A Sense of Design: The Embedded Motives of Nature, Culture, and Future - Principia Designae: Pre-Design, Design, and Post-Design - page 46

This implies that humans are altering the natural system and unintentionally
endangering lives: currently, no human on the planet can take responsibility for
the results of design.
Extinct species are considered from a sustainable environment perspective. This
aspect highlights the origin of human creativity as a selfish activity, driven by the
“ego.” Therefore, design progresses at a micro-level; macro-level design is lacking
completely. While this unbalance was considered, halting the motivation for micro-
level design is difficult. “Over the past 50 years, humans have changed ecosystems
more rapidly and extensively than in any comparable period of time in human
history, largely to meet rapidly growing demands for food, fresh water, timber,
fiber, and fuel. This has resulted in a substantial and largely irreversible loss in the
diversity of life on Earth” (Millennium Ecosystem Assessment 2005 ) . Global
warming will endanger species even further, particularly various plant species.
Essentially, we could not change the world after 1992 without risking serious
deterioration. This critical issue must be criticized among academics.
Can we conclude an unavoidable relationship between design and nature? We
should replace older products as soon as possible if their design did not consider
sustainability based on the social motive stemming from a sense of nature—the
desire for design that works toward a sustainable earth.
4.3 Sense of Culture
4.3.1 Myth of Design
In the previous section, the social motive for design from a sense of nature was
explained. These motives resonate with personal motivations and influence culture.
Basically, design products inherit human emotions such as their wish to survive.
Over time, human culture has been formed by a large number of artifacts that have
internalized various human emotions. Recently, emotional design has become
popular for product design arrangements; however, this is similar to an imitation,
which lacks a deep emotional sense. Culture is a type of design technology that
solves the problems of our current society. “L¨wenfrau” is a famous statue created
32,000 years ago: the exact interpretation of this statue has not been identified yet.
That said, L¨wenfrau seems different from other cultural artifacts from the same
time period. L¨wenfrau's ornamental arrangement of shapes copied from wild
animals, such as lions, tigers, and bulls, is probably more cognitively and culturally
meaningful than strictly functional artifacts.
However, to elucidate the creative nature of human beings, there is no subject
more interesting than design creativity. The “myth of design” refers to an
unexplored region of science and engineering. In conventional design frameworks,
one aspect of uncertain issues in the myth of design has been replaced by the
expression “design is a wicked problem.” In design, a more creative approach is