Returning to nature, Returning to life
In the year 2006, I commenced my tenure at the School of Design, East China Normal University, which had been established for over two years. Thinking about what guiding principle to adopt for my future work, I chose “humanity design”, which embodies a commitment to infusing human values and ideals into the realms of design and design education. The traditional paradigm of specialized education, from its foundational principles to its curriculum and pedagogical methodologies, is a product of the Industrial Revolution—an era of distinct professional segmentation. It has evidently fallen short of meeting the demands of the new era and the evolving needs of societal progress. For design itself and the nurturing of design talent, a more expansive and comprehensive approach is requisite. Beyond technical skills lies an understanding of design’s fundamental underpinnings—embracing the nature, the rhythms of daily life, and the currents of market dynamics. Coupled with elevated contemplation encompassing philosophy, scientific inquiry, and artistic discernment, we unveil “humanity design” as our guiding tenet. This philosophy centers on crafting for the human and life experience, harmonizing nature’s beauty with technological innovation and the richness of artistic expression.
In contrast to the Western focus on study of human being, Chinese tradition, spanning thousands of years, has always pondered the relationship between heaven, earth, and people. It seeks to understand our position in the universe through dialogue with nature and the cosmos. Within this exploration, the connection between humans and nature holds utmost importance. In the Chinese perspective, humans are seen as merely a part of nature. Thus, the reverence for nature’s essence and the celebration of landscapes have become central themes in traditional Chinese artistic expression. Through rich metaphors and contemplative depictions of life entwined with nature, a profound sense of unity emerges—a realm where the harmonious blending of human existence with the natural environment inspires deep reflection and artistic beauty. With the onset of the Western Industrial Revolution, this tradition came to a near abrupt halt. When traditional culture fails to integrate into the authentic scenarios and contexts of contemporary life, the gateways to tradition quietly close. Life cannot return to the past, but if our present and future sever ties with the past, sustainability is doomed. For anything without a clear origin is destined to have no future. Returning to nature may indeed hold the key to unlocking the gates to our traditions. Only when we reread the nature and rediscover the unique ways in which Chinese people interact with and interpret nature, can we hope to comprehend our own artistry and aesthetics anew. All of this originally stemmed from the Chinese people’s profound understanding and engagement with nature in their life experiences and journeys. Returning to nature can help us understand who we are, or who we once were, so that we don’t collectively forget our past and lose our collective voice. Therefore, “returning to nature” holds a special and significant meaning for the future of design and design education in China.
The progress of technology has set the tone for both the present and future epochs. Every significant revolution in science and technology has almost invariably propelled advancements in human life and societal development, inevitably triggering significant philosophical and cognitive transformations. However, in the past twenty years, the rapid pace of technological development and its iterative progress have brought about fundamental changes that people have barely had time to deeply consider or reflect upon. This disconnection between technological advancement and intellectual and cognitive development is unprecedented in human history, ushering in increased uncertainty that is poised to become a new norm in both present and future realities. As capital increasingly influences technological progress, creating a scenario known as “techno-capitalism” with its inherent centralization and monopolization of power, uncertainty becomes harder to manage. This poses a new question for the future of design and design education, focusing on how to use systemic thinking in design to navigate this uncertainty and regain control.
In the Western context, design has always been rooted in mathematical and logical analysis. As it has progressed, it has entered an era encompassing quantum mechanics, artificial intelligence, and the life sciences. The relationship between design and scientific and technological advancement is now closer than ever before. There’s a growing urgency for design and design education to integrate technology and art, and to interpret technological progress in ways that prioritize human needs and experiences.
Another crucial aspect underlying design and design education is culture, along with the ideologies, modes of thinking, and aesthetics it reflects. Western design culture, within the broader context of integrating science, humanities, critical thinking, and logic, exhibits diverse cultural backgrounds, values, and narrative styles across countries and regions.
Western modern civilization is founded upon the philosophical rationality of its classical legacy and the Christian values derived from Hebrew origin in the Middle Ages. The former laid the groundwork for scientific reasoning and critical thought, while the latter nurtured spiritual principles emphasizing love and benevolence. Drawing upon the scientific ethos of ancient Greece, Western thought is fundamentally shaped by the logical framework of mathematics and, in modern times, the empirical methods of scientific research. However, the theological debates of Western Christianity during the medieval period, often overlooked, shattered the boundaries of scientific understanding. They introduced a paradigm of “transcendent thinking” based on religious and theological cognition. The Eastern way of perceiving the world, with China as a typical example, is distinctly different. Chinese cognition begins with intuition, progressing from sensing to perception, sparking various associations, imaginations, and reflections, ultimately leading to “enlightenment”. This is how Chinese people uniquely perceive the truth, embodying a lifelong pursuit of understanding the Dao and the “journey of the mind.”
