Innovative Design of Artificial Intelligence in Intangible Cultural Heritage
人工智能在非物质文化遗产中的创新设计
学术编辑：李连辉
本文是特刊的一部分：
Abstract 摘要
Driven by artificial intelligence technology, the research of intangible cultural heritage innovative design is carried out. Firstly, the appearance modeling characteristics, decorative element characteristics, and composition form characteristics of typical intangible cultural heritage products are analyzed. According to the collected relevant data of intangible cultural heritage products and existing products, combined with the regional cultural characteristics of intangible cultural heritage products and other factors, the analysis Atlas of intangible cultural heritage product innovation design is constructed. Based on perceptual engineering, the elements of intangible cultural heritage product innovation design for user participation are determined according to the needs and perceptual images of users. The shape grammar is used to extract the elements of intangible cultural heritage products, deduce and deform them, and finally generate the preliminary design scheme.
在人工智能技术的驱动下，开展了对非物质文化遗产创新设计的研究。首先，分析了典型非物质文化遗产产品的外观造型特征、装饰元素特征和构成形式特征。根据收集的非物质文化遗产产品及现有产品的相关数据，结合非物质文化遗产产品的区域文化特征等因素，构建了非物质文化遗产产品创新设计的分析图谱。基于感性工程，依据用户的需求和感性形象确定用户参与的非物质文化遗产产品创新设计元素。利用形状语法提取非物质文化遗产产品的元素，对其进行推导和变形，最终生成初步设计方案。
1. Introduction 1. 引言
Intangible cultural heritage refers to various traditional cultural expressions handed down from generation to generation by people of all ethnic groups and regarded as an integral part of their cultural heritage, as well as physical objects and places related to traditional cultural expressions. Intangible cultural heritage is an important symbol of the historical and cultural achievements of a country and nation and an important part of Chinese excellent traditional culture. “Intangible cultural heritage” is opposite to “material cultural heritage,” which is collectively referred to as “cultural heritage.” To some extent, intangible culture is a nation’s unique cultural memory, and its inheritance value and application value are worthy of in-depth exploration. There are many kinds of intangible cultural heritage in China [1–6]. With the progress of domestic economic development and social development, many intangible cultural heritages began to appear in people’s vision, but there are still a large number of intangible cultural heritage facing the dilemma of no inheritance [7–10]. Intangible cultural heritage may integrate with other industries, explore its market value with the help of the people, and regard it as an unattractive cultural element in the innovative design system, so as to lay a more solid foundation of traditional culture while promoting the progress of cultural design level. It is worth noting that the national cultural spirit behind the intangible cultural heritage can also become the power source to promote the progress of cultural and creative industries [11–14]. Modern innovative design can be based on material cultural heritage and traditional cultural spirit, fully reflect the important value of innovative thinking, and create cultural products that can better meet people’s diversified needs with the help of more diversified forms of expression.
非物质文化遗产是指由各民族人民代代相传的各种传统文化表现形式，视为其文化遗产的重要组成部分，以及与传统文化表现相关的物质对象和场所。非物质文化遗产是一个国家和民族历史文化成就的重要象征，也是中国优秀传统文化的重要组成部分。“非物质文化遗产”与“物质文化遗产”相对，统称为“文化遗产”。在某种程度上，非物质文化是一个民族独特的文化记忆，其传承价值和应用价值值得深入探索。中国的非物质文化遗产种类繁多[1-6]。随着国内经济发展和社会发展的进步，许多非物质文化遗产开始出现在人们的视野中，但仍有大量非物质文化遗产面临无传承的困境[7-10]。 非物质文化遗产可以与其他产业融合，在人们的帮助下探索其市场价值，并将其视为创新设计体系中一个不太吸引人的文化元素，从而在推动文化设计水平进步的同时，为传统文化奠定更坚实的基础。值得注意的是，非物质文化遗产背后的国家文化精神也可以成为推动文化创意产业进步的动力源泉。现代创新设计可以基于物质文化遗产和传统文化精神，充分反映创新思维的重要价值，并借助更多样化的表达形式创造出更好满足人们多样化需求的文化产品。
非物质文化遗产不同于陈列在博物馆中的静态文物[13, 14]。它是文化的传承与积累，是充满活力的生活文明的延续。然而，中国非物质文化遗产的现状并不乐观，具体情况如下。
- (1)
Insufficient attention to intangible cultural heritage: at present, for many people, intangible cultural heritage is a vague concept. The first reason is the lack of regulations and measures and rescue and protection funds; second, the inheritance and dating of some intangible cultural heritage. Due to the impact of industrialized mass production, most of the intangible cultural heritages of technology type have complex production processes. Young people’s unintentional learning leads to no successors and abandoned technology, which directly leads to the loss of many materials; third, the concept of intangible cultural heritage protection is backward, the technology and means are single, and there is no connection with new technologies and methods.
