บทความเต็ม_4U

The study of the development and innovation of public art in Japanese cities
JiaWei*(M.F.A)1

1 Director of the Experimental Centre for Art and Design, Tianjin Normal University
E-mail [email protected]

ABSTRACT

Taking into account the theories and perspectives of different disciplines such as fine arts,
sociology, urban design and philosophy of art, this paper takes the historical development and current
situation of public art in Japan as the object of study and introduces the principles of public art
development in Japan that focus on government action, citizen participation, and cultural preservation,
reflecting the modern concept of public art that is systematic, scientific, artistic, recreational and people-
oriented. In-depth analysis of the cultural connotations of contemporary Japanese public art and
exploration of the relationship between public art and urban public space. The study of public art and
urban public space in Japan has important implications for the development of public art in Asian cities,
and will also provide an outlook on the future development of public art and public space in China.

KEYWORDS: Public Art; Public Space; Public Participation; Japan
Introduction

Using a documentary research approach, this survey compares the development of public art in
Japanese cities, analyses the cultural connotations of contemporary Japanese public art, and explores the
relationship between public art and urban public space.

Content

Public art emerged in the United States in the 1960s and refers to a series of artworks installed
in urban public spaces that can be perceived and appreciated by the general public in a variety of ways,
culturally reflecting the culture and spirit of the city and having a distinctly artistic character in their
appearance. Public art in some ways overlaps with the concept of artistic aesthetics, but it also has its
characteristics as a means of artistic expression, based on conveying the inner spiritual aspirations and
aesthetics of the times, using public space as a place of display. In terms of specific forms of expression,
there are many different types, divided functionally into urban public architecture, architectural decoration,
signs, sculpture, murals, and installation art. Although there are many different forms of expression within
the realm of art, public art is a defining concept that is distinguished from other art forms by its distinctive
public nature, which is reflected in its two main characteristics: artistry and publicness.

Public art differs from the environmental sculpture in the traditional sense in that it is closely
related to the establishment and development of the city. With the development of the division of labor
in human society, a large number of citizens gathered to live together and the density of the living
environment increased, along with the creation of commodity exchange, a process that led to the
development of cities, which laid the foundation for the emergence of public art. China's public art emerged
in the late 1970s and early 1980s, entering people's lives as a relatively new concept in the gradual
formation and development of urban public space. It is a complex intersection of artistic symbols, aesthetic

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language, civil rights and civic duties, and a disciplinary intersection of urban culture and the public sphere.
In recent years, as urban construction in China has boomed, so has the demand for public art as an art
form.

Public art remains a hot topic in the domestic design art scene, and monographs and books on
public art continue to be produced, while at the same time there is much debate in the art academic
community in the field of public art. Many scholars believe that public art is 'big art' and that all artworks
that appear in public spaces, such as public architecture, urban landscapes, sculptures, and murals, belong
to the category of public art.

In contemporary urban development, public design has created new cultural spaces in cities
undergoing modernization. Public art includes a variety of elements such as urban landscape planning,
urban nature, and humanities, and its design concepts and methods of expression are unconventional.
Grounded in the natural and cultural ecology of the city, public art uses new forms of expression to enhance
the cultural atmosphere of the city and to achieve harmony between man and nature.

In Japan, public art is defined as artworks installed in public spaces other than museums and
galleries, to enhance the attractiveness of public spaces. It also has the role of reflecting the history, climate,
and ideas of the city or region, and has the role of promoting urban development and enhancing the
cultural values of the city.

After the Second World War, Japan began a process of urban reconstruction amid the devastation,
and the Ministry of Education proposed a plan to 'build a peaceful Japan by revitalizing culture and art'.
From the 1950s onwards, artists established art practices such as portraits of nudes and mothers and
children in public spaces, based on new ideologies such as peace and freedom, which expressed the new
values of the post-war Japanese people. This type of activity was also promoted by some local
governments as part of their sculptural projects in the 'era' and 'cultural era'.

Fig. 1 Fumio Asakura, Sangsang - Wisdom and Emotion, cast bronze, part of a statue 250 cm high 1950

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The rapid social and economic development of the 1970s saw the installation of many outdoor
sculptures in parks, along roads, in front of railway stations, and public buildings during this period, with
some success in improving the local environment and creating beautiful landscapes. This move to install
outdoor sculptures was often done as part of public works.

The Osaka World's Fair in 1970 provided the perfect opportunity for the government to embark
on a building program of artistic transformation of neighborhoods to showcase Japan's post-war economic
breakthroughs to the rest of the world. Public art has since taken on a local and regional character, gradually
leading to the concept of art re-creating art in neighborhoods under the influence of Japanese cultural
ideas.

Fig. 2 Taro Okamoto Tower of the Sun 70m high, 20m diameter at the base, 25m wide at the arms 1970
in Osaka Expo Park

The program of artistic reinvention of neighborhoods led to a rapid increase in the volume of
outdoor sculpture, and Japanese public art evolved from being an appendage of the city to developing
alongside it, eventually becoming the art projects that now dot the city's neighborhoods while reflecting
the stage of life and development of the minds of residents.

While the fundamental function of neighborhood art reinvention is to promote economic
development, it also has an important role to play in cultural, social, and other ideological areas. For
example, public art projects can add new value to mundane landscapes, building up a regional tourist
resource, expanding visitor numbers, and generating social interest. It can then enhance residents' pride,
give them a greater sense of belonging to the community in which they live together, and continue to
develop a shared sense of community, which in turn can uncover the cultural content and social
significance of local traditions in a new era and increase residents' motivation to pass on, preserve and
promote traditional culture.

Neighborhood creation aims not only to solve local problems and integrate residents with their
environment but also to create new landscapes through the artistic transformation of public facilities. A
classic example of artistic transformation is the 'manhole cover culture', where public facilities have become
a source of creativity and a subject for experimentation in public art.

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Fig. 3 François Zabier and Claude Larranu Sighing Angels Concrete, greenery, tiles, marble 1969

From the 1990s, influenced by the development of public art in the United States, Japan also
began to incorporate public art as part of urban development and began to install artworks in public places.
As Japan's bubble economy burst and its economic strength began to decline, the movement by many
local governments to install outdoor sculptures diminished.

And then public art in Japan began to explore new ideas for development, and it became
increasingly common to install artists' artworks together in limited spaces in projects with large budgets,
such as major redevelopment projects in city centers. Artists have thus derived new forms of public art,
including the service city form, the citizen participation form, and the art project form of public art.

The service city form of public art, as a symbol of the city, has a strong connection to the territory
and is designed according to the changing context of the times. Its manifestations include large-scale
sculptures and installations, but also exhibition spaces and other projects outdoors. This type of public art
project gives the work the function of a symbol of the city and can articulate public facilities such as
neighborhoods, integrate architecture and urban space, and relate and harmonize with the surrounding
environment.

The Tachikawa project by Tomiro Kitagawa and the Shinjuku Island public art project by Fumio
Nanjo are typical examples of urban development public art. Tachikawa City Council planned to design and
build large-scale public artworks to expand the population and attract investment, so they conducted an
open call for an art curator and identified the artist Tomiro Kitagawa. Kitagawa Tomiro actively experimented
with cross-border and cross-cultural collaboration during the two-year construction cycle, recruiting 92
artists from 36 countries, including renowned artists such as Jean-Pierre Léonard, to design, produce and
install 109 works for $10 million, and the project won a planning award from the Japan Town Planning
Association.

Citizen participatory public art is an art that expresses the history of a community or social
movement and requires the participation of the general public, and the Saitama New Town project is a
prime example of this. The environmental art master plan was designed in parallel with the relocation of

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the new Saitama government offices in the Kanto-Shinetsu region. Five artists in the field of contemporary
art, including Yasushi Sae, organized the installation of a series of public artworks in the creative design of
the 'Open Street for Government Offices'. What is unique about this project is that not only did the artists
participate, but 284 schoolchildren from all over Tokyo joined the collective to design and create 10 types
of artworks to be distributed on the pavements of Saitama Prefecture.

Fig. 4 Patterns of sewer covers across Japan reflect regional cultural characteristics

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Fig. 5 Patterns of sewer covers across Japan reflect regional cultural characteristics
The final art project type stands out for its emphasis on the important function of art in solving
social problems. Artists reflect and address social issues while installing public artworks, such as promoting
community building, rediscovering local artistic resources, and enhancing the protection of the local natural
environment. Public artists across Japan have designed exhibitions of contemporary art in public spaces in
an artistic campaign highlighted by co-creation.
Mr. Tomiro Kitagawa curated the Earth Art Festival, the Echigo-Tsumari Art Triennial, in 2000. The
Echigo-Tsumari region is blessed with a beautiful and unique landscape, but also faces social problems
such as a declining population, a low birth rate, and an aging population. The Echigo-Tsumari Art Triennial
addresses issues unique to the region, bringing artworks into close contact with the local community, public
spaces, and the natural environment. This model of art festival has created a trend of 'art tours' in Japan.
Its influence has spread beyond the art world and has been well received by the public. Several Japanese
fashion magazines have also launched albums about this new experience of enjoying nature and artworks
at the same time.
These three types of public art forms have also introduced a unique character to the city in their
creation. Developed to the present day, Japanese public art has become an effective means of enhancing
public participation, closely integrating regional culture, reflecting the humanistic concerns of public art,
successfully boosting the local cultural economy, and enhancing the sense of community pride of residents.

Fig. 6 Nikki Sanfalle The Sessions Enhanced painted glass and steel 104 x 162 x 124 cm 1994

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Based on the above historical background of the development of public art in Japan, the
following three points can be summarised as ways to develop public art in the future.

1. There has been a shift in consciousness from the idea that a single monument (sculpture)
should be symbolically placed in a square to the idea that the task of public art is to create works that are
integrated with the architecture and landscape and live in harmony with the surrounding buildings and
environment.

2. The public should be able to participate in the initial conceptual stages of a public art project,
as well as in its maintenance and management. In other words, while there has been an emphasis on the
'artistic' part of public art, the significance of the 'public' as active participants will be given greater emphasis
in the future.

Public art in today's society is not only about using traditional materials, such as bronze and
stone, but also about using new techniques and materials, such as today's digital technologies and the
internet.

Fig. 7 Yasushi Nakase et al. Inhabiting the Stars Cast bronze 400cm diameter 2000
In other words, public art should be viewed not only as an installed work of art, but also as an
'action' that includes the process of conception, planning, creation, installation, and maintenance, and a
range of public participation in the process. It can be argued that the public is changing from passive viewers

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to participants in the process from conception to maintenance and that public art is changing from art
installed for viewing to art that interacts with the public.

Results
Urban development is an important part of the development of human civilization, and the

requirement for public artworks is for urban public artworks that can be used as visual cultural symbols to
convey the culture, history, and context of the city, that reflect the aesthetics of the public, and that can
act as symbols of the city.

Discussion and Conclusions
Today, with the introduction of digital technology, urban public art has become more diverse in

form, allowing for easier interaction with audiences and even the introduction of virtual images. Meta verse,
for example, is a new type of Internet application and social form that integrates a variety of new
technologies to create a virtual world that maps and interacts with the real world through the use of
technology to link and create a digital living space with a new social system. Specifically, it refers to "total
immersion", "experience", "immersion" and "emotional communication", meaning that the audience can
interact instantly with intelligent artworks through various sensory means.

