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Repositioning Graphic Heritage

A Newton Fund project co-ordinated by the Arts and Humanities Research Council in co-operation with UNESCO Creative City (Shanghai) Promotion Office 图形遗产再定位

牛顿基金项目由英国艺术与人文研究理事会与

联合国教科文组织创意城市（上海）促进办公室协作

拉夫堡大学和同济大学

Loughborough University & Tongji University

Shanghai Bund / 上海外滩 g

Repositioning Graphic Heritage

图形遗产再定位

Robert G. Harland & Jie Xu

A Newton Fund project co-ordinated by the Arts and Humanities Research Council in co-operation with the UNESCO Creative City (Shanghai) Promotion Office

Research partners: Loughborough University (UK) and Tongji University (China) 牛顿基金项目由英国艺术与人文研究理事会与

联合国教科文组织创意城市（上海）促进办公室协作研究伙伴：拉夫堡大学（英国）和同济大学（中国）

图形遗产再定位

Contents

4 Executive summary

10 Introduction 20 Approach

28 Field work and visual methods 30 Case studies

Tianzifang: creative enclave Xintiandi: trans-historical space Thames Town: urban mimicry The Bund: colonial heritage Liverpool: Maritime Mercantile City Leicester: King Richard III Centre Blackpool: Comedy Carpet London: Abbey Road Key insights

Urban Perspectives on Design Literacy summer school Design for Heritage in Theory symposium Exploring Urban Graphic Heritage exhibition Design for Heritage in Practice workshop Tracing Shanghai workshop Key insights

70 Meetings and events

110 Taxonomic research Key insights

118 Conclusions

126 Recommendations

150 Credits

130 Appendices

152 Acknowledgements

Repositioning Graphic Heritage

5 项目摘要

11 介绍

29 实地考察和视觉方法

21 途径

31 案例研究田子坊：创意飞地

新天地：跨历史空间泰晤士小镇：都市模仿外滩：殖民地遗迹利物浦：航海时代商贸城市莱斯特：理查三世中心布莱克浦：喜剧地毯伦敦：爱彼路关键见解

城市视角下的设计语义暑期夏令营为遗产而设计理论研讨会探索城市图形遗产展览为遗产而设计实践工作坊描映上海工作坊关键见解

71 会议与活动

111 分类研究关键见解

119 结论

127 建议

151 名单

131 附录

152 致谢

图形遗产再定位

Executive Summary

This document reports on research findings from the Newton Fund project Repositioning Graphic Heritage. The research was undertaken as part of the Development through the Creative Economy in China scheme co-ordinated by the Arts and Humanities Research Council in the United Kingdom (UK) in co-operation with UNESCO Creative City (Shanghai) Promotion Office. The project focuses on Design and Heritage as two of the three thematic areas identified in the initial funding call (a third area was Creative and Performing Arts).

The research involved three visits to China by UK researchers, as well as fieldwork at heritage locations in China (mostly Shanghai) and the UK, the organisation of symposia, workshops, a summer school, the design and staging of an exhibition, as well as invited participation in several additional events. Altogether, these activities provided opportunities for members of the research team to collectively and individually explore, speculate and substantiate a conceptual understanding of graphic heritage in the UK, China, and further afield. Several key insights have emerged from the project.

1. Cities, heritage and design: Since the early twenty-first century, urban planners have attributed greater importance on design in the development of cities. Cities such as Shanghai have embraced this through gaining status as a UNESCO Creative City, with particular emphasis on Design. The recent rapid urban development in China positions Shanghai as a beacon for heritage-led regeneration through landmark schemes such as Xintiandi and the Bund. This has synthesised a three way concern for cities, heritage and design.

Repositioning Graphic Heritage

项目摘要

本报告系统地展现了牛顿基金项目“ 图形遗产再定位 ”的研

究成果。这项研究是英国艺术与人文研究理事会与联合国教科文组织创意城市（上海）促进办公室合作举办的“ 中国

创意经济发展计划 ”的一部分。该项目的重点是设计和遗产，也是基金所确定的三个研究主题领域中的两个（第三个领域是创意和表演艺术）。

该研究包括英国研究人员对中国的三次访问，以及在中国

（主要是上海）和英国的文物保护场所的实地考察，组织的

专题讨论会，工作坊，暑期营，展览和举办以及应邀参加其他各项活动。总之，这些活动为研究团队的成员提供了集体

或单独的探索、推测和证实的机会，用于加深在英国、中国及更远地区的图形概念理解。

从本项目中得出了一些关键的见解。

1 . 城市，遗产和设计：自二十一世纪初以来，城市规划师就将设计归结为在城市发展中的重要因素。上海等城市已经通过获得联合国教科文组织创意城市（特别针对设计）的地位进行实践。中国最近的快速城市发展中，上海通过诸如新

天地和外滩等具有里程碑意义的计划，进行遗产主导的城

市更新的典范。其中综合了对城市，遗产和设计三方面的关注。

图形遗产再定位

2. Design literacy: One approach that recognises the importance of design in urban development is the UK government’ s recognition that more local authority workers should receive training in design literacy – a concept that stems from graphic design. However, the research reported here suggests that when explored by different disciplines, design literacy is a little understood concept even though it is considered highly relevant.

3. Design for heritage: Since the turn of the millennium, design has become more important in heritage due, in part, to an increase in global tourism and a need for more sustainable heritage management. This has led to closer scrutiny of the way heritage is interpreted and presented. As a consequence, the visual means by which cultural heritage is communicated is in a state of flux as heritage practitioners and theorists extend their interest in heritage interpretation and presentation to representation and representational practices. Graphic design is one such practice. 4. New perspectives: Given the relatively recent recognition that design is important in urban development, that design is gaining in importance in heritage, and that heritage interpretation is expanding its appreciation, understanding and value with regard to representational practices, an expanded interpretation of graphic design provides a new perspective on sustainable heritage management by recognising the need for graphic heritage as a practice and theory. Graphic heritage is well placed to bridge the recent acknowledgment of the need for a closer relationship between cultural heritage and the creative industries. 5. Community based co-creation: The widespread understanding of graphic communication as a fundamental human trait enables graphic heritage to straddle so-called high cultural heritage, popular cultural heritage, as well as grass-roots heritage, for bottom-up as well as top-down models of heritage practice.

6. Ubiquitous: Graphic heritage is pervasive in cultural heritage. Its presence within both urban and rural heritage locations adds to the belief by heritage scholars that whenever one engages in acts of heritage conservation it is essentially a communicative act. Graphic heritage is heritage communication.

Repositioning Graphic Heritage

2. 设计语义：英国政府意识到一种认识设计对于城市发展

重要性的方法，即使更多的地方政府工作人员接受设计语

义的培训 - 这一概念源于平面设计。但是，本研究表明，尽管设计语义被认为具有高度相关性，但在不同学科中进行探索时，其依然是一个鲜为人知的概念。

3. 为遗产而设计：自千年之交以来，设计在遗产中变得越来

越重要，部分原因是全球旅游业的增加以及对更可持续遗产管理的需求。这导致人们对遗产的解释和呈现方式进行了更严格的审视。结果，随着文化遗产从业者和理论家将他

们对遗产的解读和表示的兴趣扩展到表征性和代表性实践

g People reading heritage places 人们在阅读遗产场所

上，传达文化遗产的视觉手段处于不断变化的状态。平面设计就是其中一种实践。

4. 新视角：鉴于相对近期的认识，设计在城市发展中很重要，设计在遗产中正变得越来越重要，遗产解读正在扩大其对表征性的实践推崇、理解和价值，通过认识到图形遗产作

为一种实践和理论的必要性，平面设计为可持续遗产管理提供了新的视角。对于文化遗产与创意产业之间需要更紧密联系的意识，图形遗产非常适合起到桥梁的作用。

5. 基于社区的共同创造：对于图形交流的广泛理解作为一

种基本的人类特质，使图形遗产跨越了所谓的高雅文化遗产、大众文化遗产以及“ 草根 ”遗产，从而实现了自下而上和自上而下的遗产实践模型。

6. 无处不在：图形遗产在文化遗产中普遍存在。其在城市和

乡村遗产所在地的存在，增强了遗产学者的信念，即每当有人从事遗产保护活动时，它实质上就是一种交流行为。图形遗产即遗产传播。

图形遗产再定位

Introduction

Background Insights gained from the Repositioning Graphic Heritage project are the manifestation of discussions between researchers in the School of Design and Creative Arts (SDCA) at Loughborough University and the College of Design and Innovation (D&I) at Tongji University in 2017. Initiated by Johnny Xu’ s interest in urban colour research, his exchanges with Zhang Xueqing at D&I led to her visiting Loughborough University campuses in Loughborough and London and a return visit happened soon after when Robert Harland gave a keynote lecture at the International Colour Culture Conference during Tongji Design Week 2017. This led to an informal agreement to collaborate on research linking graphic design to urban development. The AHRC-Newton Fund call provided the opportunity to explore this through a shared 10

Repositioning Graphic Heritage

介绍

本报告系统地展现了牛顿基金项目“ 图形遗产再定位 ”的研

究成果。这项研究是英国艺术与人文研究理事会与联合国教科文组织创意城市（上海）促进办公室合作举办的“ 中国

创意经济发展计划 ”的一部分。该项目的重点是设计和遗产，也是基金所确定的三个研究主题领域中的两个（第三个领域是创意和表演艺术）。

该研究包括英国研究人员对中国的三次访问，以及在中国

（主要是上海）和英国的文物保护场所的实地考察，组织的专题讨论会，研讨会，工作坊，暑期夏令营，展览和举办以及应邀参加其他各项活动。总之，这些活动为研究团队的成员提供了集体或单独的探索、推测和证实的机会，用于加深在英国、中国及更远地区的图形概念理解。背景

“ 图形遗产再定位 ”项目得益于拉夫堡大学设计与创意艺术学院（SDCA ）和同济大学设计与创新学院（D＆I）研究人员

从 2017 年开始所进行接触和讨论。由于有关于城市色彩的

研究，拉夫堡大学的徐捷开始和同济大学的张雪青开展了研究的合作与交流，并促成了张雪青于 2017 年对拉夫堡大学的本校区和伦敦校区进行了访问。随后，张雪青和徐捷在

h Dr Zhang Xueqing meets Prof. Steve Rothberg, Pro Vice-Chancellor for Research, and Prof. Alison Yarrington, then Dean of the former School of Arts, English and Drama, at Loughborough University. 张雪青博士与研究副校长史蒂夫·罗斯伯格教授以及当时的罗格伯勒大学艺术，英语与戏剧学院长艾莉森·雅灵顿教授一起

2017 同济设计周上，举办了国际色彩文化会议，并邀请拉夫

堡大学罗伯特 · 哈兰德到会作主题演讲，并对同济大学进行了回访。期间双方达成一项非正式协议，同意开展将图形设

计与城市发展联系在一起的研究。而 AHRC - 牛顿基金会正

是为此类的合作提供了一个机会，通过在英国和中国的创图形遗产再定位

acknowledgement of the relationship between design and heritage within the context of the creative industries in UK and China.

m Organisers and speakers at the International Colour Culture Conference in Tongji Design Week, 2017, featuring : Prof. Lindsay MacDonald, Prof. Lou Yongqi, Dr. Zhang Xueqing Dr. Robert Harland Verena M Schindler Dr. Jie Xu

1. Robert G. Harland, “Graphic objects and their contribution to the image of the city.” Journal of Urban Design 20, no. 3 (2015): 367–392. DOI: https://doi.org/10.108 0/13574809.2015.1031211. 2. Robert G. Harland, Graphic design in urban environments (London: Bloomsbury Academic, 2016).

As well as participation in the International Colour Culture Conference the initial trip to Shanghai apportioned time for visits to notable locations and recently renovated neighbourhoods in Shanghai, including Tianzifang, the Jing’ an neighbourhood and the Bubbling Well Road Apartments. Some private time also allowed for additional visits to Xinchang Ancient Town, The Bund, the French Concession in the Xuhui District, Lujiazui, and East Nanjing Road. This provided the opportunity for some photodocumentation scoping studies that paid specific attention to the urban-graphic-objects on display. See a selection of photographs on page 14. In turn, this provoked a heightened awareness of heritage and how heritage is communicated in urban environments, leading to the further realisation that

heritage is embedded in many of the objects that had formed the basis of previous research since the turn of the millennium.1,2,3 See a sample of photographs on page 15, some of which will be further highlighted in this report. Hence, the Repositioning Graphic Heritage project applies long-standing and ongoing research into the way urban environments function through their graphic objects. In this project the context is heritage.

Hypothesis Urban designers and theorists inadequately frame the need of urban environments to communicate with their users, even though communication has been acknowledged as the primary function of cities and urban places.4 At best, an assemblage of objects such as sculptures, murals, banners, signs, or screens have been clustered as a“miscellaneous”group of urban objects.5 Repositioning Graphic Heritage

意产业的发展背景，携手共同探索设计与传统之间的关系。除了参加“ 国际色彩文化会议 ”以外，上海的首次访问还参观了著名的景点，以及上海城市更新后的街区，包括田子坊

坊，静安别墅和南京西路的公寓。在其他时间里，还访问了

新场古镇，外滩，徐汇区的法租界，陆家嘴和南京东路。在

此过程中，研究者拍摄了大量的实景照片为未来的研究提

供了丰富的视觉素材，这些视觉研究特别关注了与城市遗产关系密切的图形。请参阅第 14 页的图片。反过来，这些前

期的调研引发了对文化遗产以及城市环境中遗产的传播认

识的思考，从而进一步意认识到，文化遗产已无形地嵌入

g Representations of cultural heritage in China and the UK 中英两地的代表性文化遗产

1,2,3 请参见第 1 5 页的照片，其中一些将在本了诸多城市物件中。

报告中进一步说明。因此， “ 图形遗产再定位 ”项目通过图形对

3. Robert G. Harland and Antonia Liguori, 象在城市环境中所发挥的作用方式进行长期且持续的研究。“Designing the Latina landscape: graphic images 在这个项目中研究的核心语境即被设定为文化遗产。 of Italian Fascism.” Journal of Urban Design 25, no. 3 (2019) 350–368. DOI: https://doi.org/10.108 假设 0/13574809.2019.1638237.

尽管长期以来人们一直认为交流是城市和场所的主要功能，但城市设计师和城市理论家并未充分考虑到城市环境 4 充其量都是从雕塑，墙画，横与用户所进行交流的需求。

幅、标识或屏幕等物体的组合中形成的“ 混合式 ”的“ 城市 5 由此随之，可以将相同或不同类别的对象物定义对象物 ”。

为图形，以达到传达文化遗产的作用。本报告的研究旨在于世纪之交，对遗产与设计之间关系的理论探索有所贡献。

图形遗产再定位

4. Jon Lang, Urban Design: the American experience (John Wiley & Sons, Inc., 1994), 170–171. 5. Jon Lang, Urban design: a typology of procedures and products (Architectural Press, 2005), 143.

Following this, the same objects, and other similar graphic images, may be defined as graphic objects for the purpose of communicating heritage. The research reported here seeks to test the feasibility of making a theoretical contribution to the relationship between heritage and design as it has emerged since the turn of the millennium. Conceptual framework From an urban design perspective, in the same way that urban environments are designed, so too are their graphic communication requirements. This research identifies this as a notion of graphic design as urban design, adding to the way architecture, landscape architecture, city planning, and civil engineering contribute to the products of urban design.

In identifying these objects as graphic, the notion of the graphic image provides a conceptual underpinning. Graphic images are said to be central to the intellectual preoccupation of art historians and their concern for pictures, statues, architectural imagery and designs, each standing for a further broader set of possible images that may include [but are not limited to] abstract, non-representational paintings, ornamental or structural designs, diagrams and graphs. 6 These various objects more than adequately provide a framework for analysing the kind of urban things shown on page 14 and 15, proffered here as examples of urban graphic heritage.

6. W. J. T. Mitchell, Iconology: image, text, ideology (The University of Chicago Press, 1986), 10–13.

Through this conceptual underpinning of graphic design as urban design, coupled the notion of the graphic image, a design research viewpoint is shown in this report to provide new insights into how heritage interpretation, presentation and representation may be better understood from the perspective of design. Implicit in this are opportunities identified for the mutual benefit of practitioners and academic researchers working with heritage as well as those in the creative industries sector, within which graphic design is the most prominent practice since the 1980s. As the relationship between cultural heritage and creative industries gains in recognition through sustainable heritage management, the research will appeal to those associated with urban planning and environmental design, heritage and conservation specialists, government and local authorities/municipalities, designers and built environment professionals.

Repositioning Graphic Heritage

概念框架

从城市设计的角度来看，图形传达的要求应等同于城市环境的设计方式。这项研究将追求平面设计的过程和结果，并

将其扩展到城市设计概念中去，从而使得建筑、景观建筑、城市规划和土木工程对城市设计提供新的赋能。

在将这些对象认定为“ 图形 ”时， “ 图形化的图像 ”为研究提

供了基础的概念。图形化的图像是艺术史学家及其对图片，雕像，建筑图像和设计的关注的重点，它们各自代表着更广

泛的可能图像集，这些图像可能包括 [ 但不局限于 ]“ 抽象，非代表性的意向 ”6 针对这些不同视觉对象的分析，为城市

图形的种类提供了一个框架，第 14 页和第 15 页此处即为城市图形遗产的案例。

通过将平面设计为城市设计的概念基础，再加上图形化图像的概念，本报告提出了一种设计研究观点和新的见解，使

人们可以通过三个维度：解读、展示和表示，从设计的角度

更好地理解遗产的内涵。在这里蕴含着为遗产和实践产业界的从业者和学者带来互利的机会，自 1980 年代以来，平面

设计一直是最重要的设计实践。随着文化遗产和创意产业之间的关系在可持续遗产管理中进一步获得认可，本研究还将吸引那些与城市规划和环境设计有关的人员，遗产保护专家，地方政府 / 市政当局，设计师以及建筑环境专业人员加入到研究中去。

文化遗产不受规模限制，图形对象同样也不受限制。为该项

目所进行的视觉研究遵循了一个基本模型，即探索平面设计作为跨宏观 - 中观 - 微观层面的城市设计。图像，雕像，建

筑图像和设计都可能会扩展并包含为宏观，中观和微观的图形对象。

图形遗产再定位

Architecture / 建筑

Landscape Architecture / 景观建筑

Macrographic Mesographic Micrographic

Graphic Design / 平面设计

Urban Design / 城市设计

微观图形中观图形宏观图形

City Planning / 景观建筑

Civil Engineering / 城市规划

h A basic model for exploring graphic design as urban design at the micro, meso and macro scales (adapted from Jon Lang 2005).1 探索平面设计作为微观，中观和宏观尺度的城市设计的基本模型 1 （改编自 Jon Lang 2005）。

Cultural heritage is not limited by scale. Neither is the graphic object. The visual research undertaken for this project extends previous findings into the function of graphic design as urban design across macro-meso-micro levels., Pictures, statues, architectural imagery and designs, and all this may encompass, are posited as macrographic, mesographic and micrographic objects, for scalar analysis.

Repositioning Graphic Heritage

g The macrographic, mesographic and micrographic model applied, Lujiazui, Shanghai. 宏观图形、中观图形、微观图形的应用

二十一世纪初，城市设计被认为是一种协作实践，不仅由建

筑或城市规划等领域来定义，而且还与城市地理，工程，环境心理学，气候学和管理科学等学科密切相关。这项研究将

平面设计添加到了这个范畴中，并且针对宏观，中观和微观尺度上的城市遗产问题进行研究。

Macrographic This level represents the largest scale at which graphic objects function, for example, a city skyline. 宏观图形此级别代表图形对象发挥作用的最大比例，例如，城市天际线。

Mesographic This level represents the scale at which graphic objects function as an integrated visual system at the interface between people and urban place. 中观图形此级别表示图形对象在人与城市之间的界面处充当集成视觉系统的比例。 Micrographic This level represents the smallest scale at which graphic objects function as singular entities. 微观图形此级别代表图形对象起作用的最小比例作为单个实体。

图形遗产再定位

Approach

Repositioning Graphic Heritage explores the objects through which people experience and are informed about urban heritage in graphic form. Looked at through the lens of graphic design, the research aimed to provide insight into the core knowledge and understanding that heritage professionals grapple with when they need to communicate with the public about the heritage experience. Additionally, the project aspired to identify opportunities for creative industry practitioners concerned with enhancing China’ s culture development as well as emphasise the importance of graphic design to the UK creative economy. Four main objectives were listed in pursuit of these intentions: 1. Establish a mutually beneficial research relationship between Loughborough University (UK) and Tongji University (China) that will develop expertise in the challenges and opportunities associated with the role of graphic design for urban heritage.

2. Create a taxonomy of urban graphic heritage objects for the purpose of informing future design, guidance and planning in graphic design for urban heritage. 3. Encourage interdisciplinary and multidisciplinary knowledge exchange between design, planning and heritage professionals for the benefit of new and innovative creative industries practices in China and the UK.

4. Develop the relationships, knowledge and outputs from collaboration to explore opportunities to extend the research through more substantive applications for funding between UK and China.

The research was driven by two research questions, respectively aligned to year one and year two of the project’ s duration.

Repositioning Graphic Heritage

途径

图形遗产再定位探索了人们通过图形形式体验并了解城市遗产。从平面设计的角度来看，这项研究旨在提供对核心知

识的理解，并了解遗产专业人士在与公众交流遗产经验时，所需要努力应对的知识。此外，该项目希望为那些致力于促

进中国文化发展的创意产业从业者寻找机会，并强调平面设计对英国创意经济的重要性。为了实现这些目的，以下列出了四个主要目标：

1. 在英国拉夫堡大学和中国同济大学之间建立互惠互利的

研究合作关系基础上，以发展与平面设计在城市遗产中的作用所相关的挑战和机遇的专业知识。

2. 创建城市图形遗产对象的分类法，以指导未来城市遗产图形的设计和规划。

3. 鼓励设计，规划和遗产专业人士之间进行跨学科和多学

科的知识交流，以造福于中国和英国的创新创意产业实践。 4. 深化合作，促进知识成果转化，并通过更多实质性的中英两国研究基金申请来拓展研究。

该研究是由两个研究问题所驱动，分别对应于该项目周期的第一年和第二年。

图形遗产再定位

Research Questions 1. What new perspectives can graphic design contribute to design for urban heritage? 2. How can participatory design approaches enhance urban graphic heritage for greater social cohesion? Research methodology The research methodology followed a qualitative multidisciplinary approach that utilised several perspectives, dimensions and activities to explore the research questions. These have incorporated: (a) empirical observation of heritage places; (b) grounding in the heritage literature; (c) alignment with established theoretical perspectives on the aestheticvisual dimension of urban design; (d) systemics as a conceptual foundation for design inquiry; (e) deployment of graphic design as a cognitive framework; and, (f) initiation of a series of events and meetings. The following provides a brief overview.

(a) The duration of the research has involved extensive visits to cities, towns, villages, districts, neighbourhoods, places, and streets with urban heritage connections, as well as observations from other locations not formally included in the study. See Appendix 1 for a full list of settings where heritage is prominent. Time in locations has varied from three hours to three days, some visited more than once to observe and analyse how graphic objects have been utilised in the context of heritage. (b) The research acknowledges the multidisciplinary nature of heritage studies and design research, and the subsequent wide range of references. The focus has mostly been on heritage studies, examining not only scholarship in the field but also the various official conventions, charters, declarations and recommendations that have shaped heritage since the late nineteenth century. This has served two purposes: 1. establishing an understanding of the universal and modern concept of heritage and its manifestation as urban heritage; and 2. examining the specialist field of heritage interpretation.