对非物质文化遗产的关注不足：目前，对于许多人来说，非物质文化遗产是一个模糊的概念。第一个原因是缺乏相关的法规和措施以及救助和保护资金；第二，某些非物质文化遗产的传承和定年。由于工业化大规模生产的影响，大多数技术型非物质文化遗产的生产过程复杂。年轻人无意的学习导致没有继承人和被遗弃的技术，这直接导致了许多材料的流失；第三，非物质文化遗产保护的观念滞后，技术和手段单一，且与新技术和方法没有联系。 - (2)
A large number of intangible cultural heritage are disappearing. Intangible cultural heritage is a valuable spiritual wealth. It carries the cultural memory of national generations and is a cultural symbol of national diversity. However, these memories and symbols are easy to be ignored and forgotten over time, especially some oral cultural heritage. They will be trapped in remote and underdeveloped areas, which will make them more vulnerable and underdeveloped.
大量的非物质文化遗产正在消失。非物质文化遗产是一种宝贵的精神财富。它承载着民族世代的文化记忆，是民族多样性的文化象征。然而，这些记忆和象征随着时间的推移容易被忽视和遗忘，尤其是一些口头文化遗产。它们将被困在偏远和欠发达地区，这将使它们更加脆弱和不发达。
From the conceptual conception in the 1960s to the practical application today, artificial intelligence [15–19] has triggered three upsurges of development and application. Different from previous academic research, business demand is the primary factor leading this upsurge. The continuous expansion of application scope not only improves its application value and influence, but also realizes the organic integration of artificial intelligence technology and industrial chain. As the combination of human knowledge, skills, and aesthetic taste, traditional handicraft intangible cultural heritage belongs to an important part of the cultural industry. Artificial intelligence also brings new technical means and development space for its dissemination. As the continuation of human cognitive ability and emotional talent, the deep learning rate of artificial intelligence in the field of cognitive understanding is much higher than that of human beings. In the field of communication, artificial intelligence has strong practicability, such as natural language technology, real-time learning technology, cross screen recognition technology, and intelligent interaction technology. The embedding of digital technology makes virtual information coexist with tangible forms, and the accessibility and experience of intangible cultural heritage resources have been enhanced. Through technological empowerment, we can integrate the traditional intangible cultural form into the contemporary cultural ecology, make it survive and develop healthily, and continue to grow new cultural forms adapted to the times.
从 20 世纪 60 年代的概念构想到今天的实际应用，人工智能[15-19]引发了三次发展和应用的浪潮。与以往的学术研究不同，商业需求是推动这一浪潮的主要因素。应用范围的持续扩展不仅提高了其应用价值和影响力，还实现了人工智能技术与产业链的有机融合。作为人类知识、技能和审美品味的结合，传统手工艺非物质文化遗产是文化产业的重要组成部分。人工智能也为其传播带来了新的技术手段和发展空间。作为人类认知能力和情感才能的延续，人工智能在认知理解领域的深度学习速率远高于人类。在传播领域，人工智能具有很强的实用性，如自然语言技术、实时学习技术、跨屏识别技术和智能互动技术。 数字技术的嵌入使虚拟信息与有形形式共存，非物质文化遗产资源的可及性和体验得到了增强。通过技术赋能，我们可以将传统非物质文化形式融入当代文化生态，使其得以健康生存和发展，并不断孕育出适应时代的新文化形式。
2. User Participatory Innovative Design
用户参与的创新设计
Under the development trend of experience economy, users are no longer satisfied with the ownership of a single commodity [20, 21]. On the basis of meeting the basic material needs, they begin to seek the creation of their own lifestyle and pursue their own products or services. User participatory design is to integrate users into the design, in which the status and power of all participants are equal. The concept of participatory design originated from Nordic countries. Its original intention is to add the “voice” of the public to the decision-making of public affairs. At this time, the Nordic trade union movement made the new law give new rights to enterprise employees, and employees have the right to decide and speak to change their working environment. User participatory design mainly emphasizes the participation of users, which is less related to design. Later, it was developed into a design method by American enterprises.