Interactivity is the most important feature of public art in the information age, and a variety of
novel interactive methods allow audiences to have the best possible user experience and receive richer,
more effective feedback. They see the audience as an important part of the public artwork, valuing the
participation and role of the audience, and the fact that participants can also bring changes to the work
itself as they engage in these interactive activities, thus creating art effects that change in real-time, a
dynamic art effect that precisely reflects the interactive nature of urban public art in the digital technology
age.

References
Hideki Nitta. (1988). FrameWork in Public Art Research.Bulletin of Miyagi University of Education, Vol. 29,

No. 1, 117
Koji Asano. (2010). Creating a new cyber public space.http://www2.osk .threewebnet.or

.jp/~kejiasa/html/ronl.html
Toshiko Hashimoto.(1997). Regional Power and Art Energy. Gakuyo Shobo, 127

Akio Ikemura.(1997).From Public Art to Civic. Public Buildings #154, Public Buildings Association of Japan, 63.
Webster’s New World Dictionary,(2016). Warner books
A percentage (usually one percentage point) of the construction funds used for public projects is earmarked

for artworks to be installed on the site. (1993) Robert Atkins, translated by Etsuko Sugiyama, Natsu
Oribe and Mitsuru Mizutani: Key Words of Contemporary Art, Bijutsu Shuppansha, 132.
NAKAMURA Kyoko. (1998): What I thought about next to the softie and the meaning of public art.102

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Exploring the renovation of old houses in core urban areas based
on environmental art design
Li XinYu(M.F.A)1 ,Mo Zhonghui(M.F.A)2,ZhaoJing(M.F.A)*
1Tianjin Normal University, Tianjin 300382;
2Tianjin Normal University, Tianjin 300382;
1 [email protected]
[email protected]

ABSTRACT

Environmental art design includes interior design and outdoor design, two branches that
encompass all aspects of human living environment design, aiming to improve the overall comfort of
residents through a comprehensive design transformation. Under the background of "no speculation in
housing", it has become the development strategy and key direction of investigation for local governments
to maximise the happiness and satisfaction of residents in housing. In this livelihood project, "stay, change
and demolish" is gradually becoming the renewal mode of urban area renovation, especially in the core
urban areas where various social resources are gathered. However, transformation also means exploration.
In order to ensure that the transformation of old houses in core urban areas truly meets the requirements
of the residents and creates a more livable "old and dilapidated", it is necessary to analyse and study the
common problems in transformation, explore the role of environmental design in the transformation of old
houses and learn relevant experiences, so as to effectively provide support for the smooth implementation
of the transformation of old and dilapidated houses in core urban areas. It is necessary to analyse and
study the common problems in renovation, explore the role of environmental design in the renovation of
old houses and learn relevant experiences, so as to provide support for the smooth implementation of the
renovation of old and dilapidated houses in core urban areas.

KEYWORDS: environmental art design; core urban area; old and dilapidated; renovation

Introduction
The transformation of residential areas is directly related to the interests of the residents and the

long-term development of society. At the beginning of urban development, a large number of buildings
were built in the city centre to solve the housing problem, and gradually extended in a radial manner. With
the rapid development of urbanisation and the urban economy, a large number of tall buildings have been
erected, while the old houses in the core of the city have gradually become synonymous with "old and

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dilapidated". The renovation of old and dilapidated buildings is therefore a reflection of the renewal and
innovation of urban development, and is an issue that must be addressed and resolved in urban
development. These old neighbourhoods are difficult to renovate and construct because of their many
pieces, scattered surfaces and age, but for reasons of economy, resources, culture and other considerations
as well as relevant experience, the best way forward for these old houses is to renovate them. Due to the
relatively wide range of old and dilapidated renovation, in order to ensure the rationality of the design and
the smooth development of the renovation work, it is necessary to master multiple aspects in the design,
taking the needs of the occupants as the starting point and coordinating the relationship between the
various elements of the renovation of old houses in the core urban area with a diversified design, so as to
enhance the effect and quality of the renovation of the old urban area and ensure the renovation effect.

Content

I. Background of old housing renovation in core urban areas

The core urban area, or urban core (urban core), is a comprehensive concept and the gathering
place for political, economic, cultural and other public activities in the city, concentrating on the level of
socio-economic development and development pattern of the city, undertaking economic operation and
management functions. The core urban area, as the birthplace of the city, has a large number of old houses,
and in 2020 the Government's Work Report specifies plans to renovate 39,000 old urban districts, with a
central budget investment of 54.3 billion yuan.[1] Relevant statistics show that the stock of old
neighborhoods built before 2000 that are in urgent need of renovation has a floor area of about 3.11
billionm2 , these old houses were built in early years and are mostly multi-storey buildings of 4 to 6 storeys,
most of which are 20-30 years old and do not meet the 70 years stipulated by the national housing
ownership and do not meet the demolition criteria. Although the old houses in the core urban areas have
commercial, educational, transportation, shopping and other related conveniences, due to the limitations
of the economic level, construction technology and construction standards and other subjective and
objective conditions at the time of construction, coupled with the age and dilapidation, these old houses
currently generally have problems such as narrow household sizes, congested roads and low configuration
of public services and facilities, and there are even many old houses that have problems caused by
dilapidation and ageing Many of these old houses are not in line with modern living habits and the new era
of quality living needs.[2] As the standard of living increases and the use of private cars becomes more
popular, it is difficult to solve the problem of parking in all aspects of the old neighbourhoods. This has led
to an ageing population in the old neighbourhoods, which has to a certain extent aggravated the "hollowing
out" of the city and has had a negative impact on the commercial layout of the neighbourhoods.

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In order to promote the metabolism and renewal of urban functions, the further improvement of
urban structures, the adaptation of cities to the needs of human life and the sustainable development of
society, the State has put forward new requirements for urbanisation and people's living environment. In
the 14th Five-Year Plan, in order to accelerate the new type of urbanisation with people at its core, a large
number of urban renewal initiatives have been implemented to strengthen the renovation of old urban
districts and community construction. The city of Tianjin, for example, has been renovating more than 20
million households in the past three years. In Tianjin, for example, 3,069 districts, 1,275,800 households
and 83,109,000 square metres of old housing in the central city will be renovated within three years from
2017 (the scope of renovation is for housing built before 31 December 1999 within the outer ring road of
the city's central city). The Implementation Plan for the Renovation and Upgrading of Old Housing and
Urban Renewal in Tianjin also specifies the key task of renovating and upgrading old housing in the city, and
divides the renovation and upgrading of old housing into three ways: protection, renovation and
reconstruction.[3] It is evident that the renovation of old houses in the core urban areas is urgent and is a
social issue that needs innovative solutions in the spotlight at the moment.

Therefore, this paper aims to explore the elements of old housing renovation in core urban areas
as well as the main initiatives to effectively improve the existing housing contradiction problems as the
primary task, and to promote the refined management of old housing renovation, the formulation and
guidance of normative documents, the improvement of people's livelihood and the construction of a
harmonious society with the concept of harmonious social construction and sharing development as the
guide. Let the renovation of old housing in core urban areas become an important tool to enhance
grassroots governance capacity, gradually form a social governance system of common construction and
sharing, and improve the country's comprehensive governance capacity during the current stage of urban
transformation and development in China.

II. Reasons for the transformation and significance of the study

1.Urban land constraints

The development of cities has been stretched to the limit and the amount of land available for
development in urban centres is diminishing, thus limiting development in urban centres and leaving little
room for development. Although the old houses in the core urban areas were built long ago and have
many safety hazards and poor residential functions, the structural cost of knocking down the old houses
and building new ones is about 1/3 of the overall cost of the houses. the cost of renovating old houses in
China is mainly composed of three parts: labour cost, logistics cost and other project cost, through the
effective control of these costs, all of them can help to renovate the old houses and ensure the quality
and efficiency while enabling retrofitting to play a more benign role.[4] Compared with new construction,
the renovation of old houses reduces the investment cost of urban infrastructure construction and saves

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the cost of projects such as demolition and civil engineering. Moreover, renovation on the original building
also greatly shortens the construction cycle of housing construction and helps to activate the idle stock of
assets and further optimise the allocation of resources. Therefore, renovation on the basis of old houses
not only improves the utilisation of land resources, but also improves the architectural function of old
houses and further extends their service life. More importantly, it promotes the clustering of relevant
economic factors, stimulates industrial vitality, promotes the return of capital and accelerates the
transformation and upgrading of the real estate industry.

2.Ageing of the population structure

The results of the seventh national census show that China's population aged 60 and above is
about 260 million, accounting for nearly 20 per cent of the total population, of which, China's population
aged 65 and above is about 190 million, accounting for 13.5 per cent of China's total population." Despite
the increasing urbanisation of our population and the further growth of the middle class, the ageing of the
population is also intensifying. This is also reflected in the ageing of the occupants of older housing in the
core urban areas. The changing demographics have also, to a certain extent, created new opportunities and
needs in older settlements. How to make existing housing more suitable for the elderly in their old age,
how to adapt the existing room configuration to meet the expectations of different buyers, how to achieve
effective space expansion, how to achieve a dual integration of aesthetics and practicality, how to maximise
the common interests of all parties involved in the purchase of housing, etc. Only by solving these problems
can we truly achieve the goal of improving the living conditions of the residents through the renovation of
old houses, making the renovation of old houses an important step in implementing the scientific concept
of development, building a harmonious socialist society and constructing a beautiful city. Therefore, it is of
great theoretical significance, practical value and social benefit to explore feasible solutions for the
renovation of old houses in core urban areas in response to the real-life problems of old residential areas.

3.Green, environmental protection, sustainable development

Due to the high population density in the core urban areas, there is a lack of public environmental space,
with the knock-on effect being low greening rates and ageing support facilities such as drainage, electricity
and telecommunications. Some reports show that over 34% of environmental pollution is caused by
construction, such as dust pollution, light pollution, solid waste pollution and waste water pollution. In
addition, the various types of energy consumed in building construction also bring about environmental
pollution. The United Nations Intergovernmental Panel on Climate Change (IPCC) listed seven major areas
of energy consumption in its third report, of which the three largest energy consumers are industry, transport
and construction. In terms of the share of energy consumption in the construction sector, China accounts
for roughly 27% to 30%, and when building materials are added, some experts also put it at around 40%.

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In other words, about 1/3 of China's energy is consumed in the construction sector.[5] So the demolition of
old houses in core urban areas and the construction of new ones is in some way increasing environmental
pollution. In this regard, although old houses are poor in energy efficiency, it is possible to reduce
environmental pollution to a large extent through effective energy-saving renovations, such as the adoption
of green materials, green design, green construction, energy-saving materials and demountable materials.
Specific renovation methods such as: adopting tunnel air conditioning technology and water-cooled air
conditioning technology in the interior, which can better ensure the performance of air conditioning and at
the same time reduce energy consumption; applying benzene composite material as a wall sandwich to
prevent a large amount of heat loss, so that the indoor temperature can be maintained; transforming the
external windows into single-frame double-glazed plastic steel windows, and using foam polyurethane
material to seal the external window joints, etc.[6] All these measures can effectively promote the national
carbon reduction and carbon neutral work, assist in improving the living environment and promote
sustainable urban development.