(c) The research extends Kevin Lynch’ s seminal ideas about imageability (legibility), and a concern for how the physical environment contributes to the way people identify and structure their association with places. This is aligned to the more recently explained visual-aesthetic dimension of urban design (noted above) and placemaking, which prioritises spatial 22

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研究问题

1. 平面设计可以为城市遗产设计贡献哪些新观点？

2.参与式设计方法如何通过城市图形遗产以增强社会凝聚力？研究方法论

研究方法论遵循定性的多学科方法，该方法利用了几种观

点，维度和活动来探讨研究问题。这些内容包括：（a）对遗产

地的实证观察；（b）基于遗产文献；（c）与已确立的关于城市设计美学-视觉维度的理论观点相一致；（d）系统性作为设计探究的概念基础；（e）将平面设计确定为认知框架；（f）发起一系列活动和会议。以下分别进行简要概述。

（a）研究期间，涉及到了对与城市遗产有联系的城市，城镇，村庄，地区，社区，地方和街道的广泛访问，以及那些未

正式纳入研究的其他地点的观察。有关多少能体现遗产的考察场所完整列表，请参见附录 1 。每个地点的考察时间从三小时到三天不等，有些地点参观了不止一次，以观察和分析在文物保护背景下如何对图形对象有效利用。

（b）该研究认识到遗产研究和设计研究具有多学科性，并

因此进行了广泛的参考。重点主要放在遗产研究上，不仅研究该领域的基金获得情况，还研究自 19 世纪末以来影响遗产的各种官方公约，宪章，宣言和建议。这体现了两个目

的：1 理解世界遗产的普遍和现代概念及其作为城市遗产的体现；2 审视遗产权威解释的专业领域。

（c）研究扩展了凯文 · 林奇关于城市意象性（可读性）的开

创性思想，并关注如何通过物理环境帮助人们识别和构建

与地点的关联。这与新近对城市设计和场所营造的视觉美学维度理论（上文所述）相吻合，后者优先考虑了空间和

视觉品质，即这些空间中的摆设、物件以及它们之间的关系。 “ 维度 ”也是一种城市方法论中的概念，可用于将城

市“ 信息 ”解密，即“ 被视为信息的城市现象 ”。从这个角度图形遗产再定位

and visual qualities, the situated artefacts in those spaces, and the relationship between them. The idea of dimension is also an urban methodological concept useful for interpreting and decoding the city as a form of communication or message. Seen in this light, the urban design scale is utilised as a way of framing urban heritage.

(d) The research benefits from the ontological and epistemological approach aligned with the systemic nature of design enquiry and the connections and relations between people, subjects, objects and ideas, utilised here in a heritage context. A systemic approach recognises the usefulness of adopting a lens, or frame, as a perspective through which to examine a system as part of an overall cognitive framework. This is consistent with theory understood as an explanatory or predictive way of looking at phenomena, which may happen either as an explanatory process in recognition of an outcome of that process as an object. In accordance with this, a schema used in this research is that of graphic design as urban design.

(e) The research builds on an interpretation of graphic design, the foremost creative industries practice since the mid-1980s. It will be apparent from earlier that the graphic in graphic design is treated as an extended concept. To this may also be added the notion of graphic as interpreted as a mode of communication, in the way geographers identify graphicacy as a core communication competency for conveying spatial information through graphic modes such as illustrations, photographs, sculpture, icons, and maps, to name some. (f) Events and meetings have been initiated and staged to gauge the validity of the research topic. These include a two-day summer school about Urban Perspectives on Design Literacy in Loughborough and Leicester (20–21 June 2019); a Design for Heritage in Theory symposium (15 October 2019) and the creation and staging of an accompanying exhibition Exploring Urban Graphic Heritage (October–December 2019), as well as a Design for Heritage in Practice workshop (19 October 2019), all in Shanghai. These are discussed in detail further on. Methods The principle methods include fieldwork, visual methods, case study and participatory design. These established research approaches can be briefly summarised as follows. Fieldwork 24

Repositioning Graphic Heritage

来看，城市设计规模可以被用作构建城市遗产的方式。

（d）这项研究得益于本体论和认识论方法，这些方法与设计探究的系统性以及在遗产环境中使用的“ 人，主体，客体和思想之间的关联性和关系 ”高度一致。系统的方法认识到

采用“ 视角 ”或“ 视阈 ”作为整体认知框架一部分的观点的

有效性。这与被视为现象的解释性或预测性方法的理论相一致，该现象可能是解释性的“ 过程 ”，也可能是由于将该

过程的结果识别为“ 对象 ”而发生的。在这项研究中，平面设计就是城市设计。

（e）研究基于对平面设计的解释，这是自 1980 年代中期以来最重要的创意产业实践。从较早时期即表明平面设计中的“ 图形 ”被视为一个广义的概念。此外，还增加了“ 图形性 ”的概念，可将其解释为一种交流方式，地理学家将“ 图形性 ”理解为核心沟通能力，通过图形方式（例如插图，照片，雕塑，图标和地图）传达空间信息。

（f）已经启动并进行的各种活动和会议，以评估研究主题的有效性。其中包括为期两天的暑期营，内容涉及拉夫堡和

莱斯特的城市设计可读性的视角（2019 年 6 月 20 日至 21 日）; 为遗产而设计理论研讨会（2019 年 1 0 月 15 日）《 ; 探索城市图形遗产》的展览（2019 年 10 月至 12 月）以及为遗产而设计

实践研讨会（2019 年 10 月 19 日），这些活动都在上海举行，后文将进行详细讨论。方法

主要方法包括实地考察，视觉方法，案例研究和参与式设计。这些已建立的研究方法可以简述如下。实地调查使人们

有必要参观一些地方，以研究在遗产环境中如何利用图形对象。视觉方法强调照片记录是环境研究中的一种重要方法，并且适用于人造环境，因为它提供了一种研究人员和设

计人员之间可通用的交流方式。案例研究提供了现实生活图形遗产再定位

facilitated the need to visit places to study how graphic objects are utilised in heritage settings. Visual methods emphasised photo-documentation as a valued approach in environmental research and suited to the built environment because it provides a common mode of communication between researchers and designers. Case study research provides the real-life context and allowed for concentration on the subtleties and intricacies of complex urban settings. Participatory design is a familiar research approach in planning and design, and has been used to encourage awareness and perception as part of design decisionmaking and implementation processes as well as benefiting the involvement of the public for the benefit of improving places that are meaningful to them. In support of these approaches the research has also embraced practical work as an orientation towards the creative industries and the advancement of graphic design for urban heritage in the pursuit of new knowledge for the development, testing and production of artefacts.

In addition to these relatively established approaches the urban focus has also benefited from other creative methodological tools that suit specific urban settings and provide various nuanced but no less accountable approaches. These include: comparative urbanism, terminology, everyday observation, relational urban design, visual ethnography, iterative design, collaborative workshop, systematic photography, repeat photography, documenting inscriptions, workshops, visual analysis, archival interpretation, mapping, walking, wayfinding, getting lost, intuition, and visual comparison. Although not explicit in the research approach, it is important to recognise their respective importance. For example, visual analysis has encouraged reflection and revisiting of previously taken photo-documentation unmotivated by a concern for graphic heritage. Walking has been motivated by several approaches, sometimes in a directed way, for example, in following a tourist map of a designated heritage visitor location, such as Jìng’ ān Villa, or at other times much more exploratory and meandering, for example The Bund. In such cases, undertaking research in unfamiliar heritage locations acknowledges the unavoidable affect of the tourist gaze.

Repositioning Graphic Heritage

的背景，并允许人们专注于复杂的城市环境的微妙性和复杂性。参与式设计是规划和设计中一种熟悉的研究方法，已

被用于鼓励个人的意识和感知，这是设计决策和实施过程的一部分，并且使民众的参与，使得他们改善对自己有意义地方的渴望得到满足。为了支持这些方法，研究还包括将实

践工作作为面向创意产业的方向，并促进城市遗产平面设计的发展以及对新知识的探索。除了这些相对成熟的方法以

外，城市研究重点还受益于其他创新的方法论工具，这些工具适合特定的城市环境并提供各种细微但不起眼的方法。

这些方法包括：比较都市主义，术语，日常观察，关系城市设计，视觉人类学，迭代设计，协作研讨会，系统摄影，重复

摄影，记录题词，研讨会，视觉分析，档案解释，制图，档案解释，绘图，行走，寻路，迷路，直觉和视觉比较等。尽管在

研究方法中不是很明确，但重要的是要认识到它们各自的重要性。例如，视觉分析已经鼓励对先前拍摄的照片文档的

反思和重新思考。步行的动机有多种，有时是有针对性的，例如遵循指定遗产所在地的旅游地图，例如静安别墅；有时

调研则具有探索性和曲折性，例如外滩。在这种对陌生的遗

产地点进行研究情况下，就可以用来判断不可避免的“ 游客视角 ”影响。

图形遗产再定位

Fieldwork and visual methods

Heritage locations have been visited in the UK and China. Three visits to Shanghai in October 2018, April and October 2019 provided opportunity to undertake fieldwork at four contrasting heritage locations: the Bund, Tianzifang, Xintiandi, and Thames Town. See Appendix 2a, 2b and 2c. These were informed by the prior visit to Shanghai in 2017 (noted earlier) and supplemented by a further invited trip in December 2019. Together, these have generated a significant body of visual research as photo-documentation for visual analysis. In the UK, fieldwork concentrated on Liverpool and Leicester. As well as visual analysis of photo-documentation generated during the project phase, this has also been undertaken for previously generated photodocumentation prior to the project, in Blackpool and London. The following case studies introduce the fieldwork during and prior to the project phase.

Repositioning Graphic Heritage

实地考察和视觉方法

研究团队所参观过文化遗产包括了英国和中国。2018 年 10

月，2019 年 4 月和 2019 年 10 月分别对上海进行了三次访问，所访地提供了四个截然不同的文化遗产案例：外滩，田子坊，新天地和泰晤士小镇。参见附录 2a, 2b, 2c 。这些实地考

察是基于 2017 年之前上海的访问（之前提到），以及在 2019

年 12 月又一次受邀访问。这些都结合了视觉研究的大量内容，以及作为视觉分析的照片记录。在英国，实地考察主要集中在利物浦，莱斯特和伦敦。除了对项目阶段生成的照片

文档进行视觉分析外，还对项目之前先期生成的照片文档进行了分析，而先前的分析尚未确认其遗产价值。以下地点

以及随后对照片文档的视觉分析介绍了项目的推进阶段以及相关的实地调查情况。

f Promoting opera in People’ s Square, Shanghai 在上海人民广场宣传歌剧

图形遗产再定位

Case studies

Eight case study locations have been selected from the fieldwork, four from China and four from the UK. The China case studies hail from Shanghai and represent different approaches to the way heritage is playing its part in urban development, that is, places populated by people compared, for example, to ancient ruins or sacred places. These include:

Tianzifang: creative enclave Xintiandi: trans-historical space Thames Town: urban mimicry The Bund: colonial heritage

Liverpool: Maritime Mercantile City Leicester: King Richard III Centre Blackpool: Comedy Carpet London: Abbey Road

Similarly, the case studies from the UK also accommodate people on a day-to-day basis as heritage visitor locations, but these offer a contrast in that the locations are selected to represent different types of heritage visitor attraction, comparing a large former industrial waterfront, an inner city visitor centre, a commemorative public art and an ordinary location that has become a site of pilgrimage. These include:

Together, these do not align with any particular typology of cultural heritage location, but do provide variation in the way environments sensitive to heritage might be understood through the perspective of graphic heritage, in practice and theory. The following pages provide a short introduction to each location followed by photo-documentation for each case study.

Repositioning Graphic Heritage

案例研究

从现场工作中选择了八个案例研究地点，其中四个在中国，四个在英国。中国的案例研究针对上海，代表了遗产在城市发展中发挥作用的不同途径，与古代遗址或圣地相比，这些地方都是人们现在居住的。这些包括：

田子坊：创意飞地

泰晤士镇：城市模仿

新天地：跨历史空间外滩：殖民地遗产

同样，来自英国的案例研究也将人们作为日常文化遗产游客的场所，但与之形成对比的是，这些地点的选择代表了不

同类型的文化遗产游客的吸引点，与以前的大型工业滨江区相比，城市游客中心，纪念性公共艺术和由普通变成朝圣的地点。这些包括

利物浦：航海时代的商贸城市

布莱克浦：喜剧地毯

莱斯特：理查三世中心伦敦：爱彼路

总之，它们与文化遗产位置的任何特定类型都不相符，但确

实在实践和理论上通过图形遗产的角度，提供了对遗产敏感环境的理解方式的变化。以下简要介绍了每个位置，然后为每个案例研究提供了照片文档。

图形遗产再定位

Tianzifang: creative enclave

7. Hiu Kwan Yung, Edwin Hon Wan Chan, and Ying Xu.“Sustainable development and the rehabilitation of a historic urban district – social sustainability in the case of Tianzifang in Shanghai.” Sustainable Development. 22, (2014): 96. 8. Lilong may also stand for Linong, Li meaning a row or block of housing and Nong meaning lane for access. These developments, comprised of two or three story Shikumen terraced houses resembling a Western town-house, were accessed through a stylised stone arch. 里弄，里意味着一排或一幢房屋；弄表示可以穿过的小巷。这些发展包含了两至三层的石库门建筑，其石材和拱形设计反映了西方的小镇风格。

On the edge of the former historical French Concession area of Shanghai, Tianzifang is a 7.2 hectare site that stands out as an example of contemporary urban rehabilitation and social sustainability.7 Tianzifang is typical of the concept of the Shikumen lilong,8 meaning the material form and social life of housing neighbourhoods not only comprised of the physical form of housing within small alleys but also the local community and culture created by its residents. In the 1950s this type of residential community accounted for 72.5% of housing in Shanghai and the style is said to characterise the city’ s rich architectural heritage and social foundation.9 Under the threat of demolition, from 1998 onwards Tianzifang was transformed by local residents, artists, and merchants into a successful culturally innovative development ratified for its creative and service industry with appeal as a tourist destination. It is known by its relatively modest, grass roots, transient nature.

9. Xiaohua Zhong, and Xiangming Chen, “Demolition, rehabilitation, and conservation: Heritage in Shanghai’ s urban regeneration 1990–2015.”Journal of Architecture and Urbanism. 41, no. 2, (2017): 83.

Repositioning Graphic Heritage

田子坊：创意飞地

田子坊位于上海前法租界历史区的边缘，占地 7.2 公顷，是 7 当代城市复兴和社会可持续发展的典范。田子坊是石库门

8 意味着物质形态住房社区的社会生里弄概念的典型代表，

g Tianzifang 田子坊

活不仅包括小巷中住房的物理形式，还包括其居民创造的当地社区和文化。1950年代，这类居住社区占上海住房的 72.5％，据说这种风格体现了上海丰富的建筑遗产和社会基

9 在可能被拆迁的情况下，从 1998 年起，田子坊由当地居础。

民，艺术家改造，并且由商家所提供的创意业态和服务业，从而获得成功的文化创新发展路径，并吸引了大量游客。它以相对适度化，平民化、流动化性质而闻名。

i Photographs of Tianzifang before urban rehabilitation on display at the entrance to the development. Photographer unknown. 在开发的入口处陈列着田子坊城市修复之前的照片。摄影师不详。

图形遗产再定位

Xintiandi: trans-historical space

10. Albert Wing Tai Wai. “Place promotion and iconography in Shanghai’ s Xintiandi.”Habitat International. 30. (2006): 249. 11. Ibid.

Shanghai’ s Xintiandi is a flagship urban heritage development in the Luwan District of the old French Concession. Redeveloped between 1999–2001, it is as a mix of retail, entertainment, commercial and hotel accommodation fitted to the original architecture and alleys. The scheme enhanced Shanghai’ s bid for status as a UNESCO City of Design. It includes the building where the First Session of the National Congress of the Communist Party of China was held, now a national historic cultural preservation site. Designed to invoke an aura of old Shanghai during the period of the foreign concessions, Xintiandi is the first project in contemporary China to merge urban regeneration efforts with heritage conservation,10 symbolising the Shikumen building as a central feature. Prevalent in its landscape are icons of place promotion such as sculptures, paintings, preserved artefacts, buildings and so on.11 The neighbourhood is one of the earliest examples of development that integrates creative design with urban planning and construction development strategy.

g The award winnng Xintiandi, and memorial to the site of the first national congress of the Communist Party of China. 屡获殊荣的新天地和中国共产党第一次全国代表大会的纪念馆。

Repositioning Graphic Heritage

新天地：跨历史空间

上海的新天地是旧法租界卢湾区的城市遗产旗舰开发项目。地块在 1999 年至 2001年之间进行了重新开发，结合了原始建筑和小巷，结合了零售，娱乐，商业和酒店住宿等业

g Xintiandi 新天地

态。该计划提高了上海争取获得联合国教科文组织“ 设计之都 ”地位的机会。其中包括在中国共产党第一次全国代表大会举行的小楼，现在是国家历史文化保护地。新天地的设

计旨在唤起对旧上海的回忆，是当代中国第一个将城市更 10 象征着石库门建筑的核心特新与遗产保护相结合的项目，

征。在其景观中普遍存在着诸如“ 雕塑，绘画，保存的文物， 11 该社区是最早将创意设建筑物等 ”之类的地方推广标志。

计与城市规划和建筑发展战略相结合的发展实例之一。

图形遗产再定位

Thames Town: urban mimicry

12. Wade Shepard, Ghost Cities of China. (Zed Books, 2015).

13. Carine Henriot and Martin Minost.,“Thames Town, an English cliché.” China Perspectives. 81 (2017). http://journals. openedition.org/china perspectives/7216 14. Ibid.

Situated in the new city of Songjiang on the outskirts of Shanghai, the so called‘town on the Thames’ is a 0.96 km2 satellite town designed to accommodate 10,000 people12 in an English-themed setting. It was one of several new towns built between 2003–2006 as part of the city’ s One City, Nine Towns initiative, when selected new developments were designed to replicate architectural styles from Germany, Scandinavia, Canada, Italy, the Netherlands, the USA, Spain, and China itself. Thames Town borrows its urban form from the quintessential English suburb. Its architecture in large part imitates classical Georgian and Victorian style, its buildings feature red and grey brickwork, whilst its street furniture replicates the red telephone box, and black and white striped painted traffic light poles13 in a system of urban mimicry. Place names are decidedly English, such as Chelsea Street or Oxford Street, famous Britains are commemorated in statues of Winston Churchill, James Bond or Florence Nightingale, and caretakers are attired in the regal red of a Buckingham Palace guard.14 m The“town on the Thames”in Songjiang, Shanghai. 上海松江的“ 泰晤士小镇 ”

Repositioning Graphic Heritage

泰晤士小镇：城市模仿

所谓的“ 泰晤士河畔的小镇 ”位于上海郊区的新城松江，是

一座 0.96 平方公里的卫星城，旨在以英伦文化为主题，可以 12 作为城市“ 九镇一城 ”计划的一部分，它是容纳 10,000 人。

g Thames Town 泰晤士小镇

2003 年至 2006 年期间建造的几个新城镇之一，当时选定的新开发项目旨在复制德国，斯堪的纳维亚半岛，加拿大，意大利，荷兰，美国，西班牙，以及中国本土建筑风格。泰晤士

小镇是从典型的英国郊区借用的城市形式。它的建筑在很大程度上模仿了古典的格鲁吉亚和维多利亚风格，其建筑以红色和灰色砖砌为特色，而其街道家具则在城市模仿系 13 地名统中复制了红色电话亭和黑白条纹的彩绘交通灯杆。

皆标有英语，例如切尔西街或牛津街，温斯顿 · 丘吉尔，詹姆斯·邦德或佛罗伦萨·南丁格尔的雕像都纪念着著名的英

国名人，而小镇看护人则身着白金汉宫侍卫的富丽堂皇的 14 红色装扮。

图形遗产再定位

The Bund: colonial heritage

15. John Pendlebury and Heleni Porfyriou. “Heritage, Urban Regeneration and PlaceMaking.”Journal of Urban Design 22, no. 4 (2017): 429.

16. Jeremy E. Taylor, “The Bund: Littoral Space of Empire in the Treaty Ports of East Asia.”Social History 27. no. 2 (2002): 128.