在体验经济的发展趋势下，用户不再满足于单一商品的拥有权[20, 21]。在满足基本物质需求的基础上，他们开始寻求创造自己的生活方式，并追求自己的产品或服务。用户参与设计是将用户融入设计过程，其中所有参与者的地位和权力是平等的。参与设计的概念起源于北欧国家，其初衷是将公众的“声音”纳入公共事务的决策中。此时，北欧的工会运动促使新法律赋予企业员工新的权利，员工有权决定和发言以改变他们的工作环境。用户参与设计主要强调用户的参与，与设计的关系较少。后来，它被美国企业发展成为一种设计方法。
User participatory design method is a modern design method that takes the user as the center, integrates the user into the design process, and cooperates with each other on the premise of respecting the user’s background, ability, and ideas. It is also a modern design method to meet the diversified needs of users and ensure the equality of design. Compared with the traditional design method (the difference between them is shown in Table 1), user participatory design method is more flexible and open, allowing users to participate in the design process to the greatest extent and enable users to get the best interactive experience. At present, participatory design has been applied to many research fields.
用户参与设计方法是一种以用户为中心的现代设计方法，将用户融入设计过程，并在尊重用户背景、能力和想法的前提下进行合作。这也是一种满足用户多样化需求并确保设计平等的现代设计方法。与传统设计方法相比（它们之间的差异见表 1），用户参与设计方法更加灵活和开放，允许用户在设计过程中尽可能多地参与，从而使用户获得最佳的互动体验。目前，参与设计已应用于许多研究领域。
用户参与设计方法与传统设计方法的区别。
| User right 用户权利 | Inclusiveness 包容性 | Main output 主要输出 | Value goal 价值目标 | Main demands 主要需求 | Technical advantages 技术优势 | Difficulties in modeling anddecoration | |
|---|---|---|---|---|---|---|---|
| Traditional design method 传统设计方法 |
Right of choice 选择权 | None 翻译文本：无 | Products 产品 | Low production cost 低生产成本 | Rapid and mass production 快速和大规模生产 |
Low cost, short production cycle, and high efficiency 低成本、短生产周期和高效率 |
It is up to the designer |
| User participatory design method 用户参与设计方法 |
Right of choice, right of creation, and right of design 选择权、创作权和设计权 |
Inclusiveness (no set goals) 包容性（无设定目标） |
Experience 经验 | Meet creative needs 满足创造性需求 | Open and independent creation 开放和独立的创作 |
High yield, novel, unique, and diversified 高产、创新、独特和多样化 |
Determined by user’s design ability |
With the rapid development of social and economic level, users’ demand for products is not only satisfied with functionality and practicability, but also the pursuit of spiritual enjoyment. This study proposes the design concept of “user participation.” Its purpose is to open some design rights and production rights to users, so that nonrelic lovers, designers, and the general public can give full play to their advantages and characteristics and carry out independent innovation with the assistance of relevant personnel, truly participate in the design and production process of intangible cultural heritage innovative products, and improve users’ participation and sense of experience, so as to better carry forward and inherit traditional culture.
随着社会和经济水平的快速发展，用户对产品的需求不仅满足于功能性和实用性，还追求精神享受。本研究提出了“用户参与”的设计理念。其目的是将部分设计权和生产权开放给用户，使非文物爱好者、设计师和公众能够充分发挥他们的优势和特点，在相关人员的协助下进行独立创新，真正参与到非物质文化遗产创新产品的设计和生产过程中，提高用户的参与感和体验感，从而更好地弘扬和传承传统文化。
User participation in design starts from user analysis and establishes user needs, such as interaction needs, self-realization needs, use needs, and cultural needs, by analyzing users’ physiology, behavior, and psychology. Then, it analyzes user demand data, designs and develops product forms and decorative elements that meet users’ needs, and allows users to give full play to their creativity through user participation in design. Finally, complete the product design and production. The user participation design process is shown in Figure 1.