Fig. 1 Building tunnel air conditioning system
Furthermore, from the perspective of humanities and history, the renovation of old houses is
conducive to preserving the historical outlook and cultural charm of the original buildings and preserving
the urban landscape. The complete renovation of the buildings not only improves the functional facilities

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and the living environment, but also allows us to remember the marks of the city's development and
realise the inheritance and advancement of human history, culture and social development.

III.Integrated application of environmental design in renovation
（一）Specific applications for interior remodelling

1.Complete mastery of the spatial layout for the reconfiguration of old spacesThe old and
dilapidated houses are generally around 40-60 square metres in size, with small areas, old supporting
facilities and a dull space for the distribution of the original structure, plus most of these houses belong to
brick and mortar structure, using brick walls to bear the weight, and the walls are difficult to demolish and
change at will, so the focus of this kind of old community is: reasonable transformation of space, so that
the layout of the house is more regular and practical. The subjective consciousness of human initiative is
the premise of the function and use of the house, so before studying the old and dilapidated small
renovation scheme, we must first determine the main functions that this kind of house can meet: one is
the rational function, the second is the comfort function.[7]

Fig. 2 Strip house type

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Fig. 3 Small area house type map

In order to make the most of the old and dilapidated spaces, it is necessary to design them in a
rational way, taking into account the aesthetics and functionality. In the design of both flat and three-
dimensional spaces, the principle of design balance must be followed. First of all, the entire house is
divided into reasonable spaces according to the function of the space, so that the divided space becomes
a place where multiple functions coexist on top of a clear hierarchy. For example, in the design of the
kitchen, the kitchen is converted into an open layout, and the edge of the kitchen is connected to the
living room, so that the integrated activity area not only maintains the independence of the space, but also
does not partition the space and make people feel oppressed. The design of the study and the bedroom
are also integrated, making full use of the vertical space area to save the horizontal space area, such as
taking hidden wall beds, upper and lower loft beds, lift beds and combined cabinet design, which largely
increases the removable storage space and makes the bedroom a fixed study and rest area. The use of
superimposed space functions such as this not only increases the utilisation rate of the unit space, but also
enhances the visual senses and usage effect in general. Secondly, attention is paid to the design of all
spaces, reducing the number of corners in the corridor and adopting a simple and rational layout to reach
each room. Finally, the principles of aesthetics and comfort are applied throughout the renovation and
transformation of the whole house, so that the renovation of the old and dilapidated small house brings a
new experience to the residents. For example, the choice of wall patterns, lighting, curtains, carpets, wall
hangings and other soft furnishing materials should not only be practical and convenient, but also
harmonise with the overall interior style and colour to enhance the visual effect of the space. There is also
the design of the appearance of the house in terms of lighting, ventilation and visualisation, to achieve a

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reasonable match and layout to meet all the behavioural activities of the residents to the greatest extent
possible.

2.Reasonable division between public and private sectors, accurately highlighting individual
characteristics

After mastering the structure, layout and functional partitioning of the house, the public and private
living areas are then subdivided to meet the common and individual living needs of the residents, and then
the different spaces are transformed and decorated according to the age, gender and hobbies of the
occupants. For example, if a dressing table and a wardrobe room are designed in a female room, a dressing
table space can be created in the wardrobe space, and the extension space of the wardrobe can be used
to design an overhanging desk, so that it can simultaneously take into account the role of a dressing table
and a bedside table to facilitate the individual daily needs of the occupants.

In the case of common areas with a high activity rate, such as living rooms and kitchens, renovation
should be carried out to maximise the visual space and convenience of use. For example, to expand a
small living room, some walls that are not load-bearing can be demolished to a certain extent to expand
the public space pattern; or choose high brightness and cool colour lighting to enhance the sense of visual
distance; or even renovate the practical floor-to-ceiling windows to make the living room more light. The
bathroom can be designed to separate wet and dry, creating a "triple separation" or "quadruple separation"
bathroom, more beautiful and more hygienic, and then use the mirror cabinet, windowsill, etc. to
moderately store all kinds of cleansing, washing and bathing items, expanding the bathroom shelter space.

Fig. 4 House space division map

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Fig. 5 Division of public space and private space

Of course, with the development of the economy and the changes of the times, people put
forward higher requirements for modern housing decoration, paying extra attention to the application and
embodiment of "humanization" in the transformation, that is, putting people first in the design process,
combining people's basic requirements for the environment, meeting people's different physiological and
psychological needs for the environment, highlighting the occupants' subjective The design process puts
people first, combining their basic requirements for the environment, meeting their different physiological
and psychological needs, highlighting the subjective will of the residents, relaxing and soothing their bodies
and minds to the greatest extent possible, and enhancing their sense of experience.[8] The design focuses
on enhancing the sense of human experience. It allows the residents to live comfortably and the residence
to reflect their individuality, enhancing the sense of access and happiness.

3.Summarising and generalising common transformations, analysing specific innovations

The spatial limitations of old and dilapidated houses make them special in terms of renovation.
The old building structure, the generally long and narrow building style and the small living rooms make
the rational planning of small and old houses and the maximum use of space a major concern and a great
challenge for design and renovation. In order to improve the efficiency of the renovation, when faced with
a common house frame and architectural style and some typical house types, the designer can analyse
and design a specific space distribution according to the demographic structure of the occupants and
summarise a set or a series of general design solutions to meet the needs of the client. For example, in the
case of an old house of 85 square metres, the typical customer groups such as young people who have

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just started working or are single, couples with no children, couples with children (infants or of school age)
and couples with elderly family members, etc., can design their corresponding sets of universal solutions
as a generalisation of their common needs. The final design is then adjusted according to the subjective
wishes and specific requirements of the residents. After the rational design and division of the entire space,
we combine the personal preferences of the residents and current fashion trends to further design and
select interior soft decoration, including the use of some easily replaceable and mobile ornaments and
furniture, such as greenery, fabrics, etc., to furnish and arrange the space to create the overall atmosphere
of the space, to achieve the transformation of old and dilapidated small innovation.[9]

Outdoor environment renovation

The living environment refers not only to the limited indoor living space in a narrow sense, but
also to the space that affects the quality of living in the whole neighbourhood or even in a larger context.
The renovation of old housing in the core urban area therefore broadly includes the renovation of the
exterior environment of the entire residential neighbourhood. Older housing has narrow perimeter roads
and short direct separation distances between each building, so that some residents often live in dark,
damp living conditions. In addition to this, the community also suffers from serious deterioration of public
facilities, limited space for the elderly and young, encroachment of green areas and insufficient parking
space. Therefore, in order to improve the overall quality of living in the core urban area, we must pay
attention to the overall planning and layout transformation of the old urban area, and accurately
understand and grasp the unreasonable spatial layout of the community from a macro perspective, and
use this to carry out the corresponding community space design, in order to make the transformation work
more reasonable and effective, and ultimately improve the overall quality of living in the old urban area.

To sum up, renovating and upgrading the functions of old neighbourhoods and other stock areas
and promoting old houses for new ones are related to the improvement of urban quality and urban renewal,
national economic and social development, and the visionary goals of the 14th Five-Year Plan and 2035. It
is believed that after the renovation of the old and dilapidated areas, the old communities will be able to
remove their dross and rejuvenate themselves, witnessing the continuous development of the city with a
more lasting vitality and a new, trendy and stylish face.

Discussion and Conclusions
To sum up, renovating and upgrading the functions of old neighbourhoods and other stock

areas and promoting old houses for new ones are related to the improvement of urban quality and urban
renewal, national economic and social development, and the visionary goals of the 14th Five-Year Plan and
2035. It is believed that after the renovation of the old and dilapidated areas, the old communities will be

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able to remove their dross and rejuvenate themselves, witnessing the continuous development of the city
with a more lasting vitality and a new, trendy and stylish face.

References
About 1/3 of China's energy is consumed by the construction industry, from a large construction country to

a strong construction country must be "green" [J]. Zheng T.Y., Cui Y. Environment and Life. 2018(05)
Analysis of the cost of rehabilitating and renewing old houses [J].Zhang Jifeng,He Rongqin. Housing and Real

Estate.2021(18)
A study on maximizing the functions in the renovation of old houses of small houses [J]. Wu Shuang. Green

building materials.2017(07)
A study on the renovation of old residential areas - Tianjin as an example [D]. Zhang Ling. Tianjin University

2017
Discussion on the application of soft decoration materials in modern interior art design [J]. Tian Tian. Jushe.

2021(07)
General Office of Tianjin Municipal People's Government. Notice of the General Office of Tianjin Municipal

People's Government on the Issuance of the Implementation Plan for the Renovation and
Upgrading of Old Houses and Old Districts and Urban Renewal in Tianjin [Z].2021-06-24
Li Keqiang. 2020 Report on the Work of the Government [R]. Great Hall of the People: Third Session of the
Thirteenth National People's Congress.2020.05.22
The application of humanization concept in environmental art design [J]. Dong Z. Hao. Beauty and Times
(Urban Edition).2021(12)
The application of new techniques and materials in the renovation of old houses [J]. Ling M. Housing and
real estate. 2018(11)

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Study on the renovation of old houses in urban core areas under
the 14th Five-Year Plan
Mo Zhonghui(M.F.A)1 Li Xinyu(M.F.A)2,JiaWei(M.F.A)*
1 Tianjin Normal University
2 Tianjin Normal University
1 [email protected]
2 [email protected]

ABSTRACT

The renovation of old houses is a major topic of scientific research needed for urban development,
design and construction in the context of urban upgrading. The study provides research and renovation
solutions for the living environment of old houses in the core urban areas of first-tier cities under the 14th
Five-Year Plan, analyses the current situation of old houses and the needs of households in China, conducts
scientific research on the important factors and key countermeasures for the renovation of old houses in
first-tier cities, and looks forward to finding some specific situations and corresponding independent
innovative Solutions. It is of key practical importance to complete the lean management of new projects
for the renovation of old houses, to promote the establishment and guidance of administrative regulations
and to build a harmonious society.

KEYWORDS: old housing; renovation; innovation; services

Introduction
The theme of "no speculation in housing" was a hot topic at the two sessions of the National

People's Congress and the general tone of the 14th Five-Year Plan real estate policy. The contradiction
between the gradual saturation of urban development and the massive influx of people into cities has led
to an increasing demand for urban housing. With the spatial expansion of China's cities shifting from
"incremental development with new area development" to "stock tapping with urban centre reconstruction",
the trend of urban renewal has shifted from "point renewal The trend of urban regeneration has shifted
from "spot regeneration" to "area regeneration", and the pattern of area regeneration has gradually shifted
from "demolish, change and retain" to "retain, change and demolish". Therefore, while new housing is being
built, it is also important to deal with old housing in the city centre in a rational way. As a result, the
rehabilitation of old housing has become an important issue for urban development and construction in
the context of improving people's livelihoods, urban safety and the current urban renewal process of
'retention, conversion and demolition'. This study provides a research on the living environment of old
housing in the core urban areas of first-tier cities and a proposal for renovation and upgrading, summarises

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effective measures for the renovation of old housing at home and abroad, and studies the elements and
main initiatives for the renovation of old housing in the central urban areas of first-tier cities based on the
situation of the communities being renovated in China. It is of great practical importance for the realization
of fine management of old housing renovation projects, promoting the formulation and guidance of
regulatory documents, improving people's livelihood and building a harmonious society.

