Industrial Design

Experiencing the Pleasant Sensation in Modern Life WU Bin

Shunde Polytechnic College, GuangDong CHINA 528300 wu1231241@sohu.com

Abstract: The paper has refracted a love and lust blaze of modern people from modern product design which have sex consciousness in nowadays industrialized society and modern people life. People are animals full of fancy, and always s good at making link between dream and reality. In fact, the culture of pleasant sensation in modern life conveys people s lust consciousness. Industrial design really is a form of expression for this culture of pleasant sensation, and the product has become a carrier of the culture of pleasant sensation in the material life of the modern people. The pleasant sensational culture, developing with the industrialized society and modern urban life, is the objective result of the market for consumer desire. We should inspect modern people pleasant sensational culture based on people natural instincts and consumer s s desire, and discuss modern people sense enjoyment caused by theme inspect design. The pleasant sensational culture s is a pure sense inspection, and it can give birth to many new people who are full of consumer desire in the new century. It is the humanitarianism and beautiful conscience embodiment for modern industry designer to grasp new people s pleasant sensational inspection and show humanism care of consumers, and also it is a stern challenge that industry designer should confront.

Key words: Industrial design culture of pleasant sensation, subject sensation, Love and lust blaze, the beauty of touch 1.Introduciltion The process of shaping and creation in the history of human culture has always been interwoven with the accompanying development of science. In one way or another, it is based on the existence of the media at that given period. The instinctive consciousness of human being and the existence of objects naturally present themselves as a cultural phenomenon, primitive procreative worship, female or male, focused on its formation

and the search for its symbolizing object, before it was given realistic representation and abstract expression. For instance, in Chinese ancient painted pottery culture, there are abstract decorative vulvae pattern, leave-like round dot pattern, flower pattern, in which the patterns of the petals and leaves resemble the shape of the vulvae. Our ancestors regarded the plants with blooming flowers, thick branches and leaves, and plentiful fruits as the symbols of vulvae, and worshiped them, in the hope of their everlasting and prosperous and procreative self-reproductions. Correspondingly, Industrial Design, as a cultural form, has its respectively
distinctive form of expression.

It is beyond argument that no matter to what level the human society develops, human beings can never rid themselves of the desire for the pleasure of their sense organs, because human is nothing but an advanced animal. Nevertheless, humans are after all a race possessing spirit, idea, and emotion. Their pleasure,

happiness, and dignity rest on the civilization of not only every kind of their qualities, but every kind of their animal passions as well. A civilized man with independent personality in this modern society has his real self-consciousness.

2.Method of Research Culture of pleasant sensation is an accompanying product of the industrialized society and modern metropolitan life and the objective fruit of the commercialization of the desire of consumption. Human beings are animals obsessed with fancy, who are always connecting imagined world with reality. They have never ceased to explore novel concepts and new ways to express their feeling so as to elevate the quality of their natural mortal life. The culture of pleasant sensation in modern life is, in reality, the demonstration of the instinctive desire of human beings. Industrial Design is one form of expression of this sensational culture. The product has become a carrier of the culture of pleasant sensation for people modern material life. s

The embodiment of pleasure culture in the design of industry goods manifests itself in two forms: concreteness in form, and symbolized metaphor. Concreteness of the patterns of goods refers to visualized shaping of the goods, which directly incarnate some parts or organs of human body and give prominence to the shape in order to achieve physical pleasure. Symbolized metaphor means that the sexual symbol features are expressed by means of association and symbolization. Namely, the female features are represented by curvaceous-ness, tenuousness, tenderness, pink color, gentleness, while male features by linear-ness, coarseness, hardness, plain color, and dynamism.
Modern product design conveys two messages: rational (the function, material, and workmanship of the product), and sensible (the shaping, color, mentality, and way of sue), the former is the basis for the existence of the product, and the latter is more related to the formation and shaping of the product. Apart from displaying the objectiveness of the product, the shaping of the product also reflects the cultural connotation of the product by means of some signs. Because under most circumstances, the purchasing behavior not merely involves the acquisition of the physical product itself, but also the search for something resonating with their inner desire. For example, furniture is essential to fill in the space of people living room. The successful man relaxing himself in s a soft sofa with cigar and red wine; romantic maiden resting her body in a sofa with soft comforter supporting her back; the widowed aged sinking in the cloth sofa Individuals in real life may unconsciously indulge themselves in meditation, fear, tension, loneliness, or nostalgia, thus they are eager to be soothed and comforted and reassured. Maybe they are just searching in the soft sofa for the security and warmth of the wall of the mother womb. s In order to adapt to and tolerate the pressure in life, appreciation of trend and fashion, and compliance have