用户参与设计始于用户分析，通过分析用户的生理、行为和心理，确立用户需求，如互动需求、自我实现需求、使用需求和文化需求。然后，分析用户需求数据，设计和开发满足用户需求的产品形式和装饰元素，并通过用户参与设计使用户充分发挥创造力。最后，完成产品设计和生产。用户参与设计过程如图 1 所示。
具体步骤如下：
- (1)
User analysis: it mainly analyzes the physiological, behavioral, and psychological needs of target users, which helps designers better understand users and obtain characteristic needs. Products can only be accepted by users on the premise of truly grasping the needs of users. In the whole design process, the user is the main body to help designers more accurately obtain the real needs of users, so as to find a solution satisfactory to users. User analysis is the first step of user participatory design. The commonly used methods include interview, accompanying observation and cultural analysis.
用户分析：主要分析目标用户的生理、行为和心理需求，这有助于设计师更好地理解用户并获取特征需求。产品只有在真正掌握用户需求的前提下才能被用户接受。在整个设计过程中，用户是主体，帮助设计师更准确地获取用户的真实需求，从而找到令用户满意的解决方案。用户分析是用户参与设计的第一步。常用的方法包括访谈、陪伴观察和文化分析。 - (2)
Requirements acquisition: through field research, user interview, accompanying observation and cultural analysis, we can understand the user’s life situation, behavior habits, cultural concepts, and expectations, so as to further improve the information needed for the research and prepare for relevant data analysis. We gradually insight and analyze the role of stakeholders in nonlegacy cultural and creative products and explore the service experience of users in the process of using products from multiple angles.
需求获取：通过实地研究、用户访谈、陪伴观察和文化分析，我们可以了解用户的生活状况、行为习惯、文化观念和期望，从而进一步完善研究所需的信息，并为相关数据分析做好准备。我们逐步洞察和分析利益相关者在非遗文化创意产品中的角色，并从多个角度探讨用户在使用产品过程中的服务体验。 - (3)
User demand analysis: we obtain the relevant data information of users through questionnaires and other methods and finally establish the user needs according to the distribution characteristics of the data.
用户需求分析：我们通过问卷和其他方法获取用户的相关数据信息，并最终根据数据的分布特征建立用户需求。 - (4)
Design element development and user participation: according to the needs of users, determine the shape, decoration, and decorative style of products. Users can make their own choices and then directly or indirectly participate in the process of product design and production.
设计元素开发与用户参与：根据用户的需求，确定产品的形状、装饰和装饰风格。用户可以自主选择，然后直接或间接参与产品设计和生产的过程。 - (5)
Design and implementation: users design and choose under the guidance of designers or traditional craftsmen and finally complete the production of products.
设计与实施：用户在设计师或传统工匠的指导下进行设计和选择，最终完成产品的生产。
3. Extraction and Reconstruction of Innovative Design Elements of Intangible Cultural Heritage Driven by Artificial Intelligence
3. 人工智能驱动的非物质文化遗产创新设计元素的提取与重构
3.1. Design Element Extraction
3.1. 设计元素提取
The innovative design elements of intangible cultural heritage are mainly extracted from intangible cultural heritage products, including ancient products and existing products, from which the characteristic factors such as appearance modeling, decorative elements, composition form, and color application are extracted, respectively. The feature factor extraction model of intangible cultural heritage innovative design is shown in Figure 2.
非物质文化遗产的创新设计元素主要来源于非物质文化遗产产品，包括古代产品和现有产品，从中分别提取出外观造型、装饰元素、构成形式和色彩应用等特征因素。非物质文化遗产创新设计的特征因素提取模型如图 2 所示。
Through consulting relevant documents, visiting museums, and field investigation of intangible cultural heritage product factories, we collected a large number of cultural relics, pictures, documents, and other materials containing intangible cultural heritage innovative design factors, screened and sorted out the collected materials, mainly divided into ancient products and existing products, formed the characteristic analysis table of intangible cultural heritage products, and constructed the analysis Atlas of design elements.