The Shanghai Bund is a mile-long stretch of waterfront on the west bank of the Huangpu River, between Yan’ an Road (E) to the south and the Waibaidu Bridge to the north. Established initially as part of the British enclave in Shanghai during the early nineteenth century, it developed during the period of the former Shanghai International Settlement (1863–1943) from the merging of British and American interests. Known specifically for its colonial heritage, it has become one of the most wellknown examples of an urban regeneration treaty port since its redevelopment and reopening to the public in 2010. Before then, as a former working harbour and commercial centre of Shanghai it was said to be one of China’ s most photographed and writtenabout urban places, with one of the world’ s most identifiable skylines.15 Although still popularly known as the Bund, in 1949 the road running parallel to the waterfront was renamed Zhongshan Road E1 after the twentieth-century Chinese leader Sun Yat-sen, considered the father of the Republic of China. The Bund’ s name originated from Anglo-Indian jargon that came to define treaty ports as they developed in China, Taiwan and Japan, although as a toponym it is now exclusively Shanghai.16

Repositioning Graphic Heritage

外滩：殖民地遗迹

上海外滩是黄浦江西岸长达一英里的滨江区域，位于南面的延安东路和北面的外白渡桥之间。它最初成立于 19 世纪初期，是英国在上海的租界一部分，在英美两国合并后的上

g Shanghai Bund 上海外滩

海国际定居点（1863 年至 1943 年）时期发展起来。自 2010 年

重新开发并向公众开放以来，它就以其殖民地遗产而闻名，已成为城市更新的港口最著名案例之一。在此之前，作为上

海的前港口和商业中心，据说外滩是在中国影像和文字记载最多的城市景点之一，拥有世界上最可识别的天际线之 15 尽管仍广为人知，但在 1949 年，与河岸平行的道路在二一。

十世纪后更名为中山东路。为纪念中华民国之父孙中山。外

滩的名字起源于盎格鲁 - 印度的行话，用于定义是在中国，台湾和日本开发的条约租借港口，但是现在的地名仅为上海。16

i The Bund lighting design by Zhongyi Art and Design. 外滩照明设计由中意艺术设计有限公司提供。

图形遗产再定位

17. Six distinct areas of the city are included in the designation: Pier Head, Albert Dock Conservation Area, Stanley Dock Conservation Area, Castle Street Historic Commercial District, William Brown Street Cultural Quarter, and Lower Duke Street Merchants Quarter. 所指定范围包括城市的六个不同区域：海德码头区，阿尔伯特码头保护区，斯坦利码头保护区，城堡街历史商业区，威廉布朗街文化区和下杜克街商业区。

18. John Hinchcliffe, “Liverpool Maritime Merchant City World Heritage Site: Lessons for the conservation and management of port cities.”ICONOS– Hefte des Deutschen Nationalkomitees 54, (2012): 98

19. Rob Burns, Peter de Figueiredo, John Hinchcliffe and Ian Wray, Liverpool: World Heritage City. (Bluecoat Press, 2014). 36

20. Joseph Sharples, Liverpool, Pevsner architectural guide. (Yale University Press, 2004). 107.

Liverpool: Maritime Mercantile City

Liverpool Maritime Mercantile City was inscribed as a UNESCO World Heritage Site in 2004 for its outstanding importance as a commercial port city.17 The designation recognised the city’ s role throughout the 18th, 19th and early 20th century as a major trading centre. Much of the site is located at the waterfront on the River Mersey, including Pier Head, the Royal Liver Building, the Cunard Building, and Port of Liverpool Building, and the Dock area. The docks divide in two, the North Dock and South Dock, located either side of Pier Head. The Albert Dock to the south, built in 1843–7, is one of the most well-known locations and attracts over four million visitors annually as an international icon of heritage-led regeneration.18 It was redeveloped in the mid-1980s, when the warehouses were renovated for mixed use including residential, retail and cultural institutions such as the Tate Liverpool gallery. Aside from the waterfront buildings, warehouses, dock walls, canal system and other facilities, the site is rich in public monuments and sculpture.19 One of the Albert Dock’ s most distinctive features are the 64 4.6 metre high Greek Doric hollow cast-iron columns,20 painted in a distinctive orange since its renovation.

gThe Albert Dock colonnade, World Heritage site endorsement, and signage on Pier Head. 阿尔伯特码头（Albert Dock）的走廊，世界文化遗产的认可和海德码头的招牌。

Repositioning Graphic Heritage

利物浦：航海时代的商贸城市

利物浦航海时代的商贸城市因其作为商业港口城市的卓越 17 重要性而在 2004 年被联合国教科文组织列为世界遗产。这

一名称认可了利物浦在 18 、19 和 20 世纪初作为主要贸易中

g Liverpool Waterfront 利物浦滨江

心的作用。该地区由默西河的滨水区组成，包括海德码头，皇家利物大厦，库纳德大厦，利物浦港口大厦和码头区。码头分为两个，北码头和南码头，位于海德码头的两侧。南部

的阿尔伯特码头建于 1843–1847 年，是最著名的地区之一， 18 每年吸引超过 400 万游客，成为传统文化复兴的国际标志。

它于 1980 年代中期进行了重新开发，尤其对仓库进行了翻新，呈现混合使用的形态，其中包括住宅，零售和文化机

构，例如泰特利物浦美术馆。除了海滨建筑、仓库、码头墙、运河系统和其他设施外，该地区还拥有许多公共古迹和雕 19 阿尔伯特码头最具特色的地方之一是 64 x 4.6 米高的希塑。 20 自翻新以来，以独特的橙色涂料腊多利斯中空铸铁圆柱。

所受人瞩目。

图形遗产再定位

Leicester: King Richard III Centre

21. Leicester and Leicestershire Tourism Growth Plan, https:// www.leicestershire.gov. uk/sites/default/files/ field/pdf/2019/11/8/ leicester-leicestershiretourism-growth-plan. pdf. 8

The skeleton of King Richard III, king of England between 1483–5, was discovered in a grave under a city council car park in the Greyfriars area of Leicester city centre in 2012. The car park, located on the former site of a medieval friary, is now heritage protected as an important archaeological site. Above the grave is an extension to a former Victorian school, built as part of the award winning King Richard III Centre that opened in 2014. The building, designed by Maber Architects and involving architects, interior designers and heritage specialists, tells the story of the Dynasty, Death and Discovery of the king. Visitors to the centre learn this through items on display in the exhibition space and retail facilities. The discovery had an immediate effect on the number of visitors to Leicester, adding £54m to the local economy.21 Since then, it has impacted significantly on the townscape, spawning numerous textual and visual representations. These encompass the interests of historical societies, tourist outlets, transport infrastructure, public art, branding, pedestrian signs, even manhole covers, adding to commemorative plaques and location markers, for example, that mythologised the disposal of the king’ s body by throwing his remains from the Bow Bridge into the local River Soar.

g The former car park where King Richard III’ s remains were found, and the Leicester city name place brand identity designed soon after the discovery. 被发现国王理查德三世国王遗骸的前停车场，在不久后，莱斯特城为该地点设计了品牌标识。

Repositioning Graphic Heritage

莱斯特：理查德三世中心

英国国王理查德三世（1483–1485）的遗骨，于 2012 年被发现在位于莱斯特市中心格雷弗莱尔地区一个市议会停车场下的坟墓中。该停车场位于中世纪修道院的旧址上，现已被保

护为重要的考古遗址。坟墓上方是一所前维多利亚式学校的扩建部分，该建筑是屡获殊荣的国王理查德三世中心的一部分，于 2014 年开放。中心大楼由 Maber Architects 事务所设计，项目涉及来了建筑师、室内设计师以及遗产专家，其设计讲述了王朝、死亡和发现的故事。参观中心的游客可以

通过展览空间和零售设施中展示的物品来学习。这一发现

g Journeying through Leicester towards the King Richard III Centre 通往理查德三世中心的旅程 Journeying through King Richard III Centre, to the tomb in Leicester Cathedral opposite the Centre 通往理查德三世中心和位于市中心对面莱斯特大教堂的棺木的旅程

对莱斯特游客的数量产生了直接影响，为当地经济增加了 21 自此，它也对城镇景观产生了重大影 5400 万英镑的收入。

响，出现了大量文字化和视觉化寓意表达。这些包含了广泛

的使人引发兴趣的历史社会、旅游商品店、交通基础设施、公共艺术、品牌、行人指示牌，甚至窨井盖，还增加了纪念牌匾和位置标识，例如，关于将国王的遗体从 Bow 大桥上丢弃进当地的 Soar 河中的传说。

图形遗产再定位

Blackpool: Comedy Carpet

The seaside town of Blackpool in north-west England has been the spiritual home of British comedy since the industrial revolution.22 As a working class holiday destination, throughout the twentieth century the place attracted the most renowned comedians frequenting the piers, theatres, clubs, pubs, funfairs, summer season venues and Winter Gardens.23 In celebration of 23. Ian Wilkie,“Blackpool,” this comedy heritage, the Comedy Carpet is a public art work Comedy Studies 8, (2017): sited in front of Blackpool Tower, featuring the comedy of more 118. than 1,000 performers and writers through their jokes, songs 24. Gordon Young’ s website at https:// and catchphrases. Opened in 2011, this £2.6m project by public gordonyoung.info/ artist Gordon Young in collaboration with the graphic design thecomedycarpet. Accessed 26 January 2021. firm Why Not Associates (responsible for the typography), was commissioned by Blackpool Council and funded by the 25. https://www. Commission for Architecture and the Built Environment (CABE) architectsjournal.co.uk/ archive/the-goldenas part of its Sea Change programme. Containing over 160,000 smile-blackpool-rolls-outletters embedded in concrete, the carpet is 2,200 square metres comedy-carpet. in size24 and is a comedy heritage landmark in Blackpool’ s 56 million pound seafront regeneration programme. Having taken five years to make, the work is designed to still be a celebration of Blackpool’ s comedy heritage in the next century.25

22. Graham McCann, “On behalf of the working classes,”in The Comedy Carpet Blackpool, ed. Mark Sutcliffe (London: Booth Clibborn Editions, 2013), 18.

Repositioning Graphic Heritage

布莱克浦：喜剧地毯

自工业革命以来，英格兰西北部的海滨小镇布莱克浦一直是英国喜剧的精神家园。22 作为工人阶级的度假胜地，在整

个 20 世纪，这个地方吸引了最知名的喜剧演员，经常光顾码头、剧院和俱乐部、酒吧、游乐场、夏季活动场所和“ 冬季花

g Blackpool’ s Comedy Carpet 布莱克浦的喜剧地毯

“ 喜剧地毯 ”是位于布莱克浦园 ”。23 为了庆祝这一喜剧遗产，塔前的公共艺术作品，收录了 1,000 多位表演者和作家的有

关喜剧的笑话、歌曲和流行语。这个由公共艺术家 Gor-

don Young 与平面设计公司 Why Not Associates（负责版式）合作的，耗资 2.6 百万英镑的项目于 2011 年开放，由布莱克浦市政局委托并由建筑与建筑环境委员会资助，是“ 海洋变迁计划 ”的一部分。地毯上嵌入了超过 160,000 个字母，面积

为 2,200 平方米 24 ，是布莱克浦投资数百万英镑滨海再生计划中的喜剧遗产地标。经过五年的制作，该作品的目的仍是 25 为了庆祝下一个世纪布莱克浦的喜剧传统。

i Contemplating the jokes, songs and catchphrases of Blackpool’ s heritage. 布莱克浦遗产的笑话、歌曲和流行语的凝视

图形遗产再定位

London: Abbey Road

26. https://historicengland. org.uk/listing/whatis-designation/listedbuildings/#HowItWorks. Accessed 26 January 2021. 27. https://historicengland. org.uk/listing/the-list/listentry/1396390. Accessed 26 January 2021.

The Historic Buildings and Monuments Commission for England, also known as Historic England, is a government sponsored public body that gained its power and responsibility from the National Heritage Act of 1983. Historic England protects historic areas, sites, buildings and monuments, and is responsible for the National Heritage List and its concern for heritage protection legislation. The list has three grades, I, II* and II, the latter being the most common with more than 91.7% of all listings for the reason of special interest.26 The road (zebra) crossing near Abbey Road Studios on Abbey Road in London was grade II listed in 2010. The reasons for its designation are stated as follows: Historical interest: as the zebra crossing made internationally famous on the cover of The Beatles’1969 Abbey Road album, and as a celebrated example of this important form of road safety crossing invented by Lord Hore-Belisha; Group value: with the nearby Grade II Abbey Road Studios, a recording studio of huge renown used by many celebrated artists including The Beatles.27 The crossing is further described as a place of pilgrimage for Beatles fans the world over, who come to re-enact the strident walk across parallel white rectangles painted on the road surface. g Abbey Road crossing as a performance place and writing space.

爱彼路人道线成为表演和书写的场所

Repositioning Graphic Heritage

伦敦：爱彼路

英格兰历史建筑和古迹委员会，又称“ 历史英格兰 ”，是政

府赞助的公共机构，从 1983 年的《国家遗产法》确保了其权力和责任。国家遗产名录及其对遗产保护立法的关注。该清

g Abbey Road 爱彼路

单分为 I，II * 和 I I 三级，后者是最常见的，出于特殊原因，占所有清单的 91.7％。26 伦敦爱彼路的 Abbey Road Studios 附近

的道路（斑马线）被列为 2010 年的 I I 级遗产保护。指定其原因如下：

历史的兴趣：人道线出现在披头士乐队的 1969 年 Abbey

Road 专辑封面上而享誉国际，加之是霍尔 · 贝里沙勋爵发

明的这种重要的道路安全穿越形式的典型例子；团体价值：与附近的 Abbey Road Studios，是一家著名的录音棚，被包括披头士乐队在内的许多著名艺术家使用。27

对于世界各地的披头士乐队乐迷来说，这个十字路口被描述为朝圣的地方，为此他们重新制定了跨越涂在路面上的平行白色矩形的步道。

图形遗产再定位

Key insights The fieldwork and visual methods lead to several empirical insights. Each fieldwork heritage location displays distinctiveness in the way graphic objects communicate heritage: (1) in Tianzifang graphic heritage is ubiquitous, seen in every vista; (2) in Xintiandi graphic heritage commemorates urban symbols and historic locations; (3) in Thames Town graphic heritage authenticates heritage inspired urban development; (4) in the Bund graphic heritage defines a sense of place and enhances colonial heritage; (5) in Liverpool Maritime Mercantile City graphic heritage represents multiple heritages in one location; (6) in Leicester graphic heritage defines the heritage visitor experience almost in its entirety; (7) in Blackpool graphic heritage communicates intangible cultural heritage at a monumental scale; (8) in London’ s Abbey Road graphic heritage provides a stage for public performance. As a ubiquitous phenomenon, graphic heritage can define an environment whereby heritage messages are pervasive. In the dense environment of Tianzifang, graphic heritage confronts the visitor at the entry vantage point: in the patterned floorscape and utility floor markers; as hanging Chinese lanterns or national flags; decorative fenestration; maps; wall posters; commemorative plaques; warning signs; decorative door furniture; and bespoke signs. These all participate in the contemporary urban rehabilitation and social sustainability of this historic neighbourhood. In commemoration of familiar urban symbols and historic locations, graphic heritage accentuates and embellishes transhistorical spaces. In the mixed-use environment of Xintiandi, graphic heritage authenticates the historic symbolism of Shikumen housing. Sometimes graphic objects blend in (for example, wall mounted signs), and on other occasions they stand out (for example, free standing advertising units). Graphic heritage authenticates heritage inspired urban development. The themed mimicry of Thames Town typifies an English suburb. At the macrographic scale the place is a convincing counterfeit, enhanced by the black and white Tudor inspired timber-framed facade, the red telephone box, statues of famous English characters (real and fictional), even a seaside ice cream cone. The authenticity weakens at the micrographic level, where Chinese writing inscribes the place. 64

Repositioning Graphic Heritage

关键见解

实地考察和视觉方法导致了一系列实证研究的洞察。每个田野调查的遗产地点在以平面图形交流遗产的方式上都表现出其独特性：（1）田子坊的图形遗产无处不在，能够从每

个远景中都可以看到；（2）新天地的图形遗产纪念了城市象征符号和历史场所；（3）在泰晤士镇，图形遗产见证了受遗产影像的城市发展；（4）在外滩，图形遗产定义了一种地方

感并强化了历史遗产；（5）在利物浦航海时代的商贸城市，图形遗产以一个地点代表多种遗产；（6）莱斯特的图形遗产完全定义了遗产游客的体验；（7）在布莱克浦，图形遗产以

非凡的规模传达非物质文化遗产；（8）在伦敦的爱彼路，图形遗产为公众表演提供了舞台。

作为一种普遍现象，图形遗产可以定义一种环境，即使遗产

信息普遍存在且无处不在。在田子坊密集的环境中，游客在

入口处即面对图形遗产：图案化的地面景观和实用地上标

记、悬挂的中国灯笼或国旗、装饰窗、地图、墙贴、纪念牌、警示标志、装饰门家具，以及定制的店招。这些都参与了整个历史街区的当代城市复兴和社会可持续发展。

为了纪念熟悉的城市象征符号和历史场所，图形遗产突显和装饰了跨越历史的空间。在新天地的综合利用环境中，图

形遗产见证了石库门的历史象征意义。有时图形对象会被融合在一起（例如，墙上的标志），而在其他情况下，它们会被更凸显（例如，独立式广告）。

泰晤士小镇的主题模仿的是英国郊区的典型代表。从宏观上看，这个地方模拟了令人信服的场景，其灵感来自于黑白色构成的都铎风格的木框门面、红色电话亭、著名的英文字符（真实或虚构）、雕像、甚至还有海边的冰淇淋蛋筒。在微观层面上，由于中国文字的运用暗示了本真性的减弱。

图形遗产再定位

The same urban mimicry defines the Bund, but with the exception that its authenticity comes from the colonial powers who did not so much import a foreign style but align their architectural endeavours with the familiar symbolism of their own culture. This is clearly evident at street level where symbols such as the lion sculpture outside the Hong Kong and Shanghai Bank (now the Shanghai Pudong Development Bank) enforce a sense of might, or the ancient Roman fasces symbol on the bank’ s gates conveying magisterial and priestly authority. These contrast in scale, but no less in meaning, with the building’ s distinctive dome that conveys power as well as contributing to defining the skyline. Liverpool Maritime Mercantile City differs from the Bund in its variety of building types, from those that display similar features from domes to clock faces to the warehousing of the Docks. Aside from many of the variable facets of graphic heritage identified so far, notable observations from the visual analysis highlight how the site’ s graphic heritage is connected to other aspects of the city’ s identity that have heritage value, such as the liver bird and its central emblematic importance in Liverpool Football Club, or The Beatles and their worldwide fame. Such importance warrants inclusion in the national network of road signs that aligns with a national design heritage through the graphic design that shapes and contributes to a sense of national identity.

h The ancient Roman Fasces symbol on entry gates to the former Hong Kong and Shanghai Bank, the Bund. 古老的罗马 Fasces 符号出现在前香港和上海银行外滩的大门上。

In commemoration of a more regal sense of heritage, the King Richard III Centre tells the story of a king through a wide range of graphic objects that blend our experience of arriving in a city, locating a destination, and experiencing the heritage through graphic design as storytelling. These include such urban interventions in the form of city boundary markers, road, rail and pedestrian signs, commemorative plaques and promotional banners, statues and manhole covers. Inside the centre, printed matter, multimedia screen displays, descriptive text, branding, informational and promotional materials, pointing finally to a tomb in the Cathedral opposite. The central attraction is the burial site uncovered by the archaeological dig, that in blunt terms, is an empty hole in the ground. Until this stage, the visitor experience is a visual experience facilitated by graphic heritage. The Blackpool Comedy Carpet is a celebration of intangible cultural heritage as spoken language and performance, represented as a large-scale set of commemorative floor tablets for the public to ponder and play on. Its content is defined Repositioning Graphic Heritage

同样的城市模仿定义了外滩，但其真实性来自于殖民地国家，他们并没有太多地引入其他外国风格，而是将其原始建

筑风格与当地文化符号结合起来，从而带有他们自己文化的传统式象征。这一点在街道上很明显，例如汇丰银行（现为上海浦东发展银行）外面的狮子雕塑增强了威力，或者银

行大门上的古老罗马壁饰符号传达着贤士和祭司的权威。这些建筑不仅在规模上，还从意义上形成了鲜明的对比，建

筑穹顶既传递着力量，又为城市天际线的形成做出了贡献。

利物浦航海时代商贸城市由于其多元的建筑与外滩不同，从圆顶到钟面的装饰再到码头的仓储。除了许多被认定的图形遗产方面之外，视觉分析的重点观察突出显示了该地点的图形遗产如何与具有遗产价值的城市身份以及其他方

面相关联，例如利物鸟及其在利物浦足球俱乐部标志中的象征意义，或者和披头士乐队以及他们的国际声望。

理查德三世中心则表明，为了纪念某种更加崇高的传统感，必须通过平面设计将其纳入国家道路标识系统，使其与国家设计遗产保持一致。通过各种各样的图形对象来讲述国

王的故事，这些图形对象融合进体验城市的路径，帮助定位目的地以及通过图形设计所演绎的故事来体验遗产的经验。这些措施包括以城市边界标记、道路、铁路和行人标识、纪念牌匾和促销横幅、雕像和窨井盖等形式的城市干预

措施。在中心内，印刷品、多媒体屏幕、描述性文字、品牌、信息和促销材料，最终指向对面的大教堂棺木。中心景点则

是考古发掘发现的墓地，现为空穴。在此阶段之前，游客体验是由图形遗产所带来的视觉体验。

布莱克浦喜剧地毯是一种非物质文化遗产的庆祝活动，它是口

头语言和表演作为代表，是一系列大型的纪念地牌，供公众思

h The dome of the former Hong Kong and Shanghai Bank, the Bund, and nameplates of the new occupants.

考和娱乐。它的内容是通过写作来定义的，并受到表演的启发，前香港上海汇丰银行的圆顶，但是它的视觉吸引力却是将模仿布莱克浦作为海滨度假胜地

外滩以及新居民的铭牌。

的字体设计以及宣传，音乐厅海报和字体来彰显其在 2 0 世纪中图形遗产再定位

28. Andy Altman, “Designing Blackpool’ s Comedy Carpet.” See: https://www. designcouncil.org.uk/ news-opinion/designingblackpool-s-comedycarpet. Accessed 30 January 2021.comedycarpet.

29. Gordon Cullen. The Concise Townscape. (The Architectural Press, 1971). 96.

through writing and inspired by performance, but its visual appeal is infixed through a design that mimics the typographic vernacular of Blackpool as a seaside resort and the ephemeral publicity, music hall posters and fonts that promoted comedy performance in the mid-twentieth century, organised and represented with the intensity of a Persian carpet.28 Also inspired by performance (musical) is the Abbey Road pedestrian crossing, which had become unconventional site of pilgrimage for The Beatles’ fans. The painted parallel rectangles on black road surface add to the single Belisha beacon (with orange sphere) on either side of the road, also with painted white (and black) stripes that emulate the nautical tradition29 (as seen in Thames Town). As a unit, this configuration of communication designs exemplifies the notion of a graphic object, but in the case of Abbey Road is elevated beyond the utility of a road safety measure to an object of cultural heritage in both its tangible and intangible state. Previous attempts to define the function of graphic objects and their contribution to the graphic image of the city is as applicable to urban environments sensitive to heritage as they are to those not considered for their heritage value.

These case studies provide empirical evidence for the various ways that environments sensitive to heritage might be understood from their respective graphic heritage communication needs. There are two main observations from these insights. 1. In heritage designation, graphic objects are: (a) intrinsic in the sense that they belong to the constitution, or essential nature of heritage, for example, as fenestration (Tianzifang), boundary marker (Xintiandi), building adornment (liver bird atop the Liver Building, Liverpool) or the Abbey Road crossing; (b) extrinsic in the sense that they act upon the heritage, for example as place names (Thames Town), pedestrian signage (the Bund), commemorative plaques (Leicester), or as public art (Blackpool). 2. When looked at from the perspective of graphic design, in its broadest sense, environments sensitive to heritage seemingly must communicate to their respective audiences, or heritage visitors, on multiple levels and from many different perspectives both within and beyond the heritage location.

Repositioning Graphic Heritage

叶的喜剧表现，并用一个以波斯地毯的形式组织和代表。28

同样受到表演（音乐）启发的是爱彼路人行横道线，它已成

为披头士乐迷们朝圣的必到之处。黑色路面上绘制的平行矩形加之道路两侧的单个人行道指示灯（橙色球体），并且

还绘制有模仿航海传统的白色（和黑色）条纹。29（在泰晤士

镇中可见）。作为一个整体，传达设计的这种配置体现图形对象的概念，但是在爱彼的情况下，其使用安全性的意义已

超出了道路安全措施的范围，而成为有形和无形的文化遗产。以上所定义的图形对象功能及其对城市图形形象的贡献，既适用于对那些遗产敏感的城市环境，也适用于那些尚未考虑其遗产价值的城市环境。

这些案例研究可以从其各自的图形遗产传达需求中加深理解，对遗产敏感的环境的各种方式提供了经验和证据。这些洞察中的主要发现有二。

1 . 在遗产场所中，图形对象是：（a）内在意义上它们属于构成或遗产的基本要素，例如天窗（田子坊），边界标记（新天

地），建筑装饰物（利物浦的利物鸟）或爱彼路人道线；（b）从外在意义上讲，它们对遗产起影响作用，例如作为地名

（泰晤士小镇），行人标牌（外滩），纪念牌（莱斯特）或公共艺术（布莱克浦）。

2 . 从广义平面设计的角度来看，对遗产敏感的环境似乎必

须在遗产所在地点内外的各个层次上，从不同角度与各自的听众或遗产访问者进行沟通。

图形遗产再定位

Meetings and events

During the second Shanghai visit a series of meetings were organised to gauge the validity of the research topic with creative industries representatives, professional practitioners, heritage administrators, not-for-profit organisations and government agencies. These paved the way for follow on events that were organised in both the UK and China soon after and towards the end of the project. The meetings facilitated the opportunity to introduce the project through short presentations and the project team generally received supportive comments on the concept of graphic heritage, enough to organise a series of follow-on events, which are next introduced.