become the essential pattern of consumers involvement in the collective experience of culture of pleasant sensation. It can be said that the mentality of culture of pleasant sensation is determined by the modern social life. Therefore, it is necessary that modern designers make fresh adventure into the instinct of human nature, and explore the factors such as sense of feel, sight, smell, and etc. which can bring people sense of pleasure, and apply them in the design of the comforting everyday household goods. The experience of the culture of pleasant sensation derives from certain subject sensation design. In a certain whorehouse, the manager refurbished a deserted compartment of a train. In order to imitate the real situation of the train, many human-size plastic passengers are set in the compartment. You can even hear from the loudspeaker the announcers voice announcing the name of the arrival station, and the clanking of the moving train. There is a prostitute hiding among the plastic passengers. The whoremonger is anxious to search for the hiding prostitute in the swaying compartment. Once catching hold of the whore, the man can rape her in public. In this pleasant sensational experience design, the designer created a man state of lust, at a specific s time and in a specific place. It began with a lustful event. In order to cater to the consumers instinctive lust and emotion, the commodity (the prostitute) is used as prop; the service (satisfying the sexual desire) is taken as the stage, and the environment (the compartment) as the scene. The consumer who needs special service can experience the lust in the course of his consumption. And the value of the experience retains for a long time in the consumers mind even after the end of the consuming process. In a society with highly developed commodity economy, the inner rhythm of human life has been quickening, When the expected target in life can not be meet due to exterior factors, people tend to transform the current desire into some form of pleasant sensation, which may be represented in the form of literature, movie, and etc. as well as in the form of commodities such as home appliances, and furniture. A pleasant sensation culture has thus come into being unnoticeably. While undermining and diluting divinity and sublimity, it resorts individual satisfaction to replace the beautified society, and thus, substantiating the meaning of life. The intensity and conflict of the desire of the modern man aggravated the fatigue of the mind, which incurs the desire of the consumer for commodity to seek for pleasant sensational experience based on self-compensation. It has become a new trend of consumption in the current society of material desire. The aesthetic quality of the shaping of the product usually depends on the vitality incarnated in the shape and appearance of the product, which, in essence, is the form of the vent of the nature of the product.

3.Discussion For instance, Mei. Westers Lips painted by Dali, a Spanish

painter (Fig1), was transformed into a leisure sofa by Jin. Michael, a French designer. The design adopted dazzling scarlet color, and

gentle and conspicuous curve, which radiates the sexy and attractive charm unique to female. The sexy symbol of the design strongly attracts the sight of the buyers and stimulates their buying desire. People seems to be looking from the soft and erogenous sofa for some romance and lust in an attempt to instinctively respond and release their tension and nervousness, so that they can relive the Physical and mental comfort with the help of the furniture. The Gentle Inserting Clip (Fig 2), designed by Syn-Marina Paul, was shaped like the labia of the vulva. But the shape is more artistic. The gentle luster, sexy curve, flexible and useful function and space give the user not merely the convenience in life but satisfaction to the Fig. 2 Gentle Inserting Clip catharsis of the instinctive desire of the users sub-consciousness as well. Thus once this ingenious product is introduced to the market, it was accepted readily by the consumers. Fig 3 is the kitchen salt and pepper caddy. The plump shape and smooth curve, soft plastic material give the user Fig. 1 Mei Wester Lips s

comfortable and pleasant feel, apart from the inexplicable Fig. 3 kitchen salt and pepper caddy sense of pleasure in heart. Another example is a

doorbell button designed by Tom Gordon, an American designer (Fig 4). The button is made of transparent plastic that can give out enticing fluorescent light. Not only does the sight of it give the user a sense of warmth, but also it let the user enjoy the pleasant sense of touch, because it is shaped like the soft and gentle nipple. Fig. 4 Doorbell Button

The fifth example: a shaver by American designer Jack Hokanson (Fig 5), the appearance seems a conceptual symbol of penis. The fresh and tender luster and the charming shape convey implicitly the erogenous illusion, offering the dual pleasure of vision and feel. In Fig 6, in the personal bathroom full of privacy, stand two perfume bottles, which are shaped like the energetic and beautiful male and female nude bodies. The luring articles emit Fig. 5 Shaver passionate vitality in the Fig. 6 Bathroom

bathroom and summon the regression of human nature. Danish designer Ole Jensen applies the curve of the female breast in designing the teapot in Fig 7. Milk and drink container, function and desire are combined tactfully to both accentuate the function and intensify the rich shaping and sex symbol of the product. The vase in Fig 8 designed by Anish Kapoor, an Indian designer, embodies male and female symbols in the appearance of the case.