通过查阅相关文献、参观博物馆以及对非物质文化遗产产品工厂的实地调查，我们收集了大量包含非物质文化遗产创新设计因素的文物、图片、文件及其他材料，筛选并整理了收集的材料，主要分为古代产品和现有产品，形成了非物质文化遗产产品的特征分析表，并构建了设计元素的分析图谱。
3.2. Selection and Reconstruction of Design Elements
3.2. 设计元素的选择与重构
非物质文化遗产用户参与的创新设计主要分为五个部分：设计元素的选择、设计元素的重构、设计方案的生成、设计方案的评估以及参与生产体验。具体过程如图 3 所示。
- (1)
Identify design elements. Based on perceptual engineering, collect relevant perceptual words according to the user’s perceptual image, let the user score the sample, and determine the elements of intangible cultural heritage innovative design through the user’s perceptual semantic word evaluation results and the target user’s perceptual image words for intangible cultural heritage innovative design products.
识别设计元素。基于感知工程，根据用户的感知形象收集相关的感知词，让用户对样本进行评分，并通过用户的感知语义词评估结果以及目标用户的感知形象词，确定非物质文化遗产创新设计的元素。 - (2)
Design element refactoring. The shape grammar is used to deduce and deform the design elements selected by the user, generate new design elements, and reconstruct the design elements.
设计元素重构。形状语法用于推导和变形用户选择的设计元素，生成新的设计元素，并重构设计元素。 - (3)
Generate design scheme. According to the needs of users and the regenerated design elements, finally generate multiple sets of initial design schemes for users to choose and evaluate.
生成设计方案。根据用户的需求和再生设计元素，最终生成多套初步设计方案供用户选择和评估。 - (4)
Design scheme evaluation. The fuzzy comprehensive evaluation method is used to evaluate and score the generated multiple sets of design schemes and finally select several groups of schemes with high scores for refinement.
设计方案评估。采用模糊综合评价方法对生成的多组设计方案进行评估和打分，最终选择几组高分方案进行细化。 - (5)
Participate in the production experience. Users first choose their favorite product components through app, including the shape, decoration, style, and carcass of intangible cultural heritage innovative design products, and then participate in the postproduction of products offline, under the guidance of relevant professionals, including carcass production, decoration, and polishing.
参与生产体验。用户首先通过应用程序选择自己喜欢的产品组件，包括形状、装饰、风格和非物质文化遗产创新设计产品的外壳，然后在相关专业人士的指导下，参与产品的后期制作，包括外壳生产、装饰和抛光。
Perceptual engineering is guided by the needs of users and expresses perceptual problems qualitatively or quantitatively through mathematical analysis, so as to achieve the goal of guiding product design. We use perceptual engineering and shape grammar to guide the design of many similar modeling elements and decorative elements of intangible cultural heritage innovative products for users to choose independently. Firstly, through the comparative analysis of the characteristics of the collected intangible cultural heritage ancient products and existing products, such as appearance modeling, decorative elements, and composition forms, we can get the common design factors and select 10 typical samples from the collected samples of intangible cultural heritage products. We collect relevant perceptual words according to users’ perceptual images, classify and sort out the collected semantic words, and finally get 63 semantic words. Then, we invite 30 typical users to rate the 63 perceptual semantic words collected, select words with similar semantics according to the score, and select “sharp-mellow,” “complex-concise,” “gorgeous-plain,” “exaggerated-elegant,” “simple-exquisite,” “rough-smooth,” “gorgeous-plain,” and “dim-bright” 8 pairs of adjectives.