The distinctions in thinking styles largely arise from language differences. Language is central to culture, shaping thinking patterns and expression modes. Mastering languages is key to grasping Eastern and Western cultures. The grammar, logic, and rhetoric of Western languages shape their modes of thought and expressions. In Chinese language, on the other hand, the focus is on word itself rather than precise literal expression, providing readers with diverse interpretive spaces. It allows free exploration and association between concrete and abstract concepts, relying heavily on readers’ personal experiences and reading backgrounds for understanding.
It is the contrast between Eastern and Western cultures that has contributed to the creation of such a wonderfully diverse world. This cultural multiplicity faces unparalleled challenges today but also offers unprecedented opportunities. In reality, the exchange and dialogue between Eastern and Western cultures could lead to a much more fascinating world in the future. But it all depends on whether both sides are willing to engage in meaningful dialogue. For this dialogue to work, it’s essential for both East and West to genuinely understand and respect each other. Such potential exists because the fundamental human nature and innate aesthetic traits transcend cultural boundaries. Nowadays, design and design education require more emphasis than ever on dialogue and exchange in the context of perceptual and logical cognition between Eastern and Western. This dialogue not only facilitates mutual understanding but also provides profound insights into ourselves.
A century ago, Bauhaus attempted to address the issue of maintaining quality and aesthetic standards in mass-produced products following the industrial revolution by combining art and craftsmanship. The result was the establishment of a new standard for product design and design education in the industrial age, with its influence continuing to this day. Today, over a century later, the challenges confronting design and design education mirror those of the past to some extent. Once again, technological advancement and human civilization are undergoing a profound and extensive transformation with the arrival of the era of artificial intelligence.
The advancements in artificial intelligence technology bring unprecedented challenges and opportunities to design and design education. AI introduces not only new tools but also new design contexts and application scenario. The recent progress in artificial intelligence and quantum mechanics research has entirely transformed our conventional cognition and boundaries, along with the content framework and cognitive structure of knowledge graphs. Concepts such as time and space, reality and virtuality, and even fundamental cognitive foundations like subjectivity and objectivity, have all faced comprehensive challenges. Consequently, design and design education are encountering a thorough overhaul and reconstruction of systems, standards, and values.
We must discern the difference between artificial intelligence and human intelligence, understanding what AI can and cannot replace, and what aspects of human intelligence remain irreplaceable, at least for the foreseeable future. Design, being a holistic and systemic endeavor, cannot be entirely supplanted by AI. Rather, the age of artificial intelligence calls for more design and the creative, systemic thinking of designers, along with their adeptness at integrating technology and content. In essence, AI technology effectively sifts through designers, eliminating those with lower-level skills and leaving those with genuine creativity and systemic thinking. These designers will lead the way in leveraging AI and other tools while driving advancements in AI technology itself. Hence, the mission of design education becomes distinctly clear. It’s not merely about producing tool users or treating humans as tools, but rather about fostering outstanding designers with comprehensive skills and holistic competence beyond the reach of artificial intelligence. The era of artificial intelligence is essentially one of human-AI symbiosis, where managing the relationship between humans and AI becomes a primary concern. We cannot envision a future where computers and AI continue to advance while human intelligence declines. Most of the tasks humans do today will eventually be taken over by artificial intelligence. However, AI can never replicate the innate human qualities—our primal drive, sudden bursts of inspiration, and unique emotions—that ensure our dignity remains intact. Letting AI handle tasks frees us to engage in a richer existence. Achieving this ideal outcome depends entirely on the orientation of our education today.
