CAFA设计学院《未来书籍的多元叙事方向与方法研究》讲座回顾①

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CAFA设计学院《未来书籍的多元叙事方向与方法研究》讲座回顾① ｜从传统要未来: 原创 2022-01-02

《未来书籍的多元叙事方向与方法研究》课程讲座

暨未来书籍系列讲座①

《从传统要未来 / Traditions that point to the future》

讲座视频回放

主讲人｜Lecturer

谷泉

Gu Quan

中国艺术研究院美术研究所副研究员

研究领域包括美术理论及工艺文化

出版著作《大地艺术》，译著《茶书》《侘寂》

Associate professor at Fine art research institute from Chinese national academy of arts

Research areas include art theory and craft culture

Publication Land Art, Translation Wabi-Sabi, The book of tea

《未来书籍的多元叙事方向与方法研究》

· 课程教师 ·

吴勇／刘治治／王黎明／钟雨／齐昕宇

· 课程讲座 ·

① 从传统要未来 Traditions that point to the future／谷泉

② 伊玛·布/书 Irma Boom/Book／伊玛·布

③ 书籍设计不顺之时的喜悦 Book Design enjoy the trouble／祖父江慎

· 课程介绍 ·

读屏时代，多媒体与纸质书阅读似乎呈分庭抗礼之态，而人类对物质实体的依存是不可或缺的，是精神依托、智识构建很重要的一部分，于是纸媒与屏媒或可成为互补的载体；同时，现代艺术作为一种传达手段，与传统艺术的区别愈加分明：出现了艺术治疗、艺术经济、艺术科学等等形态，艺术之于人的作用也许会越来越大。在人类命运共同体理念下，随着战争、疫情等苦难的终将远去，留下的创伤更需要以某种途径去抹平，或许那就是艺术就是阅读呢?

庸庸日常的我们已深陷“被读屏”，单一、碎片的阅读方式让人们不自觉地退化了阅读能力，大众对长篇阅读的驾驭和学习能力日渐式微。如何让大众重新拾起书本阅读，弱化短视频、推文所充斥的阅读形态，让长篇小说、诗歌、自然科学乃至哲学书籍成为丰富与修养国民的源泉，是这门课程的研究目的。书籍未来主义指出：“书之死”的说法已存在了五百多年，但书籍仍未死并鲜活地存在于科技发展的各阶段；多模态图书，“活的”图书将被纳入不同种类的新媒体；后数字书是新复古设想，艺术家书、自出版等基于数字环境中的崛起，对信息生产、交流和消费的依托和互动越来越密切，这也有利于书籍阅读形态向多元和物质性方向发展。它们给研究、探索书籍未来的方向和可能性，提出了新的课题。

序言｜ Preface

简单说，书有两层含义，一是书写，一是书籍——也就是把书写的东西装订成册。未来书籍，必然突破现有书籍既定形式。但继续使用“书”这个称谓，书之本意，仍然会得以保留。一方面，人类依靠科技进步，创造书籍的各种样貌；另一方面，也要回望传统，从传统要未来——毕竟，传统已经在试图解决未来的问题。

In short, “书”（book）in Chinese have two meanings, one is writing, the other is books - that is, binding the written things into a book. The future books will certainly break through the form of the existing books. However, if we continue to use the title “书”, the original meaning of the book will still be retained. On the one hand, human beings rely on scientific and technological progress to create all kinds of books; On the other hand, we should also look back at the tradition - after all, the tradition is already trying to solve the problems of the future.

本次讲座分四个部分：框定、变態、隐形、触碰，主要以拓本为例，讲述一本中国之书，如何积淀人文内涵，成为多元叙事的典范。

This lecture is divided into four parts: Framing, Changing, Hiding and Touching. Taking book of rubbings as an example, it tells how a Chinese book accumulates humanistic connotation and becomes a model of diversified narration.

01. 框定｜ Framing

一盆盆景，浅浅的盆里，长着一株看着很苍老的植物。人所共知，植物扎根大地，无法移动。将它养在盆里，悉心呵护，再加上特殊的艺术处理，变幻为一座仙岛；只要花费有限的资金，它就会出现在你我身边，让原本平淡的日常生活，充满浓郁的人文气息。

One bonsai, in a shallow basin, grows a plant that looks very old. It is well known that plants are rooted in the earth and cannot move. Keep it in a basin, take good care of it, and with special artistic treatment, it changes into a fairy island. As long as we spend limited funds, it will appear around us, making the dull daily life full of rich humanistic color.