Meetings —UNESCO Creative City (Shanghai) Promotion Office d —Shanghai Creative Industry Association e —Shanghai Creative Industry Centre f —China-Britain Business Council —China Bridge International —Foreign and Commonwealth Office (Shanghai) —British Centre (Shanghai) a —Tongji Tiandi Institute of Art and Design Innovation —Etal Design —The Network with a Silver Lining b —DeBoer Wang Studio, Branding Public Space Research Lab —China Bridge International c

Events —Urban Perspectives on Design Literacy summer school —Exploring Urban Graphic Heritage exhibition —Design for Heritage in Theory symposium —Design for Heritage in Practice workshop —Tracing Shanghai workshop

Repositioning Graphic Heritage

会议和活动

在第二次上海访问期间，与创意产业代表、专业从业人员、遗产组织、非营利组织和政府机构举行了一系列会议，以评

估研究主题的有效性。这些为项目之后和即将结束在英国和中国举办的活动铺平了道路。这些会议通过简短介绍为广泛传播项目提供了机会，项目团队通常收到有关图形遗产概念的积极的评价，促成了一系列后续的活动，将在后文进行介绍。会议

－联合国教科文创意城市（上海）推进办公室 d

－上海创意产业协会e

－上海创意产业中心f －英中贸易协会

－英国外交、联邦及发展事务部－英国大使馆（上海）a

－同济天地艺术与设计创新学院－ Etal Design

－银线联盟b

－王敏和博恩工作室－中桥国际c

活动

－城市视角下的设计语义夏令营－探索城市图形遗产展览

－为遗产而设计理论研讨会－为遗产而设计实践工作坊

－描映上海工作坊

图形遗产再定位

Events

30. http://www. farrellreview.co.uk/

31. Steven Heller,“Design Literacy.”3rd Edn. (New York: Allworth Press, 2014)

32. Chris Pacione, “Evolution of the Mind: A Case for Design Literacy,”Interactions 17, (2010): 8. DOI: https://doi. org/10.1145/1699775.1699 777

33. Kathleen Formosa, and Steven Kroeter, “Towards Design Literacy in American Management: A Strategy for MBA Programs,”Design Management Journal 13, no. 3 (2002), 47.

The following recounts five events that set out to explore the relationship between heritage interpretation and design. As well as the opportunity to introduce graphic heritage, the impetus for the events responded to the publication of The Farrell Review in 201530 and the suggestion that“Places would be greatly improved if the people who make decisions about our built environment, such as planning committee members and highway engineers, were empowered by training in design literacy.”It seemed relevant to align graphic heritage with this aspiration. This also seemed appropriate because design literacy stems from graphic design, in 1997, relating to aesthetic, political, and cultural connotations.31 Since then, it has been further aligned with artistic sensibility32 and provides basic skills in inquiry, evaluation, ideation, sketching and prototyping.33

Examining the idea of design literacy seemed a useful starting point for exploring graphic heritage as a collective concern. A summer school was organised in the UK in June 2019 to establish how built environment professionals interpreted design literacy. A short introduction to the Urban Perspectives on Design Literacy summer school will soon follow, and a review of the event can be read in Appendix 3. Soon after this, three related events were staged in Shanghai as part of the Pan-Tongji Design Week in October 2019. This comprised of a Design for Heritage in Theory symposium and a Design for Heritage in Practice workshop, and an exhibition entitled Exploring Urban Graphic Heritage. These collectively marked the first year of progress for the project, whilst also setting the agenda for the second phase. The exhibition comprised of a 16-panel display introducing early findings from the project, setting out a framework for thinking and early case study work. It also introduced some of the graphic attributes that define graphic representations of heritage, for example, scale, pattern, colour, typography, illustration, and

Repositioning Graphic Heritage

活动纪要

以下内容叙述了所开展的五个活动，这些活动旨在探讨对遗产解读与设计之间的关系，以提高建筑环境专业人员对设计语义的认识。除了介绍图形遗产外，这些活动还因应了

2015 年《法雷尔评论》,30 其中提出“ 如果对那些建筑环境做

出决策的人，例如规划委员会成员和公路工程师，进行专业

的设计语义培训，情况将大大改善 ”。这里所存在的逻辑将使这一愿望与可持续遗产管理保持一致。

“ 其适合性因为设计语义在 1997 年首次与平面设计相关联，涉及美学，政治和文化内涵。”31 从那时起，它就进一步

与艺术感性保持一致 , 32 并提供了探究、评估和构想的方式 ,32 研究设计语义的想法似乎是探索图形遗产作为一个集

体关注的有用的起点，并且于 2019 年 ,33 月在英国组织了一

个暑期学校，以了解建筑环境专业人士对该术语的理解。有

关“ 城市设计语义视角 ”的简短介绍见后文，有关该活动的

回顾可参见附录3。

此后不久，进行了三个相关活动，作为 2019 年 10 月举行的“ 泛同济设计周 ”的一部分。其中包括“ 为遗产而设计 ”理论

讨论会、 “ 为遗产而设计 ”实践工作坊，以及名为“ 探索城

市图形遗产 ”的展览。这些共同标志着“ 城市图形遗产再定位 ”项目第一年的进展，同时也确定了第二阶段的进程。

展览由 16 个版面展示所组成，介绍了该项目的前期发现，并确定了来自英国四个地点和上海四个地点的思考和案例研

究材料的框架。展览还突出了一些用于定义遗产图形的平面属性，例如比例、图案、颜色、版式、插图和摄影。展览和

图形遗产再定位

photography. The exhibition and symposium took place at Tongji University College of Design and Innovation, and the workshop happened at the UNESCO Creative City (Shanghai) Promotion Office, as part of the Shanghai International Creative City Think Tank ongoing agenda. The three activities were closely linked even though they were organised to attract different kinds of audience. The symposium and exhibition was designed for academic researchers interested in design and heritage whereas the workshop sought the participation of heritage professionals, or those involved in what might be known as heritage practice.

For the symposium, a call for papers was circulated in February 2019 and 13 submissions were received from 12 Chinese universities, plus one from an independent company. The papers varied considerably and featured content from China and Europe, covering topics as broad as gable art on walls in Paris, design economics for promoting urban heritage, cultural regeneration of industrial heritage in Cardiff, and architectural decoration in window pattern design in China. A fifth workshop event, called Tracing Shanghai, is also outlined here as an exploration of the potential for creative industries practitioners. Tracing Shanghai: a graphic heritage and creative industry education collaboration encouraged designers to be inspired and look at the city as a source of visual-aesthetic inspiration by translating research into graphic design concepts for the heritage sector. The project introduced ways to study urban heritage systematically and challenged participants to examine how urban heritage is communicated through graphic objects. It encouraged designers to grapple with heritage interpretation, presentation and representation, and apply existing skills and knowledge to the heritage experience, bringing together interdisciplinary approaches.

Taking a discovery-led research approach, design prototypes were developed by Tongji University design students who explored urban graphic heritage in Shanghai through an understanding of language, typography, illustration, and photography. Exploratory interpretations and distinctive graphic communication proposed new opportunities for creative industry practitioners working in city branding, cultural promotion and place identity. The project has been nurtured in consultation with the Tongji Tiandi Institute of Art and Design Innovation, specifically regarding the enterprising nature of the design work. 74

Repositioning Graphic Heritage

研讨会在同济大学设计与创新学院举行，而工作坊则在联合国教科文组织创意城市（上海）促进办公室举行，也是与上海国际创意城市智库所进行的议程的一部分。

尽管活动吸引了不同类型的与会者，但是研讨会和工作坊

之间是紧密联系在一起的。研讨会是为对设计和遗产感兴趣的学术研究人员而设计的，而工作坊则寻求遗产专业人士或参与遗产实践的人士的参与。

在本次理论研讨会上，论文征集活动于 2019 年 2 月开始至 6 月截止，收到了来自 1 2 所中国大学以及一家独立公司的 13 篇论文，供同行评审。主题来源广泛，并且具有来自中国和欧洲的内容特色，涉及的主题包括巴黎山墙艺术，促进城市

遗产的设计经济学，卡的夫的工业遗产文化复兴以及中国窗饰设计中的建筑装饰等。后文将对“ 为遗产而设计 ”理论研讨会进行进一步讨论。

第五次活动为“ 描映上海 ”工作坊，也是对一个特定项目所

累积的概述，探讨创意产业从业者的潜力。描映上海：是一

项图形遗产和创意产业教育合作的倡议，旨在通过将研究转化为遗产领域的图形设计概念，鼓励和启发设计师，将城

市视为视觉审美灵感的来源。该项目介绍了系统研究城市遗产的方法，并向设计师提出挑战，以研究如何通过图形对象传达城市遗产。它鼓励设计师积极应用遗产的解读、展示和表示，并结合跨学科方法，将现有的技能和知识应用于遗产经验中。

同济大学设计系学生以发现为主导的研究方法，通过对文

字、版式、插图和摄影的理解，探索了上海城市图形遗产。探索性的解读和独特的图形交流为从事城市品牌、文化推广和场所标识的创意行业从业人员提供了新的机会。该项

目是在与同济天地艺术与设计创新学院协商后衍生出来的，特别强调了设计工作的商业性。

图形遗产再定位

Urban Perspectives on Design Literacy summer school Loughborough University and Leicester City Council, UK 20–21 June 2019

The summer school was attended by 16 practitioners and 13 academics, spanning architecture, arts practice, arts management, conservation, curation, design, design management, engineering, graphic design, human geography, landscape architecture, librarianship, planning (policy and development management), research, urban design and urban studies. All took part in a series of lectures, workshop activities, demonstrations and site visits. See Appendix 3 for a full report.

The concept of graphic heritage was introduced by sharing two heritage pilot studies from the local city of Leicester: (1) visiting the King Richard III Centre (as earlier discussed), and (2) the commemoration of sporting success as a result of Leicester City Football Club’ s recent success winning the Premiership. This was interspersed with two workshop exercises that asked delegates, first, to recall a recent heritage experience, and how they had learned about the heritage, and then, to consider a graphic design framework for communicating heritage through digital design, film and animation, packaging and point of sale, print and advertising, brand visual identity, retail and environmental design. The event contributed to determining how delegates might understand design literacy through a system of familiar graphic objects associated with the urban heritage experience. It also confirmed the substantive way design serves heritage interpretation at the interface between people and heritage place, and raised awareness of design literacy in the heritage experience.

Two key insights were gleaned from the session. First, despite calls for a greater understanding of design literacy, it was not generally understood what this means. This was evident when graphic design was framed as an integral component of the urban heritage experience. Second, despite an initial reluctance from delegates to fully acknowledge the role of graphic images, the focus on the King Richard III Centre visitor experience in Leicester came to be recognised as almost entirely given by graphic images. Repositioning Graphic Heritage

城市视角下的设计语义暑期夏令营英国拉夫堡大学和莱斯特市议会 2019 年 6 月 20-21 日

暑期夏令营由 16 名专业人士和 13 名学者参加，所涉专业涵

盖建筑、艺术实践、艺术管理、保护、策展、设计、设计管理、工程、图形设计、人文地理、景观建筑、图书馆管理、规划（政策和发展管理）、研究、城市设计和城市研究。所有人都参加了一系列的讲座、研讨会、演示和实地考察。

g Urban Perspectives on Design Literacy summer school 城市视角下的设计语义暑期夏令营

在其中一个会议上，通过分享来自莱斯特市的两个遗产试

点研究，介绍了图形遗产的概念：（1）参观理查德三世中心（如前所述），以及（2）为莱斯特城足球俱乐部最近获得英超

冠军而在体育方面所取得成就的纪念。这是通过两次研讨

会而进行的，要求参会者们首先回顾一下最近的遗产经验，以及他们如何了解遗产，然后考虑传达遗产信息的平面设计框架，包括数字设计、电影和动画、包装和促销点、印刷和广告、品牌视觉形象、零售和环境设计。

该活动有助于确定参会者，如何通过与遗产经验相关的清

晰可识别且熟悉的图形对象系统，来理解设计语义的概念，而图形对象是城市界面和文化遗产场所中的重要元素。与会者并不理解这直接与设计语义有关，因为往往通过图形图像已经促进了遗产经验的传达。

因此，会议总结了两个关键见解，首先，尽管需要对设计语义有更多的了解，但人们普遍并不理解这意味着什么。当平

面设计被视为城市遗产体验的组成部分时，这一点就显而

易见。其次，尽管与会者最初不愿完全承认图形图像的作用，但理查三世国王在莱斯特的图形图像存在却几乎被完全认可。

图形遗产再定位

Design for Heritage in Theory symposium Tongji University, College of Design and Innovation, Shanghai, China 15 October 2019

The symposium set out to explore what design for heritage might mean in China. The event attracted 60 delegates who listened to 10 papers on a wide range of heritage topics that emphasised graphic communication in a variety of forms. The following provides a translated summary of the speakers’respective contributions, as documented in the symposium proceedings (available in Chinese only).34

From the paper presentations, three clear distinctions for graphic heritage emerge as: (1) relating to creative economy; (2) relating to local narrative; and (3) relating to cultural symbols. Some key observations about how graphic design may be understood as heritage interpretation and presentation in line with the three distinctions are summarised in follows.

34. https://repository. lboro.ac.uk/articles/ conference_contribution/ Design_for_Heritage_in_ Theory/11882208/2

1. Graphic heritage as creative economy. This strand depicted the relationship between graphic heritage and creative industry. Through definition of the creative industries as a field of practice, graphic design was seen to intersect with other design practices. The application of graphic heritage is inherent in many industries, forming new industrial chains and creating new design economies, especially for urban regeneration and urban renewal. The articles highlighted the value that graphic heritage brings to the creative industry, adding significant value to creative economy, and the development of cultural and creative products through design practice was shown to be integral. In China, the 11th Five-Year Plan of the Peoples Republic has as one of its central themes the need to move from made in China to designed in China, requiring the generation of more original design services and products to complement the manufacturing products. This gave rise to questions about how to support innovative design at national policy level, and the protection and transformation of intellectual property for graphic heritage.

Repositioning Graphic Heritage

为遗产而设计理论研讨会同济大学设计与创新学院中国，上海

2019 年 10 月 15 日本次研讨会旨在探讨遗产设计在中国意味着什么。此次活动

吸引了 6 0 名参会者，他们听取了 1 0 篇有关遗产主题的论文，这些论文强调了各种形式的图形交流。以下是研讨会论文集 3 4

（仅提供中文版）中记录的演讲者各自贡献的翻译摘要。

从论文的摘要中，图形遗产具有三个明显特征：（1）与创意

经济关联性；（2）与当地叙事关联性；（3）与文化符号关联

性。有关如何将平面设计理解为遗产解读和表示的一些关键意见总结如下。

1. 图形遗产作为创意经济。这条线描绘了图形遗产与创意

产业之间的关系。通过将创意产业定义为实践领域，平面设

计被视为与其他设计实践相交。图形遗产的应用在许多行业中都是固有的，形成了新的产业链并创造了新的设计经济，特别是在城市变更和城市更新方面。论文强调了图形遗

产给创意产业带来的价值，并且通过设计实践开发文化和创意产品被认为是不可或缺的产业。在中国， “ 十一五 ”规

划的中心主题之一是从中国制造转向中国创造，这就要求更多的原创设计服务和产品，以补充单一制造产品。这就引

发了有关如何在国家政策层面上支持创新设计以及保护和改造图形遗产知识产权的问题。

图形遗产再定位

2. Graphic heritage as creating local narrative. Through cases featured in France and China, this strand recognised graphic heritage as an important part of local history and local culture. It suggested the importance of rebuilding local identity as a core function of graphic heritage. The memories and history of a city or town form large-scale stories that utilise visual media as a central element. The reproduction and subsequent inheritance of graphic heritage is woven into collective memory, which enables local residents to create a sense of belonging. Graphic heritage also helps outsiders to understand local culture and history and is an important medium to attract local tourism. The implementation of graphic heritage enriches the local visual language, making local stories richer and more attractive. This gave rise to questions about when assessing the city at various levels, visual elements contribute to the characteristics, but is there a missed opportunity to enhance meanings associated with large connected stories about place? 3. Graphic heritage as cultural symbols. This strand emphasised graphic heritage’ s symbolic value and analysed graphic images by interpreting and understanding semiotic meaning. Traditional graphic means were shown to create contemporary design elements in graphic design, branding design, product design, textile design, packaging design, urban design and other design forms. Through deconstructing and reconstructing visual elements, this evidenced a novel approach to design that reproduces and retains meanings about urban places and spaces. Challenges were presented about how to use traditional symbols to meet the aesthetic taste of modern consumers. Graphic heritage was shown to contain rich symbolic meanings, especially for China and its long history. Traditional patterns and motifs offer an important source of inspiration for modern design. This gave rise to questions about how systematic approaches to archiving urban graphic heritage can be utilized as a visual resource for future design application. These portrayals of design for heritage as graphic heritage, seen through the lens of graphic design, provided further insights into the role and potential for graphic heritage as a focus for the creative industries (economical) in the formation of local identity (social) and as an important sense making activity (cultural).

Repositioning Graphic Heritage

2. 图形遗产作为当地叙事的创作者。通过在法国和中国的

案例，这些论文将图形遗产视为当地历史和文化的重要组

成部分。它表明了重建当地身份作为图形遗产的核心功能的重要性。城市或城镇的记忆和历史形成了以视觉媒体为中心的大型故事。图形遗产的复制和随后的继承被编织到集体记忆中，这使当地居民能够创造一种归属感。图形遗产

还可以帮助外来者了解当地文化和历史，并且是吸引赴当地旅游游客的重要媒介。图形遗产的实施丰富了当地的视觉语言，使当地的故事更加丰富和更具吸引力。由此所引发的思，即在各个层级上评估城市时，视觉元素都是其特征的

Design for Heritage in Theory symposium

为遗产而设计理论研讨会

一部分，但是是否会错失与大型叙事有关的意义强化？

3. 图形遗产作为文化象征。这条线强调图形遗产的象征价

值，并通过解释和理解符号意义来分析图形图像。传统图形

的意义在在于被用于创造当代设计元素，主要通过平面设计、品牌设计、产品设计、纺织品设计、包装设计、城市设计和其他设计形式。通过解构和重建视觉元素，

证明了这是

一种新颖的设计方法，可再现并保留有关城市场所和空间的含义。同时对于如何使用传统符号来满足现代消费者的审美品味提出了挑战。事实证明，图形遗产包含丰富的象征意义，特别是对于中国及其悠久的历史来说。传统的图案和

图形为现代设计提供了重要的灵感来源。这引起了关于如何采用将城市图形遗产归档的系统方法，用作未来设计应用的视觉资源的问题。

从平面设计的角度来看，这些针对遗产所进行的设计刻画，被作为图形遗产，进一步阐明了图形遗产作为创意产业（经济），在形成本地身份（社会）时所起的作用和潜力，加之其作为重要的创造活动（文化）的意义。

图形遗产再定位

Exploring Urban Graphic Heritage exhibition Tongji University, College of Design and Innovation, Shanghai, China October–December 2019

This exhibition displayed visual research generated from early fieldwork visits as well as visual analysis of earlier photodocumentation not previously considered as graphic heritage. It provided the opportunity to explore how the various scales, levels and dimensions that constitute graphic heritage might be conceived. Comprised of a 16-panel exhibition and four display cases, the exhibition presented case study material from four heritage locations in the UK (King Richard III Centre, Leicester; the Comedy Carpet, Blackpool; Abbey Road pedestrian crossing, London; and Anfield, the home stadium of Liverpool Football Club), and four heritage locations in China (The Bund; Xinchang Ancient Town; Thames Town; and Xintiandi, all in Shanghai). Also featured were examples of graphic attributes (colour, scale, pattern) and representational practices (typography, illustration, photography) as indicative of how graphic heritage may be ordered and categorised. For example, typography, illustration and photography are three established practices typically associated with graphic design. These provide ways to categorise textual and visual representations embedded in heritage experience. (An additional six panels featured research from undergraduate students based on a set project to explore representational aspects of urban graphic heritage in Shanghai. This was the formative stage of the Tracing Shanghai project.) Across the sixteen panels, 176 photographs and 16 composite images documented the ways graphic heritage is at work across a multiplicity of different urban heritage settings. The exhibition also introduced a theoretical framework for thinking about the relationship between graphic design as urban design at multiple scales. As noted earlier in this report, this harnessed Jon Lang’ s depiction of the state of urban design and its relation to other major design fields in the early twenty-first century.

Repositioning Graphic Heritage

探索城市图形遗产展览

同济大学设计与创新学院中国，上海

2019 年 10 月至 12 月该展览展示了前期实地考察（例如，上面提到的理查德三世国王游客中心的例子）和视觉研究，以及对先前未被视为图

形遗产的早期照片文档的视觉分析。它探索了如何构成图

形遗产的各种维度、层次和尺度。展览由 16 个版面（英语）

Exploring Urban Graphic Heritage exhibition

探索城市图形遗产展览

和 4 个案例展示组成，展示了来自英国 4 个历史遗迹的案例

研究材料（莱斯特国王理查三世游客中心；布莱克浦的喜剧地毯；伦敦的爱彼路人行道；以及利物浦足球俱乐部主场安

菲尔德球场），以及中国的 4 个遗产地点（上海的外滩，新昌古镇，泰晤士小镇和新天地）。还重点介绍了平面属性（颜

色，比例，图案）和代表性实践（印刷，插图，摄影）的重点示例，这些示例不仅仅旨在说明有关图形遗产的最终观点，而

是指引如何对图形遗产进行排序和分类。例如，版式，插图

和摄影是通常与平面设计相关的三种既定实践，为遗产经验中嵌入的文字和视觉表达提供了分类的方法。（另外6组

是来自本科生的专题研究，该研究以探索上海城市图形遗产的代表性为基础。（这是“ 描映上海 ”项目的形成阶段。由于研究结果以中文发表，所以不在此讨论）。

在这 16 个海报中，有 176 张照片和 16 张合成图像记录了图

形遗产在多种不同的城市遗产环境中的作用方式。展览还

介绍了一个理论框架，用于思考平面设计与城市设计之间

的关系。如本报告前面所述，这是基于乔恩 · 朗对二十一世

纪初期，城市设计状况及其与其他主要设计领域关系的描述。 Download the Exploring Urban Graphic Heritage exhibition panels here/ 欲下载探索城市图形遗产展览的内容请访问: https://repository.lboro.ac.uk/articles/physical_object/Understanding_Urban_ Graphic_Heritage_exhibition_panels/11965443/2

图形遗产再定位

Design for Heritage in Practice workshop UNESCO Creative City (Shanghai) Promotion Office, Shanghai, China 19 October 2019

The workshop was the third event staged during Pan-Tongji Design Week in October 2019. These events collectively marked the first year of progress for the project. The Design for Heritage symposium and workshop were closely linked even though they were organised to attract different audiences. The symposium was for researchers interested in graphic heritage whereas the workshop sought the participation of heritage professionals.

The UNESCO Creative City workshop focused on the second research question: How can participatory design approaches enhance graphic urban heritage for greater social cohesion? To answer this question, participants first needed to understand how heritage, urban development and the creative industries were aligned. This was explained in the morning session during an overview of the project, whilst also further conveying the context for the research. Delegates were introduced to the joint UK-China research agreement to explore the potential of the creative economy to drive sustainable and inclusive growth in China.