Content

I. The current situation of old housing accommodation in the core urban areas of first-tier cities

(i) High number of old houses not yet old enough for demolition

According to the statistical analysis of the Ministry of Construction (as of September 2019), in China
the total area of old districts (more than 20 years old) is about 20 billion square metres. If the renovation
is carried out in batches according to the overall plan of the General Office of the State Council, the total
area of the renovation of old cities in the early stage will be about 4 billion square metres, involving 160,000
old residential areas, 43 million households and about 120 million people. Along with the change in time,
the number of old districts with a useful life of more than 20 years continues to increase. Assuming that
the number of successful renovations of old residential areas represents 1/10 of those already completed,
the average annual increase in old residential areas in China during the period 2020-2030 is 393 million sq
m. In 2020, 39,000 new old urban areas were renovated, involving nearly 7 million households. By the end
of December 2020, construction work had begun on 40,279 renovated communities in old urban areas
across the country, benefiting 735.73 households. The main task of renovating old urban communities was
established in the General Office of the State Council's Guidance on Comprehensively Promoting the
Renovation of Old Urban Communities, with the key being the renovation of old communities completed
before the end of 2000. This shows that the overall completion of the renovation of old neighbourhoods
is far less than the number of existing neighbourhoods and is far from being able to fully catch up with the
rate of increase.

(ii) Older homes lag behind newer homes in terms of functionality

Nowadays, many high-rise residential buildings are suffering from ageing problems, especially in
high-rise residential communities with poor quality and poor property management standards. Unlike low-
rise housing, high-rise residential buildings have a lot of steel machinery and equipment that need to be in
constant operation, which can easily lead to ageing problems. For example, lift cars, electrical and
mechanical equipment, drainage equipment, fire-fighting equipment, etc. Once this machinery and
equipment has aged and failed, it can cause inconvenience and even safety risks to the occupants.

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Fig 1 Current state of the old house. Image source: Internet

Fig 2 Current state of the old house. Image source: Internet
The current situation is that most of the older houses in the city centre have a poor spatial layout
and design flaws, and a significant number of them have been renovated in a way that does not meet the
requirements of the current occupants. However, as the actual use of such houses is only 20 to 40 years,
the use of demolition and reconstruction to achieve "urban renewal" will obviously cause a lot of waste of
resources and environmental pollution, so the second renovation of houses plays an importan
t role in the task of solving the urban living conditions. Therefore, in the face of the growing problem
of old houses and second homes in cities, old renovation will become the norm, and it will become a
common phenomenon in all cities in China.

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(iv) The vacancy rate of newly built housing is high

Although there is no authoritative survey and statistics on the number of empty houses at present,
southwestern University of Finance and Economics did a survey and statistics on empty houses in 2017.
According to statistical data, the overall housing vacancy rate in China has exceeded 20%, such as 22% in
first-tier cities, 22% in second-tier cities, and 26% in third-tier and fourth-tier cities. Finally, swUFE also
pointed out in the report that there are about 200 million vacant houses in China. Even if three people live
in one house, these empty houses can still house 600 million people. It can be seen that as early as 2017,
our country's housing resources have been surplus, there are a large number of vacant houses.

(v) People's demand for housing

According to the data of the seventh National census, the floating population increased by about
150 million from 2010 to 2020, corresponding to the increase of the national urban population of 236.41
million during the same period, and the former accounted for 65.68% of the latter. China's current urban
population is 902 million, among which the floating population is 376 million, accounting for 41.6%, which
reflects that the proportion of first-tier cities will only be higher than this level. Therefore, the housing
demand of floating population and newly settled residents in first-tier cities will continue to increase, and
people's demand for housing quality and social services will also increase accordingly.

Different population and family structure have different demand for housing.

Young people: Due to the ongoing work and the increase of income, there is a rigid demand for
housing. However, due to insufficient financial resources and great competition pressure, there is a great
demand for some old small and medium-sized houses with high cost performance in some core urban
areas.

Middle-aged: family and career stability, have a certain economic strength, began to improve
housing demand, the location of the house, internal structure, supporting facilities, education resource
demand is big, but a large part of the husband and wife have raised a certain responsibility, from figure 3
shows the children's dependency ratio and elderly dependency ratio approximation, raising pressure.
Therefore, there is a great demand for the old houses in the core urban areas with geographical advantages,
educational resources and medical resources.

The elderly: this part of the population in life has not too much burden, into the elderly life, more
pursuit of medical resources, safety and convenience, nostalgia and other housing. There is a partial housing
demand for the old houses that are safe and convenient, have advantages in medical resources and lose
nostalgia after renovation and upgrading.

Family structure: mainly concentrated in the young and middle-aged couples, such as husband
and wife live alone, no children but need a couple to live together with your parents, couples with children

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(one or more children, children in infants and young children, or have been the best age to learn, to or do
not live together with their parents), such as diversification of family structure will have different demand
for housing.

II. Demand for renovation of older housing in the core urban areas of first-tier cities

(i) Quality of life needs

The significant increase in mobility in recent years and the changing age structure and family
structure of the population have led to a rapid increase in the demand for housing. This shows that the
demand for housing and the need for housing renovation design is growing rapidly. However, young people
living a rented life in a metropolis have different considerations in the whole process of renting: how should
various elements such as accessibility, rent, standard of living and commuting time be balanced. According
to the 2019 Renting Young People's Life Survey, rent is the most important issue for young people living
alone, with a proportion of 85%, followed by accessibility with a proportion of 60%. In the face of congested
metro stations and polarised overtime, they can choose to spend to reduce their commuting time and
improve their quality of life, reasonably improving their quality of life and work.

(ii) Industrial transformation needs

Against the backdrop of the current policy of "no speculation in housing", the current residential
buildings in cities cannot continue to be created and renovated in the same way as in the past. The
renovation of residential buildings can enhance our residential safety and quality of life, and at the same
time drive investment in projects and transactions to complete the organic combination of sustainable
growth and benefit the people's livelihood, thus improving the quality of cities, promoting urban
transformation and development, and improving the overall competitiveness of cities, city clusters and
even countries. Xu Daixiong, Director of Strategic Consulting at Jones Lang LaSalle China, said: "In the new
round of urban regeneration, along with the return of industries and population restructuring, communities
will serve as one of the important spatial carriers for industries and population, as well as a medium for
linking different functional modules of the city. Community regeneration, especially the renovation of old
communities in urban centres, is the core focus point for promoting urban renewal and revitalising the city."
Thus, the renovation of residential buildings is currently an essential requirement in the view of sustainable
development in the new economic normal of our housing sales market up to now, and is a necessary part
of the progress in our housing sales market.

According to statistics, in China the total area of old residential areas is large, and the total area of
the stock of old residential buildings that have been built but not renovated before 2000 is about 3.11
billion square metres. Thus, the renovation of the original residential buildings in China will also be a long-
term task. At the same time, the renovation of residential buildings is also a major reflection of the
development strategy of building a harmonious society for all. Through the renovation of the current

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residential buildings, the integration of independent innovation factors, enhance the allocation of resources,
promote the gathering of economic development factors, and promote industrial transformation and
upgrading. This is a key starting point for the improvement of grassroots governance and the country's
environmental remediation capacity in the current phase of China's urban transformation development
trend.

III. Innovations for upgrading the living environment of old houses in core urban areas of first-tier
cities

(i) Innovation in customer acquisition

In terms of clientele, we can target individuals and corporate platforms associated with living in
old houses in core urban areas of first-tier cities in China, and further subdivide customers into corporations:
for example, real estate companies, design companies, design studios, renovation companies, etc.;
platforms: platforms for buying and renting houses, for example, with "a certain shell", which currently has
a certain strength base on the market; government: cooperation with governments of first-tier cities;
individuals: mainly targeting customers with demand for living in old houses in core urban areas of first-tier
cities, and buying and renting houses. "Government: cooperation with the governments of first-tier cities;
Individuals: mainly for customers who have a need to live in old houses in the core urban areas of first-tier
cities, as well as those who buy and rent houses (individual customers or families). Customers, such as
young people who have just worked or are single, couples or couples without children, etc.), investors in
housing, etc.

By making full use of the objective conditions of "Internet + services", we can expand our sales
channels and increase the number of channels of communication between our company and our
customers through our "own platform + physical shops" and by outsourcing our business to related
companies and studios.

(ii) Service model innovation

Through universal solution design (for some typical house types each design a set of universal
renovation design solutions, each set of solutions includes a universal series of solutions for customers with
different needs), personalized solution customization (to provide customers with specific needs one-to-one
personalized solution customization, customization can be changed from the universal solution, but also
to provide a new solution customization services), service outsourcing business (the existing design solutions
and customization services are outsourced to the platform, etc., to indirectly provide services for customers
through the medium of partners. (outsourcing of existing design solutions and customisation services to
platforms, etc., indirectly providing services to customers through the medium of partners), etc., covering a
wide range of areas and addressing social phenomena such as strong pain points, difficulties in
transformation and difficulties in finding solutions, breaking through limitations and solving problems,

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providing targeted services for specific customers and allowing customers to enjoy unique services. Product
services should adhere to the value proposition of "customer needs first", "professional and ultimate service",
"personalised service" and "comprehensive service "We are committed to creating better products with
better services.

1. General scheme design. A set of general renovation design schemes are designed for some
typical rooms. Each program includes a series of programs suitable for young people who just work or are
single, couples, couples with different family structures and other customers with different needs.

Fig. 3 The design draft suitable for single youth, Self-drawn by the author

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Fig. 4 The design draft suitable for couples, Self-drawn by the author

117

Fig. 5 The design draft suitable for couples with children, Self-drawn by the author

118

2. Customized programs. For customers with specific needs to provide one to one personalized
program customization, customization can be changed by the general program, also can provide new
program customization services.

3. Service outsourcing. Outsourcing existing design schemes and customized services to purchase
and rent platforms, real estate enterprises, design and decoration enterprises or studios, etc., to reach
cooperation and indirectly provide services to customers through the media of partners.

Fig. 6 Original room type drawings designed in cooperation with partners

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Fig. 7 The design draft suitable for single youth for cooperation with partners, Self-drawn by the author

Fig. 8 The design draft suitable for couples for cooperation with partners, Self-drawn by the author

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Fig. 9 The design draft suitable for couples with children, Self-drawn by the author

Fig. 10 Design draft suitable for couples with elderly people in the home for cooperation with partners
4. Platform store operation. Maintain the normal operation of self-operated online platforms and

physical stores.
(iii) Business model innovation

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Fig 11 Business model diagram. Photo credit: Self-drawn by the author

A clear business model that is significantly different from existing traditional design companies, for
example. On the one hand, it can better facilitate multi-party cooperation between relevant companies,
platforms, governments and clients, and on the other hand, it has a very clear positioning on cost structure,
revenue profit, channel access and client relationship.

1. In the business chain currently under study, there will be multiparty cooperation between
enterprises, platforms, customers and governments, where enterprises will be the bridge to maintain
efficient and stable operation in this partnership, and platforms will be a strong guarantee to promote the
cooperation between enterprises and customers.