一盆盆景，是一座仙岛；多盆盆景，便是一连串海上的仙岛，像极了中国的山水长卷。文人书房里，盆景是山水，墙上的画是山水，笔筒是山水，笔架是山水……书桌上铺开那张纸，即将描绘的，也还是山水。室外的园林是山水，城市是山水，遥远的三山五岳，比比皆是山水。我们就是被一幅幅《千里江山图》所包围着啊。不用讲，书架上的那些书，也是山水——读书即入深山，实乃最佳诠释。

One bonsai is a fairyland; many bonsai are a series of fairylands, like a long scroll of Chinese landscape. In the literati studying room, the bonsai is the fairyland, the painting on the porcelain is the fairyland, and the pen rack is the fairyland……spread out the paper on the desk, and the painting is still the fairyland. Outdoors, gardens are the fairylands, cities are the fairylands. And the whole country is also the fairyland. We are surrounded by “A thousand miles of fairyland”. No doubt, the books on the shelves are also the fairyland.

千里江山图（局部），王希孟作，北宋徽宗年间，现藏北京故宫博物院，尺寸：纵51.5cm；横1191.5cm

吴湖帆绘，顾景舟制，紫砂壶，1948年，尺寸：长18cm 高8cm

《文苑图》卷，韩滉作，绢本，设色，纵37.4厘米，横58.5厘米，现藏北京故宫博物院

所有这些形式，都有一个框。框的目的，是为了与当下的现实相隔绝。框外，纷乱的现实；框内，有秩序的理想；一个人人安居乐业的桃花源。这也是中国艺术珍视的人文取向。最后，“艺术”二字，也幻化成框。今天，我们约在美术馆看展览，心知肚明，是桃花源一日游。展厅里所有的作品，已经被潜意识认定为艺术创作。甚至，它们都不需要一个具体的画框了。

All these forms have frames. Framing is to isolate the contents from the current reality. Outside the frame, the chaotic reality; inside the frame, the ideal of order; a utopia where everyone lives and works in peace and contentment. This is also the humanistic orientation cherished by Chinese art. Finally, the word “art” also turned into a frame. Today, all the works in the gallery have been subconsciously recognized as artistic creations. Even, they don't need a real frame anymore.

02. 变態｜ Changing

改变形态的主旨，是以少的成本，获得广泛的传播效应。我举三个例子。

Changing is to obtain wide dissemination at less cost. Here are three examples.

壁画-幡-卷轴画-册页

from murals, to flags, to scroll paintings, to albums of painting

壁画，是一种重要的艺术形式，具有强烈的空间效果。但它不能够随意移动。怎样解决这个问题？先哲将画画在布上，缝纫成幡，多个幡并置获得壁画效果。此乃是装裱的前身。之后，从缝制织物到浆糊粘连丝绢与纸张，成为如今大家熟知的卷轴画。从壁画，到幡，到卷轴画，载体变了，重量急剧下降，运输更为便捷，并且适合大量创作。将画折叠起来，加上封面、封底，就是书了。折叠的方式，各种各样。折叠多次，折痕加重，碎成散页，再次装裱，它又变成了册页。

Mural is an important art form. But it can't move. The ancestors painted on the cloth, sewed into flags, and placed multiple flags side by side to obtain the mural effect. Then, pasted the silk and paper to form a scroll painting. From murals to flags to scroll paintings, the carrier had changed, the weight had decreased sharply, the transportation was more convenient, and it was suitable for a large number of creations. Fold the painting, added the cover and back cover, and it became an album of painting, that was, a book.

摩崖石刻-碑碣-拓片-拓本

from cliff stone carvings to stone tablets, rubbings and book of rubbings

泰山摩崖石刻

颜氏家庙碑

颜氏家庙碑拓片

颜氏家庙碑拓片本

过去人喜欢摩崖石刻，经过书丹、雕凿、人文赋予，将原来的荒郊野岭，点化成为玉宇琼楼。但许多物理局限性，将它框定在具体的时间、空间里。从自然山崖取石，雕凿成四面平整的块状物，再经过书丹、刻字、人文赋予、自由移动，成为碑碣。可岩石依然沉重。创造者继续创造，通过替换承载物的方式，体量大为改观。拓片横空出世。再将之裁剪、拼贴、装裱，我们就得到拓本。最后，通过现代印刷技术，它们又摇身一变，成为人人消费得起的字帖。可既使是字帖，触碰者仍然能够强烈感受石头、空间、气度、历史的存在。

Chinese ancestors liked cliff stone carvings. They turned the wilderness into heaven. However, many physical constraints limit them in specific time and space. People carved stones into cubes, wrote words on them, and then carved them into stone tablets. But they were still heavy. The creator continued to create, and by replacing materials, the weight and volume changed greatly. The rubbings came out. Then cut it off and put it together to get the rubbings. Finally, through modern printing technology, they have become book of rubbings that everyone can afford. Even if it is a book, people can still strongly feel the existence of stone, space, power and history.