The event was publicised through various networks and attracted 28 delegates from areas such as heritage practice, policy makers, public administrators, creative designers and artists. The intention was to explore the communication and representation of urban heritage for the benefit of the creative industries in China and the United Kingdom (UK), and to provide the opportunity to explore ideas about design quality in the heritage sector through dialogue between academic researchers and professional practitioners. The programme was split into morning and afternoon sessions, starting with a welcome by Dr Pan Jin from the UNESCO Creative City (Shanghai) Promotion Office and introduction by the project team. A panel discussion then took place between Jan Stael von Holstein, (Chairman, Silver Lining), Wu Zhenwei (Shanghai Creative Industry Association), Petra Johnson (Artist in residence, Tongji University), and Robert Harland (Loughborough University), chaired by Johnny Xu with invited comments from delegates. The 90

Repositioning Graphic Heritage

为遗产而设计实践工作坊

联合国教科文组织创意城市（上海）促进办公室中国，上海

2019 年 10 月 19 日

该参与性设计工作坊是 2019 年 10 月在泛同济设计周期间在

上海举行的第三次活动。这些共同标志着城市图形遗产再

定位项目第一年的进展，同时也确定了第二阶段的议程。 “ 为遗产而设计 ”专题讨论会和工作坊活动紧密相连，尽管它

们的举办是为了吸引不同类型的参与者。研讨会是为对图形遗产感兴趣的学术研究人员而设计的，而研讨会则寻求遗产专业人士或那些参与所谓遗产实践的人士的参与。

联合国教科文组织创意城市的工作坊重点针对“ 图形遗产再定位 ”项目提出的第二个研究问题，即“ 参与式设计方法如何以图形城市遗产增强社会凝聚力？”。工作坊在项目的中途进行，同时开启了第二阶段的工作。

为了回答这个问题，与会人员需要了解遗产、城市发展和创

意产业之间的关系。上午的会议在“ 图形遗产再定位 ”项目

的概述中对此进行了解释，同时还进一步说明了研究背景。从本质上讲，向与会者所介绍的中英联合研究协议，是以探

讨“ 创意经济带动中国可持续和包容性增长的潜力 ” （AHRC 牛顿基金征集文件）。

工作坊活动通过各种网络进行了宣传，吸引了来自遗产实践、政策制定者、公共管理人员以及创意设计师和艺术家等

领域的 28 名代表。目的是探索城市遗产的交流和代表性，以造福中国和英国的创意产业，并通过学术研究者与专业人士合作创造机会

。计划分为上午和下午两部分，首先

由“ 图形遗产再定位 ”项目团队以及联合国教科文组织创

意城市（上海）促进办公室的潘瑾博士致介绍和欢迎辞。随后，由徐捷博士主持研讨会，邀请到的嘉宾有杨 · 史丹 · 冯 · 图形遗产再定位

afternoon session concentrated on audience participation, led by Andy Selby (Loughborough University).

35. Jung Xie and Tim Heath, Heritage-led urban regeneration in China (New York: Routledge, 2018).

36. Hesmondhalgh, Desmond, The Cultural Industries (London: SAGE Publications Ltd, 2002) . 37. Peter Bazalgette, Independent Review of the Creative Industries (London: Department for Digital, Culture, Media & Sport, 2017) https:// www.gov.uk/government/ publications/independentreview-of-the-creativeindustries. 38. Julier, Guy, The Culture of Design, 3rd Edn. (London: Sage Publications Ltd, 2014). 25–26.

During the project introduction the theme of heritage began with the question“What is heritage?”This provoked discussion between panel participants and delegates exploring the tangible and intangible nature of cultural heritage and various definitions that have emerged over the past four decades. With respect to the importance of urban development in China, historical-culturalled urban regeneration was emphasised as Chinese cities strive to become more vibrant and compete globally.35 Xintiandi was introduced as being typical of such an aspiration.

In recognition of the creative economy’ s relationship to both heritage and urban development, a brief history of the Creative Industries sector and how this had developed from Adorno and Horkheimer’ s work on The Culture Industry in the 1940s to the The Cultural Industries in the 1990s, and then the The Creative Industries in the 2000s.36 The significance of this was explained through the most recent study on the Creative Industries Sector,37 foregrounding graphic design as prominent in the design sector in terms of focus on employment. It was further reinforced by the observation that the various national and regional design and creative industries’mapping and measurement documents all show that the majority of design practice is in graphics and related fields.38 The hypothesis underpinning the project was outlined: as urban heritage and urban development continue to gain in importance in China, so will the recognition and application of graphic means to communicate the heritage.

Within the context of Shanghai, its status as a UNESCO Creative City elevates design for the benefit of linking creative design to the economic, social and cultural development of the city through urban renewal, industry transformation, improving the lives of citizens, international exchange and cooperation, and sustainable urban development. The integration of creativity and culture is central to achieving this through design-driven urban renewal. These issues were outlined for delegates to gain an understanding of the creative industry landscape in the UK and China as a way of sharing knowledge and expertise, delivering an understanding and appreciation of the resulting economic, social and cultural value that could be created to encourage social cohesion.

Repositioning Graphic Heritage

霍尔斯坦（Silver Lining 主席），吴振伟（上海创意产业协会副主席），佩特拉 · 约翰逊（同济大学驻地艺术家）和罗伯特 ·

哈兰德博士（拉夫堡大学），与受邀在座的与会人员进行了

充分的探讨，下午的会议更多地集中在目标人群的参与上，由拉夫堡大学的安迪·塞尔比支持。

在项目介绍过程中，遗产的主题始于“ 什么是遗产？”这个

问题，引起了小组成员和嘉宾之间的讨论，探讨了文化遗

Design for Heritage in Practice workshop

产的有形和无形性质以及过去四十年来出现的各种定义，为遗产而设计实践工作坊包括重视古迹、建筑物群、场所、地点、文化意义和结构。关

于中国城市发展的重要性，最近的研究强调： “随着中国城

市在世界舞台上努力提高竞争力和吸引力，其没落的历史

城市结构正通过历史文化转变为充满活力的地方，并以此主导着城市更新 . . . ”35 新天地就是这样一个典型的地方。在

认识到创意经济与遗产和城市发展之间的关系之后，随之

简要介绍了创意产业部门的发展历史，以及从 Adorno 和

Horkheimer 在 1940 年代从事文化产业研究到 1990 年代文化产业，再到 2000 年代的创意产业 36 的发展历程。Bazelgette 37

对创意产业领域的最新研究解释其意义，该研究认为平面设计在设计领域的就业方面表现突出，并且由于观察到各个国家以及区域设计或创意产业的数据都表明，大多数设计实践

都在平面和相关领域。3 8 这就解释了“ 图形遗产再定位 ”项目的假设，是因为随着中国城市遗产和城市发展的重要性不断提高，图形手段的传承与传播也将得到认可。

在上海范围内，其作为联合国教科文组织“ 设计之都 ”的地位提

升了设计的特殊优势，通过城市更新、产业转型、改善市民生活，将创意设计与城市的经济、社会和文化发展联系起来，并通

过国际交流与合作，促进城市可持续发展。创意和文化的整合对于通过以设计驱动的城市更新来实现这一目标至关重要。向

与会者们阐述了这些事实，作为分享知识和专业知识的方式，以使他们了解英国和中国的创意产业格局，了解和认同可以通过合作创造的经济、社会和文化价值并促进社会凝聚力。

图形遗产再定位

Tracing Shanghai workshop Putuo Youth Cultural Centre, Shanghai, China 27 December 2020

Overview and Introductions The cultural and creative industries are becoming an important driving force for China’ s economic and social development. Shanghai as a creative city plays an important role in disseminating local culture to the world. In this sense, the fusion of creativity and culture has inspired the vitality of the city.

In 2018, the Shanghai Municipal Tourism Administration held the Shanghai Tourism Souvenir Design Competition, dedicated to creating local tourist souvenirs with local identities, and promoting the spirit of“Shanghai style.”In 2020, on East Nanjing Road in Huangpu District, the first“Shanghainese”gift shop “Baili Haipai Gift Shop”with Shanghai culture was established, displaying the cultural and historical Shanghainese products in a brand-new way.

In this context, in 2020 Putuo Youth Cultural Centre launched the Putuo Gift creative design project, with the aim to carry out thematic design and production through the existing pottery, painting, lantern workshops, reflecting the Putuo local communities’history and culture, and promoting the spiritual life of Putuo District.

From old shop signage, billboards, street signs to the names, fonts, patterns, layouts, and even special packaging with gifts, all may reflect the original Shanghai style. How can these elements be applied as innovative designs? How can this portray the stories from daily life, and demonstrate the visual recognition and emotional expression of our home? How can the presentation and creation process of local culture and creative design be developed through the context of education? Introduction to project Based on these questions, the Tracing Shanghai researchers collaborated with the Putuo Youth Cultural Centre, intending to conduct a series of activities to explore possible solutions. This 96

Repositioning Graphic Heritage

描映上海工作坊

普陀区青年文化中心，中国，上海 2020 年 12 月 27 日

概述和介绍

文化创意产业正在成为我国经济社会发展的重要动力。文化的融合和传播，是镌刻在上海这座城市的隽永基因。而创意和文化的融合，则激发出了这座城市的无穷活力。

2018 年上海市旅游局举办了上海旅游纪念品设计大赛，致力于打造上海本土特色旅游纪念品，传承海派文化，宣扬上

海城市精神，用“ 上海礼物 ”展现海派伴手礼风采。2020 年，在黄浦区南京东路上，第一家以海派文化为体验场景的海派礼品店“ 百里海派礼品店 ”创办，以全新的方式展示上海老字号产品的文化魅力。

在这样的语境下，2020 年普陀区青少年文化中心发起了

“ 普陀的礼物 ”创意设计项目，旨在通过现有的陶艺、绘画、灯彩等制作坊，进行主题设计制作，反映出普陀区的在地历史、文化。用以宣传普陀区的精神生活。

从旧的商店招牌、广告牌、街道招牌到名称、字体、图案、布

局，甚至是附赠礼品的特殊包装，都是可以体现出原汁原味

的老上海风格。那么如何将这些元素运用到创新的艺术设计中去呢？项目介绍

基于这些问题， “ 描映上海 ”研究小组与普陀青年文化中心

进行了合作，旨在开展一系列活动以探讨可能的解决方案。这为研究人员提供了利用“ 描映上海 ”项目的早期发现来扩

展项目研究的机会。目的是根据上海普陀区曹阳新村的当地历史和文化，探索“ 普陀礼物 ”项目的设计方法。

图形遗产再定位

presented opportunity for researchers to use early findings from the Tracing Shanghai project to extend the project research. The purpose is to explore the design methods for the Putuo Gift project, based on the local history and culture of Caoyang New Village in Putuo District Shanghai.

The Tracing Shanghai workshop consisted of three phases: 1. Participatory design workshop; 2. Co-design workshop; 3. Design exhibition. The workshop attracted 20 delegates: local residents (4); Designers (6); Teachers (6); Researchers (4). Activities 10:00–12:00 Visit Caoyang New Village History Museum 13:00–15:00 Participatory design workshop

39. Wang Dingzeng. “Caoyang New Village: Planning for immortality.” Jiefang Daily, 2015-04-02. 王定曾 . 曹阳新村：不老的规划。解放日报， 2015-04-02.

Visit The design of Caoyang New Village referred to the “neighbourhood unit”in European and American urban planning. Wang Dingzeng recalls in his article A Message to Today’s Architects: “At : that time, the academic and design circles in Europe and the United States had begun to vigorously develop research and attempts on garden cities and the budding New Urbanism movement ... At the same time, those in Shanghai’ s old style: the wind bells in the lane, the laughter and the memory of growing up in the shadow of the tree are deeply engraved in my mind ... I have been trying to organically integrate these two completely different cultural genes that I have come into my design practice ...”.39 Thus, the elements of the buildings reflected the Chinese traditional architectural style. For example, the window of the corridor between first and second floor was designed as traditional pattern, the“S”shape standing for Shanghai in the original design. A new logo with letter“C”and “Y”was adapted from this pattern representing Caoyang local community. This showed how graphic elements informed the contemporary design and became a symbol with its historical and cultural significance. In visiting Caoyang New Village History Museum, participants gained an understanding of the representative communities in Putuo District in terms of its history and culture, which laid the foundation of knowledge for subsequent workshops.

Repositioning Graphic Heritage

描映上海工作坊由三阶段内容组成： 1. 参与式设计 2. 共同设计

3. 设计展览。

工作坊吸引了 20 名参与者：当地居民（4名）；设计师（6名）; 教师（6 名）; 研究人员（4名）。活动项目

10：00–12：00 参观曹阳新村历史博物馆 13：00–15：00 参与式设计工作坊访问

曹杨新村的设计充分借鉴了欧美城市规划中“ 邻里单元 ”的概念。汪定曾在《寄语今天的建筑师》一文中回忆： “那时欧

美的学院派和设计界中关于花园城市、新城市主义运动萌芽等的研究、尝试已开始蓬勃发展 … … 同时，那些在上海旧

式里弄中的风铃声、笑语及树影里成长的记忆又深深地刻在我的脑海里……我一直试图在设计实践中有机地融合这两种我所接触到的截然不同的文化基因 … … ”39

因此，建筑物的元素反映了中国传统建筑风格。例如，一楼

和二楼之间走廊的窗户被设计成传统图案， “ S ”形在原始设计中代表“ 上海 ”，现在被改变成代表曹阳当地社区的字母“ C ”和“ Y ”而形成新的标志。这表明图形元素如何为当代设计提供信息，并成为具有历史和文化意义的象征。

通过参观曹阳新村历史博物馆，参与者对普陀区的典型社区的历史和文化有了一个普遍的了解，为随后的工作坊奠定了知识基础。

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Participatory workshop The workshop divided into four groups consisting of researchers, teachers, designers, local community residents, carrying out problem sharing and brainstorming based on local culture. Through in-depth exchanges, each group came up with a few key words, shared their views and opinions, and further explained their perspectives for understanding of Caoyang’ s local culture. In the design challenge section, each group conceptualized design ideas based on the key elements of the Putuo Gift.

The workshop designed two tools: a brainstorming board and a storyboard. The brainstorming section first asked about the context of the gift, including when, where, who, and what gift, helping the participants associate the form and content of gifts through people, objects, places and circumstances. The second step was to construct a complete plot that may happen based on the first step. This helped participants consolidate their own fragmented thinking, derive key words, and use these to visualize their abstract concept of gifts. Simple illustration was also used to outline the storyline, and at the same time, describe the background of the plot and introduce the theme of the gifts.

As a result, four sets of valid data were collected from four groups. Each group established four themes: (1) commemorative coins across time and space; (2) lanterns from original architectural patterns; (3) packages for a journey to finding home; and, (4) a virtual tour of the future community. These materials emerged from consideration and discussion amongst the participants, and provide real content for a subsequent design stage, providing creativity and assistance for the final production of Putuo gifts. Conclusions As an interdisciplinary project for the Caoyang Youth Cultural Centre, the Tracing Shanghai Putuo Gift project used co-created tools and frameworks to invite designers, local residents, teachers, researchers to explore the Putuo local culture. The workshop encouraged the participants to explore key themes around their memories and stories that connote Putuo culture. Through a collaborative workshop activities, these allowed more stakeholders to be involved in the design process to enhance the sense of belonging.

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参与式工作坊

工作坊研讨会分为四个小组，由研究人员，教师，设计师，当地社区居民组成，根据当地文化进行问题共享和集思广益。通过深入的交流，每个小组提出了几个关键词，分享了

他们的看法和观点，并进一步解释了他们对了解曹阳当地文化的看法。在头脑风暴部分，每个小组根据“ 普陀的礼物 ”的关键元素进行概念化设计联想。

参与设计工作坊设计了两张工具：头脑风暴联想板和故事

板。头脑风暴首先询问“ 礼物 ”的发生语境，包括什么时候、

什么地点、什么人物、以及什么礼物。通过人、事、物、场、境，帮助参与者联想礼物的形式和内容。第二步，基于第一步的联想，构建出可能出现的完整情节。这些可以辅助参与者罗织自己的思维片段，将关键词进行衍生，用于具像化自

己抽象的心目中的礼物概念。另一个工具是将联想的故事情节用简笔画的形式，勾勒故事。同时，对情节背景进行描述，以及推出各自小组的礼物主题。

工作坊最后得到了四份有效样本，主题分别是：跨时空的纪

念币、来自建筑纹样的灯花、寻根之旅的包裹、未来的社区

虚拟旅行。这些材料都是根据参与者充分思考讨论所达成的共识，可以为之后的艺术设计创作提供真是的内容。为最终的“ 普陀礼物 ”提供思想的源泉和有益的助力。结论

作为普陀青年文化中心的跨学科项目， “描映上海-普陀的礼物 ”项目使用共同创建的工具和框架邀请设计师、当地居

民、教师和研究人员，一起探索普陀当地文化。工作坊鼓励

参与者探索围绕他们的记忆和故事的关键主题，以此构成普陀文化的内涵。通过参与设计工作坊，它使更多的利益相关者参与到设计过程中，以增强归属感。

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Reflections Through the workshop visual elicitation helped participants to conceptualise the ideas. The process of contextualisation formed anchor points to construct a comprehensive story aligned to the design objectives. Storytelling created an opportunity to consolidate and put loose ideas together enabling the visualisation of the design outcomes in a real context.

Visit to Caoyang New Village History Museum

参观曹杨新村历史博物馆

Recommendations The workshop demonstrated potential to advocate new approaches and activities for place branding . During the workshop, researchers were able to have casual conversations with participants, who provided subtle but important cues to inspire design proposals. For example, one of the local residents pointed out that a mint was located in Caoyang area, helping the designers to come up with the concept of coin for the gift. This case suggests that interviews could be undertaken after the workshop to further collect the information from the local knowledge providers. In planning a workshop, it will be advisable to consider the opportunities as much as possible to maximize the values of the research activities.

反思

在整个工作坊中，视觉启发是一种有用的技术，可以使参与者将这些想法概念化。情境化的过程形成了锚点，以构建与

设计目标一致的综合故事。故事为整合和散布想法提供了

Participatory design workshop

参与式设计工作坊

机会，从而可以在真实环境中推导出可视化的设计结果。建议

工作坊不应该是研究过程的结束，相反，它展示了引发新方法和新活动的潜力。在活动期间，研究人员能够与参与者进

行非正式对话，参与者提供了微妙但重要的线索来启发设计。例如，一位当地居民指出了一个重要事实，那就是在曹

阳地区有一个造币厂，这有助于设计师提出用硬币作为礼物的概念。该案例表明，可以在工作坊之后进行访谈，以进一步从当地知识提供者那里收集信息。在计划工作坊时，建

议尽可能多地考虑机会，以最大程度地发挥研究活动的价值。图形遗产再定位

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During the course of the project opportunities have arisen to participate in research and/or heritage focused events, as follows.

*UNESCO Creative City (Shanghai) Promotion Office invited Dean of Loughborough University’ s School of Design and Creative Arts, Prof. Cees de Bont, to share his views on Visual Quality for Better Urban Environments at the International Creative Cities Design Innovation Forum, Shanghai, 15th May 2019. Event Supervisors: Industrial Policy Department of Ministry of Industry and Information Technology of the People’ s Republic of China; China National Commission for UNESCO; Shanghai Cultural & Creative Industry Leading Group Office; Publicity Department of CPC Shanghai Municipal Committee; Shanghai Municipal Commission of Economy and Informatization. Event Organizers: UNESCO Creative Cities (Shanghai) Promotion Office; Jiefang Daily Group. Event Special Supporter: Shanghai Chang Ning District Government.

15th May 2019* International Creative Cities Design Innovation Forum, Shanghaia 9 October 2019 Design, Location and Place Identity, Leicester (Design Season 2) LCB Depot, Leicesterb 7–8 November 2019 Critical Heritage Studies: Current Discourses and Global Challenges, Centre for Critical Heritage Studies Symposium, Gothenburgc

2–4 December 2019 UK-China Collaborations in the Creative Industries, Shanghaid 24–26 February 2020 Heritage for Global Challenges, PRAXIS: Arts and Humanities for Global Development, West Bek’ aa, Lebanone

b, d

Delegates: 150 representatives of government, creative industries associations, architects and urban planners, and entrepreneurs UNESCO, US, UK, Italy and China (Beijing, Hangzhou, Shanghai, Shenzhen, Wuhan).

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在项目进行过程中，研究团队参加了如下以研究和/或遗产为重点的活动

2019 年 5 月 15 日 *

上海国际创意城市设计创新论坛

*联合国教科文组织创

2019 年 10 月 9 日

莱斯特的设计、场所和地方身份（设计第 2 季），莱斯特 LCB Depot 创意园区 b 2019 年 11 月 7-8 日

遗产研究评论：当前的话语和全球挑战，遗产研究中心研讨会，哥德堡 c

2019 年 12 月 2-4 日

英中创意产业合作，上海 d 2020 年 2 月 24 日至 26 日

应对全球挑战的遗产，PRAXIS：促进全球发展的艺术和人文科学，黎巴嫩西贝卡 e

意城市（上海）促进办公室邀请拉夫堡大学设计与创意艺术学院院长塞斯·德·邦特教授作为演讲嘉宾，在上海国际创意城市设计创新论坛上分享他对“ 视觉质量改善城市环境 ”的看法。

活动负责人：中华人民共和国工业和信息化部产业政策司；中国联合国教科文组织全国委员会；上海市文化创意产业领导小组办公室；中共上海市委宣传部；上海市经济与信息化委员会。活动组织者：联合国教科文组织创意城市（上海）促进办公室；解放日报集团。活动特别支持者：上海长宁区政府。参会者：来自政府、创意产业协会、建筑师和城市规划师以及企业家联合国教科文组织，地区包括美国，英国，意大利和中国（北京，杭州，上海，深圳，武汉）的共计 150 多名代表。

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Key insights From these various events (summer school, symposium, exhibition and workshops) twenty insights emerge, providing impetus for immediate action and further research for the benefit of local residents, heritage practitioners, policy makers, public administrators, creative designers, artists, and academic researchers. These are presented here under three headings that focus on a need for training in design literacy, the role of culture and the creative industries for urban renewal, and how graphic heritage may be defined.

Design literacy for cultural heritage and the creative industries 1. Design literacy first emerged in graphic design, primarily concerned with the aesthetic, political, and cultural. It is also acknowledged to be about artistic sensibility, inquiry, evaluation, ideation, sketching and prototyping.

2. The UK government called for training in design literacy for built environment decision makers, however, it’ s unclear what design literacy means, even though it has multidisciplinary appeal. 3. Innovative design for heritage gives rise to the need at national policy level for the protection and transformation of intellectual property drived from graphic heritage. 4. Design practitioners must speculate on the design literacy capability of clients.

5. People have variable capacity to undertake design, suggesting there will be different levels of design literacy.

Cultural and Creative industries for urban renewal 6. Creativity and culture is central to design-driven urban renewal. 7. The cultural and creative industries are becoming an important driving force for China’ s economic and social development. 8. Creative cities play an important role in disseminating local culture to a worldwide audience.

9. Creative practice enables collaborative working to explore possibilities for utilising graphic heritage as a promotional tool. 10. Graphic design is the most prominent design practice in the creative industries globally. 106

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关键见解

从各种活动（暑期夏令营，研讨会，展览和工作坊）中，产生

了至少会二十项的研究见解，为当下和进一步的研究提供

了动力，从而将造福当地居民、遗产从业者、政策制定者、公共管理人员、创意设计师、艺术家和学术研究人员。这些

内容通过以下三个标题下进行介绍，这些标题侧重于对设

计语义、文化和创意产业在城市更新中的作用以及有关如何定义图形遗产。

文化遗产和创意产业中的设计语义

1. 设计语义概念首先出现在平面设计中，主要涉及美学、政治和文化。它也被认为与艺术敏感度、探究、评估、构想、草图和原型有关。

2. 英国政府呼吁对建筑环境决策者进行设计语义知识培训，尽管设计语义具有多学科属性，但是其含义依然不甚清晰。 3. 遗产的创新设计引发了国家政策层面上对图形遗产驱动的知识产权的保护和转化的需求。

4. 设计从业人员必须推断客户的设计语义能力。

5. 由于人们进行设计的能力各异，由此指向的设计语义水平也有所不同。

城市更新中的文化创意产业

6. 创造力和文化对于以设计驱动的城市更新至关重要。

7. 文化创意产业正在成为中国经济社会发展的重要动力。

8. 创意城市在向全世界各地的人群传播当地文化方面发挥着重要作用。

9. 创新实践使协作工作能够探索利用图形遗产作为推广工具的可能性。

10. 平面设计是全球创意产业中最显著的设计实践。图形遗产再定位

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What graphic heritage is and what it does 11. Graphic heritage is inherent in many industries, forming new industrial chains and creating new design economies, especially for urban regeneration and urban renewal. 12. Graphic heritage adds significant value to the creative economy.