2. The main business scope covers general solution design, individual solution customisation,
service outsourcing business, etc., covering a wide range of areas and providing more comprehensive
business services for different customers.

3. The sources of income and profit include product sales profit product channel sales, i.e. through
various platforms, other enterprises for sales, including direct profits from self-operated sales; cooperation
service outsourcing profit on the one hand through the outsourcing of our own services, to provide
professional technical support for other platform enterprises, from which a certain commission share; on
the other hand through cooperation with the government, to provide the government with suitable On the
other hand, through cooperation with the government, we can provide the government with suitable design
solutions and governance measures, from which we can earn certain profits.

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IV. Advantages of renovating and upgrading the living environment of old houses in core urban
areas of first-tier cities

(i) Demand capture

The warmth of people is slowly draining away, and many people are beginning to yearn for the
smouldering atmosphere of the old town. Many young people are now looking to the old city, which is
becoming more and more dilapidated, but where the human touch is becoming stronger and stronger. The
desire to return to living in the old town is faced with real conflicts, such as the old urban buildings and
the inability to take up the demand for improvements, so the demand for renovation and upgrading of old
housing is gradually increasing.

(ii) Policy support

1. Upgrade of urban structure: The 14th Five-Year Plan clearly proposes to accelerate the
transformation of urban development trends, integrate urban planning and management methods, promote
urban upgrading behaviour, and promote the upgrading and renewal of urban spatial structure. The scale
and spatial structure of cities are and will remain in a phase of improvement and upgrading for a long time
to come.

2. Renovation policy support: since 2019, the Ministry of Housing and Construction and the Ministry
of Finance have issued the Notice on the Renovation of Old Neighbourhoods in 2019 to comprehensively
promote the renovation of old urban neighbourhoods; The 14th Five-Year Plan for National Economic and
Social Development of the People's Republic of China and the Outline of Vision 2035 in which it is clear to
accelerate the civilisation of the agricultural transfer population, comprehensively improve the quality of
cities, accelerate the urban renewal, transform and upgrade the functions of old districts, old factories, old
neighbourhoods and urban villages and other stock areas, and promote the transformation of old buildings.

(iii) Design support

At present, the market for small old house design and renovation services to provide supply and
demand is relatively small, the demand is relatively large, the formation of direct competition between the
enterprise platform is not much, and engaged in the transformation of old houses less designers, we can
absorb the universities design students, as well as the community's outstanding designers, for all types of
targeted programs can have a strong technical force, and can provide more professional technology.

(iv) Effective feedback

Whether in the PC era or in the mobile internet era, technology has not only brought huge changes
to consumers' lives, but has also had a huge impact on the business model of selling all kinds of products.
The era of defining convenience by spacing has long since become a thing of the past, and consumers'

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demand for convenience, value for money and an excellent sense of experience is never-ending. Mobile
payment, WeChat public number, APP, etc. understand customer preferences, accurately and quickly push
the decoration and renovation room design with their preferences, using Internet technology to establish
the concept of interconnection and interaction, build a one-stop service platform, consumers can choose
from the various types of samples released on the platform and enter specific questions about the room
type in the system, to be able to quickly filter out the relevant solutions, providing consumers with more
convenient Preliminary plans for various types of room renovation.

In the media software and the platform website, we solve the basic "old and small" room
remodelling problems for customers, evaluate the possibilities and realities of the customer's remodelling
demands, communicate with the corresponding designers in various soft furnishing aspects, improve
customer satisfaction, maximise customer satisfaction and realise the ideal home life of the customer. After
the renovation is completed, the customer's comments are collected and used as a model for new
renovations.

V. A vision for upgrading the living environment of old housing in the core urban areas of first-tier
cities

(i) Construction of a house to retain the seal

Along with the rapid development of the city's economic development, multi-storey buildings are
rising up, lift houses and boutique houses are becoming so popular that the old houses in the original
central and old urban areas are gradually fading out of the people's sight. However, a generation has a
generation of memories, and it is precisely this kind of old house that bears witness to the development
trend of the city and carries the memories. In this regard, by combining the characteristics of the old houses
themselves, through the transformation of their internal design structure, updating their internal equipment
and obsolete facilities, not only retaining the original architectural space of the old houses, but also meeting
the requirements of the new users to the greatest extent possible, retaining the historical memory of the
old houses to the greatest extent possible, truly realising "running water tenants (tenants), iron houses "

(ii) Responding to policies to promote reform

As we enter the 21st century, urban and rural residents have seen their earnings rise and household
conditions improve significantly. However, there are still some old neighbourhoods in urgent need of
renovation or reconstruction, houses in disrepair, outdated and ageing water supply pipes and sewage
treatment facilities, and a lack of facilities of a public nature such as elderly medical facilities, kindergartens
and activity grounds for residents. 2020 will have seen the full completion of a moderately prosperous
society in China. Improving the standard of living requires the provision of a comfortable living environment
and a continuously improving quality of life. In particular, with the gradual ageing of the population, it is
essential to improve the quality of life by making it more convenient for the elderly to travel and receive

124

health services nearby. China has clearly put forward the "Health China 2020-2035 Plan", according to which
it is necessary to improve the quality of life in the old urban areas, which is a major initiative to implement
the "Six Steady and Six Secure" proposed by the central government, and an important step towards the
"Two Steps It is also an important step in implementing the "Two Steps" strategic objective. Moreover, it is
not allowed to demolish old houses and rebuild new ones directly. The reasons for this are also the
following considerations. The first is that demolition at will will result in a large amount of wasted resources,
which is not in line with China's green philosophy; the second is that old houses still have use value, and
blind reconstruction will cost more; the third is that the new urban planning scheme does not allow the
old houses to be directly demolished and rebuilt.

(iii) Promoting harmonious urban development

Reinforcement of old houses is conducive to solving the safety hazards left behind by old houses,
re-meeting the needs of new life and production, and bringing the residual value of old houses into full
play. Secondly, through the renovation of old houses, it is conducive to improving the energy-saving
capacity of old houses and promoting the continuous development of national carbon emission reduction
and carbon neutral work. Furthermore, a series of projects such as interior environment design and
renovation and transformation are also inevitable elements of future urban development. In the face of
the unique nature of renovation and renovation projects and the new challenges posed to environmental
design, we have always been committed to the meticulous management of old housing renovation projects
to improve the volume of urban space and save resources. In the context of urban regeneration, we are
constantly exploring design ideas that suit the characteristics of old housing in China, promoting the
development of normative documents and guidance, helping to improve the image of the city, protect the
environment to the greatest extent possible and improve urban ecology.

Results
Under the background of urban renewal of "retention, alteration and demolition", the design ideas

suitable for the characteristics of old houses in China are constantly explored, and the formulation and
guidance of normative documents are promoted to help improve the image of cities, protect the
environment to the greatest extent and improve urban ecology.

Discussion and Conclusions
The general tone of the 14th Five-Year Plan real estate policy is "no speculation in housing".

However, the contradiction between the gradual saturation of urban development and the massive influx
of people into cities has led to an increasing demand for urban housing. Along with the expansion of urban
interior space in China from "new area increase development trend" to "urban transformation development
digging potential", the development trend of urban upgrading from "point upgrading" to "area upgrading".
The development trend of urban upgrading has changed from "point upgrading" to "area upgrading", and

125

the way of area renewal has gradually changed from "demolish, change, stay" to "stay, change, demolish".
As a result, while new housing is being built, it is more important to deal with the old housing in the city
centre in a rational way. Thus, in the context of improving people's livelihood, urban security and 'stay,
change, demolish' urban upgrading, the renovation of old houses, i.e. the upgrading of the living
environment of old houses, has become a major subject of urgent scientific research in the development
and upgrading of urban development and construction.
References
General Office of the State Council. General Office of the State Council on the Guidance on

Comprehensively Promoting the Renovation of Old Urban Areas .2020-07-20
Jones Lang LaSalle. Jones Lang LaSalle relaunches White Paper on Urban Renewal 2020 [EB/OL].

https://zhuanlan.zhihu.com/p/159364982
Qian Zhongbing. Outline of the Fourteenth Five-Year Plan for National Economic and Social Development

of the People's Republic of China and the Vision 2035 [EB/OL]. Xinhua, 13 Mar 2021 02:31:19
Wang Yan. Progress and trends of research on housing demand[J]. Journal of Central University of Finance

and Economics, 2010(11):57-62.
WANG Yingying,WANG Zhenpo,FAN Xiaoli. A study on urban residents' housing demand preference based

on Bayesian network--Tianjin city as an example[J]. UrbanDevelopment Research,2017,24(04):100-110.
Zhou Yanmin. Refined design for residential buildings [M]. Beijing: China Europe Building Industry Press, 2008

126

On the flow of women's skating clothing
ZhaoJing(M.F.A)* 1

1 Director of the Department of Fashion Art School of Fine Arts and Design,Tianjin Normal
University [email protected]

ABSTRACT

This paper explores and summarizes the evolution of women's skating costumes in western
countries, analyzes the relationship between the evolution of costumes and economic development and
immediate needs, interprets the formal evolution of costumes and explores the inherent aesthetic
symbols and aesthetic style changes, makes up for the embarrassing lack of literature collection in the
evolution of figure skating costumes, and provides a new perspective for the important branch of artistic
expression in China's figure skating program -
- costume and culture. This paper not only collects and analyzes detailed first-hand information
on women's skating costumes of various eras, but also uses the competition wear of legendary figures to
prove the externalization of costumes in the aesthetic era of the stage, extensively citing Chinese and
foreign literature and related reports in the context of each stage, and strives to form a study of women's
skating costumes based on historical background. The study of women's skating costumes is based on
basic and reference literature, which provides a reference basis for the teaching or selection of costumes
by the relevant institutions that offer skating training.

KEYWORDS: women; figure skating; costume changes; cultural connotations; western

Introduction
This paper uses documentary and pictorial research methods to systematize the western women's

figure skating costumes.We will also explain and analyze the costume characteristics of each era of event
clothing from an aesthetic point of view.

Content
Jacques Marquet once said, "The best way to analyze the cultural composition of an object is to

put it back in the context of a living, concrete culture. "As an aesthetic form, figure skating costumes are
rooted in culture and are influenced by many external factors of hierarchical and political contexts. The
huge turnover in figure skating costumes demonstrates that human beings make relevant attempts to
achieve the most desirable external image in the context of the times when it comes to image building.
Therefore, in order to investigate the cultural tendencies behind the costumes in each era, this chapter
builds a pyramid of cultural elements based on anthropological knowledge, and classifies the evolution

127

of women's figure skating costumes into six stages, using this hierarchical analysis to illustrate the external
expression of women's costumes, and then extrapolate the social environment and aesthetic culture of
the time.