从摩崖石刻，三维的自然物，成为可移动的、三维的碑碣，然后是二维的拓片（画），再是以二维为主的拓本（书），这个过程，让原本分散中国各地的、不可移动的艺术瑰宝，因为这些创造性的改变，随时在你我周围聚散。并且后两者还能够大量题跋，人文信息不断加厚、加重。而与之如此近距离的接触与体验，使我们的生命维度，得到切切实实地拓展。因此，只要抱定文化传承不绝的内心，剩下的重点，无非全力创造。

This process makes the art works originally scattered all over China finally appear around people. The latter two can also have a large number of inscriptions and postscripts, and the humanistic information is constantly thickened and enriched. With such close contact and experience, people's lives can be truly expanded. Therefore, as long as we hold the heart of continuing to inherit the culture, the remaining focus is nothing more than creation.

青铜器-印章-印谱

from bronzes to seals to seal books

毛公鼎（Duke Mao Tripod），西周晚期青铜器，清道光二十三年（1843年）出土于陕西岐山（今宝鸡市岐山县），现藏台北故宫博物院。高53.8厘米，腹深27.2厘米，口径47厘米，重34.700公斤。

印章有两个源头：一个是青铜礼器有铭文的那一部分，一个是石碑。青铜礼器作为国家象征，自然带有权力凭证的意味。而其中铭文的部分，局部化为青铜印章，具有同样的效力。石碑，确之凿凿，坚固永恒。其缩小版的玉印，追求也完全与之相同。两者相加，伴以元代开始使用硬度较低的软石，制作难度降低，文化和文化人更多参与其中，成为后期中国艺术的一座高峰。

There are two sources of seals: one is the written part of bronzes, and the other is stone tablets. As a national symbol, bronzes naturally have the meaning of power certificate. The part of the inscription, has the same effect. The reduced version of the stone tablet, jade seal, pursues exactly the same. When the two were added together, soft stones with lower hardness were used in the Yuan Dynasty, which reduced the difficulty of making, and intellectual artists participated in it.

乾隆御制“十全老人之宝”，面12.8cm见方，通高15.3cm，纽高5.4cm

因为玉石的硬度高，比如乾隆的玉印“十全老人之宝”，无疑为工匠刻制。明清文人篆刻家的作品，则不假他人之手、亲历亲为。他们甚至会追求所谓的金石气，即青铜器或者石碑经过强烈风化，所蕴含的时间痕迹，敲击石料，产生恰如其分的破损感。而前者，一如当下的公章，边缘极其平整，依旧是权力的象征，以及金玉线索的延续。文人篆刻家的作品，还会打印成谱，变成了书。剔除多余，它的身体再次得到解放。

Due to the high hardness of jade, such as the emperor's seal, it was carved by craftsmen. Ming and Qing intellectual artists created their own works. At each step, they did it themselves, and even hit stones to produce a proper sense of harm. The former, like the current official seal, has a very flat edge and is still a symbol of power. The intellectual artist's works will also become seal books. Eliminate excess and its body will be liberated again.

清吴昌硕刻来修斋田黄章，尺寸：纵3cm；横3.3cm；高10.4cm

以上例证说明，改变艺术作品态的方式，包括替换承载物（从石头到纸张）、减轻重量、减小体积，降低制作、运输和获得成本，方便复制、移动，以及展示。益处多多，又并没有篡改文化传统的主线，同时达到以小见大、以少喻多、以近及远、以有限表示无限的效果，可谓是集文化创造之大成，实践多元叙事的持续目标。

The above examples illustrate the ways in which works of art form can be changed, including by changing carriers (from stone to paper), reducing weight and volume, reducing production, transport and acquisition costs, promoting reproduction, movement and display, integrating cultural creation, and practicing the goals of diversified narration.