13. Graphic heritage reinforces local history, local culture and local identity, and a sense of belonging. 14. Graphic heritage educates outsiders about local culture. 15. Graphic heritage tells stories about places.

16. Graphic heritage is an interdisciplinary design practice.

17. Graphic heritage deconstructs and reconstructs meaning.

18. Graphic heritage must be studied systematically and archived for the benefit of future design application. 19. Graphic heritage is embodied in high and popular cultural heritage urban endeavours.

20. Graphic heritage is manifest through its constituent parts, or attributes, such as (but not limited to) typography, photography, illustration, line, shape, and colour.

i Typography / 版式

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i Photography / 摄影

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i Illustration / 插图

何谓图形遗产，及其作用

11. 图形遗产是许多行业中所固有的，其有助于形成新的产

业链并创造了新的设计经济，尤其是在城市迭代和城市更新方面。

12. 图形遗产为创意经济增加了重要价值。

13. 图形遗产强化了当地历史、文化和特色以及归属感。 14. 图形遗产教育非原著民了解当地文化。 15. 图形遗产讲述了有关地方的故事。

16. 图形遗产是一种跨学科的设计实践。 17. 图形遗产解构和重建了意义。

18. 必须对图形遗产进行系统研究，并加以存档，以利于将来的设计应用。

19. 图形遗产体现在高雅文化和流行文化遗产的城市建设中。 20. 图形遗产通过其组成部分或属性来体现，例如（但不限于）版式、摄影、插图、颜色、图案和比例。

i Line / 线条

i Shape / 形状

i Colour / 颜色

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Taxonomic research

40. María LuzMartín-Peña and Eloísa Díaz-Garrido, “Typologies and Taxonomies of Operations Strategy: A Literature Review.”Management Research News 31, no. 3 (2008): 200–218

41. Neil A. Silberman, “ICOMOS Charter for the Interpretation and Presentation of Cultural Heritage Sites”(2008). 4. https://www.icomos.org/ charters/interpretation_e. pdf. Accessed 10 February 2021.

ICOMOS stands for The International Council on Monuments and Sites. ICOMOS 为国际文化纪念物与历史场所委员会

The previously noted exploratory meetings with creative industries representatives, professional practitioners, heritage administrators, not-for-profit organisations and government agencies, speculated on the concept of graphic heritage. These provided the opportunity to gauge its potential as a new perspective on the established field of heritage interpretation. Prior to this the concept of graphic heritage had been speculative, grounded in the inference that graphic objects were intrinsic to the heritage experience. Fieldwork at case study locations generated empirical data that more fully revealed the potential scope for graphic heritage, spanning written language and other types of non-verbal communication such as print, screen and environmental applications. Adding to this, the staging of several events (summer school, symposium, exhibition, and workshops) involving local residents, heritage practitioners, policy makers, public administrators, creative designers, artists, and academic researchers, provided opportunities to explore graphic heritage through the interrogation and interpretation of information drawn from the everyday experience of heritage.

This section reports on taxonomic research throughout the duration of the project with the aim to bridge the communication preoccupations of those working in heritage interpretation with designers who work in the creative industries (mostly concerned with graphic design). Taxonomies are useful for explaining, predicting and understanding phenomena, as well as testing theoretical propositions and the identification of similarities and differences.40 In the case of this research, graphic heritage is a theoretical proposition seeking to contribute to explanations about heritage interpretation and presentation. These are defined by ICOMOS41 as:

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分类研究

此前所提到的与创意产业代表、专业从业人员、遗产管理者、非营利组织和政府机构进行的探索性会议，推断了图形遗产的概念。这些提供了评估其潜力的机会，作为对既有遗产解读领域的新视角。在此之前，图形遗产的概念具有推测性，其依据是图形对象在遗产经验中的影响的直观推论。由

在案例研究中实地考察所产生出实证数据，而这些数据更充分地揭示了图形遗产的潜在范围，涵盖了书面语言和其他类型的非语言交流，例如印刷、屏幕和环境应用。除此之

外，当地居民、文化遗产从业者、政策制定者、公共管理人员、创意设计师、艺术家和学术研究人员所参与的各项活动

（暑期夏令营、专题讨论会、展览和工作坊），通过遗产的

日常经验中探究和信息解读，为探索图形遗产提供了机会，本部分报告了整个项目期间的分类学研究，目的是在遗产

解读工作中与从事创意产业（主要涉及图形设计）的设计

师进行沟通交流。分类法可用于解释、预测和理解某种现象，以及测试理论假设和识别异同。40 在本研究中，图形遗

产是一个理论命题，旨在为有关遗产的解读和表示做出贡献。ICOMOS41 将这些定义为：

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Heritage interpretation: refers to the full range of potential activities intended to heighten public awareness and enhance understanding of cultural heritage site. These can include print and electronic publications, public lectures, on-site and directly related off-site installations, educational programmes, community activities, and ongoing research, training, and evaluation of the interpretation process itself. Heritage presentation: more specifically denotes the carefully planned communication of interpretive content through the arrangement of interpretive information, physical access, and interpretive infrastructure at a cultural heritage site. It can be conveyed through a variety of technical means, including, yet not requiring, such elements as informational panels, museum-type displays, formalized walking tours, lectures and guided tours, and multimedia applications and websites.

Both of the definitions are useful to the development of the hypothesis for their inclusion of specific examples of heritage communication: electronic publications, informational panels, multimedia applications and websites. However, these examples might be considered as either interpretation or presentation in that they are often interlinked – an electronic publication may also be an informational panel. Accordingly, the demarcation between interpretation and presentation is sometimes unclear and the terms are often used interchangably.42

More than the examples noted immediately above, there is a wide assortment of graphic objects that convey heritage. The heritage studies literature is peppered with discussion about the relevance of an expansive range of representational tools, grouped here as text, image, print, screen and environmental applications. See Table 1. Such tools, or“representations”and“representational practices,”are said to reify heritage.43

42. Neil A. Silberman, “Heritage Interpretation Table 1: A taxonomy of heritage representational tools and Human Rights: Image Print Screen Environmental Text Documenting Diversity, Emblem Brochures Animation Commemoration Language Expressing Identity, or Guidebooks Audio-visual plaques Typography Illustration Establishing Universal Photography Maps Digital media Exhibition Principles?,”International Plans Film Information panels Journal of Heritage Studies Games design Interpretation displays 18, no. 3 (2012): 246. DOI: Interactive media Labels and descriptors https://doi.org/10.1080/13 Multimedia Signage 527258.2012.643910. Television Websites 43. Steve Watson and Emma Waterton, “Introduction: A Visual Heritage,”in Culture, Heritage and Representation: Perspectives on Visuality and the Past, ed. Emma Waterton and Steve Watson (Aldershot and Burlington: Ashgate, 2010)2.

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Looked at from a graphic design perspective, this listing can be expanded to define similarities and differences in the way cultural heritage and creative industries are preoccupied with design for graphic communication. Design practitioners, critics, and researchers provide varied perspectives on the practice, knowledge and skills deployed in graphic design, in detail that can benefit heritage interpretation.44 (See Appendix 4, Table 1).

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遗产解读：是指旨在提高公众意识和增进对文化遗产遗址了解的各种潜在活动。这些可以包括印刷和电子出版物、公开讲座、现场和具有关联性异地的装置、教育课程、社区活动，持续进行的研究、培训和对解读过程本身的评估。

遗产展示：更具体地说，是指通过安排文化遗产中的解释性信息、实地访问和解读性基础设施，而精心

计划的解读性内容交流。它可以通过多种技术手段来传达，包括诸如：信息面板、博物馆式展览、正式的徒步旅行、讲座和导向性游览以及多媒体应用程序和网站等元素。

这两种定义都有助于将假说纳入特定的遗产传播实例：电子出版物、信息面板、多媒体应用程序和网站。但是，由于

这些示例通常是相互关联的，因此可以将它们视为解读或表示形式 – 电子出版物也可以是信息面板。因此，解释和表

示之间的分界有时并不清晰，并且这些术语经常可以互换 42 使用。

除了上面刚刚提到的示例以外，还有各种各样图形对象传达遗产。研究文献充斥着关于代表性工具的相关讨论，这里将其归类为文本、图像、印刷、屏幕和环境应用。参见表 1 。据此，这些工具或“ 表征 ”和“ 表征性的实践 ”可以是对遗产的

继承。从平面设计的角度来看，此列表可以扩展，用于定义

文化遗产和创意产业对图形传达设计所关注方式的异同。43 表1：遗产表征性工具的分类文本语言字体设计

图片徽章 I插图摄影

印刷宣传册指导手册地图计划

屏幕动画视听数字媒体电影游戏设计互动媒体多媒体电视网站

环境纪念牌展览信息面板解读展示标签和描述标牌

设计从业人员、评论家和研究人员就平面设计所进行的实践、知识和技能，为遗产解读提供了不同的观点及帮助。44

(见附录4，表1）。遗产研究人员在识别遗产表征这一日益重

要的方面所采取的方式则非常相似，从而增加了对遗产解读和展示的认识。

图形遗产再定位

44. Robert G. Harland, (2020) Graphic design studies: what can it be? Following in Victor Margolin’ s footsteps for possible answers. In Boess, S, Cheung, M, Cain, R (ed) DRS 2020, Synergy; Proceedings of DRS 2020, Synergy, Online, pp.586-600, ISBN: 9781912294374. DOI: 10.21606/drs.2020.372. https:// dl.designresearchsociety. org/cgi/viewcontent. Accessed 6 February 2021

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There is strong resemblance in the way heritage researchers identify this important aspect of heritage representation, adding to what is known about interpretation and presentation.

45. Robert G. Harland and Antonia Liguori (2019) Designing the Latina landscape: Graphic images of Italian Fascism, Journal of Urban Design, 25(3), pp.350-368.

These two perspectives, from cultural heritage and creative industries, present similarities in the respective importance placed on writing systems, image creation, printed matter, screen display, and environmental design. By comparison, heritage research emphasises language and typography, and graphic design reveals more to this facet of communication by also identifying language, alphabets, type/font design, typography, experimental typography, digital type, modules, grids, hierarchy, rules, and devices, as an expansive set of design considerations that will contribute to heritage representation. Similarly, digital media parallels with digital design, and animation, film, broadcast design, game design, interactive design, websites, and signage, all mean the same. Beyond this, other design activities such as packaging, identity design, information, advertising, and strategy, add further to extend the scope for understanding graphic heritage as a representational practice. This portrayal of the products of graphic design, and the similarity to recognition placed on their role in heritage interpretation, presentation and representation, help to explain and understand graphic heritage .

Beyond graphic design, other disciplines employ a further range of terms to convey graphic forms of communication in heritage contexts. For example, from the disciplines interested in the contested heritage of Fascist urban development in Italy in the 1930s –planning, architecture, geography, politics, human science, Italian studies, and history – symbols of Fascism are invariably defined using many terms.45 (See Appendix 4, Table 2). Earlier, the research methodology highlighted the importance of the graphic dimension of graphic design, notably as a communication competency. However, this is not enough to depict the expansive observations in the previously discussed case studies, which showed urban graphic heritage to be a pervasive phenomenon. To confront this issue it is necessary to further grapple with the expansive notion of graphic through variables that determine the complex state of graphic production. This has been examined through the idea of graphicality 46 to enable a focus more on attributes, such as colour, form, line, shape, size, texture and tone/value, and less on objects. (See Appendix 4, Table 3). 114

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文化遗产和创意产业的这两种观点在书写系统、图像创作、印刷品、屏幕显示和环境设计的重要性上有着明显的相似之处。相比之下，遗产研究强调语言和版式，而平面设计通

过识别语言、字母、字体 / 字体设计、版式、体验式版式、数字类型、模块、网格、层次结构、规则和设备，在沟通的这一

方面更多地展现了信息，作为一系列更广泛的设计考虑因

素，将有助于遗产表征。同样，数字媒体与数字设计、动画、 46. Robert G. Harland, and

David Craib, Graphicality: why is there not such a word?. In Proceedings of 有相同性。除此之外，其他设计活动（如包装、标识设计、信 DRS 2016, Design Research Society 50th Anniversary 息、广告和策略）还提供了进一步的机会，扩大了将图形遗 Conference. Brighton, UK, 产理解为表征性实践的范围。平面设计结果的这种刻画，以 27–30 June 2016. https:// www.drs2016.org/099. 及与它们在遗产解读、表征和表示中的日益被认可的作用， Accessed 6 February 2021

电影、广播设计、游戏设计、交互设计、网站和标牌的都具

有助于解释和理解作为一种现象的图形遗产。

除平面设计外，其他学科还提供了更多术语来传达遗产环

境中的图形交流形式。例如，1930 年代意大利法西斯主义城市发展中有争议遗产所涵盖的学科，包括规划、建筑、地

理、政治、人文科学、意大利研究和历史 - 法西斯主义的象

征，总是使用许多术语来定义。45（参见附录 4 ，表 2 ）。先前，

研究方法强调了平面设计的图形尺寸的重要性，特别是作为一种沟通能力。但是，这还不足以描述先前讨论的案例研

究中的广泛观察结果，这些案例研究表明城市图形遗产是一种普遍现象。为了解决这个问题，则需要通过确定图形制

作复杂状态的变量来进一步解决图形的广泛概念。这可以通过“ 图形性 ”的概念进行甄别，46 以使人们能够更多地聚

焦于颜色、形状、线条、形状，大小、纹理和色调 / 色值等属性，而较少关注对象。（请参见附录 4 ，表 3 ）。

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Key insights Taxonomies seek to establish similarities and differences with the intention to also explain, predict and understand phenomena. Taxonomic research has been used in this project to establish an approach for better understanding heritage interpretation, presentation and representation by providing the empirical evidence that will further contribute to building theory and practice in heritage studies. A synthesis of the different perspectives examined here is presented in Table 2.

Table 2: A taxonomy for graphic heritage representation

Writing systems alphabets, devices, digital type, experimental typography, grids, hierarchy, languages, modules, rules, type/font design, typography Image making digital photo manipulation, illustration, photography, image processing

Printed matter brochures, editorial, book, guidebooks, magazines

Screen display

audio-video, audio-visual, animation, broadcast design, desktop publishing, digital design, digital media, coding and platform management, games design, film, film-making, film production, interactive media, interaction design, motion design, movie titles, moving image, multimedia, software design, sound design, television, web development software, website design, 2D software, 3D software, 3D modelling, programming, video software, visualising music

Environmental design environmental design and retail, exhibition design, signs, signage, spatial design

Packaging packaging design Identity branding, brand visual identity, emblems, house style design, house style management, identity design, logos

Information commemoration plaques, infographics, information design, information panels, labels and descriptors, interpretation displays, maps, plans

Advertising advertising, art direction, marketing, mise-en-scéne, point of sale Writing author, copywriting Art graphic art

Strategy communication strategy, presentation and communication, problem solving, visual coordination, visual strategy

Research end-user research, usability, visual research

Problem analysis Management Organisation Symbols Variables

concept development, detailing and production, idea generation, problem solving, process understanding administration, briefing, client relationship, office software, team management business orientation, project organization, project planning

emblem, icon, iconography, image, inscription, insignia, motto, motif, sign, symbol defining properties: line, shape, size, form, tone/value, texture, colour

external relational factors: position, scale, space, light, orientation, balance, unity, organisation, variety, focal point, movement, flicker, dynamics, layering & separation, multiplication, parallelism, symbolic relations, iconic relations, indexical relations

external organisational factors: association, selection, order, quantity, grouping

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主要发现

分类法试图建立相似性和差异性，以解释、预测和理解现象。在该项目中已使用分类学研究来建立一种方法，通过提

供有助于构建遗产研究的理论和实践的实证证据，从而更好地理解遗产的解读、表征和表示。表 2 列出了这里讨论的不同观点的综合。

表 2 ：图形遗产表征的分类

书写系统字母，设备，数字类型，体验式版式，网格，层次结构，语言，模块，规则，类型 / 字体设计，版式 I 影像制作数码照片处理，插图，摄影，图像处理印刷品宣传册，社论，书籍，指南，杂志屏幕显示影音，视听，动画，广播设计，桌面出版，数字设计，数字媒体，编码和平台管理，游戏设计，电影，电影编制，电影制作，互动媒体，互动设计，动作设计，电影标题，动态图像，多媒体，软件设计，声音设计，电视，网站开发软件，网站设计，2 D 软件，3 D 软件，3 D 建模，编程，视频软件，可视化音乐

包装环境设计与零售，展览设计，标志，标牌，空间设计包装包装设计视觉识别品牌，品牌视觉识别，标志，房屋风格设计，房屋风格管理，标识设计，徽标信息纪念牌，信息图表，信息设计，信息面板，标签和描述，解释性展示，地图，计划广告广告，艺术指导，市场营销，现场演出，销售点写作作者，文案写作艺术图形艺术战略沟通策略，演示和沟通，问题解决，视觉协调，视觉策略研究最终用户研究，可用性，视觉研究问题分析概念开发，详细设计和生产，思想生成，问题解决，过程理解管理行政，情况介绍，客户关系，办公软件，团队管理组织商业导向，项目组织，项目计划符号徽标，图标，肖像，图像，题词，徽章，座右铭，主题，标志，符号变数定义因素：线条，形状，大小，形式，色调 / 值，纹理，颜色外部关联性因素：位置，比例，空间，光线，方向，平衡，统一性，组织，多样性，焦点，运动，闪烁，多元，分层和分离，相乘，并行性，符号关系，图标关系，索引关系外部系统性因素：关联，选择，秩序，数量，分组

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Conclusions

This research has introduced the concept of graphic heritage and explored its potential contribution to heritage interpretation, presentation and representation. The potential significance of this is in the suggestion that heritage interpretation is a global phenomenon, in practice and theory.47 Key insights derived from fieldwork at heritage locations in several places in the UK and China, visual analysis, eight case studies (four from each country), meetings, events, and many other site visits during the project duration provide clear evidence of the benefits from identifying graphic heritage as a new perspective in heritage studies.

47. Russell Staiff, Re-Imagining Heritage Interpretation: Enchanting the Past-Future (Abingdon: Routledge 2016). 3.

Initial discussion with creative industries representatives, professional practitioners, heritage administrators, not-for-profit organisations and government agencies, confirmed that there was a need to further explore the concept of graphic heritage. This was undertaken through fieldwork visits to locations at the forefront of China’ s recent urban development, namely Tianzifang, Xintiandi, Thames Town and the Bund, and in the UK at Liverpool and Leicester. Furthermore, visual analysis of prior research in Blackpool (Comedy Carpet) and London (Abbey Road crossing) explored how unconventional heritage objects may be reappraised as exemplars of graphic heritage. In Tianzifang, graphic heritage was shown to be a ubiquitous part of place revitalisation. In Xintiandi, graphic heritage embellishes and accentuates an award-winning site of commemoration. In Thames Town, the inauthentic design is a convincing place parody, until viewed at the micrographic level of language use on signs. In the Bund, symbols of European colonial power abound. In Liverpool Maritime Mercantile City, the waterfront that welcomed seafarers in the city’ s golden age now welcomes millions to its retail and cultural attractions, whilst also signposting Liverpool’ s famous sport and music heritage. In Leicester’ s King Richard III Centre, graphic heritage is shown to facilitate the full heritage visitor experience almost in its entirety as both information and infrastructure. In Blackpool’ s Comedy Carpet, graphic heritage

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结论

这项研究介绍了图形遗产的概念，并探索了其对遗产解读、表征和表示的潜在贡献。这可能意味着在实践和理论上，遗

47 所得出的重要见解来自英国和中产解读是一种全球现象。

国多个地方的遗产地点的实地考察、视觉分析、八个案例研

究（每个国家四个案例）、会议、活动以及在项目期间进行

的许多其他实地走访，提供了清晰的证据证明识别图形遗产，有助于形成对遗产地点的新视角。

与创意产业代表、专业从业者、遗产管理者、非营利组织和

政府机构进行的初步讨论证实，有必要进一步探索图形遗产的概念。最初是通过在上海的实地考察，所涉及的地点处

在中国城市发展的最前沿，其中包括田子坊、新天地、泰晤士小镇和外滩，以及在英国的利物浦和莱斯特。此外，对布

莱克浦和伦敦先前的视觉分析，探索了如何将非传统意义上的遗产（分别是喜剧地毯和爱彼路人行道）作为图形遗产的典范。在田子坊，图形遗产被证明是地方振兴中无处不在的一部分。在新天地，图形遗产点缀并强调了屡获殊荣的纪

念场所。在泰晤士小镇，从标志上使用的语言这样微观层面观察，模拟的小镇设计描绘了一个令人信服的场所。在外滩，欧洲殖民势力的象征比比皆是。在利物浦航海时代商贸城市，其滨江区域在黄金时代迎接的是海员，而现在每年吸

引数百万游客前往其零售和文化景点，同时也彰显着利物浦著名的体育和音乐遗产。在莱斯特理查德三世中心，展示

了图形遗产用以促进完整的遗产游客体验，几乎涵盖了全部的信息和基础设施构建。在布莱克浦的喜剧地毯中，图形遗产描绘了至少从本世纪以来，写作、表演和版人们意识中图形遗产再定位

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depicts how writing, performance and typography have been impressed firmly in our consciousness for at least the duration of the current century. Finally, in London, the Abbey Road crossing has been appropriated by music heritage pilgrims who have determined the place’ s value leading to its official recognition as a place of national importance and of special interest. The summer school, symposium, exhibition and workshop activities revealed many insights, of which twenty are listed in this report. These challenge assumptions about design literacy; confirmed the importance of cultural heritage and the cultural industries for urban renewal, with particular attention on the central role that graphic design occupies; and proposed what graphic heritage is and does. Finally, taxonomic research drew attention to the emerging interest in heritage representational tools, whilst also offering an expansive range of terminology for extending the interest of heritage practitioners and theorists. The research set out to answer two questions:

1. What new perspectives can graphic design contribute to design for urban heritage? 2. How can participatory design approaches enhance urban graphic heritage for greater social cohesion?