1. Ankle-length skirt - the beauty of form
Culture breeds aesthetic style, and culture itself can be subdivided into social culture and

institutional culture. The emergence of women's figure skating is rooted in institutional culture, and the
prominent aesthetic feature of women's figure skating costumes in this period is the aesthetic sense of
form . Formal aesthetics, as the name implies, is the extreme pursuit of the appearance of clothing, and is
typically characterized by a relatively independent aesthetic meaning that can be formed independently
of the wearer. This period of women's figure skating costumes for the solidification of narrow clothes and
long skirts with the way, although the change of skating environment for the improvement of clothing to
provide greater impetus, but looking back on history, it is easy to see that women's skating costumes did
not get rid of the form of aesthetic, but only in the choice of fabric is differe

Figure 1- 1800's skating costume

Initially figure skating as one of the pastimes of the wealthy class, only in the form of a club,
because membership was not restricted to gender conditions, so at that time the club had a uniform
dress style for both men and women: a high top hat, a tuxedo, generally in black, matching
corresponding pants, and then a white tie. In 1902, Marjie Sayers competed in the British Figure Skating
Championships and won a medal with a second place finish. Similar to the early women's figure skating
dress code, she wore a tight-fitting top with buttons and a wide.

The long skirt that is heavy and hangs down to the feet, and the silhouette of the garment is an
"X" shape that emphasizes the waist. Although it is free from the monotonous form of a tuxedo, the
heavy garment also has strong practical properties in the cold outdoor environment. The hourglass
shape emphasizes the waist and shows the beauty of a woman's curves, and the wide hemline helps to
change the movement. But at that time the judge said to her, "You can no longer participate in the

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competition, because the referee can not see clearly the movement of your feet under the long skirt.
"This is enough to show that the bulky clothing at that time was more focused on practical value based
on the environment and convenience above the movement, with little consideration of style.

The general social environment had a significant impact on its aesthetic orientation, and in the
period from 1890 to 1908, which was nearly 20 years, the development of women's clothing as a whole
was in an important transformation period from classical to modern style transition. By the impact of
the Art Nouveau movement, clothing shape performance is mostly beautiful and smooth "S" shape -
that is, emphasizing the beauty of the curve formed under the sharp contrast between the chest, waist
and hips. Caps were mainly small, decorated with bird of paradise and ostrich feathers, as well as
ribbons and artificial flowers, etc. The figure can be seen in the skating women's heads also decorated
with feather-like ornaments. The length of the skirt was heavily influenced by the aesthetics of the
form, and it was not until 1908 that it gradually moved up to reveal the shoes.

Naturally, skating costumes were also closely related to contemporary media fashions, and the
Gibson Girl, which was all the rage at the time, was a major influence on the 1890-1910 era. The Gibson
Girl was an independent and confident fashionable girl created by an American illustrator, with the girl's
hair up in a high ponytail and a floor-length dress, modest and graceful. The birth of the new image
boosted the hot sales of corsets and outdoor sportswear This was enough to see the great influence of
the media. The factors behind Gibson's image show that the mass media still expects and promotes
women to be tightly wrapped from head to toe. The standard dress code was a tweed jacket, bell skirt
and women's blouse, often with a collar and tie and a hard straw hat, so it is understandable that
women's skating costumes had a hard time breaking out of this homogenized formal framework when
the public media was so influential in the real world.

2. Skirt length shortening - the beauty of practicality

From 1920 to 1930, this form of public figure-skating costume change emerged as a public figure-
led influence on women's figure skating. The practical aspect of the costume.
Sonja henie, a Norwegian skater who has won three Winter Olympics and ten world championships, is a
promoter and practitioner of practical aesthetics in figure skating. She made a major change to the
figure skating costume , shortening the skirt step by step until both the outer skirt and the petticoat
were mentioned from the ankle up to the knee. The costume change largely removed the costume
restrictions for female athletes and created favorable conditions for the advancement of women's figure
skating. Although this deviant move was opposed by many, the overall benefits of the shorter skirt
outweighed the disadvantages. On the one hand, it changed the embarrassing situation of the skirt
length touching the ground and affecting the scoring rules, and on the other hand, the costume was
transformed from the initial aesthetic form to the exploration of practicality, avoiding the danger posed
by skates hooking on long skirts. After the 1940s, the skirts of women skaters gradually became shorter,
and the short dress design with integrated top and skirt appeared and is still used today. The social

129

trend of women's hats tending to be smaller in the 1920s and the The rise of the bird-loving movement
and nature conservation movement made women's figure skating hats also change and become more
practical.

Compared to earlier, clothing in material artificial fiber prevailed. 1912 artificial fiber appeared,
replacing expensive silk socks, 1938 nylon fabric was invented, and the diversity of materials met the
need for warmth after the skirt length was shortened. At the same time the change of skirt length was
closely related to the change of the rules of the event. 1907, at the meeting of the Skating Federation
in Stockholm, men's and women's pairs skating was recognized and the competition was held at the I-S-
U Championships, while the women's competition was also recognized . The change in the rules of the
event indicated an increase in the recognition of women in figure skating and provided a favorable
external factor for the innovation of women's costumes.

The First World War broke out in 1914, which lasted for four years and forced more than 30
countries and regions into the chaos, with more than 30 million deaths on the battlefield. The war
directly led to the restructuring of the country's economic landscape, with the population of men
declining sharply under the circumstances of the war, resulting in a clear disproportion between men
and women, so many women had to be freed from the label of housewife and go into the workplace
to maintain the healthy functioning of the entire society and economy. Against this backdrop, women's
voice gradually rose and they began to focus on both their physical and spiritual liberation, which was
reflected in clothing, as women's exploration of dress length was not stifled even though the
mainstream aesthetic was conservative towards pants and swimsuits. As a pioneer of costume reform in
women's figure skating in this context, Heini made the strongest voice for the change of women's figure
skating costumes from formal to practical aesthetics.

3. Complex elements - the beauty of decoration
Within the aesthetic culture, the form would be limited in degree by the ratio between social

internal consumption and social production. During World War II, the entire

Figure 2- 1949 Janet Ortwig

130

Europe was in a phase of quota supply due to the external environmental factor of war. Figure
skating events were stagnant for 2 years and women's clothing was even slower to develop. During
World War II, the women's costumes were mainly simple, abandoning large hemlines, pleats and other
decorative elements, and skirt lengths were increasingly shortened, and in the 1948 Winter Olympics,
the skirts of women's skaters were the shortest in history (Figure 2 ).

With the end of the war and the growing abundance of post-war materials, players no longer
limited themselves to the pursuit of practical beauty, but added more elements of individuality. Typical
of this phase of costuming was the prevalence of decorative aesthetics. Specific features were that
women's figure skating costumes were no longer just about style, and color choices became increasingly
diverse. The most obvious manifestation of this was the continued upward shift in skirt length, with
boots becoming shorter in equal proportion to the shortening of the skirt. Players began to replace the
previous black and brown skates with white or beige, creating a visual aesthetic of longer legs for the
audience. For performance purposes, the costumes also add embellishments such as burlap, sequins,
and beads to draw the viewer's attention .

As a complex whole, the aesthetic culture of costume is influenced by many elements, of which
productivity is the most basic factor, and the technological progress of industry during this period
provided the material basis for the emergence of diversified figure skating costumes. Around World War
II, man-made fibers became prevalent, and various types of yarns, cottons and animal skins continued
to enrich the market for clothing fabrics. 1950 saw the introduction of artificial fur, and the
development of modern industry brought about a variety of fabrics such as spandex with greater
elasticity and softness, which provided more options for figure skating training and competition.

Secondly, the change of social environment also affects the aesthetic tendency of the public.
Similar to the same war, the trauma of the war and the overall economic downturn of the society
made the people who survived the World War II weaken their knowledge of life and death, and focus
more on the present paper-drunken present, and the whole social atmosphere was extremely
depressed. But the theory of genesis says that "the generation of new quality is based on certain
premises of the past, it is the process of assimilating and transforming certain premises into a new
whole, a new system of interactions". Therefore, after World War II, the less traumatic socio-economic
rebounded rapidly, and the desire to dress was suppressed for too long to form a huge counterforce,
clothing was very different from after World War I, the overall tendency to feminization, sexualization,
especially in 1948, women's swimsuits break through the traditional style, the emergence of three-
point bikini swimsuit shows that the social aesthetic finally break through the traditional forbidden area.
Women's figure skating costumes, a powerful public image, were also wrapped up in the times with skirt
lengths tending to shorten. At the same time, the lesser losses of World War II and the adoption of
progressive taxation after the war in order to rapidly develop the economy, the use of increasing taxes
on high income earners and lowering taxes on low income earners, and the extreme efforts to create a
classless state, pushed some elements of clothing decoration to break the classlessness and be widely

131

used. Rapid industrial development and economic recovery quickly allowed the leisure class to have
more money to invest in the seaside, countryside, recreation grounds and sports fields All of these
provided an economic source for the prevalence of decorative aesthetics.

4. Emphasis on individuality - the beauty of the avant-garde
The word "avant-garde" is defined in the dictionary as the art of novelty and leadership.[17]

Nowadays, as a separate aesthetic category, it connotes a break with existing traditional art. In the 1960s
and 1970s, women's figure skating costumes were different from the previous ones, with the creative
emergence of genderless "twin" costumes to counteract post-World War II gender stereotypes, and later
the tight-fitting costumes of the 1970s. and later the tight-fitting costumes that became prevalent in the
1970s. These two types of clothing were not well received by industry professionals, and Machit Seton
(one of Coach Denver's designers in the CBC's apparel design department) said, "It was neither appropriate
nor aesthetically pleasing for players with thick thighs or wide chests to wear tight-fitting clothing. "But its
popularity and growth speaks to the popularity of the avant-garde aesthetic clothing concept that
transcends fictional realism under this era.

The reasons for this state of affairs are inextricably linked to the influence of the social environment
of the time. In these 20 years of chaos, new dyes and synthetic fabrics emerged at the production base
level, and under the influence of the heady concept of space travel, bold fabrics appeared in the public
eye, reshaping the aesthetics of the times, but then the Green Revolution influenced people to reject
man-made fibers, deny the industrial revolution, and value the return of handcraft. The chaotic and
changing production base directly led to the prevalence of mixing and matching old and new clothing
materials in the mainstream of society, which also gave rise to very different styles among the garments
of this era.

The frequent changes in fashion also blurred the mainstream aesthetics of society. Around 1962,
people almost made a complete reincarnation of the beauty and ugliness of human clothing. The
society was full of various styles, such as "reverse ascendancy theory", "horizontal flow theory", "mass
selection theory", etc. Many doctrines provided a favorable ground for the emergence of avant-garde
style.

The emergence of these avant-garde forms of dress, such as the "twin suit" and the "corset",
was also influenced by social trends. In some cases, clothing was also used as a tool to express ideas. In
the 1960s baby boomers grew up as teenagers, and because of the fast pace of life, most of their parents
had no time for their spirituality, so they thought differently from their parents, opposing tradition, tyranny
and war, seeking excitement, pleasure and sexual freedom, seeking inner satisfaction in an almost
destructive way, and dressing in shorter skirts. In 1967, the "decadent generation" gathered in San
Francisco's Gold Park and proclaimed the "hippie" manifesto. "in France in 1968, with 9 million people
participating. The May Revolution in France in 1968 involved 9 million people. This huge young and
rebellious population directly determined the overall worldview, values and aesthetics of society.