感知工程以用户需求为导向，通过数学分析定性或定量地表达感知问题，从而实现指导产品设计的目标。我们利用感知工程和形状语法来指导许多相似建模元素和非物质文化遗产创新产品的装饰元素的设计，以便用户能够自主选择。首先，通过对收集的非物质文化遗产古代产品与现有产品的特征进行比较分析，如外观造型、装饰元素和构成形式，我们可以获得共同的设计因素，并从收集的非物质文化遗产产品样本中选取 10 个典型样本。我们根据用户的感知图像收集相关的感知词，分类整理收集到的语义词，最终得到 63 个语义词。 然后，我们邀请 30 名典型用户对收集到的 63 个感知语义词进行评分，根据得分选择语义相似的词，并选择“尖锐-柔和”、“复杂-简洁”、“华丽-朴素”、“夸张-优雅”、“简单-精致”、“粗糙-光滑”、“华丽-朴素”和“暗淡-明亮”这 8 对形容词。
In order to further obtain the user’s perception preference of intangible cultural heritage innovative design products, 10 samples were selected from the design element Atlas of intangible cultural heritage innovative products, and the perception survey was carried out by using the 7-order scale method. According to the semantic vocabulary correlation, they were divided into 7 levels: 3 points, −2 points, −1 point, 0 point, 1 point, 2 points, and 3 points, where “0” means consistent, “−2” and “2” mean average, and “−3” and “3” mean very high.
为了进一步获取用户对非物质文化遗产创新设计产品的感知偏好，从非物质文化遗产创新产品的设计元素图集中选取了 10 个样本，并采用 7 级量表法进行了感知调查。根据语义词汇的相关性，将其分为 7 个等级：3 分、−2 分、−1 分、0 分、1 分、2 分和 3 分，其中“0”表示一致，“−2”和“2”表示一般，“−3”和“3”表示非常高。
Finally, the distribution of users’ perceptual semantic vocabulary evaluation results is obtained. By constructing a five-point psychological evaluation table and connecting the semantic vocabulary of each group of samples with broken lines, the semantic vocabulary description diagram of intangible cultural heritage innovation style features is obtained. According to the evaluation results and results of users’ perceptual semantic words, the perceptual image words of target users for intangible cultural heritage innovative products are smooth, exquisite, mellow, elegant, bright, simple, and elegant.
最后，获得了用户感知语义词汇评估结果的分布。通过构建五点心理评估表，并用折线连接每组样本的语义词汇，得到了非物质文化遗产创新风格特征的语义词汇描述图。根据评估结果和用户感知语义词的结果，目标用户对非物质文化遗产创新产品的感知形象词为流畅、精致、醇厚、优雅、明亮、简单和雅致。
According to the extraction method of design elements of intangible cultural heritage innovative products and based on the positioning needs of intangible cultural heritage innovative products, modeling elements, decorative elements, and color elements are selected, respectively. Based on the perceived image of the target user, determine the parent elements, and then determine the appearance modeling elements and color elements, so as to provide design element support for subsequent practice.
根据非物质文化遗产创新产品设计元素的提取方法，并基于非物质文化遗产创新产品的定位需求，分别选择造型元素、装饰元素和色彩元素。根据目标用户的感知形象，确定母元素，然后确定外观造型元素和色彩元素，以便为后续实践提供设计元素支持。
基于所选的非物质文化遗产创新产品的设计元素，使用形状语法[22]对其进行推导和变形，最终获得新的设计元素。形状语法（SG）可以表示为
其中“SG”是通过平移、缩放、变形和镜像从“s”派生出的形状集合，“L”代表标记集合，“R”是推理规则集合，而“I”是原始形状。根据形状语法理论中的形态推导规则，形状语法的七条规则用于适当地变形原始非物质文化遗产创新产品设计元素，然后通过随机排列和组合、替换、添加和删除、缩放以及错切的方式形成符合用户审美需求的新非物质文化遗产创新产品设计元素。在颜色选择上，通常选择黑色作为主色，红色和黄色作为辅助色。
3.3. Design Scheme Generation
3.3. 设计方案生成
通过形状语法推导规则，元素被变形和重新设计，以获得新的设计元素。根据用户的需求，最终生成了 6 套初步设计方案。这些初步设计方案可以满足用户的基本需求。为了进一步满足用户的多样化需求，本研究选择模糊综合评价方法[23-26]对推理生成的方案进行评估。参考非物质文化遗产创新产品的设计元素，设置评价指标为
其中 n = 5。
根据用户的需求和满意度，非物质文化遗产创新产品设计各评价指标的评价权重通过评分方法确定。
最高权重为 0.3，最低权重为 0.1。e5 被视为评估指标中的基本需求。我们邀请 100 名用户对该方案进行评估。评估和测试标准如表 2 所示。
2. 评估和测试标准。
| Evaluation criterion 评估标准 | Gradation 渐变 | Evaluation weight 评估权重 | Explanation 解释 |
|---|---|---|---|
| e 1 | Extremely consistent (G1) 极其一致 (G1) |
0.3 | Users can have space to give full play to their creativity. 用户可以有空间充分发挥他们的创造力。 |
| e 2 | Very consistent (G2) 非常一致 (G2) | 0.3 | The product composition form can fully express the ideas of users. 产品组成形式可以充分表达用户的想法。 |
| e 3 | Generally consistent (G3) 一般一致 (G3) |
0.2 | The design style is fashionable, modern, and simple. 设计风格时尚、现代且简约。 |
| e 4 | Basically consistent (G4) 基本一致（G4） |
0.1 | The overall design of the product is novel and unique. 该产品的整体设计新颖独特。 |
| e 5 | Consistent (G5) 一致性 (G5) | 0.1 | The product has certain value and function. 该产品具有一定的价值和功能。 |
Finally, three schemes with high scores are selected for design optimization. Taking scheme 1 as an example, the evaluation and test results are shown in Table 3.
