“C&C Design is a growing and expanding design team, our name is our inclusiveness, and we are interested in all the implications of the term symbiosis. In today's China, in the development of large-scale, huge amount, the design of the high speed the construction of the state encourages social practice, for designers, have chance but not design a piece of work to influence and change your life, but also committed to the forming process of the contemporary Chinese landscape, it is the "symbiosis" design team, similar work eventually challenge to China.
Yinji: Young designers are the mainstay of design in the circle. How did you start your design path? What do you want for your future?
Peng: I was already a middle-aged designer, graduated from the academy to work to now have nearly 20 years, I was lucky to own interests and hobbies can be combined with professional work, the alienation of modern society to person makes a lot of people work with interest, ideal are not related, so I said I was lucky, and chose this way and enjoy myself. People say that forty is no longer confused, but I feel that forty is the beginning of enlightenment, and there is still a long way to go on the road of design. I hope That I will not gently enter this good night, so that creativity will continue to flourish, and I will never forget my original intention. Designers like to discuss the topic of production value has not exceeded 100 million, think about it is particularly interesting, 100 thousand + traffic, 100 thousand + fans, our life can always be these self-created figures by the abduction... Does it make more sense for a designer to care if something from ten years ago is still on the table? I think, after all, things that have thought will not be the same as the clothes in the cupboard ten years ago. There will always be some traces of growth. I hope I can make some thoughtful works in the future.
Yinji: Guangzhou design is creative. Your work is innovative. Where do you draw inspiration from?
Peng: So the economic base determines the superstructure. If Beijing is the political center, Shanghai is the financial center and Hangzhou is the cultural center, then Guangzhou is the business center. Since qianlong opened the port, Guangzhou had been the only port for foreign trade in China. The germination of bureaucratic capitalism in Guangdong would inevitably lead to differences between them and the Shanghai government, which required changes in the status quo and kept a relatively loose ideological environment in Guangzhou. In modern times, the demand for reform was very strong in Guangzhou. Hong Xiuquan, Kang Youwei, Liang Qichao and Sun Yat-sen emerged one after another, and Guangzhou became the birthplace of the 1911 Revolution. Historically, from the capitalist sprout at the end of Ming Dynasty to the reform and opening up in the 1980s, Guangzhou has always been at the forefront of The Times. Although it has its inert side of staying calm, due to its business tradition, it has always maintained its historical genes of demanding reform and daring to innovate from the inside out. Time, it is just an existence, not good and not bad. As a specific person under The Times and a specific designer, I think he should be a skeptic. All the edges of things, micro history and non-mainstream culture can be his research objects. But at the end of the day, he was also a man who stepped from history, a presence that neither he nor The Times could avoid.
Yinji: I noticed that you covered a wide range of fields during your schooling, including sculpture, oil painting, lacquer painting, graphic design, landscape design, and finally interior design. How have these experiences influenced current design?
Peng: In the final analysis, the design of a designer is an external manifestation of his cognition of the world. A wide range of learning is certainly helpful for design, and the wider the scope, the wider the vision. A goldfish in a round aquarium should see the world differently than a goldfish in a square aquarium. The design based on human perception and behavior developed by interior space can be called interior design. The future interior design and "decoration" of 20 years ago may have a subversive change, and the technological innovation and human alienation will accelerate this change. When you are ready, it may be too late.
Yinji: Do you adhere to any design principles in your work?
Peng: The only principle I insist on is to look at design from the perspective of change. Only change is the only immutable and eternal law. For example, in the past, it was believed that design was different from art in that it pursued standards and balanced the commonness of various interest groups. And art is about individuality, the more special the more valuable. However, this kind of understanding may be changed in the future. As the development of technology expands the field of personalized customization, the dependence of design on the universality relied on by industrial production will become weaker and weaker, the boundary between design and art will become blurred, and the design that can meet the individual needs will be more marketable.
Yinji: How did the epidemic affect you? Do you have any new thoughts on future design?
Peng: The outbreak is affecting everyone and humans may face a long-term future of symbiosis with the virus. The rapid development of the world driven by trade, information and technology has suddenly slowed down the pace of "globalization" because of the epidemic, and because of the epidemic, we have to rethink the relationship between people, nature and society. Heidegger once said, "Science does not think" -- science does not think in the age of science, neither does philosophy. In the modern society after the departure of religion, technology has become both the almighty God and the legal violence, which leads to a series of environmental changes and social problems. Facing the future, philosophy only starts from the existence of human beings to question the existence itself. And design, only return to the most essential thinking, to ask the nature of people is more meaningful.