In answering the first question, graphic design has been shown to provide a new perspective on how graphic communication is embedded across heritage interpretation, presentation and representation. This has provided opportunity to develop a new design paradigm for heritage, referred to here as graphic heritage. The case studies provide examples of how design for graphic communication is implicit in urban development in environments sensitive to heritage. In some cases, such as the Blackpool Comedy Carpet, graphic design defines what can be referred to as paradigmatic design. In other cases, the acknowledgement of important cultural symbols, such as the semi-circular relief pattern above a doorway in Xintiandi, or the liver bird in Liverpool, are similarly paradigmatic in that they are considered by their respective communities to be highly influential. The same might be said of a line as a simple graphic device, for example, in the way horizontal lines are a defining feature in architecture, as

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的深刻印象。最后，在伦敦，音乐遗产朝圣者占据了爱彼路的交叉路口，从而决定了该地的价值，并正式认定其为具有国家重要和特殊意义的地方。

暑期夏令营、研讨会、展览和工作坊的活动页揭示了许多见

解，在本报告中罗列出了二十个。这些挑战有关设计语义的假设；确认文化遗产和文化产业对城市更新的重要性，并特

别关注平面设计在其中的核心作用；并提出了图形遗产是什么及其作用。

最后，分类研究引发对遗产表征工具的新兴趣，同时还提供

了探索性的术语范围，以扩展遗产从业者和理论家的视野。本研究旨在回答以下两个问题：

1.平面设计可以为城市遗产设计贡献哪些新视角？

2.参与式设计方法如何以城市图形遗产增强社会凝聚力？

在回答第一个问题时，平面设计所展现的新视角，即如何将

图形传达嵌入到遗产的解释、表征和表示中。这为开发新的遗产设计范式提供了机会，在此称之为图形遗产。案例研究

提供了一些示例，说明图形传达的设计是如何在对遗产敏感的环境下所进行的城市发展中起到的间接作用。在某些情况下，例如布莱克浦喜剧地毯，平面设计定义了可以称为

范式的设计。在其他情况下，对重要文化符号的认可，例如

新天地门口上方的半圆形浮雕图案或利物鸟，也被视为典范，因为它们被各自的社区视为具有高度的影响力。对于一

条线，虽然可以说是一种简单的图形元素，但是，在外滩的

古茨拉夫信号塔（最初建于 1907 年，于 1993 年搬迁）上，水

平线则定义了建筑的特征。利物浦詹姆斯街 30 号的 Albion House（建于 1896 年）前有着同样的装置。这两个特色建筑在早期外滩和利物浦滨江的形象图片中都有所体现。

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seen on the Gutzlaff Signal Tower on the Bund (originally built 1907 and relocated 1993), or the same device on the former Albion House (built 1896) at 30 James Street in Liverpool. Both buildings feature in the earlier composite images for the Bund and Liverpool Waterfront. In answering the second question, the various meetings, events and activities have provided opportunity for wideranging discussions with a limited number of stakeholders – local residents, heritage practitioners, policy makers, public administrators, creative designers, artists, and academic researchers (limited in that the research will also benefit further input by the those involved in the interdisciplinary activity of urban design, for example, highway engineers to city planners). The participatory design focus of the final Tracing Shanghai workshop followed pilot activities during the Shanghai International Creative City Think Tank event. This provided opportunity to use co-creation tools and frameworks to explore local themes in the creation of a Putuo Gift, such as visual elicitation and storytelling. The outcome of that workshop was a set of gift ideas, for example, a commemorative coin inspired by the local knowledge that a mint is located in the Caoyang area. In all, this confirmed the potential for a closer alignment of cultural heritage and creative industries through co-creation methods.

49. UNESCO. New Life for Historic Cities: The Historic Urban Landscape Approach Explained, (2013): https://whc.unesco. org/en/activities/727/. Accessed 11 October 2020.

Within the much wider context of how this research may impact on sustainable heritage management, the research complies with the need for greater acknowledgement of the relationship between cities and how they use design.48 More recently, there have been calls for a holistic approach to managing historic urban landscapes.49 The holistic approach to research reported here – spanning the micrographic consideration of something as minuscule as an apostrophe at the end of a sentence and within a paragraph of text, coupled with picture elements, as part of a macrographic comedy commemorative plaque embedded in the Blackpool’ s urban seafront development – provides the basis for a briefing note to urban planners about how they might use design across multiple scales in environments sensitive to heritage. The public must be included in such deliberations, and with this in mind the research has encouraged a mesographic perspective about the relationship between people and their heritage places.

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48. UN-Habitat. State of world cities 2008/2009: Harmonious Cities, (London: Earthscan. 2008). 108. https://unhabitat.org/ state-of-the-worlds-cities20082009-harmoniouscities-2. Accessed 10 February 2021.

在回答第二个问题时，各种会议和活动为所进行的广泛讨论提供机会，其中涉及到数量有限的利益相关者包括当地

居民、遗产从业者、政策制定者、公共管理者、创意设计师、艺术家和学术研究人员（研究需要使更多涉及城市设计的跨学科人员参与，诸如，公路工程师及城市规划人员）。在

之后的“ 描映上海 ”工作坊中参与式设计成为重要的试点活动，其提供了使用共同工作工具和框架的机会，用以探索从本地主题中寻找普陀的礼品创作灵感（例如视觉启发和故事叙述）。该工作坊的结果是提出了一系列潜在的礼物

创意，例如，一枚纪念硬币的礼物构想即受到本地认知的启

发，即基于曹阳地区存在造币厂的事实。总之，这证实了通

过共同创造方法使文化遗产和创意产业更紧密结合的潜能。在这项研究可能对可持续遗产管理产生更大影响的背景下，本研究符合对于城市之间的关系以及它们如何利用设计的认识。48 最近，人们呼吁采用整体方法来进行城市历史

景观的管理。49 在此所报告的整体研究方法 – 涵盖了微观的

问题，例如在句子的末尾和一段文本中撇号这样的微小事物进行的微观考虑，并结合了图片元素，作为宏观喜剧纪念

的一部分，镶嵌入布莱克浦城市滨海开发区的匾额中 – 为向

城市规划人员提供简要说明基础，该说明涉及他们如何在对遗产敏感的环境中跨尺度使用设计。这种审议必须将公众纳入其中，由此，本研究鼓励人们采用中观维度对其遗产地之间的关系进行观察。

为了实现这一目标，图形遗产将界定于设计和遗产解读的界

面上。图形遗产嵌入在遗产的解读、表示和表征中。因此，在独特的位置上审视着关于：什么文化遗产（解释），为什么可以被理解为文化遗产（表现），以及这些讨论和理解如何在

二十一世纪中干涉和影响城市生活（表征）。在此过程中，图形遗产应该聚焦在与遗产经验相关的概念、对象、人、含义和事件上。其理想在于描绘出一个基本模型，以帮助从新视角的进一步探索，为理论构建和实践应用提供有益的帮助。

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h Xinchang Ancient Town Shanghai 新场古镇上海

In support of achieving this aim, graphic heritage is situated at the interface between design and heritage interpretation. Graphic heritage is embedded in heritage interpretation, presentation and representation. As such, it is uniquely placed to inform deliberations about what cultural heritage might be (interpretation), why it may be understood as cultural heritage (presentation) and how these deliberations and understandings inform and affect urban life (representation) in the twenty-first century. In doing so, graphic heritage should be focused on concepts, objects, people, meanings and events associated with the experience of heritage. This ideal is depicted here in a basic model to assist the further exploration of this new perspective for the benefit of new theoretical insights and practical application. Aside from the examples featured in this report, this model may be applied to ancient sites, for example, Xinchang Ancient Town in Shanghai, or Imperial Street in Hangzhou, as established urban heritage locations.

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Design for Heritage 为遗产而设计

Graphic Heritage Heritage Interpretation 遗产解读

图形遗产

Heritage Presentation 遗产表示

Heritage Representation 遗产表征

除了在之前提到的案例，这个模型也可以应用于传统的历史

场所，诸如如上海的新场古镇和杭州的南宋御街这样已健全的城市历史遗迹。

i Imperial Street, Hangzhou / 南宋御街 , 杭州

f A basic model for exploring the relationship between design for heritage, graphic heritage, and heritage interpretation, presentation and representation. 为了探索为遗产而设计、遗产图形和遗产的解读、表示和表征之间的关系而建立的模型。

Recommendations

The insights gained from this research lead to the following recommendations that will be of interest to local residents, heritage practitioners, policy makers, public administrators, not-for-profit organisations and government agencies, creative designers, and academic researchers.

Heritage-led regeneration: In the pursuit of encouraging cities to better use design, toolkits, guidance and enabling support materials are needed to help built environment professionals working in places sensitive to heritage benefit from graphic heritage. This will encourage a co-ordinated and holistic approach to understanding the full scope of urban heritage communication needs, and how to synthesise the implicit with the explicit, the old with the new, the analogue with the digital, and the economic, social and cultural demands of heritage places and spaces. Design literacy training: Governments who promote design literacy must be explicit about what it means, and how the knowledge and understanding may be applied. Those who embark on this will benefit from training opportunities in multidisciplinary contexts. Different disciplinary perspectives will benefit the tangible and intangible dimensions of design activity. At the core of this training should be the recognition that design literacy is inherently graphic, and some principles and practices from the field provide exemplars in how to elevate graphic heritage.

Heritage interpretation: Greater differentiation is needed in the way heritage interpretation, presentation and representation define the communication needs of heritage environments. This will eradicate the confusion about these different aspects of heritage practice and theory. Graphic heritage will help achieve this by contributing three specific ways to link interpretation, presentation and representation through their respective acknowledgement and focus on the function of graphic objects for the benefit of cultural heritage. 126

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建议

从这项研究中获得的见解中得出了以下建议，这些建议将

有助于当地居民、遗产从业者、政策制定者、公共管理者、非营利组织和政府机构、创意设计师和学术研究人员。

以遗产为主导的更新：为了鼓励城市更好地利用设计、工具

包、指南和支持材料，需要帮助在对遗产敏感的地方工作的

建筑环境专业人员从图形遗产中受益。这将建议采取一种协调性整体方法，来理解城市遗产传播需求的全部范围，以

及如何将隐性与显性、旧与新、模拟与数字以及经济、社会和文化因素综合考虑对遗产场所和空间的要求。

设计语义培训：政府所提倡的设计语义必须明确其含义，以

及如何应用相关知识和理解。对于从事此项工作的人将从

多学科背景下的培训机会中受益。不同的学科视角将有益于有形和无形方面的设计活动。培训的核心应该是认识到固有图形的设计语义，以及该领域的一些原则和实践，并为提升图形遗产提供范例。

遗产解读：在遗产解读、表征和表示定义遗产环境的沟通需

求的方式上需要更大的区别。这将消除对遗产实践和理论

在这些不同方面的困惑。图形遗产将通过以下三种方式来帮助实现这一目标：通过各自的认可将解释、表达和表示联系起来，并关注图形对象的功能，以造福文化遗产。

设计教育：所提倡文化遗产的发展和拓展，再加上二十一世

纪初对可持续遗产管理的日益重视，为创意产业提供了重要的机会，将其知识、理解和实践技能应用到与遗产相关的挑战中。这将受益于本科生和研究生级别的专业、跨学科和图形遗产再定位

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Design education: The evolution and expansion of cultural heritage appreciation, coupled with increased importance for sustainable heritage management in the early twenty-first century presents opportunities for the creative industries to apply their knowledge, understanding and practical skills to heritage related challenges. This will benefit from specialist as well as interdisciplinary and multidisciplinary design education opportunities at undergraduate and postgraduate levels, as well as doctoral training to identify new knowledge for the benefit of cultural heritage and creative industries.

Self-determination: Graphic communication is a fundamental human trait and as such graphic heritage is accessible to local communities. It straddles so-called high cultural heritage, for example, municipal or state sanctioned heritage, popular cultural heritage, for example, heritage theme parks as well as grass-roots heritage, self-defined by individuals and local communities. Research into graphic heritage should span bottom-up as well as top-down models of heritage practice. 24-hour graphic heritage: The Repositioning Graphic Heritage project has concentrated mostly on heritage visibility in day light. However, heritage is also 24-hour concern, or at least it is also a night-time attraction. In some environments, such as the Bund (as shown on page 44–45), the building façades are lit until 22:00, when the panorama view from Lujiazui switches to darkness as the illumination is turned off. Further development of this research will consider the sensory experience of cultural heritage spaces in darkness by exploring, for example, the importance of light as a graphic variable.

Mixed-reality heritage: The graphic objects featured in this study intentionally focus on the urban fabric, placing particular emphasis on a how this contributes to a sense of place. This has located graphic heritage in the realm of representational space, as well as spatial practice. Digital media plays an in increasing role in interacting with place and space, sometimes enhancing and sometimes negating the need for physical graphic objects. The analogue-digital interface resides within the scope for graphic heritage and further multidisciplinary research will yield insight into the benefits associated with mixed-reality graphic heritage.

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多学科的设计教育机会，以及博士学位培训，以发现新知识让文化遗产和创意产业受惠。

自我决定：图形交流是人类的基本特征，因为图形遗产在本地社区触手可及。它跨越了所谓的高雅文化遗产（例如市政

或地方批准的遗产）、流行文化遗产（例如遗产主题公园）以及基层遗产（例如由个人和当地社区自行定义的遗产）。图

形遗产的研究应涵盖自下而上和自上而下的遗产实践模型。 24 小时图形遗产： “ 图形遗产再定位 ”项目主要关注在日光

下可见的遗产。但是，遗产同样存在于 2 4 小时，或者至少也可以是夜间景点。在某些环境中，例如外滩（如第 44–45 页所

示），建筑物的外立面一直照亮到 22:00 ，当关闭照明时，陆家

嘴的全景视图变为黑暗。所以，这项研究可以进一步发展，通过探索例如光作为图形变量的重要性来考虑黑暗中文化遗产空间的感官体验。

混合现实遗产：本研究中的图形对象有意侧重于城市界面，特别强调了这些对象如何促进场所感。这将图形遗产定位在“ 表征性空间 ”和“ 空间实践 ”领域。数字媒体在与场所和

空间交互中扮演着越来越重要的角色，有时会增强对实体图

形对象的需求，而有时却不再需要实体图形对象。模拟数字接口位于图形遗产的范围之内，进一步的多学科研究将深入了解与混合现实图形遗产相关的益处。

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Heritage theme

Cities, towns and villages

Districts, neighbourhoods, places and streets

Maritime

Cultural industries

Museums, galleries, visitor centres

Historic buildings and structures Sport

Transport and Industry

Appendix 1: Heritage location visits 2018–2020

Brighton Chipping Campden Lancaster Leicester Liverpool London Manchester Morecambe Oxford Portmeirion

Borough (London) Covent Garden (London) Forthlin Road (Liverpool) Kingsland Road (London) Matthew Street (Liverpool) New Street (Brighton) North Laine (Brighton) Penny Lane (Liverpool) Strawberry Fields (L’ pool)

China

Other

Shanghai Xinchang Ancient Town Thames Town Xintiandi Hangzhou City

Gothenburg (Sweden) Isernia (Italy) Latina (Italy) Norma (Italy) Pontinia (Italy) Pesche (Italy) Reykjavík (Iceland) Ein Zebde (Lebanon)

Jìng’ ān Villa Siping Street Tianzifang Nanjing Road East Nanjing Road West Lujiazui (all Shanghai) Imperial Street (Hangzhou)

Haga (Gothenburg) Lindholmen (Gothenburg) Eriksberg (Gothenburg) Laugavegur (Reykjavík)

Maritime Mercantile City (UNESCO designated World Heritage Site Liverpool) St George’s Quay (Lancaster)

The Bund Hongkou riverside Yangpu waterfront (all Shanghai)

King Richard III Visitor Centre (Leicester) London Transport Museum (London) National Football Museum (Manchester) New Walk Museum (Leicester)

Municipal History Museum (Shanghai) Shanghai Urban Planning Museum (Shanghai) China Design Museum (Hangzhou)

Clerkenwell Road (London) Elite Valley Creative Industries, (Shanghai) Cowcross Street (London) Exmouth Market (London) 800 Show Creative Industrial Park (Shanghai)

Midland Hotel (Morecambe) Menai Bridge (Wales) Anfield (Liverpool) Wembley Stadium (London) King Power Stadium (Leicester)

Piccadilly Circus (London)

Kee Club (Private Members) (Shanghai) Garden Bridge (Shanghai)

Rome Termini (Italy) Eriksberg Crane

Jiangwan Stadium (Shanghai)

Smithfield Market (London)

Rural

PenrhynQuarry (Wales)

Tianmashan, Sheshan National Forest Park (Shanghai)

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Thingvellir National Park (Iceland) West Bek’ aa Valley (Lebanon) Parco Archeologico dell’ antica città di Norma (Italy)

遗产主题

城市、小镇和乡村

城区、社区、地方和街道

海事

文化产业博物馆、画廊、访客中心

历史建筑和结构体育

交通和产业郊区

附录1: 2018-2020 年间的遗产地点考察

英国

布莱顿奇平卡姆登兰卡斯特莱斯特利物浦伦敦曼彻斯特莫克姆牛津波特梅里恩

Borough (伦敦 ) Covent Garden (伦敦 ) Forthlin Road (利物浦 ) Kingsland Road (伦敦 ) Matthew Street (利物浦 ) New Street (布莱顿 ) North Laine (布莱顿 ) Penny Lane (利物浦 ) Strawberry Fields (利物浦 )

Maritime Mercantile City (利物浦) St George’s Quay (兰卡斯特 )

中国

其他

上海新场古镇泰晤士小镇新天地杭州

Gothenburg (瑞典 ) Isernia（意大利 ) Latina (意大利 ) Norma (意大利 ) Pontinia (意大利 ) Pesche (意大利 ) Reykjavík (冰岛 ) Ein Zebde (黎巴嫩 )

静安别墅四平路田子坊南京东路南京西路陆家嘴南宋御街（杭州）

Haga (哥德堡 ) Lindholmen (哥德堡 ) Eriksberg (哥德堡 ) Laugavegur (雷克雅未克 )

外滩虹口滨江杨浦滨江

Clerkenwell Road (伦敦 ) Cowcross Street (伦敦 ) Exmouth Market (伦敦 )

中成智谷创意园, (上海) 800 Show 创意园 ( 上海 )

Midland Hotel (莫克姆 ) Menai Bridge (威尔士 )

Kee Club 私人会所 ( 上海 ) Rome Termini (意大利 ) 外白渡桥（上海） Eriksberg Crane

King Richard III Centre 上海历史博物馆（上海）上海城市规划馆（上海） (莱斯特 ) London Transport Museum 中国设计博物馆（杭州） (伦敦 ) National Football Museum (曼彻斯特) New Walk Museum (莱斯特) Tate Modern (伦敦 )

Anfield (利物浦 ) Wembley Stadium (伦敦 ) King Power Stadium (莱斯特 )

江湾体育场（上海）

Penrhyn Quarry (威尔士 )

天马山公园，佘山国家森 Thingvellir National Park 林公园（上海） (冰岛 ) West Bek’ aa Valley (黎巴嫩 ) Parco Archeologico dell’antica città di Norma (意大利 )

Piccadilly Circus (伦敦 )

Smithfield Market (伦敦 )

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Appendix 2a: Shanghai visit 1 22–27 October 2018

Project team meeting —Tongji University College of Design and Innovation Repositioning Graphic Heritage launch event —Tongji University College of Design and Innovation during Tongji Design Week Heritage fieldwork visits —The Bund —Xintiandi —Lujiazui —Thames Town —Jiangwan Stadium —Siping Street Community Neighbourhood Centre —Imperial Street (Hangzhou) —Sheshan National Forest Park

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附录 2 a ：第一次上海访问

2018年10月22日至27日

项目团队会议

—同济大学设计与创新学院图形遗产再定位项目发布会 —同济大学设计与创新学院同济设计周期间

遗产实地考察 —外滩

—新天地 —陆家嘴

—泰晤士小镇 —江湾体育馆 —四平街社区

—南宋御街（杭州）

—佘山国家森林公园

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Appendix 2b: Shanghai visit 2 1–9 April 2019

Project team meeting —Tongji University College of Design and Innovation Heritage fieldwork visits —Fuxin Road Pocket Garden —Elite Valley Creative Industries Park —West Nanjing Road —Tianzifang —Kee Private Members Club —The Bund —Hongkou Riverside —Buildings Garden Bridge —Shanghai Urban Planning Museum —Lujiazui —Tianmashan (Songjiang district)

Meetings (general) —Shanghai Creative Industry Association —Shanghai Creative Industry Centre —China-Britain Business Council —China Bridge International —UNESCO Creative City (Shanghai) Promotion Office —Foreign and Commonwealth Office (Shanghai) —British Centre (Shanghai)

Meetings (creative industries) —Tongji Tiandi Institute of Art and Design Innovation —Etal Design —The Network with a Silver Lining —DeBoer Wang Studio, Branding Public Space Research Lab —China Bridge International

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附录 2 b ：第二次上海访问 2019 年 4 月 1–9 日

项目团队会议

—同济大学设计与创新学院遗产实地考察

—阜新路袖珍花园

—中成智谷创意产业园 —南京西路 —田子坊

— Kee Club 私人俱乐部 —外滩

—虹口滨江 —外白渡桥

—上海城市规划馆 —陆家嘴

— 天马山（松江区）会议（一般）

—上海市创意产业协会 —上海创意产业中心 —英中贸易协会 —中桥国际

— 联合国教科文组织创意城市（上海）促进办公室 —英国外交和联邦事务办公室 — 英国大使馆（上海）会议（创意产业）

—同济天地艺术设计研究院 — Etal Design（英国） —银线联盟

— 王敏和博恩工作室，品牌公共空间研究实验室－中桥国际

图形遗产再定位

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Appendix 2c: Shanghai visit 3 12–19 October 2019

Project team meeting —Tongji University College of Design and Innovation Events Exploring Urban Graphic Heritage exhibition —Tongji University College of Design and Innovation Design for Heritage in Theory symposium —Tongji University College of Design and Innovation

Design for Heritage in Practice workshop —UNESCO Creative City (Shanghai) Promotion Office Heritage fieldwork visits —Yangpu Waterfront —Tianzifang

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附录 2c ：第三次上海访问 2019 年 10 月 12–19 日

项目团队会议

—同济大学设计与创新学院大事记

探索城市图形遗产展览

—同济大学设计与创新学院为遗产而设计理论研讨会

—同济大学设计与创新学院为遗产而设计实践工作坊

— 联合国教科文组织创意城市（上海）促进办公室遗产实地考察 —杨浦滨江 —田子坊

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Appendix 3: Event review

What is Design Literacy? Urban Perspectives on Design Literacy Summer School Loughborough University and Leicester City Council, 20–21 June 2019 The question“What is design literacy?”was recently explored by practitioners and academics at a summer school at Loughborough University and in the City of Leicester, through a series of lectures, workshop activities, demonstrations and site visits. Participants spanned architecture, arts practice, arts management, conservation, curation, design, design management, engineering, graphic design, human geography, landscape architecture, librarianship, planning (policy and development management), research, urban design and urban studies. Staged over two days, the first part took place at Loughborough University, hosted by the Urbanism strand of the institution’ s internationally recognised Built Environment research beacon. The second day happened in the City of Leicester, hosted by Leicester City Council and Maber Architects.

The event responded to The Farrell Review’ s, suggestion that “Places would be greatly improved if the people who make decisions about our built environment, such as planning committee members and highway engineers, were empowered by training in design literacy.”50 This begged the question: What is design literacy?

