culture and modern design blend.

Times and nations are "new" and "old" in another sense. The new and the old are literally opposite, but when applied to environmental art design, they can really be complementary. According to the Taoist thought that everything has yin and yang, the interweaving of the new and the old in the design will integrate the national characteristics with the characteristics of the times, which is a kind of harmony between yin and yang.

Starbucks, located in Shantang Street, Suzhou, has well integrated this "new" and "old", which has caused a collision between western culture and traditional culture. The original intention of Starbucks is to advocate a brand-new "coffee life" and make the cafe the third space between home and office. Therefore, Starbucks store design is always at the forefront of the trend. Starbucks is a world-famous coffee chain, and Shantang Street is an ancient street with a history of 1 100 years. The streets are full of garden-style ancient buildings, which can be perfectly integrated in interior design, and I have to admire the designer's control ability. The decoration style of the cafe is antique and simple: the first thing you see when you climb to the second floor is the traditional ancient building beam structure on the roof; One side of the dining area is a square table with modern simple dining chairs, and the other side is supplemented by a spacious leather sofa; The dining table is separated from the dining table by a Chinese hollow carved screen; The wall is decorated with calligraphy, painting and blue and white porcelain ornaments. A large area of log color is matched with gray walls and black tiles, and the only bright color comes from the bookshelf full of fashion magazines in the corner. Its storefront decoration style is completely integrated with the scenery of the mountain pond, and its function and art are unified, and its artistic conception is unique. The materials, colors or structures used in storefront decoration all reveal the idea of "harmony between man and nature". Therefore, when coffee meets "Lao Zhuang", it is not abrupt, but gives people a feeling of harmony between yin and yang. (Figure 1)

Second, explore the design of Hainan style holiday hotel with local regional culture.

(A) Hainan resort hotel industry status analysis

20 10 the State Council's opinions on promoting the construction and development of Hainan's international tourist island. The publication of a document is both an opportunity and a challenge for Hainan's economic development. Tourism is the pillar industry of Hainan economy, and the hotel industry plays an important role in it. With the increasing number of tourists coming to Hainan, how to develop the resort hotel industry in Hainan has become an urgent problem to be solved in the construction of Hainan International Tourism Island. After investigation, Hainan is the region with the largest number of holiday hotels and the most concentrated five-star hotels in China. Hilton, Sheraton, Marriott and other top brand hotels are all designed by excellent foreign designers, which can't reflect the local regional culture of Hainan and make tourists forget where they are while enjoying luxury services. The purpose of tourists coming to Hainan is to relax and pursue the atmosphere of leisure island and slow-paced life; In addition, tourists' understanding of Hainan's local culture is mostly reflected in Li culture and marine culture, which determines the positioning of Hainan-style resort hotels. How to apply these elements to the design, so that viewers have a sense of belonging and identity, is what Hainan designers need to study. How to highlight the local characteristics of resort hotels in Hainan and make hotels with strong Hainan culture stand out in the fierce competition is also something that hotel industry people need to think about.

(2) How to inherit the Li culture in Hainan in the design of resort hotels.

Hainan is an independent geographical unit and cultural unit, which has created its pentagonal immigrant society and colorful regional culture. Before the establishment of the province, Hainan Island was relatively closed, and the population flow was less than that in inland areas, so the local Li culture in Hainan was well preserved, which was obviously different from other ethnic minorities. It can be said that Li culture is an important representative of Hainan's regional culture.

With the acceleration of the construction of Hainan International Tourism Island, some designers began to think about the importance of regional culture and try to design hotels with unique Hainan style. However, under the influence of market economy, some designers have a sense of quick success and instant benefit, only staying on the surface of Hainan culture, and refusing to concentrate on studying the essence of culture, copying Li Yuansu as it is or just taking its appearance. Paying attention to form and ignoring cultural connotation leads to the paleness, superficiality and even sameness of design works. Take a hotel in Haikou as an example: its overall style is to add some Hainan elements to the tone of Southeast Asia-decorative patterns on Lijin, among which Hercules is the most used. According to legend, Hercules saved the people, shot down the redundant sun and moon in the sky and created a new world. Therefore, in the creation myth of the Li nationality, Hercules is the embodiment of the courage and wisdom of the Li people. It should be a good idea to use local totems with such meaning in local interior space design. However, the designer applied the totally undeformed plum brocade pattern to the ceiling of the lobby, the solid wood partition in the rest area and the background wall of the front desk. (See Figure 2) Such traditional cultural symbols are piled up directly without thinking, flooding the whole indoor space, which will only cause visual fatigue and make viewers feel dull. The so-called "inheritance" refers to inheritance and development. If we simply inherit the traditional culture and copy some national symbols in the design, then the design will stagnate and there will be no development. Why does the fashion world think that the "little black dress" designed by Miss Chanel is an eternal classic? Because this design not only inherits the tradition, but also subverts it and injects new vitality into it. The application of traditional culture in design is not to copy antiquities blindly, but to use them selectively for our own use, like the "takenism" proposed by Mr. Lu Xun. There are great differences between modern architecture and traditional architecture in materials, structure and spatial layout, because our needs are different from those of the ancients. Therefore, the interior decoration style should also be changed accordingly. It can be seen that the inheritance and application of Hainan Li traditional culture in the design of resort hotels can be analyzed from the following design elements:

1. Li Jin

Li Jin is the most representative work of art in Li culture. Li Jin's patterns are ever-changing, with rich aesthetic and cultural connotations. The pattern itself uses exaggeration and deformation, which is an abstract expression of the beautiful life of the Li people. These patterns can be used as hollow partition decoration indoors to separate the space; It can be used for soft furniture, as decorative patterns of sofa cushions and bedding, and can also be deformed into table flags for dining table coffee tables; You can use brocade directly, or you can further use abstract brocade patterns, relying on techniques such as oil painting and gouache to make distinctive decorative paintings; Li Jin's bright colors can also be extracted as the main color matching of interior design.