最后，选择了三个得分较高的方案进行设计优化。以方案 1 为例，评估和测试结果如表 3 所示。
3. 方案 1 的评估和测试结果。
| G1 | G2 | G3 | G4 | G5 | |
|---|---|---|---|---|---|
| e 1 | 35 | 12 | 16 | 17 | 20 |
| e 2 | 17 | 15 | 20 | 21 | 27 |
| e 3 | 23 | 12 | 6 | 20 | 39 |
| e 4 | 16 | 5 | 30 | 32 | 17 |
| e 5 | 6 | 29 | 35 | 5 | 25 |
The fuzzy judgment matrix D of the design optimization solution is obtained from Table 4.
设计优化方案的模糊判断矩阵 D 来自表 4。
模糊判断矩阵 D。
| G1 | G2 | G3 | G4 | G5 | |
|---|---|---|---|---|---|
| e 1 | 0.35 | 0.12 | 0.16 | 0.17 | 0.2 |
| e 2 | 0.17 | 0.15 | 0.2 | 0.21 | 0.27 |
| e 3 | 0.23 | 0.12 | 0.06 | 0.2 | 0.39 |
| e 4 | 0.16 | 0.05 | 0.3 | 0.32 | 0.17 |
| e 5 | 0.06 | 0.29 | 0.35 | 0.05 | 0.25 |
然后，综合评价模型 B 是
That is, B = {0.224, 0.139, 0.185, 0.191, 0.261}.
B = {0.224, 0.139, 0.185, 0.191, 0.261}。
The comprehensive evaluation results of the final 100 users on the six initial design schemes are shown in Table 5.
最终 100 名用户对六个初始设计方案的综合评估结果如表 5 所示。
最终 100 名用户的综合评估结果。
| Initial design scheme 初步设计方案 | G1 | G2 | G3 | G4 | G5 |
|---|---|---|---|---|---|
| 1 | 0.224 | 0.139 | 0.185 | 0.191 | 0.261 |
| 2 | 0.088 | 0.117 | 0.383 | 0.251 | 0.161 |
| 3 | 0.318 | 0.114 | 0.083 | 0.182 | 0.303 |
| 4 | 0.246 | 0.211 | 0.131 | 0.127 | 0.285 |
| 5 | 0.274 | 0.273 | 0.157 | 0.073 | 0.223 |
| 6 | 0.218 | 0.057 | 0.123 | 0.380 | 0.222 |
According to the evaluation results, it can be seen that 22.4% think scheme 1 is very good, 8.8% think scheme 2 is very good, 31.8% think scheme 3 is very good, 24.6% think scheme 4 is very good, 27.4% think scheme 5 is very good, and 21.8% think scheme 6 is very good. The top schemes are scheme 3, scheme 5, and scheme 4 in turn. Therefore, this study takes these three sets of schemes as the schemes for end users to participate in practice and carries out iterative optimization to get the final design scheme.