50. See http://www. farrellreview.co.uk/

The programme of events promised much. After a brief welcome by Professor Kevin Lomas (the University’ s Built Environment Beacon lead), Grant Butterworth (Head of Planning at Leicester City Council) provided a Council perspective on City Design by outlining his thoughts on design literacy: Who designs cities? What is the balance between place (planning) and movement (transport)? How have cities been planned (for the car)? Drawing on his extensive experience of more than 25 years at Nottingham City Council, and more recently at Leicester City Council, Grant highlighted examples of long-term change in Nottingham, for example, on Maid Marion Way, and more recently the Connecting Leicester scheme. He concluded by emphasising the importance of scale, design intervention set against organic growth, the relevance of“grand design”and master planning, set against

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附录 3：活动回顾

什么是设计语义？

城市视角下的设计语义暑期夏令营拉夫堡大学和莱斯特市议会 2019 年 6 月 20–21 日

最近，在拉夫堡大学和莱斯特市的一次暑期夏令营，从业者和学者们通过一系列的讲座、工作坊活动、演示和实地考察，探讨了“ 什么是设计语义？”这个问题。参与者涉及建

筑、艺术实践、艺术管理、保护、策展、设计、设计管理、工

程、平面设计、人文地理、景观建筑、图书馆管理、规划（政策和发展管理）、研究、城市设计和城市研究。第一部分为

期两天，在拉夫堡大学举行，由该国际知名的“ 建筑环境 ” 的城市主义研究论坛主持。第二天则在莱斯特市，由莱斯特市议会和 Maber Architects 建筑事务所主办。

这些活动还因应了 2015 年《法雷尔评论》, 其中提出“ 如果对

那些建筑环境做出决策的人，例如规划委员会成员和公路 50 这就工程师，进行专业的设计语义培训，情况将大大改善 ” 。

必须要回答以下问题：什么是设计语义？

活动计划前景广阔。在凯文 · 洛马斯教授（拉夫堡大学的建筑环境研究负责人）致欢迎辞之后，格兰特 · 巴特沃思（莱斯特市议会规划负责人）概述了他对设计语义的看法，提出

了议会对城市设计的看法：谁来设计城市？位置（计划）和移

动（运输）之间的平衡是什么？如何规划城市（针对汽车）？格兰特借鉴他在诺丁汉市议会超过 25 年的丰富经验，以及最近在莱斯特市议会的丰富经验，重点介绍了诺丁汉长期变

化的例子，例如在 Maid Marion Way，以及最新的“Connecting Leicester”规划方案。最后，他强调规模的重要性，设计干预措施应对有机增长， “ 大设计 ”和总体规划的相关性，这些

都需要整合才能成为全面和整体愿景的一部分。对他而言，位置的“ 使用 ”和“ 动画 ” （动态）是一个关键问题，另外还有图形遗产再定位

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sensitive intervention as part of an integrated, comprehensive and holistic vision. For him, the“use”and“animation” [dynamism] of place is a key concern, coupled with the political will and resources to make change. At the beginning and end of his presentation, Grant listed the people who make it happen: administrator, archaeologist, architect, building control officer, communication and public relations, conservation officer, development manager, ecologist, financial officer, highway designer, information technology and data management, landscape architect, legal advisor, planner, procurement officer, project manager, property officer, surveyor, structural engineer, traffic engineer, urban designer, to name some.

Following this planning perspective, Rachel Cooper (Distinguished Professor of Design Management and Policy at Lancaster University, and a Director of the Imagination research group) provided insight into sensory aesthetics and the city. Drawing from scientific research about, for example, the impact of high noise levels, quality of light, safety, temperature, air quality, and limited access to nature, these were all shown to have negative impact on childhood, adulthood and old-age. Based on research with urban residents, Rachel provided a ten-point plan for“healthy”cities: 1. Promote physical activity & healthy diet. 2. Design the neighbourhood for children. 3. Enable independence in older age. 4. Reduce stress. 5. Promote positive mood/emotions. 6. Facilitate good relationships. 7. Help make people feel safe from crime. 8. Reduce the sense of crowding. 9. Make moving about easy. 10. In short, design cities that are easy on the eye, green, clean, accessible, friendly, courteous and affordable.

Her response to the idea of what design literacy might be focused on the increased need for design in city decision-making, and the way design should be considered in all policy decisions about places, services and overall experience. Following on from this portrayal, summer school delegates worked in small groups to explore their perceptions of place and how design can intervene. In the afternoon of the first day, Nick Slater from Loughborough 140

Repositioning Graphic Heritage

做出改变的政治意愿和资源。在演讲的开头和结尾，格兰特

列出了实现这一目标的相关人员：行政人员、考古学家、建

筑师、建筑管理者、沟通和公共关系、环境保护者、开发经理、生态学家，财务专员、公路设计师、信息技术和数据管

理、景观设计师、法律顾问、规划师、采购者、项目经理、财

产官员、测量师、结构工程师、交通工程师、城市设计师等。遵循这种规划观点，Rachel Cooper（兰卡斯特大学设计管理

学教授，想象力研究团队负责人）提供了对感官美学和城市的见识。例如，从科学研究中得出的结论是，高噪声水平、光

的质量、安全性、温度、空气质量以及有限的接触自然的途径所产生的影响，这些都对儿童、成年和老年人产生了负面

影响。根据对城市居民的研究，雷切尔为“ 健康 ”城市提供了十点计划：

1. 促进体育锻炼和健康饮食 2. 为儿童设计邻里 3. 促进独立 4. 减轻压力

5. 促进积极的气氛 / 情绪 6. 促进良好的人际关系 7. 帮助人们远离犯罪 8. 减少拥挤感

9. 让移动变得容易

10. 简而言之，设计城市需要考虑“ 易于取悦 ”、绿色、清洁、交通便利、友好、礼貌且价格适中。

她对设计语义的回应可能会集中在城市决策中对设计日益增长的需求上，以及在有关场所，服务和整体体验的所有政策决策中应考虑设计的方式。在此之后，暑期夏令营的与会

者们分小组讨论，探索他们对地方的看法以及设计如何进行干预。

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University’ s contemporary art programme, Radar, reflected on Market Town, an 18-month project that invited architects, artists and designers to develop ideas and initiatives that took up the call of the Portas Review to consider the creative use of our public spaces. He explained how the project addressed a number of key questions: Can we really blame the decline of the high street on external factors and increasing competition or do we need to re-examine the current infrastructure? Are our current networks, dependencies and partnerships the right ones for a successful and prosperous future or could we seek and build new ones?

How can cultural practitioners activate a town? Can they offer creative ideas and solutions that inspire new ideas and release resources?

How do we build durable, sustainable urban ecosystems in which we can identify ourselves and to which we feel we can contribute? What role is there for artists as well as architects in master planning today, and how involved should the public be? Do we need to brand cities?

Nick also invited artist Gareth Jones to talk about his practicebased PhD research, City Club, an ambitious proposal to restore the utopian vision behind Milton Keynes to the city’ s art gallery. Jones first played a short film, Looking for Milton Keynes, about the formation of the city of the same name, before then sharing a collaborative project to create a sequence of new public spaces in and around the new MK Gallery, with 6a architects and graphic designer Mark El-khatib. The scheme featured additional iconic “signs”from early Milton Keynes development, such as the first ever logotype for the city, and a double headed axe, all paying homage to the city’ s iconic original design.

The final session of the day was led by the organiser, Dr Robert Harland, who introduced the AHRC funded Repositioning Graphic Heritage project. First, definitions of heritage were explored before two heritage experiences were relayed: (1) visiting the King Richard III Centre in Leicester, and (2) the commemoration of sporting success as a result of the city’ s football team, Leicester City, recent success winning the football premiership. This was

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在第一天下午的讨论中，来自拉夫堡大学当代艺术项目

Radar 负责人尼克 · 斯拉特 , 反思了一个为期 18 个月的市镇

项目，其中邀请了建筑师、艺术家和设计师提出想法和倡议，并接受了 Portas 的呼吁，考虑对我们公共空间的创造性利用。他解释了该项目如何解决一些关键问题：

我们真的可以将高街的衰落归咎于外部因素和竞争的加剧吗？还是我们需要重新考虑当前的基础设施？

我们当前的网络所依存合作伙伴关系是未来成功和繁荣的正确选择，还是我们可以寻求并建立新的关系？

文化从业者如何激活城镇？他们能否提供激发新想法并释放资源的创造性思想和解决方案？

我们如何建立持久的、可持续的城市生态系统，使我们能够自我识别并为之做出贡献？

在今天的总体规划中，艺术家和建筑师扮演什么样的角色？公众应该如何参与其中？我们需要将城市品牌化吗？

尼克还邀请艺术家加雷斯·琼斯谈谈他实践型博士的研究课题“ 城市俱乐部 ”，这是一个雄心勃勃的提议，旨在将米

尔顿 · 凯恩斯背后的乌托邦理想恢复到城市美术馆。琼斯

首先播放了一部短片《寻找米尔顿 · 凯恩斯》，讲述这座城市的名字，然后与 6 位建筑师和平面设计师 Mark El-khatib 共

享一个合作项目，在新的 M K 画廊内和周围创建一系列新的公共空间。该计划的特色是米尔顿凯恩斯早期开发的标志

性“ 标识 ”，例如该城市有史以来的第一个双斧头标志，均向该城市的标志原始设计致敬.

组织者罗伯特·哈兰德博士介绍了 AHRC 资助的“ 图形遗产再定位 ”项目。首先，在分享两次遗产经历之前，先探讨了遗

产的定义：（1）参观莱斯特国王理查三世游客中心，（2）为莱

斯特市足球队赢得英超联赛冠军所取得的体育成就的纪念。这是在两个研讨会上进行的，要求与会者们首先回顾最图形遗产再定位

143

interspersed with two workshop exercises that asked delegates to, first, recall a recent heritage experience, and how they had learned about the heritage, and then, to consider a framework for communicating heritage which included digital design, film and animation, packaging and point of sale, print and advertising, brand visual identity, retail and environmental design.

The second day kicked-off at Maber Architects in Leicester, where Tim Boxford reminded delegates about the Renaissance idea of Disegno, meaning the ability to both draw and the capacity to create. Tim suggested that the variable capacity people have to undertake design suggested there to be a strong likelihood of different levels of design literacy. Tim argued that architects must always speculate on the design literacy capabilities of their clients and the public, and that design literacy required competency in storytelling. After much discussion about the roles of architects and planners, delegates formed four interdisciplinary groups and each were invited to assess and visualise a building design proposal from different levels of information available about the design. For the afternoon, the summer school returned to Grant’ s starting point of city design, but this time Leicester City Council planning officers took participants to three development locations in the city for which planning applications had been submitted, in Greyfriars, Moorledge Street and Sandacre Street. Each group considered the in-situ challenges that planners face when considering a planning application, and in keeping with previous initiatives led by Grant, there was some real learning gain about the design challenges faced by planners. Overall, the two days provided an excellent opportunity to hear about different perspectives on design literacy. One of the most telling moments in a short plenary session came when delegates were asked if, at the beginning of the two days, they believed there was such a thing as design literacy. Only five people said yes. When asked if their views had changed by the end of the summer school, the group unanimously agreed that there was such a thing, although design literacy may not be the best way to name it.

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近的遗产经验，以及他们如何了解遗产，然后再考虑传达遗

产的框架，包括数字设计、电影和动画和包装。第二天的活

动在莱斯特的 Maber Architects 建筑事务所揭幕，在这里蒂姆 · 博克斯福德提醒与会者关于 Disegno 的文艺复兴时期的

想法，这意味着需要兼具绘画和创造能力。蒂姆建议，具有

多重能力的人们必须进行设计，这建议很可能会出现不同水平的设计语义。蒂姆认为，建筑师必须始终评估其客户和

公众的设计语义能力，并且设计语义要求具备讲故事的能力。在对建筑师和规划师的角色进行了很多讨论之后，与会

者们组成了四个跨学科小组，每个小组都被邀请从有关设计的不同信息级别评估以及参与可视化建筑设计方案.

下午，暑期夏令营回到了格兰特的起点城市设计，但这一次，莱斯特市议会规划官员将参与者带到了已提交规划申请的城市三个开发地点，分别位于 Greyfriars，Moorledge

Street 和 Sandacre Street 。每个小组都将作为规划人员，考虑

规划应用程序时所面临的现场挑战，并且需要与格兰特领

导的先前计划保持一致。从而在规划人员面临的设计挑战方面有了一些真正的学习收获。有机会了解有关设计语义的不同观点。简短的总结会议是最有说服力的时刻之一，当

与会者被问及在两天之前是否认为存在设计语义之类的问题时，只有五个人说是。而当暑期夏令营结束时，他们的观

点是否发生变化时？小组一致同意存在设计语义这种情况，尽管设计语义可能不是最佳的命名方式。

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51. Steven Heller,“Design Literacy.”3rd Edn. (New York: Allworth Press, 2014)

52. Chris, Pacione, “Evolution of the Mind: A Case for Design Literacy,”Interactions 17, (2010): 8. DOI: https://doi. org/10.1145/1699775.1699 777

53. Kathleen Formosa, and Steven Kroeter, “Towards Design Literacy in American Management: A Strategy for MBA Programs,”Design Management Journal 13, no. 3 (2002), 47.

Design literacy is not a well-known term, especially in the context of the built environment and despite its inclusion in The Farrell Review. Possibly the earliest association is with graphic design, through Steven Heller’ s book Design Literacy: Understanding Graphic Design about aesthetic, political, and cultural issues related to graphic design,51 first published in 1997. Design literacy has since been further interpreted as something akin to artistic sensibility,52 and aesthetics, encompassing basic skills in inquiry, evaluation, ideation, sketching and prototyping, at a more fundamental level than we know is practiced by professional designers.53 How will places be greatly improved if planners, landscape designers and highways engineers are more fluent in design literacy? The summer school did not provide an answer to this question on the basis that it is clearly a new concept that needs grappling with. However, the event facilitated the opportunity for an enriching dialogue about design quality in our cities.

An information pack for the Urban Perspectives on Design Literacy summer school, including the full programme, information about session leaders and list of attendees, can be located at: https://doi.org/10.17028/rd.lboro.9118901.v1 Dr Robert Harland Loughborough University r.g.harland@lboro.ac.uk

Acknowledgements: the Urban Perspectives on Design Literacy Summer School was co-organised by Loughborough University and Leicester City Council, in conjunction with Leicester Urban Observatory and with the endorsement of the Design Research Society.

This review appeared on the Design Research Society website, 29 November 2019, located at: https://www.designresearchsociety.org/articles/event-report-urban-perspectiveson-design-literacy-summer-school Accessed 31 January 2001. A shortened version appeared earlier on the Leicester Urban Observatory website, 6 September 2019, located at: https://leicesterurbanobservatory.wordpress.com/2019/09/06/what-is-designliteracy/ Accessed 31 January 2001.

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尽管其已将其纳入《法雷尔报告》，设计语义依然不是一个众所周知的术语，尤其是在建筑领域中。最早的关联可能是

平面设计，这是史蒂文 · 海勒于 1997 年首次出版的有关平面设计相关美学，政治和文化问题的书籍《设计语义：理解平

51 设计语义自此以后被进一步解释为近似于艺术面设计》。

52 和美学方面，包括了询问、评估、构思、素描敏感性的概念，

和原型制作的基本技能相关，其程度比专业设计师所能达到的更为根本。53 如果规划师、景观设计师和公路工程师在

设计语义的掌握上能有所提升，我们周遭的场所将得到怎样的改善？暑期夏令营没有提供答案，因为它显然是一个需

要解决的新概念。然而，本次活动为我们城市中有关设计质量的提供了丰富话题。

有关“ 城市视角下设计语义 ”暑期学校的信息包，包括完整的计划，有关会议负责人的信息和参加者的列表，可从如下资源获取：https：//doi.org/10.17028/rd.lboro.9118901.v1 罗伯特·哈兰德博士拉夫堡大学

r.g.harland@lboro.ac.uk

致谢：城市设计语义暑期夏令营是由拉夫堡大学和莱斯特市议会共同组织，获得莱斯特城市观察和设计研究学会认可。这篇长篇评论发表在 Design Research Society 网站上， 2019年11月29日，见于： https://www.designresearchsociety.org/articles/event-report-urban-perspectiveson-design-literacy-summer-school 访于2001年1月31日。简短版在莱斯特城市观察的网站可查到， 2019年9月6日，见于： https://leicesterurbanobservatory.wordpress.com/2019/09/06/what-is-designliteracy/ 访于2001年1月31日。

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Appendix 4 Taxonomic research

Table 1: A taxonomy of graphic design products and activities Writing systems languages, alphabets, type/font design, typography, experimental typography, digital type, modules, grids, hierarchy, rules, devices

Image making illustration, photography, digital photo manipulation, image processing

Printed matter print, editorial, book, magazines

Screen display

digital design, desktop publishing, website, software design, web development software, interaction design, 2D software, 3D software, 3D modelling, coding and platform management, programming, motion design, moving image, animation, video software, film, film-making, film production, movie titles, broadcast design, audio video, visualising music, sound design, games design

Environmental design signs, signage, environmental design and retail, exhibitions, spatial design Packaging packaging design

Identity identity design, branding, brand visual identity, logos, house style design, house style management

Information information design, infographics

Advertising advertising, art direction, point of sale, mise-en-scéne, marketing Writing author, copy-writing Art graphic art

Strategy visual strategy, communication strategy, presentation and communication, visual coordination, problem solving

Research usability, end-user research, visual research

Problem solving problem solving, idea generation, concept development, detailing and production, process understanding Management briefing, client relationship, team management, administration, office software

Organisation project organization, project planning, business orientation

Table 2: A taxonomy of Fascist graphic images

Symbols iconography, icon, image, inscription, insignia, motto, motif, emblem, sign, symbol

Table 3: A taxonomy of graphic variables

Defining properties line, shape, size, form, tone/value, texture, colour

External factors relational: position, scale, space, light, orientation, balance, unity, organisation, variety, focal point, movement, flicker, dynamics, layering & separation, multiplication, parallelism symbolic relations, iconic relations, indexical relations organisational: association, selection, order, quantity, grouping

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附录 4 ：分类研究

表 1 : 平面设计结果和活动的分类学

书写系统语言，字母，字体设计，版式，体验式版式，电子字体，模块，网格，层次结构，规则，设备

影像制作插图，摄影，数码照片处理，图像处理印刷品宣传册，社论，书籍，杂志

屏幕显示数字设计，桌面出版，网站设计，软件设计，网站开发软件，互动设计， 2D 软件，3D 软件，3D 建模，编码和平台管理，编程，动作设计，动态图像，动画，视频软件，电影，电影编制，电影制作，电影标题，广播设计，视听，可视化音乐，声音设计，游戏设计

环境设计标志，标牌，环境设计与零售，展览设计，空间设计

视觉识别品牌视觉识别，品牌，品牌视觉形象，标志，房屋风格设计，房屋风格管理

包装包装设计

信息信息设计，信息可视化

广告广告，艺术指导，市场营销，现场演出，销售点写作作者，文案写作艺术图形艺术

战略视觉策略，沟通策略，演示和沟通，视觉协调，问题解决研究可用性，最终用户研究，视觉研究

问题解决问题解决，思想生成，概念开发，详细设计和生产，过程理解管理情况介绍，客户关系，团队管理，行政，办公软件组织项目组织，项目计划，商业导向

表 2：Fascist 图形形象的分类学

符号徽标，图标，肖像，图像，题词，徽章，座右铭，主题，标志，符号

表 3: 图形种类的分类学

定义属性线条，形状，大小，形式，色调/值，纹理，颜色

关系外部因素关联性：位置，比例，空间，光线，方向，平衡，统一性，组织，多样性，焦点，运动，闪烁，多元，分层和分离，相乘，并行性，符号关系，图标关系，索引关系

系统性：关联，选择，秩序，数量，分组

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Credits

Loughborough University

Tongji University

Co-Investigators Prof. Paul Wells Andy Selby

Co-Investigators Dr. Zhang Xueqing Dr. Du Qin

Principal Investigator Dr. Robert Harland

Research Associate Dr. Jie Xu

Principal Investigator Prof. Lou Yongqi

Head of Tongji Tiandi Art & Design Innovation Co. Ltd. Shi Yin

Published by the Graphic Design Research Unit School of Design and Creative Arts, Loughborough University, 2021

Writing, design and translation by Robert Harland and Jie Xu Reproduction by Creative and Print Services, Loughborough University

Suggested citation: Harland, R.G., Xu, J. (2021) Repositioning Graphic Heritage, Graphic Design Research Unit, School of Design and Creative Arts, Loughborough University, Loughborough, UK, ISBN: 978-1-911217-33-6 For further information, contact: Dr. Robert Harland r.g.harland@lboro.ac.uk www.urban-graphic-object.org

All rights reserved. No part of this publication may be copied, displayed, extracted, reproduced, utilised, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical or otherwise including but not limited to photocopying, recording, or scanning without the prior written permission of the publisher. ISBN: 978-1-911217-33-6

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名单

拉夫堡大学同济大学首席研究员首席研究员罗伯特·哈兰德博士娄永琪教授共同研究者共同研究者保罗·威尔斯教授张雪青博士安迪·塞尔比杜钦博士研究助理同济天地艺术设计创新有限公司负责人徐捷博士施胤

出版：拉夫堡大学，设计与创意艺术学院，平面设计研究室（2021年）撰写、设计及翻译：罗伯特 · 哈兰德，徐捷制作：拉夫堡大学创意与印刷中心建议引用： Harland, R.G., Xu, J. (2021) Repositioning Graphic Heritage, Graphic Design Research Unit, School of Design and Creative Arts, Loughborough University, Loughborough, UK, ISBN: 978-1-911217-33-6 如需更多信息，请联系：罗伯特·哈兰德 r.g.harland@lboro.ac.uk www.urban-graphic-object.org

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Acknowledgements

致谢

The project team offer thanks to Newton Fund and the Arts and Humanities Research Council for supporting this project under grant number AH/S003398/1. Appreciation is also offered to the local residents, heritage practitioners, policy makers, public administrators, creative designers, artists, and academic researchers, who participated in meetings, events and activities.

Undertaking this research has overlapped with a global pandemic, mostly impacting on the second year of the project. The disruption resulted in an inability to visit China for a final workshop scheduled for April 2020. The research team are grateful for a six-month extension that enabled some readjustments to the project timetable and projected outcomes. 项目团队感谢牛顿基金和英国艺术与人文研究委员会以 AH/S003398/1 号研究基金支持本项目。还向参与研究所进行

的各种会议和活动的当地居民、遗产从业者、政策制定者、公

共管理人员、创意设计师、艺术家和学术研究人员表示感谢。进行这项研究与全球大流行的疫情重叠，主要影响到本项目的第二年。其直接影响导致无法如期访问中国并进行计划于

2020 年 4 月举行最后一次研讨会。但是研究团队对六个月的

延期许可表示感谢，从而使项目时间表和成果得以重新调整。

Special thanks to the following for their support and participation: 在此特向给予本研究支持的人士致谢:

Prof. Jan Stael von Holstein, Chairman, Silver Lining Dr. Pan Jin / 潘瑾博士, Vice-Secretary General, UNESCO Creative City (Shanghai) Promotion Office Prof. Cees de Bont, Dean, School of Design and Creative Arts, Loughborough University Dr. Li Jia / 李佳博士, Secretary General, Zhejiang Creative Design Association Grant Butterworth, Head of Planning, Leicester City Council

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图形遗产再定位以跨学科的视角探讨人们对遗产

敏感的城市环境的体验方式和图形意涵。着重于建立一种在遗产从业者和理论家在遗产的解释、表征和表示的背景下，必须掌握的对遗产核心知识的理

解。图形遗产被证明可以命名和解释为一种现象，而在二十一世纪初变得越来越重要。

Repositioning Graphic Heritage explores the interdisciplinary perspectives and intergrative processes through which people experience and are informed about urban heritage through graphic images. It focuses on establishing a clearer understanding about the core knowledge that heritage practitioners must grapple with in the context of heritage interpretation, presentation and representation.

授权号 / Grant number:

AH/S003398/1 国际标准书号 / ISBN: 978-1-911217-33-6