03. 隐形｜ Hiding

传世的那些赫赫名迹，往往加盖多枚印章，有时几十，有时过百。我看过一篇报道，将这些印痕比拟伤疤，建议用 PS技术将之全部抹去，恢复作品原初的样子。但是，于我而言，累累印痕，无异于一座座山峰耸立。它们建构的是《千里江山图》之外的另一个《千里江山图》——一个隐形的，或者多维的群峰并置。如果将之删除，一件作品就被框定在创作时的特定时空，意蕴立即变得单薄。所以，难道不是这些红色印迹，以及它们背后人文信息的加持，赫赫名迹才是赫赫名迹吗。它，它们，才成为历史。像《千里江山图》并非仅仅属于王希孟——他提供了最早的契机，还有其他所有的参与者，时光、无常、热爱与不间断呵护，大家一起完成了这件伟大作品。

Famous traditional Chinese art works often have multiple seals. I read a report, compared them to scars, and suggested using PS technology to erase them all. But to me, they are like mountains. They construct an invisible or multidimensional peak side by side. If deleted, the work will be framed in a specific time and space at the time of creation, and its meaning will immediately become thinner.

东晋，王羲之，《快雪时晴帖》纸本，规格：纵23cm，横14.8cm字数：4行，28字，现藏台北故宫博物院

而且，如此重量级的作品，假设允许随意题跋、钤印。你怎么做？你一定心怀敬畏，因为面对的，就是时间的大江大河。甚至，你是通过这样一个行为，让自己有机会与历史融为一体。事实也是，大部分后学，往往选择拘谨字体、上佳印泥，规规矩矩地写在、盖在理所应当的位置之上。中国书画，大概二三百年重新装裱一次，等于再次排版。应该怎样行为，与行为者的素养，关系极大。他可以使之升华，也可能是破坏。先哲的创造，我们现在不太敢碰。因为不能保证，经过你我之手，它们仍然以饱满的生命力迈向未来。东方艺术的特点，非常依赖人——人行，从心所欲不逾矩；人不行，怎么做都不对。

If allowed, write down your words on such an important work. What are you going to do? You must write in awe in the right place. Chinese calligraphy and painting are re-mounted every two or three hundred years, that is, re-typesetting. There were many works in the past that we dare not repair now. The characteristics of oriental art depend very much on people - a person has ability，he can do anything right, and vice versa.

九成宫醴泉铭，欧阳询，唐贞观六年（632年），碑体高247cm、宽120cm厚27cm，约1200字

摩崖一面而已，等转身拓片，自由度陡然上升。拓片因拓印而来，归于印刷品属性，自然多出空间，与人亲近。成书之后，它又平添很多白页，敞开胸怀，等待后学精进者增加内容。你看，既使变装重重，它还是守住了文化的根本，再接纳新鲜血液，表明是鲜活的。可是，一旦成为公共财富，化身博物馆的藏品，没有谁，再有幸运在上面书写一二。不仅如此，少了生命的触碰，珍宝也逐渐失去光泽，黯淡无神。这时候，就需要创造者挺身而出，打破旧有的框定，创造新的世界——未来书籍的世界，让后学轻松参与，续接不断迭代，却从来未曾终止的文化传统。

However, once it becomes public property, no one is lucky enough to write a sentence or two on it. Moreover, without the touch of life, the treasure gradually loses its luster and is dull. At this time, creators need to stand up, break the old framework, and create a new world—the world of future books, so that people can easily participate in cultural traditions that will never end.

04.触碰｜ Touching

中国传统艺术大都依赖手工完成。但凡石头、纸张、金属、丝绢等等，需要创造者、实施者对于文化理解深入，借助材料，以手工实现这个理解，还需要接收者、传递者能够辨识这个理解。其造物架构之坚实，逻辑之清晰，人文意味之完备、饱满，是文字和图像信息优化处理的卓越代表。相对于视觉的快速更迭，触觉的感受，虽不明显，但始终潜移默化地发生效力。心、手相传，无非传递对于文化的理解和认同，携手、建立、呵护、推进一个文化共同体。这也是中国之所以是中国的原因。

Chinese traditional art is mostly done by hand. For stone, paper, metal, silk, etc., the creator needs to have a deep understanding of the culture and achieve this understanding manually with materials. The touchers need to be able to recognize this understanding. Chinese traditional art, with solid creative structure, clear logic, complete and sufficient humanistic connotation, is an excellent representative of text image information optimization processing. In contrast to rapid changes in vision, touch, though not obvious, is always effective imperceptibly.