Fig. 7 Teapot

The vase, a harmonious union of

strength and gentleness, helped by the charming curve and the just right ratio, yields a sense of security, physical and psychological. The perfect human-mechanics design brings comfort in vision and good sense of touch feel. Recently, a unique form of chocolate is very popular in Fig 9. The appearance was modeled on the male and female sex organs. The merchants cudgeled their brain to take care of the consumers taste of flavour and they also add a visual compensation of sex consciousness so Fig. 8 Vase chewing the chocolate. that the consumer can enjoy a slight sense of pleasant sensation while

4.conclusions In the modern changing society, people life style and living concept are s experiencing unprecedented changes. More and more designers and artists attempt to use industrial products as their media to express their artistic understanding to adapt to the fast changing age. They endeavor to develop novel aesthetic taste in consumers for product design, and build up sensitivity to new visions and ability to respond to surprising presentation, in other words, the ability to break away from the quotidian mode and sense the fashionable and novel design. The designers attempt to pursue an individualized genre in artistic design undoubtedly expand the realm of representation in modern industrial design and enormously enriches the language of representation in product design.
Sensible product, with its design based on research and adapted to the physiological requirement of modern people offers aesthetic experience in appearance, formation, and feel, endues the product with humanity, invites the desire for possession and pleasant sensation in using it, so as to avoid coldness, monotony, unfriendliness, lack of humanity, and the incompliance with human physiological and psychological habit. When we want to produce a convenient tool, we must imbue the product with certain impression and shape, let the product express certain feature, which can awaken some unique feeling while the consumers are using the product. Thus the product acquires a lasting vitality. The association between certain life and form should be explored in an effort to find the origin of the sensibility of the product, and the way of expression. Modern industrial designers must be keen on adventuring into the new domain of expression, and to search for another unknown kind of life. Why should our design of the product invariably be abstinent, rigid, or serious instead of being erogenous, amusing, or lighthearted? Modern industrial designers must desert the outdated doctrine, break away from the repetitive, boring, and monotonous pattern, and reconsider our design philosophy. We can avail ourselves of the result of the studies in the field of human psychology and social psychology such as implication, metaphor, association, and etc. to capture the emotion from the bottom of human heart. This is the humanity and aesthetic conscience of modern s industrial designers. Only in this way can the consumers fully enjoy the pleasure and pleasant sensation in using the products. Fig. 9 Chocolate

Product designers in the ever changing commodity society are just like cultural transducers, they are designing a culture rather than a mere product, because designing is creating, a creating of a more reasonable life style, the core of which is to discover, generalize, and define human needs, and then select reasonable

and effective means and channels to develop and promote them.

The culture of pleasant sensation is a purely sensory experience. In the current commodity world, it catalyses numerous New Human Beings obsessed with consuming desire. Mastery of the pleasant sensation of the consumers in the new century shall be a great challenge facing the future designers.

5.Reference
1. Pro-Design: 50 Products copyright 1998 Male Byars (USA) P50, P 59, P 15, P 91, P 117, P 67 China Light Industry Press. Translated by DENG Xinnan, and XIE Dakang.

2. Design and Time China Construction Material Industry Publishing House, YIN Qingshan et al
3. Fig.2, fig.3, fig.4, fig.5, fig.7, and fig.8 are from Pro-Design: 50 Products copyright 1998 Male Byars (USA) P50, P 59, P 15, P 91, P 117, P 67 China Light Industry Press. Translated by DENG Xinnan, and XIE Dakang. 4. Fig.1 is from World Masterpieces of Modern Furniture by Miriam. Stinson; Anhui Science and Technology Press, translated by CHENG Jia. P69 . 5. Fig.6 is from COLORFULNESS , photographed by JUAN Shi. 05/2000. P121, Beijing, China. 6. Fig.9 is from IDEA INTERNATIONL GRAPHIC ART P103. No.291.2002-03 JP.