根据评估结果，可以看出 22.4%的人认为方案 1 非常好，8.8%的人认为方案 2 非常好，31.8%的人认为方案 3 非常好，24.6%的人认为方案 4 非常好，27.4%的人认为方案 5 非常好，21.8%的人认为方案 6 非常好。排名靠前的方案依次是方案 3、方案 5 和方案 4。因此，本研究将这三组方案作为最终用户参与实践的方案，并进行迭代优化以获得最终设计方案。
4. Conclusions 4. 结论
With the acceleration of market evolution, people’s material life is becoming richer and richer, and their needs are becoming more and more diversified. The demand for products is no longer just functional, but also pays more attention to the feeling of spiritual level, and has higher requirements for the aesthetic value and cultural value of products themselves. This study comprehensively uses questionnaire survey, user interview, and user perception preference analysis to analyze and study the personal needs of users and the methods and processes of user participation in design. Finally, the theory is applied to practice to complete the research on the innovative design of artificial intelligence in intangible cultural heritage.
随着市场演变的加速，人们的物质生活越来越丰富，需求也日益多样化。对产品的需求不再仅仅是功能性的，还更加关注精神层面的感受，并对产品自身的审美价值和文化价值提出了更高的要求。本研究综合运用问卷调查、用户访谈和用户感知偏好分析，分析和研究用户的个人需求以及用户参与设计的方法和过程。最后，将理论应用于实践，完成对人工智能在非物质文化遗产创新设计中的研究。
This study uses the Atlas analysis method to analyze and summarize the characteristics of intangible cultural heritage products, constructs the analysis Atlas of intangible cultural heritage products, determines the design elements of intangible cultural heritage innovative products according to the needs of users, deforms and reconstructs the design elements of intangible cultural heritage innovative products based on the shape grammar, deduces the deformation, obtains new design elements that meet the aesthetic needs of users, and generates the initial design scheme. The fuzzy comprehensive evaluation method is used to score and evaluate the generated design scheme, and the scheme with the highest user satisfaction is selected for iterative optimization to obtain the final design scheme. Secondly, through a series of design practices, it provides users with independent creative space and platform to meet the diversified needs of users. Finally, the design of intangible cultural heritage is verified by user-oriented design.
本研究采用图谱分析方法对非物质文化遗产产品的特征进行分析和总结，构建非物质文化遗产产品的分析图谱，根据用户需求确定非物质文化遗产创新产品的设计元素，基于形状语法对非物质文化遗产创新产品的设计元素进行变形和重构，推导变形，获得满足用户审美需求的新设计元素，并生成初步设计方案。采用模糊综合评价方法对生成的设计方案进行评分和评估，选择用户满意度最高的方案进行迭代优化，以获得最终设计方案。其次，通过一系列设计实践，为用户提供独立的创作空间和平台，以满足用户的多样化需求。最后，通过以用户为导向的设计验证非物质文化遗产的设计。
The main innovations of this study are as follows: (1) by combining traditional handicrafts with modern design ideas, the market transformation channels of intangible cultural heritage innovative design products are increased, and a user-oriented intangible cultural heritage innovative design model is established. (2) In view of the difficulties faced by intangible cultural heritage art, explore the needs of different users for intangible cultural heritage innovative products, let users participate in the design process of intangible cultural heritage innovative products, enable users to obtain the creative dominance of products, and improve users’ consumption experience. (3) According to the needs of users, this paper puts forward the design scheme of intangible cultural heritage innovative products to meet the needs of user groups and promote the wide dissemination of intangible cultural heritage culture.
本研究的主要创新如下：(1) 通过将传统手工艺与现代设计理念相结合，增加了非物质文化遗产创新设计产品的市场转化渠道，并建立了以用户为导向的非物质文化遗产创新设计模型。(2) 针对非物质文化遗产艺术面临的困难，探索不同用户对非物质文化遗产创新产品的需求，让用户参与非物质文化遗产创新产品的设计过程，使用户获得产品的创作主导权，提升用户的消费体验。(3) 根据用户的需求，本文提出了满足用户群体需求的非物质文化遗产创新产品设计方案，以促进非物质文化遗产文化的广泛传播。
Conflicts of Interest 利益冲突
The author declares no conflicts of interest.
作者声明没有利益冲突。