于拓本而言，书丹是书写过程；镌刻是成型过程；拓印、钤印，是印刷过程；装裱，是排版和成书过程；触碰，是阅读、融入的过程。抚摸那些上佳的碑拓原物，往往质感强烈，你能够感受人、物的直接冲撞，书丹的豪迈、镌刻的力道、捶拓的节奏、装裱的慎之又慎——沉甸甸的，像是要把所有触碰过的情感、情绪，倾囊而出、郑重相托。斯人已逝，但这份斑驳沧桑、跌宕起伏，通过具体物，仍旧挣脱时空束缚，代代递送。学书者，还会捧着字帖，眼追手摹。好事者更将金石文字，汇编成册，担当学习的模范。金石传家，大概也只有中国，才能如此重视。

In terms of rubbings, carving is a forming process; printing is the printing process; mounting is the process of typesetting and book formation; Touch is the process of reading and integration. Touching those rubbings often has a strong texture. Through them, you can feel the direct influence of people and things - like friends you haven't met, you can talk very sincerely. People will also hold calligraphy, observe carefully and copy carefully. Others compile them into a book to serve as a model for learning.

问题是，作者是谁？好比吴湖帆，我一直认为他是书画家、收藏家，直到看见《四欧宝笈》，他作为金石家、文化传承者的面目，才渐渐清晰。可相比书画，这件作品，难道不应该归于欧阳询名下？是，也不是。是，因为作品的主体，确实是欧阳询所书写；不是，因为这是大家共同创造，吴湖帆最后将之汇总、呈现。面对这样的作品，我更愿意确定，它是怀着相同文化愿景的所有人，协同完成的。他们都是这本大书的作者。

The question is, who is the author? The main part of the work was really written by the original author. But, because there were so many people involved, in the end, it was the designer who presented it. In the face of such a work, I prefer to believe that it was made by all people with the same cultural vision. They are all co-authors of this great book.

今天，视觉文化愈演愈烈。已经有很多书，大家忘记了作者是谁，却牢记设计师的名姓。文字、图像信息处理的方向与方法，已然成为探索未来的前沿领域。不是吗，在历史中，类似情景亦反复重演。它们频频证明，重要的是文化参与——不是苛求谁谁扬名立万，而是当你我能够与历史比肩，生命的意义，自然得到体现。在个体价值受到普遍约束的封建时代，规章制度是制作者，文人士大夫是艺术家，工匠自始至终位列社会底层。现代则不同。人人皆独立个体，都可以通过创造，确认自己与过去、现在和未来的联系。

Today, visual culture is becoming more and more important. There have been many books. People forget who the author is, but remember the designer's name. The direction and methods of text and image information processing have become the frontier field of exploring the future. Similar scenes have played out throughout history. They have repeatedly demonstrated the importance of cultural engagement. In modern times, everyone is an independent individual, who can confirm his connection with the past, present and future through creation.

设计企图，人重于物。它创造了社会进步的种种契机，不能停步于奇思妙想——倘若没有进入历史，便不会拥抱未来。每个人都是历史的触碰者、书写者、传递者。而印刷过程，本质是通过节俭成本，与更多人分享人文智慧。未来书籍，未必与现有书籍存在多少形式上的重叠，却要牢牢守护作为文明延续的本意。多元叙事的方向，也必定得以保留。

The purpose of design is that people are more important than things. It has created various opportunities for social progress. Everyone is the toucher, writer and transmitter of history. The essence of the printing process is to share humanistic wisdom with more people through cost saving. Future books do not necessarily have much formal overlap with existing books, but we should firmly guard the original intention as the continuation of civilization. The direction of diversified narration must also be retained.

问答｜ Q&A

问：对于重塑这种中国文化的精英性，您有什么具体的建议？

谷泉：面对传统文化的快速流失，我们缺的，不单单技术手段，更是将传统带入现代的能力。传统的延续，不能依靠复制表面的、符号化的样式，而是要真正做到理解传统，将传统的精神融入现代，创造与时代发展相匹配的、新的作品。我把它总结成四个字，“舍形取神”。舍弃形式，夺取精神，这也是先辈一直在做的事情。再说，传统也是创造出来的，不是保存、保护、复制、窃取得来的。因此，理解传统，恰恰是理解创造。大家应该聚焦创造，在创造中遇到困难，从传统中汲取养分，继续前行。这个道理，等同于成为彻底的现代人，反而容易从传统要未来。而不是沉浸在传统中，无法自拔。

Q: what specific suggestions do you have for reshaping the elitism of Chinese culture?