132

In 1972, Western countries hosted the Winter Olympics in Japan for the first time, and since then,
with the Winter Olympics held in the Asian region, Western ice and snow sports officially entered a period
of globalization. The skating culture was impacted by the Eastern culture, which formed a series of
cultural changes and led to the same diversity and uncertainty in the costumes during this period. In
addition, the 1970s was a time of social and economic instability, and young people were the most active
and sensitive individuals in society, striving for individuality in fashion. They were influenced by the "funk
music" of black Americans and were keen to wear unconventional clothes such as dazzling and decorated
shirts, tight Italian silk pants and black leather coats. Also influenced by blackmusic and black fashion,
sportswear and workout clothes were more widely popular during this period. In the health-conscious
1980s, a fit body, a prominent trunk, and a healthy bronze color were among the signs of beauty The
1980s were a time of health consciousness. Therefore, under the influence of this trend, women's skating
clothing appeared to show in the body mainly in the tight clothing clothing.

5. Moderate decoration - the beauty of harmony
Harmony is one of the aesthetic properties of people's aesthetic objects, which belongs to the

aesthetic category of "beauty". It refers to the aesthetic object (the real thing of beauty and art works)
between the components and parts of the contradictory unity in a state of harmony. It is a state where
the components and parts of the aesthetic object (the real thing of beauty and the work of art) are in
contradictory unity and harmony.

As one of the elements of figure skating that have a significant impact on artistic expression,
costumes can convey many messages that affect the overall image of the wearer. Harmony in women's
figure skating costumes takes the form of tights, trunks and skirts, with nude skates as the standard in
recent times, with some variables to influence the overall visual effect of the costume, i.e. stability of

133

form and diversity of detail.
In the pursuit of the harmonious beauty of women's skating costumes, there are all sorts of things

that can happen. ( Katarina witt) was thrust into the limelight overnight by the prominence of her dress
code at the 1988 Olympics (Figure 3). At the Calgary Winter Olympics that year, she wore a red race suit
with a deep V-style predecessor that made her pale skin appear under the tulle, beaded sequins and
other decorative elements adorned her chest along with the V, a short skirt made of feathers that fluffed
up high on her waist, and red makeup that mirrored the costume, and her way of dressing
reportedly caused such a violent reaction at the games that some coaches even compared her dress to
a thong. After the Olympics that same year, the International Skating Union (ISU) responded to the East
German skater's shocking dress code by adopting the "Katarina" rule, which defines the dress code for
future women figure skaters. The text of the rule reads: "Women's hips and buttocks must be fully
covered, and beads, sequins and feathers must not be excessive.

A 1989 International Standards Union ruling further added to this dress code: "Ladies' clothing
must not have dramatic overtones." The so-called non-dramatic color means that the skirt or pants of the
skater should first cover the hips and should also avoid exposing the abdomen. For viewers who do not
often come into contact with figure skating, the image of figure skating costumes directly refers to the
competitors themselves, but in fact, the essence of figure skating costumes is to better highlight and
serve the object of the athletes, figure skating costumes as an important form of externalized expression,
the most essential role or service for female figure skaters. The excessive nudity of the body and the
application of decorative elements will make the audience's attention drift and focus more on the
costume than the skater itself. Therefore, under the corrective framework of the times, the women's
figure skating costumes present a harmonious beauty of the present.

Results
Throughout the developmental flux, the aesthetic subordination to the cultural circle was

influenced by two aspects: the artifact layer and the institutional layer. The artifact layer sees the
women's skating costume as a material shell or carrier, a record of the production technology of each era,
while the institutional layer frames the broad scope of security and forms an effective constraint on the
organization and regulation of the stage costume aesthetics, both of which together propelled the
turnover of the women's skating costume. The women's skating costume has undergone a process of
development from complexity to simplicity at the aesthetic level, as the country's own exploration and
the influence of internationalized oriental factors have combined to establish today's "people-oriented"
costume aesthetic style.

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Discussion and Conclusions

1. Return to the form of clothing
With the change of the times, social production, technological advances for women's skating

clothing to provide the basis for the suitability and diversity; rule-making, women from the initial use of
the rules of the loophole to participate in the game to explicitly determine the importance of women's
skating; political environment, whether it is the promotion of war or civilization, have determined the
equal status of men and women in society. All these provide favorable external soil for women's figure
skating costumes, and the characteristics of the times are reflected in the costumes, which tend to shape
and display the beauty of women's figure skating costumes more and more. Undoubtedly, when figure
skating out of the aristocratic towards the moment of outdoor, figure skating women's clothing will
inevitably have to consider the warmth. But even in the early days of rough fabrics and bulky shapes, the
clothes would be unique in using openwork and transparent fabrics to outline and emphasize the beauty
of the woman's form. All of these garments, with the exception of sequins and miniskirts, had a tendency
to mimic the nude, whether it was the plunging neckline or the cut-out back and the "pure illusion of
sleeves" created by the skin tone.[24] The women's appearance was tried and tested. After all these
attempts at appearance, the women's skating costumes stabilized - opaque bottoms or tights, combined
with skirts with various patterns on the surface - and after a century of simple, uncomplicated shapes and
fixed aesthetic combinations, suggesting a simplification of form and a return to the appreciation of the
athlete's body.

2. Aesthetic spiral in clothing
The diverse women's figure skating costumes have an important place in the artistic expression

score, so their design and application in various Western eras have been a combination of aesthetics and
craftsmanship. An in-depth study of the evolution of the costume can give us a more scientific aesthetic
direction of the era. Based on these rules, we can see that the core value of "human beauty" is an
important factor in distinguishing the characteristics of early and modern women's figure skating costumes
during the long and bumpy development of women's costumes.

As stated by his predecessors, all aesthetic studies cannot escape from the four elements of
universe, work, creator and appreciator, which M.H. Abrams (1953) included in his famous triangle diagram
(below) to explain his understanding of the relationship between aesthetic elements. On the basis of that
theory, the author makes a similar generalization of the aesthetic elements of women's figure skating to
illustrate the process of discharge and guidance that occurs between the production system and the
social network, between the social network and the conceptual configuration, in the interaction of
supersensory entities such as human conceptual emotions and interactors throughout the logical system
of aesthetics, together with the process of correspondence that occurs in the conceptual configuration,
forming a culture in which the active and continuous integration, as well as the women's figure skating
costumes presenting the characteristic of stage perception and spiral at the level of costume aesthetics concept.

135

People have changed the length of the costume from the functional level; from the appreciation
point of view, it has formed from the aesthetics of the costume to the aesthetics of the human body, and
now the combination of the two has formed the change of modern and contemporary multi aesthetics;
from the judge's assessment of the direction of the artistic expression score, it has experienced the
development from not focusing on decoration to the extreme of decoration, and then back to the
balance of decoration and functionality. Women's skating costume is both a product of the times and a
reflection of the changes of the years. That is to say, the costume shape can neither be independent of
the cultural system, nor can it go beyond it.
Western ice and snow sports are far greater than China in terms of time and government support, which
has established its unshakeable mainstream position in the sport . Compared with Western ice and snow
sports, the development of modern ice and snow sports in China is mostly based on the mature model
of Western ice and snow sports , and women's figure skating as a potential development project in China,
we should pay relevant attention to . In this paper, we analyze the development process and the
aesthetic era of western figure skating in the artistic expression of costume level, and point out the
limitations of the current costume aesthetics of figure skating, hoping to provide costume direction
reference for the realization of the vision of "Grand Slam" of women's figure skating in the 2020 Winter
Olympics.

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สภาวะความกดดันจากปมปญหาชีวิต
THE STRESSFUL STATE OF LIFE PROBLEMS

มนญู วุฒพิ งษ* (ศป.ม.ทัศนศิลป) 1
2 อาจารยท่ีปรกึ ษาหลัก ผูชวยศาสตราจารย ดร.เมตตา สวุ รรณศร
3 อาจารยท ี่ปรกึ ษารว ม ผชู ว ยศาสตราจารยดวงหทยั พงศประสิทธิ์
นกั ศกึ ษาหลักสตู รศิลปมหาบณั ฑิต สาขาวชิ าทัศนศลิ ป บณั ฑติ ศกึ ษา สถาบันบัณฑิตพฒั นศิลป

E-mail [email protected]

บทคดั ยอ

จากสภาวะที่ตวั ผูสรางสรรคเกิดและเติบโตในกรุงเทพฯ ที่เต็มไปดวยความเจริญกาวหนาทางเทคโนโลยที ี่ทันสมยั
ความสะดวกสบาย ที่มากลนเกินความพอดี ทำใหผูคนเสพติด หลงยึดติดวัตถุนิยม ซึ่งตัวผูสรางสรรคก็ตกอยูในสภาวะนั้น
เชนกัน จากที่กลา วมานั้น ทำใหผูค นในสังคมหลงลืมคณุ คา ของความดีงาม การแบงปน ความจรงิ ใจตอกัน เกิดภาวะถดถอย
เรอ่ื งจริยธรรม หลงมัวเมาไปกบั ส่งิ ท่ีไดร บั มาจากสงั คมจอมปลอมทีเ่ ส่ือมถอย ผคู นมกั มองเหน็ วาการกระทำผิดไมไดเปนสิ่งที่
หนากลัว หลงกระทำผดิ ไดอยางงา ยดาย ทั้งที่รูตัวและอาจไมร ูตวั ซึ่งผลลัพธของมันที่ตามมากค็ ือกระบวนการทางกฎหมาย
ของบา นเมอื งท่ีเขา มาจดั การเรอื่ งราวตาง ๆเหลา นี้จงึ เปนแรงบนั ดาลใจให ผสู รางสรรคท ่เี ปนบุคคลหน่งึ ไดเคยทำผิดพลาด กาว
ผิดทางจนตอ งถกู ตดั สนิ ใหถูกคมุ ขงั ในเรือนจำพิเศษเปน ระยะเวลา 5 ป 6 เดือน ทีเ่ ปนความรสู ึกทเ่ี จบ็ ปวดไรซงึ่ อิสระภาพและ
ทุกขทรมานใจอยางที่สุด ที่ตองแบกรับความรูสึกผิดไว และย้ำเตือนตนเองถึงความผิดพลาดที่เกิดขึ้นจนเกิดเปนปมปญหา
ภายในจติ ใจ จนยากทจี่ ะยอมรับ และยงั สงผลเสียในหลายๆดานกับตัวผสู รางสรรคจนถึงปจจุบัน

คำสำคญั : คมุ ขงั , อสิ ระภาพ, ปมปญ หา

ABSTRACT

From the state in which the creator was born and raised in Bangkok full of modern technological
advancements convenience that is more than enough make people addicted obsessed with materialism In
which the creator was in that state as well. from the foregoing causing people in society to forget the value
of goodness, sharing, sincerity with each other Ethical recession Obsessed with the benefits of a declining
false society People often see wrongdoing as something to fear. Easily mistaken both consciously and
possibly unconsciously The result of it is the legal process of the country to deal with different matters.
These are the inspirations. An individual creator has made a mistake. The wrong move led him to be
sentenced to five years and six months in a special prison, the most painful feeling of freedom and suffering.

138

to bear the feeling of guilt and reminded himself of the mistake that had occurred until it caused a problem
within the mind so hard to accept and also negatively affects many aspects of the creator until now.

