Introduction

Culture is an ongoing re-invention and interpretation of what is going on around us rather than just a re-evaluation of what things we like. It is an integrated pattern of human knowledge, belief and behavior that depends upon the capacity for symbolic thought and social learning. It is the set of shared attitudes, values, goals and practices that characterizes an institution, organization or group.
Culture is the starting point, the origin of creative direction. What comes after, at least in the physical world, is a material interpretation of the culture it springs from.
In fact, one might say culture is the DNA of civilization.

Design, as with all other creative forms of expression, is closely linked to the culture surrounding it.
It represents and translates every aspect in this world into understandable equivalents and  can be critical of or even build a culture around itself.
Design depends on culture, for without culture, design has no relevance. It communicates, without speech, the mentality and, hopefully, the philosophy of the designer. Without culture, design cannot exist. And without design, culture would be missing the material component that is deeply anchored within human nature.
It is this material component that gives the profession, or even art form, of “Design” a justification for existence. People want different things to differentiate themselves from their neighbors or friends, so as to build and exemplify their own unique existence and to be able to gather belongings that they could then add metaphysical values to. Designers cater to this need.
 At the same time, this differentiation can lead to connections between unique entities, groups, and cultures. An object has the power to ignite dialogue, bringing people together or setting them apart. Materials and objects can hold and set free a great deal of emotions when linked to a context, when given a relevance in their cultural surrounding. It is this context that designers should be seeking in their work to make their objects worthwhile.

But what happens if an object not only creates harmony, but is conceived and developed through a dialogue between two fundamentally different ideologies, such as two different cultures?



I will be focusing my thesis, in my own opinion, on what culture means for design, and how, in our modern age, cultures are connecting at an increasing rate. I am curious to see if the cultural relevance of an object can gain more depth if more than one mentality is involved in its development.

To be able to tackle any form analysis of how culture(s) impact design, I will elaborate on my personal definition of culture. I will examine the many ways which modern civilizations have found to come together and span geographically significant obstacles, such as distance, in essence shrinking the world down to a 13”-24” screen, keyboard and webcam.