2. boathouse

According to the literature, "Li people live in two eaves buildings." Adjacent to the Han people, the eaves are opened and the doors are opened, and wood is woven as a wall, coated with mud, such as a canopy. "This is the traditional residence of the Li people-the boathouse. Applying the elements of boathouse to environmental art design can be combined with the ceiling of indoor space, and the ceiling can be made into an inclined herringbone roof, decorated with thatch or bamboo mats to reflect its essence; You can also directly imitate the ship-type building structure in architectural modeling, and design building components with thatched roofs or rest pavilions in the hotel landscape.

3. Single wood and plum wood carving

Monolithic woodcarving is to cut all kinds of utensils from a primitive woodcarving, which is the crystallization of the wisdom of the Li people. There are many kinds of unique wood products, including household appliances, production tools and religious and cultural appliances. In the Li family's life scene, there are common wooden products, such as rice mortar, wooden stool, wooden bucket and so on. The outer walls of these wooden products are carved with geometric patterns, animal and plant patterns, labor and life scenes and other patterns, which have a strong Li style and identifiability. In addition, the wooden drum is a traditional religious tool for Li nationality to recruit talents, offer sacrifices and serve as a musical instrument, and is called a "living fossil" for studying Li nationality's history and culture. If the traditional wooden furniture of the Li nationality can be slightly deformed or refined and used as the furniture design or display of the resort hotel, it will make the tourists feel refreshed and impressed, and such a strong visual and emotional shock is incomparable to the luxury service of high-end hotels.

4. Li Musical Instrument

There are few traditional musical instruments of Li nationality in the market, but they have a long history, including plucked music, silk string music, percussion music and wind music. Traditional musical instruments mainly include: wooden drum, tinkling wood, oral bow, Maitreya, DuDu, oral worship, nose flute, burning stick and so on. Among them, the nasal flute requires the player to play with his nostrils instead of his mouth, which is a very distinctive musical instrument of the Li nationality. These musical instruments can be directly used as indoor decorations or pendants, and can also be modified and applied to the design of lamps and furniture according to their size and shape. This space not only combines the local customs, but also contains the unique customs and culture of the Li nationality, and also adds rhythm because of the appearance of musical instruments.

Combine traditional culture with new materials and technologies.

At present, with the rapid development of science and technology, the birth of some new materials and new processes provides unlimited possibilities for the development of design industry. For example, the Polish Pavilion of the Shanghai World Expo mentioned earlier-the unique appearance makes the pavilion look like a huge paper-cut art. Of course, the main material of the building is not paper, but a laser-cut plywood. Designers combine art with science and technology, so that the external decoration of the building also has the functions of waterproof, fire prevention and ultraviolet radiation prevention. Such a whimsical idea could not be put into practice without relying on modern technology and advanced technology.

Combining traditional culture with new materials and technologies, its expression can be concrete or abstract. Hainan Island is located in the tropics and is rich in species. Materials with local characteristics, such as coconut shells, shells, Huang Huali and volcanic rocks, are often used in environmental art design. But designers often use these materials step by step and stick to the rules, and directly cut, polish and carve them for decoration. These are concrete manifestations of regional culture with the help of local materials, but if they are used too much, they will inevitably lose their characteristics, become slightly popular and reduce the cultural connotation of design works. In fact, when selecting local materials, further processing can be carried out to make the materials more ecological and humanized, or traditional culture can be infiltrated into the design works through metaphor. Abstract expression is more implicit, and it is the transformation of symbols, which needs new technology to complete. What is commendable is an ancient wooden furniture that is gradually popular in Hainan. The furniture itself is made of abandoned fishing boat wood, which is simple in shape, clear in texture and antique. After years of seawater immersion, the wood has been well preserved and insect-proof. The wooden furniture of old ships has both use value and ornamental value, which embodies Hainan's unique fishery culture and island culture, and has a great sense of historical vicissitudes and appeal. If ancient wooden furniture can be placed in the lobby of Hainan style hotel, with modern soft bags and furnishings, and traditional culture and modern design can be skillfully integrated, a brand-new and unique Hainan style will be born.

Only dare to innovate, dare to break through and boldly adopt new materials and new processes can we design works that surpass our predecessors. Therefore, while improving artistic accomplishment, designers should be good at combining open thinking with new scientific and technological achievements and remain highly sensitive to new materials and technologies.

Third, the conclusion

Really good design works should spread a culture while reflecting national feelings, so that the design significance will be more profound and profound. There is no conflict between traditional culture and modern design, and it can also be a * * * * relationship. Integrating traditional culture into modern design, or recreating traditional culture, will make the works have an absolute advantage in the fierce market competition. Highlighting regional characteristics has become a major trend in the design industry. It is believed that Hainan style hotels with regional culture will usher in a rising trend, which will undoubtedly have a great impetus to the construction of Hainan International Tourism Island.

refer to

[1] Qiu Haidong. Adhere to the design [M]. Haikou: Hainan Publishing House, 20 12( 10).

[2] Tianhao. Research on the application of traditional culture in modern interior design [D]. Chengdu: Sichuan University, 2006.

[3] Fu Guihua. Traditional brocade of Li nationality [M]. Haikou: Hainan Publishing House, 2006.

[4] Wang. Li Traditional Culture [M]. Beijing: Xinhua Publishing House, 200 1.

[5] Qiu Haidong. The Reproduction of Hainan Regional Culture —— The Influence of Hainan Li Traditional Culture on Contemporary Interior Design [J]. Art Grand View, 201(1).