Keywords: detention, freedom, problem

บทนำ
การสรางสรรคผ ลงานเปน การแสดงสภาวะความกดดัน ความอึดอัดใจท่ีมีตอสภาพ ความเลอื่ มล้ำทางสังคม การกดข่ี

การดูถกู ผคู นที่เคยประสบชะตากรรมทเี่ ลวรา ย ถกู ตราหนา วาเปน คนคุก “ไอขีค่ กุ ”ในปจ จุบัน ท่คี นเราสวนใหญตคี า ความเปน
คนตามยศถาบรรดาศักด์ิ ทางหนาท่กี ารงาน การศึกษาชาตกิ ำเนดิ ฐานะทไี ดรบั การยอมรบั ในมาตรฐานของสงั คมวา เปน บคุ คล
ระดับสงู ทำใหเกดิ การวางมาตรฐานในการแบงชนชั้นขึ้นอยางเห็นไดช ัด ทำใหเ กิดการไดมาซึง่ โอกาส อภิสิทธเิ์ หนือผูอ่ืน การ
ใชอำนาจโดยมชิ อบ สามารถเปลี่ยนคนผดิ ใหกลายเปนชอบธรรม นีจ่ งึ เปน แรงกระตนุ ใหผ ูสรางสรรคตองการสรางสรรคผ ลงาน
อันแสดงออกใหเห็นถึง ปมปญหาในใจอันเกิดจากบาดแผลจากที่เคยทำผิดพลาด และขาดโอกาสที่จะไดรับการยอมรับให
สามารถกลับมาใชชีวติ ไดแบบผูคนท่ัวไป ซ่งึ สังคมของเราน้ัน มีความคดิ ความเชื่ออุดมคตคิ นทว่ั ไปมักมองกันวาคนท่ีมีความ
ผิดพลาดในชีวติ กลายเปนคนลมเหลว ซึ่งผูสรา งสรรคก ลับมีความรูสกึ วาบทเรียนที่ผิดพลาดนั้นมีคุณคา และเปนประโยชน ทำ
ใหผสู รางสรรคไดเ รยี นรวู าความสขุ และการมีอิสระภาพนน้ั มคี วามสำคญั ตอตนเองมากเพยี งใด รวมถงึ ครอบครวั เพราะฉะนั้น
แลวผูสรา งสรรคจ ะไมมีวันกลบั ไปกระทำความผดิ อยา งเดมิ โดยเด็ดขาด

ความเปน มาและความสำคญั ของปญหา
จากสภาวะที่ตัวผูส รางสรรคเกิดและเติบโตในกรงุ เทพฯ ที่เต็มไปดวยความเจริญกาวหนาทางเทคโนโลยีที่ทันสมยั

ความสะดวกสบาย ที่มากลนเกินความพอดี ทำใหผูคนเสพติด หลงยึดติดวัตถุนิยม ซึ่งตัวผูสรางสรรคก็ตกอยูในสภาวะน้ัน
เชนกัน จากที่กลาวมาน้ัน ทำใหผูค นในสงั คมหลงลมื คุณคา ของความดีงาม การแบงปน ความจริงใจตอกัน เกิดภาวะถดถอย
เร่อื งจริยธรรม หลงมัวเมาไปกบั สิ่งที่ไดรับมาจากสังคมจอมปลอมทเ่ี ส่อื มถอย ผคู นมักมองเหน็ วาการกระทำผิดไมไดเปนส่ิงท่ี
หนากลัว หลงกระทำผดิ ไดอยางงา ยดาย ทั้งที่รูต ัวและอาจไมร ูตวั ซึ่งผลลัพธของมันทีต่ ามมากค็ ือกระบวนการทางกฎหมาย
ของบานเมืองที่เขา มาจดั การเรือ่ งราวตาง ๆ เหลานี้จึงเปนแรงบันดาลใจให ผูสรางสรรคท่ีเปนบุคคลหนึ่งไดเคยทำผดิ พลาด
กา วผิดทางจนตองถูกตดั สนิ ใหถ ูกคุมขังในเรอื นจำพิเศษเปน ระยะเวลา 5 ป 6 เดือน ที่เปน ความรสู กึ ท่ีเจ็บปวดไรซ่ึงอิสระภาพ
และทุกขทรมานใจอยางที่สดุ ท่ีตองแบกรับความรูสึกผิดไว และย้ำเตอื นตนเองถงึ ความผดิ พลาดที่เกดิ ข้ึนจนเกิดเปนปมปญหา
ภายในจิตใจ จนยากที่จะยอมรบั ความกดดนั เปนอยางมากในเรื่องความเปนอยู ความสกปรก อาหารการกินและส่ิงแวดลอม
ภายใน ทคี่ นภายนอกไมอาจรับรูและรสู ึกสัมผสั ถงึ มันได เปนหวงเวลาที่ยาวนานมาก กวาจะผา นไปแตล ะวัน แตละเดือน แต
ละป และกฎระเบยี บทใี่ ชกบั นกั โทษ ทำใหต วั ผูสรา งสรรคเอง เกิดแผลในใจเหมอื นเปนคนไรค า ขาดซ่งึ ความเปน มนษุ ย แตใน
ความโชครายของผูสรางสรรคเองกย็ ังมีความโชคดี ท่ตี ัวผูสรางสรรคเ องนั้นยงั ไดทำงานอยูก บั ศลิ ปะภายในเรอื นจำ ไดมีหนาท่ี
เปนหัวหนาชางศลิ ป คอยสอนเทคนิคการทำงานเกี่ยวกับศลิ ปะ ซ่งึ ศลิ ปะนี้เองทำใหเวลาภายในเรือนจำท่ีแสนยาวนานส้ันลง
และมีคุณคามีความหมายกับตัวผูสรางสรรคเองมากขึ้น จนวันเวลาที่ตัวผูสรางสรรคเองไดรับการปลอยตัวออกมาสูโลก

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ภายนอก วนั น้นั เปน วันท่ผี สู รางสรรคร สู กึ ดีใจเปน อยางมาก แตในขณะเวลาเดยี วกนั ผสู รา งสรรคเองก็รับรูไดถึงการดูถูกดวย
คำพดู ทดี่ ูแคลน ถากถาง เสยี ดสี และสายตาทีร่ งั เกยี จ กบั สง่ิ ท่ตี ัวผูสรา งสรรคเ องไดผานและพบเจอมา เปนปมปญหาชวี ิตที่ตัว
ผสู รางสรรคเองรสู กึ อดึ อัด กดดนั กับสังคมและสภาพแวดลอม ทพ่ี กั อาศัยอยู และเรื่องราวตา ง ๆ นี้ กเ็ ปน เหตผุ ลท่ที ำใหตัวผู
สรางสรรคตัดสินใจมาศึกษาตอ ระดับปรญิ ญาโท เพ่อื พสิ ูจนตนเอง ลบคำสบประมาทจากการดูถกู และหวังวา วุฒิปริญญาโทน้ี
อาจจะเปลีย่ นความคิด ทัศนคตกิ ับตวั ผูส รา งสรรค ไปในทศิ ทางทดี่ ขี ึ้นบา งไมมากกน็ อ ย

วัตถุประสงคข องการสรางสรรค
1. เพอ่ื สรางสรรคผ ลงานทศั นศิลปใ นหัวขอ “สภาวะความกดดนั จากปมปญ หาชีวิต” แสดงออกใหเ หน็ ถงึ ความอึดอัด

กดดัน ความบีบคนั้ อันเกิดจากการตองโทษ และไมไดร ับการยอมรบั จากสังคม ดว ยสอดคลอ งกับหลกั ทฤษฎจี ติ วิเคราะห กลไก
ปอ งกนั ตนเอง และทฤษฎคี วามทรงจำ

2. เพื่อสรางสรรคผลงานในเทคนิคประติมากรรมสื่อผสม เชน ตะปู, โซ, ลวดหนาม, ผาโบต๋ัน, วัสดุสำเร็จรูป เพ่ือ
ประกอบใหเ กดิ เปน ชน้ิ งาน จำนวน 1 ชุด ตามระยะเวลาของโครงการ

3. เพื่อแสดงออกใหเห็นถึงทางออกของปมปญหาของตนเองที่ตองการหลุดพนจากปญ หาดว ยการใชศิลปะเปนส่ือ
กระตุน เตอื นใหผ ูคนเปดใจยอมรับและใหโอกาสกับคนทีเ่ คยผดิ พลาดใหกลบั มายืนในสังคมไดอ กี ครง้ั

ขน้ั ตอนการสรา งสรรค
การสรางสรรคผลงานทัศนศิลปในหัวขอ “สภาวะความกดดันจากปมปญหาชีวิต” ประกอบดวยการศึกษาคนควา

ขอ มูลทางวชิ าการ ท้ังจากตำรา และศกึ ษาดูจากผลงาน ท่เี ก่ยี วของดานเนอ้ื หา รปู ทรงการนำเสนอ สง่ิ ของที่ใหความรสู กึ ไปใน
ทิศทางเดยี วกบั หัวขอ ท่จี ะสรางสรรคผลงาน เพอื่ รวบรวมเปนภาพรวมของขอมูลพื้นฐานเร่ืองของการตีตราจากผูคนสวนใหญ
วาความผิดพลาดในชีวติ น้ัน คอื รอยดางของสงั คมจากการศกึ ษาหนังสอื ตำรา อนิ เทอรเ นต็ และการศึกษาดูงานจากสถานทจี่ ริง
รวมถึงศึกษาจากผลงานและแนวคิดจากศิลปนศึกษา ที่สรางสรรคผลงานลักษณะดังกลาว ขั้นตอนของการศึกษาและการ
สรางสรรคจะเริ่มขึ้นจากการศึกษา เพื่อการนำเสนอผลงานหัวขอ "ภาวะความกดดันจากปมปญหาชีวิต" ที่เสร็จสมบูรณใน
รูปแบบของงานวทิ ยานิพนธ โดยสามารถจัดแบงขนั้ ตอนการศกึ ษา และการสรางสรรคไ ดด ังตอ ไปนี้

ศกึ ษาเอกสารทางวิชาการ
ทฤษฎีจิตวิเคราะห กลไกการปองกันตนเอง ของซิกมันดฟรอยดซิกมุน ฟลอยด Sigmund Freud (1856-1939)

บิดาแหงทฤษฎีจติ วเิ คราะหช าวออสเตรียผทู ่สี รางทฤษฎกี ลไกปองกันตนเอง (Detense Mechanisms) ฟอยดก ลา ววา กลยุทธ
ทางจิตทก่ี ระตุนใหมนุษยแ สดงพฤติกรรมอะไรบางอยาง เพื่อหลีกหนจี ากเหตุการณ ความคิด หรอื การกระทำใหรูสึกอึดอัดไม
พอใจ หรือยากท่จี ะยอมรบั ได ซง่ึ กลยุทธท างจิตน้จี ะเปนตัวชว ยใหม นษุ ยร อดพนจากภัยคกุ คาม โดยกลไกการปองกันตนเองที่
เราพบเหน็ ไดบ อยมที ัง้ หมด 10 แบบไดแก

1. ปฏิเสธ (Denial) มันคือการที่เราไมยอมรบั ความจริงหรือขอเท็จจริงอะไรเลย เพราะเรากลัววาถาใหความสนใจ
กับเร่ืองเหลานนั้ แลว มันจะทำใหเรารสู กึ เจ็บปวด หรอื ไมมีความสุข

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