In the future, education will need to redefine the relationship among teachers, students, and artificial intelligence (AI). Students should become the focal point of this relationship, with teachers and AI primarily assisting them in acquiring learning abilities, especially the capacity for self-directed and independent learning. In ancient times, Confucius mentored three thousand students, among whom seventy-two were considered wise. These seventy-two exceptional graduates shared a common trait: adeptness in asking questions. It’s like Confucius and Plato were the “ChatGPTs” of their time. In the epoch of artificial intelligence, the ability to pose thoughtful questions becomes crucial for students. The quality of these inquiries dictates the caliber of insights gleaned from AI learning tools. The efficacy of these tools lies in their capacity to offer students diverse avenues of exploration and stimulate profound contemplation, rather than offering mere standardized solutions. Otherwise, endeavors to enhance students’ learning may inadvertently prove counterproductive. The role of teachers lies in inspiring students to ask questions and enhancing their ability to think critically and solve problems, rather than simply providing answers. Assisting students in better understanding and utilizing artificial intelligence and AI learning tools will become an essential aspect of teaching in the future. Also, artificial intelligence can help identify exceptional teachers. Memorization-based teaching is a thing of the past; today’s educators should focus on nurturing curiosity and unlocking students’ potential to the fullest extent possible. The essence and allure of education lie in the face-to-face interactions and discussions between teachers and students. It’s a form of exchange where wisdom and emotions intertwine, a dynamic that artificial intelligence struggles to replicate. The knowledge and life experiences accumulated by teachers remain invaluable, if not indispensable, in shaping future education. However, they must be reexamined and integrated within the context of the AI era. Teaching design is inherently challenging, placing high demands on educators. Integrating AI and AI learning tools into education poses a new test for teachers, but also offers them an opportunity for sustainable development through thoughtful consideration of this issue.
The fundamental duty of universities isn’t to establish fixed talent cultivation models but to foster an atmosphere of free creativity and critical thinking. AI’s constructive use can aid in creating an open and decentralized teaching and learning environment. Universities must equip students with the skills to navigate the increased uncertainty brought about by technological advancements like AI.
Our attitudes toward tradition and the future determine our perspective on reality and our choices in the present moment. In this regard, the decision to change or remain unchanged becomes pivotal. This reflects another original “algorithm” of the Chinese people, epitomized by the Yi Jing (Book of Changes). What remains unchanged is our steadfast dedication to student-centered education, fostering comprehensive growth, and upholding the core teaching principles of humanity design. What changes is our priority on blending technology and art, and our adaptive responses to shifts in societal development, market demands, and evolving student learning needs and preferences. Our commitment to nurturing a strong foundation, refining aesthetic insights, and pursuing internationalization and industry partnerships remains unchanged. However, we’re evolving by emphasizing students’ ability to pose questions and adapt to technological and market changes while staying attentive to fluid shifts. While maintaining our “norms”, we need to pay more attention to the “dynamic” changes and trends in development.
We aim to establish a coherent framework for design education, spanning from perception to cognition to systematic integration and creative output. This is achieved through modular courses and integrated training. Before prioritizing the enhancement of students’ cognitive capacities, it’s vital to refine their perceptual skills, particularly in identifying information sources, discerning authenticity, and improving analytical abilities. Training in critical, logical, visual, structural, and systematic thinking—the fundamental elements of design thought—is imperative for upgrading cognitive capacities.
Our teaching features openness, experimentation, hands-on practice, aesthetics, and design quality, honed through years of accumulation. Sustainable design has remained a central tenet of our pedagogy for over a decade, embracing ecological, cultural, lifestyle, and interpersonal sustainability principles. Yet, our utmost concern lies in nurturing students’ values, recognizing its pivotal role in shaping their lifelong trajectory. The formation of design and life values cannot be achieved through a single course but a journey woven into the fabric of education. Serving communities, contributing to society, and enhancing others’ lives and happiness are the core values we advocate. We aspire for our students to align their personal growth with societal progress, finding fulfillment in contributing their talents to societal advancement and deriving happiness from enhancing the well-being of others. University education should sow the seeds of growth in students. The true measure of educational success lies not only in the efficacy of knowledge dissemination but in its capacity to genuinely inspire students’ love for life, passion for work, and appreciation for the journey of life. We hope students to behold a brighter world and encounter a better version of themselves through their learning journey.
Over the past twenty years of our growth, we’ve faced our share of challenges. Art and design education operates by its own patterns, logic and characteristics, which often don’t fit the norm. This unconventional approach has come with its costs. For instance, we struggle to find our footing in the widely valued discipline rankings. Yet, we remain profoundly grateful for our university—East China Normal University. It is her unique ethos of tolerance and generosity that has allowed our small School of Design to persist through typically overlooked avenues, persevering in our challenging exploration, experimentation, and continuous evolution, ensuring our survival and development to this day. As our School of Design celebrates its 20th anniversary, we proudly present this compilation of student works as a homage to our cherished university, our spiritual home.
Nothing endures forever, as time dissolves all in its wake. Memory is the vessel through which time finds its existence., while eternity dwells within the sense of reality and fulfillment of every fleeting moment. This publication records the names of all the students who have studied here, along with the assignments left behind by many of them, resembling a scene where each shining meteor merges into the starry sky.
Wei Shaonong
Dean of School of Design, East China Normal University
April 2, 2024