A: in the face of the rapid loss of traditional culture, what we lack is not technical tools, but the ability to bring tradition into modern times. The continuation of tradition could not rely on copying the surface and symbolic style, but to truly understanding, integrate the traditional spirit into the modern, and create new works that match the development of the times. I sum it up as abandoning form and seizing spirit, which is what ancestors have been doing. Besides, tradition is also created, not preserved, protected, copied or stolen. Therefore, understanding tradition is precisely understanding creation.

问：从传统要未来，那我们剩下什么？

谷泉：中国在传统艺术上花了大量人力、物力，不要像扫垃圾一样，随便将无尽财富匆匆去除。文化在分散、溃败之际，更是需要通过创造，将之凝聚。生命如此可贵，为什么要踯躅于具体的时空，不能任意穿梭古、今、中、外。从单一平面走向多维呈现，我们不仅可以提升自己的生命品质，还能够惠及他人。本次讲座所举例证，大部分都是文人、知识分子的创造。其目的，是让知识得到更为广泛的传播与普及。这既是社会进步的明证，也是文人、知识分子的社会责任和职业荣耀。你我的价值，正在此间。

Q: what are we left with if we get the future from tradition?

A: life is so precious. Why should we stay in specific time and space and can't shuttle freely. From single plane to multi-dimensional presentation, we can not only improve our quality of life, but also benefit others. Most of the examples given in this lecture are the creation of intellectual artists. Its purpose is to make knowledge more widely disseminated and popularized. This is not only the proof of social progress, but also the social responsibility and professional glory of intellectual artists. The value of you and me is here.

讲座总结

谷泉老师的讲座，是从他的研究领域，对接了我们这门课程。看似无关，却是一种哲思，贯穿过去、今天与未来。我特别欣赏他能在艺术研究领域里，脱颖而出。他给自己制定的标准，是不在学术圈里，做所谓的重复竞争，完全独立开来，去做别人不曾触碰的东西。这给我们以启示：做设计，同样也是做学问；不能把设计，只当作“干活”的行当。那会自行贬低设计的价值。毋庸置疑，设计，已然成为生产力，成为新生活方式的重要支撑。今天如此，未来更是如此。我把谷老师的讲座，安排在首位，后面还有一系列讲座，是希望能从不同角度谈未来书籍：我们到底面临什么？需要启迪什么？或者能拓展出什么方向？司空见惯的事物，还有什么新的可能？或者从深层意义，探讨大众阅读已经死了吗？这样的命题，是不是伪命题？是不是可以存在？也是借谷老师研究学术的独特角度，帮助同学们更好地开启自我探索的可能性。通过讲座，谷老师从历史维度，把阅读的形态，做了一个很好的分析。他提出“从传统要未来”，用类比的关系，拓宽了我们思考的视野——紧随科技发展脚步的同时，也不要忘记回望传统。深受启发，受益匪浅。

讲座学术主持 / 宋协伟、张欣荣

讲座策划召集 / 吴勇

讲座现场主持 / 刘治治

中英文字撰写 / 谷泉

图文影像统筹 / 吴勇

海报设计制作 / 吴勇

推文编辑排版 / 陈方杏子

海报动态制作 / 刘陌

影像摄制剪辑 / 李尚儒、啸宇、王东翰

文字录音助理 / 杨丹霞、林子歆

中央美术学院设计学院

中央美术学院设计学一级学科作为国家“双一流”建设获批学科，已经建成涵盖视觉传达设计、数字媒体艺术、公共艺术与设计、环境艺术设计、生活产品设计、服装与服饰设计、艺术与科技、设计史及理论等目录内的二级学科，以及自主创设的交通工具设计、社会设计、设计管理、创新设计、系统设计、生态危机设计（智慧城市）等新增二级学科。同时，在保持现有学科口径范围优势下，设计学科以对中国社会未来形态和经济模式整体研判为基础，以积极应对全球科技、经济和社会变革为契机，以培养具有中国文化立场和全球意识的顶尖人才为目标，以服务于国家重大战略举措为根本，全面深化改革和创新驱动发展。

面对新时代的形势变局、产业变革、危机与挑战，深刻研读新文科建设内核，设计学院以中国高等教育发展新需求、新变化、新阶段、新特征为依据，将设计学科与现代信息技术等其他专业集群相融合，于新工科、新医科、新农科提出的新命题、新方法、新技术、新手段中，创造新方向、新标准及新价值判断，并研判后疫情时代的全球政治、经济变化，以人类既有的社会组织结构、生产与消费方式为课题研究切入点，以学科专业划分为工具与方法，构建危机意识主导的全新学科教育架构与学科资源整合平台，全面聚焦应对人类未来生存模式的思考与行动。

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